Theater: Hatboro-Horsham High School
Show: Joseph and the Amazing Technicolor Dreamcoat
Seen: April 25, 2008
Submitted: April 27, 2008
Reviewer: Carly Siegler

Eager children huddle around a campfire, as narrators lean in to tell the
ancient tale of Joseph. Enter the singing cowboys, go-go dancers, and
Elvis. That's right, Elvis. Indeed, it becomes clear very early on that
Hatboro-Horsham High School's exhilarating production of Joseph and the
Amazing Technicolor Dreamcoat is far from your average Sunday School Story.

With music by Andrew Lloyd Webber and lyrics by Tim Rice, Joseph
incorporates a wide variety of musical genres, from Country-Western to the
King himself. The musical evolved very much from its shorter original form
of forty years ago to its West End and Broadway premieres in 1973 and 1982,
respectively.

The story follows Joseph, the favorite of Jacob's twelve sons, as he becomes
victim to the envy of his brothers for both his precognitive dreams and the
multicolored coat he receives from his father. The resentful brothers sell
Joseph into slavery in Egypt. There, Joseph is imprisoned after a
misunderstanding involving his master's wife. However, he is soon released
at the request of the Pharaoh, who is having dreams he cannot interpret.
After predicting an impending famine, Joseph becomes something of a hero.
In an ironic twist of events, he is approached on bended-knee by his hungry
brothers, who no longer recognize him. The story ends with redemption on
the brothers' part, forgiveness on Joseph's, and the uplifting message that
"Any Dream Will Do."

From the moment the storytelling commenced, Joey Harrell exuded the
serenity of the dreamer, Joseph. His strong voice was complemented by
excellent articulation. Harrell displayed a wide range of facial
expressions, as Joseph transitioned from buoyancy at his new coat to
heartbreak at being imprisoned in a lovely rendition of "Close Every
Door."

Jimmy Knowles and Megan Weaver were triple-threats, as they sang, danced,
and acted impressively as the narrators. The two complemented each other
nicely, and seemed to have a genuine grasp of the story they were telling.
Ian Vosseler's turn as the Pharaoh, especially in his channeling of Elvis,
was hilarious.

Joseph's brothers were a wonderfully foreboding ensemble as they plotted to
rid themselves of their ambitious brother, but could be equally hilarious in
numbers such as "Those Canaan Days," which included a memorable
French-accented solo by Jeff Walton (Reuben). The wives of Jacob did not
let their sons have all the fun, though, and they commanded the stage with
their expressive body language and retro dance moves.

The large and energetic ensemble moved easily, and except for a few quiet
soloists, sounded wonderful as a whole.

The sound system, run by Elizabeth Peterson and Angela Rio, ran relatively
smoothly, and the "Technicolor" lighting by Jarrett Bruckner was striking.
Sets and props were transitioned easily, and swashed in colorful tapestries
during the finale.

Hatboro-Horsham High School's production of Joseph was dance-in-the-aisle
fun, and with its catchy tunes and optimistic messages, everyone could do
with a little "Joseph All the Time."

by Carly Siegler of Upper Dublin High School

Theater: Holy Cross
Show: Godspell
Seen: April 26, 20008
Submitted: April 27, 2008
Reviewer: Lauren Jentleson

Prepare ye, because you're bound to learn your lessons well from Holy Cross
High School's rendition of the musical "Godspell".

Godspell, a 1970 Stephen Schwartz musical, modernizes the Gospel of Matthew
with thrilling music and the opprotunity for each production to be one of a
kind. "Godspell" debuted as a result of a college project at Carnegie Mellon
University, but soon took the country by storm, claiming the Broadway stage
from June 1976 thru September 1977. The show takes the audience on an
uplifting journey, from Jesus Christ's uprising as a leader all the way to
his crucifixion.

As a whole, the sixty-five person cast brought everything they had to the
table. They took the show and truly made it their own with pop culture
references and the addition of the movie version's song "Beautiful City."
Throughout the performance, the energy levels were notably high and
everyone, audience and cast members alike, seemed to be enjoying themselves.
Despite some technical errors that were scattered throughout the show, the
overall production was extremely commendable.

Lead actors Nick Francesoni-Velez (Jesus) and Andrew Ehrhardt (John the
Baptist/Judas) brought forth comedy and insight to challenging roles.
Francesoni-Valez's abilities were showcased as Jesus. He showed conviction
and passion in his performance. Andrew Ehrhardt nearly had the audience
rolling on the floor laughing at times. With his humorous vocal impressions
and witty one-liners, he never let up. However, when it was time to be
serious, he shined just as brightly.

The leads weren't the only ones contributing to the production, though. The
show was filled with talented performers. Casey Grouser, the soloist in "O,
Bless the Lord, My Soul" stole the show. Her powerhouse voice sent the
entire auditorium into toe tapping, rhythmic clapping mode. Another notable
featured performer was Erin Bell, the lead singer in "By My Side." Bell took
the challenge of singing one of the few ballads in the production and making
it memorable. There wasn't a sour note in the song. The ensemble as a whole
was charismatic, appropriately boisterous, and very talented.

The technical aspects were stunning. The contrasting set of the ruins of the
Greek Acropolis and the urban setting that resembles something from our time
period, helped to emphasize the contrast between the philosophical thinkers
that preach the good of man versus the concept of man's redemption from a
higher, Almighty being.

Congratulations to Holy Cross on a great performance!

by Lauren Jentleson of Upper Merion High School

Theater: The Stagecrafters
Show: Going to St. Ives
Opened: April 18,2008
Seen: April 20, 2008
Submitted: April 21, 2008
Reviewer: Florence Mickens

The Stagecrafters latest production, “Going to St. Ives” is set in idyllic England and post-colonial war-weary Africa. These two worlds intersect with the meeting of Dr. Cora Gage (Pierlisa Chiodo-Steo) and May N’Kame (Donna Marie Earl). Mrs. N’Kame has travelled to England to seek the doctor’s aid for physical and metaphysical complaints. In a plot that is reminiscent of an Athol Fugard work, the play’s two-character cast introduces us to themselves, to each other and to the cultural dynamics they embody.

The first act is jammed to bursting with necessary but at times unnatural posturing between the two as playwright Lee Blessing sets the scene for us. The two leads give strong and engaging performances even where the dialogue wears a bit thin. It is to their credit that we are almost happy to live through the slightly overwrought angst and finger-pointing of the first act. We are asked to believe these two strangers are willing, if not compelled, to reveal the personal revelations required by the story. We learn that both doctor and patient have suffered immense losses and are struggling on with shattered lives. We also learn that a dark bargain may be struck between them.

In act two Cora has travelled to visit May. We find them in the garden discussing the political affairs of an unnamed African country where May’s son has ruled by fear and force for many years. As they each reveal important changes since their previous meeting in England, the two characters become more defined and more real for us. This works well in large part of due to the skillful shift of gears Chiodo-Steo and Earl manage on the fly. We are ready to believe doctor and patient have transcended that professional relationship and moved on to something more.

Chiodo-Steo and Earl bring a range of emotion and intelligence to the characters that could easily be missed by less subtle actors. Although this matinee was early in the run, each lead plays off the other’s performance as though they have been long time collaborators. I look forward to seeing them work together and separately in future productions.

The Stagecrafters has made a clever and successful choice in producing “Going to St. Ives”. It suits the theater very well. The modest but not at all claustrophobic theater is a good match for this work which is at times intimate and intense. I was pleased to be a member of the very appreciative audience.

Theater: Villanova Theatre
Show Title: The Illusion
Opened: April 15, 2008
Seen: April 15, 2008
Reviewer: Gary Labowitz
Submitted: April 17, 2008

Villanova Theatre presents “The Illusion” by Tony Kushner, directed by Harriet Power. April 15 - 27, 2008
Vasey Hall, Ithan and Lancaster Ave., Villanova, PA

Villanova Theatre has mounted a most beguiling production of Tony Kushner’s “The Illusion.” A solid, polished cast brings a tantalizing experience to the audience. Played in the three-quarter round setting, this Shakespearean styled comedy seizes your attention and doesn’t let go. The actors are students, experienced players, and a professor. It is good to see a teacher who can do.

The play is based on a comedy by Pierre Corneille, who was 10 when Shakespeare died, so they were not quite contemporaries. Tony Kushner has crafted a well structured adaptation. It could well have been by Shakespeare. The style, witty epigrams, self-referent humor, the shifts from prose to verse at emotional moments, as well as the play within a play conceit are all Shakespearean. The use of names which resonate with various of Shakespeare’s plays adds to this feeling.

The story is of a father, Pridamant (Dr. James Schlatter), going to the cave of magician Alcandre (Paul Guerin) to ask him to reveal to him the whereabouts and living condition of his son, from whom he is estranged. The magician produces a vision in which we see the son, inexplicably calling himself Calisto (Carl Granieri), wooing a seemingly disinterested lady, Melibea (Rachel Anne Stephan), who is attended by her maid, Elicia (Kristen O’Rourke). Melibea reveals she is enthralled by Calisto and not by his rival, Pleribo (Charles Illingworth IV).

After some discussion of this situation by the father, Pridamant, and the magician, Alcandre, the magician produces a second vision. Taking place at a later time than the first, the lovers are now openly planning their liaison. At this point Calisto is now referred to as “Clindor,” Melibea is known as “Isabelle,” and the rival has become “Adraste.” (The maid is now “Lyse.”) The father is as confused by this as we are, but Alcandre assures all that the names don’t matter. The son (now Clindor) is the servant of his nobleman rival (now Adraste). They fight and Adraste is killed. Clindor has killed a nobleman and is sentenced to death.

The father is now distraught, but Alcandre assures him all will be well. Lyse arranges Clindor’s escape and he and Isabelle flee together, Isabelle abandoning her fortune to her maid, Lyse.

The father is relieved, but it is not over. Alcandre produces one last vision. Clindor, now “Theogenes,” has become a cheating husband to Isabelle, now “Hyppolyta.” A nobleman, Prince Florilame, arrives to avenge Theogenes’ affair with his wife and kills Theogenes. Hyppolyta, overcome by her grief and love, falls dead at his side. Comedy has turned to tragedy!

Alcandre, however, once again assures Pridamant that all will be well. He advises him to go to Paris where his son is — living! The final explanation removes all confusion and it’s comedy again! Life, love are chimerae; who knows what is real?

What we do know for sure is that this production is top notch. The set is simple, efficient, and effective (Frank McCullough). The sound is magical and contributes greatly to the show (Jorge Cousineau). The lighting is wonderfully done (Jerold R. Forsyth). And the action, using all these elements, is smooth and moving. Credit Harriet Powers for direction that never lets us down.

This is a brilliant evening of magic in the theater. “The Illusion” is “the real thing.”

Theater: Lantern Theatre Company
Show Title: Othello
Opened: March 28, 2008
Seen: April 4, 2008
Reviewer: Dawn Cowle
Submitted: April 14, 2008

It can be argued that there is no "right" way to do a Shakespearean play. If there was, we'd see way more men playing the women, and the others running around in tights (not to say that would necessarily be the "right" way, but perhaps more historically accurate). Theatres have been experimenting with the Bards work for years, trying different concepts, gender bending the roles, heck, there have even been productions of Othello where the Moor is played by a white actor- so liberties can be taken, that's for sure. But when doing any of Shakespeare's plays, there are certain things an audience comes to expect, and if those few things aren't in place, it won't matter how wonderful a concept is, how beautiful the costumes are, or how many liberties you take, because some things will just be a bit off. And in the Lantern's production of Othello, playing now until May 4th, liberties are definitely taken.

You know the story; perhaps you've even studied it in your high school or college English class. Othello the Moor is a highly respected general in the service of Venice. Othello promotes Cassio to the position of personal lieutenant, and Iago becomes extremely jealous because he wanted the promotion. He then begins an evil and malicious campaign as his own sick form of revenge. Othello elopes with Desdemona and Iago plants the seeds in Othello's head that his new wife has been unfaithful. Othello becomes jealous and suspicious of Desdemona and tells Iago he plans to poison her, to which Iago suggests strangling as a more powerful method. Chaos, lies, and murders ensue, and Othello eventually confronts Desdemona, and then strangles her. Emelia, Iago's wife, and Desdemona's lady-in-waiting finds Desdemona's body, confronts Othello about the murder, then informs him of Iago's scheming ways. Iago kills Emilia, Othello kills Iago, then eventually himself. You know, just another classic Bard tragedy…

When seeing Othello, there is one thing the audience definitely comes to expect: that Desdemona and Othello are deeply in love (or the very least- deep in lust). If that expectation isn't met, all of Iago's conniving and deceitful ways just doesn't have as big of a pay-off, making it really hard to give into the suspension of disbelief that is theatre. Sadly, I didn't see that in the Lantern's production. Now, that isn't to say that Frank X (Othello) and Mary McCool (Desdemona) don't do a wonderful job, but the chemistry between their characters seemed more along the line of friends than lovers. Frank X makes a solid Othello. Some might say he's too old for the part, but that didn't bother me. He's a strong actor, playing a strongly written role, what more do you need? I did feel his "transformation" that occurs after Iago starts planting the idea of adultery in his head happened a bit to fast, but I'm not sure if that was the cuts in the script, the lack of lighting change, or what… so I won't harp on that too much. Mary McCool gives us a different kind of Desdemona. She seemed to be channeling the naiveté and youth of Juliet, and in turn, lost the strength of the character. If she hasn't done it yet, I would love to see her play Juliet- she'd be phenomenal.

Another liberty Charles McMahon took was casting Sarah Sanford as Emilia. She's a younger, and a lot thinner than most Emilias I've seen. But then again she's also the most interesting, so this liberty definitely paid off. Her interpretation of the character is spot on, and she steals the last scene from the moment she confronts Othello about Desdemona's death, all the way up to her own. Pete Pryor as Iago, was just as fabulous as you'd expect. After winning a Barrymore for his performance as Richard III a few years ago, it was a smart move for McMahon to cast him as another one of the Bards greatest villains. His Iago has that quiet kind of evil, the kind you see in movies with serial killers who seem so nice, but then do horrible things with no regret, and man, is it frightening.

The remaining members of the ensemble including Brian McCann, Seth Reighgott, and Luigi Sottile all give solid performances despite McMahon's uneven direction. And though I loved Anthony Lawton as Rodrigo, in reality he's a few years too old for the part. And even donning leather pants and gold chains for the entire first act won't prevent you from snickering every time someone refers to him as "young Rodrigo," when clearly that's not the case. On the whole, the Lantern's production is worth seeing, if anything, to see the stellar performances by Pryor and Sanford. I think they're performances are ones people will be talking about for years, and hey, don't you want to be part of that conversation?

Theater: The Players Club of Swarthmore
Show: Rounding Third
Opened: April 4 2008
Seen: April 4, 2008
Submitted: April 15, 2008
Reviewer: Pat McGill

Normally, when someone mentions little league baseball, images of young kids under the age of 13 come to mind. But in Richard Dresser’s comedy Rounding Third, the focus is on the unlikely pair of fathers coaching their sons’ team together.

Don is a former athlete who has been coaching for years. He wants the team to win, and, not surprisingly, his son is the star pitcher. Mike is the new assistant coach and thinks that fun is playing, not winning. He knows little about the game and his son is the geeky kid with glasses who can't run, can't catch, and can't throw.

Humor abounds throughout as we see these polar opposites attempt to work together. As the season progresses, these two men begin to change their initial thoughts on one another. By the end a fantastic friendship has been formed.

T.J. DeLuca as Don and Matt Ellis as Mike were phenomenal. They work amazingly well together and they both have a great control over the set in such a small place.

Once again the Players Club has kept up their reputation of greatness. Rounding Third is definitely a must see!

Theater: Vagabond Acting Troupe
Show Title: Rag and Bone
Opened: April 10, 2008
Seen: April 10, 2008
Reviewer: Karin Suni

Vagabond Acting Troupe’s production of Noah Haidle’s Rag and Bone is an evening of theatre not intended for the realist. If you happened to attend either of the other Philadelphia premieres of Haidle’s plays at other theaters earlier this season, then you are already familiar with his sense of “freedom of imagination” that insists that theatre is not an “attempt at mimesis of reality.” Instead we are presented with an existential look at what makes us who we are and of what use is a heart anyway.

Plunged into a world where archetypes walk the streets and a person can trade in their own heart for someone else’s, the play follows the lives of brothers and owners of The Ladder Store Jeff (Jeremy Hagan) and George (Ryan Capps), who also happens to be a black market heart dealer, Hooker (Jan Michener) and her pimp T-bone (Todd Ryan Jones), Poet (Ted Powell), Millionaire (Ethan Lipkin), Customer and Waiter (both played by Sarah Robinson) as they alter their paths in drastic ways by making impossible choices to try to find meaning and connection in their seemingly bleak world. The imagery and metaphor that used in the script can be a bit obtuse even for the most erudite of audience members. Because of this, I was puzzled by the choice to disassociate the play from one of Haidle’s inspirations that sheds some light on the reasoning behind some of his particular choices. The last stanza of the Yeats poem “The Circus Animal’s Desertion” will not suddenly make everything clear or provide an answer to the core issues brought up in the show, but it does provide an interesting insight that would give audience members another angle from which to look to find their own sense of the meaning of the play. While not necessary to the enjoyment of the show, I suggest taking a look at the poem or at least the last stanza before heading to the theater.

The small stage is well-used incorporating levels to delineate specific locations. The levels also mirror the plot and subplot coursing through the words and life of the performance. As the world wherein the play takes place is one that gets “less oxygen and sunlight than the rest of the world,” it is fitting that the lighting is at times dark to the point of being hazy. This takes a few scenes to get used to but enhances the atmosphere to the point where having anything brighter would be out of place.

It would be easy to assume that because only three of the characters have names that they are the primary people to watch. Doing so, though, would be to miss the best feature of the evening which is the true ensemble nature of the piece. In that respect, it is difficult to pinpoint specific acting choices that made the play. As a whole, none of the characters are people that you would seek out to spend an evening with. However, each of the cast members manage to make you find something in their characters that you like even if you cannot condone their actions. I attribute this to well-played moments of nobility that stand out in stark contrast to the often questionable and even reprehensible nature of many of the characters.

The ensemble also presents the comedic moments at their best and usually just when one is needed. The energy was high and the timing was nearly perfect during the first half of the performance which quickly dispelled any discomfort with the non-realistic caricature sensibility of the play. Unfortunately, the energy did not last past intermission into the second half. While this section is slightly darker in theme and action, it felt more that the ensemble had broken apart into individuals who had difficulty playing off each other. Whether this was something from the script, a purposeful directing choice, a function of opening night or a continuing situation, I cannot say, but it was felt all the more keenly as the first half had been so dead on. This issue would not be reason enough to keep me from seeing the show, but if the second half could match the first, I could easily say the show is an unmitigated success.

The play runs through April 26th.

*Click on the images for photo details*

George (Ryan Capps) and Jeff (Jeremy Hagan)

T-bone (Todd Ryan Johnson) and Hooker (Jan Michener)

T-bone (Todd Ryan Johnson)

Editor's Note - Here is a comment from the Artistic Director:

NAME: Aileen McCulloch, Artistic Director Vagabond Acting Troupe
URL: www.vagabondactingtroupe.org
Comment:

The poem that the reviewer alludes to is prominently displayed in the centerfold of the Vagabond Acting Troupe's program for RAG AND BONE…so you don't need to do ANY research before the play - just read the program before the show starts! If you are looking for some great advance purchase web discounts on tickets, please visit our website at www.vagabondactingtroupe.org. If you make an advance reservation for a performance by the deadline, you will receive the cheapest tickets for the show on that evening!

ALSO remember our repeat explorer program. If you came and saw the show opening night and want to see it another night during second week - just bring a paying friend, reserve in advance, and bring your program. You'll get in for free and can see if you get more out of the existential story on a second visit!

Jump - We'll Catch You! - Aileen McCulloch, Vagabond Acting Troupe

Theater: Academy of the New Church
Show: 42nd Street
Seen: April 12,2008
Reviewer: Jimmy Knowles

As Warner Baxter once put it in Lloyd Bacon's 1933 classic, " .you're going
out a youngster, but you've got to come back a star!" Well, on Saturday
evening, it seemed as if all 100+ members of the spellbinding cast and crew
of Academy of the New Church's "42nd Street" came out of their show looking,
sounding, and feeling like a star; and rightfully so!

"42nd Street" tells the story of Allentown-based starlet Peggy Sawyer and
her flight to escape the humdrum Pennsylvania lifestyle and break into the
flashing lights and bold scene of the Big Apple. Peggy lands a spot in
Julian Marsh's next big hit, 'Pretty Lady.' Here she meets Billy Lawlor,
'Pretty Lady's' leading man who certainly has his eye set on the prize, if
you know what I mean. After a run in with Dorothy Brock, 'Pretty Lady's' not
so timid and haughty leading lady, it seems as if its curtains for Peggy.

Overall, New Church's production was nothing short of spectacular. From the
moment you walked into the theater, the audience was transported back to the
Golden Age of Broadway, footlights and all. The ensemble possessed great
energy and vigor, while keeping in time with a very dance-heavy score. They
shined in every aspect of their performance, specifically in the company
opening audition number.

Leading the cast as the shy and overly coy Peggy Sawyer, Rachel Lindsay
captured the essence of the role and brought forth a refreshing take on a
well-known and much loved character. Lindsay's impressive vocal range and
non-stop "hoofing" made for an enjoyable performance. Opposite Lindsay was
David Garrett in the role of Julian Marsh. Garrett's performance was
spot-on, to say the very least. From his comedic timing to his booming
baritone sound, Garrett leapt off the stage and into the hearts of the
audience.

In the role of Dorothy Brock, Lindsay Kloc impressed the audience with her
smooth vocals and commanding stage presence. Also notable was Natalie Thomas
in the role of Ann Reilly whose non-stop footwork and booming vocals wowed
the audience. Greg Synnestvedt in the role of Billy Lawlor also gave a
noteworthy performance, just as any leading man should.

The show's technical aspects were simply stunning. Everything from the
lighting to the set design and special effects was executed with not a
single flaw. Particularly impressive was the Act 2 set for the show-stopping
"Lullaby of Broadway."

Academy of the New Church's production was truly a delight to watch. The
entire audience was invited to "come and meet those dancing feet," and with
no hesitation at that!

by Jimmy Knowles of Hatboro-Horsham High School

Theater: Lower Moreland High School
Show: South Pacific
Seen: April 11, 2008
Reviewer: Rosa Hargrove

The South Pacific was an untouched piece of paradise-at least until the
Navy, their nurses, and some drama arrives there as well. In Lower
Moreland's production of South Pacific, romance blossoms as profusely as
palm trees and island flora.

During World War II, sailors and nurses live together on an island in the
South Pacific. Nellie Forbush, a nurse from Arkansas, has swiftly fallen
for the French plantation owner Emile deBecque, though she has second
thoughts upon seeing his Polynesian children. Meanwhile, a demure island
native, Liat (Rachel Lewin), enchants Lt. Cable.

A talented cast of fifty players anchored this fine production of South
Pacific, a musical that won the Pulitzer Prize in 1948.

Jessie Brecher's portrayal of the cheery Nellie Forbush was great, and her
polished voice worked particularly well in the cheery "A Cockeyed Optimist."
Glen DeGeorge gave a mature performance as the middle-aged deBecque. They
excelled on songs such as "Twin Soliloquies," where both expressed their
yearning for one another.

Bloody Mary (Brooke Gross), Liat's mother, provided comic relief in her
interactions with the soldiers. But her resonant voice takes an
appropriately eerie turn in "Bali Ha'I," a song about the mysterious island
near the Navy base. And after regretting his refusal to marry Liat because
of her Tonkinese descent, Lt. Cable (David Essenthier) gives a sardonic
meditation on racism, insisting "You've Got To Be Carefully Taught" to be
prejudiced.

The detailed sets augmented the show immensely. The lush, elaborate green
scenery and backdrop of a beach made the auditorium seem like an island
paradise. Lighting changes also altered the mood-the bright lights were
reminiscent of a sunny beach. Though the scene changes were slightly
lengthy, that was to be expected with the large sets. A few sound mishaps
also occurred, but overall, they did not mar the performance.

South Pacific candidly addressed race and prejudice, which was revolutionary
in the late 1940s. Lower Moreland High School turned in a very fine
production of a show that remains relevant even today.

by Rosa Hargrove of Plymouth-Whitemarsh High School

Theater: Dutch Country Players
Show: Measure For Measure
Opened: April 4, 2008

In his review of Measure For Measure, published in Hearthstone Town and Country, Bill Thobaben wrote, “Director Ray Thompson has placed the production in a techno world that, in the beginning, isn’t really the nicest place. We’re greeted at the door by prostitutes and a pimp, a world of black leather, bustiers, and smiles. No one is actually suggesting any untoward behavior but the idea is rather clear and the cast is very careful with the younger members of the audience.” Thobaben goes on to explain the setting further. “It’s 1984 and there is a robotic and big brotherish feel that is only enhanced by the use of computer generated slogans and statements on a large video screen stage left which can also show the set and with the house lights up, a little discomfortingly, the audience.”

Thobaben explains the challenge of presenting this particular bit of Shakespeare. “What makes this play difficult is its lack of a clear genre. By Will’s standards this is a comedy. There are no deaths and the ending is quite cheerful and bright. The rest of the play, however, is dark and filled with an assortment of actions that can only lead to moral judgments and punishments.”

What about the cast, you ask? Thobaben wrote, “The women are the strongest in this production with Sandra Landers’ Lucio as the most believable of characters followed closely by Nancy Server Thompson as Isabella. These two are more convincing vocally and physically.”

In conclusion, Thobaben remarks that “Dutch Country Players should be congratulated for presenting a Shakespeare each year. They are difficult plays to pull off on a community level and this group has done some admirable work with them. This is one of the better productions and as their program says, this it “Theater in your own backyard!”

Measure For Measure runs through April 20, 2008. Don’t miss it!