Tales from Poe Opens for the Public This Weekend

by Matthew Windham

Tales from Poe has gone through many iterations over the years. For myself and the rest of the new Acting Fellows, it became clear to us almost as soon as we looked at the scripts from previous productions, that it would be the most satisfying for us create our own new adaptation of Poe’s works that was tailored to our particular ensemble. Thankfully, the Hedgerow Acting Fellowship gives us room to nurture many parts of our creative personalities, and Jared Reed was quick to encourage me to take on the project of writing a new script.

I had a great time doing the research for the play, learning about Poe’s life, re-reading some of his stories, and reading others for the first time. I was very familiar with “The Tell-Tale Heart” and “The Raven,” which must be the very best-known of Poe’s works – and for good reason: they’re both perfect in their construction, and hauntingly memorable in the tales they tell, and the characters they present. “The Fall of the House of Usher” and “The Black Cat” were familiar to me, at least in a vague way. “The Cask of Amontillado,” “Ligeia” and “William Wilson,” meanwhile, were entirely new to me. And there were numerous other Poe stories which we chose not to dramatize that I explored as part of the writing process, bits and pieces of which I used in the Poe interludes that occur throughout the play.

The stickiest part of writing a play based on any story by Poe is that he generally wrote heaps of narration, with very little dialogue. It is not impossible, of course, to have an actor (or actors) perform a scene while narrating it, and past versions of the play have taken that approach at times. But I challenged myself to find ways of eschewing narration as often as possible. Sometimes it was a matter of adapting it directly into dialogue, adjusting it subtly to make it conversational. In “Tell-Tale Heart” it becomes more of an internal dialogue. In “The Black Cat” I decided that much of what was important could simply be shown rather than told. I was lucky to have a game director in Jared, who helped me work out how to actually make those stylistic choices successful dramatically, and who did a lot to shape the script that we finally used.

As a playwright it’s also been gratifying to watch the other actors who appear in the show – Owen Corey, Lisa VillaMil and Susan Wefel – take it upon themselves to tell these stories with clarity and commitment. Jared’s scenic elements, the sound design by Kate Sparacio, the lighting design by Ari Baker, and the props and production design by Essie Windham all contribute importantly to the textures of the play, and the functionality of the stage on which it takes place.

The best thing of all for a playwright, though, is experiencing the reactions of an audience to one’s creation. Our Jr. High and High School audiences have been very receptive and engaged, and excited to talk with us about the show afterward. We’re looking forward to bringing our work to the general public on November 2nd-4th at 8PM.

Penelope Reed to be Awarded Barrymore October 30

In Philadelphia, no one has started more careers than Penelope Reed. Now more than 25 years after starting her career with Hedgerow, she will be honored by Theatre Philadelphia’s Barrymore Award for a Lifetime of Achievement for her service to Hedgerow Theatre Company, “The Mother of All Philadelphia theatre companies,” as well as the Philly theatre community at large.

Penelope Reed as Madame Arcati in Noel Coward’s Blithe Spirit with Stacy Skinner.

The Lifetime Achievement Award is a Barrymore award designed to honor “individuals who have made substantial contributions to the life of the Philadelphia theatre community over a significant length of time.  Nominees can be from any area of the theatre field or philanthropy.”

Named in honor of the famed Philadelphia-based first family of theatre, the Barrymore Awards for Excellence in Theatre have served as Philadelphia’s professional theatre awards program since 1994. The Barrymore Awards are a nationally recognized symbol of excellence for professional theatre in our region, raising the bar for the work produced by local theatres and individual artists while increasing public awareness of the richness and diversity of our city’s thriving theatre community. Each fall, theatergoers, and artists come together to celebrate the theatre season and honor that year’s Barrymore nominees and award recipients at the annual Barrymore Awards Ceremony.

“We look for candidates whose work has been a vital part of the Philadelphia theatre community, whose work has made the community richer in some way and who has influenced generations of artists, audiences, and companies,” said Jennifer Childs, Chair of the Lifetime Achievement Award Committee.

Each year nominations are solicited from the community.  Nominees do not nominate themselves and, very often, do not even know they are being nominated.  There is a panel of artists from the community who then review the nominations and decide on an honoree.

Ms. Reed as Madame Arcati

“We chose Penelope for several reasons…in looking at that list of past winners, so many of them got their start and/or worked at Hedgerow.  It has been one of the cornerstones of this community before there even was a theatre community.  Penelope’s leadership was integral to carrying forward the legacy and vision of her mother.  This felt like the right year to honor her as she recently transferred that leadership role to her son Jared.   That theatre and all it stands for is a wonderful legacy,” said Childs.

Previous winners include Albert Benzwie, Kitty Minehardt, Doug Wing, Frank CP McGlinn, John Allen, Adele Magner, Kaki Marshall, Marcia Salvatore, Tom McCarthy, Louis Lippa, James J. Christy, Robert Hedley, Carole Haas Gravagno, Dolly Beechman Schnall, Dugald MacArthur, Ted and Stevie Woolf, Harry Dietzler, Jiri Zizka, Ceal Phelan, Carla Belver, Johnnie Hobbs Jr., and Sara Garonzik.

“The one hand that selflessly influenced so many theatre artists in the Delaware Valley during this epoch… You’d be blessed to know her. A humble legend.  Penelope Reed, all the love!”

–  Kirk Wendell Brown, Actor and Friend

Ms. Reed’s illustrious career and Hedgerow connections extend back into her youth.  A fourth generation professional theatre actor on her father’s side, Reed worked in her teens playing many roles locally with the Wilmington Drama League, the Brandywiners, and at the Robin Hood Equity Summer Stock Theatre.  After winning a full summer acting scholarship to Colorado’s Perry-Mansfield School of Theatre and Dance, she began her senior year in High School, and her family moved to Rose Valley.  Her mother, Janet Kelsey, would become a cherished member of the Hedgerow company as leading actress, director, teacher, business manager, managing director and long-term board member at Hedgerow.

In November, a month after her father, Jared Reed,  died, Ms. Reed and her mother Janet Kelsey began studying Advanced Acting with founder Jasper Deeter.  Miss Reed has had the great fortune over the years to study with significant Hedgerow instructors, including Richard Brewer, Delores Tanner, Ralph Roseman and Rose Schulman.  

Little did Ms. Reed know that many years later, she would return to the “intrepid HedgerowTheatre” as its Producing Artistic Director, reviving the theatre to national prominence and, like Jasper himself, creating new theatre artists along the way.

“When Penn first arrived at Hedgerow as the leader in 1990, I was saying whenever tech week and hard work for the season of mainstage plays rolled around, “Hell week at Hedgerow High” in a frustrated manner! Penn would say positively, “Week of opportunity!” I knew I was in for a great ride!”

Susan Wefel, fellow actor, board member, and company member

At 18 with her union card in hand, she headed off to four years at Carnegie Institute of 

Technology (now Carnegie Mellon University). In Fall 1963, during her freshman Thanksgiving break from college, Ms. Reed came home to Rose Valley for the holiday, expecting rest and relaxation; however, after the actress playing Cora in Iceman Cometh had been an accident and couldn’t play. The company sought Penelope to learn the part in an afternoon.

With director Louis Lippa in the wings coaching her between scenes, Ms. Reed performed the part without a book.  Hedgerow flew her in the next and final weekend to finish the run.  Carnegie training introduced a technique to complement the extraordinary Hedgerow approach to truthful acting.  After four challenging and glorious years Reed graduated with a BFA honors and received the RCA/NBC most valuable senior award.

Immediately after college, she took leading roles Cleveland’s Great Lakes Shakespeare Festival, followed by a 12-year tenure as leading actress, director, teacher and playwright at The Milwaukee Repertory Theatre.

While there she played such roles as Blanche Dubois in Streetcar Named Desire, the title role

Ms. Reed as Madame Aracti

 of Mary Stuart, Winnie in Beckett’s Happy Days, Helena in A Midummser NIght’s Dream and many other roles. During the time she taught acting and speech at the University of Wisconsin,  founded both the Pac Players and the Summit Festival Theatre, and served as Alverno College Drama Department Chair and Director of the Robert G. Pitman Theatre.

She immersed herself in civic endeavors, reaching out to inner-city youths, guiding teachers on the infusion of theatre to enhance existing curricula. While in Milwaukee she branched out to play Laura in The Glass Menagerie with Maureen Stapleton in Chicago’s Drury Lane Theatre, which brought the Williams classic to Philadelphia’s Playhouse in the Park.  While in Milwaukee Reed received her MA in Speech and Directing from Marquette University.

She has directed over 100 plays and taught at Carnegie-Mellon, Grinnell, the University of Wisconsin, Marquette University, and the Princeton Theological Seminary.  Ms. Reed has served on the Wisconsin and New Jersey State Councils on the Arts, where she has been instrumental in the development of pilot programs in theatre education.

As a leading member of the McCarter Theatre for six years, she played such parts as Hannah Jelkes in Night of the Iguana, Emily Dickinson in The Belle of Amherst, Winnie in Happy Days  she started the Shakespeare Summer of teens, joined the Princeton Theological Seminary speech faculty, and served as master Acting instructor at the theatre.  

She also started New Jersey Dept. Ed. pilot projects for teachers teaching theatre arts in basic curricular studies.in theatre arts. In 1985 she began as Director of the Allan P. Kirby Theatre and Drama Chair at The Lawrenceville School, where after 12 years Vanity Fair chose Hedgerow as the top prep school for theatre in the country.  She had also served as Chair of Drama and director of the Robert G. Pitman Theatre at Alverno College.

“To work with Penny, one is constantly astonished at her unflagging energy, relentlessly fertile mental searching, and most of all, her untainted positivity. For Penelope Reed, whatever it is is always possible, and always excites her in the effort. Congratulations”

– Tom Teti, friend, and collaborator  

After the devastating fire of 1985, Ms. Reed participated in the company’s and community’s efforts to restore the theatre, including presenting her performance of Women of Heart that opened the shell of the theater in December 1990, serving as board-appointed Artistic Consultant in 1991 and in 1992 Producing Artistic Director 1992.

Ms. Reed as Madame Aracti

With her mother, long-time Hedgerow icon, Janet Kelsey, returning as business manager, husband as general manager, and the industrious, creative company, Ms. Reed took the helm of Hedgerow, bringing her years of experience to Hedgerow to build a company with intent to return the theatre back to its National standing as a theatre of excellence and an incubator of talent, works of art and spawning theaters.

Crucial to the task was bringing forward the next generations of a long line of actors and educators at Hedgerow, as, from its roots, the theatre has focused on the training and creating of future actors.  

The Collaborative Company has been able to assemble an amazing series of passionate company members, board members, community leaders, audience members and patrons, who brought about the rebuilding of the theatre, the  reigniting of the educational programs and the strengthening of the company mindset of Hedgerow by reinvigorating the emerging artist fellowship program, the institution of professional theatre artists to work with emerging artists and major Philadelphia veterans working under both Equity Guest Artist and and SPT contracts.

Hedgerow in the city featured a three-play repertory including the World Premiere of Richard Wilbur’s Don Juan in Hell; Love Letters with Suzanne Roberts; and The Bell of Amherst.  Later, The Lives of Bosie, winner of the Barrymore Award for Outstanding new play, moved from Hedgerow to Philadelphia.

Ms. Reed pictured with her son Jared Reed as well as fellow actors Michael Fuchs (left) and Stacy Skinner (right)

Ms. Reed has also twice made the foray to Bristol Riverside Theatre to play Gertrude in director Douglas Campbell’s Hamlet and Leading Lady in Moon Over Buffalo.  Reciprocating, Bristol’s Keith Baker directed his wife and Barrymore nominee Jo Twiss in Dancing at Lughnasa, and Susan Atkinson directed Demetria Bailey as Ethel Waters in His Eye is on the Sparrow.  

International playwright and director, Nagle Jackson, annually brought a new play to the Hedgerow stage. For an anniversary writing  Kafka in the Hedgerows, featuring Jared Reed, Penelope Reed, Zoran Kovcic, Susan Wefel and fellows in a world premiere celebrating Hedgerow’s beginnings.

In short, Hedgerow changed from a burned-down shell of a building with a great history, back into a professional theatre with an identity both for theatre production and education.  Penelope believes the collaborative efforts created a platform that has led to Hedgerow’s current dynamic thrust under the Artistic Leadership of Jared Reed. In its 95th year Hedgerow is alive building its tradition of “Making a Scene since 1923”.

“I love directing Pen. She is one of those wonderful actors who drives you crazy in all the right ways – constantly questioning choices and moments and words, always digging deeper and pushing farther. When an actor is talented, it’s easy for them to coast on their gifts and experience. Penn is a shining example of the rigor and drive to excellence we all want to have and preserve in ourselves as artists. Plus she’s a lovely human and she laughs at all my jokes. I’m delighted the community is recognizing her years of service to young artists and her lifelong devotion to the craft of acting!”

Kittson O’Neill, director of On the Verge and Uncle Vanya

Today, Ms. Reed is a Director Emeritus at Hedgerow Theatre, serving as both an actor and an artistic consultant. The company is now led by her son, Jared Reed, who is following his mother’s example and strengthening the core company of the theatre.

Ms. Reed featured with her grandchildren Sebastian and Quentin Reed, her son and Producing Artistic Director Jared Reed, and her mother Janet Kelsey

Ms. Reed is appearing as Madame Arcati alongside her son until October 29 in the fall thriller, Noel Coward’s Blithe Spirit.

For more information email dmclellan@hedgerowtheatre.org,  call 610-565-4211 or visit www.HedgerowTheatre.org. Hedgerow Theatre is located at 64 Rose Valley Road in Rose Valley (near Media). Adult ticket prices are $35, with a $3 discount for seniors. Tickets for those 30 and under, as well as for students, are $20. For groups of 10 or more, tickets are $18. Prices include all fees and are subject to change. Shows are Thursday and Friday at 7:30 p.m., Saturday at 4 p.m. and 8 p.m., and Sunday at 2 p.m.

 

Former Company Member Mark Swift Makes the Leap from Stage to Ears

Former Hedgerow fellow Mark Swift is making his transition from the stage to the airwaves with his independent company “Oh, The Fool.” The first project of Oh, The Fool is Life In Sonderville, which found its original audience at Hedgerow Theatre Company.

Life In Sonderville is a daunting story to write because of its choose your own adventure nature and will boast a whopping ninety seven episodes. If that already makes your head spin as an audience member, don’t fret: the story is broken down into chapters and each path only takes seven to ten sections to complete. Therefore,  a one time listener can fully engage in this dark comedic mystery in just over an hour.

During his time as a fellow, Swift came up with the idea of a choose your own adventure story, bringing an interactive element to both stage and podcasts, and combining the two mediums into performance.

After being given the go-ahead by Producing Artistic Director, Jared Reed, to pen a rough pilot for Life In Sonderville, Swift made the first steps on his new journey.

Thanks to his training at Hedgerow, Swift feels prepared for any eventuality. Having adapted stories for the stage, Swift learned about the importance of being a concise and compelling storyteller.

A particularly useful skill that Swift gained from his Hedgerow experience came from his time as an actor, where he learned the mastery of the verb. As an actor and storyteller, it is more important to show rather than to tell. However, if you are going to say, then emphasize the verbs.

Swift uses these skills in his writing of Life In Sonderville. As the show is written for radio, the visual medium is gone, and since it is a play, there is nothing but dialogue. The result is a dialogue that is active, informative, and most importantly, entertaining.

Currently, Oh, The Fool is running a Kickstarter for the production of Life In Sonderville. With the success of its Kickstarter, Swift hopes to honor his Hedgerow home with the fully first few episodes of Life In Sonderville, later this month to be enjoyed online!

 

Nöel Coward’s Blithe Spirit Delights Audiences in this Life and the Next

Nöel Coward’s stylish comedy, Blithe Spirit, is Barrymore Recommended. This otherworldly farce is perfect for the fall season and is delighting audiences in this life and the next. Playing now through October 29, this outrageous farce, written seventy-six years ago, brings an eclectic cast, suburb direction, and a delightful story.

Named in honor of the famed Philadelphia-based first family of theatre, the Barrymore Awards for Excellence in Theatre have served as Philadelphia’s professional theatre awards program since 1994. The Barrymore Awards for Excellence in Theatre are a nationally recognized symbol of excellence for professional theatre in the Greater Philadelphia region, honoring local artists and theatre companies while increasing public awareness of the richness and diversity of our city’s thriving theatre community.

“Like most of Coward’s work, Blithe Spirit contains his signature flippancy. If the departed possessed voices, they too would laugh, and yet they might also pause to appreciate how both time and the Hedgerow have infused an endearing quality into this seven-decades-old masterwork,” Jim Rutter, Philly.com.

In the spring of 1941, as Londoners endured the Blitz of World War II, playwright Noel Coward slipped away to Wales to draft a new script centered on death and the great beyond. “Title [is] Blithe Spirit,” he wrote in his diary. “Very gay, superficial comedy about a ghost. Feel it may be good.” Then, six days later, the play was finished. Now seventy-six years old, Blithe Spirit is still delighting audiences around the world.

“Universal button-perfect delivery of delicious Noël Coward lines takes Carly L. Bodnar’s production of Blithe Spirit at Hedgerow Theatre miles into gratifying comic territory, but rollicking payoffs come from the cast’s physical antics and Goldilocks-right facial reactions.” Neal Zoren, DCMetroTheatreArts.com

Dubbed “An Improbable Play in Three Acts,” Blithe Spirit features novelist Charles Condomine and his second wife, the stiff and rigid Ruth, as they prepare to host a seance conducted by clairvoyant Madame Arcati. For him, it’s a lark, research for his novel The Unseen; however, the scheme backfires, and Charles’ first wife, the temperamental Elvira, is summoned. Now, Charles finds himself torn between two loves: a passionate dead wife and an unfeeling living one.

“The engaging ensemble takes this entertaining story with its fun supernatural overtones and serves up Coward’s play like a delicious seasonal pumpkin latte for the audience to savor. “ Margie Royal, DelcoCultureVultures.com

Coward had been plotting a comedy about ghosts for some time, but could never quite work it out in his mind. The title of the play is taken from Percy Shelley‘s poem “To a Skylark” (“Hail to thee, blithe Spirit! / Bird thou never wert”).

The play itself pulls from Gothic literature, British farce, and the comedy of manners. No one quite captures the wit and whimsy of the upperclass trapped in a ridiculous situation quite like Coward.

Directed by Carly L. Bodnar, the cast of Blithe Spirit includes Producing Artistic Director Jared Reed, board member Michael Fuchs, veteran Susan Wefel, and fan favorite Stacy Skinner. The show also returns the three cast members of the Barrymore Recommended production of On the Verge: Jennifer Summerfield,  Maryruth Stine, and playing the coveted role of Madame Arcati will be this year’s recipient of the Barrymore Lifetime Achievement Award, Penelope Reed.

For more information call the box office, 610-565-4211, visit www.HedgerowTheatre.org, or email company@hedgerowtheatre.org. Hedgerow Theatre is located at 64 Rose Valley Road in Rose Valley (near Media). Adult ticket prices are $35, with a $3 discount for seniors. Tickets for those age 30 and under are $20. For groups of 10 or more, tickets are $18, please contact Art Hunter at ahunter@hedgerowtheatre.org. Prices include all fees and are subject to change. Shows are Thursday and Friday at 7:30 p.m., Saturday at 4 p.m. and 8 p.m., and Sunday at 2 p.m.

 

Shaun Yates

Shaun is ecstatic to be back at his theatre home, Hedgerow. A native Texan, he has been performing in the Philly area for over five years. In that time he has enjoyed participating in numerous productions including A Christmas Carol and A Flea in Her Ear (Hedgerow Theatre); Star Wars: The New Musical Hope and Evil Dead: the Musical (Bootless Stageworks); and Bonnie and Clyde: The Musical and Assassins (The Eagle Theatre). Love and thanks to Mom, Dad, & Cris; and to you, theatre patron, for keeping the theatre alive. To find out what is next visit: http://www.shaunyates.com

Sarah J. Gafgen

Sarah J. Gafgen couldn’t be more delighted to be back at Hedgerow Theatre where she was seen on stage many times including as Kathy in Vanities.  Some other favorite roles include Annie Oakley (Annie Get Your Gun), Agnes Gooch (Mame), Joanne (Vanities),  Emma Goldman (Ragtime) and  Edith (Pirates of Penzance). Sarah has appeared on stage at The Walnut Street Theatre, Media Theatre, Bristol Riverside Theatre and Montgomery Theatre, among others. Thanks to Jared and the  Hedgerow family for the opportunity to be a part of this great event! Love to Carl, Mom and Dad.  www.sarahjgafgen.com

Carl Smith

Carl is a performer and teacher in the Philadelphia Area. A Texas native, he has been performing for over six years with such companies as Arden Theatre Co, People’s Light and Theatre Co, Storybook Musical Theatre, Bristol Riverside Theatre, Quince Productions, Live On Stage Productions, and Family Stages.  Regional credits include Mystery Of Irma Vep, Cinderella, Pride and Prejudice, Rent and Cyrano.  Love to God, Mom, Dad, Hus, Lee and his wife and partner in crime, Sarah.

Noël Coward’s Ghostly Farce

In the spring of 1941, as Londoners endured the Blitz, playwright Noël Coward slipped away to Wales to draft a new script centered on death and the great beyond. “Title [is] Blithe Spirit,” he wrote in his diary. “Very gay, superficial comedy about a ghost. Feel it may be good.” Then, six days later, the play was finished.

Dubbed “An Improbable Play in Three Acts,” Blithe Spirit features novelist Charles Condomine and his second wife, the stiff and rigid Ruth, as they prepare to host a seance to conducted by clairvoyant Madame Arcati. For him, it’s a lark, research for his novel The Unseen; however, the scheme backfires, and Charles’ first wife, the temperamental Elvira, is summoned. Now, Charles finds himself torn between two loves: a passionate dead wife and an unfeeling living one.

With its plot full of ghosts, seances, and mystics, Blithe Spirit is a witty take on an old theme, like Mel Brooks lovingly parodying Mary Shelley’s Frankenstein with Young Frankenstein, only Coward’s target is high culture and the Gothic literature.   

Coward had been plotting a comedy about ghosts for some time, but could never quite work it out in his mind. The title of the play is taken from Percy Shelley‘s poem “To a Skylark” (“Hail to thee, blithe Spirit! / Bird thou never wert”), and is the descendent of a long line of British traditions, namely farce and Gothic literature.

The 18th century nourished two opposing trends: the Enlightenment and Romanticism. Proponents of the Enlightenment valued objectivity and reason, whereas the Romantics preferred passion and a desire to feel things.

In 1764, Horace Walpole wrote The Castle of Otranto and planted the seeds of Gothic literature. This short novel combined elements of terror and medievalism with Romantic ideals and set a precedent for a thrilling new genre.

Focused on the individual, Romantics asked,  “Why get lost in a crowd when you could shine alone?” Like a nightmarish demon brother, the kid sibling of Romanticism, taking all the good things about the genre and dipping them in shadow and sin, the Gothics combined life and death in one theatrical rendering.

The plot of Gothic novels typically involves people who become mixed up in a complex, paranormal scheme, often involving a desperate heroine, such as Anne Radcliffe’s classic Gothic novel, The Mysteries of Udolpho (1794).

Originating from the ornate architecture created by the Goths, medieval castles shrouded in mystery, these Gothics proved the past to be the ideal backdrop for a literary style concerning itself with superstition, horror, and the absurd.

Taking elements such as atmosphere, clergy, paranormal, melodrama, omens, and epic settings, Gothic literature twists them into a compelling, dark story.

Gothic novels established a new movement. Whereas today we are no longer surprised by a lurking butler, a shadowy figure in the night, or a coven of witches, Gothic authors paved the way for the macabre and mysterious.

Every plot held a new surprise; every novel, a new ending. These stories enthralled readers by enticing them to look behind the veil and wonder where those mournful wails hailed from, turning the atmosphere of the story into character.

Yet, the real beauty of the genre lies in the reflection it represents. Like a grimy, cracked mirror sitting on the wall of the House of Usher, this genre of fiction gives us a twisted look at reality.

Traditional romantic heroes morph into hellhounds, sometimes literally, but more often than not as trusted metaphors for order, decay, and rot. In essence, the Gothic is the birth of the antihero.

Why are these books so appealing? Why do these plays touch our soul? It’s because all the demons, all the crooked monks and monsters, are really extensions of ourselves.

Robert Louis Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde offers a literal protagonist-antagonist trapped in one body. In essence, a man is his own worst enemy. What happens when the monster that lurks inside of all of us is set free?

This idea would later be expounded by Oscar Wilde in The Picture of Dorian Gray, turning an innocent protagonist into a decidedly repulsive antagonist. To the outside world, Dorian is a handsome example of high culture. Yet Wilde’s dramatic imagery of a decaying portrait reflecting the inner workings of its hero exposes the weight of choice, guilt, and malevolence.

Much like Coward’s earlier successes Hay Fever and Private Lives, or Wilde‘s classic comedy The Importance of Being Earnest, Blithe Spirit is both a condemnation and a celebration of all things uniquely British.

Cantankerous novelist Charles Condomine is married, but haunted (literally) by the ghost of his late first wife, the clever and insistent Elvira, who is called up by the visiting medium Madame Arcati.

Director Carly Bodnar leads an all-star cast of Hedgerow favorites in Nöel Coward’s stylish supernatural comedy, Blithe Spirit, playing October 5 through 29. The cast includes Producing Artistic Director Jared Reed, board member Michael Fuchs, veteran Susan Wefel, and fan favorite Stacy Skinner.

The show also reunites the three cast members of the Barrymore Recommended production of On the Verge: Jennifer Summerfield,  Maryruth Stine, and playing the coveted role of Madame Arcati will be this year’s recipient of the Barrymore Lifetime Achievement Award, Penelope Reed.

Is it our enjoyment of a well-plotted farce, or our obsession with life after death, that charges this intelligent and enduring Gothic play? Coward’s timeless and distinct voice, combined with superb direction and a killer cast,  give us insight into human interactions and relationships that make up all the fun in this one-of-a-kind production.

For more information call the box office, 610-565-4211, visit www.HedgerowTheatre.org, or email company@hedgerowtheatre.org. Hedgerow Theatre is located at 64 Rose Valley Road in Rose Valley (near Media). Adult ticket prices are $35, with a $3 discount for seniors. Tickets for those age 30 and under are $20. For groups of 10 or more, tickets are $18, please contact Art Hunter at ahunter@hedgerowtheatre.org. Prices include all fees and are subject to change. Shows are Thursday and Friday at 7:30 p.m., Saturday at 4 p.m. and 8 p.m., and Sunday at 2 p.m.