“Becomes a Woman” Brings a Hidden Gem to Life

Posted on March 9, 2023 by Karen Nowosad

Emma Pfitzer Price in Becomes A Woman by Betty Smith. Photo Credit Todd Cerveris

In the circle of the arts, hearing the name Betty Smith usually brings the book A Tree Grows in Brooklyn to mind. This classic novel captures the life story of Francie Nolan’s coming of age as a woman in working class Brooklyn in the early 1900’s. However, Smith had another part of her writing life that is seldom mentioned. That part is her keen interest in play writing and the theater.

The Mint Theater Company provides a World Premiere of one of their most exciting discoveries ever which is this unpublished and unproduced play by Betty Smith. Smith’s 1930 never-before-seen drama, Becomes a Woman, runs at NYC City Center through March 18th only. Perhaps by coincidence or design, the main character of this play is also named Francie Nolan. Although there could be some comparisons made between the two characters, this one displays a strong desire for social climbing as she is embarrassed with her family and her working class situation.

This need for Francie to climb socially sets the entire action of the play in motion. And with, comes a group of characters who either help her or hurt her in the quest. However, the quest ends when Francie realizes she has obligations that are important to her. Her final decisions end the play on a rather high note in terms of character development.

The Story Focuses on Characters in Becomes a Woman

The play is divided into three acts. Each act features new characters in addition to Francie Nolan (Emma Pfitzer Price).

Act 1

The set for the first act shows the Kress Department store where Francie is employed. High marks go to Vicki Davis for her set design which includes a variety of color on the selected items. The part of the set where the sheet music is displayed is especially enjoyable to see.

Becomes a Woman is the story of Francie, a 19-year-old living with her family in Brooklyn and working at a five and dime store as a singer at the sheet music counter. Her co-workers describe her as “afraid of her family, afraid of the boss, afraid to make a date.” Co-worker Florry (Pearl Rhien) plays the piano as Francie sings. The music is enjoyable to hear and adds a delightful touch to the show. Credit goes to Emma Weiss, Music Director.

Pearl Rhein an Emma Pfitzer Price in Becomes A Woman by Betty Smith. Photo Credit Todd Cerveris

Florrie talks to Francie about the need to find a man and she has a number of opportunities which she turns down. That is until Leonard Kress Jr. (Peterson Townsend) appears. As the son of the owner of the store, Lenny brings with him the status that Francie desires especially as he gives her a salary raise. She accepts a date with him.

Peterson Townsend and Emma Pfitzer Price in Becomes A Woman by Betty Smith. Photo Credit Todd Cerveris

Credit to the writer, Betty Smith, for her initial depictions of these characters. They hold many changes in store but they don’t show here.

Act 2

The set for this act is the Nolan home in the kitchen. The family is preparing for a visit from Leonard Kress Jr. to meet Francie’s father, Pa Nolan (Jeb Brown), Ma Nolan (Antonette LaVecchia) and brothers Frankie (Tim Webb) and Johnny (Jack Mastrianni). Francie is tense, concerned that the working class kitchen is not good enough for Leonard. She worries if he sees how they live, he will not like her.

Jeb Brown and Antoinette LaVecchia in Becomes A Woman by Betty Smith. Photo Credit Todd Cerveris

Some of the most impressive dialog of the play is in this act. Lines dissecting the education of the brothers and Francie show the low value education has in the household that Francie has exaggerated to Leonard. Pa Nolan is a police officer for New York City and he provides some colorful conversation which is also embarrassing to Francie.

But the big news is when Francie tells the family that Lenny is going to marry her very soon. He looks distressed as she tells the news and especially when the family learns she is pregnant. Lenny did not expect all of this news to be announced. Her parents are furious and they throw her out of the house. The lack of conviction of his character appears.

One person comes forward to help Francie and that is Tessie (Gina Daniels).

Gina Daniels and Emma Pfitzer Price in Becomes A Woman by Betty Smith. Photo Credit Todd Cerveris

Without a doubt, Tessie is one of the most genuine and admirable characters in the play. She had also been pregnant and not married at one time. However, she lost her baby. She also works at the Kress Department Store with Francie and Florry so she understands the situations going on. Tessie helps Francie move forward.

Act 3

The final act also takes place in the Nolan kitchen, however, the family has moved out leaving Francie and Tessie there on their own. Francie and Leonard are not together as the baby is born. Arriving one day to try to settle the problems comes Leonard Kress Sr. (Duane Boutte).

Duane Boutte and Emma Pfitzer Price in Becomes A Woman by Betty Smith. Photo Credit Todd Cerveris

The scene with Leonard Kress Sr. and Francie is one of the most interesting in the show. Mr. Kress has respectability on his mind. The changes in Francie display as she realizes what she must do for her child.

The Ending

The ending to the story needs to be seen as some will find it unexpected and others will say they saw it coming all along. It depends upon your viewpoint.

No matter what, seeing Becomes a Woman is a good production; one that will remind you of how enjoyable going to see a play can be. The Mint Theater Company’s staging of the play deserves recognition for bringing a woman’s work back to the public eye. The venue provides an intimate atmosphere allowing the audience to feel a part of the action taking place.

Tickets for Becomes a Woman

Tickets are on sale now, start at $38 (including $3 facility fee) and may be purchased online at https://www.nycitycenter.org/events-tickets, by calling 212/581-1212, or in person at the New York City Center box office located at 131 West 55th Street (between 6th & 7th Avenues). Phone and online orders incur an additional $7 handling fee.

Performance Schedule

Performances are Tuesday through Saturday evenings at 7:30pm, with matinees Wednesdays, Saturdays and Sundays at 2:30pm.  Please note: no evening performances on February 28th, March 1st, 8th, and 28th. 

NEW COVID PROTOCOLS:  Masks are required for Tuesday evening and Sunday matinee performances. At all other performances, masks are optional but strongly encouraged.

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‘Joy’ the Musical that Inspires as it Entertains

Posted on December 26, 2022 by Karen Nowosad
(L to R) Pomme Koch; John Hickok; Erika Henningsen; Brian Shepard (Top);R Ryan Duncan (Bottom); Badia Farha and Justin Gregory Lopez in JOY at George Street Playhouse. Photo by T. Charles Erickson.

A new show called Joy is a musical enjoying a premiere run at George Street Playhouse. The show is about Joy Mangano, known to the world as an entrepreneur who invented the Miracle Mop. Although she continues to be a major success, it was a rough road getting there. With a book by Ken Davenport, Mangano’s inspiring story unfolds through good storytelling, an original score and a fine cast.

Casey Hushion directs the show . It is well paced as it moves through the ups and downs of Joy’s life. A critical part of the story is seeing all the times Mangano could have pulled back because of segments of society that were not yet ready to deal with a woman of her talents. The roadblocks were real and things that women of that time period had to deal with. The recognition of what she could do is what allowed her to preserve. Much of that inertia was because she wanted to provide a good life for her family. And the support she received from them increases as the story is told leading to a very satisfying ending.

Outstanding is the music written and performed for this show. AnnMarie Milazzo’s music and lyrics tell the story with a musicality that is very enjoyable to hear. A good sized ensemble cast uses choreography by Joshua Bergasse. Musical supervision is by Andy Einhorn and Orchestrations by John Clancy.  

Bear in mind that this is a first run for this show; so there are some kinks that need to be worked out. But they are few and far between and they don’t interfere with entertaining the audience and giving a sense of inspiration which is perfect for this holiday season.

There are some concepts and moments in the show that are particularly relevant to the impact the show makes. The following is a summary of those moments.

A Time When Women’s Expected Talents were with Housekeeping

The show opens showing Joy as a young girl (Olivia Jones). The first hints of her mechanical ability are seen as she holds up something she made. Not much attention is paid to the item and we don’t learn what it is until later in the show.

The scene changes to her as a wife and mother living in a house with her mother, Toots (Vicki Lewis), daughter, Christie (Sami Bray) and husband, Tony (Trent Saunders). The two are in the midst of a divorce so Tony stays in the basement. It appears that her mother is housebound and Tony, a musician, is having difficulty making a living. So it all falls onto Joy’s shoulder.

Erika Henningsen plays the role of Joy Mangano. She creates a character that the audience can admire and root for. Henningsen’s singing is extraordinary as she brings meaning to the struggle she is working through. Click on the video shown here for an example of how powerful her voice is as she recognizes the struggle she has ahead of her in the song “Change Forever.”

https://youtu.be/4V3Svtk5Eq8

Enter QVC

After receiving her pink slip from her job, Joy realizes she has a good idea as a way to make money for her family. She has a design for a mop that will be different from the traditional one. This departure from a traditional woman’s role to one of an inventor is one she has to prove. So with her own savings and investments from family and friends, she makes a prototype of the mop and manages to get some made for sale. Enter her father, Rudy (Stephen DeRosa). Rudy has a connection with a cowboy in Texas who develops the mold for the mop and production proceeds.

QVC was in its early years when Mangano’s Miracle Mop became a huge seller. The first time out on the air, it did not do well. But after QVC allowed her to go on and give a realistic sales presentation, the product sold out within a half hour. The song “We Sell Stories” is spot on for explaining the process of presenting items to the public.

Erika Henningsen in JOY at George Street Playhouse. Photo by T. Charles Erickson.

QVC’s executives look and act like an old boys’ club as they speak with Joy. There is one woman, Ronni (Badia Farha), who has an active role in the process as she performs administrative duties. Eventually, it is a happy time when she takes on the role of a marketing person with Joy’s account.

The set designs are impressive on the QVC scenes especially when the audience witnesses the boards displaying the number of sales increasing while Joy is demonstrating how to use the mop. The QVC scenes also show a major organization giving good promotion to women whose talents are now getting recognition.

The Cowboy Tries to Scam Joy

While QVC provides excitement and success for Joy, the opposite is true with the Texas cowboy. Through some mismanagement by her father, the production mold needed to make the Miracle Mop ends up belonging to him, not Joy. In order to be able to continue with her product, Joy must find a way to recover the ownership. She flies to Texas to speak with the cowboy.

The scenes with Cowboy Eddie (John Hickock) provide some of the most pointed looks at the attitudes of chauvinist men of the time. One of the most outstanding songs of the show demonstrates their audacity when they sing “Little Lady.” All seems lost. Therefore, the scene in the courtroom seem hopeless until the unexpected decision of the judge is passed down. And the audience cheered!

Final Thoughts about Joy the Musical

The holidays are a great time to take in a live show. This one is conveniently located in New Brunswick at the gorgeous New Brunswick Performing Arts Center. Parking is convenient and good restaurants are available for meals or a light bite to eat.

George Street Playhouse continues to do an outstanding job in selecting and presenting new works. This show has the potential for moving to other theaters from here. Go see it now and see what all the excitement is about.

Performances and Tickets for Joy

Performances begin December 7th and continue through December 30th.  Tickets are on sale through the George Street Playhouse website.

For subscriptions and group discounts information visit www.GeorgeStreetPlayhouse.org or call 732-246-7717. 

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‘Twelfth Night’ Shines Brightly at Shakespeare Theatre of New Jersey

Posted on December 11, 2022 by Karen Nowosad
Patrick Toon, Cedric Lamar, and Jeffrey Bender in a scene from Twelfth Night at Shakespeare Theatre of NJ Photo by Sarah Haley

You can always count on The Shakespeare Theatre of New Jersey to deliver an exceptional production for the December Holiday Season. This year is no exception as they present one of Shakespeare’s comedies, Twelfth Night. The play provides a delightful visit to the theater as a strong acting ensemble provides many funny scenes, some touching moments, and original music using Shakespeare’s own words.

The show has several themes, but the ones that stand out are about family. The Director of the production, Jason King Jones, puts it well in his Notes:

One of the many themes at play in Twelfth Night is family: the family we hold dear, the family we have lost, the family we are sometimes embarrassed to have, and the family we have yet to create. . . . Family makes us do strange things.

Jason King Jones

Stories Told in the Twelfth Night

The main action centers around the love Duke Orsino (Jon Barker) has for Countess Olivia (Billie Wyatt). However, she is not in a good frame of mind due to her brother’s death. More aspects of the story occur when a shipwreck and a noblewoman, Viola (Eliana Rowe) washes ashore. She believes her twin brother, Sebastian, (Jeffrey Marc Alkins) was drown in the shipwreck. Having no one to protect her, and no money to use, Viola disguises herself as a man. She eventually agrees to work for the Duke and becomes his person who speaks to Olivia in an attempt to woo her for the Duke.

In good Shakespearean fashion, Viola’s hidden identity is never noticed and Olivia begins to feel an attraction for the Viola – not as a woman, but as a man. This new love interest throws Olivia’s household into a tailspin. Enter Malvolio (Robert Cuccioli), a strait laced, strict man who tries to find out what is going on. He comes upon Olivia’s fun loving uncle, Sir Toby Belch (Jeffrey M. Bender), and Sir Andrew Aguecheek (Patrick Toon) who live it up all the time. These characters bring in many moments of laughter in the show and they stir up mischief that leads to other things coming out.

Toby and Andrew and other members of the household put together a made up story in a letter and leave it so that Malvolio finds it. Upon reading it, he thinks Olivia has fallen in love with him. In a very humorous scene, he acts upon the recommendations in the letter and dresses in yellow cross-gartered stockings and smiles continuously at Olivia.

Robert Cuccioli in Twelfth Night – Photo by Sarah Haley

The Pieces Come Together

There are more things that happen with the love interests and with the comic portions. However, one of the most interesting scenes occurs when Sebastian enters and
everyone is amazed to see the twins side-by-side at last. Dressed in identical clothing, the production showcases this revelation very well. In fact, from an audience view, it does indeed look like the two actors could be brother and sister. Most of the players end up happy in the end and in keeping with the spirit of the play, all is well that ends well.

However, the success of this show is due to the excellent acting that all the players turn in. From the comedy portions, to the more sensitive family issues, each actor plays a role that is important to the best telling of the tale and to the enjoyment audience members will have.

Music

Adding to the festive feel of the season is the inclusion of contemporary tunes. Shakespeare’s words are used as the lyrics but the music is composed by Cedric Lamar. Mr. Lamar plays a role in the show along with playing the songs and singing the lyrics. This is a nice way to bring the feel of a holiday play into the action of the play and yet stay true to the script written by Shakespeare himself.

Tickets for Twelfth Night

For more information or to purchase tickets, patrons can call the Box Office at 973-408-5600 or visit ShakespeareNJ.org .

The Theatre offers various cost-saving opportunities:

  • $15 student rush tickets, which are available 30 minutes prior to each performance, with a valid student ID.
  • A limited number of Pay What You Can tickets for every performance on a first-come, first-serve basis.
  • $30 Under 30 ticket option, which offers $30 tickets for patrons age 30 and under, with valid ID.
  • Other discounts are available including a 10% discount for Bank of America customers and employees, members of television’s THIRTEEN, AAA members, and others. 

Special Performances

For the same price as a regular ticket, the Symposium Series performances offer a post-show discussion with the cast and artistic staff. For Twelfth Night, Symposium performances will be held on Tuesday, December 13 at 7:30 PM and Saturday, December 17at 2:00 PM.

The Know-the-Show pre-show talks are offered free of cost with the purchase of a performance ticket. Prior to the Thursday, December 15th performance, at 7:00 PM, there will be a pre-show discussion for interested patrons. The performance that night follows at 8:00 PM.

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