The set, based on the original design by Dan Joy and brought to life by Paddo and Seamus Devine (two of Art Devine’s sons), is a sight to behold. Audiences walk into the theater seeing a stage split effortlessly down the middle. One side is a classic Massachusetts bar and the other is a spotless barracks with an Airborne insignia painted on the floor. Set pieces are rigged on a fly system, allowing for on-the-dime swaps between scenes. The details that have been put into every nook and cranny do not go unnoticed. Chain link fences surrounding the penitentiary blend seamlessly into the structure of the set and a well-placed toilet, one could swear has working plumbing, resides in the back “hallway.” The bar itself feels just like walking into a memory, with the broken pool cues hanging on the wall, a bottle opener behind the bar and a framed picture of the very first production in 2001

Macklin perfectly embodies the brash, outspoken Fienberg, just as Elijah Corbin captures the nerdy, brainy essence of Doucette. The contrast between the two characters is both striking and remarkable, even more so as the two characters evolve through the show. As the audience is taken through the parallel lives — one man in prison, the other in boot camp then war — the ensemble cast takes on three or more roles each. They are all spectacular. It’s remarkably easy to distinguish the locales of each scene by their brilliant and sometimes heart-wrenching performances. The fabulously intricate set is the original from 2001 designed by Dan Joy. Tim Healy’s exceptional sound design was utilized again too, and I would buy the soundtrack if it was released tomorrow! Robin McLaughlin’s costume design was spot-on; details are her forte and the details here add another layer to the story because they draw similar yet distinct parallels to each story.

From that moment on, the play absolutely explodes with action, with pathos, with sound. It’s Larry Doucette (Elijah Corbin), a diffident young man in town, who at the beginning finds himself in a rough-and-tumble pool hall, looking for gangster-wannabee Richie Feinberg (Macklin Devine). Doucette has clearly done his homework and seems to know already that Feinberg will agree to switch roles and go to Vietnam; presumably he thinks prison is the better alternative. And from that moment on, the play absolutely explodes with action, with pathos, with sound.

Xavi Villejo’s portrayal of Lady Bracknell brought down the house on opening night. The young actor nails the haughty nature of a grand madam in Victorian society through over-the-top vocal inflections and facial gestures. We could have watched and listened to this “lady” all night long!

Smith turns in a standout performance as Deloris Van Cartier. She has a powerful personality that matches her singing voice. She would steal every scene she was in were it not for the outstanding principals and equally talented ensemble—all of whom get a chance to shine in this production. Based on the 1992 movie of the same name and set in Philadelphia in the late 1970s, the musical follows spirited lounge singer Deloris Van Cartier (Kenique Smith) as she hides out at a convent after accidentally walking in on a murder and being placed in witness protection. Having to live with nuns at first seems like punishment to Deloris—there’s drab clothing, unappetizing food and wake-up calls at 4 AM—until Mother Superior (Jo Brisbane) suggests she help out with the convent’s extremely untalented choir. Deloris makes the best of the situation, injecting the choir with an infectious Motown vibe that saves the convent from financial ruin but also reveals her whereabouts to the mob.

This production honored the original storyline while breathing fresh energy into its characters, reminding the audience why The Glass Menagerie continues to resonate across decades as a timeless piece of theater. Imagine the immense pressure of a mother urging you to be desirable, to fit a social expectation and the male gaze. Add then the weight of a troubled childhood and deep social insecurities. Then suddenly you are seated at a dinner table with the only person you have ever truly admired. This emotional turmoil is the heartbeat of The Glass Menagerie, and this splendid production.

Dreamsville, quite simply, is mesmerizing. Potash embodies Stavers as Lumenello’s story guides the audience both through the creation and fortification of rock as a cultural mainstay to how a person can give their life to an idea and how that can impact other areas of their life.

But this is Potash at her absolute best. It is no small feat to hold the attention of an audience for two hours, and for Potash, it feels effortless. She glides from year to year of Stavers’ story with ease, making sure the audience feels all of the emotions with her along the way- heartache, joy, fear, pride and more heartache.

Speaking of which, the cast is a joy. Opening night featured the 19-year-old Gianna Casale as Dorothy. She dutifully captured the requisite energy of any proper Dorothy. She played the role with the perfect blend of wary anxiety and moral insistence, leading to dynamic chemistry with each of her three travel compatriots. Additionally, she aced the test to which all Dorothys have to adhere: her “Somewhere over the Rainbow,” the Judy Garland staple, was as measured of a performance as it calls to be. She blended the hopeful, yearnful wanting of the character in the moment and made beautiful choices throughout, specifically on the end note.

The production of “Almost, Maine” at Eventide was certainly lovely. The performance bills itself as a romantic comedy, yet stopping at such a characterization wouldn’t be appropriate. While it has couples navigating the requisite awkward silences of needing to say “I love you” or embracing the ambiguity in relationships, the play itself is so much more than what popular audiences may think of when they hear the phrase. Individually, each scene may seem akin to a 100-days-of Christmas special, but when pieced together, the play attempts to say something much more. Cariani’s play is a treatise on what it is to love, and Bishop’s adaptation certainly fits the bill.

As Cow 1 and Cow 2, Chelsey Brown and Trish LaRose are the epitome of two siblings: one loud and ready to take on the world (LaRose) and the other sensible and rational. Hen (Emily Murray) and Cow 2 are constantly bickering and their squabbles are not only relatable to youngsters but hilarious for everyone. “You’re chicken!” yells Cow 2. “You’re a COW-ard!” responds Hen. Poor Cow 1 has to play referee more than once. But they are united in their dilemma: they’re cold and they’ve had enough. This trio of performers are so perfectly in sync and a delight to watch.

Peter Steedman is Midas, a man of business with a larger-than-life personality, as well as the thoughtless Erysichthon, who refuses to heed the warning of the gods, chops down a beloved tree and is cursed by hunger. Maeve Moriarty is charming as the shy Vertumnus, god of springtime, trying to win over the nature-loving Pomona and later as Phaeton, whose estrangement from his father warrants a humorous visit with a therapist (Janet Geist Moore). Phaeton wants what every teen wants: the keys to dad’s car. Except in this case, it’s the chariot Apollo drives across the sky each morning to summon the day.

Stewart is phenomenal. His sneer in the beginning of the show sets you back in your seat, and then in contrast his joy at the end of the tale is infectious. This show is sure to send you off with a smile on your face. Stewart is surrounded by 17 young and old talented Cape Cod performers, all decked out in period costumes. Bob Cratchet (Andy Bonwit), Mrs. Cratchet (Julianne Bonwit) and their children (Teddi Bonwit, Sam Bonwit, and Aria Nickerson) are here. Nickerson is adorable as Tiny Tim. Scrooge’s nephew Fred (Em Entwistle) and guests ignore Scrooge’s lack of seasonal spirit with true aplomb. Steph DeFarrie is downright spooky as the ghost of Jacob Marley; I loved the sound effects of his chains. They, along with Nichole Shaw, Oliver Shaw, Kate Seeley, Coco Kemp, Kai Brimdyr, Isabella Petrov and Chelsey Augenti convey the participants in the many scenes the ghosts of Christmas Past, Present and Future (Juliet Seeley, Kate Martin and Karen McPherson) show Scrooge.

Annie and her fellow orphan girls are living the “Hard Knock Life” with the nasty Miss Hannigan. Annie (Phoebe Murray Schuessler) dreams of her parents who abandoned her as a baby 11 years before, and when she sings of her hopes in “Maybe,” there’s not a dry eye in the house. The young performer also nails the poignantly optimistic anthem “Tomorrow.” As little orphan Annie, Schuessler tugs at your heart strings more than once with her emotion-filled singing and a definitively wise twinkle in her eye. She shares the role with Sylvie Weimer. What a treat to see a real dog as Sandy (Handsome Rain), Annie’s dog. He’s adorable and very obedient.

The set design is the first thing you notice when stepping into the arena at the Academy of Performing Arts. Nothing is behind a drape. A somber white moon is centered, bracketed by a tuft of spindly trees that appear as if they came straight from the dreams of Hans Christian Andersen. Further stage right is a large stone tower with a wooden window. Beyond that, atop a flight of stairs, is a nook for the narrator. Stage left, high atop a platform, is the land of the giants, awash with vines and trees and seemingly insignificant until Jack literally climbs down from it during “Giants in the Sky” in the middle of Act One. The arena, the circular round in the middle of the theater seating, is coated with leaves and stone, providing a link between the audience and the players. From Cinderella’s birds that would venture down from the ceiling to characters observing the action from behind a tree, the design of the set pairs perfectly with the room and the narrative, crafting that type of storybook woods anyone would imagine in a story like this one.

Amazingly this play portrays nearly every scene in the book: Jo’s friendship with next door neighbor Laurie (Kamalei Hill), Mr. Lawrence’s (Joe Theroux) affection for Beth, Jo and Amy’s fight and the consequential skating incident, Beth’s illness, Meg’s romance, Aunt March’s (Amanda Gordon) visits, Jo’s adventure in New York City with Professor Bhaer (John O’Hara) and more. Skinner shines as Jo — all spark and drive — with a presence that feels almost magical. Perry’s Meg glows beside suitor John Brooke (Brandon Ritchie, Jr.). Calla Hellstrom captures Beth’s gentle fragility wonderfully, and Violet Hellstrom nails Amy’s big flaws and bigger charms. LeCroix offers a Marmee both wise and vulnerable. The entire cast’s commitment inspired cheers, sighs, and warm applause on opening night. It’s heartwarming to see these young actors embrace the messages of a show that stresses the bonds of family.

It’s so interesting seeing the levels of transformation as actors playing actors adjust their performances to their characters. No one in this troupe is ever winning an Oscar, and everyone seems to delight in their over-the-top work. Halley has a particularly difficult job: playing an “actor” who has never acted before, keeping the internal show going in his role as Scrooge while at the same time showing that the stage manager isn’t quite sure about—or ready for—this acting gig. It leads to some over-acting that’s particularly funny.

In Cape Rep’s production, director Maura Hanlon captures the musical’s appeal with both big splashes and tiny nuances. The cast is excellent. Even the myriad Maraczek's Parfumerie customers grab the spotlight in bewitching delight. The songs just flow along with the dialogue like a stream in the woods, and every cast member sings beautifully, hitting high notes perfectly again and again. George Nowack (a dynamic Anthony Teixeira) is the shop’s manager and new employee Amalia Balash (a luminous Chelsey Jo Brown) is the thorn in his side. The two are totally unaware that they are the letter writers. Despite that, we soon witness their contentious interactions literally melt away because of some vanilla ice cream. Teixeira and Brown are splendid. There are many mesmerizing moments between the two, and they master some tricky wordplay, especially Brown. You can’t help but wish for a happy ending for the two.

There’s a lot of humor in the story and some of the scenes are just this side of slapstick—and very, very funny. One of the later scenes between Georg and Amalia (in which she sings the wonderful “Where’s My Shoe?”) gives us an interaction clearly reminiscent of Tracy and Hepburn; all I can say is bravo. And during the intermission an audience member passed by me and remarked, “isn’t this the best play ever?!” so my enthusiasm certainly is shared! This is the production that we need right now. Go; enjoy; laugh. It will do you good. Cape Rep is again outstanding in every aspect of the production: this shouldn’t be missed.

If I had to pick a favorite song, “My Blanket and Me” was very much the fun kind of weird. What starts off as Linus protesting that he doesn’t need his blanket eventually crumbles as he delivers a speech in song that ends up becoming a dance number with a brought-to-life blanket played by Teddy Bonwit. It was goofy and heartfelt, and it’s been making me chuckle ever since I saw it. “Suppertime” and “The Book Report” are close seconds.

You might designate these stories as a kind of magical realism, weaving Gaelic tales of selkies into modern-day circumstances. Well-written and in some case profoundly disturbing, Dark Tales Told on a Cold Autumn Eve demonstrate Dalglish’s exceptional talent. And of course, it is well-timed for the Halloween season. Produced by Helltown Players, a roving theater troupe with the mission to produce as many plays by Cape Cod writers as possible, this piece immerses itself in Cape Cod lore, as well as diverse aspects of our contemporary life here, particularly on the Outer Cape. The local actors lend an authenticity to this ensemble work, each one bringing something unique to the table, although it must be said that Ian Ryan is a stand-out in his portrayal of a distraught father spending the summer in the Wellfleet woods alone with his son when his wife leaves them there.

The creepiness of the Dark Tales resides not in monsters or UFOs or ghosts walking through walls, but in everyday human relationships — parent and child, a friendly neighbor, a casual hookup gone horribly, horribly awry. Dalglish does admit that “I became a bit obsessed with Scottish selkie myths and had to include them.” (Selkies are mysterious seal-people.) And he reaches into Greek mythology for a Charon-like character, who reminds at least some of the tavern’s patrons that the ferry across the Styx is now boarding.

The talent in “Young Frankenstein” brought their A-games, and every scene and every song delivered big laughs and entertainment. Kevin Kenneally portrayed Dr. Frederick Frankenstein, grandson of the original Dr. Frankenstein, who is played by Andrew Haber. In the role of the loveable hunchbacked lab assistant and sidekick Igor is Suzanne Fecteau. With her shifting hump and deliberately deadpan comedic timing, Fecteau was frightfully flawless as Igor and impossible to look away from. Fecteau and Kenneally were hilarious in their duet “Together Again for the First Time.”

The CCTC/HJT cast is amazing. They handle all the twists and turns with aplomb all under the deft co-direction of Brian Lore Evans and the theater’s artistic director Jenn Pina. Stevie Carter as Wadsworth the butler is stellar in the linchpin role. One of his monologues brought spontaneous applause from the opening night audience. Sage Barnes is delightful as Yvette, the French maid. With outstanding costumes by Cat Perry, each character is easily identified and each actor brings the proper savoir faire to their role: Miss Scarlett (Ameila Burbine) is sexy but cynical; Mrs. White (Rachel Walman) is uptight and proper yet may have murdered a husband or two; Mrs. Peacock (Tammy Harper) titters constantly and often gets a bit hysterical; Colonel Mustard (Nick Romano) is pompous and loud; Professor Plum (Sam Sewell) is a lascivious, brainy type; and Mr. Green (Halley Steinmetz) is timid and clumsy. The entire group is spot-on.

In speaking roles, the actors all delivered the goods. These included Emily Entwistle, Steph DeFarie, Matt Gardner, and Maureen Casale. The two children around whom the action swirls, Flora and Miles, are played by Juliet Seeley and Zoey MacBride with poise, confidence, and an utter lack of “cute.” (Ditto for a small cluster of ghost children.) Everyone spoke with clear diction as well as displaying precise movement. Because of its literally wall-to-wall grasp of the audience (every surface of the stage and the auditorium gets soaked with light and shadow at some point), it is no exaggeration to call this show “immersive.”

The use of posture, voice, hand gestures and more differentiates Sefton’s characters without need for props or costumes. Sefton even plays the voice in his head, sparring with his own scolding altar ego. Then there’s the stamina required to be alone on stage for 80 minutes telling your own, excruciatingly personal story. Sefton holds his audience spellbound. The play slides between the past and the distant past, between the pageant, family dinners which occasionally included Father Tom, meetings with church lawyers and Sefton’s struggle to come to terms with his own story. In a play that has many uncomfortable and upsetting moments, perhaps the most heartbreaking is when Sefton recalls that all the kids in the play knew what was happening; even if they couldn’t name it, “we were not fooled.” “No one called it abuse, so I don’t either.” The adults who could have prevented it either didn’t know or were in denial.

The ensemble in The Jack of Hearts Club is brilliantly cast, a mix of local and outside talent, with each character a perfect fit with its performer. Mary Callanan, as club owner Dorothy, brings a theater vet’s confidence to the role, and she sings with burlesque charm. As Elizabeth, her daughter, Brittany Rolfs has a powerhouse voice and an intense emotionality. As Queena, the club’s grande dame, James Jackson Jr. offers charisma to spare and sings with a commanding R&B inflection that steals every scene he’s in. João Santos, as Sebastian, is precisely the comic sidekick Queena requires. Peter Toto and Angelo McDonough deliver great patter and dancing as the closeted couple Timmy and Arthur, respectively. Local artist Mike Sullivan is thoroughly disarming as Charlie, and the Provincetown Brewing Co.’s Christopher Spaulding is persuasive as Clive, the man about town. Marissa Miller, as Maggie, has a knockout, lilting voice and an alluring presence. And at the center of it all, acting while accompanying every song on the piano, author-composer Jon Richardson is terrific as Sonny, from his sweetly naïve start to his deeply touching end.

There is so much here to enjoy. The songs themselves are wonderful, and everyone delivers them with exceptional talent. And so many of the lines are laugh-out-loud funny. Just one of many examples: when Maggie encourages Elizabeth to find the courage to leave, she points out the boats they can see in the harbor, and goes into the cliché about them being built not to be at anchor but out in the open sea, Elizabeth sighs. “Those are houseboats, babe,” she says.

The scene design, as mentioned, is perfect, as we’ve come to expect from Christopher Ostrom. The portrayal of Mont Ste.-Victoire in changing light gives visual staging to the crystallization of Cézanne’s vision. As the men’s conversations return sporadically to his art, the mountain is replaced by painting after painting, and in these moments one is struck afresh by the artist’s vision… you may wish to go back after the play and look him up again. And while you’re there, go re-read J’accuse to be reminded of l’affaire Dreyfus referred to in the play: Zola’s was a stand of utter courage and may go a ways toward understanding this character as other than simply the Cézanne antagonist in this piece. And it’s a reminder of our own times of the encroachment of politics even in artistic lives.

Upon entering the theater, it’s clear that the actual set will be a character in the play. Designed by Christopher Ostrom, it is the sole setting for this portrayal of the two childhood friends meeting again after years of not speaking. Émile Zola (Abe Goldfarb) pays an unexpected visit to Paul Cézanne (Todd Scofield) at his apartment/studio in Aix-en-Provence, France, at the turn of the 20th century. While the ultimate resolution of the play, a moment of strange revelation, fails to ring true, the journey toward that climax is filled with interesting philosophical debate about everything from the Dreyfuss affair in France in 1894 (familiarity with which is a prerequisite) to the nature of the artistic personality, aging, religion, and the importance of friendships, particularly those sustained from childhood on.

Though the play reveals the salient parts of the men’s life stories in bits of dialogue, it’s helpful to familiarize yourself in advance — hence the summary above. Then you can more easily appreciate their tête-à-tête, which is performed with dramatic flair by Todd Scofield (Cézanne) and Abe Goldfarb (Zola). What unfolds is a righteous drama about art and success, filled with slights and misunderstandings — and even some humor in the form of Cézanne’s overprotective servant, Mamselle (Anna Marie Sell). Cézanne is a perfectionist with a fragile ego, and Zola is a bit of a blowhard. Yet the emotional connection between these two brilliant and very different friends endures. Sasha Brätt directs the performers with fluidity and grace.

The two principals (dressed beautifully by costume designer Carol Sherry) circle and strike like tomcats, mostly in words but sometimes in deeds, fueled by generous pours from the decanter as they try to work out who they are to one another. Occasionally, Cezanne rings a handbell to summon Mamselle (Anna Marie Sell), a sometimes-cheeky young maidservant; she functions as an Everyperson for the rest of us mortals. Her role seems meek and yet, in the end she will occupy the same powerful downstage left spotlight in which Zola opened the narrative. For just as Cezanne reveals something important about himself to Zola, Mamselle enters the studio — for once, unbidden by the bell — to reveal something important about Zola to Cezanne. To say any more would truly spoil the plot.

Macklin Devine throws himself into the role of Thomas, and Seaton Brown’s portrayal of Da is top notch. The two are in perfect sync. The physicality of their journey is not hampered by their missing limbs. These two engage in tumbles, pratfalls and more as they stumble around the village looking for clues to the boy they never knew. They run into a woman in a cemetery and a priest (both played by the always expressive Ian Hamilton) as they compile clues of what happened to Thomas’s son.

Director Alison Weller brings a light touch to the story, allowing the actors full rein with their spoofs, and oh my days, do they deliver. Devine and Brown are truly pitch-perfect as father and son, and Devine’s facial expressions alone are worth the price of admission. Weaving it all together is the presence of the Fiddler (Jonathan Ford), who charms the audience before the play begins and provides counterpoint to the dialogue throughout. While conceptualized for another time and another place, Trad is very much a play for our own time and place… but don’t go see it because of that. Go see it because it delivers one of the most wonderful evenings you’ll spend anywhere.

Kerry Fitzgibbons has a very witty air and portrays Viola’s Cesario with a twinkle in her eye. Nicholas Dorr is a scene-stealer as Sir Toby. He and his buddies Fabian (Billy Weimer) and Sir Andrew (Mark Roderick) are a very enjoyable part of the show for both their comedic talents and physicality. Roderick makes use of a small area of the stage to flip and cartwheel! Clever Maria (Jane Sincere Morris) was in on all the jokes on Malvolio, and Morris was delightful at showing her pleasure in the pranks. Director/costume designer Hamer’s choice of modern day clothing was spot-on. We loved Fabian’s hat and Malvolio’s “transformation” attire. Hanright as Malvolio was fabulous; he turned from a wound-tight pompous man to a lovesick fool and then to a blithering idiot effortlessly.

The women work beautifully together, seamlessly moving in and out of the spotlight and the background, their voices unique but blended. And their costumes, by Robin McLaughlin, are perfect: poufy and pastel for the ‘50s and mod and au-go-go for the ‘60s, just right for the kinds of dance that would happen at a ‘50s prom and a ‘60s reunion. How much changed in those 10 years!

“Joan” features a four-person cast who flawlessly tell the story of her life. Alex Finke plays the young Joan Rivers as well as her daughter Melissa. Finke has been seen in many Off Broadway and Broadway shows including “Come From Away” and “Les Miserables.” In the role of adult Joan Rivers and Mrs. Molinsky is Nicole Parker, who flawlessly pulls off Joan’s cadence and charisma with impressive precision. Parker has a vast history of Broadway, Off Broadway and podcast appearances. She was also a regular and contributing writer on Fox’s “Mad TV” and “Key and Peele.” Rounding out the small but mighty cast are Richard Topol as Edgar Rosenberg and Garrett Poladian as Jimmy Sanger.

For director Arden-Reese, the theme resonates beyond the stage. According to her, bullying might take different forms, but supporting the kids facing it is as important as ever. “In helping the dwarves and their own quest, Bilbo finds out what shines inside him — something that hadn’t shined before,” she said. But the story’s heart isn’t just in the script; it’s in the actors’ performances, their students and the energy that fills the stage. As a Cape Cod local and current associate chair at New York University’s Tisch Drama, Arden-Reese said she was thrilled to guide the cast in this process. “When a community comes together for this common purpose and people give their heart, soul and whole being to a piece, something happens. It transcends the sum of its individual parts. That’s the magic that makes theater pop,” she said. By the final curtain, Beau has faced trolls, outwitted Gollum and confronted his own “dragon.” As he steps off stage, one lesson lingers: there really is more in him than meets the eye.

The dwarfs (Celia Gaska, Quinn Martin, Shiloh Pabst, and Rebecca Reyes), led by Thorin (Stevie Carter), are happy to have Bilbo (Adam Leavitt) join the group with Gandalf (Nancy R. Flynn) advising them. First up they run into some nasty trolls, then some elves, have an encounter with the creature Gollum and his magic ring, and eventually confront Smaug the dragon. The talented duo of Anna Botsford and Jon Cornet play multiple roles beginning with Beau’s mother and father. Botsford is a troll, a goblin and an excellent Elf Queen, and Cornet is a troll, the Grand Goblin and an Elf guard. Nancy Flynn’s Granna naturally flows into the wise wizard Gandalf, and Sam Sewell’s Gollum is fantastically slithery. Seamus Sartin emotes Smaug with some cool special effects. He’s scary, but not too scary.

The ensemble of actors/singers, some of which play more than one part, is enthusiastic in its portrayal of Texan life. Marie Lemon, Ralph Prentice Danial, Dante Sterling, David Couter, Haley Jones, and Mark Fishback handle the many primarily clever songs with power and panache, and some fantastic harmonics. Set designer Christopher Ostrom has, as always, wowed the audience with his mis-en-scène—this time, a rustic Lone Star country/western interior that provides the backdrop to all the various venues and scenes. (See if you can spot the band—Nevada Lozano, Jo Miller, Robert Bekkers and Chris Cerreto—in the set’s cleverly designed pickup truck.) A shout out to costume designer Carol Sherry, who didn’t go too far over the top in creating “western” styles.

Sam Scalamoni’s skillful direction and musical staging creates a fast-moving, engaging air of folksy storytelling by an outstanding cast — both in vocals and characterization — led by Todd Buonopane’s likable, cheerful Tiede. You know he’ll become a killer, yet Buonopane wins you over with Tiede’s nerdy friendliness and quiet introspection. His disbelieving musical question, “Is This My Life?,” reflects first his good fortune as Nugent’s international travel companion, then his prison confinement. Was his murdering Nugent premeditated? Or did he snap from abuse by Nugent and in his childhood? Fogarty raises these questions, and Buonopane keeps the audience unsure of the answers.

The cast of eight, backed by four excellent onstage musicians, have terrific voices, and smooth professionalism. One standout with the right Texas accent and pizzazz is ensemble member Halley Jones as both waitress, Tammy, and Mrs. Nugent’s granddaughter. Carol Sherry’s costume changes work well, delineating the multiple characters the actors play. The musical has its moments for those who find fascination in the morbid. It’s haunting in its unresolved moral dilemmas. For those put off by the macabre, be warned away. The opening night audience found many a good laugh and was not put off by the play’s morbidity; they gave it a standing ovation.

“Southern Harmony,” though it involves tragedy, is not a grim play. In fact, there are many funny moments in it. And more importantly, it’s a showpiece of excellence in theater arts. The cast, both as actors and as singers of a far-reaching and challenging libretto, is superb. They’re an ensemble carried by the two principal characters, Bernie Tiede (Todd Buonopane) and Marjorie Nugent (Emmanuelle Zeesman, who, judging from her cast photo, is playing, very effectively, far beyond her natural years). A call out too for the tall and striking Dante Sterling as James Tyler and then defense attorney Skip Tomlinson, with his beautiful singing voice.

With such a character-driven play, the cast needs to trust itself and develop rapport, which this group does without turning a hair. And that rapport extends to the audience. Everybody knows someone like Desham with her New Age over-confidence and perky attitude. The greatest transformation is seen in Lauren; she begins the course cynical and withdrawn, to the point of us wondering if she’s meant to be on the spectrum (she’s not: she’s a teenager, part of a demographic that often mimics autism); by the end of the six sessions she is an excellent participant, clear and focused.

The performers portray actors portraying their fellow actors in theater games designed to evoke empathy as well as self-awareness. In fact, the play is really about acting and theater as a reflective practice that is performed and received as something of a mirror. But it’s also about time and our ability to be in the moment as it happens. At one point Marty (Dersham) explains that acting is not necessarily about being in a particular play or performing a role; it’s about responding in the moment and putting aside all the other moments, past and future, as there is only the present. It’s an interesting idea, as what is “the present” is over before you can even acknowledge its existence, and so the advice of Buddhists and mindfulness trainers to “be present” is kind of a trick, something you can’t ever live up up to, as the present is the past as soon as you name it.

The director of this production is Jonathan Fielding, one of the Harbor Stage’s four founders, and the result is an immersive experience in organic storytelling: you learn about the five characters gradually, in bits and pieces, during actors’ exercises and side conversations, in their own words and from others’ points of view. It’s not always clear what is speculative and what is true. Baker, as a playwright, is known for her long silences and unrushed pacing, and Fielding builds on that. The first act is at times perplexing, at times frustrating, and the narrative is sketchy at best. The actors’ exercises are only occasionally revelatory and sometimes seem aimless. The teenage student in the class, Lauren, played pitch-perfectly by Jackie Scholl, recognizes this and openly complains about it, expressing the skepticism that some in the audience undoubtedly feel.

On opening night, seats were filled at the Academy Playhouse in Orleans, where the stage exploded with color in the 2012 revised version of the show, originally conceived and directed by John-Michael Tebelak and now brought to life under the direction of Randy Doyle, with producing artistic director Judy Hamer. Presented in two acts and featuring well-known musical numbers such as “Day by Day,” the production delivers a heartfelt message of hope, kindness and above all love. The cast infuses the performance with energy, weaving song, dance, and a touch of comedy into the storytelling.

The cast of 14 all perform multiple roles in the show, switching characters on stage by simply changing a hat or a jacket. This fluidity adds to the idea that we’re all part of one big melting pot or maybe that we’re all in this together—choose the metaphor that works best for you. The majority of the play is sung through with most of the songs springing up organically. The majority of the songs are sung by the entire ensemble, which adds to the feel of the show as one big group effort. One exception is “Me And The Sky,” sung with assertion by Kelli Barrett as pilot Beverly Bass. The song recounts Bass’s lifelong infatuation with flying and her raw grief in the wake of 9/11 that “the one thing I loved more than anything” has been used as a bomb.

One of the most memorable moments in the show occurs during the finale where the entire cast and orchestra comes out on stage to perform together as one. Orchestra members include musical director Lena Gabrielle (conductor, keyboard, accordion), Dan Meyers (whistles, flute, pipes), Tara Novak (fiddle), Steve Marchena (guitar), Adam McOwen (guitar, mandolin), Brian O’Neill (percussion) and Thomas Schmidt (drums, percussion). Of all the productions I have seen, I can’t recall a time where I truly felt the raw vulnerability of the characters on the stage so deeply. Bravo to Eric Rosen, Kelly Devine and the entire cast of “Come From Away” for a magnificent experience and for bringing this unforgettable story to the Cape.

Other than Dot and George's story, the play explores the other subjects of the painting. There’s the “Old Lady” brilliantly recreated by Wendy Watson (she played the same role on the same stage 20 years ago) and her “Nurse.” The talented Hailey Deltano plays both the nurse and the “Mrs.” in another couple in the painting. “Mr.” is Anthony Teixeira, a Cape Rep favorite. In fact this show is stacked with Cape Rep favorites. Ari Lew is Franz, a servant, and Nell Hamilton is Frieda, the cook in the same household. Nick Nudler is Jules, an envious fellow artist, and the always delightful Holly Hansen plays Yvonne, Jule’s haughty wife. Brian Lore Evans is the muscular tattooed “Boatman” from the painting, and Ian Hamilton is Louis, the baker.

I have to list everyone here, just to acknowledge their brilliance: Przedlacki, Scampoli (and oh-my-God her voice!) and Nudler are joined by Wendy Watson, Ari Lew, Holly Hansen, Brian Lore Evans, Caroly Williams, Alex Mai Murray, Ian Hamilton, Gemma Macbride, Zoey MacBride (on opening night), Nell Hamilton, Sam Billman, Anthony Teixeira, and Haily Deltano. Just pitch- and picture-perfect, every one of them. Cape Rep has a solid and deserved reputation for attracting some of the finest vocal actors in the region, and this production in celebration of the theater’s 40th anniversary doesn’t disappoint.

The Academy of Performing Arts production featured a talented and dedicated cast. Morris took on the role of Norma McCorvey, while Theresa Cedrone portrayed Sarah Weddington. Andrew Haber performed the dual roles of Ron Weddington and Flip Benham. Jen Rabold played Linda Coffee, Judy, and Peggy, and Rachel Hischak appeared as Ronda Mackey, Helen, and Holly Hunter. Jacob Rabold took on a wide range of characters including Justice Blackmun, Norma’s doctor, Robert Flowers, a TV news reporter, and Fred Friendly. Dan Rabold portrayed Henry McClusky, Jay Floyd, Michael Manheim, and the Abortion Doctor. Kendall Smith appeared as Connie. Kayla Jorgensen played Aileen, Gloria Allred, Pregnant Woman #3, and Roxy. Lizzy Smythe filled multiple roles including Ofelia, Pregnant Woman #2, Uma, a waitress, and Elenor Smeal. Cora Goers played both Melissa and Emily, while Suzanne Fecteau portrayed Barbara, Pregnant Woman #1, and a TV reporter. Allison Hyder rounded out the cast in the roles of Mary and Molly.

The energetic and talented cast (nearly all females with the exception of Peter and one other!) fabulously enacted the story of the boy who refuses to grow up. Reese Daley is a great Peter; he plays the carefree, stubborn young man splendidly. On opening night, Juliet Seeley (Tinkerbell), Grace Olah (Smee), Amanda Gordon (Captain Hook) and Aylen Miller (Wendy) were particularly good in those high-profile roles. I’m sure you'll see each of the cast shine at some point in the production. They really give it their all.

As Anastasia, Kyla Stone has a winning smile and a soaring voice that carried throughout the theater. Her character’s toughness masks an insecurity that comes with not knowing who you are. As Dmitri, Dorset talks tough but soon develops a soft spot for Anya, evident when they both talk about their difficult upbringing; both, in essence, raised themselves. Their song “My Petersburg” conveys emotion and longing. Part of his role as Dmitri is to make Anya shine; this Dorset does well.

With expert direction by Eric Rosen, the Playhouse’s current artistic director, “Anastasia” is brought to life in a magical and memorable way. The production features choreography from Emmy Award-winning Al Blackstone and phenomenal costume design by Annie J. Le. The show includes a nine-piece live orchestra and runs around two hours long with one intermission. “Anastasia” features an outstanding slate of musical numbers, including “Journey to the Past,” “Paris Holds the Key” and “Once Upon a December.” Cast in the leading role of the brave and determined Anya/Anastasia is Kyla Stone. Stone notably made history as the first African American Anya in the show’s national tour. Her solo deliveries of “In My Dreams’ and “Journey to the Past” were exquisite and heartfelt. Stone’s vocal talent was truly captivating.

As the play opens, we witness the nuns of the convent at their evening prayers (“Preludium”) and see Maria out in a meadow. Her absence for evening prayers is noted by Sister Berthe (Ris Bland), Sister Sophia (Angie Tovar), Sister Margaretta (Madeline Braun) and Mother Abbess (Emma Mize) and discussed in their lovely rendition of “Maria.” Mother Abbess sends for Maria, telling her that she is sending her to be a governess with the von Trapp family. Their duet of “My Favorite Things” was wonderful. Mize has an amazing voice. It is clear, with power and clarity. She stands out in “My Favorite Things” with Nicholson. Their voices meld well.

As the self-pitying Sonia, Jennifer Cabral is simply marvelous. She makes the role completely her own, playing Sonia as a mischievous naïf with killer delivery. William Mullin, as the cranky and passive Vanya, has surprising punch, especially in his 11th-hour speech about the sad state of things. Susan Lambert, as the narcissistic Masha, is vain and vulnerable, furious and restrained in just the right measure. The three non-siblings are equally good. Hilarie Tamar, as the voodoo-practicing cleaning woman Cassandra, is a hilarious, scene-stealing revelation. Jeff Brackett attacks the role of Spike — Durang’s riff on the classic buxom blonde, with a ripped, muscled torso and bubble butt — with relish, energizing every space he’s in. And finally, Lena Moore, as the sweet and innocent neighbor Nina, finds hidden depth and awareness amid this circus of older loons.

Absurdist theater requires a gifted cast to pull it off correctly, and this production succeeds in spades. The zippy narrative and the evolution of the characters as individuals, and as a family, is driven home under the direction of David Drake, who knows how to get each actor to realize their full potential in such a beautiful way. The set design by Jenni Baldwin is built to perfection as she creates a home that is so believable as the abode of two of university professors that you can smell the pipe tobacco, old books, and regret. Vanya and Sonia and Masha and Spike is nothing but well-crafted fun. Don’t miss it!

There is absolutely nothing to fault here. The writing is crisp and, under David Drake’s excellent direction, the actors make the most of it, with perfect comedic timing. Durang’s use of parody and his criticism of social institutions rings true for the world of 2025, and all of that makes this sometimes-dark comedy a delight to watch. It’s the best show I’ve seen this year so far, and possibly for several other years as well.

The couple’s two adult sons, Biff (Alex Pollock) and Happy (Jack Aschenbach), both live at home. Biff has returned to the East after a gig working with horses in Texas. We’re introduced to the brothers in a lighthearted scene where the table functions as a bunk bed. They reminisce about girls, but the atmosphere soon grows melancholic. Pollock’s performance as Biff, a man who’s uncertain of himself, stooped, with eyes slightly downcast, cuts deep. “I’ve always made a point of not wasting my life,” he tells his brother. “And every time I come back here, I know that all I’ve done is to waste my life.” Happy, who is more outwardly successful, is still disillusioned. He feels frustrated by working in an office. The brothers talk about buying a ranch out West, but it’s just one of many unlikely fantasies running through the play — ideas the cast members spin vividly despite the spare staging.

A standout performance by Stacy Fischer as Willy’s wife, Linda, balances Willy’s depression and angst. She is the one who’s kept the family alive and functioning, and for much of the play she’s a glass-half-full sort of presence. She freaks out, however, when thinking that Willy might commit suicide; and Fischer handles her transition from “we’ll get by” to a future darker than anything they’ve experienced until that moment with fantastic realism. She knows all Willy’s secrets (borrowing money from their neighbor Charley to pay life insurance and other bills), and, after discovering the rubber hose hidden behind the heater, lives in fear that Willy will try to asphyxiate himself.

The Harbor Stage Company’s production of Arthur Miller’s Death of a Salesman proves that great theater doesn’t require expensive sets or extensive cast lists, just exceptional performances. The show is thoughtfully heavy, touching on themes of disillusionment and betrayal, and extremely relevant as the American dream continues to be redefined. While the cast for this tale of an American salesman losing his grip on the American Dream is made up of only four characters, this deepens the audience connection to the play by allowing for deeply intimate and powerful scenes.

Scene-stealer alert! Every show at APA has at least one, and in “The Little Mermaid” that was undoubtedly Charlie Tobin, who portrays the iconic Sebastian, trusted advisor to King Triton. Tobin, clad in his crab headpiece and shiny sequin red suit, was hilarious with his smooth moves and priceless facial expressions. He absolutely nailed it with his two major musical numbers: “Under the Sea” and “Kiss the Girl.”

Madison Mayer (Piggie) and Zack Johnson (Elephant Gerald) are extremely talented and have amazing voices, as do the rest of the cast members, who all give top-notch performances. The Squirrelles are Alma Alcantara, Zoe Squeglia, Maryn Neviackas, Morgan Neviackas and Michael Becrelis; pigeon/Squirrelle is Harper Sullivan, and the delivery dog/ice cream penguin is Steve Lymneos.

Set in a Russia grappling with revolution and loss, the story opens in the 1920s, when rumors begin to circulate that the youngest Romanov daughter, Anastasia, might have survived her family’s execution. Seizing the opportunity, two con men—Dmitry (Zamir Gorden) and ex-aristocrat Vlad Popov (Jude Chiarella)—decide to transform a mysterious orphan girl into a princess impersonator to claim a reward from the Dowager Empress of Russia, now exiled in Paris. Their song, “A Rumor in St. Petersburg,” is one of the production’s early highlights. The ensemble shines in this number with their harmonies, energy and enthusiasm. The dancing, while subtle, is exciting to watch.

Director Trish LaRose has gathered quite a talented group to portray the playful and absurd pirates. There’s Swill (Lexy Hatch), who always has to be addressed twice. Sharktooth (Gianna Casale) has an eye patch and a swagger that will bring giggles even to the youngest in your family. Pierre, the chef (Devin Massarsky) is a hoot with his French accent. When the captain is “thinking” he says he’s “sinking.” Needless to say, that causes a stir! And last but certainly not least, there’s Max (Rachel Walman). Max is just so funny trying to be the sensible one.

CLOC is noted for its musical performances, and the ensemble dancing and singing were wonderful. The choreography was great, with the numbers “Luck Be A Lady” (the dance one) superb and the one with Nicely-Nicely Johnson (Scott Mayers) effective with the waves of movement. I am/was delighted and amazed how effectively they use/used the stage for the dance numbers (acrobatics and all). Mayers sings, dances and acts well. Also good was Zamir Gorden as Benny Southstreet. But the top kudos go to Sachiko Nicholson for Sarah. Her singing, dancing and acting are top-notch. Her voice is lovely, and she brought Sarah to life. Her duet with Lily Joseph in Act 2, “Marry the Man Today,” was good. I loved “How Do I Feel” and “If I Were A Bell,” too. The staging for the scene in Havana was done nicely, with the dancers counterpointing Sarah and Sky.

All of the actors in the show deliver stellar performances of the songs in the show which include “La Vie Boheme” and the show-stopping, iconic “Seasons of Love.” Main characters include filmmaker Mark (played by Dillon Klena), struggling musician Roger (played by Chris McCarrell), dancer and addict MiMi (played by Storm Lever) and their friends Angel (Frankie Rodriguez), Tom (Terrance L. Johnson), Maureen (Ashley Blanchet) and Joanne (Tsilala Brock). Other company members include Jordan Barrow, Gabe Cruz, Sarah Kleist, Olivia London, Neema Muteti, Jackson Kanawha Perry, and Jon Rodez.

The entire company shined brightly during three of the most famous and memorable scenes in the show: “Summer Nights,” “We Go Together,” and “You’re the One That I Want.” The amount of technical skill and impeccable choreography to pull off these numbers, including the awesome “Hand Jive” scene, was astounding. The energy and talent of this cast is spectacular. Cast in the two leading roles of Danny and Sandy are Melanie Singer and Wil Moser. The chemistry they exude on stage, paired with their high-octane vocals, was unforgettable! Singer’s solo rendition of “Hopelessly Devoted’ was breathtaking and will leave you with chills. Moser’s slick charm oozes through in his solo performance of “Sandy” when he gets stranded at the drive-in.

All the actors, ably directed by Tim Habeger, are well up to their roles in this fine and thoughtful play. All the production values (lighting is by Ostrum himself) enhance the show.

The humor is balanced with deadly serious reminders of the reality, much of it provided by the brilliant scenic, lighting, and projection design of WHAT’s Artistic Director Christopher Ostrom. A buzzing sound and flickering of lights punctuates the scenes, a grim reminder of the electric chair. The setting is stark, the black-and-white geometrically tiled floor disappearing into its vanishing point, myriad prison bars framing the stage. And the acting is stellar.

Chelsey Jo Brown emulates the frenetic SpongeBob perfectly. Alex Mai Murray is adorable as sidekick Sandy Cheeks, and Anthony Teixeira plays Patrick with just the right amount of angst. Ari Lew is a great Squidward (loved the costume!) and Sam Billman’s Plankton is rub-your-hands-together diabolical. The kids in the audience were delighted to see crabby Mr. Krabs (Hannah Carrita), too. Rounding out the cast is Hailey Deltano as the Mayor of Bikini Bottom, Jack Martin as Mrs. Puff and Emily Shafritz as Karen the Computer. With over 13 song and dance numbers, the hour and a bit flies by and will delight and captivate even the most fidgety members of your family. The cast walks all through the audience at times and engages with the children often; plus, after the show they stay and chat and sign autographs.

In his debut as an CCTC/HJT, director Ian Hamilton must have been giddy when he secured his two principals: Trish LaRose for Ursula and Perry Gill for Ariel. LaRose brings down the house with “Poor Unfortunate Souls.” And that cackle! Gill is a perfect Ariel; she sings like an angel, especially on “Part of your World.” Of course these two are surrounded by an incredible cast, and your children will be thrilled to see Sebastian (John O. Fennell), Flounder (Wes Foster), Scuttle (Coco Kemp), Ursula’s henchmen, the electric eels Flotsam (Maya Nava) and Jetsam (Zendon Donoho), along with Prince Eric (Xavi Villejo) and his loyal servant Grimsby (Jane Staab). Matt Kemp portrays both King Triton and the hilarious Chef Louis. There are princesses (Lylah Crawley, Eva Leahy, Grace Olah, Maurissa Samuels, Avery Garrison and Kelly Martin) and sea creatures (Piper Taylor, Phoebe Schuessler, Ella Frueschner and Aria Nickerson) also.

The sailors, Ozzie (Ryan Bouchard), Chip (Zamir Gorden), and Gabey (Hayden Thompson), fix on three girls—Hildy Esterhazy (Amelia Gibbons), Claire de Loone (Madeline Braun) and Ivy Smith (Isabel Mincy)—to be their romantic dream girls. All six are phenomenally supercharged and perfectly matched. Each couple enjoys the same folie à deux and who’s to say that’s a bad thing? Gibbons as Hildy, the amorous cab driver, gets laughs any way she can in her seduction of Ozzie. Her breakneck cab tour of the city is in perfect synch with the staccato beat of the Bernstein music. She belts out “I Can Cook” in the best Broadway tradition and does high justice to “Ya Got Me.” The audience loved her. Madeline Braun (Claire) vamps her role beautifully as the lusty anthropologist who studies Ozzie the sailor because he resembles the Pithecanthropus Erectus in the museum. Her song, “Carried Away,” is done beautifully, all the more fun because of the deadpan delivery. Ozzie never had a choice or a chance and gets equally ‘carried away.”

Audience members will leave stunned at their aerial feats (and rightfully so, they were spectacular), but I found myself going back in my head to Peacock’s fascinating “charade” routine. In that routine and in every aspect of the show, Peacock uses every part of her body, mind and soul to convey what she’s portraying. Nudler is a fabulous counterpart: he’s even more intense and his over-the-top-ness counters her intense but more understated performance. Not to say that she’s demure; not even close. The dynamic works. And they both are so physically strong! On the way out, I thought to myself, they must be exhausted!

It’s everything Shakespeare ever could wish: funny, bawdy, thoughtful, mischievous, wild, wonderful, joyous, intimate. As each actor alternates playing various parts from within (and without) Midsummer, the story moves at breakneck speed which can almost match the speed of the actors.

Harbor Stage has once again breathed new vibrant life into a story usually relegated to college reading lists, and both Withers and Fielding are—as always—spectacularly good at pulling audience members out of their own lives and into quirky, interesting, and sometimes baffling characters. Another absolute delight.

Brenda Withers adapted, directed, and stars in The Bohemian, alongside fellow Harbor Stage Company stalwart Jonathan Fields. This piece is for those who love a bedtime story or are fans of the great novelist, Willa Cather, as The Bohemian is one of her short stories, published in 1912.

The two actors switch off bread-baking duties. In one scene, Withers, as Nils’s mother, pares fruit as family matters are discussed. “Land’s a good thing to have,” Nils says, trying to placate his mother. “Only when you stay on it,” she replies sourly.

The entire cast is extremely talented. Mabel (Haley Hudson) has a charming voice that fills the venue (“Poor Wand’ring One”). Frederic (Bennett Wright) handles his role impressively and his voice is engaging, as is Ruth’s (Emily Marino). The Pirate King (Harrison Gilbert) gives a powerful performance of “Oh Better Far to Live and Die.”

Set in New York City’s Upper East Side in 1985 (cordless phones! mousse of pike with a Pernod sauce!), the plot concerns a well-off middle-aged couple, the wife’s family (which includes a cranky mother), and a famous artist who’s 100 years old. Act One sets up the situation a bit slowly, but fasten your seat belts for Act Two, just not too tightly because you’ll need some slack for belly laughs.

The title role of Buddy Holly is played by the fiercely charming Andy Christopher, a native Texan like Holly. In fact, Christopher learned to play guitar in Lubbock bars with Buddy Holly’s nephew. Christopher Alvarado portrays the youthful Richie Valens to perfection alongside Matt Cusack as the Big Bopper. Cusack is also the music director for this Playhouse production. Legna Cedillo portrays Holly’s wife Maria Elena quite tenderly, and David Bonanno plays music executive Murray Deutch, who helps Holly rise to fame.

Missy (Madison Mayer), Betty Jean (Ameila Burbine), Suzy (Samantha Walker) and Cindy Lou (Francesca Jannello) are all adorable and captured our hearts on opening night. No matter what life has dealt them, these ladies will get through it together with a smile and a song! It’s hard to single out any one of these actors; all four are vivacious and sing with joyful energy.

The Academy of Performing Arts continues to knock it out of the park with each and every production. If I could go see “Gypsy” a dozen more times, I would! It was that spectacular!

In this new production of Perestroika, the actors reprising their roles from Millennium Approaches have honed their performances, all of them improved. (Which is saying something: they were all splendid last year.)

Joe MacDougall accomplishes the impossible by giving full humanity to Roy Cohn, who in real life seemed soulless. In a lesser actor’s hands the character would be little more than a hissing, snarling creature. But MacDougall creates a character so fully formed that Cohn’s hideous nature and evil core isn’t something supernatural, but rather chillingly human, which makes it part of the mortal world and all the more frightening.

Drake’s direction is a large part of why this performance had audience members in tears and inspired them to give a rousing standing ovation with more shouts of “bravo!” than I think I’ve ever heard. He brings magic, freshness, and discovery to a play that is, let us not forget, three and three-quarters hours long—time that passes quickly thanks to his sense of timing. (The audience is warned about the length, with Drake quipping, “And after that… we serve breakfast!)

Literally being part of the show helps you connect deeply with it. It really is more than a play; it's an experience. This lovely theater in the woods always thinks outside the box, and just when you think you’ve seen all a theater can do they surprise you with something new.

Cape Rep’s newly renovated barn provides open spaces, intimate spaces, and most of all flexible spaces; it’s easy to see why the organization has put so much effort into its restoration. Director Julie Allen Hamilton, lighting designer Susan Nicolson, sound designer Maura Hanlon, and costume designer Robin McLaughlin have created, in concert with Wheeler himself, an absolute jewel of an inaugural play. It’s hard to imagine a more perfect experience.

The five performers have an easy camaraderie on stage with different configurations of the five, singing together. Ms. Almeida and Ms. Perrault were often paired together or one of the men would start a song with other cast members joining in by the second or third verse.

The talented cast features several performers new to the Barnstable Comedy Club stage including Noah Jung, who plays Kenny; and Kevin Little, who plays Max. Ian Kenneally, who plays Lucas, is making his on-stage debut with the role; Charles McDougal, who plays Brian, is returning to the theater for the first time since high school; and Madeline Little, who plays Helen, one of only two women in the show, is making her Barnstable Comedy Club debut.

In addition to having excellent young performers in Audrey, Tristen and Mayah, the Falmouth Theatre Guild has amassed an exceptional cast of “young townspeople.” Imagine being able to find not just three talented young people, but more than a dozen of them.

Mr. Mellin’s presence is big and burly, like an overgrown, gruff-looking but friendly teddy bear. He is a skilled storyteller, compelling but not over the top.

The emotions run deep in this play and the actors were definitely up to the task! It was a reminder to us all that life is precious and those around us have the capacity to lift us up and carry us through despair if we will let them. Be sure to catch this show while you can. Tickets are selling out fast!

The four children, the “four humans” in an ancient prophecy, are delightful. Peter (Kaya O’Brine), Susan (Rebecca Reyes), Edmund (Sam Bonwit) and Lucy (Gemma McBride) are very convincing and captivating. Sam Sewell as Tumnus, the faun, was spot-on; the opening night audience loved him. The interactions of Mr. and Mrs. Beaver (Shiloh Pabst and Julianne Bonwit) were equally appreciated by the full house. The White Witch (Elizabeth Dunton) and her sidekick the Dwarf (Phoebe Schuessler) worked well together and were somehow both scary and comical.

“A Grand Night for Singing” is a fast-paced and super fun reimagining of some of the best Rogers and Hammerstein songs from such popular musicals like, “Oklaholma!,” South Pacific,” “The King and I,” “Carousel,” “The Sound of Music” and many more. Some songs are blended together with remarkably smooth transitions and a few unexpected twists, making this a wonderfully refreshed take on classic tunes. If you’re a fan of musicals of any kind, this show is for you!

“Secret Garden” is directed by the incomparably talented Jennifer Almeida, who also plays Lily Craven, the spirit ghost of the manor. Playing Lily’s grieving window, Archibald Craven, who is stricken with a hunched back and broken heart, is Terrence Brady. Together, the vocals of Almeida and Brady are a delight.

Cassandra West and Rob Minshall stand out in their roles as Margot and Tony, the ill-fated couple. A beautiful stage set evokes a well-heeled 1950s living room, and the turn-the-tables murder moment is most effective.

This production excels. The cast — Maeve Moriarty, Keith Richard Chamberlain, Rick Sherburne, Daniel Powers, Joe Hackler, Dafydd Rees, Brynn Grambow, Hannah Reggio and Kathleen Larson Day — are perfect in their roles. But Rees steals the show. To tell you how would really be to spoil some great fun.

A unique group of nine actors do good justice to this lovely, maverick production, staying true to its classic Victorian setting of superficial obsessions, where style rules substance. These trivial pursuits, hilariously performed, showcase Wilde’s talent for sardonic wit and clever bon mots.

Spending a snowy afternoon with the incredibly talented cast of “Into the Woods Jr.” was a delight. The cast of young performers is packed with so much dedication and wit.

Children will love this show. It’s full of fast-paced swashbuckling action. The comical pirates bounce off each other in synchronicity both vocally and physically. They are Captain Braid Beard (Anthony Teixeira), Swill (Rachel Walman), Sharktooth (Nicholas Stewart), Pierre (Devin Massarsky) and Max (Toby Wilson). The song and dance numbers are fabulous with clever choreography created by Chelsey Brown.

Eight talented actors take to the Comedy Club stage to show us how their world is radically changing in the midst of the fear and uncertainty of wartime. Sandy Basile, Amy E. Cole, Janet Geist Moore, Frank Hughes Jr., Liz Liuzzi, Marcus Liuzzi, Amie-Leigh McFarlane and Emma Miles are outstanding in a don’t-miss entertainment that proves that their little “band of brothers,” in community together, can do the risky thing, thereby affirming their sturdiest selves – especially when times are tough.

The large cast never stumbles or flounders; they just rejoice in the message of the play. It’s difficult to single out anyone because everyone is just so good.

One duo who captures hearts in “Elf” are Buddy’s stepmother Emily and brother Michael, played by Katie Beatty and Toby Goers. Their two lovely duets, “I’ll Believe in You” and “There is a Santa Claus,” were super sweet.

The singers sometimes cleverly appear to be playing an instrument as they sing. One such moment is James Davis as Ritchie Valens whose guitar plug dropped out as he was performing ― with no sound change. He smiled angelically as he reinserted it, while continuing to sing, and the audience had a belly laugh that was welcome and thoroughly enjoyable.

The entire cast brings their best to the Drama Guild’s stage for this inspired blend of mystery and hilarity, which pokes good-natured fun at actors, the world of theater, and, as mentioned above, at the necessary evil known as the theater critic.

Hischak is wonderfully over the top as the drama critic Daria whom all the actors love to hate. And her acting is just as good, dead or alive, as it takes some kind of control to allow other actors to drag your “corpse” around, dumping it here and there.

Each cast member had ample time to shine in the spotlight, as well. Holly Hansen’s “Colored Lights” was heartfelt and enchanting, and Rebecca Riley captured the audience’s hearts with both her voice and her comic timing in "Arthur in the Afternoon” and “All that Jazz.”

This is not your grandmother’s version of a “revue” or tribute “collection.” Audiences can look forward to a fast-moving, diverse and extraordinary production full of color and variety, offered by six consummate actors with a host of vocal creds.

Ari Lew is Hugo, the lovesick and down-on-his-luck nice guy who is under the tutelage of Captain Lewis, played by Brian Lore Evans. Lew has so mastered his comedic role that we could watch his face on a screen and still laugh. He’s that good!

As difficult as it may seem to steal a scene with this talented troupe, Holly McCarthy manages to. As Dr. Tillman, McCarthy changes her accent at the drop of a hat (or in this case, a turn of a hat). The exaggerated, ludicrous accents are amazing and so funny!

This show is completely, wonderfully, laugh-out-loud-until-you-cry perfect for this moment—and does this cast ever deliver! The story is the stuff of a hundred silent films, with Marx Brothers, Abbott and Costello sprinkled throughout, and a little I Love Lucy thrown in for good measure.

Folks at the Academy of Performing Arts regularly tackle these big musicals in their small theater and the community is the better for their efforts. Choreographer Missy Potash and orphans choreographer Sydney Peterson deserve credit for moving 50 people around the stage, not to mention having the orphans kicking legs (and not each other!) in a chorus line.

The wildly talented Denise Page, who plays Nancy, delivers the jawdropping solo performance of “As Long as He Needs Me” and believe me, it will leave you with chills.

Steve Ross (as Lawrence ― impeccable sartorial get-up and faux suavity) and Rob Minshall (mismatched, slouchy clothes and an air of always running to catch up) are perfect as the trickster pair.

Much of the dialogue is sung and the music is challenging at best. The performers do a great job starting on the right note, staying in tune and moving while singing without losing the flow.

The show features 35 actors, many of them very talented. But Peter Cook, who plays the lead as Tevye, is the incredible backbone that keeps this show humming. When did I know Cook would be an incredible Tevye? From his very first line.

The cast works together in lockstep, each expressing their roles with unfettered intensity and passion. Emotions run the gamut and their faces show it ― tears and snuffles included ― and they ask questions, questions … endless questions.

The four-person cast is a delight. D’Arcy Dersham as Michaela and Susan Lambert as Jojo are electric as they dance around each other, dissecting their characters’ memories and expectations with spot-on emotional fervor. Janet Geist Moore as Baby is hilarious and has the distinction of being the oddball character that barges into the action precisely when she’s not wanted.

Cohn’s script is simultaneously witty and meditative, sexy and absurd. It defies our expectations more than once. Baby barges in until she’s needed — then she doesn’t come. There very well might be a ghost in the cottage, but she doesn’t mean much to anyone but Baby. Jojo and Michaela are best friends and maybe more.

This play is fantastically thought-provoking, entertaining, and a wonderful lens through which to think about what matters most in life—and death—to each of us.

A standout performance on opening night was Macklin Devine as the certifiably crazy Renfield. Granted, this character is intense in any production about Dracula, but Devine was simply divine as the fly-eating lunatic. The strong ensemble of Dracula’s ghouls and household staff need a mention too. They were Anna Botsford, Zendon Donoho, Nansea R. Flynn and Violet Hellstrom.

Amelia F. Burbine plays Lucy with a wonderfully sweet vulnerability then instantly switches her into a woman with lusty appetites.

Simon’s Tony-nominated play is peppered with funny lines, one of the funniest delivered by Paul responding to Corie’s threat to get a guard dog: ‘She’d take him for his first walk, he’d see these stairs and go right for her throat.”

Chatham Drama Guild has hit one out of the titular park with this production. Every single member of the cast makes the most of their time onstage, and the opening night crowd responded enthusiastically, filling the theater with laughter. If you are looking for a romantic comedy in which every performer hits their mark every time, you simply can’t do better than this cast. They absolutely shine.

It’s love at first sight when Regullano bounces onto the stage, laundry on the couch, and a yapper she can’t contain. She’s a delight to watch and to hear, and her jumbled excitement and pain flow out of her like a tiny Niagara Falls. Kim is the perfect listener, expressing herself the best she can while being a calming presence.

When these two start talking, you’ll listen, and you should listen closely. They have a lot to say with an insightfulness that's astounding at times. Both actors are captivating.

The Heart Sellers offers the kind of humor that’s enjoyed in the moment but causes later profound reflection—the best kind, to my mind. The production timing is tight and the silences—there are several—are woven in expertly and subtly. This is a story that will stay with you long after the final curtain.

The entire cast brought their best performances, transforming the Academy stage into a spooky and mysterious setting that only Dame Christie could conjure.

Bragan Thomas is delightfully pompous as the butler Rogers, Roderick is fun as the man-about-town Marston, Bob Shire has a commanding presence as the judge Sir Lawrence Wargrave and Erica Morris is endearing as the young secretary Vera.

It is of course Curry who is the star, present in every scene, wise-cracking, showing us what might be going on behind the façade of easy-to-espouse yet difficult-to-live concepts. He is wickedly funny, sexy and absurd by turns, with a strong voice that is startlingly human (smoking a joint, drinking bourbon, and popping pills… “I take them for my back, okay?” she hisses. “You try holding up that torch!”).

The show is frenetic but fun and packed with fascinating historical facts. Libby (Brandon Curry) sets the audience straight from the get-go. “Honey, where is your suspension of disbelief?” she asks.

The comedic exhaustion the Statue of Liberty feels as she has to handle the voices in her head as to who she is, defined by everybody from an equally chatty statue of Sojourner Truth to a Texas school teacher, give this production directed by Janice J. Goldberg, a roller coaster style pacing with absurdity and sentimentality offering a compelling interpretation of these confusing times that are filled with hope and fear.

I was reminded of Wicked while watching Liberty Talks: both take an iconic figure and peek behind a glossy façade to find the real story of how they came to be, full of contradictions and ironies. There is much that is disillusioning in Rojas’s play, just as there is in the American Dream. The land of the free is a promise that is often kept and often broken. It’s more of an ongoing struggle, and that’s exactly what Liberty Talks captures on a very personal level.

More than a spy story injected with humor, “The 39 Steps” is a tour de force of not only unforgettable performances but ingenious stagecraft, brilliant sound and lighting design and clever, sleight-of-hand costume designs.

Kareem Bandealy is the hero, Richard Hannay, with a full gamut of physical comedy skills on display. Lori Vega plays a trio of three different women who entrance and entangle Hannay: the glittery femme fatale; a farmer’s wife who, with the aid of a Bible, helps Hannay escape the outraged farmer; and a woman he keeps crossing paths with and can’t help becoming attached to, as you’ll see.

The dynamics between the characters demonstrates a push-pull relationship, each actor playing off the other. Westminster is very much a Withers play. It is funny and insightful, and it escalates delightfully to an over-the-top crescendo clearly calling out the prejudices and blind-spots human beings have about one another and the difficulty we have putting our money where our mouths are.

The way this quartet works together, suspension of disbelief is automatic. Westminster is irresistibly entertaining.

Withers is Pia, and Stacy Fischer is Krysten, who together share wordplay and telling body language when questions and answers balloon into seemingly unsolvable quagmires. They are excellent in their rapid-fire dialogue, clearly illustrating how Pia fancies herself mature and genteel and Krysten portrays an intelligent airhead with a big secret to hide.

Westminster caps a stellar season at the Harbor Stage Company. This production isn’t just excellent, it does something that goes beyond the stage, diving deep into what priorities we create in our lives and whether those priorities can accommodate the people we used to be—and those who knew us then. How do we handle the dangers inherent in emotional honesty? Can any of us survive it? I always want to fall in love with the plays I attend, and I’m head-over-heels for this one. There are echoes of Ionesco and a definite absurdist flavor to The Dog as both symbol and manifestation, some thoughtful characterizations, and a few surprises along the way. Go see it!

The actors perform their little hearts out! They really commit to their roles hilariously; insert “audible gasp” here. My favorite line in the play! There’s physical comedy, colorful creatures (a giant tarantula!) and even a rootin’, tootin’ ballet that brought giggles galore!

Annie Miesels astounds. It is her multifaceted interpretation of the flakey yet incredibly sharp Alice that brings a jaunty levity to this incredibly profound narrative. Jennifer Van Dyck, playing Diana, gives a performance both humorous and emotionally impactful.

Diana is acerbic and contrary, she hates kids, but she loves kids. She is turned on by the smell of paint. She has some very funny lines. We never really find her backstory. Alice is more openly endearing, finding joy as years progress in teaching middle schoolers, in her grandkids, and her daughter’s success, while Diana’s daughter is troubled, perhaps a victim of her mother’s inability to bond with other human beings.

In this relatable and warm WHAT production, the actresses and Walker make these characters two women you’re glad to know.

The acting is simply superb. Meisels and Van Dyck show their differences in every way: their physicality, their gestures, their voices, their expressions. They make the audience believe in their hesitation to embrace friendship and their tentative reliance on it.

Annie Meisels playing naïve housewife Alice and her artist and fierce single-mom neighbor, Diana, played by Jennifer Van Dyck, are powerhouses. Meisels is sweet in a floral dress while the harder-edged Van Dyck wears silk and denim. Each is enthralled and confused by the other, but the development of the characters and the plot is seamless and so real, it’s easy to become the proverbial fly on the wall and sit in rapt attention for the 90-minute (no intermission) show.

This is a big musical brought to life with hundreds of tiny moments. If a play could wink at you, this one surely would. College Light’s troupe understands that and delivers a production with very good diction (you have to hear the jokes to get them!) and songs, even, that are whispered rather than belted out.

“Waitress” contains every ingredient necessary for a perfect production: it is relatable, the songs are memorable and the entire cast is top notch. You’ll be playing the soundtrack the whole way home and dreaming of homemade pies. The echoing, longing sounds of “sugar, butter, flour” will leave audiences craving more “Waitress” long after the musical ends.

The dynamic between Jenna and the diner’s owner Joe (John Shuman) is heart-warming and his song, “Take It From An Old Man” is a reminder of how fast the years pass.

I should warn you that “Death of a Salesman” is not a fun or easy two hours. WIlly’s agony is etched in the muscles of Doyle’s face, the canals formed by years of clenching his jaw. It is a relief to see the actor at curtain call and note that his face is relaxed and smooth.

Emmalee Anita Diaz truly shone as Elle Woods, leaving an indelible mark with her melodious voice and side-splitting musical numbers. Her standout moment in the song "Legally Blonde" was a treat, especially when paired with her Greek chorus — Sachiko Nicholson, Grace Kelly Kretzmer and Kathryn-Ximena Rojas. This singing and dancing trio, living in Elle's head, literally freezes the rest of the cast, making every appearance riotously funny.

Standouts on opening night were the indomitable, eye-rolling Holly Hansen, Hailey Deltano’s show-stopping vocals, the dynamic Mo O’Neill and Alex Murray in the ensemble, and of course Jared Hagen’s over-the-top Major-General. But seriously, everyone was incredible. This entire group sings, dances and emotes constantly with such joyful, enthusiastic energy.

The singing is masterful, and Holly Hansen as Ruth sets the bar that is then challenged by Hailey Deltano as Edith. Then, in walks Juliet Pearson as Mabel who sounds like a coloratura soprano singing high notes with ease whether she is wrapped in the arms of Aamar-Malik Culbreth as Frederic or getting drunk while slouching in a beach chair. Culbreth and Pearson share a beautiful duet in “Stay, Frederic, Stay!” and Jared Hagan delights with “I Am The Very Model Of A Modern Major-General.”

It would be easy to call out every single person who worked on this production; it’s as near perfection as any theater, anywhere, can get. If you haven’t seen Gilbert & Sullivan, come try it out. If you’ve already seen Gilbert & Sullivan—trust me, you haven’t seen it like this.

This highly enjoyable story is brought to life by a fantastic cast. The ensemble makes up the loyal wolf pack and a group of peckish vultures, keeping the audience entertained with their high energy and amusing quips. Hugo Ceraldi also delivers a standout performance as Akela, the distinguished king of the wolves, commanding the stage with his powerful intonation.

Some of the standout moments of “I Have a Song to Sing, O!” include a pleading “Spurn Not the Nobly Born” by the excellent Joseph So, a breathless whirl of “I Am the Very Model” sung by Robert Grady and the chorus, a gorgeous rendition of “Poor Wandering One” by the gifted Laura Barabe, a touching “My Lord, A Supplicant at Your Feet” performed by Pam Banas, and a rousing rendition of “He Is an Englishman” by Scott Hamilton and the chorus. The members of the entire cast put their team differences aside and join together in the final spirited number from “Yeoman Of The Guard,” “I Have a Song to Sing, O!”