GHOST QUARTET
Music, Lyrics, and Text by Dave Malloy
Going Dark Theatre
October 2019
Reverberating through time and reality, four friends break a camera, scream about the apocalypse, weave tales of terror and wonder, betray one another, and drink whiskey. From the imagination of Dave Malloy, Ghost Quartet is a haunting song cycle about whether ghosts exist, and how they do, even for non-believers.
Photo by Kelly Lynch.
Featuring Jessie McCormick, Travis R. Fischbach, CJ Higgins, and Willow McGlone.
Featuring Jessie McCormick, Travis R. Fischbach, CJ Higgins, and Willow McGlone.
Photo by Kelly Lynch.
Featuring Jessie McCormick, Willow McGlone, Travis R. Fischbach, and CJ Higgins.
Featuring Jessie McCormick, Willow McGlone, Travis R. Fischbach, and CJ Higgins.
Photo by Kelly Lynch. Featuring CJ Higgins.
HEDWIG AND THE ANGRY INCH
Written by John Cameron Mitchell & Stephen Trask
ReTheater at the Ruba Club
June 2018
This groundbreaking musical that opened in 1998, became an unexpected hit film and had a celebrated Broadway run, now celebrates its twentieth anniversary as a pop culture phenomenon. With its incredible score and hilariously heartfelt book, this 20th anniversary production re-examines John Cameron Mitchell and Stephen Trask's explosive rock musical with a fresh eye while paying homage to its iconic flair.
*NOMINATED FOR A 2018 BARRYMORE AWARD FOR OUTSTANDING MEDIA DESIGN
*NOMINATED FOR A 2018 BARRYMORE AWARD FOR OUTSTANDING MEDIA DESIGN
REVIEWS FOR HEDWIG AND THE ANGRY INCH
"ReTheater bursts onto the Philadelphia scene with a smash...In the title role, drag performer Braden Chapman delivers a performance worthy of a rock star, at once weepy and melodramatic and infused with the fury and angst of long-endured sorrow...A phenomenal five piece band back Chapman and Stephanie C. Kernisan, who plays Yitzhak...Kernisan's voice adds some gorgeous moments to the mostly heavy metal score. The music has concert-level power...For just over 100 minutes, Hedwig's tale captivates."
Jim Ritter, The Philadelphia Inquirer.
"ReTheater bursts onto the Philadelphia scene with a smash...In the title role, drag performer Braden Chapman delivers a performance worthy of a rock star, at once weepy and melodramatic and infused with the fury and angst of long-endured sorrow...A phenomenal five piece band back Chapman and Stephanie C. Kernisan, who plays Yitzhak...Kernisan's voice adds some gorgeous moments to the mostly heavy metal score. The music has concert-level power...For just over 100 minutes, Hedwig's tale captivates."
Jim Ritter, The Philadelphia Inquirer.
Braden Chapman as Hedwig with Paul Severe Harlan and Bobby Goodrich.
Photo by Garrett Matthew. Lighting by Alyssandra Docherty
Photo by Garrett Matthew. Lighting by Alyssandra Docherty
Stephanie C. Kernisan as Yitzhak, with Tucker Marshall and Robert Covello
Photo by Garrett Matthew, Lighting by Alyssandra Docherty
Photo by Garrett Matthew, Lighting by Alyssandra Docherty
Photo by Garrett Matthew, Lighting by Alyssandra Docherty
THREE SISTERS
Written by Anton Chekhov
Ebenezer Maxwell Mansion
June 2018
Continuing to tell the stories of Victorian women, the Ebenezer Maxwell Mansion proudly presents Anton Chekhov's Three Sisters. One of the masterpieces of modern theater. this timeless play brings the audience into the lives of the Prozorov sisters and their friends as the drama unfolds over a period of five years. Filled with laughter, heartbreak, joy and performed by a tight-knit ensemble of actors, this immersive site-specific production uses the entire Mansion as its stage.
THE CAST (LEFT TO RIGHT): Susan Edelman as Anfisa, Allison Kessler as Natasha,
CJ Higgins as Irina, Jacob Glickman as Kulygin, Molly Edelman as Olga,
Josh Hitchens as Chebutykin, Megan Edelman as Masha, Peter Zielinski as Vershinin,
Sam Fineman as Andrey, Geremy Webne-Behrman as Solyony, Amber Orion as Tusenbach
CJ Higgins as Irina, Jacob Glickman as Kulygin, Molly Edelman as Olga,
Josh Hitchens as Chebutykin, Megan Edelman as Masha, Peter Zielinski as Vershinin,
Sam Fineman as Andrey, Geremy Webne-Behrman as Solyony, Amber Orion as Tusenbach
AND THEN THERE WERE NONE
Written by Agatha Christie
Allens Lane Theater
January 2017
Poster by Christopher Master
Set / Lighting / Sound / Video Design by J. Kenneth Jordan
Costume Design by Bobby Fabulous
Stage Managed by Joseph Glodek
Production Photos by Gerald Cyrus
NOTE: This was the second production in the United States and the fifth in the world
to use Christie's original ending from the book, as licensed by her estate in 2015.
Set / Lighting / Sound / Video Design by J. Kenneth Jordan
Costume Design by Bobby Fabulous
Stage Managed by Joseph Glodek
Production Photos by Gerald Cyrus
NOTE: This was the second production in the United States and the fifth in the world
to use Christie's original ending from the book, as licensed by her estate in 2015.
REVIEWS FOR AND THEN THERE WERE NONE
"Director Josh Hitchens not only presents the mystery, but also heightens the mood and highlights the message of Agatha Christie's all-time bestselling novel (over 100 million copies) of 1939. And he does that by restoring the author's original ending and honoring its impactful intent, rather than using the less horrific conclusion . . . Hitchens' penchant for suspense and terror is evident in the show's measured pacing, punctioned by sudden frights, blood-curdling screams, and unexpected appearances to which we can't help but react, even if we know the story well . . . He also stages the removal of the bodies and the change of scenes with a cleverly macabre device that will leave your hair raised and your spine tingling . . . J. Kenneth Jordan's lighting, sound, and video designs further serve to set the eerie tone, with some scenes illuminated blood red or performed in near darkness; with the startling noise of gunshots, stormy weather, and creepy background music that underscores the tension; and through gripping, and often manic, visual projections that probe the disturbed minds and recollections of the killers. Hitchens' unnerving vision of And Then There Were None leaves us pondering the effects of guilt and remorselessness, the nature of justice and punishment, and above all, who should hold the authority to render the ultimate judgement of our crimes. This production is not just scary, it's also thought provoking, as Christie originally intended it to be."
- Deb Miller, DCMetro Theater Arts.
"I cannot remember seeing a play more dramatically staged than the revival of And Then There Were None now running at Allens Lane Theater. Director Josh Hitchens grips your attention all night with his imaginative presentation of the Agatha Christie classic . . . The most dramatic devices are the two movie screens flanking center stage. As tension builds, the more troubled of the guilty guests have horrific nightmares. Wrenching memories of past crimes flicker across the screens with haunting background music . . . Hitchens keeps surprising you with his invention. Bright rose and cerulean blue lighting contrast day and night. A creepy butler injects humor into the Gothic mystery. And late scene changes are made by murdered guests who glide in zombie fashion across a dimly lit stage . . . And Then is a gripping murder mystery, but you sense there is a larger field of meaning at work. It is as though Agatha Christie is also spinning a modern day morality play about human guilt, a metaphor for our 'fallen' condition in which the master criminal is more like an avenging angel . . . The show may not be suitable for children . . . In keeping with the cinematic feel of the production, you might rate this show PG-13. One thing is sure, if you do attend the Allens Lane revival, you will never forget it."
- Hugh Hunter, Chestnut Hill Local.
"Director Josh Hitchens not only presents the mystery, but also heightens the mood and highlights the message of Agatha Christie's all-time bestselling novel (over 100 million copies) of 1939. And he does that by restoring the author's original ending and honoring its impactful intent, rather than using the less horrific conclusion . . . Hitchens' penchant for suspense and terror is evident in the show's measured pacing, punctioned by sudden frights, blood-curdling screams, and unexpected appearances to which we can't help but react, even if we know the story well . . . He also stages the removal of the bodies and the change of scenes with a cleverly macabre device that will leave your hair raised and your spine tingling . . . J. Kenneth Jordan's lighting, sound, and video designs further serve to set the eerie tone, with some scenes illuminated blood red or performed in near darkness; with the startling noise of gunshots, stormy weather, and creepy background music that underscores the tension; and through gripping, and often manic, visual projections that probe the disturbed minds and recollections of the killers. Hitchens' unnerving vision of And Then There Were None leaves us pondering the effects of guilt and remorselessness, the nature of justice and punishment, and above all, who should hold the authority to render the ultimate judgement of our crimes. This production is not just scary, it's also thought provoking, as Christie originally intended it to be."
- Deb Miller, DCMetro Theater Arts.
"I cannot remember seeing a play more dramatically staged than the revival of And Then There Were None now running at Allens Lane Theater. Director Josh Hitchens grips your attention all night with his imaginative presentation of the Agatha Christie classic . . . The most dramatic devices are the two movie screens flanking center stage. As tension builds, the more troubled of the guilty guests have horrific nightmares. Wrenching memories of past crimes flicker across the screens with haunting background music . . . Hitchens keeps surprising you with his invention. Bright rose and cerulean blue lighting contrast day and night. A creepy butler injects humor into the Gothic mystery. And late scene changes are made by murdered guests who glide in zombie fashion across a dimly lit stage . . . And Then is a gripping murder mystery, but you sense there is a larger field of meaning at work. It is as though Agatha Christie is also spinning a modern day morality play about human guilt, a metaphor for our 'fallen' condition in which the master criminal is more like an avenging angel . . . The show may not be suitable for children . . . In keeping with the cinematic feel of the production, you might rate this show PG-13. One thing is sure, if you do attend the Allens Lane revival, you will never forget it."
- Hugh Hunter, Chestnut Hill Local.
Molly Edelman, Geremy Webne-Behrman, Sam Fineman, Ryan Walter, Peter Zielinski, Jacob Glickman, Amber Orion, Megan Edelman, Carole Mancini, Robert Bauer.
Ryan Walter
Robert Bauer, Amber Orion, Peter Zielinski, Megan Edelman, Sam Fineman
RICHARD III
Written by William Shakespeare
The Mechanical Theater
July 2016
REVIEW FOR RICHARD III
"Mechanical's condensed 90 minute version of the play, masterfully edited and directed by Josh Hitchens, is focused, powerful, and visually stunning. Performed by a cast of six on the ramp and colonnaded portico of a neoclassical mausoleum, the backdrop of towering old trees, time-worn tombstones, monuments, and funereal statuary enhances the play's dark and deadly tone - made even more unnerving as the sun sets and blackness envelops the actors and their macabre outdoor locale...the supplemental artistic design is minimal but telling. Simple contemporary costumes and accessories accurately identify and define the characters, a few well chosen props (weapons, a skeleton, a severed head, and a liquor flask) propel the story, and creepy organ music punctuates the tone of devastation at key points in the impactful production."
- Debra Miller, Phindie.
"Mechanical's condensed 90 minute version of the play, masterfully edited and directed by Josh Hitchens, is focused, powerful, and visually stunning. Performed by a cast of six on the ramp and colonnaded portico of a neoclassical mausoleum, the backdrop of towering old trees, time-worn tombstones, monuments, and funereal statuary enhances the play's dark and deadly tone - made even more unnerving as the sun sets and blackness envelops the actors and their macabre outdoor locale...the supplemental artistic design is minimal but telling. Simple contemporary costumes and accessories accurately identify and define the characters, a few well chosen props (weapons, a skeleton, a severed head, and a liquor flask) propel the story, and creepy organ music punctuates the tone of devastation at key points in the impactful production."
- Debra Miller, Phindie.
Photo by Emma Stone.
Ryan Walter, Neena Boyle, Megan Edelman, and Loretta Vasile.
Ryan Walter, Neena Boyle, Megan Edelman, and Loretta Vasile.
THE YELLOW WALLPAPER
Written by Charlotte Perkins Gilman
The Ebenezer Maxwell Mansion
April 2016
Poster designed by Kyle Cassidy
REVIEW FOR THE YELLOW WALLPAPER
"Because Jennifer Summerfield’s one-woman performance, adapted and directed by Josh Hitchens, sticks verbatim to the source material, the real power of the play is derived from Summerfield’s performance...Germantown’s Ebenezer Maxwell Mansion serves as the colonial mansion of Gilman’s story, and the Maxwell’s space (or lack thereof) creates a startling immediacy to Summerfield’s hour-long monologue...Utilizing that intimacy to great effect, Summerfield hardly has to leave her seat to command the room...even as the woman is losing her mind, Summerfield brings her to life."
- Owen Hamill, Phindie
"Because Jennifer Summerfield’s one-woman performance, adapted and directed by Josh Hitchens, sticks verbatim to the source material, the real power of the play is derived from Summerfield’s performance...Germantown’s Ebenezer Maxwell Mansion serves as the colonial mansion of Gilman’s story, and the Maxwell’s space (or lack thereof) creates a startling immediacy to Summerfield’s hour-long monologue...Utilizing that intimacy to great effect, Summerfield hardly has to leave her seat to command the room...even as the woman is losing her mind, Summerfield brings her to life."
- Owen Hamill, Phindie
HEDDA GABLER
Written by Henrik Ibsen
Laurel Tree Theatre
December 2015
Poster by Kyle Cassidy
Nathan Foley as Judge Brack, Colleen Hughes as Berta,
Jennifer Summerfield as Hedda Gabler, Adam Altman as George Tesman,
Tanya Lazar as Aunt Juliana, Jessica DalCanton as Thea Elvsted,
Jared Reed as Eilert Lovborg
Nathan Foley as Judge Brack, Colleen Hughes as Berta,
Jennifer Summerfield as Hedda Gabler, Adam Altman as George Tesman,
Tanya Lazar as Aunt Juliana, Jessica DalCanton as Thea Elvsted,
Jared Reed as Eilert Lovborg
Photo by Ashley LaBonde, Jennifer Summerfield as Hedda
Photo by Ashley LaBonde, Jessica DalCanton as Thea Elvsted
Photo by Ashley LaBonde, Jennifer Summerfield as Hedda, Jared Reed as Lovborg
REVIEWS FOR HEDDA GABLER
"I’ve never seen that sense of containment more vividly depicted than in Laurel Tree’s production, rather daringly performed not in a theater, but in Society Hill’s Physick House...the payoff is considerable...we feel like medical students, watching a particularly high-risk surgical procedure...I’ve read and seen Hedda Gabler many times, and always come away perplexed – the play is such an odd mix of startlingly modern and wildly melodramatic. In many recent productions, directors have given way to the melodrama, filtering Hedda through a camp-comedy gloss...What director Josh Hitchens does here is harder and more admirable. He and actress Jennifer Summerfield don’t shy away from the melodrama – they give full voice to Hedda in all her overwrought big-ness. They get some laughs along the way, but (though I can’t prove it), I think it’s what Ibsen would have wanted. There are also tender moments – and scary ones...But don’t take my word for it – go see what Hitchens and company have done with Hedda Gabler, in a production that, while not perfect, reimagines the play in part by – hallelujah! – taking it seriously."
- David Fox, Philadelphia Magazine.
"Hedda Gabler plays surprisingly well today, despite the steamy melodramatic vibe. The setting’s confines allow some scenes to play in conspiratorial whispers and let others start in hallways as characters walk into the room. The trappings feel naturalistic — sans theater lighting, a maximum of 30 people sit on three sides of the room, inches from the action — but the emotions run hot and large. Fortunately, director Josh Hitchens casts the right actors, starting with Jennifer Summerfield’s radiant, petulant, altogether loathsome yet alluring Hedda...Events build dizzyingly in Hedda Gabler, which can feel melodramatic, even ridiculous, in less capable hands. The entire cast make the play’s incredible twists appropriately large and heartfelt...We feel the pressure rise in Hedda, see the wheels turning in her head, as the play’s fateful night turns to day. Like Summerfield’s finely wrought character, Hedda Gabler is difficult to like, yet hypnotically powerful."
- Mark Cofta, Broad Street Review.
"I’ve never seen that sense of containment more vividly depicted than in Laurel Tree’s production, rather daringly performed not in a theater, but in Society Hill’s Physick House...the payoff is considerable...we feel like medical students, watching a particularly high-risk surgical procedure...I’ve read and seen Hedda Gabler many times, and always come away perplexed – the play is such an odd mix of startlingly modern and wildly melodramatic. In many recent productions, directors have given way to the melodrama, filtering Hedda through a camp-comedy gloss...What director Josh Hitchens does here is harder and more admirable. He and actress Jennifer Summerfield don’t shy away from the melodrama – they give full voice to Hedda in all her overwrought big-ness. They get some laughs along the way, but (though I can’t prove it), I think it’s what Ibsen would have wanted. There are also tender moments – and scary ones...But don’t take my word for it – go see what Hitchens and company have done with Hedda Gabler, in a production that, while not perfect, reimagines the play in part by – hallelujah! – taking it seriously."
- David Fox, Philadelphia Magazine.
"Hedda Gabler plays surprisingly well today, despite the steamy melodramatic vibe. The setting’s confines allow some scenes to play in conspiratorial whispers and let others start in hallways as characters walk into the room. The trappings feel naturalistic — sans theater lighting, a maximum of 30 people sit on three sides of the room, inches from the action — but the emotions run hot and large. Fortunately, director Josh Hitchens casts the right actors, starting with Jennifer Summerfield’s radiant, petulant, altogether loathsome yet alluring Hedda...Events build dizzyingly in Hedda Gabler, which can feel melodramatic, even ridiculous, in less capable hands. The entire cast make the play’s incredible twists appropriately large and heartfelt...We feel the pressure rise in Hedda, see the wheels turning in her head, as the play’s fateful night turns to day. Like Summerfield’s finely wrought character, Hedda Gabler is difficult to like, yet hypnotically powerful."
- Mark Cofta, Broad Street Review.
MUCH ADO ABOUT NOTHING
Written by William Shakespeare
The Mechanical Theatre
August 2015
Poster by Loretta Vasile.
Geremy Webne-Behrman as Benedick, John Schultz as Don Pedro, Gil Johnson as Claudio
Meg Rumsey-Lasersohn as Hero, Karina Balfour as Beatrice.
Meg Rumsey-Lasersohn as Hero, Karina Balfour as Beatrice.
Gil Johnson as Claudio, Hilary Asare as Leonata.
Geremy Webne-Behrman as Benedick, Karina Balfour as Beatrice.
REVIEW FOR MUCH ADO ABOUT NOTHING
"Director Josh Hitchens streamlines the play to a rapid-fire 85 minutes with no intermission . . . His fine ensemble maintains a fast and fluid delivery that synthesizes the quick unfolding of the plot with the speed of our post-modern era and current speech patterns, so that the language is believably conversational to a 21st century audience . . . While Hitchens' emphasis is on the comedy, with humorous sequences of drinking, tussles, eavesdropping, and buffoonery, he does not neglect the salient point that there's often a thin line between comedy and tragedy, and that what ends well here could just as easily have turned deadly."
- Deb Miller, Phindie.
"Director Josh Hitchens streamlines the play to a rapid-fire 85 minutes with no intermission . . . His fine ensemble maintains a fast and fluid delivery that synthesizes the quick unfolding of the plot with the speed of our post-modern era and current speech patterns, so that the language is believably conversational to a 21st century audience . . . While Hitchens' emphasis is on the comedy, with humorous sequences of drinking, tussles, eavesdropping, and buffoonery, he does not neglect the salient point that there's often a thin line between comedy and tragedy, and that what ends well here could just as easily have turned deadly."
- Deb Miller, Phindie.
MERCURY FUR
Written by Philip Ridley
BrainSpunk Theater (Philadelphia Premiere)
July - August 2015
Poster image by Ashley LaBonde, Wide-Eyed Studios
Photo by Ashley LaBonde, Wide-Eyed Studios.
Samuel Fineman as Darren, Joshua McLucas as Elliot.
Samuel Fineman as Darren, Joshua McLucas as Elliot.
Photo by Ashley LaBonde, Wide-Eyed Studios
John Schultz as Lola, Molly Edelman as Party Piece, Heather Ferrel as The Duchess, Geremy Webne-Behrman as Spinx
John Schultz as Lola, Molly Edelman as Party Piece, Heather Ferrel as The Duchess, Geremy Webne-Behrman as Spinx
Photo by Ashley LaBonde, Wide-Eyed Studios
Samuel Fineman as Darren, Geremy Webne-Behrman as Spinx,
Jameson Lisak as Party Guest, Tyler S. Elliott as Naz, Joshua McLucas as Elliot
Samuel Fineman as Darren, Geremy Webne-Behrman as Spinx,
Jameson Lisak as Party Guest, Tyler S. Elliott as Naz, Joshua McLucas as Elliot
REVIEWS FOR MERCURY FUR
"Dystopia can be a good place to demonstrate the kinder side of human nature. Philip Ridley's Mercury Fur is shocking, violent, and uncomfortable to watch, but also weirdly heartwarming . . . Director Josh Hitchens and his controlled cast of young actors keep a well-tuned pace throughout the engrossing two hours . . . almost everyone seizes the play at some point . . . The world is unrecognizable from our own, but Ridley and Hitchens encourage us to draw our own parallels in the loss of past, escapism, depravity. And then, most importantly, in how we retain dignity and humanity even (or especially?) in the worst circumstances. Mercury Fur is the most shockingly affecting play I've seen on independent Philly stages since Luna Theater's 2011 production of Sarah Kane's Blasted (or, at least, since I saw the last show BrainSpunk Theater produced, Josh Hitchens' one-man Jeffrey Dahmer). But like Blasted, Ridley's play presents us with a blood-stained mirror to our own world. The reflection is horrible, but not without hope. Not for the squeamish."
- Christopher Munden, Phindie.
"An intense production . . . Mercury Fur is never dull, at least not under the direction of Josh Hitchens and the performances of able actors."
- Howard Shapiro, WHYY Newsworks.
"Your mind will reel every 10 minutes. On more than one occasion, you may find yourself gazing at your neighbor with a distinct 'What the hell' look on your face. But, honestly, I'd rather that - a play you and your friend pick apart enthusiastically with wonder and an eagerness to understand what you just saw - over a yawn any day."
- Bill Chenevert, Philadelphia Weekly.
"Dystopia can be a good place to demonstrate the kinder side of human nature. Philip Ridley's Mercury Fur is shocking, violent, and uncomfortable to watch, but also weirdly heartwarming . . . Director Josh Hitchens and his controlled cast of young actors keep a well-tuned pace throughout the engrossing two hours . . . almost everyone seizes the play at some point . . . The world is unrecognizable from our own, but Ridley and Hitchens encourage us to draw our own parallels in the loss of past, escapism, depravity. And then, most importantly, in how we retain dignity and humanity even (or especially?) in the worst circumstances. Mercury Fur is the most shockingly affecting play I've seen on independent Philly stages since Luna Theater's 2011 production of Sarah Kane's Blasted (or, at least, since I saw the last show BrainSpunk Theater produced, Josh Hitchens' one-man Jeffrey Dahmer). But like Blasted, Ridley's play presents us with a blood-stained mirror to our own world. The reflection is horrible, but not without hope. Not for the squeamish."
- Christopher Munden, Phindie.
"An intense production . . . Mercury Fur is never dull, at least not under the direction of Josh Hitchens and the performances of able actors."
- Howard Shapiro, WHYY Newsworks.
"Your mind will reel every 10 minutes. On more than one occasion, you may find yourself gazing at your neighbor with a distinct 'What the hell' look on your face. But, honestly, I'd rather that - a play you and your friend pick apart enthusiastically with wonder and an eagerness to understand what you just saw - over a yawn any day."
- Bill Chenevert, Philadelphia Weekly.
SOME ARE PEOPLE
Written by Kathleen Warnock
Quince Productions (Philadelphia Premiere)
August 2014
Photo by John Donges - Alexander Kacala as Tommy / Miss Fitt
Photo by John Donges - Amber Orion as Anna, Dani Soloman as Lydia
REVIEWS FOR SOME ARE PEOPLE
"Initial awkward exchanges make it all the more poignant when friendship turns to attraction and then to distance. And that's what makes this play work. Taking our assumptions about who should be with whom and having the characters question them . . . the performers create believable human characters, the kind of person who is self-conscious singing in front of an audience . . . they're vulnerable in ways we can all recognize."
- Naomi Orwin, Phindie.
"Katheen Warnock is a noted and gifted playwright . . . The trio clearly has both chemistry and a natural dynamic. They carry the play's emotions with aplomb, shifting between lighthearted summer sweetness and dark side emotional havoc."
- Bill Chenevert, Philadelphia Weekly.
"The play has a gentle feeling and its characters seem real. The Quince company production is polished . . . a show, and a production, that gets so much right."
- Howard Shapiro, Newsworks.
"Initial awkward exchanges make it all the more poignant when friendship turns to attraction and then to distance. And that's what makes this play work. Taking our assumptions about who should be with whom and having the characters question them . . . the performers create believable human characters, the kind of person who is self-conscious singing in front of an audience . . . they're vulnerable in ways we can all recognize."
- Naomi Orwin, Phindie.
"Katheen Warnock is a noted and gifted playwright . . . The trio clearly has both chemistry and a natural dynamic. They carry the play's emotions with aplomb, shifting between lighthearted summer sweetness and dark side emotional havoc."
- Bill Chenevert, Philadelphia Weekly.
"The play has a gentle feeling and its characters seem real. The Quince company production is polished . . . a show, and a production, that gets so much right."
- Howard Shapiro, Newsworks.
Photo by John Donges - Amber Orion as Anna
A DOLL'S HOUSE
A Modern Tragedy by Henrik Ibsen
The Ebenezer Maxwell Mansion
August 2013
Poster by Kyle Cassidy
Featuring Jennifer Summerfield as Nora and Peter Zielinski as Torvald
Featuring Jennifer Summerfield as Nora and Peter Zielinski as Torvald
REVIEW FOR A DOLL'S HOUSE
"It’s hard to imagine a better set design for Henrik Ibsen’s devastating feminist classic than the living room of the Ebenezer Maxwell Mansion Victorian House Museum. Period furniture and details perfectly conjure the 19th-century home of Torvald Helmer (Peter Zielinski) and his long-suffering wife Nora (Jennifer Summerfield). The audience gets an up close view as their marriage melts down in a production of unrivaled intimacy . . . Controversial at the time for its penetrating exposure of gender inequality, A DOLL’S HOUSE remains heartbreaking in Josh Hitchens’s direction as a tale of human blindness and betrayal."
- Christopher Munden, Phindie.
"It’s hard to imagine a better set design for Henrik Ibsen’s devastating feminist classic than the living room of the Ebenezer Maxwell Mansion Victorian House Museum. Period furniture and details perfectly conjure the 19th-century home of Torvald Helmer (Peter Zielinski) and his long-suffering wife Nora (Jennifer Summerfield). The audience gets an up close view as their marriage melts down in a production of unrivaled intimacy . . . Controversial at the time for its penetrating exposure of gender inequality, A DOLL’S HOUSE remains heartbreaking in Josh Hitchens’s direction as a tale of human blindness and betrayal."
- Christopher Munden, Phindie.
Photographs by Kyle Cassidy
Peter Zielinski (Torvald), Jennifer Summerfield (Nora), Linda Minster (Anne),
Ryan Walter (Krogstad), Megan Edelman (Christine), and Carl Granieri (Dr. Rank)
This production was filmed on location at the Ebenezer Maxwell Mansion by
Kyle Cassidy and Brian Siano. Check out the Kickstarter here.
Peter Zielinski (Torvald), Jennifer Summerfield (Nora), Linda Minster (Anne),
Ryan Walter (Krogstad), Megan Edelman (Christine), and Carl Granieri (Dr. Rank)
This production was filmed on location at the Ebenezer Maxwell Mansion by
Kyle Cassidy and Brian Siano. Check out the Kickstarter here.
Jennifer Summerfield (Nora)
Megan Edelman (Christine Linde)
Ryan Walter (Krogstad)
Carl Granieri (Dr. Rank)
Linda Minster (Anne)
Behind the scenes of A Doll's House
Josh Hitchens, Bee Reed, Jennifer Summerfield, Carl Granieri
Josh Hitchens, Bee Reed, Jennifer Summerfield, Carl Granieri
THE SEAGULL
A Comedy by Anton Chekhov
Translated by Paul Schmidt
Allens Lane Theater
January 2013
Poster by Christopher Master
Photos by Tracey Carullo
Scenic & Lighting Design by J. Kenneth Jordan
Costume Design by Amelia Williams
Stage Managed by Bee Reed
Photos by Tracey Carullo
Scenic & Lighting Design by J. Kenneth Jordan
Costume Design by Amelia Williams
Stage Managed by Bee Reed
Asaki Kuruma (Masha) and Jordan B. Mottram (Medvedenko)
Megan Edelman (Nina) and Adam Darrow (Constantine)
Gerson Alexander (Sorin), Megan Edelman (Nina), Hilary Kayle Crist (Arkadina),
Peter Zielinski (Trigorin), Jordan B. Mottram (Medvedenko), Asaki Kuruma (Masha),
Janet Wasser (Paulina), Christopher Morse (Shamrayev), Elliott Rotman (Dr. Dorn)
Peter Zielinski (Trigorin), Jordan B. Mottram (Medvedenko), Asaki Kuruma (Masha),
Janet Wasser (Paulina), Christopher Morse (Shamrayev), Elliott Rotman (Dr. Dorn)
Hilary Kayle Crist (Arkadina), Peter Zielinski (Trigorin)
Elliott Rotman (Dr. Dorn), Asaki Kuruma (Masha)
Elliott Rotman (Dr. Dorn), Hilary Kayle Crist (Arkadina), Asaki Kuruma (Masha)
Megan Edelman (Nina), Adam Darrow (Constantine)
Peter Zielinski (Trigorin), Hilary Kayle Crist (Arkadina)
Janet Wasser (Paulina)
Adam Darrow (Constantine)
Megan Edelman (Nina)
THE LARAMIE PROJECT: TEN YEARS LATER
By Moises Kaufman, Leigh Fondakowski, Greg Pierotti,
Andy Paris, and Stephen Belber
Quince Productions (First Philadelphia Cast)
August 2012
Poster by Kyle Cassidy
REVIEW FOR THE LARAMIE PROJECT: TEN YEARS LATER
"An extremely powerful production of this essential update to Matthew Shepard's story . . . Gripping through the last minute . . . Informative and engaging, this emotionally charged material is worth revisiting, if not only as a reminder of how far we've come since 1998, and how far we still need to go."
- Valerie Temple, Philly Gay Calendar
"An extremely powerful production of this essential update to Matthew Shepard's story . . . Gripping through the last minute . . . Informative and engaging, this emotionally charged material is worth revisiting, if not only as a reminder of how far we've come since 1998, and how far we still need to go."
- Valerie Temple, Philly Gay Calendar
Photo by John Donges
John Schultz, Sarah J. Gafgen, Sebastian Cummings, Jennifer Summerfield,
Ben Storey, Gina V. Stevens, Ryan Walter, Lindsay Daniels
John Schultz, Sarah J. Gafgen, Sebastian Cummings, Jennifer Summerfield,
Ben Storey, Gina V. Stevens, Ryan Walter, Lindsay Daniels
VINEGAR TOM
Written by Caryl Churchill
Allens Lane Theater
November 2011
Poster by Christopher Master
Photographs by Andrew Hood
Set and Lighting Design by J. Kenneth Jordan
Costume Design by Amelia Williams
Assistant Directed by Kristina Langlais
Stage Managed by Molly Edelman
Original Music by Lesley Berkowitz, Brian D. Ratcliffe, Peter Zielinski, and the Ensemble
Photographs by Andrew Hood
Set and Lighting Design by J. Kenneth Jordan
Costume Design by Amelia Williams
Assistant Directed by Kristina Langlais
Stage Managed by Molly Edelman
Original Music by Lesley Berkowitz, Brian D. Ratcliffe, Peter Zielinski, and the Ensemble
REVIEWS FOR VINEGAR TOM
"A thoroughly enjoyable period piece, where coincidences and grudges are enough to get you hung as a devil worshiping member of the occult . . . a combination of the Salem Witch Trials and performance art." - Kaitlyn Foti, Mt. Airy Patch.
"Vinegar Tom is first and foremost political theatre, the goal is to shock the audience into awareness. Director Josh Hitchens stops the show from becoming overly ideological, and cast members proceed to create vividly individual characters that cannot easily be categorized. Vinegar Tom is so visceral, it may have more in common with The Crucible than Churchill intended." - Hugh Hunter, Chestnut Hill Local.
"Allens Lane's company of actors is very talented ... Director Josh Hitchens did an admirable job staging the piece . . . An intriguing set and lighting design was provided by Ken Jordan; it was simple yet exceedingly effective."
- Ellen Wilson Dilks, Stage Magazine.
"A thoroughly enjoyable period piece, where coincidences and grudges are enough to get you hung as a devil worshiping member of the occult . . . a combination of the Salem Witch Trials and performance art." - Kaitlyn Foti, Mt. Airy Patch.
"Vinegar Tom is first and foremost political theatre, the goal is to shock the audience into awareness. Director Josh Hitchens stops the show from becoming overly ideological, and cast members proceed to create vividly individual characters that cannot easily be categorized. Vinegar Tom is so visceral, it may have more in common with The Crucible than Churchill intended." - Hugh Hunter, Chestnut Hill Local.
"Allens Lane's company of actors is very talented ... Director Josh Hitchens did an admirable job staging the piece . . . An intriguing set and lighting design was provided by Ken Jordan; it was simple yet exceedingly effective."
- Ellen Wilson Dilks, Stage Magazine.
Amanda Bernhardt (Alice), Brian D. Ratcliffe (Man in Black)
Catherine Mary Moroney (Susan), Amanda Bernhardt (Alice)
Janet Wasser (Joan)
Peter Zielinski (Jack), Kara Boland (Margery)
Megan Edelman (Betty)
Megan Edelman (Betty), Brian D. Ratcliffe (Doctor)
Amanda Bernhardt (Alice)
Brian D. Ratcliffe (Man in Black)
Lesley Berkowitz (Goody)
Kara Boland (Margery), Linda Minster (Ellen), Janet Wasser (Joan),
Amanda Bernhardt (Alice), Catherine Mary Moroney (Susan), Megan Edelman (Betty)
Amanda Bernhardt (Alice), Catherine Mary Moroney (Susan), Megan Edelman (Betty)
THE LAST SUNDAY IN JUNE
Written by Jonathan Tolins
Quince Productions (Philadelphia Premiere)
August 2011
REVIEW FOR THE LAST SUNDAY IN JUNE
"The performances, directed by Josh Hitchens, range from the good to the excellent. The real star of Sunday, though, is Hitchens' direction. Not only does he coax assured performances from a mostly young, inexperienced cast, his understated, quiet approach serves both the material and the setting nicely. Hitchens' intimate staging allows the audience to connect with the characters and become fully invested in their story."
- J. Cooper Robb, Philadelphia Weekly.
"The performances, directed by Josh Hitchens, range from the good to the excellent. The real star of Sunday, though, is Hitchens' direction. Not only does he coax assured performances from a mostly young, inexperienced cast, his understated, quiet approach serves both the material and the setting nicely. Hitchens' intimate staging allows the audience to connect with the characters and become fully invested in their story."
- J. Cooper Robb, Philadelphia Weekly.
TWELFTH NIGHT or WHAT YOU WILL
Written by William Shakespeare
The Magic Circle Theater Company
June 2010
REVIEW FOR TWELFTH NIGHT or WHAT YOU WILL
Magic Circle Theatre explores the classic comedy as a youth-filled piece of sexual ambiguity and intrigue . . . In the “down-the-shore” town of Illyria, these twenty-somethings explore the homo- and heterosexuality of Shakespeare’s text and revel in the piece’s partying atmosphere."
- Samantha Clarke, Philadelphia Examiner.
Magic Circle Theatre explores the classic comedy as a youth-filled piece of sexual ambiguity and intrigue . . . In the “down-the-shore” town of Illyria, these twenty-somethings explore the homo- and heterosexuality of Shakespeare’s text and revel in the piece’s partying atmosphere."
- Samantha Clarke, Philadelphia Examiner.
Emily Rast (Viola), Brian Harrington (Feste)
Adam Darrow (Sebastian), Amanda Bernhardt (Olivia)
Christopher Morse (Malvolio), Josh Hitchens (Toby Belch)
ELIZABETH
Written by J. Kenneth Jordan
The Magic Circle Theater Company (World Premiere)
May 2009
REVIEW FOR ELIZABETH
"Director Josh Hitchens brings a level of weight to this that I think is on par with a Shakespearean text. Very few people can bring that sort of feeling to a modern play."
- Christopher Morse, Rep Radio.
"Director Josh Hitchens brings a level of weight to this that I think is on par with a Shakespearean text. Very few people can bring that sort of feeling to a modern play."
- Christopher Morse, Rep Radio.
BLOOD RELATIONS
Written by Sharon Pollock
The Drama Group
March 2009
Poster by Sandy Clay Bauer
Set and Costume Design by Robert Bauer
Lighting Design by Ken Jordan
Photographs by Andrew Beal
Set and Costume Design by Robert Bauer
Lighting Design by Ken Jordan
Photographs by Andrew Beal
Cindy Spitko (The Actress/Lizzie)
Cindy Spitko (The Actress/Lizzie), Robert Bauer (Andrew Borden)
Nora Green (Miss Lizzie/Bridget)
MACBETH
Written by William Shakespeare
The Magic Circle Theater Company
November 2008
REVIEW FOR MACBETH
"Arguably Shakespeare's most exciting play, director Josh Hitchens' vigorous 90 minute production doesn't contain the action to the stage, but instead utilizes the entire space of the intimate Shubin Theatre."
- J. Cooper Robb, TheatreMania.
"Arguably Shakespeare's most exciting play, director Josh Hitchens' vigorous 90 minute production doesn't contain the action to the stage, but instead utilizes the entire space of the intimate Shubin Theatre."
- J. Cooper Robb, TheatreMania.
Marc Lombardo (Macbeth)
Cindy Spitko (Lady Macbeth)
Jessica Evans (Weird Sister), Marc Lombardo (Macbeth)
Bonnie Quick (Donalbain/Gentlewoman), Adam Darrow (Malcolm),
Ryan Walter (Duncan/Doctor), Brian McAleese (Banquo), Marc Lombardo (Macbeth),
Cindy Spitko (Lady Macbeth), Angelina Boccuti (Lady Macduff),
Jason Graboski (Macduff), Ken Jordan (Ross), Michael Tomasetti (Bloody Soldier/Seyton), Courtney Mitchell (Weird Sister), Amanda Bernhardt (Weird Sister),
and Jessica Evans (Weird Sister).
Ryan Walter (Duncan/Doctor), Brian McAleese (Banquo), Marc Lombardo (Macbeth),
Cindy Spitko (Lady Macbeth), Angelina Boccuti (Lady Macduff),
Jason Graboski (Macduff), Ken Jordan (Ross), Michael Tomasetti (Bloody Soldier/Seyton), Courtney Mitchell (Weird Sister), Amanda Bernhardt (Weird Sister),
and Jessica Evans (Weird Sister).
