HIGHLIGHTS OF PAST SHOWS


 

Foy Enterprises was brought in to teach students to fly Superman in the 1993 musical production of SUPERMAN.


YOUNG CAST GIVES A PIECE OF THEIR HEART TO CEDAR CREST AUDIENCE
By Greg DeJarnett

"You won't forget me was all he said and then closed his eyes to sleep.
You won't forget me, his final words, and the nightmare I shall keep."

These are the first two stanzas of a poem by Cedar Crest College graduate, Kirsten S. Morabito. They might provide the best review of the college theatre departement's current production, "A Piece of My Heart".

Another simple testimony to the production was the number of damp eyes in the audience at the end of the performance. A Lieutenant Colonel a few seats from me repeatedly wiped his eyes.

Only the Civil War has torn Americans the way the war in Vietnam did. Both tragedies stand as major events in our history.

But the Vietnam war is closer and deserving of the examination it is currently getting in American art.

As a play, "A Piece of My Heart", is seriously flawed and, perhaps, it is best described as a performance piece. It is, however, a moving testament to the women who served, uniformed and not, "the hell of Vietnam", as one character described it.

The six women in the cast portray three nurses, a Red Cross volunteer, a country western singer and an Army intellegence officer. A single man performs all of the men in the piece. All of them rise to the strong moments the script requires.

Given their ages, this seemed ironic, each of them was born about the time, 1973, that American troops were removed from Vietnam.

They were reliving the pain, shock and turmoil of their parents generation. This is a testament to the universality that can be found on the stage.

Director Linda Baas deserves much credit for the strong production. The weaknesses of the script - it often describes rather than depicts the action and it is episodic - give the piece many directorial problems. Baas, however, has overcome them well. She has found rhythm and pacing, builds and strong movements in material that could easily have been presented as a graphic and tortuous lecture.

Roxanne Amico's designs are well done, particularly her lighting which is difficult in a small space that does not allow room for extra instruments nor advantageous angles.

The choice of the small theatre was itself a strong one. This is an intimate personal piece. The feeling, that at times, one is listening to the character speaking to you directly, adds to the power of the production.

A piece of their hearts is what each of these ladies left in the field hospitals, USO clubs and bunkers of Vietnam. A piece of their heart is what many who did not serve in Vietnam, including many who actively opposed the war, would like to give to those who did serve in that "hell".

A piece of their heart is what this young cast, that can only imagine the pain and confusion of that era, gives to the audience.

This review was originally printed in the Parkland Press, September 16 to 22, 1993. Greg DeJarnett is a Parkland Press writer.

This Lehigh Valley premiere joined Vietnam veterans and Cedar Crest students in an exchange of emotions and ideas from their first meeting with the veterans at an informal picnic, to their assistance during rehearsal with authenticating the Vietnam experience on stage, to a commemorative flag raising ceremony with color guard. The 1993 production of A PIECE OF MY HEART proved to be an educational and moving tribute to women who served in the Vietnam War.


The 1994 Lehigh Valley premiere of Opal brought New York composer and author, Robert Lindsey Nassif, to Cedar Crest for his first experience with an amateur production of his musical. He was not disappointed. A local newspaper review appears below.


'Opal' a dazzler at Crest

By Stephen Parrish

Upon the compact stage of the Tompkins Center Theater in Allentown sits an attractive, multi-tiered wooden set complete with towers, ladders and a raked platform reminiscent of a rustic turn-of-the-century lumber camp.

When the lights go down, signaling the start of Cedar Crest College Stage Company's production of the musical "Opal", 11 young players enter the space and charge it with all the energy required to bring to life a faraway world as seen through the eyes of the 7-year-old title heroine.

Based on the memoirs of Opal Whiteley, the French orphan washed ashore on the Pacific Northwest coast in 1904, Robert Lindsey Nassif's musical is layered with all the charm and sentiment to be found in a small community rife with gossips, young sweethearts and matchmakers. Its small-town appeal and coming-of-age grace surface in a fashion recalling "The Fantasticks", which, not unlike "Opal", finds its roots Off-Broadway.

Director Roy Hine has assembled a tight network of performers to tell his story, and in one of the finest examples of collaboration between director and designer in recent local theater, dresses Roxanne Amico's beautiful set with his actors, dispatching and moving them about in ways which enable a mere handful to successfully create the illusion of dozens.

Add musical director Yvonne Robinson, and the ensemble brilliantly translates the world according to Opal to the audience by means of strong, beautiful, harmonized voice.

"To Conquer the Land", the first major full company number, finds the cast milling about its theatreical playground with precision and ease, fueled by and energy indicative of the production and best exemplified by the song. Unfortunately, with a cast this strong vocally, a performer's own brilliant solo can supercede an above-average acting turn, and in this show, there is a minor instance or two. But for the most part, the entire company gels into a powerful, cohesive, story-telling unit.

The backbone of the ensemble is a series of five narrators, all expertly picked by Hine and Robinson to lay the groundwork of the tale through movement and song. The narrators do a wonderful job of establishing Opal's environment, and work together beautifully as they bring to life everything from schoolchildren to farm animals to Opal's secret hideout in what seems to be an unchallenging exercise of versatility to the talented quintet.

And at the center of the ensemble there is Opal herself, as portrayed by Tonya Marie Dellatore (who alternates the role with Denille J. Varney). Dellatore tackles the role with a feisty maturity above and beyond the capabilities of a typical fifth-grader, and wields the power to move an entire audience without being emotionally manipulative, or more specifically, having to be cute. The young actress is at her best when pantomiming her pet pig, or in utilizing her impressive singing voice, or perhaps most obviously when merely portraying a whimsical 7-year-old.

Chuck Zebrowski, a powerful baritone, is a stand-out as the resident man-about-the-town. Robyn Puchyr and Kirsten Morabito are excellent as the unknowing rivals for his affection. Rounding out the fine cast are Gracie Thorpe and Linda Riggiladez as Opal's mother figures. The full length musical is engaging from start to finish.

 

This review was originally published in THE MORNING CALL on Friday, November 11, 1994. Stephen Parrish is a free-lance writer.


 

The crowd pleaser NUNSENSE appeared in 1996 and featured students from freshmen to seniors as well as Cedar Crest alumna PattyRuth McKinley as Mother Superior.


PREMIERES AND ORIGINAL WORKS

The Cedar Crest Stage Company prides itself on presenting Lehigh Valley premiere productions as well as original works by new authors. Here's just a few examples:

WORLD PREMIERES

LOPSIDED--Produced in 1994 and written by Cedar Crest alumna Ellen Ann Kafkalas, this drama explored the ugly side of breast cancer, from the scars of surgery to a damaged self-image — and at the same time it embraced a sense of strength and hope.

"the playwright handles sensitively some mighty rough dilemmas . . . The membrane between being shallow and being human, Kafkalas reminds us, is wafer thin." -- Geoff Gehman of The Morning Call

 

TALES OF THE ARABIAN NIGHTS--This children's show was written by Amy Atwell and produced in 1996. It provided an entertaining journey for younger audiences into the legend of Scheherezade, an Arabian girl who saved thousands of women by entertaining the Sultan with 1,001 tales.

 

IF I WERE CINDERELLA--The 1997 children's show by Amy Atwell took a new twist on an old story. Four young girls explore the many versions of the Cinderella story from various cultures and take a trip into the imagination and each decides what the story would have been like if she had been Cinderella.

 


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