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Relentless – A Bold Debut 

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As the snow falls, a fire is currently smoldering centerstage at the Theater Wit. This slow-burning ember is better known as the World premiere play titled Relentless. Playwright Tyla Abercrumbie’s ferocious, fierce, determined and monolithic three-hour play is definitely a conversation starter. This parable confronting the societal pandemic of racism that has plagued this country for generations with no sign of a vaccine on the horizon. Purposely uncomfortable for its largely Caucasian audience while holding a magnifying glass to the turmoil in the country matched by the turmoil in the play’s central two sister characters. The women sharply divided by the existence of their treasured mother’s diaries. Their recently deceased mother’s life, as chronicled in a trunk full of hand-written journals, fueled both comedic and dramatic social and political diatribes. Is it an invasion of privacy? Are the books required readings? What if the daughters don’t like what their mother has to say? What could she reveal and what would the fallout be? By definition, are diaries, the written collection of private thoughts, for public consumption after the author has passed on? The sisters are of opposite minds, a narrative instrument perfectly plucked by prolific director, Ron OJ Parson.
For a little backstory, Relentless began as a public reading back in 2018, part of Timeline’s inaugural First Draft Playwrights Collective Festival and was greenlit to begin rehearsals in March of 2020. Just around the same time as the industrywide Covid-19 pandemic shutdown. Fastforward to 2022 and Abercrumbie’s Relentless is now fully fleshed into a debut play for the Timeline Theatre Company.
Set during the Black Victorian age in the 1919 Philadelphia opulent living room of a recently deceased woman, the action here centered around two opposite sisters. The sequin clad, Annelle (Ayanna Bria Bakari) a boisterous socialite not unlike Kim Field’s character “Regine” from the 90’s sitcom, Living Single. Loud, self-centered, aloof and oh so very “married to a doctor” the flightier of the sisters wants to sell of the house quickly and return to her posh life in Boston. The more grounded sister, Janet (Jaye Ladymore) was graceful, studious, cerebral, a nurse by profession, cautiously pouring over every page of said diaries, hungry for the stories her mother never shared while alive.

Sisters Annelle (Ayanna Bria Bakari, left) and Janet (Jaye Ladymore) Brett Beiner Photography

Told in flashbacks, the Mother Zhuukee/Annabelle Lee (Demetra Dee) began as the headstrong property of the slave owner’s daughter, Mary Elizabeth (Rebecca Hurd) a spoiled, selfish, southern belle who would later become instrumental in Zhuukee’s life. Used as a tool during her sexual awakening and teenaged rebellion against her strict southern parents, their powerplay was never on equal footing, not even when Annabelle Lee was freed from her life of slavery. From petulance to abolitionist, Mary Elizabeth was nowhere near as “woke” as she pretended to be. Even when giving Zhuukee gifts, the gesture was met with resentment from Mary Elizabeth when Zhuukee didn’t respond exactly as wished.

Sisters Annelle (Ayanna Bria Bakari, left) and Janet (Jaye Ladymore) Brett Beiner Photography

As for the men in their lives, Annelle was married to outspoken physician, Marcus (Travis Delgado) who was also attempting to play matchmaker with winemaking friend, Franklin (Xavier Edward King) and the outspoken sister, Janet. These two have tremendous chemistry, constantly chattering over one another, much like a Katherine Hepburn/Spenser Tracy movie or a Noel Coward play. Their initial combination of cheek and chic totally enrapturing.

Zhuukee (Demetra Dee, left) and her Mother (Ayanna Bria Bakari). Brett Beiner Photography

As the play continued, this quartet of affluent, educated and opinionated black Americans were each pushed to their limits, unveiling facts both complicated and intricate, forever changing truths each held about one another. As they were pushing for their own personal agendas, trying to define their own interpretations of inclusion, equality and respect, the 1919 Red Summer about to explode, further complicating a racial divide that 100 years later is still burning red hot. The play’s final moments, that I will not dare spoil here, an unnerving reminder for every step forward, there are two steps back.

Mary Anna Elizabeth (Rebecca Hurd, left) feels free to share her thoughts and feelings with Zhuukee (also called Annabelle Lee) (Demetra Dee). Brett Beiner Photography

Complex, powerful and overly long, particularly in the second act, Relentless is an ambitious season debut that knocks it out of the park, even when it takes too long to get there. Wonderfully acted, cozy set design (Jack Magaw’s homey living room scenic design impressed) and solid costuming (Christine Pascual worked every penny of her costume budget) added to a compelling night out at the theater. Relentless proved itself unrelenting and required viewing.

Black Victorians Franklin (Xavier Edward King, from left), Janet (Jaye Ladymore), Marcus (Travis Delgado), and Annelle (Ayanna Bria Bakari) discuss the state of their world in 1919 Brett Beiner Photography

Relentless from Timeline Theatre Company is now playing at Theater Wit through February 26, 2022

Stephen S. Best is currently a freelance writer for the Times Square Chronicles, covering the performing arts scene in the greater Chicagoland area. He has been a theater aficionado for years, attending his first live production, Annie, at the tender age of six. After graduating from Purdue University, Stephen honed his skills attending live theater, concerts and art installations in New York and Chicago. Stephen's keen eye and thorough appreciation for both theater patrons' time and entertainment dollar makes him a valuable asset and his recommendations key. Stephen currently lives in downtown Chicago.

Out of Town

Coal Mine Theatre Announces 24.25 Season

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For their 10th anniversary season, Toronto’s beloved “Off-Off Broadview” stage, Coal Mine Theatre is thrilled to announce a spectacular 24.25 programming line-up of what will undoubtedly be some of the hottest tickets in town.

As audiences have come to expect from the celebrated east-end venue, the upcoming season comprises hotly anticipated premieres of must-see award-winners and internationally acclaimed playwrights, performed by luminous ensembles of some of the most esteemed actors in the country, alongside new names waiting to be discovered. It’s a definitive Coal Mine season, true to their mandate to present challenging, provocative, and entertaining contemporary work in a refreshingly intimate and entirely authentic setting.

After the highs and lows the Coal Mine has been through in recent years it is absolutely incredible to reach this 10-year milestone and to know that we have pulled together what may honestly be our most exciting programming to date,” comments company co-founder and Artistic Director Ted Dykstra. “This is a classic Coal Mine season.  A Toronto premiere and three Canadian premieres, all thrilling, topical plays by some of the most provocative playwrights in the world today, and we have been able to bring together acting ensembles and creative teams for these shows that are simply…the best of the best.”

On the heels of hugely successful runs at The National Theatre in London and the Atlantic Theater Company in New York, Coal Mine’s 10th anniversary season begins in September with the Canadian Premiere of Annie Baker’s newest work, Infinite Life– the third production of Baker’s work at the theatre. A surprisingly funny inquiry into the complexities of human suffering, through a distinctly female lens, former Artistic Director of the Shaw Festival, Jackie Maxwell (Tarragon’s Withrow Park), makes her Coal Mine directorial debut with an all-star cast including Brenda Bazinet (Shoot the Messenger), Ari Cohen (The Antipodes), Kyra Harper (Hard Rock Medical), Christine Horne (Angels in America), Nancy Palk(August, Osage County), and Jean Yoon (Kim’s Convenience) returning to the Toronto stage for the first time since appearing in Kim’s Convenience on stage in 2017.

““Women’s problems” is a phrase that is guaranteed to leave many people, including much of the medical establishment, rolling their eyes and shrugging,” comments Maxwell. “Annie Baker takes them all on in her provocative new play in which we meet five women “of a certain age” who are all attending a desert fasting retreat for chronic illnesses. This is Ms. Baker at her best – antic, often hilarious conversation butts up against loaded pauses and silences as multiple ailments are discussed and compared and secrets are revealed along the way.”

Maxwell continues, “I am thrilled to be a part of this world, working with five of Canada’s most accomplished actresses (and one lucky man!) whose openness and ability to connect is renowned and will be so vital as we plunge into this very female world together and whose sense of bravery, fun and ability to share the stage with energy and generosity will be on glorious display throughout!”

In October, a beloved friend of the Coal Mine, Schitt’s Creek’s Noah Reid, makes his return to the theatre alongside rising star Mazin Elsadig (Topdog Underdog) in the Toronto Premiere of Samuel D. Hunter’s A Case For The Existence Of God, directed by Ted Dykstra.  Reid returns to the Toronto stage following his recent Broadway debut in Tracy Lett’s The Minutes and a starring role in the Amazon series Outer Range.  Winner of the 2022 New York Drama Critic’s Circle Award for Best Play,  A Case For The Existence Of God is a thoughtful and meditative two-hander, both intimate and expansive as it explores themes of parenthood, financial insecurity, and empathy.

“To me, the Coal Mine represents everything I find exciting about the theatre: the immediacy of live performance, and the timelessness of brilliant writing,” offers Reid. “These guys read so many plays, they go see so many shows, they work so hard to find the scripts that are going to bring that quality to their audience, and they curate their productions so beautifully with the most talented artists this great city has to offer. I just trust their taste, both as an actor and as an audience member. I’m always so excited to see what it is they’re doing next.”

In the new year, company co-founder and former Artistic Director Diana Bentley (Yerma) teams up with uber-talented choreographer Alyssa Martin (Sex Dalmatian/Rock Bottom Movement) for the Canadian Premiere of Duncan Macmillan’s acclaimed People, Places And Things. A quest for addiction recovery that combines dance, virtuosic design, and performance, the production will star Louise Lambert in the role that elevated Denise Gough to international prominence and won her the Olivier Award, currently remounting in the West End. Lambert (Detroit, Yerma) will be joined by Soulpepper veteran Oliver Dennis, making his Coal Mine debut, Farhang Ghajar (The Seagull), Matthew Gouveia (Killer Joe), Sam Grist (Sex Dalmatian), Sarah Murphy-Dyson (Off-Kilter), Fiona Reid (Harry Potter and the Cursed Child, Hedda Gabler), and Kaleb Tekeste (CLUE).

“I don’t think there is a play that deals with addiction as viscerally and brilliantly as Duncan MacMillan’s People, Places and Things does,” shares Bentley. “Collaborating with Movement Director Alyssa Martin to bring such a vivid experience to life in the intimacy of the Coal Mine is a dream come true. And of course, it’s the perfect part for Louise Lambert and her astonishing talents. I can’t wait to share this show with the Coal Mine audience!”

The 10th anniversary season concludes with the very recently premiered JOB by Max Wolf Friedlich, in a production directed by David Ferry and starring one of Canada’s most esteemed and iconic stage performers, Diego Matamoros, alongside Charlotte Dennis, making her Coal Mine debut as Jane. JOB premiered off-Broadway in the fall of 2023 at the Soho Playhouse, returned to New York in January of this year in a limited run at the Connelly Theatre, and has just begun previews at the Hayes Theatre on Broadway this week (Frontmezzjunkies will be reviewing that Broadway production next month). Coal Mine audiences will be the very first in the world outside of New York to see it. The story of an employee of a big tech company who arrives in the office of a crisis therapist after being placed on leave, JOB made a huge splash in this last New York theatre season, receiving accolades from all the major press and described as “New York’s buzziest play” (The Daily Beast).  An essential addition to the western contemporary theatre canon, JOB takes on the most immediate of subjects; what it means to be a citizen of the internet and our obligation to help those who need it the most.

For more information visit www.coalminetheatre.com

Coal Mine Theatre 2024/2025 Season:

Infinite Life (Canadian Premiere)

September 6th – September 29th

Written by Annie Baker

Directed by Jackie Maxwell

Starring Brenda Bazinet, Ari Cohen, Kyra Harper, Christine Horne, Nancy Palk, and Jean Yoon

Five women in Northern California lie outside on chaise longues and philosophize. A surprisingly funny inquiry into the complexity of suffering, and what it means to desire in a body that’s failing you.

A Case For The Existence Of God (Toronto Premiere)

November 3rd – November 24th

Written by Samuel D. Hunter

Directed by Ted Dykstra

Starring Mazin Elsadig and Noah Reid

Two young fathers — a mortgage broker, and a plant worker desperate to buy a piece of land — meet to discuss a loan in an unassuming cubicle. As Keith and Ryan grapple with the realities of adulthood, a shared quest for meaning and belonging transcends the systems that fence them in.

Winner – 2022 New York Drama Critics’ Circle Award, Best Play

People, Places and Things (Canadian Premiere)

February 9th – March 2nd

Written by Duncan Macmillan

Directed by Diana Bentley

Starring Oliver Dennis, Farhang Ghajar, Matthew Gouveia, Sam Grist, Louise Lambert, Sarah Murphy-Dyson, Fiona Reid, and Kaleb Tekeste

Emma was having the time of her life. Now she’s in rehab. Her first step is to admit that she has a problem. But the problem isn’t with Emma, it’s with everything else. She needs to tell the truth. But she’s smart enough to know that there’s no such thing. When intoxication feels like the only way to survive the modern world, how can she ever sober up?

JOB (Canadian Premiere)

April 20th – May 11

Written by Max Wolf Friedlich

Directed by David Ferry

Starring Charlotte Dennis and Diego Matamoros

Jane, an employee at the big tech company (you know the one), has been placed on leave after becoming the subject of a viral video. She arrives in the office of a crisis therapist – Loyd – determined to be reinstated to the job that gives her life meaning. A psychological thriller, Job zooms in on two careerists of different generations, genders and political paradigms to examine what it means to be a citizen of the internet and our obligation to help the people who need it most.

Since this artistic home for Toronto’s East End was founded in 2014 by co-artistic directors Diana Bentley and Ted Dykstra, The Coal Mine Theatre has become one of the most talked-about and critically acclaimed theatres in Toronto.  It was modeled after the Off-Off Broadway theatres in New York and branded as Toronto’s Off-Off-Broadview Theatre. In its intimate space on the Danforth, The Coal Mine has presented some of the most challenging, stimulating, and award-winning scripts from Canada and around the world.

In 9 seasons, each consisting of only 3 or 4 shows, The Coal Mine Theatrehas amassed over 40 Dora nominations, over a dozen Doras, many Toronto Theatre Critics’ Awards, and a fiercely loyal subscriber base. Their new home on the corner of Woodbine and Danforth, after a devastating fire in their old location, has already become a source of great neighbourhood pride. Partnerships are being formed with local businesses, making The Coal Mine, truly, a community theatre to be proud of.

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“Player Kings” Shines in the West End With Ian McKellen at Falstaff

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I read that the first published book written about a Shakespearian character was focused not on the legendary Macbeth or Hamlet, but on the “dodgy, obese, cash-strapped, dissolute, self-interested” Falstaff, a larger-than-life antihero and cultural phenomenon, this time dutifully played in the new West End revival rich and tragic by McKellen (The Other Palace’s Frank and Percy; West End’s Ian McKellen on Stage).


Ian McKellen and Geoffrey Freshwater in Player Kings. Photo by Manuel Harlan.

His Falstaff is utterly dynamic and fascinating from the get-go, drawing us in with his grotesque drunkenness in a stained shirt. It’s flawless and funny, especially so as the character’s humor is delivered dry and philosophically portioned out for great effect, giving this slick modern-dressed production a thrilling brave heart and a solid foundation.

It’s a handsome, strongly staged production, not exactly centered around Ian McKellen’s great performance as one devilishly sharp Falstaff, but having that dynamic character involved lifts up the whole thing making the joined-together Player Kings a carnivalesque joy to witness. It’s a role he seemed destined to play, but unfortunately, he had a nasty fall from the stage in mid-June, forcing him to not only drop out of the play in the West End, but also from the tour that was created all around him playing this part. It’s a devastatingly sad turn but luckily for us, we were able to see him before his accident. And I’m hoping he will be back on his stage feet quickly so we all have the opportunity to take in his expert renderings for years to come.

Yet Player Kings, when I saw it in early June, had McKellen in full true form, creating this delivery as expertly as one could hope for. Surrounded by talent on all sides, the curtain is quickly pulled back in those first few moments, and all kinds of partying chaos flies forward in abundance. A bare-bottomed rendering destined to be king sends just the right energy into the air and we can’t help but lean into this expertly crafted production of the two Henry IV history plays combined into one, adapted and directed with strength and clarity by Robert Icke (Almeida/Park Avenue Armory’s The Doctor).

Toheeb Jimoh and Daniel Rabin in Player Kings. Photo by Manuel Harlan.

On a detailed, multidimensional set, incorporated with great intent by set and costume designer Hildegard Bechtler (Old Vic’s Mood Music), with sharply hewed slices of light by Lee Curran (Donmar’s Next to Normal) and a solid sound design by Gareth Fry (Donmar’s Macbeth), the brick and curtained crew of revelers and hang-abouts make playful use of the arena given. The cast is cleverly created for this sometimes complicated history concoction, a dual engagement that I have only seen once before, to a somewhat lesser effect. But with Toheeb Jimoh (“Ted Lasso“) as Prince Harry (or Hal) staggering about in his skivvies ready and willing to expose his true nature before us all, this Player Kings is destined to be remembered. And not only for McKellen giving it his all in a dream part.

But Hal’s difficult journey forward into the adulting royal circle, standing true and solidly performed, is just one of many contextual arrangements created with flair around the centripetal force that is Falstaff. Hal’s proxy-father relationship with Falstaff is balanced and pulled tight with tension by the hard-hearted King Henry, played with intensity by Richard Coyle (Almeida/Duke of York’s Ink). It unpacks layers of patriarchal complications that shuttle between coldness to death-bed loving attachment. It’s a compelling understanding delicately unfolding over the course of this fascinating adventure.

Samuel Edward-Cook in Player Kings. Photo by Manuel Harlan.

Another tight-rope balancing act, this time between two different yet powerful worlds, Samuel Edward-Cook (Globe’s Titus Andronicus) finds compelling tones with his Hotspur, in suit and also donning fatigues, playing the modern dress unveiling with force, even with a few unclear contemporary connotations.

At just over three and a half hours, the tonal shifts of Player Kings between parts one and two are subtle yielding a suspenseful framing that leads into a less captivating battleground. But every moment of the complex condensed storytelling is well worth it, mainly to see McKellen living large inside a part that seems tailor-made for this expert thespian. The historical text is heavy lifting sometimes, not exactly created for those looking solely for light comic entertainment, but if Shakespeare is your thing, even the more complicated history plays, then Player King with McKellen feels like required viewing. I only hope that it has been recorded so those who unfortunately missed their chance, will have a further opportunity to take in his glory.


Sir Ian McKellen and cast at the curtain call during the press night performance on 11 April, 2024.

Player Kings was performed at Noël Coward Theatre, London, closing on 22 June, 2024.

For more go to frontmezzjunkies.com

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Fringe Festival “86 Me: The Restaurant Play” Serves It Up Strong

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Grabbing a seat inside and a drink from the bar on a Saturday afternoon (don’t judge me), we are welcomed into Our Lady Kensington, a dive bar on the verge of being 86’d from the scene. That is until this evening when chaos and fires erupt, and a seemingly straight-laced young man enters the space. He has been sent by management to inspect the bar for efficiency and professionalism, but what he discovers about the space, the people in it, and himself is far more complicated and difficult to correct simply with a clipboard and pen. The qualities listed are obviously lacking in this forever empty establishment, and this band of misfits who ‘work’ here, who harass, flirt, break up, drink, and indulge themselves silly during their shift, don’t seem like they are the ones who could help. Or are they?

With a cast of wonderfully focused actors, namely Luke Kimball, Marianne McIsaac, Mia Hay, Ben Yoganathan, Carson Somanlall, Elizabeth Rodenburg, and Jeff Gruich, 86 Me: The Restaurant Play, currently playing to sold-out crowds at The Supermarket Bar and Variety as part of Toronto’s Fringe Festival, is deliciously fun and invigorating. The play, as written, is definitely overly complicated and sometimes distracting. It veers this way and that through the immersive space trying to connect while dodging the problems within the framework, but with a solid tightening of that waiter apron, the heart of the piece could live quite solidly within the space, and inside these strong-minded performances and their pre-wrapped set-up. The actors do their job well, working hard trying to get to the essence of their inner world and bring it into some sort of order, all the while engaging with the delivery of drink orders and their lines to each other and us.

The cast of 86 Me: The Restaurant Play at Toronto’s Fringe Festival.

The central force of the play runs true and compassionately focused, as the cast runs circles around us all, flinging drink orders into the air for others to catch, along with other antics that endear us to this motley crew. But the catalyst really lies in Luke Kimball (Mirvish’s Harry Potter and the Cursed Child) and his portrayal of the socially awkward, young, but determined newbie, Zach, or as he is affectionately called, even by a member of the audience, the bar’s “little bitch boy”. And it sticks, mainly because of his focused portrayal of someone lost and looking for salvation, even if it seemingly is arriving thanks to “Mr. Fancy Pants“, played cleverly by Jeff Gruich as James “The Owner”.

There is a couple (Carson Somanlall & Elizabeth Rodenburg) who break up and quit each other more often than the number of times audience members bravely call out their drink orders to cast members who never break focus, even when the order comes at an impromptu moment. The drinks do make it to them, thanks to the staff of the actual bar, who keep the energy of the space filled and rolling, even as the drunk regular (Marianne McIsaac) preaches and yells at the staff from the back table wanting more of everything from anyone who will listen. An indulging host (Mia Hay) vapes and drinks in the corner waiting for connection, but ultimately looking for an escape, and a desperate server (Ben Yoganathan) cooly and constantly trying to use his French-ness as a ploy to get closer to the escape-artist host. It’s a lot, but it’s sold well, so we drink it all down, like a good tall Gin and Tonic on a hot day.

Directed and created by Jackson Doner, 86 Me: The Restaurant Play finds hilarity and some tender engagements within the chaos that lives and breathes in this dive bar on the verge of being 86’d out of existence. The talented crew and script offer up a problematic staffing situation that is completely out of control. Clearly, there is no one strong enough or focused enough on board to guide them through this tumultuous time, but maybe there is someone who can help, if only they can help themselves first. All this, while attempting to take care of a full bar of thirsty patrons and a father who doesn’t know how to really be there for his son. But even in all that chaos and wild shenanigans that transpire within this converted cabaret space, produced by Dead Raccoon Theatre, 86 Me keeps us tuned in and caring, while throwing coins in cups to show our appreciation.

Clockwise from top left: Carson Somanlall as Carson “The Supervisor”, Mia Hay as Eva “The Hostess”, Ben Yoganathan as Francois “The Server”, Elizabeth Rodenburg as Laurie “The Bartender”, Luke Kimball as Zach “The New Guy”, Jackson Doner, and Marianne McIsaac as Jasmine “The Regular” from 86 Me: The Restaurant Play at Toronto’s Fringe Festival. Photo by Ally Mackenzie.

For more go to frontmezzjunkies.com

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The John W. Engeman Theater Presents Legally Blonde

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The John W. Engeman Theater celebrated the opening night of Legally Blonde.

The Cast and Creative of Legally Blonde

Choreographer Jay Gamboa joins with Sorority Members- Lara Hayhurst, Rebecca Murillo, Juliana Lamia, Emma Flynn Bespolka, Julianne Roberts, Emily Bacino Althaus, Bridget Carey, Amelia Burkhardt and Jessie J. Potter

The Musical is directed by Trey Compton (Engeman: Once, A Gentleman’s Guide to Love and Murder; Off-Broadway: Yank!, White Lies; Regional: Seattle 5th Avenue, Goodspeed, The Ogunquit Playhouse, The Fulton, Riverside, Pittsburgh Civic Light Opera, Millbrook, Mac-Haydn, and Cortland Repertory) and choreographed by Jay Gamboa (Engeman: Mama Mia!; National Tour: PJ Masks, Hello Kitty; Regional: Stages St. Louis, Gateway Playhouse, San Diego Musical Theatre, East West Players; Film/TV: The CW’s “Crazy Ex-Girlfriend”).

Trey Compton (Director) and James D. Sasser

Elle Woods appears to have it all until her life is turned upside down when her boyfriend dumps her to attend Harvard. Determined to get him back, Elle charms her way into the prestigious law school. An award-winning musical based on the adored movie, Legally Blonde, The Musical, follows the transformation of Elle as she tackles stereotypes and scandal in pursuit of her dreams. Exploding with memorable songs and dances–this musical is so much fun, it should be illegal!

Emma Flynn Bespolka

Emma Flynn Bespolka

Quinn Corcoran

The cast of Legally Blonde, The Musical features Emma Flynn Bespolka as Elle Woods (UK Premiere: Clueless; Regional: Kinky Boots, South Pacific, Bye Bye Birdie, Grease)

Quinn Corcoran, Emma Flynn Bespolka

Quinn Corcoran

Quinn Corcoran as Emmett (Off-Broadway: James and the Giant Peach, Rescue Rue, Blue Man Group, Hair; Regional: Maltz-Jupiter Theatre, Sierra Repertory Theatre, Servant Stage, Mac-Haydn Theatre)

Chanel Edwards-Frederick

Chanel Edwards-Frederick as Paulette (West End: Hairspray; International Tour: The Book Of Mormon; Regional: The Royal Theatre, La Mirada Theatre, Repertory East Playhouse, Interlakes Theatre)

Nicole Fragala

Nicole Fragala, Emma Flynn Bespolka

Nicole Fragala as Vivienne (National Tour: Tootsie; Regional: Cmpac, The New School, Broadhollow Theater; TV/Film: “Pretty Little Liars: Summer School,” “The Marvelous Mrs. Maisel,” “The Prom”)

Nathan Haltiwanger

Nathan Haltiwanger, Emma Flynn Bespolka

Nathan Haltiwanger as Warner Huntington III (Regional: Sweeney Todd, Beauty and the Beast, My Fair Lady, Next to Normal, The Sound of Music)

Julianne Roberts

Julianne Roberts as Brooke Wyndham (Regional: Chicago, The Little Mermaid, Movin’ On, Catch Me If You Can)

James D. Sasser

James D Sasser as Callahan (Engeman: Dirty Rotten Scoundrels; Broadway: Riverdance; National Tour: Jesus Christ Superstar; Off-Broadway: Teeth; Regional: Theatre Under The Stars, Four Corners Musical Theatre, The Village Theatre, Berkeley Playhouse; TV/Film: “Madam Secretary,” “The Good Fight,” “Succession,” “The Bite”).

Sorority Members- Lara Hayhurst, Rebecca Murillo, Juliana Lamia, Emma Flynn Bespolka, Julianne Roberts, Emily Bacino Althaus, Bridget Carey, Amelia Burkhardt and Jessie J. Potter

Katelyn Harold

Terrence Bryce Sheldon

Amelia Burkhardt

Matt DeNoto,

Joshua James Crawford

Rebecca Murillo

Zunmy Mohammed

Juliana Lamia

Bridget Carey

Emily Bacino Althaus

Yash Ramanujam

Lara Hayhurst and Trey Compton with Little Ricky and Cha Cha

Lara Hayhurst

The Swings-Amelia Burkhardt, Terrence Bryce Sheldon, Joshua James Crawford and Katelyn Harold

James D. Sasser, Nathan Haltiwanger and Quinn Corcoran

James D. Sasser, Trey Compton Nathan Haltiwanger and Quinn Corcoran

Legally Blonde, The Musical will play the following performance schedule: Wednesdays at 7:00 pm, Thursdays at 8:00 pm, Fridays at 8:00 pm, Saturdays at 2:00 pm and 8:00 pm, and Sundays at 2:00 pm and 7:00 pm. Tickets start at $80 and may be purchased by calling 631-261-2900, going online at engemantheater.com, or visiting the Engeman Theater Box Office at 250 Main Street, Northport.

The John W. Engeman Theater at Northport is Long Island’s only year-round professional theater company, casting actors from the Broadway talent pool. From curb to curtain, we have made it our business to provide affordable, quality theater in an elegant one-of-a-kind location with outstanding facilities and extraordinary service. The renovated theater offers stadium-style seating, state-of-the-art lighting and sound, a full orchestra pit, and a classic wood-paneled piano lounge with a full bar.

For a complete show schedule and more information, contact the theater directly at 631-261-2900, visit the box office at 250 Main Street, Northport or visit engemantheater.com.

The Cast and Creative of Legally Blonde

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Times Square Chronicles Presents The Hamptons

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Since “Live From The Hotel Edison Times Square Chronicles Presents” is so popular, we decided to do a summer edition called “Times Square Chronicles Presents The Hamptons”. We started with the Bay Street Theatre  Gala because it is what we know.,,,,,theatre. The Gala honored Neil Patrick Harris, David Burtka, and Dr. Georgette Grier-Key.

In this episode you can see Richard Kind, Marc Kudisch, Scott Schwartz, Tovah Feldshuh, Lena Hall, Tracy Mitchell, Rose Caiola, Stewart F Lane, Lliana Guibert, Kate Edelman Johnson, Steve Leber and Bonnie Lautenberg and Riki Kane Larimer.

You can watch us here

 

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