• The Unexpected Guest, September – October 2011 Schedule
• Little Women, November – December 2011 Schedule
• Cinderella Waltz, January 2012 Schedule
• Chapter Two, February – March 2012 Schedule
• The Spitfire Grill, March – April 2012 Schedule
• Going To St. Ives, May 2012 Schedule
• Moonlight And Magnolias, June 2012 Schedule

Schedule is subject to change due to performance rights conflicts or other issues. Specific dates of auditions have not been announced yet.

• Chicago, May – June 2011 Schedule
• The Marvelous Wonderettes, June – July 2011 Schedule
• Hairspray, August – September 2011 Schedule

Schedule is subject to change due to performance rights conflicts or other issues.

Company is a concept musical that revolves around Robert on his 35th birthday. He is surrounded in a very surreal scene by his closest friends: five different married couples. The rest of the show is a series of vignettes, in no particular chronological order, of Robert with his married couple friends and with three different girlfriends. This is an intensely complex script and score. To really even begin to get to the heart of what is being said by this piece takes an intense conversation reminiscent of college lit classes. It is, like most Sondheim, an extremely difficult score that calls for wide ranges and intricate harmonies. The characters are also multi-layered, and it takes a lot of picking away at those layers to decide if you even like them.

While a lot of talent and promise was indeed evident amongst the cast and production team of Colonial Players of Annapolis’ attempt at this production, it ultimately proved to be more of a challenge than they were ready to meet. The harmonies were all over the place, many of the soloists were not up to the difficult songs, most of the characters came across as caricatures that played for laughs rather than complex simulations of real people, the staging was awkward at best, and the overall look and feel of the scenic and costume design simply missed the mark. It is a shame, because the decent voices and caricatures would have worked just fine and been enjoyable in a less-complex, traditional musical comedy.

Robert was played by John Halmi. Although he did have beautiful vocals and the strongest voice in the production, his performance was lackluster. He did not convey enough heart to make his performance believable or to make the audience really care about Robert and his journey. He was not the emotional center that the piece needed.

The first of his couple friends were Harry (Rick Long) and Sarah (Emily Sergo). These two were very artificial and their scene was very rushed. While they achieved some cheap laughs, they ran over the lines that contained the real “high comedy” of the script. Long also seemed to struggle with vocals throughout the show; although, Sergo had a very trained and powerful soprano.

The next couple was Peter (Tobias Young) and Susan (Susannah Hurlburt). Hurlburt was largely unmemorable in her role. Young, on the other hand, completely missed the mark with Peter. There is a scene, which should be shocking (so I won’t reveal the spoiler here); however, Young played the character in such a way that the reveal was expected and not remotely surprising.

Couple number three was Jennie (Shannon Benil) and David (James Schwallenburg). This was the most entertaining of the scenes, and Benil and Schwallenburg came, by far, the closest to creating realistic and deep characterizations.

The fourth couple was Amy (Jamie Miller) and Paul (Trent Goldsmith). Miller managed to do a decent job of maintaining very difficult vocals in “Getting Married Today.” She is obviously excellent at playing over-the-top comedy, but it would have been nice to see a little more restraint and complexity with Amy. Goldsmith, on the other hand, came across as very real and was probably the only person in the cast who never seemed like he was “acting.”

Lastly, there was Joanne (Margaret Allman) and Larry (Vince van Joolen). Although this couple looked the parts more than any of the other performers, their performances were some of the most disappointing. The couple was very artificial. The biggest issue was that Allman does not have anywhere near the vocal chops to handle this score and her attempt at the iconic “Ladies Who Lunch” was the absolute low point of the evening.

Rounding out the cast were Robert’s three girlfriends: April (Bridget Creel), Kathy (Monica Garcia), and Marta (Laurie Lawrence). None of the women made any emotional connection with Robert or the audience, and, like most of the cast, they created caricatures and lines sounded false and forced. Vocals were not much better. Creel suffered from horrible pitch issues during “Barcelona,” and Lawrence growled her way through “Another Hundred People.” At least, Creel and Garcia looked their parts. Lawrence looked like an inappropriate “cougar” in the role of Marta.

Another big problem with the production was the staging. The director seemed to lack understanding of how to effectively stage for theater in the round. The orchestra was placed in the center of the stage. There were several times when action was completely blocked by the orchestra. For instance, from where I was seated I could not see most of Harry and Sarah’s karate battle because of the orchestra. There were also other times when I could not see most of the stage, because my view was blocked by the back side of one actor or another. Also, there were times when an actor would be facing the audience on the far side of the stage and it was difficult to still hear him or her. Much of the problems were a result of the placement of the orchestra. Instead of the cast playing from the center out to the audience, they were playing from around the edges. Theatre in the round can be very effective when mastered, but, in this production, its use was largely problematic.

What was wrong with the set and costumes was the issue that was extended into many of the characterizations. Sondheim is often quoted as explaining that Company is about “upper-middle class people with upper-middle class problems.” Nothing about the set or most of the costumes felt “upper-middle class.” The ensemble of Company is essentially intended to be the same demographic as the modern-day Sex in the City. However, there was no upper-middle class New York metropolitan opulence or sophistication represented in this production. The lighting was functional but largely unremarkable. It was not really well-utilized to create an atmosphere or mood.

There were also a few mind-boggling little issues with the production. The cake and the candles are a huge part of the symbolism of the show, and the blowing out of the candles is referenced and simulated several times. Not having candles on the cake was a hugely distracting misstep. Another weird problem was right at the beginning of the show and, in many ways, set the tone for the lack of consistent attention to detail. In the original, Robert is listening to messages on an old-fashioned answering machine. Therefore, between the messages are the tell-tale beeps. In this production, although Robert now listened to the messages on a cell phone, the beeps were still utilized. He should have either used an answering machine, albeit slightly archaic, or the beeps should have been replaced with a simulation of modern cell phone messages (“To delete this message, press 7”).

There is little doubt that there were a lot of talented people involved in this production; unfortunately, most Sondheim, Company in particular, requires a higher-level of talent than your average community theater can really pull together. This appeared to be a good community theater in general, but good community theater is not good enough for Company.

Cast

• Joanne: Margaret Allman
• Jennie: Shannon Benil
• April: Bridget Creel
• Kathy: Monica Garcia
• Paul: Trent Goldsmith
• Robert: John Halmi
• Susan: Susannah Hurlburt
• Harry: Rick Long
• Amy: Jamie Miller
• Marta: Laurie (Nettles) Lawrence
• David: James Schwallenburg
• Sarah: Emily Sergo
• Larry: Vince van Joolen
• Tobias Young: Peter

Production Staff

• Director: Joe Thompson
• Musical Director: Ryan Shookman
• Producer: Tom Stuckey
• Stage Manager: Susie Collins
• Assistant Stage Manager: Mark Schaefer
• Stage Crew: Charlie Carwile
• Choreography: Natasha Joyce
• Fight Choreography: Richard Koster
• Set Design: Edd Miller
• Lead Carpenter: Dick Whaley
• Carpenters: Lee Craft, Norm James, Jim Robinson, Ted Yablonski
• Set Painting: Edd Miller, Tom Stuckey
• Lighting Design: Harvey Hack
• Assistant Lighting Design: Jennifer Parris
• Lighting Assistants: Terry Averil, Lyndon Bray, Charlie Carwile, Joe Feibel, Mary Koster, Richard Koster, Jay Nispel, Heather Quinn, Danny Robinson, Tom Stuckey, Beverly Hill van Joolen
• Sound Design: Martin Thompson
• Lighting/Sound Technicians: Debbie Hall, Joan Hamilton, Tom Stuckey
• Costume Design: Kaelynn Miller
• Properties Design: Cornelia Watson
• Properties Assistant: Ken Watson
• Technical Director: Wed Bedsworth
• Technical Consultant: Bob Foery
• Pianist: Ryan Shookman
• Cellist: Katie Chambers
• Dance Captains: Monica Garcia, Emily Sergio
• Production Consultant: Richard Koster
• Play Consultant: Darice Clewell
• Playbill/Poster Design: Jim Gallagher
• Photography: Colburn Images
• Program Editor: Tom Stuckey
• Lobby Display: Jason Vaughan

Disclaimer: Colonial Players provided two complimentary media tickets to ShowBizRadio for this review.

The Colonial Players’ production of The Diviners is a bittersweet story of overcoming life’s trials. It is alternately questive and quixotic, finding purpose in the simple things. The production isn’t as superb as other Colonial Players productions, but is strong at its core.

Buddy is a boy whose severe aversion to water impedes life. C.C. Showers is a preacher, experiencing a crisis of faith and roaming the country until he meets Buddy. Their friendship quickly strengthens as C.C. spends time helping the imaginative boy overcome his fears.

The Diviners is a difficult play to stage because it has over six distinct locations–a challenge accentuated by theater-in-the-round. This production was very minimalist, using actors’ movements to establish the scene. While movement is a great device when movement is the focus, the set was often detracting. The major set piece for the show was a slight rise in the floor with a fabricated log in the center which occupied about seventy percent of the main floorspace and impeded movement. It was weakly constructed, so despite actors visible attempts to walk softly, the base still split under the pressure of a footfall.

Costumes were tastefully done, creating an overall feeling of the past, without looking forced. Characters’ personalities would have been more distinctive if their hair and make-up would have had a stronger design.

Worthy of commendation are the sound designer and sound technicians. Realistic soundscapes, together with great lighting design and excellent timing, emphasized location and movement, despite muddy visuals.

The pacing is often slow. Individual actors could have stood for more specific direction in delivery and dynamic physical expression. Mackenzie Blade (Jenny Mae) failed to convey sufficient emotion through the show, often standing with her hands at her sides and a blank face. Eddie Hall (Farris Layman) had a wider range of action, but he also had a habit of standing with his back towards the audience members nearest him. The most expressive member of the ensemble was Mary C. Koster (Norma Henshaw). She threw herself into the role and portrayed the annoying girlish exuberance of her character perfectly.

Eric Schaum (Buddy) had great rapport with Ben Carr (C.C. Showers) and together they formed the strong backbone of this production. Their scenes had such authenticity that the audience was whisked away by it. Schaum’s physical expressiveness and vocal dynamics brought his character to life. Buddy had a realistic balance between needy and normal that evoked the sympathy of his audience. Carr’s performance convinced me beyond the shadow of a doubt of his character’s motivations and desires.

The Colonial Players’ production of The Diviners is a little bit like a river; it doesn’t have a smooth flow–it has many slow moments, some rocky moments, and a few quick-flowing moments–but it’s a good ride. Throughout the production, there is a current moving the story along to its bittersweet conclusion. It’s not a “feel-good” production per sez, but lovers of human-interest shows should enjoy it.

Director’s Notes

Some directors select a project because it has a particular point of view or a strong statement to make. Some choose splashy costume pieces or large, showy historical plays. Some pick comedy over drama or vice versa.

I find myself seeking projects that are quieter, more intimate in scope I like plays that give me a chance to delve into character. This script gives us the story and surface details. I want to find why a character does something. An actor needs to know everything about the character he or she is creating. As a director, I must help actors delve into their characters and discover what works within the script to bring those characters to life. It is the joy of shared discovery that rives me as a director. The Diviners is an ensemble piece with 11 very real, different characters. Every role is integral to the story, no matter how small. The relationship among these characters is what moves the story along. We have had a good time getting to know these people.

Now, imagine yourself sitting on the log you see before you. Just observe the folks in Zion and appreciate them for who they are.

~ Edd Miller

Cast

• Basil Bennett: Joe Thompson
• Dewey Maples: Jay Sullivan
• Buddy Layman: Eric Schaum
• Melvin Wilder: Erik W. Alexis
• Luella Bennet: Karen Lambert
• Jennie Mae Layman: Mackenzie Blade
• C. C. Showers: Ben Carr
• Ferris Layman: Eddie Hall
• Norma Henshaw: Mary C. Koster
• Goldie Short: Brenda Mack
• Darlene Henshaw: Hannah Sturm

Production Staff

• Director: Edd Miller
• Stage Manager: Herb Elkin
• Producer: Tom Stuckey
• Set Design: Edd Miller
• Lead Carpenter: Ted Yablonski
• Carpenters: Lee Craft, Norm James, Jim Robinson, Dick Whaley
• Set Painting: Eddie Hall, Dianne Hood, Edd Miller, Eric Schaum, Tom Stuckey
• Lighting Design: Jennifer Parris
• Lighting Assistants: Richard Koster, Jim Parris, Novella Parris, Tom Stuckey, Martin Thompson
• Sound Design: Wes Bedsworth
• Lighting/Sound Technicians: Mike Coon, Jennifer Parris, Wes Bedsworth, Andy Serb
• Costume Design: Beth Terranova
• Costume Design Assistant: Carol Youmans
• Properties Design: Lois Banscher
• Set Design Engineering: Dick Whaley
• Rehearsal Assistant: Angie Dey
• Play Consultant: Lois Evans
• Playbill/Poster Design: Jim Gallagher
• Photography: Colburn Images
• Program Editor: Ton Stuckey
• Lobby Display: Jason Vaughan

Disclaimer: Colonial Players provided two complimentary media tickets to ShowBizRadio for this review.

Jekyll & Hyde, the Musical bears little resemblance to its literary origin, but the tale spun from Stevenson’s original story remains a chilling reminder of the depravity in man. Christy Stouffer’s interpretation emphasizes the dark eeriness of Hyde’s ambitions and her creative team has risen to the challenge. Pasadena Theater Company’s production is a titillating production full of ambitious visual effects and musical showmanship.

The set was terrific. It used all of the available space and employed lots of dimension to create interesting visual snapshots (though sometimes it took too long for actors to ascend the stairs). One feature that truly surprised me was the flat that split to reveal Jekyll’s laboratory. Special effects and the use of candles onstage lent another level of “wow” to the whole show. The opening number “Good and Evil” employed a fog machine to create an eerie feel for the entire show. The experiments in Jekyll’s lab bubbled and blew smoke. Together, the set and special effects were a perfect balance of subtle and spellbinding.

With the exception a few Halloween store purchases, the costumes were well done and showed a lot of thought and intention that brought the viewer into the scene. The overall look was evocative of the early 1900s, whether in the bar with the “ladies of the night,” or in the houses of the well-to-do. Not every costume was strictly period, but the stylistic choices made the atmosphere right while creating contrast between scenes. This is especially impressive when considering that there were such divergent lifestyles to show. Like the title characters, the ensemble had to show both the elite façade and the coarse riffraff of London. A few costumes were ill-fitted and unfortunately one of these belonged to Dr. Jekyll’s whose vest pulled in odd ways when he took off his jacket for Mr. Hyde.

Jekyll & Hyde’s musical director, Doug Dawson, found talented musicians for his orchestra. Their blending made them very pleasant to listen to most of the time. Dawson’s vocalists could have used a little more work, though. Barbara Hartzell (Emma Carew) had a lovely operatic voice, but some of her higher notes were completely lost in vibrato. His ensemble was shaky in its harmonies and they occasionally ran away with the tempo, especially on the song “Murder, Murder” at the top of act two. (This problem might have been alleviated had there been an additional monitor placed upstage on the first level.) They were, however, well-rehearsed and musically ambitious.

The show is very specifically set in England, but everyone in the cast had different ideas of what that meant as far as characterization. Some of the noblemen and women created their accent and chose what words to emphasize very well, of special note are E. Lee Nicol (John Utterson), Heidi Toll (Lady Beaconsfield), Tom Rendulic (Sir Danvers Carew) and Timoth David Copney (Simon Stride). Some members of the chorus, most notably Tanya Davis (Nellie) whose lines were both nasal and choppy in delivery, were not solid at all in their Cockney dialect. This dialectical disunity was jarring at points, but not terribly distracting overall.

I have to admit that I was not a fan of this show’s choreography. Certain concepts were interesting, but were not executed with enough precision to be convincing such as the posing movements used in “Murder, Murder” and “Dangerous Game.” “Murder, Murder” also had the cast walking in a long oval spinning open umbrellas at the audience. In my mind I likened it to the treads of a tank and wondered where they were taking me. On the other hand, I loved the realistic choreography and silent acting that was part of “Bring on the Men.”

John Scheeler had some good things going, despite a few musical mishaps, and conveys the emotion of Jekyll very effectively utilizing excellent diction and a cultured English accent. His characterization of Hyde could have used more physical exaggeration, but his vocal delivery was superb. His rapport with his leading ladies was not exceptional, feeling rather stiff and overly choreographed.

Michele Guyton had her own challenges to overcome. An odd hybrid between Aussie, Cockney, and Scottish, her accent was less-than-stellar. Her singing voice, while lovely, was stifled in her throat and pushed from her nose which obliterated the powerhouse she might have been, creating instead a nasal, muted tone that was difficult to hear.

Barbara Hartzell played Jekyll’s fiancée, Emma Carew. Hartzell presented a very sweet and gentle interpretation of Emma that endeared her to the audience. Her chemistry with Scheeler was sublime, making Jekyll’s descent into the whorehouse a harsher blow, realizing that he already had a darker side, despite having such a devoted love. With stunning voice control and flair, her solos and duets were lovely to listen to, though more appropriate for opera than Broadway as some of her higher notes were completely lost in vibrato.

While a bit of a hike from the DC metro area, Pasadena Theater Company’s version of Jekyll & Hyde, the Musical is worth the hike. Despite some “character” flaws, the theatrical showmanship is reminiscent of an off-Broadway production, complete with special effects and pyrotechnics. I would definitely recommend this show to friends, though not for their small children.

Director’s Notes

The story of Jekyll & Hyde has fascinated readers, theatre patron and moviegoers since Robert Louis Stevenson wrote the original version in 1886, and it has spawned scores of adaptations over the past 100+ years. In fact, the theme of good and evil and the dual nature of mankind is a common theme in writings much older than this story. While the musical version may not have much in common with the original story – there is no love triangle and no women in it at all, no Board of Governors meeting, a different time sequence and only one murder – it remains true to the central theme that “In each of us there are two natures, … good and evil,:” which are eternally struggling.

The history of Jekyll & Hyde, the Musical is a convoluted one that spanned 17 years of development and several tours and workshops before its Broadway debut in 1997. I first fell in love with the musical when I first heard the concept album, released in 1990. The original numbers are both haunting and inspiring, and remain favorites of the show’s many fans. Yet this musical has gone through more rewrites than most on its way to a Broadway stage, with over 60 songs or version of songs written for it at one time or another. Even after the Broadway run, the show went through additional revisions, and there are at lest two “officially sanctioned” scripts currently available. It has evolved into a dark and powerful gothic tale told in almost operatic fashion to one of the most beautiful scores written for the stage. As with Stevenson’s original, it is set in England at the end of the 19th Century, in a time of Victorian mores and bitter class struggles. Yet as the many adaptation of the original have shown, it is a timeless story of the battle that rages within the human soul, and the choices we all have to make. It is for that reason I chose to open our production with the number “Good and Evil,” which appeared in the middle of the Broadway production but was subsequently dropped from the show.

As a director, I became fascinated with the duality in each of the characters, and not just in the title character and the many parallels in the show that are often seen in mirror image, just as we view Jekyll/Hyde. I knew it would take an extraordinary cast and production team to bring this story to life and have been blessed with both. It is a story that speaks to us on many levels, and I am thrilled to have a performance space which permits multiple levels for its staging. My humble thanks go to both PTS C and ALC for entrusting this theatrical gem to me, and to all who worked tirelessly onstage and off, to bring it to life–it truly took a village!

I hope you enjoy it!
Christy Stouffer

Cast

• Jekyll/Hyde: John Scheeler
• Emma Carew: Barbara Hartzell
• Lucy: Michele Guyton
• John Utterson: E. Lee Nicol
• Simon Stride: Timoth David Cpney
• Sir Danvers Carew: Tom Rendulic
• Nellie: Tanya Davis
• Poole: Ed Wintermut
• Bishop of Basingstoke: Keith Norris
• Lord Savage: Brian Douglas
• Lady Beaconsfield: Heidi Toll
• Sir Archibald Proops: Greg Guyton
• General Lord Glossop: Kenny Peters
• Spider/Priest: Dean Davis
• Newsboy: Jim Gerhardt
• Ladies of the Night: Bri Everett, Heather Harris, Malarie Novotny, Mary Retort-George, Angela Sullivan
• Townsmen/Sailors/Workers: Darrell Conley, Tom Hartzell, Brandon Hendrickson
• Townswomen: Sandy Boldman, Tammy Hayes, Elizabeth Kanner, Laura Kavinski, Betty Lasner, Holly Mooney, Kristin Rigsby

Orchestra

• Music Director: Doug Dawson
• OrchExtra: Mike Monda
• Bass: Wes Livingston
• Flute: Kathryn Binney
• French Horn: Jessica Kerns

Production Staff

• Director: Christy Stouffer
• Executive Producer (PTC): Sharon Steele
• Producers (ALC): Nate Drye, Tom Rendulic
• Music Director: Doug Dawson
• Rehearsal Accompanist: Mike Monda
• Choreography: Becki Placella, Anwar Thomas, Andre Hinds
• Costumes: Tori Walker, Kristina Green
• Stage Manager: Heather Williams
• Set Design: Walt Morries, Tom Rendulic
• Set Execution: Walt Morries, Al Caldwell, Tom Rendulic, Elizabeth Kanner, Collette Rodrigue
• Set Artists: Jim Zimmerman, Roxanne Zimmerman
• Properties: JoAnn Gidos, Jamison Orsetti
• Special Effects/Pyrotechnics: Mike Gidos
• Fight Choreographer: Geoff Thompson
• Fight Captain: Ruta Kidolis
• Technical Support: Keith Norris
• Lighting Designer: Tim Grieb
• Assistant Lighting Designer: Bart Raeke
• Light Board Operator: Dave Malecki, Al Caldwell
• Sound Engineers: Derrick Hendrickson, Robert Reynolds
• Assistant Sound Engineer: Kriska McCoy

Disclaimer: Pasadena Theater Company provided two complimentary media tickets to ShowBizRadio for this review.

Noel Coward’s Private Lives was first produced London in 1930. Coward directed and appeared in the production, starring as Elyot Chase opposite Gertrude Lawrence as Amanda Prynne. (Coward wrote Amanda’s character with Lawrence in mind.) Coward also directed this inaugural production, a tissue-thin comedy of manners, to mixed reviews. New York critics, a year later, were kinder and more enthusiastic, when the production was remounted on Broadway, opening again with Coward and Lawrence in the leading roles.

Colonial Players’ production is classically styled and sophisticated in performance; the cast’s English accents are precise and diction and timing seem perfect. The play opens on the shared balcony of a hotel in France. As we watch the story unfold, we learn details surrounding the incendiary first marriage of Elyot (Pat Reyolds, cool and aloof) and Amanda (Zarah Rautell, trying to appear happy with her new husband), through the eyes of their new, younger spouses, frivolous Sybil (Shirley Panek), who can’t help but be worried about the ghost of her predecessor and the effect she had on Elyot, and uptight Victor (Lawrence Griffin), worried about his formerly wild new wife. These encounters are timed so that we can feel the inevitability of the connection between the former couple.

Throughout the course of the evening we come to understand why Elyot and Amanda were forced to divorce, by seeing what happens when they’re given a second chance at love. In this day and age, the plot seems dated and out of touch with reality. Even with the premise that this is a honeymoon, these characters appear shallow and vacuous. The human connection and chemistry is missing, and the most passionate scenes seem to lack something in intensity. The comic relief of the French maid, Louise (Meg Venton) isn’t enough to make this piece of fluff a truly inspired evening of comedy. We’re left to wonder why on earth these people chose to marry at all.

In the end, the characters’ disconnection makes it hard to feel sympathy for any of them. Generally speaking, it’s a good production of a flawed script that’s out of touch with today’s reality. In the end, it’s much ado about nothing.

Barry Christy’s set is sparse and sophisticated. Stefan Mouyal’s sound design fits well within the period. Meg Venton’s costumes are generally terrific, though Amanda’s relatively modern hairstyles appear to be as lacking a bit in period presentation, a point that serves more as a distraction than it should.

About the Playwright

Mention Noel Coward, and a few words are likely to come to mind – words such as sophistication, wit, upper class manners, clever comedy. Not bad for a boy born into genteel poverty whose formal education was limited to a few years of elementary schooling at a choir school that he despised. But his driving ambition, charm and prodigious talents earned him entrée to upper class society that would normally have been closed to a young man with his upbringing. Coward was just 12 years old when he made his professional acting debut in London and just 21 in 1920 when his first full-length play, I Leave it to You, was produced on London’s West End. Ten years later, he and Gertrude Lawrence starred in Private Lives, which was an enormous success and cemented his reputation as a bright young light of the theater scene. Before his death in 1973, Coward wrote more than 50 plays, hundreds of songs, more than a dozen musical theater works, poetry, short stories and a novel.

Cast

• Sibyl Chase: Shirley Panek
• Elyot Chase: Pat Reynolds
• Victor Prynne: Lawrence Griffin
• Amanda Prynne: Zarah Rautell
• Louise: Meg Venton

Production Staff:

• Director: Richard Wade
• Producer: Nancy Long
• Stage Manager: Mackenzie Blade
• Stage Crew: Michele Barry, Heather Quinn, Tom Stuckey
• Set Design: Barry Christy
• Lead Carpenter: Dick Whaley
• Carpenters: Jim Robinson, Ted Yablonski
• Set Painting: Heather Quinn, Dick Whaley
• Set Decoration: Barry Christy
• Lighting Design: Jeannie Beall
• Lighting Assistants: Joshua Anderson, Nathan Hawkins, Richard Koster, Heather Quinn, Tom Stuckey
• Sound Design: Stefan Mouyal
• Lighting/Sound Technicians: Nathan Hawkins, Stefan Mouyal
• Costume Design: Meg Venton
• Properties Design: Peter Branscombe
• Hair Consultant: Doug Dawson
• Choreography: Nancy Dall
• Musical Arrangements and Direction: Angela Linhardt
• Rehearsal Assistant: Angie Dey
• Special Adviser to the Director: Jean Jackson
• Production Consultant: Heather Quinn
• Play Consultant: Sharie Valerio
• Program/Poster Design: Jim Gallagher
• Photography: Colburn Images
• Program Editor: Tom Stuckey

Disclaimer: Colonial Players provided two complimentary media tickets to ShowBizRadio for this review.