In Philadelphia, no one has started more careers than Penelope Reed, and now 25 years later 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.
Her roots with Hedgerow stretch back into her youth. Along with her mother Janet Kelsey, Ms. Reed studied under Jasper Deeter, the founder of Hedgerow Theatre, in 1962, at the age of 17. Little did she know that many years later she would return to the “intrepid Hedgerow Theatre” as its Producing Artistic Director, reviving the theatre to National prominence and, like Jasper himself, creating new theatre artists along the way.
A leading actress for 12 years at the Milwaukee Repertory Company, Ms. Reed was also a director and a playwright. As a leading member of the McCarter Theatre for 9 years, her duties included that of Master Acting teacher and director. She has directed over 100 productions at a variety of theatres across the United States.
In 1992, Ms. Reed took the helm of Hedgerow, bringing her years of experience to Hedgerow to return it to its National standing as a theatre of excellence. She represented the next generation 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. From Jasper and Rose Schulman, Ms. Reed reignited the educational programs and strengthened the company mindset of Hedgerow by reinvigorating the apprenticeship program.
Ms. Reed transformed Hedgerow from a burned down shell of a building back into a professional theatre with an identity both for theatre production and education.
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.
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, theatregoers 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.
Ms. Reed will join recent winners Sara Garonzik, Johnnie Hobbs, Jr.,Johnnie Hobbs, Jr. as well as friends and collaborators Louis Lippa, Tom McCarthy, and James J. Christy.
Today, Ms. Reed is a Director Emeritus at Hedgerow Theatre, serving as both an actor and a consultant. She has handed the company off to her son, Jared Reed, who is following his mother’s example and strengthening the core company of the theatre.
Ms. Reed will be appearing in the fall thriller, Noel Coward’s Blithe Spirit, in the role of Madame Arcati.
Hedgerow Theatre is located at 64 Rose Valley Road in Rose Valley (near Media). For more info, call 610-565-4211 or visit www.HedgerowTheatre.org.
Hedgerow Theatre School is preparing to take its students on the adventure of a lifetime as it embarks on “The Odyssey Project,” a yearlong developmental workshop. During the three-part course, students 12 and up will learn about Homer’s Odyssey, work together to create a performance piece based on the epic, and then present it on the historic Hedgerow stage.
At the core of this project is Hedgerow’s drive to train the creators of tomorrow. Since its foundation by Rose Schulman, Hedgerow Theatre School has sought to do more than train actors, but to also give its students skills that will help them in all areas of life as they learn to be independent thinkers, problem solvers and how to collaborate with others. Producing Artistic Director Jared Reed believes in teaching students how to “create for themselves” and “tell stories that have meaning to them.”
Under the guidance of teaching artist Penelope Reed and the Hedgerow Theatre Company, the students will take the tale of Odysseus’ 10-year journey home after the Trojan War and make it their own. Their creative voices will drive the process of developing a multi-generational performance work that will incorporate all aspects of theatre.
The Fall semester is the first of the series and is focused on learning Homer’s story and the theatre techniques needed to adapt it into a play. The next step in the Winter semester is taking that knowledge and writing a script. During the Spring semester, the students will rehearse, work on sets and costumes, and perform the play they’ve written.
Students can participate in all three sessions, or choose any that best fits their interests.
For more information or to enroll, visit www.HedgerowTheatre.org or call 610-565-4211. The classes will be held at the Hedgerow Farmhouse Studio at 146 West Rose Valley Road in Rose Valley (near Media).
One of the leading lights in New York theater of the early ’20s, as well as off-Broadway and in regional theater as an actor, director, producer and teacher for 50 years, was Hedgerow founder Jasper Deeter.
Hedgerow Theatre has, since its inception, defined a tradition of dedicated excellence. From the 1923 performance of Candidathat marked the theatre’s opening and throughout his tenure with the company, Deeter’s drive to maintain the standards of professionalism and artistry which he developed in New York City and brought to rural Pennsylvania set the stage for greatness to come. His determination to overcome any obstacle in the quest to produce great theatre is summarized in his statement, “We’ll have a theatre if we have to play in the hedgerows.” The company found a home instead in a converted 1840s grist mill.
Dr. Ruth Deeter, an osteopath, came to live in Will Price’s Rose Valley Arts & Crafts
Community and joined the chorus. In 1922, her younger brother, Jasper, a New York actor/director who had been active with the Provincetown Playhouse, discovered “Artsman’s Hall” while visiting his sister and watching her sing the role of Katisha in a production of The Mikado. Disillusioned with the theatre in New York, Jasper founded a resident theatre in Rose Valley. His purpose was to build a place where theatre artists might work together to produce fine plays; “where their freedom to create would be restricted only by the limitations of their own skills and imagination.”
Deeter, born in 1893 in Mechanicsburg, PA, was an anomaly in the course of American success stories. The grandson of an auto parts magnate, he came from a family of achievers; one of his sisters was the National Director of the Girl Scouts of America. He seemed the least likely to succeed, as he was expelled from Dickinson College and went through several failed attempts at a career, including a stint as a newspaper cub reporter. In 1914, at age 21, Deeter had gone through several career paths, failing at each of them. After seeing actor James O’Neill in The Count of Monte Cristo, he turned to acting. He soon moved into leading roles and received rave reviews for his portrayal of Ned Malloy in the play Exorcism. Deeter became great friends with the author, James’ son Eugene.
Deeter not only portrayed Smithers in the original production of The Emperor Jones at the Provincetown Playhouse in Greenwich Village, but was responsible for convincing O’Neill to cast a black actor in the title role, rather than a white actor in blackface, which had been his original intention and the custom of the era. The result was a breakthrough work in American theater on a multitude of levels that transcended the theater. Deeter and O’Neill parted company, however, over the decision to move the play uptown, rather than keeping it at the playhouse in Greenwich Village, as Deeter urged, and using it as the basis for establishing a repertory company; he felt O’Neill and the producers were squandering the chance to build something that could last for many years longer than the simple Broadway run of a play.
It was at this point that Deeter headed to Philadelphia and Rose Valley. With $10 in his pocket, he decided to pursue the theatre on his terms. Having visited his sister in bucolic Rose Valley and liking the area, he decided this was where he’d start his company. Thus was formed Hedgerow Theatre Company, America’s first repertory theatre. Deeter’s company has been in operation since 1923 and is now the most long-lived regional theater company in the United States and the world.
Deeter made a brief return to New York and then headed back to Rose Valley with seven actors, some blue cheesecloth, 16 light bulbs, some wood paneling, $9.00, and the idea of an independent repertory theatre. Sydney Matchet, Grete Mylecraine, Herbert Walton, Elenore Abbott, Dorothy Kite, Takashe Otha, Judge L. Stauffer, William Price and Margaret Scott Oliver helped make Hedgerow a reality. That first “season,” Deeter presented three plays Guild Hall: Tickless Time by Susan Glaspell & George Cram, Fame & the Poet by Lord Dunsay and Glaspell’s Trifles.
The early core company consisted of Leni Stengel, (the wife of a famed Hungarian actor), Ann Harding (who went on to fame in films), Virginia Farmer, Allyn Joslyn and Alexander Kirkland, all of whom were major actors in New York. It is believed that Dorothy Kite thought up the name “Hedgerow” in her Rose Valley kitchen, although later legend will credit Ann Harding. Others say the theatre’s name comes from Deeter’s quote about “playing in the Hedgerows” if no place else was available. The theatre’s repertory of plays grew to more than 200 plays; season after season aspiring actors, technicians, designers, and playwrights from all over the country came out to the Hedgerow to work with, learn from, and study with Deeter, living in conditions akin to a summer camp and on a minimal living stipend.
Then, after the crash of 1929, the Great Depression descended upon the country; most of Philadelphia’s were forced to close their doors. Yet Hedgerow soldiered on, with company members growing their own food and even raising sheep. Artistically, the theatre continues to grow as well: twelve plays were added to the repertory that year. However, some members leave as the struggle becomes too great—others take their places and the work goes on. The theater’s teaching programs usually tied them over in the lean times and helped keep ticket prices down, but when the going got tough, as it often did during the 1930s, Deeter’s friend, O’Neill, would provide them with one or another of his plays to pull in large audiences and get the bills paid.
Over the years, the Hedgerow became the theatrical equivalent of the “little engine that could,” pulling in aspiring theater professionals including such future luminaries as Everett Sloane, Richard Basehart, Ann Harding, and Henry Jones. The company enjoyed a reputation rivaling the best off-Broadway acting companies, despite its being several hours’ driving “off” of Broadway, Hedgerow was respected by theater producers and playwrights throughout the country and around the world. Theatre students from far and wide gravitated to the small theatre with its “honest” mission.
A 1937 TIME Magazine notes in an article entitled “Straw Hat Season” in their July 5 edition that “Well above average [summer theatre] is Deeter’s Hedgerow Theatre at Moylan, Pa., ten miles out of Philadelphia. Deeter is a disorderly looking individualist who prefers that his actors remain as anonymous as possible. An oldtime Provincetown Player, he was the original Smithers in The Emperor Jones. Fourteen years ago he took over an old stone mill near Moylan. His troupe gets no reward besides its board and lodging; their names do not appear in the program. Under these circumstances, Ann Harding is almost the only Hedgerow alumna who has attracted much attention. However, Producer Deeter’s year-long repertory (30 plays) is appreciated by Philadelphia playgoers and this summer he will give his fourth and greatest Shaw Festival. From July 19 to Aug. 14, Hedgerow will present eleven Shavian works from Arms & the Man to Too True to Be Good. It is billed as the first time any theatre has ever presented 40 years of a living playwright’s work.”
For the first time in America Shaw’s Man & Superman is performed in its entirety—from 7:30 to 12:30 with coffee and sandwiches at 11:00. Hedgerow, for a number of years, held America’s only Shaw Festival, producing 19 of his plays. It was also during this time period that the 200th performance of O’Neill’s The Emperor Jones was staged. Actor Richard Basehart joined Hedgerow in the 1930s as well; he would be a company member through 1942, playing over 25 different roles in repertory.
In 1942, Hedgerow Theatre became a partnership—14 members equally owned the theatre and its physical properties: a 156-seat theatre, a large farmhouse with several acres, two station wagons, a truck and several thousand dollars worth of theatrical equipment. In that same year, the Board of Governors established as the executive body of the Partnership; in addition, a non-resident company with its own political organization and representation was created and there was more democratic function throughout.
On the artistic front, the Hedgerow Theatre School of Expression was founded in Philadelphia by Deeter and director/actress/teacher Rose Schulman in the mid-40s as World War II was starting. The famous philosopher Scott Nearing, a protégé of Deeter, taught at the school. During the War, Hedgerow managed to tour extensively and entertain audiences in need of an escape from long working hours and bad news.
By 1956 however, the Hedgerow company had hit another financial crisis and was forced to temporarily close its doors. It was around that time that producer Jack H. Harris was putting together the production of his first feature film, originally to be called “The Molten Meteor,” in tandem with director Irvin S. Yeaworth and a small film studio that also happened to be in Pennsylvania. That film, released in 1958, became known as “The Blob”, and a number of Hedgerow company members made appearances. Among them was Deeter. Two-thirds of the way through The Blob (1958), when the teenagers (led by Steve McQueen) decide to wake the town up to the danger they face, they set off sirens, and the action cuts to one old man who doesn’t know whether to wear his volunteer fireman’s helmet or his civil defense helmet. The film has since gained cult status.
Harris ended up hiring many of the Hedgerow actors, including John Benson and George Karas, to play lead and supporting roles in the movie. It worked out so well that, a year later—with the Hedgerow company up and running again—Harris and Yeaworth used the Hedgerow players and Deeter himself again, this time in the larger role of Mr. Welles, the laboratory owner, in 4D Man. Those two screen vignettes aside, Deeter never aspired to movie work. During the 1960s, he was regarded as an elder statesman of the theater and a respected teacher, though he was so unpretentious and so iconoclastic in his approach to living, he would have been amused at that description of himself.
Deeter’s legacy still lives on more than 90 years after starting his theatre company as a healthy, growing and productive Hedgerow Theatre.
At some point in their acting experience, every actor has run into the same problem – forgetting their lines. Whether they’ve been in the business for their entire life, or they’re performing in their very first play, every actor reaches the point where they just can’t remember what they were supposed to say. Sometimes it comes back to them right away, and sometimes it doesn’t; however, actors are trained on what to do in the unexpected latter situation. In the event where an actor would forget their lines or something unplanned would occur, a trained actor knows just what to do – improvise.
Improv, or improvisation, is a crucial part of becoming a skilled, well-trained actor. Every actor has to know what to do in the case that they forget what they have to say, or if someone else does. No one wants to just stand on stage, looking like a deer in the headlights, making it very clear to the audience that they have absolutely no clue what to do next. In order to prevent embarrassment, actors are taught to learn how to improvise.
Often, improvised lines or situations can even end up being a great addition to the show. In some cases, improv is even what certain actors prefer. Special troupes and clubs off acting classes and other opportunities that are rarely scripted, leaving the actors to create entire performances focused mainly on improv. These groups can lead to careers based in improv, such as roles in popular sketch comedy shows like Saturday Night Live.
It was actually during a situation of accidental improv that famous comedian Amy Poehler first realized she wanted to be an actress. During an elementary school production of The Wizard of Oz, in which Amy Poehler was playing Dorothy, she forgot her line and had to improvise. The laughs and reactions she got were what first inspired her to start acting.
I, Gabby, have a similar experience, although I am highly uncomparable to Emmy-winning actress Amy Poehler. I was in my very first performance in the 5th grade, a play called Knights of the Rad Table that was a parody of the time of King Arthur and the Renaissance. I played, if I can remember correctly, a ghost and Damsel #2. During a rehearsal, in which I was playing the damsel role, I messed up and accidentally pointed the wrong direction as I yelled, “Let’s go this way!” The group I had been directing this instruction to promptly went the other way, as they had been instructed to, while I wandered off in the opposite direction. Our director thought it was so funny that she kept it that way, and my wrong, albeit funny, mistake was included in the actual performance.
Here at Hedgerow Theatre School, we believe that improv plays an essential part in building up the skills of a young actor. Not only should an actor be trained to know what to do in the event of forgetting their lines, but having proper improv knowledge can improve both an actor’s skills and the production itself. Improv games such as ‘Freeze’ and ‘Taxi’ can help to demonstrate that a story can go any way, and an actor just has to roll with it – because that is their reality, no matter how crazy it may seem to those looking in. Improv teaches actors how to work on their feet, encouraging creativity and lessening the nerves that are often described as “stage fright”.
Improv encourages actors to insert themselves into scenes and to get involved. I know that, from personal experience, improv has really helped me to come out of my shell and ease some of my stress about performing in front of others. This can be especially helpful in the cases of our younger students, who are more likely to get nervous up on stage. Which is understandable, of course. Getting up in front of people and doing silly things, especially if it’s your first time doing so, can be a pretty nerve-wracking experience. Improv is a tool used by actors to make this experience just a little bit less scary.
Improv is a widely popular acting technique in the Philadelphia region; clubs such as ComedySportz and PHIT Comedy offer classes and other improv opportunities. Hedgerow Theatre’s own teacher and acting fellow, Brock Vickers, is a trained improv actor who participates in these improv groups in the city as well as improv opportunities with Hedgerow.
This coming April, he will be teaching a improv class for teens. Improv Your Own Play will be held on Saturday mornings from April 9th to June 4th. More information can be found on Hedgerow’s website, under the ‘Youth Classes’ section of the Education tab. We as the Hedgerow Theatre School teens are very excited to participate, and we hope to get lots of other students along with us as we explore the wonderful world of improv!
Growing up can be a scary thing. One of the most revered ages is eighteen. Turning eighteen marks a whole new chapter in someone’s life; suddenly, you’re thrust into the world of college, living on your own, and adulthood. It can be a very nerve-wracking process. At Hedgerow Theatre School, turning 18 is a feat within itself. You’re the oldest age you can be to take children’s theatre classes, but adult classes are also available to you as well. You’re even more of a mentor to the little ones, who, now that you’re a legal adult, are relying on you even more. You’ve delved into the world of being a young adult, a strong, powerful group around Hedgerow. It’s exciting, but it can be very daunting as well. This week, I (Gabby) have interviewed the first three Hedgerow Theatre School teens to turn eighteen: long-time Hedgerow veteran Talen Draper and twins Moira and Caitlyn McKniff. In my interview, I asked them what it’s like to be eighteen, and what it means to them to be eighteen around Hedgerow.
How does it feel to finally be 18? I feel like 18 is such a defining age in one’s life (you’re finally an adult), does it feel like you’re starting a whole new chapter?
Caitlyn: I’ve only been 18 for about a month now and it’s great that I can finally tell people that I’m no longer a child. But it’s weird to think that I can sign my own permission slips or vote in the next election.
Moira: 18 feels great!! I feel like I’m definitely turning a new page in my life and I’m so excited to see what it has in store.
Talen: I do feel like I’m starting a new chapter in my life, when I turned 18 I felt like I had a clean slate waiting for me to write a new book.
Favorite part of being 18?
Caitlyn: I don’t really have one, I’ve only been 18 for like a month.
Talen: Hmm this is hard.. I would have to say being able to vote.
Caitlyn: I’m not 21 yet, so in some people’s eyes I’m not actually an adult, which is very frustrating.
Talen: My least favorite part is having to do certain things on my own that I was used to my mom doing for me.
What does being 18 entail as a Hedgerow Theatre work study student? Is there anything new you’re looking forward to being able to do around the theater?
Caitlyn: It’s great that I can finally be left alone or walk somewhere without having to wait for someone to be with me. I think it’ll make summer camps a lot easier.
Moira: Being 18 now means we have more of a responsibility with looking after the younger students, but I find it’s really rewarding being able to teach kids things like choreography and see them grow from it.
Talen: Well, now that I’ve turned 18, I’m an adult, so if a teacher needs to leave the room, I can watch the students.
Where do you fall in your family? Are you the first to turn 18? The last?
Caitlyn: Well, I turned 18 two minutes before my twin sister did and we’re the only two in our family besides our parents. But, if you ask my mom, she only turned eighteen a few years ago.
Moira: Out of all of our cousins we are right in the middle! My youngest cousin is about 2 and my oldest is like 30, so we’re not the first but definitely not the last!
Talen: I am not the first to turn 18. I’m sort of in the middle, I have 2 older siblings so I’m the 3rd to turn 18.
Where do you plan on going to college next year? What do you want to major in?
Caitlyn: Hopefully I’ll be at Temple and I hope to study Marketing and Sales.
Moira: If everything works out, Cait and I both plan on going to Temple University, but if not, we are both going to go to the University of Scranton. I want to study Criminal Psychology!
What is your favorite thing about being one of the older work studies at Hedgerow? How do you feel you contribute to the theater and the school?
Caitlyn: Being a Hedgerow Theatre Work Study has allowed me to meet so many talented people that I’ll hopefully keep in contact with for a long time. Theatre is something that I’m very passionate about and as a work study I’ve been able to grow as an actress while helping a younger generation of actors and actresses grow as well.
Moira: I love being able to give the little ones advice and see them all grow as actors and actresses. I feel like I have gained a lot of valuable skills throughout my years at Hedgerow. I hope my skills help add to the Hedgerow Experience.
Talen: I’m actually the oldest out of all the work studies. I love having fun with the students. When I’m in a bad mood, I try to be super energetic and just make sure the students are happy and having a great time.
Lastly, now that you’re 18, what advice would you give to younger kids? What would you say to the younger work studies?
Caitlyn: I would say stop wishing you were 18 so that you can do things. There really aren’t a lot of cool things you can do at 18 that you can’t do at 16 or 17. To be honest, I have to keep reminding myself that I’m an adult now. To younger work studies I would say learn everything you can and take every piece of advice that is given to you. You can never grow if you don’t think there’s anything more to learn.
Moira: I think the one word of advice that I have learned is to always work hard. Be the first person at a rehearsal and the last to leave. It might seem stupid, but directors will notice that. So I guess my advice to the younger work studies is to pay now so you can play later.
Talen: Enjoy every moment of every age. You don’t have a lot of worries. You don’t have to worry about college applications, SAT/ACT scores, or even deciding on which college you want to attend. You have plenty of time to worry about that. Enjoy life. Life goes by so fast, so make sure you live it as happily as you can, laugh a lot, have no regrets, and spend it with the ones you love the most.
We hope this is able to give some insights into what it’s like to be one of our oldest work studies at Hedgerow, and ease some qualms about turning the big eighteen!
~ Gabby Harrison, Talen Draper, Moira McKniff, and Caitlyn McKniff
“Pleasure,” is the one word actor Kittson O’Neill uses to describe the “heart” of Liz Duffy Adams’ farce Or, in which O’Neill plays the pioneering female playwright Aphra Behn (1640-89) a wise-cracking poet with men and women under her thumb.
The play is set in Restoration England in the 1660s, after the Puritans were pushed out of England, the theaters reopened and women were finally allowed to pursue careers as actors. The wit and high comedy of aristocratic manners created during this reconstruction of English theatre came to be known as Restoration comedy, and out of this sensation came the first female playwright, Aphra Behn.
The madcap rush of antics, gender bending, and passion takes place during one night in the life of Aphra: poet, spy, and libertine. Behn is sprung from debtors’ prison after a disastrous overseas mission, and is attempting to write a play for one of only two London companies, despite interruptions from celebrated actress Nell Gwynne (Bloechl); her complicated royal love, King Charles II (Vickers); and her very dodgy ex-love, double-agent William Scott (also Vickers)—who may be in on a plot to murder the king in the morning.
“It’s very rare as an actress to play a character who is driven by her sexual desires and ultimately triumphs because of them,” O’Neill mused. “She’s basically the anti-Blanche [from AStreetcar Named Desire]. Liz’s take on Aphra dives deeply into the dilemma of being a woman who loves her life, her lovers, and her freedom, but lives in a world that is constantly boxing her into a role she just doesn’t fit. That’s a recipe for tragedy, but in this play it’s a farce.”
Asked to describe the play, O’Neill said, “‘Or,’ is smart and entertaining. It gives you a belly laugh and turns on a light bulb. If you bring a sense of fun and curiosity to the show, which is exactly what Hedgerow’s audiences bring, you will love it.It reminds us that new plays are fun, history is fun, ladies are fun. Comedy is the secret weapon of big ideas. If I told you you were going to see a feminist play about a 17th-century woman playwright you would probably fake a stomach ache. If I told you you were going to watch a sex-farce crossed with a political spy thriller you would hop right in the car.”
O’Neill is a Philadelphia based actor, director, and dramaturg. She last appeared behind the scenes here as the director of the 2015 Barrymore Recommended production of On the Verge, and has since worked on The Winter’s Tale for Shakespeare in Clark Park, and Three Christs of Manhattan for InterAct (co-directed with Seth Rozin). Up next she is directing A Knee That Can Bend and is reviving her performance in Being Norwegian for A Play, a Pie and a Pint! O’Neill has worked as a dramaturg for both Playpenn and The Kennedy Center and is the Artistic Associate of Interact Theater Company, a graduate of The Shakespeare Lab and the Milwaukee Repertory Theater’s internship program.
“I actually directed a reading of Aphra’s play The Rover for the Philadelphia Artists Collective.
O’Neill recalled. “It was incredibly useful to dive into her theatrical brain and it really gave me some insights into her world and her survival techniques. Some of those insights will definitely show up in the rehearsal room. I’ve been doing some research about her and this tricky point in English history. I like to start rehearsal with all the “what does this mean?” questions answered so I can focus on playing.”
Adams’ history-based fiction occasionally takes liberties with the facts, but rolls through 1666 England with cartoonish, yet deeply fleshed out characters, and an eye towards a love of theatre. Her mastery of language rivals that of Behn herself, her characters are full of spark and life, and her story interweaves biography and wit through each scene.
“I did a reading of a different Liz Duffy Adams play at the Jean Cocteau Repertory in New York,” O’Neill related, “a now defunct victim of gentrification. It was a mad wild play about lady pirates called, We, Or Isabella the Pirate Queen Enters the Horse Latitudes. I loved it and have been a fan of Liz’s work ever since. I try to read everything she writes.”
An intricate play such as Or, (the comma is part of the title) will be in the hands of a capable director, as friend, and fellow artist Aaron Cromie takes the helm of the production. O’Neill pitched the play and the director to Artistic Director Jared Reed after the success of last year’s production of On the Verge.
“Aaron and I performed The Body Lautrec in the Fringe two years ago and it was a huge hit,” O’Neill said. “I ended up doing a lot of the puppetry, which included a full body doctor puppet who did a live dissection on stage. It’s a strangely intimate act, to animate another person’s artwork and he and I discovered that we were real art partners. He designed the set for On the Verge last year and created a massive bear puppet for my production of The Winter’s Tale this past summer. He has never been my director before and I’m very excited to explore this sexy-mad play with him!”
Adams’ play premiered Off Broadway at Women’s Project Theater and has been produced numerous times since.
David Titus, narrator and head which wayer of Douglas Adams’ Hitchhiker’s Guide to the Galaxy, willingly sits down at the Esherick table, surrounded by the smiles of actors long gone, to talk about, sort of, the inner workings of Adams’ insanely clever and complex, Universe. So sit back, if you dare, and listen to the ramblings and ravings of David and Brock.
In this week’s Dickens’ series, The Ghost of Christmas Past pays Scrooge a visit and takes us back to the miser’s youth. Brock D. Vickers continues Dickens’ one-man
Christmas Carol voicing all the parts of Scrooge, Christmas Past, Belle, and many others. .Enjoy this week’s production and come see our 23rd annual A Christmas Carol opening December 4. Merry Christmas and Happy Holidays from Hedgerow Theatre.