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.

Laughter and cheers echoed throughout the Dreyfuss Theatre on Nov. 19 following the opening performance of Neil Simon’s comedy, “Brighton Beach Memoirs.” The play ran from Nov. 19 to Nov. 23 and ended with a matinee performance. A modest audience was scattered among the mostly empty seats on the play’s opening night. However, the extreme lack of patronage that night did not hinder the cast’s exceptional performance of the well-known, coming-of-age comedy.

Set in Brooklyn, N.Y., in 1937, “Brighton Beach Memoirs” follows the life of pubescent teen, Eugene Morris Jerome, and his Jewish family during the Great Depression. Like many families in the post-World War I era, the Jerome family struggles to make ends meet. This is especially difficult for them because Eugene’s mother, Kate, has housed her widowed sister, Blanche, along with Blanche’s daughters, ambitious 16-year-old, Nora, and hypochondriac, bookworm, Laurie. The Jerome family depends on Eugene’s father, Jack, and Eugene’s role model and older brother, Stanley, for income. These struggles create endless tensions that revolve around their unfavorable financial situation. Through thick and thin, Eugene documents his family’s struggles and triumphs in his memoirs, an outward expression of his desire to become a writer, that is, if Major League Baseball doesn’t recruit him first.

An observant and curious teen, Eugene is often the scapegoat for all of his family’s problems. In his good-hearted and humorous nature, however, Eugene is able to brush aside his unearned trouble-maker reputation as he awkwardly straddles the gap between boyhood and manhood. Throughout the play, Eugene must learn to cope with constant conflicts including his father’s illness, his aunt’s struggle for independence and his lusty, hormone-driven crush on his cousin, Nora.

Eugene was played by freshman Alexander Boruff, a film major who made his theater debut at Fairleigh Dickinson University. Both plucky and sharp, Boruff’s comedic timing as Eugene was well-executed as he tackled the traditionally taboo and unnerving topics of wet dreams and masturbation with a humorous and endearing twist. Boruff’s performance made Eugene a relatable and sympathetic character as he constantly turned to face the audience, reading directly from the most recent scribbles in his memoirs.

The portrayal of Kate Jerome by graduate student Ashley Hencken was another noteworthy performance. Played with fervor and attitude, Hencken’s Kate was exceptional as she proved to be the strong, backbone of the Jerome household.

Throughout her performance, she kept the audience chuckling as she nagged her son, Eugene, for the most trivial of things including writing too loudly and playing catch against the side of the house.

Merideth Wilson, a senior theatre major, shined as Blanche Morton. Between dating woes and a quest to keep her two daughters happy and healthy, Blanche was played as strong and enduring. Wilson’s movements as Blanche were tired and exhausted as she struggled to sew table linens. Yet throughout the performance, her voice remained strong and unwavering like her fortitude.

In her Fairleigh Dickinson University theater debut, Michele Kole played Blanche’s bookish daughter, Laurie Morton. Although Laurie can be an easily dislikable character, Kole gave her personality despite her matter-of-fact line reading. Where Kole’s vocal acting and Brooklyn accent faltered, her physical acting persisted as she sat on the living room couch, gladly being waited on hand and foot.
The setting was picturesque, featuring two stories of the Jerome household with a living room and dining room downstairs and two bedrooms on the second level. With sepia-colored photos on the wall and an old foot-pedal sewing machine, the setting was that of a late-1930s home. And though opening night presented a few lighting glitches, the performance as a whole ran smoothly.

Ending with America’s initial presence in World War II, the play and performance illustrated the life and times of a typical Great Depression-era family, complete with the laughter and tears of characters and audience members.

ELYSE FETHERMAN
Entertainment Editor

The new Broadway show “13” is sure to be the next big hit. The show is performed at Bernard B. Jacobs Theatre on West 45th Street.

“13” tells the story of a young Jewish boy, Evan, who is about to turn 13. As tradition requires, he is preparing for a huge milestone - his Bar Mitzvah. At the same time, his parents are in the middle of a messy divorce that forces him to move from his home, New York City, to the small town of Appleton, Indiana. He now has to hold his Bar Mitzvah in Appleton.

This is a huge conflict because his popularity and social acceptance rides on the ability to throw a successful party. The story follows all of the decisions that Evan must make. He must choose between his good friends that are not so popular and the cool kids that may not be as great as they appear. “13” has many themes revolving around the transition into a teenager, in which we all can relate.

PETER LUTCHKO
Staff Writer

Interestingly, “13,” though conventional in plot, proves to be unique in its execution. I have always enjoyed seeing a good Broadway show, but wondered why one had not been released that accurately portrays the lives and problems that contemporary teenagers face. However, “13” may be one of the first shows to successfully do just that. Young kids and teenagers will love the sense of humor and realness that the show presents. Adults will love the underlying jokes and parents of teenagers and pre-teens will definitely be able to see a hint of their children in the teenagers on stage.

According to the show’s Web site, “13″ is unique because it is the first show to hire an all-teenage cast. This unconventional move clearly benefitted the performance because it is precisely this that makes the show and the emotions that much more real. Even the band performing the musical numbers consisted of teenagers. I have never seen a group of such musically talented kids before. They managed to keep the audience captivated and involved during the duration of the entire show, which did not provide an intermission (also a rarity for a Broadway show). The cast had parents and children cheering together, something that was really great to see.

The cast consisted of both teens brand new to Broadway, as well as kids with a lot of experience. The performance was so interesting and very high-energy that an intermission only would have taken away from the stellar performance. The scenery gave the show a 3D feel, making audiences feel like they were there with the characters. All 16 musical numbers were powerful and helped build the show’s positive energy.

“13” is the only show I have ever seen that I would recommend people of all ages to see. “13” combines both the upbeat freshness of Disney’s “High School Musical” series with the themes and traditional musical nature of cult classic “Grease.” I encourage anyone that even remotely enjoyed either of those shows to see “13.” You should see this show while the original cast is still on Broadway because it is sure to be an everlasting hit.

“White Christmas” is a staple musical for the holidays. The major star power and talents of Rosemary Clooney, Bing Crosby, Vera-Ellen and Danny Kaye combined with the music of Irving Berlin make an uplifting holiday movie. More than 50 years after the film, “White Christmas” made its Broadway debut.

While it is missing the star power of the film, “White Christmas” is an enjoyable holiday show.
It tells the story of Bob Wallace and Phil Davis, two army buddies who make it big as singers. Wallace and Davis meet the Haynes sisters, Betty and Judy, who are a sister act trying to make it professionally. Judy and Phil quickly fall in love. Through a series of events, Wallace and Davis and the Haynes sisters end up at an inn owned by Wallace and Davis’ former general in the army.

The story of “White Christmas” clearly exists just so that the musicals numbers can take place. The movie had its four stars to help sell the paper-thin plot. The stars of the Broadway show are merely pragmatic. Stephen Bogardus does nothing to distinguish himself in the role of Bob, and while Jeffry Denman is likeable enough as Phil, there is nothing particularly memorable about him. Meredith Patterson brings a bright presence to the stage as Judy. As her sister Betty, Kerry O’Malley is mediocre, but it is difficult not to compare her to the film version of Betty played by Clooney.

While the stars of the show may only be run of the mill, the supporting cast certainly makes up for them. As Martha Watson, the inn concierge, Susan Mansur seems to be channeling Lucy Ricardo. She is a warm presence with wonderful comedic timing.

The other major standout in the supporting cast was Cliff Bemis as Ezekiel Foster, the inn handyman. His monotone voice and sluggish movements get the biggest laughs of the entire show.

There is no question that the score of “White Christmas” is one of the most beautiful. The score includes all of the songs from the movie, except for “Minstrel Show/Mandy” and “Choreography.” Quite a few other Irving Berlin standards have been added, including “Blue Skies,” “How Deep is the Ocean,” and “I’ve Got My Love to Keep Me Warm.”

The show is at its best when it presents big production numbers. The wonderful ensemble is a joy to watch, particularly the tap dancing in “I Love a Piano.”

While “White Christmas” might not be the best musical on Broadway right now, it certainly provides what it promises: light holiday fun. It is a perfect holiday outing for the family, as the music is sure to please everyone.

For more information about “White Christmas, log onto whitechristmasmusical.com. The show is seasonal and is scheduled to run only through Jan. 4.

MICHELE KOLE
Staff Writer