#actually they are like stage directions - they're things the actor knows but the audience doesn't

[greenerteacups]

This is ofc very random but I absolutely love how you wrote Harry and his reactions to people arguing loudly or just generally arguing around him. SO that being said, do you make a written sheet keeping track of each characters personalities and traits and maybe even background stories? I really think all of your side characters are well written and isn't two dimensional at all and thats one of the MANY reasons why this fic is one of the best Ive read ((maybe not just fic but books in general))

This is really lovely, thank you so much! I don't keep a spreadsheet, though I do have a section of my outline doc that's basically a mini-bible for misc. characters — eye color, hair color, what their parents do, where they live, trivia that I can't remember on command. When it comes to characterization, I keep consistency through voice. If a character sounds the same, they'll feel the same, and inversely, if I can't imagine a character's voice saying something, then it's a good sign I need to stop and figure out what I'm actually trying to have them say. Or just restructure the story! Sometimes I throw something down in my outline, get around to writing the scene weeks later, and realize that the character went somewhere different, and I like the new direction better. Some authors describe this as characters having "lives of their own," but I think it's just ... authors having fun. You explored a new direction, you liked it more, you went with it.

Voice is much easier to get right when you've been working with the same cast as long as I have — Draco's voice has become so easy it's sort of like slipping into a second skin, though that's probably not helpful (like, "try writing 300,000 words from your character's POV, really helps you nail the cadence!" is not exactly Hemingway-grade advice). But even when you only have someone for three lines, it's crazy how much information you can fit in. Accents, slang, forms of address, level of formality, how fast are they talking, how long do they talk, do they gesture, how much — answering those questions requires you to think about where they come from, and how they approach a situation, and once you do that, you have a person. Even if you don't have a story arc, you still have a person.

[softpine]

do you think it would be a stretch to say joel is aroace? he never mourns sarah's mother or his relationship with her, tess always wanted something more he just couldn't have that type of relationship with her, all that time between part 1 and 2 he didn't have a relationship (as far as we know). idk what do you think?

honestly i think that interpretation of joel makes sense!! i doubt they would put that in the show, but unless they change something about part 2, there would be nothing that contradicts that headcanon. the only thing he EVER says about his ex-wife is this:

and judging by the fact that there are no pictures of her in his house, sarah never talks about her, etc. it's pretty clear that they got divorced rather than his wife dying while they were still married. she probably wasn't even in sarah's life anymore. if she was, i would've expected her to say something about her mom while they're fleeing the city. (something like "What about Mom? Where is she?" // "You'll see her again.")

the thing about tess wanting more from joel than joel was willing to give is something that i think only exists in the TV show. in the game, it seems to me that she's the one setting the pace, not just with their relationship but also with their smuggling and everything else they do. when tess dies in the game, she doesn't say "I never asked you for anything, not to feel the way I feel, [...]" instead, she says "There's enough here that you have to feel some sort of obligation to me." which doesn't imply any kind of resentment about the nature of their relationship, it just shows that they were in an undefined type of situation. but even then, there's plenty of wiggle room there for you to headcanon whatever you want about their relationship (the HBO version is basically just craig's headcanon fjksjds)

okay but here's where we're going DEEP into the lore. so, in 2014 the last of us did this one night event where the voice/mocap actors performed some pivotal moments on stage for a live audience. there's a secret scene that was not allowed to be recorded, because it later became the prologue of part two (where joel tells the clock joke and sings for ellie) and they didn't want to spoil anything. but in that scene, joel says that tommy set him up with a woman named esther, and that tommy wants them to "get hitched". it's unclear what tone joel uses when he says this, but i'm assuming he says it jokingly, like "yeah whatever tommy i'm not getting married again". he also says that esther is funny and she's the one who told him the clock joke. now here's where it gets crazy. ALLEGEDLY (i can't find any direct quotes), part two would've shown ellie and joel entering esther's house and finding out that she had recently been bitten. joel would ask ellie to step outside, and then you would hear joel shooting her. why? who knows. i'm glad they cut that lmao. but even after they cut all of esther's scenes, they planned on putting a love letter from esther to joel somewhere inside his house, but they cut that too.

all this is to say that joel never had a love interest. it's always interested me that they wrote one for him and then cut it. because even when he's established in jackson, living in his own big nice home, surrounded by people he could potentially trust, he still never seeks romance or even sex (they could've easily snuck in a joke or reference to a FWB or one night stand situation). it's interesting!

so to answer your question: no i don't think aroace joel is a stretch at all!! i definitely don't think he would have the knowledge or self-awareness (tbh) to call it that, but i actually really like the idea of it :)

[dentpx]

7/7/2023: Hadestown again

Still genuinely my favorite show, I feel really lucky to have seen it on Broadway twice now. I was itching to see it again after the tour, which was still really good but had to reblock things which I missed dearly seat stuff: - row F floor seats on the left side of the theater, and on the left side of the row. pretty good seats, but I'm glad this wasn't my first watch of the show. - for the most part I could see all the major action. the only time i couldn't see was during Chant III (I think) where I couldn't see Hades at all for his dialogue at the bottom of the stairs or heading up them because Hermes was standing stage right. - only actual complaint about the seats is that there were a lot of times where I wanted to see the facial expression of an actor during a scene and they were facing the other direction LOL, which is just always the gamble on non-center seat. - it was pretty nice being close to the front, not gonna lie. Pretty sure I made eye contact with Hermes at the start of the show when she was doing some crowd work, also think I made eye contact with one of the fates during We Raise Our Cups - also. HUGELY GOOD SEATS for if you're doing stagedoor because they exit you on that side of the theater, which is also directly next to stagedoor. we were able to get out very fast.

cast stuff: - Reeve and Eva are still there <3 was able to catch a lot of cute moments this time. they're always so cute on stage. favorite was during Livin' it Up, they were sitting on the tables, he was holding her and they were whispering things to each other. it was so cute that after the show I googled if they were dating and they were LOL - Eva is so great, caught more little moments from her too, like when Persephone hands her the flask. She sniffs it and then her whole face is like "oh my god? how is she drinking this." When they throw her into the dance break in Livin' It Up, she's like "nooo I don't want to, I don't know what to do". - Reeve great as always. so obsessed with him. i think he's the only character in the show who doesn't acknowledge the audience at all, even when he looks out, he doesn't connect in the way that other leads do (which is for sure a character choice). - fave thing I noticed from him was during Wait For Me when he's dodging the lamps, just some great facial expressions and body language in that number. really communicated that this is representative of a long and hard journey. - first time seeing Lillias White as Hermes (cats fans make some noise), I LOVED her. I like that she's doing a different thing with the character. Her Hermes is "rooting" for Orpheus and Eurydice more - when Hades says he'll let them go, she visibly sighs in relief, and then is upset when he names the condition. I really got the sense of her struggle as the storyteller unable to change the story. Her dynamic with Persephone was great. She also has an incredible voice ofc. - Jewelle again as Persephone, she is just show-stopping. Her physicality when she dances is INCREDIBLE. Way Down was a personal fave from her this time. - Alex Puette was Hades, he's an understudy. i really liked him. he's not a super deep bass the way Hades normally is, so he had a more musical performance and less spoken word. I think he had great body language. He was sort of a silly Hades? there's a moment where he runs up the stairs in victory and he sort of made a little walking motion with his fingers on the arm rail like he was doing a victory lap lol. - he also did a line read in a way i have NEVER HEARD BEFORE: he read "oh, it's about me" in an "oh no, this is embarrassing" way instead of the "this kid is stupid" way most people do it.

set/blocking/misc stuff: - i really do think this show is best on Broadway because of the turntable and the circle trapdoor. the way that they use it is so smart and effective. commented on this last time but Chant (Reprise) is so good because of how they use the turntable to put Orpheus, Hades, and Persephone against each other. the ending is also better with the trapdoor. - being on the floor this time meant I couldn't see where the trapdoor was in terms of height when they used it, which actually helped with immersion haha. when Hades and Persephone leave after Way Down, the workers look at the floor where they disappeared in awe, and even though logically I know the turntable probably came back up already you picture a giant hole in the earth. - broadway set also rules because of the scale it has, so when it splits apart in Wait For Me it feels earth-shatteringly cool. - was glad to see the acoustic guitar again. on tour they give Orpheus an electric guitar because they're going to theaters that are too big to mic an acoustic one for i guess? but the acoustic guitar looks better and fits more with the tone of the show IMO. happy to see it. - i actually think Epic III was my favorite song this time. it is so beautiful when everyone comes together, it just feels magical.

[rndyounghowze]

At Least the Butler Didn't Do it in Little Egg Theatre Company's "And Then There Were None"

By Ricky and Dana Young-Howze

Little Egg Harbor, NJ

No one made it out alive at the Edward Thornton Community Center at Little Egg Theatre Company's production of "And Then There Were None" by Agatha Christie. This three act play was directed by Tara Dixon and brought an all volunteer cast and crew together to give us the chills!

Ten strangers are invited to a private island by a mysterious owner under false pretenses. It soon turns out that his reason for inviting them might have been quite sinister. Will they get off the island before they're all dead? How will it end? Well that dear audience is up to you! After the first act you get to choose from two endings that you will vote on. You're in control over how everything gets wrapped up in the end.

It's kind of bad for review business when a play is so good that you are watching it more than you are writing the review. Direction by Tara Dixon took one of the two best tenants of a murder mystery to heart: direct our attention and stay ahead of us. I found myself unable to look away and just the moment I thought I had it figured out I found out I was dead wrong!

I thought that Rogers (played by Ricky Franco) was holding out on me until he got alone with Mrs. Rogers and loosened up. Then I realized that he’s playing a character who’s also putting on airs. I love being pleasantly surprised by a good actor who’s letting things unfold for me.

I really think Mrs. Rogers (played by Adelle Conroy) shone in her hysterics. I don't know why but it's hard to play the help in a murder mystery. I admire her willingness to take on the challenge.

Jim Henry (played by Fred Narracott) was on for so short an amount of time I was just waiting for him to pop up with an axe and be the killer. Maybe it's good acting or just clever misdirection but I felt his presence even after he was gone.

I can tell really good actors by looking at their eyes. And looking at Christine Danelson I could see her trying to think Vera Claythorne’s thoughts and look just where she would look. If she’s not a RSC trained actress and she did this so well by accident she should keep that as her little secret. Dana really appreciated the laugh cry that gave her the chills in act two.

The very first show that I ever reviewed had Cormac Morrissey playing a small role. That was 48 reviews ago and I’ve missed him ever since. His take on Lombard was as smooth as a 12 year old Scotch. I’m so glad that he invited me to come down. I wish I saw him on some other South Jersey stages.

In his short time onstage I would have loved to see Marston (played by Richard Engebretsen) rein it in a bit and trust his character. He’s one of the only actors that I could see “acting" onstage. But still you gotta like someone trying hard enough they have some energy to rein in. It's a director's dream!

I don’t know if Blore (played by Rick Mellerup) is played by someone who has that natural boisterous energy or if he’s just that good putting that energy out there. Either way a very memorable performance.

General McKensie (played by Ken Shirak) played unhinged very very well. He really surprised me in a good way.

It’s really hard to act when you have to have such a stick up your butt right before you get onstage like Emily Brent (played by Janet Wolf) does. I like that she found parts of the script she could latch onto and really bit into them to take us for a ride.

I loved Lawrence Wargrave's (played by A Grey Le Cuyer) take charge attitude and commanding demeanor onstage. He's one of the driving forces of the show and I'm glad that they put one of the strongest actors in the role. Dana liked how used his full range for such a demanding role. He should join Cormac and some other stellar co stars and take this talent on the road.

The only thing that I’d wish from Dr. Armstrong (played by Chuck Deeney) is a bit more volume otherwise I loved seeing the work he did with his callow demeanor and how he set himself apart from the other loud and boisterously actors.

The Voice (played by Kevin Berdini) had just the right balance of creepy and informative. Who doesn't love and ominous voice in a murder mystery?

I want to give a big shout out to the incredible set which is the most intricate and detailed we've seen in such a stark space! This is just a big empty community center during the day and they literally transform it into a stage. They were just loading this in just a week ago. As someone who's had to put some interesting sets in all manner of places I want to assure you that these people are either really good at what they do or are as crazy as a loon. I hope it's the first one.

Scenic Artistry by Donna M. George The sky was actually very complex and depending how it was lit was either a clear blue sky or a dreary cloudy day.

A big shout-out to lighting and sound by Trish O’Niell, Al O’Niell, and Alexandre Lecuyer! Dana had a bit of a question about the choice to use the blue light in act two to suggest night time. She would have rather been able to see than be struggling to make things out. I also believe that investing in some down lighting in the future would be great down the line. It would create a more professional aesthetic and eliminate shadows. I'm only saying this because I think they're so ready to take it up another notch!

It’s very hard to get people to understand the need for dedicated playhouses in this country. Musicals are great but there’s something that just entrances me about a nice well made play. It’s great to see a group of people who come together to make these huge undertakings happen every show. You hear “It’s the teamwork that makes the dreamwork” but it’s not until you see one of these small theatre companies bringing their shows to life with their own blood sweat and tears that the saying really hits you.

You need to come see this play. At least twice so you have a chance to see both endings. It's well worth the schlep up Route 9 for us! And free coffee is a big plus!

[ranting-24-7]

“How to Write a 10-Minute Play

If you're new to playwriting and want to practice playwriting, there is no better way than to learn how to write a 10-minute play. Not only is the piece short and sweet, but it makes it easy to practice over and over without wasting time. You can feel free to make errors, write dumb lines of dialogue, and tell a story that makes no sense all at the cost of 10 pages or so. (If that seems like a lot to you, remember that play pages are much shorter than fiction pages.)

how-to-write-a-10-minute-play.png

For those who are new to theater, a 10-minute play is a short story that lasts no more than 10 minutes long. It usually is a vignette in a series of plays at a festival or competition and offers a great way to practice writing for theater. Below, you'll learn how to write a 10-minute play and tips for starting out.

Requirements Of A 10-Minute Play

STICK TO 10-MINUTES

This is a fairly simple rule to understand, but when you're writing a 10-minute play, you actually must stick to the 10 minutes allotted to you. You wouldn't ignore a word count rule for a short story, so neither should you ignore a time limit for a play.

As a writer, the timing is somewhat beyond your control if you are not also directing your piece, as the speed at which lines are said can change the pace of your story. However, to make sure you're on target when writing, be sure to read each draft out loud with a timer on hand.

(I mean it. Your story really has to be 10-minutes long if you want to have a chance anywhere!)

CREATE A STORY WITH AN ARC

It might seem obvious that you should write a story with an arc of some sort, but often what can happen in 10-minute plays is that you'll end up writing a sketch instead of play. While the difference is minute, a sketch tends to be working towards a punchline, even in dramatic instances, whereas a play has an arc to either the story or character.

Often a play can have something similar to a punchline called the climax, but that isn't what the story is completely working towards. Instead, the climax just marks the apex of the story, not what the story has been working towards. The action following the climax is equally as important to understanding the story, whereas in a sketch, the punchline is the end of the narrative.

Additionally, in sketches, there is no character development or purpose to the story besides the punchline. For a play, even characters do not change, there is a realization or arc to the narrative beyond this final point.

How To Write A 10-Minute Play

When writing a 10-minute play, any method can be used to brainstorm the standard parts of any story, such as the character, world, and so forth. For best results, focus your brainstorm for a 10-minute play on the same things you would for a short story.

Whether you do these things before you begin writing your play or after, is up to your short story writing approach. However you do it though, you'll want to stick to the following how-to:

1. ASK A QUESTION

According to Sam Graber, every 10-minute play should ask a question. This truly goes for any play in my opinion, but it is something to keep in mind when writing a 10-minute play as it helps you avoid writing a sketch.

Your play can ask any sort of question. It can be a simple one, such as "What would happen if someone found their true love two months before their death?" to something more ambiguous like "Is loyalty good?"

Whatever you ask, make this the thesis of your play. It will give your play purpose, keep your story focused, and reveal many other important things like your story's theme and motifs.

2. DEVELOP YOUR CHARACTER, CONFLICT, AND SETTING.

This isn't new information. For any story you write, you'll have to develop these things. After you've asked the main question of your 10-minute play, you'll want to flesh out character, setting, and the conflict that derives from your question.

For theater, character is extremely important as the entire is communicated by people. There isn't a camera for editing, language for someone to read and process, but raw human connection between the actors and the audience.

Because of this, you'll really want to focus on character first and foremost. Develop at least one complex character to intrigue your audience, then if you get stuck, movie on to the conflict that is rooted in your story. After developing that, you can then focus on setting, but know that given the constraints of theater, setting is often attributed to the imagination of the actors and audience, so fleshing out minute details for a 10-minute play may only be helpful for your own brainstorming.

3. SKIP EXPOSITION

As we've emphasized, you only have 10 minutes—and not a second more—in your 10-minute play. Given this time constraint, you'll need to skip exposition of any kind to get to the center of your story. While you may be tempted to slip it in with a few lines of dialogue, it really isn't worth the time you'll lose. When you could be pushing the narrative forward, you'll be wasting precious seconds talking about something that the audience likely doesn't need to know.

Keep in mind that in short fiction and even short films, exposition often makes up a few sentences or paragraphs, or the opening shot. But in short fiction, the reader dictates the pace of the story, so there is room for creative exposition and a slower narrative. For short films, you should stray away from exposition, but occasionally films may introduce them because they aren't in time crunch.

But in a 10-minute play, you are bound to that time limit. While many short films would be better without exposition, you really cannot afford in a 10-minute play to waste any time on exposition. If you feel that exposition is necessary in any way, then you may have a full-length play instead of a 10-minute one. In which case, this guide is no longer of use to your narrative.

4. INTRODUCE THE CONFLICT QUICKLY

Just because you skip the exposition, doesn't mean you should take your time introducing the conflict. Introduce the conflict as soon as possible so the audience knows why they're following your story right away.

You don't have to introduce it in the first line of dialogue, but ideally in the first minute of the page, the second minute at the latest. Even if you have a more subtle conflict that audience members can't pick up on right away, it's still essential that you introduce the conflict as soon as possible. It's a part of answering the question you asked before you began writing, which brings me to...

5. USE THE PLAY TO ANSWER THE QUESTION YOU ASKED

Your entire play should work to answer the question you asked before you even started your script. This could mean a resounding climax for some stories, or it could mean something more subtle and haunting. Whatever it is, every page, every line, every movement of your play should seek to somehow answer the question you asked at the beginning.

When editing future drafts, look at each part and ask yourself how the piece answers the question. If it doesn't answer the question, rewrite it so that it does or scrap it all together. With only 10 minutes, every single part of your story must answer the question you asked when you began this play.

Tips For Writing A 10-Minute Play

GET CREATIVE AND TAKE RISKS

One of the most exciting parts of writing a 10-minute play is the experimentation you can easily incorporate into your story. It can be in a draft, or in the piece itself, but given that you have such a short time, you can really get creative and take risks without wasting tons of time.

So, if it's your first time writing a 10-minute play, don't stress about getting things right, but instead, let your imagination take over and do things you usually wouldn't think to do. The worst that can happen is you'll have to rewrite the piece, and that will only consist of 10-15 pages.

CUT OUT EXTRANEOUS DETAILS

It's called a 10-minute play. Unlike a short story, there is an actual time limit to this piece, so cut out anything that isn't relevant to your story. This could be a side character, a scene, or a line of dialogue. Once you've written your script, look at it with a critical eye and treat every detail of your story like a choice. Ask yourself if it answers your main question you posited at the beginning of this post, and if it doesn't, cut it out.

USE ACTION TO ADD DEPTH

Avoid telling the entire story with dialogue alone. You have living, breathing people on stage who can use their bodies, their movement, their expressions to tell even more. Make your story more efficient and jam-pack it with more information by adding in action that signals deeper meanings.

MAKE SURE YOUR IDEA IS MEANT FOR A 10-MINUTE PLAY

This is a big problem you'll find in short stories of all types, be it film, fiction, or playwriting. You think you have a great idea for a short story, and then suddenly realize you've tried to cram a three-act story into a short story.

It doesn't work.

If you are running into continuous issues with your 10-minute play, it may be worth evaluating whether your story is for a short play or a full-length play. If you aren't sure, take a look at what makes a short story (be it fiction, film, or so forth) different.”

[rndyounghowze]

Triple Threat Workshop Goes Down Home with Bright Star at the Landis Theatre in Vineland, NJ

By Ricky and Dana Young-Howze

Very rarely do I see a show that's as crisp as a summer apple and as cool as clear spring water but I got it last night with Bright Star at the Landis Theatre. This musical with music, book and story by banjo legend Steve Martin and Edie Brickell was directed by John T. Stephan and Caitlin Geisser and really is a must see.

Follow a country ballad based on heartbreak and woe as you hear the story of April Lindley, a magazine editor in the 40's who is serious and makes writers shake in their boots. But then one day a new writer comes across her desk and she just can't place why he intrigues her. What follows is her journey through the past to weave a story of love, loss, betrayal, and reunion. Bring your tissues because if you haven't had a good cry in a while you're about due for an appointment with this tear jerker.

So when the lights come up you see a bare stage with actors surrounding the stage adorned with a desolate set and props. You can even see the bare walls of the stage in the back. The desolate staging is just as desolate as the play. I don't know how to say it better but it looks like a dramatic grenade went off in the beginning and everyone on there is just human shrapnel.

Now they say too many cooks spoil the soup but direction by Caitlin Geisser and John T. Stephen seem to have a synergy going with this one. They also say that a director that casts themself in a play has just been cast by an idiot director but I actually enjoyed Geisser's performance. Stephan's choreography is always on pointe but I feel like the ambitious staging got in the way of the choreography with scenes getting too crowded to make the picture "print" in my head. Dana was begging for just one moment of emptiness on stage and I agree that a the loss of about six ensemble members in emotionally gripping scenes would not have been horrible.

We're only being tougher on them because we love them and they always give a polished and professional performance. They are always so close to perfect it kills me. All in all they crafted a show together that really...what's the word...soothed me. I've seen too many shows with big orchestras, huge special effects, and the works. This was like a glass of cool water.

Okay a few notes from this show that only a Southern boy from TN can give. Please imagine me saying this in my former southern accent. Thank you for not including a live orchestra. I'm a banjo snob and would have been critiquing clawhammer technique more than the show. The cast made a valiant attempt at a southern accent and while it did "drop" me into the setting of the show I would have forgiven them for dropping it sometimes in order to sing clearly. Also I've been all over North Carolina and never met a snazzier group of people or cleaner set. It needs more dirt and soot to make it authentic. Y'all wuz purtier den the purtiest peach that ever wuz grown.

Okay there were so many good actors in this show I had to add an extra to each of my categories!

April Lindley (played by Alice Murphy) had the hardest job. She had to carry the plot in two different time periods and be effectively two different people in each time period while still letting the audience know they were the same person.

It was hard to find anything to say about Jimmy Ray Dobbs (played by Andrew Jarema) because I've seen him many times before and he always delivers a solid performance. I was desperately trying not to say something like "he's good but that's Andrew for you" but we'll there I said it. A great performance from a great actor and he does look a little bit like Rich Curcio's son so now I'll never be able to get that out of my head.

Billy Cane (played by Dakota Mullins) seemed a bit stiff at first and I didn't know if it was opening night energy or a character choice. By the time he had gotten to the Southern Journal he had loosened up a bit and I could really get into his performance.

I have one thing to say about Margo Crawford (played by Alexa St. Clair) and that is more stage time please! She was so funny and clean in her performance. I couldn't ask for more from a Broadway Starlet!

Like I said I had three supporting standouts. There were just so many to choose from.

Darryl Ames (played by Dylan Glick) made me guffaw so much! I never saw a character more happy to be the bearer of bad news and Glick delivers it in style.

Dana had to actually point out that the dry speaking buttoned up assistant to the mayor was actually one of our favorites Jason Smith. I honestly couldn't recognize him and his acting was so good I still swear it wasn't him. Kudos Jason for blending in so well...if it was really you.

Shannon Sheridan who played Momma Murphy was really a favorite of Dana's. She had such a quick and smooth delivery and I could tell that she had some serious acting chops.

And of course here are my background shoutouts.

Whenever I'm watching a play in Cumberland County I kinda just look around and see what John Rattacasa is doing. He's kind of like a lucky charm in actor form. And then there's nothing like catching him belting in the moment. He really brings the noise!

A big shout-out to my favorite twins Amanda Ellis and Julianna Giordano! Glad to see them cutting a rug in style!

I have to give a nod to music direction by Shannon Sheridan for getting our cast to deliver one rip snorter of a time. Makes me wish I had my banjo or a set of spoons handy to scrub one off with them like we were on Grandpa's back porch.

Also costume design by Sheridan was right out of a Norman Rockwell painting. I could have wished for a little dirt or fatiguing on stuff that was supposed to be dirty but that's just me being picky.

I swear that set design by Martin Geisser recreated the skeletal clapboard ruins you see all over the trainline from DC to Winston-Salem. I was a little worried when I saw the main rolling set piece wobble as it was moved. It may not look good sometimes but extra bracing for the safety of the actors can never be skimped on. Otherwise this was one of the greater sets I've seen.

There was a lot of intricate sound in this show so sound design by Stephen Seserko was really appreciated. The best sound design is the one you notice without noticing and I think he hovered really closely to that mark. Good job!

Well I'm kinda tired of saying that John Rattacasa is the best wig and makeup man in New Jersey. I'm tired of saying it but it doesn't look like he's going to stop anytime soon. So I still have to. If there's a set of Rattacasa locks on those heads they're the best in South Jersey.

All in all this little show was a delight to my old southern ears. And what I love about a Cumberland County show is that they keep everything just as down home as this play. When I get here there's always someone to hug me and Dana's neck and if they held an ice cream social out back after every show I wouldn't be surprised. When Dana and I are in Cumberland we feel like we're amongst family but that family is giving you a killer professional show that rivals Philly or the rest of Jersey. That's just the Cumberland way. This show runs twice more. Get on out there and meet your new family!