MICHELE KOLE
Staff Writer

The 1960s musical, “Sweet Charity,” is the next mainstage production to grace the Dreyfuss Theater at Fairleigh Dickinson University’s College at Florham.
The production proudly boasts some of Broadway’s most legendary musical numbers, such as “Big Spender” and “If My Friends Could See Me Now.” The production also features a cast of FDU mainstage veterans that will surely be familiar faces.
The title character in “Sweet Charity,” Charity Hope Valentine, is a dance-hall hostess who dreams of a better life.
Charity soon finds herself in love with a nice, respectable man named Oscar, but her friends, Nikki and Helene, warn her to be cautious as they believe that the relationship could not evolve into anything permanent.
The FDU production stars Michelle Cabot and Matt Sullivan as Charity and Oscar, respectively. Audience members may remember the two actors as Janet and Brad, respectively, from FDU’s production of “The Rocky Horror Show.”
The show also features several other FDU stage veterans such as Cindy Fernandez (Nikki) and Tyler Morrill (Herman) Both have previous credits in FDU’s production of last year’s musical, “Guys and Dolls.”
The cast is currently busy in rehearsal, and it appears that it’s been an enjoyable experience for all involved.
Erika Baldino, who plays Carmen in the production, said, “My favorite part is that all three of the artistic directors are very easy to work with. Allen, Stephen and Cindy are very creative but also allow students to bring their own ideas into the show.”
Cabot also finds working with Stephen Hollis, the show’s director, to be very inspiring.
“Working with Stephen has been great; he really knows what he wants for the show,” said Cabot. “He motivates and encourages his actors work hard and go the extra step each rehearsal.”
Lucy Fisher, who plays Elaine, enjoys dancing in the production.
“My favorite part by far has been working on the dances,” said Fisher excitedly. “It’s always fun to dance around on stage but ‘Big Spender’ is a classic when it comes to Broadway dances and to do it is like a dream come true.”
Fisher said,“Fosse did great work and to be a part of a tradition he held makes me very proud.”
The Broadway tradition that Fisher spoke of is one of the main reasons many people will want to see “Sweet Charity.”
Perhaps another, equally attractive reason is the dynamically seasoned cast.
Cabot summed up the thoughts of her fellow castmates when she said, “The show has a lot of different elements that I think people will enjoy. It is funny, upbeat and includes great musical numbers such as ‘Big Spender’ and ‘The Rhythm of Life.’”
“Sweet Charity” will run March 31 through April 3 at 8 p.m. and April 4 at 2:30 p.m.
It will also play a second weekend with performances April 9 and 10 at 8 p.m. and April 11 at 2:30 p.m.

MICHELE KOLE
Staff Writer

“Love, Loss, and What I Wore,” the off-Broadway play by Nora and Delia Ephron, is a wonderfully intimate theatrical experience. It provides the perfect entertainment for a girls’ night out as it explores many hilarious and poignant moments in women’s lives. In addition to moving storytelling, the play features a rotating cast of celebrities.
“Love, Loss, and What I Wore” is based on the Ilene Beckerman book of the same name. The play tells the stories of countless women, mostly through monologues. The topics of conversation include the horrors of buying bras, fashion disasters and mother-daughter relationships. The only character that we consistently follow throughout the entire play is Gingy as she draws pictures of clothes that remind her of meaningful moments in her life.
The January cast of the show included Michele Lee as Gingy, Tony award-winner Kate Finneran, Broadway veteran and Tony award-winner Debra Monk, Tracee Ellis Ross of the television show, “Girlfriends,” and featured “Saturday Night Live” player, Casey Wilson.
Lee may not be the best actress, but she is incredibly charming. Her likeable mannerisms made the audience want to see Gingy through her journey from young woman to grandmother. Finneran seamlessly transitions from one character to another. Finneran’s nuance and intensity brought depth to what otherwise might have been a funny but unrewarding theatrical experience.
Ross and Wilson are both gifted comedians. Their comedic timing is impeccable and almost every story they told elicited a lot of laughs. Monk was the highlight of the show. Her monologue about purses and the disasters they become is easily the best moment in the entire play.
Though it could have easily been nothing more than a light evening of entertainment, “Love, Loss, and What I Wore” is much more than that, in part due to an incredible cast but also due to the intimacy of the experience. The West Side Theatre, where the show is housed, is a small intimate venue that enhances the homey storytelling experience. And the stories that are told are so universal and relevant for women that one cannot help feeling a special bond to both audience members and the actresses onstage. The bonding that occurs is extremely moving, and there is nowhere else in New York theater that women can share in these similar experiences.
The experience is even more moving because of the show’s charitable efforts. According to the show’s site, a portion of ticket sales is donated to Dress for Success, an organization that provides work clothes for low-income women.
“Love, Loss, and What I Wore” is a must-see for women.
February’s cast includes Tony award-winner Joanna Gleason, comedian Janeane Garofalo, Carol Kane, Caroline Rhea and June Diane Raphael.
March’s cast includes Fran Drescher of “The Nanny,” Didi Conn, who played Frenchy in the movie “Grease,” Natasha Lyonne and Rosie O’Donnell.

MICHELE KOLE
Staff Writer

With the holidays around the corner, many families are turning to Broadway for holiday entertainment. New Jersey residents need not look so far for the best family entertainment this holiday season.
The Paper Mill Playhouse, located in Millburn, has proven it is capable of providing Broadway quality (if not better) productions at a much lower ticket price.
The Paper Mill’s current production, “On the Town,” provides entertainment that is sorely lacking in the New York theater scene these days.
“On the Town” was originally produced on Broadway in 1944 and was made into the movie classic in 1949. The musical tells the story of three sailors, Chip, Ozzie and Gabey, on a 24-hour leave in New York City. They encounter three women who show them around the city of Manhattan. Chip falls for Hildy, the very forward cab driver. Ozzie enjoys the company of Claire, an anthropologist, and Gabey falls for “Miss Turnstiles,” an aspiring actress more commonly known as Ivy Smith.
The cast of Paper Mill’s “On the Town” is a solid one but the Broadway veterans in the cast stand out above the rest. Jeffrey Schecter, who played Mike in the original revival of “A Chorus Line,” stars as Ozzie. He is the best of the three sailors. His acting is believable and his voice is pleasant to listen to. And to top it all off, he comes truly alive when he dances.
Jennifer Cody, who has been in numerous Broadway choruses, is known mostly for her portrayal of Little Sally in “Urinetown.” Cody finally has the opportunity to prove she is a star and as Hildy Esterhazy she leaves no room for doubt. She commands the stage and she moves so well that the audience cannot take their eyes off her. Her “I Can Cook, Too” is a showstopper. While Hildy is not a subtle person, Cody believably endows her Hildy with a very likable vulnerability that is particularly endearing during her performance of “Some Other Time.” Her performance proves that she is not only a star; she is also an actress.
Harriet Harris, who won her Tony Award for her portrayal of Mrs. Meers in “Thoroughly Modern Millie,” steals the show as Madame Dilly, Ivy’s teacher. Harris does not merely chew the scenery; she devours it. Her gift for physical comedy is so great that just the sight of her can make the audience start giggling. And as Madame Dilly becomes increasingly more intoxicated throughout the show, the audience’s laughs become increasingly louder. Harris and Cody are worth the price of admission, but it is lucky for “On the Town” audiences that there is even more to enjoy about this production.
The choreography by Patti Colombo is a stunning combination of traditional musical theatre dance and ballet. And the wonderful ensemble of dancers performs it gorgeously. Bill Berry’s direction is spot on and the beautiful set by Walt Spangler is grander than many shows currently on Broadway.
Leonard Bernstein’s lush music is still glorious after 55 years. Comden and Green’s lyrics and book are witty, warm and full of heart.
“On the Town” offers something that is difficult to find in theaters right now – a traditional book musical that does not apologize for itself. The Paper Mill’s production is joyous and heartfelt. It is a production that is guaranteed to lift spirits and leave audiences feeling full of hope.
Log onto www.thepapermill.org for more information about “On the Town” and upcoming productions at the Paper Mill.

MICHELE KOLE
Staff Writer

“Once in a Lifetime,” the 1930s comedy by Moss Hart and George S. Kaufman, made its FDU premiere last month. The production was a fragmented one, due to an unbalanced cast, direction that was somewhat disappointing, semi-attractive set design and gorgeous costumes.
The play revolves around three East Coast vaudevillians, May, Jerry and George, who are washed up performers. They decide to head out to Hollywood and teach the film stars how to speak on screen - a new technological phenomenon during this time period.
Once in Hollywood, they learn that the Hollywood mindset is very different from their own and they struggle to adjust.
The stars of FDU’s production of “Once in a Lifetime” are mostly quite good. Cindy Fernandez embraces May’s dry humor but more importantly she recognizes the vulnerability that fuels said humor. As a result, there is a stark difference between May and those people buying into the Hollywood mindset.
Doug Berrie plays Jerry and proves he is a master physical comedian. However, he does little to develop Jerry into a fully fleshed out human being and that makes it difficult to believe May would fall for Jerry.
Lucy Fisher is positively adorable as Susan. She makes the self-centered Susan into a likeable and funny character, particularly when Susan is attempting to act.
Chris Dimoulas makes an impressive stage debut as George. Dimoulas does not make George into a stereotypical dumb guy, but instead has chosen to play him as a naïve man trying to make sense of the world around him.
Alex Boruff steals the show as Herman Glogauer. Boruff totally commits to his larger-than-life character. In fact, Boruff seems to be channeling a comedic version of Roy Cohn in “Angels in America.”
Allison Carr, as usual, is very funny. Carr plays Lorna Vail, an underused playwright. Carr’s usage of non-verbal commentary on her surroundings is almost funnier than the lines Kaufman and Hart have given her.
As Vail’s archnemesis, the receptionist, Miss Leighton, Rosemary Glennon makes the most of her small part. Her dramatic exits are a highlight of the show.
Joe Marra is also quite entertaining as Kammerling, a German film director. He is reminiscent of S.Z. Sakall from the old MGM movies.
Amanda Hagar is believably obnoxious as Helen Hobart.
The rest of the cast plays small parts and it must be mentioned that Kirsten Johnson, Angeline-Rose Troy, Chaelee Chaput, Kristin Fulton, Matt Blum and Alex Pepperman are all memorable in their roles.
However, the other cast members do next to nothing with their parts.
These small parts are a major part of “Once in a Lifetime” and because these other cast members make no impression the show seems absurdly unbalanced.
James Glossman’s direction is quite uneven. Glossman has embraced the larger-than-life aspects of the show and most of the time that works. However, he misses opportunities to give the audience a break from that. A few quiet moments in the show would have made the funny ones even funnier. It also must be noted that Glossman’s blocking of the show is very comical, though at times it seems the cast does not understand their director’s intention with the blocking.
Drew Francis, production designer, had sets that ranged from disappointing (there was next to no scenery in the first Hollywood scene) to beautiful (Miss Leighton’s waiting room is simple but wonderful). The costumes by Bettina Bierly are stunning. It was worth seeing the show just for the costumes.
“Once in a Lifetime” could have been a stronger production, but ultimately, there were some great performances, interesting direction, and lovely costumes.

MICHELE KOLE
Staff Writer

The next show to play at FDU’s Dreyfuss Theatre is Kaufman and Hart’s “Once in a Lifetime.” The 1930s comedy centers around three washed up vaudevillians who decide to head out to Hollywood to teach an elocution class for film actors. At this point in history, the first talking film, “The Jazz Singer,” had just premiered and film actors had never spoken in their work before.
When the vaudevillians, Jerry, May and George arrive in Hollywood, they encounter Susan Walker, an untalented aspiring actress, her over-bearing mother, a powerful gossip columnist, as well as other assorted high-strung, larger-than-life film industry inhabitants.
“Once in a Lifetime” features a talented cast full of FDU main-stage veterans as well as newcomers. Cindy Fernandez, who starred as Adelaide in last semester’s production of “Guys and Dolls,” will star as May.
Doug Berrie, whose FDU theater credits include “Guys and Dolls” and “Three Sisters,” will tackle the role of Jerry.
Chris Dimoulas, a recent newcomer to the FDU stage, will play George, and sophomore Lucy Fisher will play Susan.
The cast is thrilled to be a part of this production. Junior Georgia Goetz, who will play Mrs. Walker, is especially anxious. Goetz said, “This is my first production here at FDU, so I’m excited to entertain my peers.”
Fisher, who plays her daughter, is also ecstatic to be a part of “Once in a Lifetime.” Fisher said, “I’m very excited to play Susan. I feel like she’s a character I can relate to.”
While Susan is not the brightest bulb in the pack, Fisher is having a great time playing the airhead. When asked what her inspiration for the role was, Fisher answered, “Anna Faris in ‘The House Bunny.’”
In addition to the cast’s shared enthusiasm for the show, the cast also shares the joy of working with first-time FDU director James Glossman. Berrie commented, “James Glossman is a joy to work with. He does push us hard, but he has us laughing during every rehearsal.”
According to the cast, Glossman has an out-of-the-box approach to directing that works for the cast. Goetz added, “Jim is an interesting guy. Somewhat unpredictable, but he always keeps us on our toes.”
According to many cast members, Glossman keeps them laughing because he truly understands comedy. Fisher explained Glossman’s approach to directing the comedy: “He’ll do impressions of how you should do it, and he’ll make you laugh. He’ll show you what’s funny and what isn’t.”
Freshman James Michaelson said, “Jim is a mastermind of comedy and comebacks. He is hilarious and wonderful to work with. You will never win a battle of wits with him.”
The talented cast and the quirky director are bound to make “Once in a Lifetime” a must see production. According to Layhmah Cisco, who will make her FDU stage debut in the production, “This show is incredibly funny. I find myself laughing at things that have been rehearsed constantly because they just get funnier every time.”
Perhaps Michaelson makes the best, but certainly not the most eloquent, case for seeing “Once in a Lifetime.” He said you should see the production if you “feel like urinating all over yourself from laughing too hard.”
“Once in a Lifetime” opens on Wednesday, Nov. 18 and will play through the 21st at 8 p.m. The final performance will be on Nov. 22 at 2:30 p.m.
Tickets for the FDU community are $5 and general admission is $10.
Log onto www.fduarts.org for more information.

MICHELE KOLE
Staff Writer

Thornton Wilder’s “Our Town” is one of the best American plays ever written. A staple of professional, community and high school theaters, the production celebrates the beauty of small town life. Traditionally, the play is performed in period costumes and takes place during the early twentieth century. But director David Cromer has taken a fresh, new stab at “Our Town.” While his brilliant ideas for this new vision are not always smoothly executed, Cromer has allowed audiences to connect to the play in a completely new and moving way.
“Our Town” takes place in the fictitious small town of Grover’s Corners. The first act shows the daily life of the Gibbs and Webb families. The following act explores the love that develops between George Gibbs and Emily Webb. And the last act takes a more dramatic turn and focuses on death.
Cromer has made the audience part of the Grover’s Corners community. The Barrow Street Theatre has been transformed so that the floor is the stage and the audience is on three sides of the performing area. The house lights are never fully turned off and they are only dimmed to show a passage of time.
Consequently, the audience feels like part of the community. Traditionally, the audience feels distanced from Grover’s Corners because they are objective observers gazing up at a stage from afar. But because the audience is placed right in the middle of the action, we are no longer just observers.
In addition to placing the audience in the middle of Grover’s Corners, Cromer decided to costume the actors in modern clothes. As a result, it is jarring when the characters refer to automobiles as a new innovation or make other historical references that take the audience back to the 1900s. Additionally, Cromer has brought out the dark undertones in the play, which effects are two-fold. The darker undertones bring a contemporary tone to the piece, so audience members more easily relate to and see themselves in the characters. Unfortunately, by maintaining the darkness throughout the entire play, Cromer, at times, diminishes the value of small town life – a critical component to the overall production.
While Cromer’s new vision of the play is very interesting, his work with the actors and casting is weak. Jennifer Grace looks too old to play Emily and her acting is not nearly detailed enough that she is ever completely believable as the teenage Emily in the first two acts. As Mrs. Webb, Kati Brazda fails to portray her in a believable fashion. She seemed to be playing a caricature of a very strict mother leaving an inorganic taste in the audiences mouth. Additionally, Cromer has directed Ken Marks to portray Mr. Webb as a thoroughly cold, distant and unlikable man.
The only person in the cast to give a standout performance is Lori Myers, who plays Mrs. Gibbs. In most productions, the stars of “Our Town” are the Stage Manager, Emily and George. But in this production Myers has made Mrs. Gibbs the star. Myers’ Mrs. Gibbs is the only character that cares about anyone but herself. Additionally, she is the only actress in the entire company who is entirely invested in the world of the play. She is truly a joy to watch.
While it certainly is not a perfect production of “Our Town,” it is a unique one. Cromer’s new take on the play provides the audience with new insights, both good and bad, into the world of Grover’s Corners and into our own society. Those insights are worth the price of admission.
For more information, log onto www.ourtownoffbroadway.com

MICHELE KOLE
Staff Writer

“Boeing Boeing,” the 1960s farce about a bachelor juggling three flight attendant fiancées, is now being performed at FDU’s Dreyfuss Theatre. The production is well-received thanks to the exceptionally talented cast. However, there were some directorial glitches.

“Boeing Boeing” tells the story of a successful American bachelor, Bernard, who has three flight attendant fiancées. They are Janet, the Southern Belle flight attendant for TWA; Jacqueline, the French flight attendant; and Judith, the passionate German flight attendant for Lufthansa.

With the help of his bitter British housekeeper, Bertha; his nerdy friend, Robert; and his fiancées’ flight schedules, Bernard is able to keep the women from finding out about one another, until the schedules are thrown off.

FDU’s production of “Boeing Boeing” is perfectly cast. Allison Carr delivers a solid performance as Bertha, as she beautifully captures Bertha’s dry British humor.

Louis Vetter is extremely entertaining as Robert. Vetter embraced Robert’s overly cautious nature, so when complications arise with Bernard’s plans, it is very enjoyable to watch Vetter’s Robert crumble.
As Bernard, Andrew Gaul transitions very well from a nonchalant womanizer to a frazzled man trying to restore order to his life.

While the entire cast gives believable performances, the real stars of “Boeing Boeing” are the three stewardesses.

Newcomer Alex Landau might not have the perfect German accent, but she does embrace the severe, no-nonsense German sensibility. Consequently, the audience firmly believes that she is German.
Senior Angeline-Rose Troy plays Jacqueline, the French flight attendant. Troy’s elegant presence makes the demanding Jacqueline likeable, and her elegance allows for the audience to understand why Jacqueline holds such power over Bernard.

Kirsten Johnson rounds out Bernard’s collection of stewardesses as the American stewardess, Janet. Not only does Johnson have a perfect southern accent, she also brings a bubbly, vibrant energy to the production. Whenever Johnson is onstage, the show’s energy lifts, and it is a shame Janet is underused in the first act.

While the casting of the production was perfect, there were some pacing issues. As a result, many jokes fall flat. For example, there should have been laughter at Bertha’s discussion with Robert about the “foreseeable future,” but because the pace of the conversation was so slow, the laughs did not come.
Additionally, the play drags in places, so the two-hour running time seems long. “Boeing Boeing” is not a flawlessly written play, but there are sections that could have been more enjoyable had the pace not been so hindering.

In addition, director Stephen Hollis has not created the world or feel of the 1960s. There is nothing in this production to suggest that it takes place in that time.

From the set, which has an unnecessary and distracting red section, to the music choice, and even at times in the acting, the play feels too contemporary to be the 1960s.

While this is not a flawless production of “Boeing Boeing,” it is definitely worth seeing for the cast’s wonderful performances.

“Boeing Boeing” will play the Oct. 16 and 17 at 8 p.m. in Dreyfuss Theatre. Tickets are $5 for the FDU community and $10 for the general public.

MICHELE KOLE
Staff Writer

“Hair,” the famous musical about the hippie counter-culture of the 1960s, is back on Broadway, and it is easily the best musical production currently on the Great White Way. This dazzling new production is not only entertaining; it is moving in a way unlike any other production on Broadway.

“Hair” is about a group of young people who advocate for a free-spirited lifestyle. Throughout the course of the show, they have to cope with issues involving conservative American society, drugs, sexual identity, racism and the Vietnam war. The whole “tribe,” as they call themselves, must come to terms with harsh realities and difficult decisions to make. Each person looks to the tribe to help them cope with their own specific problems.

The most thrilling aspect of this production is the sense of community the company has onstage. Every person is important, and every person is an individual. Consequently, it is extremely difficult to separate some performances as stand out performances. However, Gavin Creel, Kacie Sheik and Caissie Levy must be mentioned. Creel plays Claude, a young man who does not agree with the war and is going to be drafted. Creel believably plays a teenager, though he clearly looks older, and more importantly, the audience sees Claude’s inner struggle to figure out if it is right to die for his country or burn his draft card.

Kacie Sheik plays the lovelorn Jeanie, who has found herself pregnant by a man she barely knows. Sheik has turned Jeanie into the glue of the tribe. Her gentle and giving spirit seems to act as a bridge between the tribe members. Levy plays Sheila, a protester who tries to stand up for what she believes in, but finds herself at odds with some of the tribe’s actions. Levy endows Sheila with vulnerability and compassion. Levy’s performance of the song, “Easy to Be Hard” is a highlight of the show, not only because Levy possesses a beautiful voice, but also because Levy allows the audience to see Sheila’s fragility.

It also must be noted that the score, which includes well-known hits such as “Let the Sunshine In” and “Aquarius,” is beautifully and richly sung by the exceptionally talented cast.

In addition to a wonderful cast, the choreography and direction of this production is incredible. The choreography by Karole Armitage organically moves the entire tribe, so everything seems spontaneous. Director Diane Paulus made a bold move when she decided to prevent the audience from feeling as if they were in the 60s. Instead, Paulus has allowed the audience to stay in present times, while the tribe seems to have time traveled from the 60s. As a result, the show’s relevant messages about our own society are obvious, and the audience is forced to confront the problems we are still facing today. Also, the audience interaction never feels forced. In fact, it makes the audience feel apart of the tribe. The sense of community that flows between the audience and the performers onstage makes this “Hair” extremely poignant.

“Hair” is a must-see musical for anyone who even remotely enjoys attending the theatre. It is a musical that offers a look into the problems of society as well as all of the possibilities of what can be. This “Hair” is hopeful, joyous, moving and it is an experience every person should have.

For more information, log onto www.hairbroadway.com

MICHELE KOLE
Staff Writer

The student-run theater group, Starshine, has not been a major presence on campus for the past few years. In earlier years, their cabarets and open-mic events were well received by theater students. Just last year it seemed as Starshine had met its final curtain call.

However, Starshine finally has a group of dedicated students, who are determined to make the club a vital part of campus life.

With a new executive board, a fresh lineup of new members and ambition to host unique events, their future on the Fairleigh Dickinson University campus is starting to look promising. The first interest meeting was Sept. 24 and from the 26 students that showed up, growth and interest in the organization is healthy.

The newly elected president, Mark Mattera, said that Starshine hopes to produce all kinds of theatrical events. Starshine is resorting to some old favorites as well as mixing in fresh, new events. The “Murder at the Mansion” event received positive feedback in the past years according to Mattera and as a result will be repeated in the upcoming year.

Apart from hosting events, Starshine will continue to take part in philanthropy work, according to Mattera. Past efforts involved raising money and awareness for Broadway Cares Equity Fights Aids.
In addition to bringing back classic events, Mattera said, “We’re planning on putting on more shows. We’re actually looking to do extended runs of shows.” Starshine is also anxious to get the student body more involved. Mattera said, “We’re planning on utilizing the space in the Barn, which is newly renovated. We want to do student written work. We’re trying to get everybody’s voice out there.”

While Starshine does have its leaders, newcomers to the group should not be afraid of getting involved. Artistic Director Cindy Fernandez said she “wants this to be a hands-on experience for everyone.”
Even though Fernandez will ultimately decide what the Starshine season looks like, she wants input from the other members. Fernandez said that she wants everyone’s voice to be heard in determining the direction of Starshine. Additionally, Fernandez says that Starshine will embrace whatever talents, whether they are for singing, acting or dance that students have to offer. Even theater tech students will play a big role in the Starshine productions. Starshine’s goal is to have entire student-run performances both on and off stage.

Starshine’s new purpose is to give anyone who is passionate about theater a sense of how a real theater company runs. It is no longer just about events and self-promotion. Instead, the focus has shifted to the practical and professional side of theater.

According to Mattera, this is especially important for students looking to enter a the field of the performing arts. Mattera said,“Everybody can appreciate acting from taking classes. However, when you really get in there and get your hands dirty in a student-run theater company, you really understand how it all happens.”

Starshine is currently in the initial planning stages for this season’s productions. Because it is a more informal setting than mainstage productions, students should not hesitate about getting involved.
Starshine is a place for student voices to be heard and expressed through theatre. The group will always welcome new members, whether or not they are theatre majors. The only requirement for becoming a part of Starshine is having a passion for the theater.

Mattera says, “Starshine invites everyone to come to the meetings. If you have a passion for acting or marketing or anything, there’s always room for you. Everyone is welcome. We’ll always have something for you to do.”

The next meeting for Starshine will take place on Oct. 1 at 6:30 p.m. in the Rutherford Room of the Recreation Center.

MICHELE KOLE
Staff Writer

Before “Private Practice,” not many people outside of musical theater aficionados knew the name Audra McDonald. While McDonald’s television work has brought her national attention, her work in the theater is considered to be some of the best of its generation.

McDonald studied classical voice at Julliard before making her Broadway debut as a replacement in “The Secret Garden,” according to Julliard’s official Web site. After making her debut, McDonald went on to play Carrie Pipperidge in the Broadway revival of “Carousel,” and she won the 1994 Tony Award for Best Supporting Actress in a Musical for her portrayal.

McDonald quickly earned two more Tony Awards for her work in the 1996 play, “Master Class,” and for her work in the 1998 musical, “Ragtime.”

According to playbill.com, winning three Tony Awards within five years is an achievement shared only by McDonald, Zero Mostel, Gwen Verdon and Shirley Booth.

McDonald won her most recent Tony Award for her portrayal of Ruth Younger in the 2004 revival of Lorraine Hansberry’s “A Raisin in the Sun,” according to tonyawards.com.

McDonald recently starred in the revival of “110 in the Shade,” earning her yet another Tony nomination. Her most recent stage appearance was in the Public Theater’s production of “Twelfth Night,” featuring with Anne Hathaway.

In addition to an impressive stage career, McDonald has recorded four solo albums, including “Way Back to Paradise” and “How Glory Goes,” both of which were musical theater albums. While McDonald built her career in the musical theater, her recordings are not all associated with musical theater.

In fact, her albums range from the 1940s inspired “Happy Songs” to the pop album “Build A Bridge,” composed by dynamos such as Laura Nyro, John Mayer and Nellie McKay. Information about all of her albums can be found at nonesuch.com.

Prior to working on “Private Practice,” McDonald was nominated for an Emmy Award for her work in the television movie, “Wit,” in which she worked alongside Emma Thompson. Her second Emmy Award came in 2008 for her work in the television adaptation of the 2004 revival of “A Raisin in the Sun,” according to the Internet Movie Database.

McDonald landed the role of Dr. Naomi Bennett in the “Grey’s Anatomy” spin-off, “Private Practice,” which premiered in 2007. The television series is now headed into its third season, which premieres next month.