Oscar E Moore

Splat! That’s one of the final images you see as the Green Goblin meets his demise toppling off of the Chrysler Building in the bloated and beleaguered musical Spider-Man Turn Off The Dark which has finally opened after one of the longest preview periods in Broadway history, many mishaps, 70 million dollars spent and the ouster of its original director Julie Taymor.  Splat! sums it up precisely.

If I hadn’t seen it for myself I never would have believed what a terrible mess Spider-Man Turn Off The Dark is.  From its opening deaf defying ear splitting sound system to its split personality story telling and direction I was continually amazed at what seventy million dollars looks like on stage at the Foxwoods Arena – I mean the Foxwoods Theatre where this Yanni cum Cirque du Soleil musical with a mediocre score by Bono and The Edge – geared to the tourist trade, tweens and teens with lower than average I’Q.s – are devouring this froth-like amusement park ride that just might make you ill like an overdose of cotton candy.

The most striking aspect of the production are the sets by George Tsypin and the opening sequence of Arachne (T.V. Carpio) weaving her web.  Next some trademark puppets and masks by Ms. Taymor which fight against the oh-so-seriousness of the piece.  Spider-Man, I thought, was supposed to be funny as was “The Spidey-Project” a spoof produced for one free night only back on March 14, 2011 which was brilliant. 

The aerial flying sequences come late in the first act right after Peter the geek/dork Parker (Reeve Carney lacking in charisma) has been bitten by a mutant spider and finds himself climbing the walls – with so many visible wires that it takes away any of the mystery of how it is done.  Unlike the fabulous dance sequence of Fred Astaire in the film Royal Wedding. 

There are some high flying sequences over the audience that are best seen from the mezzanine and balcony – not in the higher priced orchestra seats where you will be straining and craning your neck to see where they have flown off to. 

The best is the climatic aerial battle between Peter/Spider-Man and the Green Goblin (an over the top Patrick Page who is the mad scientist Norman Osborn in Act I and who captures the right tone here – only he isn’t doing the flying Collin Baja is) as Peter attempts to save his true love Mary Jane Watson (Jennifer Damiano) that had all the kids cheering their American Idol moment albeit zero chemistry.

What choreography there is by Daniel Ezralow and Chase Brock is repetitive and not very original and of today while the story is set somewhere else – your guess is as good as mine – with references to Face Book and cell phones being used and then old typewriters and newsboys exclaiming, Extra! Extra! – It just doesn’t make for a good mix.  A mix conjured up by Taymor, Glen Berger and Roberto Aguirre-Sacasa and Creative Consultant Philip Wm. McKinley.

The parade of the mutant villains with eye popping costumes by Eiko Ishioka will probably televise nicely during the Macy’s Thanksgiving Day festivities.

The focus on bullying and the oft repeated “With great power comes great responsibility” resonate very strongly today.  I wish the creators of the show had supported those themes in a more meaningful way.  I wish the entire cast and crew the best as they have done their best to make Spider-Man Turn Off The Dark work.  But even the infusion of twenty million more dollars wouldn’t help make this ill conceived show fly.

www.SpiderManOnBroadway.com     Photo:  Jacob Cohl

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Two actors.  Minimal set.  No intermission.  Easily transportable.  A description of “Any Night” which is now trying to scare up its audience at the LABA Theatre @ the 14^th Street Y (344 East 14 St) after being hailed by Canadian critics where it has won numerous awards including “Best of the Year” and “Best New Play”.  Some pretty good credentials that unfortunately it doesn’t live up to.  Hitchcock’s Psycho it isn’t.

I’ll give it high marks for attempting to create a who-will-do-it-to-whom-and-why creepy chilling kind of drama.  But very early on Anna (Medina Hahn) a beautiful young woman whose main problem is sleepwalking declares that someone will die and someone will die inside. 

As there are only two characters, the other being a computer nerd willing to be Mr. Helpful – Patrick (Daniel Arnold) her new neighbor upstairs from the basement suite that she has recently rented after leaving her overly confining boyfriend Ben the odds are even as to the outcome.

Even an ostrich with its head imbedded deep in the sand would figure out what’s going to happen in this pseudo psycho drama – written and produced by our two actors.  The only thing chilling about Any Night is the air conditioning.

Director Ron Jenkins does his best to spook it up with the help of some nice lighting effects by David Fraser and sound design by Gord Heal. 

The dialogue is mostly banal.  Getting to know you stuff that doesn’t pay off until the last twenty minutes.  The song “Everybody’s Looking for Someone” (Sweet Dreams (Are Made of This) made famous by the Eurythmics and Marilyn Mason is used throughout and it’s like hitting us over the head with a sledge hammer.  Nothing subtle here.

There are off stage voices (Brian Linds) spying on Anna as she sleeps.  There are thunderstorms.  There is Colette – the psychic next door who reads Anna’s cards.  Daniel Arnold triples as Colette and Ben.  There are spastic modern dance movements (Anna wanted to be a ballerina) and lots of running around the set with the use of a movable three step staircase which keeps the momentum going if nothing else.

Is Patrick as nice as he seems?  Is he telling Anna the whole truth and nothing but?  Is Anna just plain bonkers?  Will her prophecy of death be fulfilled?

Both actors do a fine job at portraying these complicated star crossed lovers but they cannot overcome their own script which their director has tried to spice up with some eerie touches that had me on the edge of my seat not in suspense but ready to leave.

www.AnyNightThePlay.com   Through June 19^th.  Photo:  Stephanie Hull

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This is not a prediction of who will win but who I think should win.

http://www.goldderby.com/oscare/mypredictions/

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If ever asked who I’d like to have dinner with – either dead or alive – Rachael Crothers would be my second choice, she being dead.  The first being, Elizabeth II Queen of England. 

Who you might ask is Rachel Crothers?   Ms. Crothers was a prolific playwright – nearly 30 of her plays opened on Broadway between 1906 and 1937 and “A Little Journey” (1918) which has just opened at The Mint Theater in its first ever revival was a nominee for the 1^st Pulitzer Prize for Drama losing out to Why Marry? By Mr. Jesse Lynch Williams.  Could it have been because she was a woman?

Ms. Crothers was as funny as she was smart.  And she certainly knew about human nature.  Her dialogue is true to character and there is nothing dated about “A Little Journey” except the beautiful period costumes by Martha Hally worn by the woman on board the Pullman Car headed West where the action takes place over a four day period.

When you hear that certain “buzz” circulating among the audience members after the first act curtain (there are three) you know there has been something special on stage.  “A Little Journey” is a gem of a play unearthed by The Mint which has a knack for unearthing very special vintage plays that resonate today just as they did when first produced.  A fine example was another Crothers play “Susan and God” which was produced five years ago.  I hope that we don’t have to wait that long again for another Rachel Crothers masterpiece to arrive.

“A Little Journey” is delightful, meaningful and humbling.  It is exceedingly good and I whole heartedly recommend seeing this beautifully designed production.  Roger Hanna has created some sort of miracle in this intimate setting with his rotating circular Pullman Car which has enabled director Jackson Gay to keep the action moving while the train heads West with its collection of odd characters.  A perfect ensemble cast.

Three of whom open the play never to be seen again.  The economics of 1918 play production allowing for such delicious excess could only be envisioned and executed to the nth degree by the amazing Mint Theater. 

Those three characters are Kittie Van Dyck (Victoria Mack) and Ethel Halstead (Joey Parsons) and Alfred Bemis (John Wernke) boyfriend of Julie Rutherford (a lovely nuanced Samantha Soule) who is going back West to live with her brother leaving all behind as she has not enough money to remain in New York and hasn’t enough self esteem to get through her troubles.  It is her journey that we follow although most of the other characters also change along the way.

There is the society matron Mrs. Welch (a sensational Laurie Birmingham) the deaf Mrs. Bay (a huggable Rosemary Prinz) her granddaughter Lily (a fine Chet Siegel) an unwed mother Annie (a heartbreaking Jennifer Blood) traveling with her infant – who by the way is a most important character – its coos and squeals so believably done that not for a moment are you taken out of the story), two college chaps Frank (Ben Hollandsworth) and Charles (Ben Roberts) swooning after Lily and Julie respectively, Jim West (a manly McCaleb Burnett) who comes to the rescue when Julie cannot find her ticket and helps her to learn about herself and life, the brash and demanding Conductor (Douglas Rees) who doubles as Mr. Smith traveling in the only private compartment, salesman Leo Stern (a lively Craig Wroe) and the Porter (a charming Anthony L. Gaskins) who remains calm and professional despite the way he is sometimes treated.

“A Little Journey” is all lighthearted banter until Julie is forced to face some very important issues and then disaster strikes in the most unexpected and surprising manner which brings out the true humanity of all involved, leaving you with the most uplifting and hopeful thoughts from all these wonderful new acquaintances introduced to us by Rachel Crothers – a lady who knew her craft and her characters and manages to still entertain and move us with her sincerity about helping others.  It’s an extraordinary play and production.  I could see it again.

www.minttheater.org        Through July 10^th.     Photo:  Richard Termine

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Under the sure handed direction of David Leveaux “Through A Glass Darkly” a stage adaptation (Jenny Worton) of Ingmar Bergman’s 1962 Academy Award Winning Best Foreign Language film for the Atlantic Theater Company is a provocative, atmospheric, well executed and beautifully designed production which centers around a dysfunctional family dealing with the mental disorder of Karin (a finely tuned Carey Mulligan) while on holiday on an Island Paradise which turns out to be anything but.

Karin has just been released from a mental institution and appears to be adapting nicely with her husband Martin (Jason Butler Harner) who is a doctor, her sixteen year old brother Max (Ben Rosenfield – in an auspicious Off-B’way debut) and her arrogant and distant father David (Chris Sarandon) who has long been absent with the writing of his latest novel. 

He has promised to spend the entire summer with them but that is not to be as he must give an important lecture in Yugoslavia.  The lecture being more important than his family.  A family that Karin has tried to nurture and hold together after the death of her mother who suffered from the same malady.  Typical Bergman themes.

When Karin reads in her father’s diary that her disease is chronic she begins to unravel hearing birds and smelling musty clothes and waking in the middle of the night to go through a wall where the people greet her with love and understanding.  A place where she is important.

The production team has done wonders in making this film stage worthy.  The set by Takeshi Kata representing the sea side and bedroom and mystical wall is enthralling in its simplicity and color.  As are the costumes by Jess Goldstein, the superb lighting design by David Weiner and the eerily mood inducing music by David Van Tieghem.

David, a second rate writer who longs to be accepted as a genius, hopes to use the dissent of his daughter into mental oblivion as the basis for a best selling novel asking if she wouldn’t be better off dead.  Try being not anxious under these circumstances as they advise Karin to be.

Her young brother Max, just experiencing the strange stirrings of puberty, finds it a bit uncomfortable seeing his sister’s naked breasts and then some.  Wanting to gain the respect and attention of his egocentric father, Max has written a play that he would like him to critique.  His confusion and desire for acceptance are heartbreaking.

Karin’s husband, at a loss, tries to comfort his wife as she slowly dissolves before our eyes in a mesmerizing performance.

They are all excellent in this most interesting and unsettling production which makes one want to see the original film written and directed by the granddaddy of dysfunctional families, Ingmar Bergman – who was a true cinematic genius.

At the New York Theatre Workshop 79 East 4^th Street.  Through July 3^rd.

www.atlantictheater.org/glass

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About half way through the dismal 80 minute “Desperate Writers” – by Joshua Grenrock and Catherine Schreiber who also appears as one of their imagined Hollywood producers Jessica Vane (read vain) I wondered and hoped that scenic designer Lauren Helpern had been well paid for her well apportioned split level Hollywood Hills home that is sleek, modern and artificial – the one bright spot of the production. 

As it turns out, a rental property that is about to be sold leaving our two main characters who have been trying for the past ten years to get a screenplay “From God’s Mouth” – a romantic comedy featuring the Mets, The Yankees and a lottery ticket – read and produced – out in the cold or the smog or the sunshine – as if it mattered. 

Ashley (Maddie Corman) is a terrific cook/caterer and wants to get married and have a child but her long time writing partner and lover David (Jim Stanek) a terrific pet photographer wants to wait until he has “all his ducks in a row” meaning “making a deal” for their screenplay.  The expression “When Pigs Fly” comes to mind.

And so, desperate as they are, three high profile producers are kidnapped and imprisoned in a make shift jail cell set up in their living room where a Real Estate agent pops in every so often with potential buyers – on Halloween no less.  Still with me?

Maybe this worked in Hollywood where “Desperate Writers” was first produced with all its Hollywood “in-jokes” and proliferation of Yiddish-isms, and a stab at skewering the jaded HW producer types:  The aging yet perennial youthful looking lothario Danny Burke (Christopher Durham) the obnoxious overweight man of a thousand Yiddish expressions Leo Goldberg (Bob Ari) and the already mentioned Jessica Vane (Catherine Schreiber) – a trio of back stabbing phonies.

And so Ashley serves them a gourmet meal and David reads and enacts their “baby”.  The entire screenplay which only makes it obvious why it has never been produced in the ten years that they have been dreaming of their Oscar.

None of this is remotely funny.  Ridiculous, yes, funny, no.  Masks and guns and Botox do not a comedy make.  At best it’s an elongated Saturday Night Live skit that might even be cut from the final run through.

Pauletta Washington is their not very helpful agent Vanessa.  Bedecked in outlandish outfits (Stephen Donovan) she calls them every so often from locations where it is nigh impossible to hear her as she changes times of meetings and gives them the old pep rally – “Be Optimistic” spiel.

Vayu O’Donnell, Kelsey Nash and Susan Louise O’Connor play a series of cameos making a great effort to make sense of all this nonsense.  A losing battle.

Kay Cole is the director of record.  Not helping matters much she is fond of the freeze frame effect.  Performed without an intermission for obvious reasons.  At The Union Square Theatre.

www.desperatewriters.com

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There’s a whole lotta muddled storytelling going on at Theater B 59E59 Street Theaters where “I Married Wyatt Earp” will be ramblin’ on through June 12^th.

Perhaps a more apt title would be “I, a young arrogant ambitious Jewish gal from San Fran who can sing and dance moseys myself into a theatrical troupe, winds up in Tombstone, meets Earp at the end of Act I, causes his common-law wife – a drug addict – to kill herself and then we live happily ever after for some 47 years.  With a lot more stuff that happens along the way told in lively song and dance.”  But even that would be too long a title for this too long production.

It is “suggested in part” by the book of the same name by Glenn. G. Boyer.  I wonder which parts they used and how long this tome is.  “They” being Thomas Edward West & Sheilah Rae (book) music by Michele Brourman and lyrics by Ms. Rae with overall direction by Cara Reichel who must be commended for keeping the cast of 11 women from colliding with each other on the small stage.  The practical set is by Ann Bartek.  Cramped choreography by Joe Barros.  Nice “Sunday Best” costumes by Ryan J. Moller.

The unlikable widow of Wyatt, Josie (Carolyn Mignini) is having a heated argument over the phone regarding the filming of a John Ford movie based on her life “My Darling Clementine” where she has just been fired as consultant due to some information given by Allie Earp widow of Virgil Earp (Heather Mac Rae).  The saga then unfolds in flashback as Josie and Allie reminisce over booze in tea cups.

Before I go further, Ms. Mac Rae is one of the only reasons to sit through this oater.  The other being her younger self, portrayed by Stephanie Palumbo.  Both add professionalism and fine voices to the otherwise adequate cast.  And adequate is probably the last word any actor wants to be described as.

The young Josie, a star vehicle if there ever was one is played by Mishaela Faucher who unfortunately is not completely up to the task.  She’s adequate.

There is Bess Earp, Mrs. James Earp (Carol Linnea Johnson) a tarot card reader and her daughter Hattie (Laura Hankin – whom I also liked very much), Mattie Earp wife of Wyatt the womanizer (Anastasia Barzee) deranged and much in love – and the mistress of Doc Holliday, Kate Haroney (Ariela Morgenstern – does anyone remember Aliza Kashi?) played with gusto and an indistinguishable accent.

The theatrical troupe is headed by Pauline Rackham (Tina Stafford who adds much of the comedy with her rather mannish impresario).

It’s a bit of Fanny Brice goes to the Tombstone Territory, a bit of “Follies”, a bit of “The People in the Picture” and “The Music Man”.  Only a mélange of them all with not enough focus in its storytelling.  People and subplots abound with Ms. MacRae left sitting in the corner watching and wondering.

Produced by the Prospect Theater Company and New York Theatre Barn “I Married Wyatt Earp” in short is long and uneven with a somewhat melodic score with a twang when the actors aren’t singing their sung dialogue.  If Josie Earp wanted to set the record straight she hasn’t.

www.imarriedwyattearp.com       www.59E59.org

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There’s a fantastic new musical revue in town.  First produced by the Rubicon Theatre in California it has just opened at 59E59 Theaters and all I can say is WOW!  “The Best Is Yet To Come:  the Music of Cy Coleman” celebrates Cy Coleman’s life with a selection of some of his biggest hits written with a variety of the top lyricists in the business.   With an emphasis on Broadway show tunes.  It’s as good as it gets.  Entertaining, jazzy and razzmatazzy.

David Zippel who has written “City of Angels” (Six Tony Awards) with Cy Coleman and Larry Gelbart has devised and directed this extraordinarily entertaining musical revue highlighting the songs and not even trying to shoe horn a book into the proceedings.  Mr. Zippel has segued the songs seamlessly, letting their various rhythms, lyrics and moods speak for themselves.

You will be brought back to the era of the Big Band by scenic designer Douglas W. Schmidt who ingeniously has built up the stage around the sunken piano where Billy Stritch holds forth conducting his team of on stage, formally attired musicians playing the great orchestrations by Don Sebesky. 

The tiered set gives Mr. Zippel ample opportunities to stage the songs in an always fresh way.  And he is chock full of visual surprises.  Within the small space choreographer Lorin Lattaro provides just the right amount of dance for the incredibly talented cast of five – not including Mr. Stritch who sings and tinkles the ivories amiably at his piano.

The well dressed by Mr. William Ivey Long cast couldn’t be better.  Every single one of them shines.  Alone and together.  There are too may show stoppers to mention as each cast member has their own as they interpret Mr. Coleman’s incredible talent.  Lillias White does an outstanding job with “The Oldest Profession”.  Rachel York with “Come Summer”.  David Burnham with Ms. York in “Only The Rest of My Life” from an as yet to be produced musical “N” (about Napoleon and Josephine).  Some of the most beautiful ballads are from “N” including “I’d Give The World” sung by Howard McGillin that is heartbreakingly lovely.  Sally Mayes delves deep within to sing a magnificent “With Every Breath I Take”.

Some of the top lyricists represented are Alan & Marilyn Bergman (a surprisingly amusing “Those Hands” – Dorothy Fields “Big Spender”, Ira Gasman, Michael Stewart, David Zippel and the wonderful Carolyn Leigh “Little Me”.

The evening ends with a very up and positive medley including “It’s Not Where You Start”, “Hey There, Good Times” and “If My Friends Could See Me Now”. 

Well folks and friends of Cy Coleman now is your chance.  “The Best Is Yet To Come” is a rousing and completely sensational celebration of Mr. Coleman and his collaborators.  Go!     www.59E59.org

NOTE:  The outstanding band:  Woodwinds – Chuck Wilson, Nathan Childers, Frank Basile, Trumpet -Ross Konikoff, Trombone – Dan Levine, Bass- Bob Renino and Drums – Scott Neuman.

Photo: Carol Rosegg

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The Little Shubert Theatre on West 42 Street has the unfortunate stigma of being known as the house that launched a thousand flops.  Well as in everything else in life the tide has finally changed with the opening of “LUCKY GUY” a sure fire crowd pleaser for those interested in having pure unadulterated tongue in cheek campy fun.

The scene is set in Nashville where hunky/sexy singer/songwriter Billy Ray Jackson (a terrific hunky/sexy/singer Kyle Dean Massey) has arrived from Oklahoma after winning a songwriting contest that G.C. Wright (Jim Newman) of Right Track Records is going to record and make it the biggest hit ever.

However his pint sized cousin Big Al Wright, a sleazy used car salesman (the impish and riotously funny Leslie Jordan) has other ideas.  Namely to steal the song and have the Queen of Country Music, Miss Jeannie Jeannine (his partner in crime) who is played by drag queen Varla Jean Merman to the hilt – sing “Lucky Guy” (which happens to be a great tune) on his TV special.

Wanda (Savannah Wise) who came up with the contest of course falls for Billy Ray and he falls for her as Jeannie Jeannine attempts in great cougar style to divert his attentions.  Chicky Lay (a perfect Jenn Colella) is the intended of G.C. looking for her own hit single while combing out wigs at the local Beauty Salon.  And speaking of wigs of which there are many Paul Huntley deserves credit for their visual comical designs.

Rounding out the company are The Buckaroos (Callan Bergmann, Xavier Cano, Wes Hart and Joshua Woodie) who sing Country Western/Barbershop style and dance with abandon – choreography courtesy of A. C. Ciulla as Cowboys, Indians, Footmen and Hawaiian Warriors in an outlandish Act II number “Louis From Kahului”.

Willard Beckham is responsible for this entire madcap invention.  Book, Music and Lyrics as well as direction are all his.  There are some really catchy songs and the lyrics range from truly witty to truly groan inducing – but on purpose.  The score is a toe tapping foot stomping mixture of Country, Bluegrass, Broadway, Vaudeville and Pop pleasing melodies.

Leslie Jordan, as usual, is a hoot.  Just to see him standing up to C cup level beside Miss JJ is a visual treat you won’t soon forget.  He doesn’t miss a trick or a laugh and tries to steal every scene which is a might difficult when you have the likes of a diva drag queen to contend with.

Varla Jean Merman (Jeffrey Roberson) looking like a cross between Bernadette Peters and Jane Froman as she enters for her first big number where she glides across the stage on rollers beneath her costume/gown with the lyrics of her last hit “Blue Jean Blues” emblazoned so that we can sing along is simply awesome.  She shines throughout and not just from all those sequins.  She’s great, not only in the many high camp scenes but when she plays for real you believe her.  Quite an accomplishment in this silly show.

It appears that costume designer William Ivey Long has been given carte blanche here and his imagination unleashed is a Ziegfeld Follies Trailer Park Drag Queen’s dream come true.

Too much of a good thing can become tiresome and a few nips and tucks here and there might make LUCKY GUY the hit it deserves to be.

Through July 24^th.  www.luckyguythemusical.com Photo: Joan Marcus

THIS JUST IN:  LUCKY GUY TO CLOSE SUNDAY 5/29/11.  The jinx lives on…

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This theatrical season has brought us Mormons and Nuns and now Shakers.  Blessed be the ones who can sit through “As It Is In Heaven” now instructing at the Cherry Lane Studio which is not a production of the Cherry Lane Theatre but a production of 3Graces Theater Co. which has more than 3 graces gracing its staff.

In this ninety minute without intermission look into the lives of nine Shaker women circa 1838 Kentucky we get to know their daily routine.  They would sing, self-confess, plant, cook, weave, quilt, eat, discuss NOT gossip, pray and talk of the hens and the bull that terrorizes the laundry and of the eyes and beards of the Shaker men folk who lived apart from them as they all led celibate lives.   “As it is in Heaven” is more documentary than drama.

We never see a man and that might have been where some drama could have been provided.  As it is, the nine women are dressed alike and it’s hard to distinguish personalities as the Shaker religion taught them to think alike – giving up their ego for the community.  A few of the women seem to be unhappy with this policy – particularly the younger ones. 

Polly (DeWanda Wise) a former prostitute who has a gift for drawing and passes out small pictures that she has seen through their departed founder Sister Anne and gives to the other women.  And Fanny (Megan Tusing) who claims to see Angels.  And the youngest Izzy (Rachel Cantor) – naïve and wanting to learn how to make a Jacob ‘s ladder out of string.  It is she that we get to know the best and Ms. Cantor gives a heartwarming and touching performance wondering what is out there beyond the meadow yet longing to stay with her fellow sisters and not be sent back to her father.

Hannah (Margot Avery) is the Elder of the group.  She wants everything plain and simple.  No embellishments.  A strict adherence to the codes that have been established.  But it takes a long time for some conflict to erupt – rather sizzle as she interrogates the girls to see if they are truly seeing Angels.

Unfortunately, the times we live in and especially since the end of the world was predicted for the day I saw the play, when mention is made that the world is ending an unwanted laugh came from some members of the audience that were truly insensitive to the actors and what playwright Arlene Hutton was trying to get across.

The set is plain and simple.  Dark walls with some pine benches a couple of chairs and baskets and a row of illuminated hooks.  Lighting Designer Joshua Scherr has done a marvelous job as has Musical Director Phillip Bettencourt with a capella songs and hymns that punctuate the action.

This serious and static play is difficult to direct and Ludovica Villar-Hauser has done her best to differentiate the characters that tend to blend together and to mine some humor into the piece which is its tenth anniversary production.  First being presented right after the 2001 World Trade Center disaster.  The program notes that there are only three living Shaker adherents still practicing the religion. 

www.threegracestheater.org Tickets $18.00   Photo:  Rick Berube

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