Cast of ‘Come From Away’ Honors with a Day of Service

Photo by KM Nowosad of Let’s Go to the Theater

The Broadway show Come from Away made a tremendous impact on me when I saw it back in March. The show is about the way the people who were on planes that day were rerouted to Newfoundland. Once there, they were cared for by the residents of Gander. It is a loving portrayal of how people care for each other during difficult times.

Today, on the anniversary of the 9/11 attacks, the cast will join others in a Day of Service. They will perform a song from the show, “Prayer,” on the Intrepid Sea, Air and Space Museum.  Then they will work with others to assemble 500,000 meals to be distributed to individuals in need in the NYC area as well as provide supplies to those affected by Hurricane Harvey in the Houston and surrounding areas.

Thank you to the cast of Come from Away for your service.

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Premiere Stages Does a Fine Job with ‘Foster Mom’

Stori Ayers as Sophie (l)and Ariel Woodiwiss as Leslie (r) in the ‘Foster Mom’ by Chris Cragin-Day. Photo by Mike Peters.

The Premiere Stages at Kean University opened a new show last week. Foster Mom, by Chris Cragin-Day is now playing through Sept. 24. Foster Mom won the 2017 Premiere Stages Play Festival. After seeing this show on Thursday night, it is no surprise that it was selected as the winner over 400 other selections. The play is well thought out with careful development of plot and characters. The dialog is well paced and interesting to listen. Additionally, it addresses several universal topis and relates them to current times.

Foster Mom focuses on the story of Leslie, a 39ish year-old single, white woman raised in a comfortable suburban neighborhood. She is a poet who recognizes the need to keep her day job as a freelance corporate writer to comfortably support herself. She has reached a point in her life where she realizes she might not marry but still wants to have a child. This leads her to the New Jersey system of Foster Care for children on the path of potential adoption. But as her case worker points out during the qualification meeting, she needs to understand something about these children. Most likely they have lived difficult lives that include abuse and neglect. Is she up to the task of being a mother to such a child? Can she understand what will be asked of her?

Kurt Uy as Josh and Kate Kearney-Patch as Sarah. Photo by Mike Peters.

As she grapples with this information and that question, we meet her mother who is recently widowed. Not aware of Leslie’s plans to adopt, Mom spots an opportunity to set up her daughter with her newly hired computer technician, Josh. Josh is of Asian descent, he owns his own business, and mom likes what she sees as a potential son-in-law.

As the story continues, Leslie learns more about herself, her mother, and Josh. This is accomplished through some very well written dialogue. But what gives a special flair to this play is the way that the playwright combines modern issues women face along with more traditional ones. For example, Leslie will have to find a way to earn a good living and take care of a child. This isn’t something new but the aspect of working from home like she does brings it to a more modern time.

Another issue is about relationships between men and women who meet later in life. This brings up questions about having children and if a child is already with one of the persons in the relationship.  Also examined is the mother-daughter relationship. The mother has just lost her husband so her life changes. It causes her and the daughter to have to examine how things are working out between them and whether the mother is willing to accept an adopted child into her life.

Direction and Cast

Foster Mom deals with a lot of issues. However, under the direction of Kel Haney, it moves along very smoothly with characters who are very likeable.

Ariel Woodwiss does a fine job of bringing the lead character, Leslie, to life. Her mannerisms and reactions are so spot on that the situations she is dealing with are very believable. Stori Ayers plays the social worker, Sophie. She gives information to Leslie about the foster care system. But the most poignant moment between the two women occurs when Sophie tells Leslie her own background and why she does the work she does.

Kate Kearney-Patch plays Leslie’s mother, Sarah. She adds the right mix of motherly concern and humor to create a character who is herself still evolving but wanting to make sure her daughter does the right thing. Kurt Uy plays Josh. As Leslie’s love interest, he holds back just enough to help the audience understand more about how difficult adult romances can be. It would not be fair to tell what he does at the end of the show, but it certainly went over well with the audience at the performance last week.

The set has a very pleasant and functional design to it. One side represents Leslie’s house and the other is the mother’s house. By keeping them both showing on the stage at the same time, one can see the contrasts between the two generations but a warmth that brings them together.

It is a pleasure to see the fine writing Chris Cragin-Day does in Foster Mom. This show is highly recommended for audiences to see while it is here at the Premiere Stages.

About the Show

Foster Mom runs September 7-24 in the Zella Fry Theatre on the Kean University main campus in Union, N.J.

Performances take place Thursdays and Fridays at 8:00 pm, Saturdays at 3:00 pm and 8:00 pm, and Sundays at 3:00 pm.

Tickets are $30 standard, $20 for senior citizens and Kean alumni, and $15 for students and patrons with disabilities. Significant discounts for groups of 8 or more apply. To make reservations or to order a season brochure, please call the box office at 908-737-7469 or visit Premiere Stages online at www.premierestagesatkean.com.

Premiere Stages’ 2017 Talk-Back Series, offers free post-show discussions with community leaders and local experts after select matinee performances (September 9, 10, 17 and 23 at 3:00 pm). Featured speakers include Meghan M. Walbert, author of Phase Three of Life (Saturday, September 9); Ms. Cragin-Day (Sunday, September 10); Celines Garcia and Lynn Patmalnee of Foster and Adoptive Family Services (Sunday, September 17); and Elizabeth Williams-Riley and Gloria McDonald of the American Conference on Diversity (Saturday, September 23).

Premiere will also offer a series of informal pre-show talks every Saturday evening 30 minutes prior to performance in the lobby of the theatre.

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‘The Suitcase Under the Bed’ – A Versatile Program of Four Short Plays

Now playing through September 30, 2017 is the Mint Theater’s production of The Suitcase Under the Bed.   The program consists of four short plays written by Teresa Deevy. The careful consideration given by Mint Theater to this program provides a remarkable evening of theater for those who come to see it. Perhaps the best way to summarize the success of this production is in the words of the playwright herself who said “suspense, surprise, inevitable this,” is what play should contain. That is true of all four of these plays.

This production is highly recommended for those who enjoy well written, well-acted plays with unique storytelling.  There are touching emotional moments scattered throughout which keep audiences watching and wondering.

Background

The Teresa Deevy Project began in 2009. Jonathan Banks, Mint Theater Company’s Artistic Director, went on a search to find out about Ireland’s women playwrights. He came across Deevy’s name on a list as someone who had six plays produced at the Abbey, Ireland’s National Theatre between 1930 – 1936.  He was only able to find information about one of them. So he began a search of her work.

Banks’ search led him to the Deevy family home in Waterford, Ireland. Banks says, “There, in two suitcases stuffed under a bed was a treasure trove of typescripts.” Thus the title of program, The Suitcase Under the Bed, was born. This program is a continuation of the Teresa Deevy Project which kicked off in 2010, when the Mint Theater re-introduced the writer to the world with their acclaimed production of the play Wife to James Whelan.  Produced in 2011 was Temporal Powers  and Katie Roche in 2013.

In 2012, Mint published all three of these plays in Teresa Deevy Reclaimed Volume One which has been distributed free of charge to Irish Studies Departments at Colleges and Universities across the U.S. Volume Two of Teresa Deevy Reclaimed is now available, containing nine short plays, collected in one book for the first time ever. Together, these two books will have a significant impact on Deevy scholarship for years to come.

Photo K Nowosad

Both of these books are on sale at performances of The Suitcase Under the Bed and online at the Mint Theater Company website. These would make great gifts to someone who enjoys good plays. Additionally, English teachers would do well to check out this series for potential inclusion in future curriculum.

The Four Plays

There are four short plays that make up The Suitcase Under the Bed. They are “Strange Birth,” “In the Cellar of My Friend,” “Holiday House,” and “King of Spain’s Daughter.”

Cynthia Mace, left, and Ellen Adair in “Strange Birth.” Credit Richard Termine

“Strange Birth” – This is a very sweet tale about love. It all takes place in the entrance hallway of a home where the mail is delivered. A letter arrives and it provides a sweet respite out of the chores for the housekeeper. This play is one of the shortest on the program but it shows three different situations dealing with love and two very happy endings.

“In the Cellar of My Friend”  – A woman thinks the man she loves is preparing to propose marriage to her. She is delightfully happy as the morning begins thinking about what he said the night before. However, a twist that is very surprising occurs and the outcome is a good example of how someone can land on their feet.

Sarah Nicole Deaver and A.J. Shively in “The King of Spain’s Daughter” Credit Richard Termine

“Holiday House” – This short play is funny and introspective and loaded with bits of sarcasm written in. It is a joy to listen to the dialog as this story unfolds. Additionally, the acting antics of the characters adds richness to what takes place.

“King of Spain’s Daughter” – This selection was a successful venture in Dublin, Ireland. It shows the struggle a nontraditional Irish woman experienced during that time period. It is a little rough in parts that deal with the young woman and her father. However, the budding relationship between her and her suitor show potential.

Some beautiful Irish folk music plays as you enter the theater and at intermission to help set the mood. The sets are designed to allow easy changes as the program progresses.

Jonathan Banks directs this production. The cast includes Ellen Adair, Gina Costigan, Sarah Nicole Deaver, Cynthia Mace, Aidan Redmond, Colin Ryan, and A.J. Shively.  The cast does a remarkable job. They play many different characters in different settings throughout the course of the program. Bravo and brava for a job well done!

About the Show

Glad to say this show runs at the Beckett Theatre in Theatre Row, 410 W. 42nd Street in New York City, for the rest of this month. The run extends to Sept. 30, 2017 which still gives time to come to see it.

For more information about the show or tickets, go to the Mint Theater Company website online or purchase at the Theatre Row Box Office.

Run time is approximately 2 hours with one 15 minute intermission.

 

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