Arts Independent

James Jennings is theater royalty; there is no other way to say it. Since 1976, he has served as Founder, Owner/Operator, President & Chief Bottle Washer of the American Theater of Actors, an off-off Broadway venue, which has provided literally thousands of aspiring theater artists of all stripes–this humble scribe included–a place to hone their craft, to strut their art, and to make the world a slightly better place.

He also is an artist in his own right, as a playwright, and his latest effort–‘Written in the Stars’, a short one-act, is book-ended with the longer one-act ‘Suicide Bridge’, written by Emmy-Award Winner Charles Kipps.

In ‘…Stars’, Sondra (Ginger Kipps), a citizen of the world, is disheartened and a bit overwhelmed about the state of women throughout the planet; her roommate, Millie (Marie Laine), is not quite as upset at that current plight, and just longs for an easy, mindless evening at the local bar.

The obvious dichotomy is soon enhanced by the mention (in passing) of some nefarious ways these two ladies indulged in when they were younger. No doubt there was perhaps some occasional bombings of banks, and/or government buildings…and while Millie seems to have settled into ‘retirement’ from that lifestyle, Sondra is most determinedly not going to go quietly into that good night. The pre-show selection of 1960s rock/psychedelia music (Strawberry Alarm Clock!) sets the proper mood, and certainly sets the stage for some anticipated fireworks.

But just as suddenly as the groove, the pulse, of the play is set, it is suddenly over…and while we see a determined Sondra getting ready–walker and all–to board a plane to a foreign country, and to liberate women (not quite sure how) and free them from their bond, there is a sense of disappointment and frustration, if only because Mr. Jennings has composed the beginnings of a solid, compelling play ripe with dramatic possibilities.

Usually some ingredients of a theatrical experience get lost in the sauce when the playwright decides to direct his or her own work; happily, that is not the case here. Mr. Jennings kept his play moving at a brisk pace, and the repartee between the two actresses were handled with gentle, determined aplomb.

We hope the playwright will set a few moments aside for himself, and continue to work on this promising endeavor; the dramatic avenues are limitless We also hope that, when not banging away at the laptop, or possibly typewriter, Mr. Jennings will continue to provide a theatrical home for the next generation of theater artists, for the next 47 years.

‘Suicide Bridge’ is, in the overall, a better written play, but not as well directed. A young, pregnant woman (the excellent Isabel Van Natta, the gem of the evening) is about to hurl herself off of an unnamed New York City bridge, when–comically or not–she is interrupted by a middle-aged financial non-wizard (ably played by Alan Hasnas), who intends to do the same thing. While Mr Kipps has a good ear for dialogue, understands humor, exposition, dramatic tension, and varies the pulse of his play with an appropriate irregular heartbeat, the issue here is not the nuts and bolt of the art of playwriting; rather, it is how the writer wishes to convey, execute, and apply what he wishes to say. It is unclear–and remained so throughout the play–if Mr. Kipps is composing a comedy, a drama, a tragedy, or a allegorical tale.

The director, it would seem, failed the playwright. While the brief, simple set of a platform served as a launching pad into the river below (East?) quite easily, it felt as if the performers were doing their thing on a pier resting over the Mississippi River on a quiet night in August, rather than the bustling, frenetic energy of Manhattan at night. There is a specific reference to the couple being able to view the Empire State Building, adorned with its green and red lights–an obvious reference to Christmas, and probably in the evening, or even the wee-hours of the morning. However, the characters were not dressed for winter, and the set was strangely devoid of sound effects and other theatrical devices–fog horn, sirens, cars honking, construction, proper night lighting, the usual, low-lying fruit that enhances a theatrical experience and creates that wonderful thing we call Theater Magic. A miss.

The evening is earnest, heart-felt, and has its heart in the right place–an affirmation of life. Overall, a modestly successful evening in the theater.

Tuesday, June 6 @ 7:30 p.m., THE DRAMA BOOK SHOP, 266 West 39th Street, New York City. RSVP here

Produced by Jay Michaels Communications & Next Stage Press, DOUG DEVITA: FABLING will feature Mr. DeVita discussing his latest work, FABLE, a play about the creation of the legendary Broadway musical, GYPSY, as well as his canon of other works. Lane Bradbury, the original dainty June from the original Broadway production of Gypsy starring Ethel Merman will be in-hand to offer historical commentary and selections from the play will be read.

The event is free with purchase of one of Mr. DeVita’s playsfrom the Drama Book Shop.

FABLE is in development for an off-Broadway run this fal lproduced by Emilee Dupre and directed by Jay Michaels.

Doug DeVita has earned numerous accolades for his writing, including being a two-time O’Neill Semi-Finalist, a Finalist for the Davenport Theatrical Reading Series, and a Semi-Finalist for multiple prestigious awards, such as the Barrington Stage Company’s Burman New Play Award, the Normal Avenue’s New American Play Series, and the Campfire Theatre Festival. As a member of the Dramatists Guild, Doug has had work published by Next Stage Press and Smith & Kraus. This promises to be an exciting event, and we hope to see you there!

New Jersey Theatre Alliance’s The Stages Festival presents the Paterson Performing Arts Development Council and
True Colors Project presentation of
STORMÉ
A musical play written and directed by Carolyn M. Brown

Special Presentation: May 19 @ 7:00 p.m.
Art House Productions, 345 Marin Blvd., Jersey City, NJ

Based on a true story and real events, Carolyn M.Brown’s STORMÉ tells the story of Stormé DeLarverie – a big band singer going under the name of Stormy Dale – a male impersonator of Harlem’s famed Jewel Box Revue (America’s first racially integrated and gay-owned drag show) who became an icon of the historic 1969 Stonewall Rebellion. She has been called the “Rosa Parks of the Gay Rights Movement.”

Stormé’s scuffle with police on that fateful day in June of 1969 at the Stonewall Inn was as instrumental in igniting the modern-day Gay Rights Movement. While many accounts water down the actual incidents, Brown’s play pulls no punches in sharing rarely depicted details.

After a successful run in NYC in 2022, STORMÉ now returns for this special night with negotiations underway for another New York run. These special showings are setting the stage for a major New York revival next year in conjunction withthe 55th anniversary of Stonewall.

This event is part of the Alliance’s Stages Festival, the state’s largest annual theatre festival, which providesfree and discounted theatre events for all ages throughout the months of March,April, and May. This event is $5 when ordering online at http://www.njtheatrealliance.org/stages or $10 at the door.

The Stages Festival offers over 70 in-person and onlineperformances, workshops, classes, and events at theatres, libraries, and othercommunity venues throughout the state. The program was developed to encourage New Jersey’s residents to attend their local professional theatres by making the experience affordable, accessible, and fun.

For more informationabout the production, visit http://www.stormetheplay.com or http://www.mytruecolorsfestival.com

“The Alliance is proud to offer this powerful moment in history as part of the 2023 StagesFestival,” said John McEwen, Executive Director of the Alliance. “For more than 25 years, The Stages Festival has providedtheatrical experiences for more than 200,000 residentsacross New Jersey. We are thrilled that we can bring communities together through the power of theatre.”

The New Jersey Theatre Alliance 2023 Stages Festival is made possible by support from the New Jersey State Council on the Arts, a partner agency of the National Endowment for the Arts; The Horizon Foundation for New Jersey; Ocean First Foundation; Fund for the New Jersey Blind; New Jersey Manufacturers; and Customers Bank. A full calendar of events is available at http://www.njtheatrealliance.org/stages.

International cabaret and theatre artist, MARK NADLER, has been nominated for the Trophée de la Comédie Musicale, the French equivalent of Broadway’s Tony Award, for creating the role of Eugene in Gaby Deslys at the Theatre de Passy in Paris this past March.

Mark is now creating the role of Myles Bell in the upcoming production of Donald Steven Olson’s new musical TRANSFORMATION: The Christine Jorgensen Show – a featured event at this year’s Fresh Fruit Festival.

He co-stars with film and TV personality, Nicola Gorham, making her New York stage debut as the title character.

TRANSFORMATION opens at The Wild Project, 195 E. 3^rd Street, on Manhattan’s Lower East Side starting April 27 for a limited run. Visit freshfruitfestival.com for tickets.

The Trophée de la Comédie Musicale ceremony with be held on June 12 at Casino de Paris.

A duet of special presentations done in stage reading format will be presented on Friday, May 5 at 7pm, and Saturday, May 6 at 2pm at The Siggy Space at The Flea Theatre, 20 Thomas Street, New York City of EL BACALAO: The Catfish Man, a new, full-length play written by Latina playwright Desi Moreno-Penson. The readings will be directed by SDC Director KM Jones and will feature the acting talents of Jose Febus,* Michael Tyler Jennings, Laura E. Johnston’*, Desi Moreno-Penson, Susanne Pinedo, Yessenia Rivas, Kathy Tejada, and Fidel Vicioso. (*Appearing courtesy of AEA.)

Produced by Dramatic Question Theatre through their flagship new play development program, “DQT Presents,” a series featuring live readings of the works of BIPOC and women-identifying playwrights . https://www.thedqt.org

Loosely based on Euripides’ THE BACCHAE, and taking place in the small, backwater town of Thebes, Florida, EL BACALAO: The Catfish Man tells the story of a cantankerous Cuban family on the verge of losing everything. A storm is coming; a restaurant is closed, a young girl is dead. And a Yoruban demigod is hell bent on vengeance.

Director KM Jones says, “I have always been struck by the intelligence, depth, theatricality, and vibrancy of Desi’s voice. Greek drama, with its big, tragic themes of love, loss, pride, the abuse of power and the fraught, sometimes campy relationships between men and their gods, are the perfect backdrop for this contemporary tale of a dysfunctional family.”

Readings are $20, but currently, there is an Early Bird Special of $15 per ticket from April 3 thru April 17th. Get your tickets at this link: Click Here.

MEET THE PLAYWRIGHT & THE DIRECTOR:

Desi Moreno-Penson (Playwright) is a playwright, actor, dramaturg, and independent theater producer based in NYC. She has an MFA in Dramaturgy and Theater Criticism from Brooklyn College. Her plays have been developed/produced at Ensemble Studio Theater (EST), INTAR, MultiStages, Perishable Theater (Providence, RI), SPF-Summer Play Festival, terraNOVA Collective, Downtown Urban Theater Festival (DUTF) @the Cherry Lane, Urban Theater Company (Chicago), Teatro Coribantes (San Juan, PR), among others. Her short play, DEAD WIVES DANCE THE MAMBO was featured as part of The Chain One-Act Festival at the Chain Theater, directed by KM Jones. Her new play, EL BACALAO: The Catfish Man, a Latinx retelling of THE BACCHAE by Euripedes, was part of the 2021 Fall Intensive Writers Group with Workshop Theater and selected for Lifeline Theater’s Second Annual BIPOC Adaptation Writers Lab in Chicago. Another play, SIN AGUA (Without Water) is part of the 2022-2023 Fighting Words New Script Development Program with Babes With Blades Theater Company in Chicago. Her play, BEIGE received a staged reading as part of the playwrights/directors unit (PDU) at The Actors Studio and is the winner of the 2016 National Latinx Playwriting Award sponsored by the Arizona Theater Company; a finalist for both the Eugene O’Neill National Playwrights Conference and the Bay Area Playwrights Festival (San Francisco). She has twice won the MultiStages New Works Contest sponsored by MultiStages Theater Company for her plays, OMINOUS MEN and COMIDA DE PUTA (F%&king Lousy Food); has twice been a semifinalist for the Princess Grace Award, and her work has received Honorable Mention on The Kilroys List. Her plays are published by Broadway Play Publishing; her short play, RECONCILE, BITCH is included in the short plays anthology “Best Ten-Minute Plays of 2020,” published by Applause Theater and Cinema Books; a ten-minute play, SPIRIT SEX: A PARANORMAL ROMANCE, was selected for the short plays anthology, “Best Ten-Minute Plays of 2010;” and a scene from her play, COMIDA DE PUTA (F%&king Lousy Food) is included in an anthology featuring plays written by Latinx playwrights, “Scenes for Latinx Actors: Voices of the New American Theater,” both published by Smith and Kraus. Desi lives in The Bronx with her wonderful partner, Anthony, and their cat, Choo-Choo.

KM Jones (Director) Co-Executive Vice President and Board Member, League of Professional Theatre Women, Member: AEA, SDC, Theatre Resources Unlimited (TRU), Workshop Theatre Company, Dramatic Question Theatre, Planet Connections Theatre Festivity (Former Associate Artistic Director), and The Actors Studio Playwrights and Directors Unit (PDU). KM is an alumni of St. John’s University and The American Academy of Dramatic Arts/NY. (AADA). @KM Jones (FB); @KM.JONES.52493 (IG); kmjdirector.com

David McDermott steps into the pivotal role of “Scott” in OBSESSED

Theater For The New City, Crystal Field, Executive Producer

Presents The Windowpane Theatre Company’s take on a little bit Hitchcock, a little bit Orson Welles with their production of

OBSESSED

written and directed by David McDermott
written and featuring Andy Halliday
with Eme’ Esquivel, Andrew Glaszek, and Alexa Renee

Halliday & McDermott’s twisted thriller brings us ample helpings of murder & money … and love gone terribly wrong.

Performing thru April 22 (Wednesday – Saturday @ 8:00 p.m. and Sunday @ 3:00 p.m.)
Theater for the New City
155 First Avenue, between 9th & 10th Streets, NYC

Contact https://theaterforthenewcity.net/ for reservations.

After scoring kudos as Scott, the wealthy “mark” in OBSEESED (“He certainly captures the spoiled elegance and the sadness of the man,” Bart Greenberg, Nitelife Exchange) Andy Halliday will be moving on to other commitments opening the door for director, David McDermott, to step into the role.

“I’m excited about this new challenge,” says multihyphenate artist McDermott. “Andy and I wrote this together, so we are in total sync as to the character’s arch.”

Ample portions of 1950s film noir are doled out as a pair of grifters – on the run from a double-cross they perpetrated on their boss back in Kansas City – find themselves on New York’s Lower East Side in need of cash. They think they have it made when they target an older gay man (McDermott)… until they discover he has secrets of his own … dangerous ones. Twists & turns and the appearance of a femme fatale turn this into a wild ride for all involved – especially the audience!

Bart Greenberg commented on the production in his review, “The playwrights effectively create an out-of-time world where same-sex relationships are unquestioned, where cell phones don’t exist (but rotary phones have an ability to take messages) and where everyone lacks morals but are overflowing with passion;” also commenting on Halliday’s acumen in this genre: “[Halliday] has an extensive background and connection with genre-specialist and camp drag artist, Charles Busch.”

Windowpane Theatre Company’s Mission is to develop new plays for the queer community in New York City. Focusing on exploring issues surrounding sexuality, gender and the individual in society. The company embraces wit, humor, irony and satire. WTC provides queer theatre artists a safe and collaborative environment where they can thrive. Their desire is to inspire a sense of joy and imagination in creating vibrant new work. By linking the past with the present, WTC explores alternative methods of theatrical storytelling and develops new ideas through workshops and public readings.

The production continues through April 22.

Dream on, Baransky! Review by JEN BUSH

                Dreams are a series of ideas, images and sensations that occur in a person’s mind during sleep.  They are involuntary unless your name is Jonathan Baransky.  Jonathan has been experiencing serious bouts of anxiety.  When you’re juggling an old flame, a new flame and your best friend’s wife, it’s no wonder that psychiatric assistance is needed.  Jonathan attends sessions with Dr. Smithson who prescribes an experimental groundbreaking treatment in the form of a pill called Dreamasil.  When a serious anxiety attack hits, Jonathan is supposed to take a pill.  The pill will kick in immediately causing Jonathan to have a dream.  He is directed to pay careful attention to the dreams because each one of them will have an important message for him.  All three women in Jonathan’s life are making commitment demands on him which he vehemently resists.  Just about every time he gets together with these women, he is highly stressed out prompting a dream sequence after he ingests a pill.

Dream on, Baransky! has a lot going for it.  A strong cast, a unique story, fabulous song and dance numbers, gorgeous costumes and inventive lighting by Shani Colleen Murfin all add up to a quality theatrical experience.  At its core, it’s a show about an immature player who is poorly navigating relationships.  Thanks to the creative playwrighting skills of Dale Baron and Rich Baron, the story is told in a wildly inventive way.  Every well-crafted character has a colorful personality.  Several characters use multiple accents in the show to make things more interesting.  The cleverly written dream engineers were a nice touch that added to the surreal quality of the show.  They were the characters behind the scenes of every dream sequence.  It was like a play within a play because they were directing the action, setting out the props and acting in the dreams while having stories of their own to tell.  Even the talented Musical Director/Accompanist (Michael Raftery) participates in the show as a silent character with an animated face.  It’s a fun fanciful story that serves up themes of dating, friendship and mental health.

                The cast made up of talented actors from all over the globe was a dream!  You might not like the character of Jonathan Baransky but you will love his portrayal by Joseph Monseur.  He carried the show like Atlas carries the world.  He can act, sing, dance and has a knack for physical comedy.  The three leading ladies, Jennifer, Lyla and Suzie played by Alisa Mironova, Marie-Louise Boisnier and Sky Spallone all stunned in their portrayals of the bamboozled love interests.  Sometimes being over the top works and it worked for Jeffrey Jaafar Laraichi who was hilarious as Suzie’s husband Frank.  Anita Moreno gave a fun zany spin to her overzealous character of Dr. Smithson.   Kudos to Amber Brookes for taking on SEVEN different characters with a range of accents.  She made every character she played unique and fun.  Reagen O’Reilly played by Elizah Hill was the most likeable character in the play.  Ms. Hill gave Reagen such a caring spirit with a side of spunk.  Dustin Pazar delighted as the quirky Commander Ted.  You’ll cheer for Quinn Nguyen when you see her wonderful portrayal of cheerleader Patsy Purity.  It’s hard to stand out among such a skilled cast but Isaias Badilla managed to do it in his role of Kazz-Nova.  He’s funny, charismatic and has a very flexible and expressive face.  Not only did Karolina Larion give a dazzling performance of Starlet Darlene Winters but she choreographed the show as well.  The dance numbers were exquisite.  David Allard took on three roles of Boss, Sebastian and Jules and did a fine job with each.  Billy Gillen was memorable as an imaginative Genie. 

                Costume designer Cole Hurley took great care to outfit the cast in a stylish and funky assortment of dazzling colorful threads.  Under the keen direction of Jake Minter, the cast utilized the two level play space of the well-appointed set.

There were a few things that I felt could have been different to make the play even better.  I would suggest trying to shorten the play.  The story could easily have been told in less than three hours without compromising any aspect of the production.  Though this play is all about dreams, the audience was saturated with dream sequences.   I also envisioned a different ending.  I think the main character received a generous conclusion considering his indiscretions.  Overall, Dream on, Baransky! is a whimsically entertaining energetic show.  The audience loved it as evidenced by their enthusiastic cheers and well-deserved standing ovation. 

The landmark American Theatre of Actors has been bringing quality productions to the stage for 47 years.  They give new artists a voice and a venue to develop their work in a supportive and creative environment.  They chose wisely with Dream on, Baransky!

JEN BUSH EXPLORES THE ICONIC LIFE AND CAREER OF DAVID SABELLA part 1

A countertenor is a type of male singing voice whose vocal range is equivalent to a female contralto or mezzosoprano.  It is the rarest of all voice types and David Sabella happens to be one!  According to his bio, he is cited as one of the “originators of the American countertenor sound” and the only one working in the popular music genres of Broadway and the Great American Songbook.  His wildly impressive 4-octave range affords him the ability to sing in a traditional male breadth as well. 

            Mr. Sabella’s biography is vast and impressive to say the least.  Here are some highlights.  He originated the starring role of “Mary Sunshine in the 1996 revival of Chicago and remained in that role on Broadway and with the touring company for a decade.  He won the Luciano Pavarotti International Voice Competition.  He’s performed throughout the world in opera companies, has done voiceover work and has performed in extensive cabarets.  Just to drop a few names, he’s worked with Ann Reinking, Joel Grey, Patrick Swayze, Chita Rivera and countless others. 

            Mr. Sabella has built a successful international cabaret act around his alter ego, Amanda Reckonwith.  She was once a lyric soprano who graced famous Broadway, concert and opera stages all around the world.  She settled down to have some children and now that they’re grown and finding their own way in the world, she’s back to entertain the masses after a hiatus of several decades.  She is now known to the world as her generations’ most famous “Spento” soprano.   She does transformative versions of the songs of Broadway, The Great American Songbook and other popular favorites.  Mr. Sabella has had multiple residencies with this show and will be in residence at New York hotspot, Pangea from April through December. It was a pleasure to chat with this incredibly talented performer to learn more about him and his thrilling career.

Mr. Sabella’s art is far from static.  “What a massive question! How to talk about myself as an artist? I don’t ever think of myself in those terms. I just do what I do and I’ve been very lucky that it seems to resonate with people in a certain way. I have certainly evolved in my art. I think that’s key to it all. We are never done. We are constantly evolving. My concept of my own art now is much different than what it was 20 years ago, or even 10 years ago. And I’ve only been able to grasp what the nature of my art is by looking back with hindsight. In the moment you’re just a performing artist trying to eek out a living. That all of a sudden you look back and you realize “oh, that’s what all of that was about.””

Mr. Sabella has undertaken some major health and lifestyle changes that have positively impacted his life.  “You’re right. It’s been a major change in my psyche and my gender expression and my comfort level with all of that. And it dovetails into your first question very nicely.”

“Looking back with hindsight over my career, I realized that the greatest success and artistic fulfillment I’ve ever had in my career always had something to do with my ability to blur the lines of gender with both my voice and my look. Whether I was playing Mary Sunshine in Chicago on Broadway, or singing as a Countertenor at Carnegie Hall, there has always been this unique aspect to my career. And until very recently, I kept that locked away in a small corner of my life that I reserved for “my career.” I thought “this is a thing that I do“ I didn’t realize “this is who I am.“”

Rebecca Powers Cranert Interview by Jen Bush

The Lincolns of Springfield is a thrilling new historical musical.  The show is produced by Rebecca Powers Cranert.  The Lincolns of Springfield tells the love story you won’t find in the history books. The audience is led down a delightfully romantic path leading to the marriage of the most unlikely of couples, Mary Todd and Abe Lincoln, a Southern Belle and a backwoods genius. The Lincolns of Springfield chronicles the incredible story of one of America’s greatest Presidents and his much-loved wife, from their first meeting through the end of the Civil War.

Rebecca Powers Cranert brings a multifaceted background to the production team, having served in leadership positions in the arts, education and business. Rebecca served as Director of Theater Programs for the Los Angeles County Arts Counsel supervising all professional theaters throughout Los Angeles County, including those at the Los Angeles Music Center. She also produced and directed professional theatrical productions throughout California. As a professional singer, Rebecca headlined at major venues throughout the West Coast with her ten-piece, Grammy-winning show band.

This musical went through some significant changes from when it began to where it is now.  “This musical began as a story about Abraham Lincoln and evolved into a story about Abraham Lincoln and Mary Lincoln. The more Terry Cranert (book/music/lyrics) studied Abraham Lincoln, the more he -and I- came to see that, as many Lincoln scholars state, without Mary, there probably would never have been a President Abraham Lincoln.”

        “Mary came from a very politically active and involved family. She traveled in political circles. Henry Clay was a frequent dinner guest at Mary’s home when she was growing up. Her sister married the son of the governor of Illinois. Mary was even courted by Steven Douglas! Mary apparently recognized almost immediately upon meeting Abe, his charisma, his intellectual prowess and his political potential. She encouraged him and supported him in his political endeavors. She helped him dress appropriately and to behave in a socially acceptable manner- or as we would say today- in a presidential manner. She threw campaign parties that entertained hundreds of people in their home in Springfield! It became clear that we couldn’t tell the story of Abraham Lincoln without telling the story of Abe and Mary Lincoln and their romance and marriage.”

“Although Abe is well known for being self educated, Mary, even though she was a young girl, recieved an education that was in every way equal to that of the best educated young men of the time. Mary studied European History, Mathematics, and spoke French impeccably. In addition, she attended a finishing school run by a Parisian lady, who also influenced Mary’s love of fashion. Later in life, while Abe and Mary were in the White House, Mary’s aristocratic upbringing, enabled her to refurbish The White House, just like both Jackie Kennedy and Nancy Reagan did, in a manner that allowed Americans to hold their heads high when visited by European dignitaries. Abe came to rely on Mary’s knowledge, social expertise and advice. They were most definitely America’s first “power couple.””

       “Most people are not aware that as a young girl, Mary assisted her father’s household slaves with the Underground Railway. She was an abolitionist from a very young age.”

       “Together, Abe and Mary, worked to free a people and save our country. Together, they made innumerable, unimaginable and unthinkably difficult sacrifices to achieve that goal.”

       “Yet, and this is important, Mary, as well as every other woman of the time, was not even allowed to vote. In spite of her aristocratic upbringing, in spite of her exemplary education, Mary was still unable to vote.”

       “In many ways “The Lincoln’s of Springfield,” tells a story that causes us to become very aware of the struggles women have faced throughout history, and how and why women, even today, continue to seek equality for themselves and for their daughters.”

       “Within “The Lincolns of Springfield’s” story, the pivotal relationship between Mary and her dearest friend, Elizabeth Keckly, a formerly enslaved seamstress, who  managed to buy not only her own freedom, but that of her son, shines a light upon women’s struggles and exemplifies how women, empowering other women, has served to strengthen our entire culture throughout American history.”

Many playwrights engage in some level of creative license when writing historical pieces.  When it came to Abraham Lincoln, creative license was neither practical or logical.  “In regard to historical theatrical license, I came to understand, that Abraham Lincoln’s story is unique in that he has become in every sense, so very highly esteemed, indeed sacred, to many, many Americans, Lincoln Scholars and Lincoln oficianados- that to these people, there is no such thing as acceptable theatrical license when it comes to Abraham Lincoln and his story. These people are extremely familiar with every aspect of Lincoln’s life and when telling this story, you better darn well get it right! If a writer goes off track, even just a tiny bit, the Lincoln lovers will come out of the woodwork and call you out!”

        “So with this in mind, Terry was scrupulous when it came to the script for “The Lincolns of Springfield.”  He studied and researched for years before he even began writing. Luckily, at that time, we lived just a mile or so away from The Huntington Library in Pasadena, California, which houses an entire wing of Lincoln scholars. When Terry finally, actually started writing, he would put together a scene and a musical number and take them over to the Lincoln scholars at The Huntington, who would go through everything he had written with a fine tooth comb to make sure it was entirely truthful- not a legend!! Any thing that was in the slightest bit inaccurate, was cut. Thus, we ended up with a musical that takes no theatrical license at all, and that proves once and for all, that “Truth is stranger than fiction.””

       “So–  If you want to find out how an aristocratic Southern Belle and a back woods genius- (possibly the most highly improbable couple ever!!)– managed to find each other, fall in love, get married, and become our country’s first power couple—Who then freed a people and saved our country!! Be sure to grab your entire family and come see the new musical, “The Lincolns of Springfield” at the Hoogland Center for the Arts in Springfield, Illinois this Summer!”

Terence L. Cranert’s stirring new musical,

THE LINCOLNS OF SPRINGFIELD

A musical for the entire family

Premiering in Springfield, Illinois, with sights set on New York.

Performances begin June 15
Hoogland Center for the Arts – Peggy Ryder Theater

420 South Sixth Street, Springfield, Illinois

The Lincolns of Springfield is scheduled to play in Springfield, IL through August and the show is currently in negotiations to come to New York.