Theater

By Julianne Mosher

How can a modern-day Thanksgiving play not ruffle any feathers, especially in a politically correct society?

Suffolk County Community College’s latest production of The Thanksgiving Play is not what one might expect. In fact, it is pure chaos, but hysterical chaos at its best. 

Directed by Steven Lantz-Gefroh and written by Larissa FastHorse, the show consists of just four actors — Scott Dowd (Jaxton), Jerry Ewald (Caden), Michaela Fitzsimmons (Alicia or A-lee-see-ya), and Taylor D’Agostino (Logan). Set in an adorably relatable elementary school classroom, the four come in to start working on a culturally appropriate and politically correct play about the first Thanksgiving meal for kids. 

One slight problem — all the actors are white, and very woke, and they feel that they cannot ethically perform a historically correct production as they grew up with white privilege. They hire a “real” actress from L.A., Alicia, who they believe is Native American… only to find out in show business looks can be deceiving. 

FastHorse, who is the first female Native American playwright to have a show produced on Broadway, writes this clever satirical comedy with poise by serving up the hypocrisies of woke America, especially with topics like Thanksgiving, Native Americans and, dare I say his name? Christopher Columbus. 

Originally making its Broadway debut in 2023, it comes to the smaller stage at SCCC’s Ammerman Campus in Selden and showcases the raw, amazing talent of these four theater students. Each one has a very bright future set up for them. 

Dowd plays Jaxton, the yogi/part-time actor, who tries to always right his wrongs of being a straight, white male brings humor to the uncomfortable topic of race, especially when he’s tasked to be a part of something that needs to appeal to all people and cultures. Dowd plays the typical hippie who jumps on the bandwagon of whatever trend is going on, and he does it convincingly well.

Ewald plays Caden, a history teacher who has very serious feelings about Christopher Columbus, but also wants his side play writing performed by real humans. As in other SCCC performances, he makes the audience laugh with his slapstick shenanigans. That being said, we should highlight the choreographers for their realistic fight scene that will have you wince, but not look away.

D’Agostino plays Logan, the glue of the story, and the main protagonist who has to navigate these other personalities while trying to keep her job as a teacher in a new school district. But she’s also incredibly woke, and restricted by her overthinking and over producing. D’Agostino’s performance shines, definitely showing the leader that she is on and off the stage. 

And we can’t forget Fitzsimmons, who plays Alicia, the L.A. actress brought in by Logan as the team’s cultural compass navigating Native American culture (Logan saw headshots of her on her website wearing braids and turquois). Your standard L.A. actress, she plays the snotty, and kind of stupid, actress who relies mostly on sex appeal for parts amazingly well. Her facial expressions even when she’s in the background tell a story in itself.

Through satire and humor, this one-act show addresses the misrepresentation of Native Americans, the lack of indigenous casting and the challenges of accurately representing indigenous people in American society — all of which FastHorse experienced herself as a Native American playwright.

And you’re honestly just going to laugh from the moment the four performers step on stage. Throughout the show, we bounce back and forth between the scene in the classroom to small musical numbers relating to Thanksgiving. 

You’ll laugh at the humor, but also with how uncomfortable these conversations can be. So, even though it’s not Thanksgiving time at all, get in the spirit of cultural appropriation and white storytelling, and head over to SCCC to see this unique, hysterical and impressive show. You’re going to gobble it up.

The Theatres at Suffolk County Community College present The Thanksgiving Play in Theatre 119, Islip Arts Building Suffolk County Community College, 533 College Road, Selden on March 15, and 16 at 7:30 p.m., and March 17 at 2 p.m. General admission is $15, veterans and students 16 years of age or younger $10. SCCC students with current ID are offered one free ticket. To order, please call the box office at 631-451-4163.

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By Julianne Mosher

For what is now a quarter of a century, Theatre Three’s Annual Festival of One-Act Plays is a favorite tradition that should not be missed out on. 

Now in its 25th year, more than 12,000 submissions from playwrights across the country have been sent to the Port Jefferson-based theater over the years in hopes that their short, under 30-minute shows have a shot of being performed on stage. This season, Director Jeffrey Sanzel said there were over 2,000 submissions and just eight made the cut. Of those eight, none disappointed. 

For an-hour-and-a-half, during Sunday, Feb. 25th’s performance, the nearly sold-out audience sat quietly, engaged, watching, listening to what is about to appear on stage. The festival brings these little vignettes that are full of story — some that are hysterically funny, while others leave the room quiet because of how serious and emotional the act ends. 

The festival opens with Brian C. Petti’s Bovine Existential, with Linda May and Phyllis March playing two cows who are waiting in a slaughterhouse holding pen discussing fate, mortality and morality. Both May and March play the animals well, and while a serious topic of philosophy, they still had the audience in stitches. 

The second act features Deirdre Girard’s A Year to Grieve and at first the audience doesn’t expect what will eventually happen. We see Thomas (Evan Teich) and Heather (Brittany Lacey), two mystery crime writers working on Heather’s latest novel. The friendship between the two is sweet, until one decides to make fiction real. Both Teich and Lacey shine — as usual, since both are returning Festival performers. 

To lighten the mood, we’re sent to a tomb in Verona, Italy to see Juliet (Cassidy Rose O’Brien) who woke up from her slumber and didn’t kill herself with her fiancé’s dagger in Juliet Wakes Up by Laura Neill. Compared to the original Shakespearean tragedy, this is anything but. Quite frankly, this should be a whole show on Broadway, rather than the & Juliet musical that is currently out. I like this version better. Juliet is met by Rosaline (Julia Albino), her cousin, and Willow (Gina Lardi), the apothecary worker who sold the poison to begin with. The three ladies hatch a plan to hide Romeo’s (Jae Hughes) body after Juliet stabbed him to death, instead.

The first half ends with Rescue by Kevin Podgorski, and this one is not for the weak at heart. We’re introduced to Dot (Ginger Dalton), who has a large bruise on her face. She’s talking on the phone with her two friends, Maeve (March) and Allen (Andrew Markowitz), who are desperately trying to help her out of a toxic and dangerous home situation at the hands of her grandson, Charlie (Steven Uihlein) that Dot has been taking care of since his mother died. Powerful and sad, when the act ended there was a silence, with several audience members saying, “wow.”

After a brief intermission, we’re set in a car on a highway leading to the Colorado border for Aleks Merilo’s The Nearest Far Away Place. A young woman (Courtney Gilmore) hitch hiked a ride from Wisconsin by a man who eventually we learn is a corrections officer played by Rob Schindlar. Uncomfortable and nervous about what is waiting for her across state lines, the young girl tries to chat the man up, but quietly spoken, he has no interest until he begins talking about his own family and how he hasn’t spoken to his own daughter in years. With a serious undertone, it has its highlights that will make you laugh because of the two opposite personalities; Gilmore’s annoying teenage girl self (which we can all relate to somehow) and Schindlar’s stoic manly façade. 

A complete left turn into Lisa Dellagiarino Feriend’s The Curse, we’re taken into an alternate version of The Little Mermaid featuring a mer-man, Jeremy (Sean Amato) who was washed up on land and realizes he has feet. Turns out, an evil enchantress named Donna (his co-worker of all things) turned him human as punishment for his man-splaning over her during staff meetings. He only comes to this realization by Beth (O’Brien), a passerby who sides with Donna. After some serious plays beforehand, this one was funny and lighthearted, which is just what we needed.

In Grave Matters by Michele Markarian, Paula (Lardi) is at the grave of her father asking for a sign from him to get over the family drama since her parents had passed. Well, the dad didn’t show, but her mom, Beth (Dalton) came by instead. This one, again, has those serious undertones, but Dalton’s annoying motherly comments (that again, we can all relate to somehow) make it funny and surprisingly realistic — despite her being a ghost, of course.

And we end with the beautifully crafted The Hike to Hart Lake by Johanna Beale Keller which features Albino, Amato, Hughes, O’Brien and Uihlein as five friends who hike up a mountain in their 20s to a beautiful scenic view they never forget. Always saying they should all go back, life happens, there are deaths and slowly the group becomes one over the course of 80 years. While all five actors are standouts, Hughes had the audience in tears with their powerful monologue at the end of the performance. 

With a minimal set with just a few props moved around for each play, the costumes designed by Jason Allyn match each performance perfectly — and remember, we’re sent from present day, to the 14th Century and then into the future. So, buckle up, grab some tissues and make sure you sit in for The 25th Annual Festival of One-Act Plays. It isn’t just a show… it’s an experience you won’t want to miss.

Theatre Three, 412 Main St., Port Jefferson presents the 25th annual Festival of One-Act Plays through March 23 at The Ronald F. Peierls Theatre, on the Second Stage. All seats are $25. Please note: Adult content and language. Parental discretion is advised. To order, call 631-928-9100 or visit www.theatrethree.com.

By Heidi Sutton

Who doesn’t love The Wizard of Oz? The 1939 classic starred a 16-year-old Judy Garland who stole our hearts as Dorothy Gale, a young girl swept away by a tornado to the land of Oz and her quest to return home with the help of her three friends — the Tin Man, the Lion and the Scarecrow.

Now Theatre Three brings us Dorothy’s Adventures in Oz, an original musical adapted from the stories of L. Frank Baum by Jeffrey Sanzel and Douglas J. Quattrock. While the opening scene and songs may be different, the overall story and message remains the same and makes for a wonderful afternoon of live theater. 

Jeffrey Sanzel directs an amazing cast —  Cassidy Rose O’Brien (Dorothy Gale), Josie McSwane (Scarecrow), Steven Uihlein (Tin Man), Sean Amato (Lion), Jason Furnari (The Wizard of Oz), Louisa Bikowski (Wicked Witch of the West), Julia Albino (Glinda), Liam Marsigliano (Gatekeeper and Winkie) and Kaitlyn Jehle (Judy Gumm, Winged Monkey) and a special appearance by Tasha PoyFair as Toto — who  whisk the audience away to the land of Oz with gusto.

The story begins as Dorothy Gale, chief editor of her high school newspaper, the Baum Bugle, is busy putting the paper to bed when a fierce storm blows in and knocks her to the ground. When she wakes up, she finds herself in Munchkinland. Her news stand has landed on the Wicked Witch of the East causing her demise, much to the delight of the Munchkins.

When the Wicked Witch of the West shows up, Dorothy is protected by Glinda the Good Witch of the North who fits her with the Wicked Witch of the West’s ruby slippers and tells her to take the Yellow Brick Road to the Emerald City to find the Wizard of Oz who can help her get home. Along the way, Dorothy meets a Scarecrow who wants a brain (even though she comes up with the best ideas!), a Tinman who yearns for a heart, and a Lion who longs for courage. The three join her on her quest and the musical adventure begins.

Amazingly all of the memorable scenes from the film are here as well, from the talking apple trees, the enchanted poppies, to meeting the Wizard in the Emerald City, the Witch’s castle and her crystal ball, and the infamous melting scene. 

Choreographed by Sari Feldman and accompanied on piano by Douglas Quattrock, each main character has a chance to shine with a song and dance number including Cassidy Rose O’Brien’s “I Close My Eyes,” Josie McSwane’s “I Think,” Steven Uihlein’s “Pitta-Pat” and Sean Amato’s “I’m a Lion.” 

The supporting cast is gifted with many great scenes as well with special mention to Liam Marsigliano who is hilarious as the Gatekeeper holding a sign that says “ZO” and as a grumpy Winkie who is tired of always saying O-Ee-Yah/ Eoh-Ah. And did I mention a special guest appearance with fur, four legs and a tail (and it’s not the lion!)?

A nice touch is the flawless scene changes — each time Dorothy meets a new friend, they walk through the aisles of the theater (the yellow brick road) and by the time they reach the stage, the next scene is already set up like magic. 

Costumes by Jason Allyn are incredible as always, especially Glinda’s gorgeous dress and the special lighting and sound effects tie everything together perfectly. 

In the end, the show reminds us to be true to our hearts and to our friends and that there is no place like home. Souvenier plush lions will be on sale for $5 during intermission and stop by the lobby on your way out for a group photo with the cast.

Theatre Three, 412 Main St., Port Jefferson presents Dorothy’s Adventures in Oz through March 16. Running time is 1 hour and 20 minutes with one intermission. Costumes are encouraged. Children’s theater continues with The Adventures of Peter Rabbit from April 13 to 27 and a brand new show, The Mystery of the Missing Ever After from May 25 to June 15. All seats are $12. To order, call 631-928-9100 or visit www.theatrethree.com.

By Julianne Mosher

Before there was Rent, playwright Jonathan Larson had a one-man show drafted on several pieces of paper. A semi-autobiographical account of what it is like to be turning 30 and not having it all figured out, Theatre Three’s latest production is a story of friendship, growth and love in the years leading up to a mid-life crisis.

Beautifully directed by Jeffrey Sanzel, tick, tick… BOOM! features just three actors, but all of whom have a combined talent of a full theatrical ensemble. 

Larson, who is famed for creating Rent, tragically died just before the rock opera show’s opening night at age 35. tick, tick… BOOM! is the show Larson created before Rent was even a thought in the young artists’ mind. 

Originally penned in 1990, the initial production for tick, tick… BOOM! was performed by Larson as a solo show, but after his death in 1996, it was revamped by playwright David Auburn as a three-piece ensemble and premiered off-Broadway in 2001. A film adaptation directed by Lin-Manuel Miranda and starring Andrew Garfield as Jon was released by Netflix in 2021. Garfield won an Academy Award for his performance.

Based on Larson’s own life, the show starts off with Jon (Robbie Torres), an aspiring composer, who lives in New York City in 1990. Similar to Larson, he had been trying to make a name for himself in theater since the early 80s and he voices worry that he is turning 30 with no solid future in sight. He lives with his childhood friend, Michael (Jason Furnari), who is a marketing executive — and former actor before he “sold out” — in an apartment in SoHo. Susan (Veronica Fox) is Jon’s girlfriend who is a dancer who “teaches ballet to wealthy and untalented children.”

For years, Jon has been workshopping a musical he wrote called Superbia (which was a real unpublished play written by Larson discovered after his death) and he is nervous about how critics might take it. Susan starts to ask Jon if he’s willing to leave the city as she begins to dream of marriage, kids and Cape Cod. Meanwhile Michael knows Jon needs more stability and helps him snag an interview at his marketing firm. We see Jon’s day-to-day working at the Moondance Diner, catering to annoying tourists and customers as he just tries to finish his shift so he can go back home and continue writing.

Throughout the show, we begin to see the changes in his friends lives while Jon continues to feel stagnant as his 30th birthday nears closer and closer. The anxiety he feels penetrates in his chest and mind going “tick, tick… BOOM!.”

In typical Larson fashion, the set, designed by Randall Parsons, is minimal, but shows the grungy aesthetic that these starving artists were living in during the early 1990s. The cast is able to add furniture in certain scenes to give the appearance of different settings, and as a special treat, the band, which at Theatre Three is typically set off to the side, sits on stage with the cast and is part of the show. 

But what stands out the most are the performances of Torres, Furnari and Fox who work together in such harmony that you’d think the parts they are playing are real life. 

A music-heavy show with no intermission, Torres, Furnari and Fox do an excellent job of memorizing the words of Larson whose lyrics tend to be fast-paced and thought-provoking. A hit number of the night that had the audience applauding was “Therapy,” which features Fox and Torres “arguing” as a couple with two separate choruses intertwined together in a fast-paced rhythm. 

During the show’s opening night, the entire audience gave the cast a standing ovation which will undoubtedly happen again and again for all the upcoming shows. Don’t miss this one.

Theatre Three, 412 Main St., Port Jefferson presents tick, tick… BOOM! through March 16. Tickets are $40 adults, $32 seniors and students, $25 children (ages 5 to 12) and Wednesday matinees. The Mainstage season continues with Murder on the Orient Express from April 6 to May 4, and The Producers from May 18 to June 22. To order, call 631-928-9100 or visit www.theatrethree.com.

Advertisement for the Auto show at Athena Hall. Photo courtesy Beverly Tyler

By Beverly C. Tyler

Athena Hall, now Theatre Three, was Port Jefferson’s community hall from 1874, when it was built, until it was remodeled into the Port Jefferson Theatre in 1928. Until then it was an open flat floor area above the Griswold Machine Shop where vaudeville, minstrel, magic lantern, automobile shows and local plays were held. The space usually included music and entertainment and by the early 1900s, “Moving Pictures” as well. 

Athena Hall was also used for high school graduations, as a meeting house, election headquarters, dance hall, roller skating rink and by organizations such as the Port Jefferson Fire Department which held a benefit show in 1927, featuring a one-act play, a movie and the Port Jefferson High School orchestra. Earlier the same year, Bridgeport radio station WICC held a two-night show featuring Charlie Cole and his singing orchestra, with music for dancing every night from 9 p.m.. to 2 a.m. There were even musical and Charleston dance contests during the auto show in January 1927. 

Advertisement for the Auto show at Athena Hall. Photo courtesy Beverly Tyler

About this same year, 12-year-old Blanche Carlton was asked to play the piano before a film and to accompany her close friend Veronica “Ronnie” Matfeld who would sing. Mom told me over tea, “I believe it was all arranged by Charlie Ruggles who got the director to run skits at the theater before the movie. I think the director’s name was John. I could hear the tunes so I didn’t need the music and I could pick out other tunes. For the last piece Ronnie sang “O Sole Mio” and when Ronnie reached the highest note I was to reach for the notes beyond the piano and fall off the stool onto the stage – and I did.” That ended the skit. Mom and Veronica went off stage and the movie started.

Charlie Ruggles came to East Setauket in 1926 and purchased property at 16 Coach Road. He maintained this East Coast residence until 1942. Ruggles was probably best known for his performances as a character actor in films such as “Bringing up Baby” with stars Cary Grant and Katharine Hepburn. In this crazy hectic comedy film he played Major Applegate, a big game hunter. Ruggles was in more than 100 films over a more than 50 year career. He began his career on the stage and was also well known for his work in radio and on television. 

Ruggles’ career included Long Island at the Player-Lasky Studios, later the Paramount, where he made four silent films in 1915. His comedic talents also extended to his personal relationships and he made many friends, many famous in their own right, as detailed in the May 13, 1927 “Brooklyn Daily Star”.  

“Due to the cordial relations existing between Charles Ruggles, popular comedian of ‘Queen High,’ at the Ambassador Theater, and Lieutenant Commander Byrd, Clarence Chamberlain, Bert Acosta and other famous airmen, the actor has erected a huge searchlight on his estate near East Setauket, to guide flyers in their aerial navigation during night hours. The Ruggles light has already become a landmark among the eastern aviators.”

Ruggles, as detailed in the October 1, 1936, “Mid-Island Mail”, came here often. “Movie Star at East Setauket  – Charles Ruggles of the movies flew from the coast last week to spend several days at his home in East Setauket. The well-known comedian is a frequent visitor here.” Ruggles was here enough to be included in the 1930 census for East Setauket along with his future wife Marion La Barba. 

Many other vaudeville, minstrel and Broadway actors came to this area with its pleasant villages and picturesque harbors. Getting out of the noise and smells of the city was one reason to come to places like Port Jefferson and Setauket and the presence of local theaters, dance halls and entertainment venues just added to the appeal.

Beverly C. Tyler is Three Village Historical Society historian and author of books available from the Three Village Historical Society, 93 North Country Rd., Setauket, NY 11733. Tel: 631-751-3730. http://WWW.TVHS.org

By Julianne Mosher

The John W. Engeman Theater’s latest production of Frozen Jr. will give you chills.

Directed and choreographed by Keith Jones, costumes and wigs by Laura McGauley, and production/set design by Orion Forte, you’ll be taken into a winter wonderland as soon as you step into the Northport-based theater. With a solid cast of children doing Broadway-level work, the production showcases an extremely talented cast who clearly love what they do and are having a blast. 

The story follows two inseparable sisters who are princesses in the kingdom of Arendelle. The eldest, Elsa (Mia Ponticelli), was born with magical powers that allow her to create ice and snow. But as a young child, she doesn’t know how to control her powers and while playing and building a snowman with her sister, Anna (Gabby Blum), she accidentally hurts her. 

While Anna is healed by the mysterious Hidden Folk (spiritual forest people), their parents decide it would be best to protect Anna by keeping the two apart.

Anna has no memory of the accident and does not understand why her sister avoids her, locked away in her room wearing her silk gloves. A few years later, while the parents are lost at sea, Elsa continues to stay away, keeping her secret hidden from her sister and the outside world, afraid to harm another person again.

Ten years have passed and it is time for Elsa to become Queen, but on coronation day her magic unintentionally brings an eternal winter to the kingdom. Accused of sorcery by Anna’s fiancé, Hans (Liam Polani), she flees into the mountains to hide. Anna enlists the help of Kristoff (Quinn Oliver Lessing) the icemaker to help her find her sister and free Arendelle from the spell. This is a true story of love and acceptance that will thaw the coldest of hearts.

Blum and Ponticelli’s parts are not easy. Originally played in the movie by Kristen Bell and Broadway legend Idina Menzel, the songs require a lot of training and breathwork — both of which these young starlets have. 

But we can’t forget two supporting characters who bring a lot of laughs — Sven, (Brady Goldman and Liam Von Schmidt, interchangeably), and the lovable Olaf (Michael Deaner and Luca Silva) who loves warm hugs. 

In the sold-out audience during the Sunday, Jan. 28 performance, young ticket holders dressed head to toe in their favorite Frozen attire — many Elsa’s, Anna’s and even an Olaf. That being said, when Elsa does a quick change at the end of “Let It Go” into her signature sparkling blue gown, the audience gasped and applauded. 

The set is minimal, but is welcomed by animated projections on a screen towards the back of the stage depicting different locations in the Kingdom of Arendelle including the inside and outside of the castle, the snowy mountains and Elsa’s ice castle. You might even see some real-life snow fall. 

When the show is over, a great photo opportunity is available in the lobby with the entire cast of the show. The cast will even sign autographs.

Overall, this family-friendly production tells the tale of love, loss, friendship and family, with plenty of laughs in between. Don’t miss out. 

Frozen Jr. will run until March 3. Tickets are $20 and can be purchased by calling 631-261-2900, going online at www.engemantheater.com, or by visiting the Engeman Theater Box Office at 250 Main Street in Northport.

The most relatable comedy you will ever see

By Julianne Mosher

The John W. Engeman Theater’s latest produce is perfect… and it should definitely not change.

During Saturday, Jan. 20’s performance of I Love You, You’re Perfect, Now Change, the Northport-based theater was full of nonstop laughs thanks to the four-piece ensemble on stage. 

Starring Gina Naomi Baez and Lauren Weinberg as the two main women and Danny Bernardy and Jason SweetTooth Williams as the two men, this witty musical tackles modern love in all forms in separate vignettes per scene. 

Originally premiering off-Broadway in 1996, the show ran for 12 years, making it off-Broadway’s second longest running show. It has since premiered in a dozen countries and has been translated all over the world. 

Directed and choreographed by John Simpkins, the show starts off with the four playing your general everyday people looking for love. The unnamed people sing about the hopes and dreams of their upcoming date that they each get dressed and ready for, “Cantana For a First Date.” Immediately after, we see Baez and Bernardy chat it up after meeting in person for the first time after an online dating match.

The relatability of these songs and scenes is painful — in a good way. For those in long-term relationships, you’ll cringe being reminded what it was like on the dating scene. For those still single, you’ll nod along in agreement to everything they complain about. 

Matt DaSilva, who was Williams’ understudy during Saturday night’s performance, was stellar in his scenes, notably the third song about two awkward people on their first date. The fact that each actor was able to change characters per scene with ease was impressive — each having their own story to tell.

Other standout songs and performances came from “Men Who Talk and the Women Who Pretend They’re Listening,” “The Lasagna Incident,” (with a beautiful ballad sung by Weinberg that shows off her phenomenal range), and “And Now the Parents.” You can guess what each of those songs are about and how they relate to dating. 

But the musical isn’t only about looking for love. They capture the wedding day, a typical night for a married couple, childbearing and even death, too. 

One number, that was sweet and funny, was “Funerals Are For Dating,” featuring Baez and Bernardy who hysterically played two old timers meeting at an acquaintance’s funeral. Bernardy tries to pick the mourning woman up and laughter ensues. However, it will leave you smiling because for such a funny moment mixed with sadness (talking about their deceased partners), you’ll smile at the sweet sentiment the end of the number provides. 

However, it’s not entirely sweet. This show is definitely not recommended for someone who might be a prude. Other topics tackled are unhappy sex lives and why men send women pictures of their penis. Adult language and content are prevalent. 

With a beautifully designed set, you will surely be impressed the moment you sit down. A setting described as “a city near you,” the backdrop includes impressive buildings with windows to apartments, and throughout the stage, different living rooms and bedrooms are set up for the appropriate skits.

From the looks of the rooms to the costumes and experiences, this show is going to make you say, “too true” in relation to your life. I can guarantee at least one of the scenes will relate to you and your partner in any stage of your relationship.

Tip? Bring someone on a first date! Remind them what they’re in for…

The John W. Engeman Theater, 250 Main St., Northport will present I Love You, You’re Perfect, Now Change through March 3. Tickets are $80 for Wednesday and Sunday evenings; $85 for Thursdays; $90 for Friday evenings, Saturday and Sunday matinees; and $95 for Saturday evenings. Tickets may be purchased by calling 631-261-2900, going online at www.engemantheater.com, or visiting the Engeman Theater Box Office at 250 Main Street, Northport.

By Heidi Sutton

The temperature outside was a bone-chilling 22 degrees as I drove into Theatre Three’s parking lot in Port Jefferson last Sunday morning. Once inside, however, the atmosphere was warm and inviting as families with young children settled in their seats to watch a most excellent performance of Jack and the Beanstalk or The Boy Who Cried Giant!

Written by Jeffrey Hoffman, Douglas J. Quattrock and Jeffrey Sanzel the original musical combines the well known fairytale with the classic fable The Boy Who Cried Wolf and tells the story of a nice boy named Jack (played by Sean Amato) who lives in a small village with his mother (Josie McSwane) and his best friend in the entire world, Filpail the Cow (Julia Albino).

But Jack has a problem — he tends to exaggerate and has told so many tall tales (“I can even wash a cat!,” “My cow can speak in seven different languages!”) that no one believes him anymore. “Someday your stories are going to get you in trouble,” his mother warns. Jack also receives a visit from the Fairy Mary Goodwing (Cassidy Rose O’Brien) who tries to convince him to “always tell the truth and you will be true to yourself.”

One day his mother tells him that they have no other choice than to sell Filpail to Butcher Blackstone (Ryan Worrell). On the way to the market, Jack and his cow meet two pirate gypsies, Marco and Margot (Liam Marsigliano and Kaitlyn Jehle), who claim they want to buy Filpail for “cowpanionship” (they really want to sell her to Butcher Blackstone) and trick Jack into trading her for some magic beans.

Jack’s mother is furious when she finds out what happened and throws the beans away. A giant beanstalk suddenly appears, signaling the start of a wonderful adventure.

In Act Two, Jack climbs the beanstalk and discovers a castle in the sky occupied by a cranky (and whiny!) giant (Ryan Worrell), the giant’s wife (Gina Lardi), a golden harp (Liam Marsigliano) and a hen that lays golden eggs (Kaitlyn Jehle). 

When Jack returns home and tells his mother and the villagers what he has seen no one believes him. He decides to return to the giant’s castle with Filpail to bring something back as evidence. The giant’s wife gives Jack a pair of her husband’s enormous pants. But as they are about to leave, the giant gets a whiff of the boy and his cow (“Fee Fi Fo Fum!”). Will they escape in time?

Under the direction of Steven Uihlein, a talented cast of eight adult actors play multiple roles during this action adventure. The songs, accompanied on piano by Douglas J. Quattrock, are catchy and fun and there’s even a tap dance number choreographed by Sari Feldman.

Costume designer Jason Allyn deserves “giant” accolades for the beautiful outfits and props, including a three-foot-long sneaker and a beanstalk that magically grows all the way to the ceiling. 

With the important message that one should always tell the truth, Jack and the Beanstalk will warm your heart. Don’t miss this one. Meet the cast in the lobby after the show for photos. 

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Theatre Three, 412 Main St., Port Jefferson presents Jack and the Beanstalk through Feb. 3. Children’s theater continues with Dorothy’s Adventures in Oz from Feb. 21 to March 16; The Adventures of Peter Rabbit from April 13 to 27; and a brand new show, The Mystery of the Missing Ever After, from May 25 to June 15. All seats are $12. To order, call 631-928-9100 or visit www.theatrethree.com.

Theatre three, 412 Main St., Port Jefferson will hold ensemble auditions for its upcoming production of The Producers on Sunday, Feb. 18 at 10 a.m. and Monday, Feb. 26 at 7 p.m. Seeking strong singers/dancers to play usherettes, show girls, storm troopers, street characters and more. Prepare 16 bars from the song of your choice; bring sheet music in the proper key; accompanist provided. You may sing from the score. Be prepared to dance. Tap a plus (bring tap shoes if available). Bring headshot/resume if available. Callbacks TBD. Rehearsals begin in March and performances will be held from May 18 to June 22. For more information, visit www.theatrethree.com/auditions.html.

By Rita J. Egan

Bradlee and Marci Bing show the hands they’ve been dealt in the acting world in Theatre Three’s The Gin Game, and they are winning ones. The tragicomedy opened at the theater on Saturday, Jan. 13.

In the Pulitzer Prize-winning play by D.L. Coburn, Weller Martin (Bradlee Bing) and Fonsia Dorsey (Marci Bing) meet at the Bentley Nursing Home. As the only two residents with no family and friends coming to see them on visitors’ day, they find solace on the home’s unused sun porch. Weller invites Fonsia to play gin rummy with him. Even though it’s supposedly her first time playing, he quickly learns that luck is on her side.

Playing the game a few times over a couple of weeks, the two reveal their life stories. While a bond seems to form between the two, the figurative walls they have erected in life also appear. As the play progresses, the audience discovers how both play the cards they are dealt in gin rummy and in life.

The Gin Game opened in Los Angeles in 1976, and a little more than a year later it debuted on Broadway with husband and wife Hume Cronyn and Jessica Tandy. In addition to being awarded a Pulitzer Prize for Drama in 1978, Tandy won the Tony Award for her portrayal of Fonsia. After more than 500 performances on Broadway, Cronyn and Tandy toured with the production.

Revivals in the past have included E. G. Marshall, Maureen Stapleton, Charles Durning, Julie Harris, James Earl Jones and Cicely Tyson. In 2003, PBS presented a televised version starring Dick Van Dyke and Mary Tyler Moore.

In Theatre Three’s production, Bradlee Bing convincingly delivers the belligerent and sarcastic Weller. His rage over losing game after game is frightening, especially when he curses or forcibly uses his cane. Yet, in the more humorous moments, he portrays the character with a bit of charm that makes you feel sorry for him.

Marci Bing is also convincing as the prim and proper Fonsia, who reveals more of her true nature as the two get to know each other. The actress seamlessly transitions from a sweet woman to one whose stories reveal that in her attempt to control her circumstances in life, she can become rigid and vindictive.

The actors easily deliver the humorous lines, and a short dance sequence demonstrates the chemistry between the two married actors. The real measure of their immense talents is seen during the play’s more serious and darker moments. It’s apparent that the actors realize the depth of the multi-layered piece as Bradlee Bing powerfully delivers the lines, “God gave you that card, didn’t he? Didn’t God give you that card?” Marci Bing strongly responds, “Yes, Weller, God gave me the card.”

The Bings, along with director Colleen Britt, have masterfully developed characters that many can relate to and all can learn from. Audience members should arrive at the show and settle in their seats a few minutes early for an extra touch added to the Theatre Three production, which enhances the theatrical experience.

Lending a subtle sense of just how run down the nursing home is, set director Randall Parsons has created a stage that is believable as a barely used back porch with a collection of books, crutches and other items.

In a Jan. 11 interview with TBR News Media, the Bings said they hoped audience members would leave the theater thinking about aging, not only about how difficult it can be for some but also how wallowing in the past doesn’t do anyone any good. The two successfully drive that point home on stage as Weller and Fonsia.

Theatre Three, 412 Main Street, Port Jefferson, presents The Gin Game through Feb. 3. Tickets are $40 for adults, $32 for seniors 65 and over and students and $25 for children. Wednesday matinees are $25. To order, call 631-928-9100 or visit www.theatrethree.com.