The more things change, the more they stay the same. Simply put, that is the theme of Clybourne Park — a story of racism and how it evolves but never ends.

Cadence Theatre Company in Partnership with Virginia Rep strives to put on contemporary award-winning theater. They once again hit the mark with Clybourne Park — the Richmond première of Bruce Norris’ Pulitzer Prize and Tony Award-winning play. The small Theatre Gym at Virginia Rep is an intimate setting for this big play filled with big talents.

As seems to be the trend this year; this entry in the Acts of Faith Festival focuses more on the philosophical than the spiritual.

The play centers around a home in the “Clybourne Park” housing development near downtown Chicago, and those who live around it in 1959 and then again in 2009. It is infused with comedy, drama and satire as the world, and race relations move on.

In 1959, a white family becomes one of the first in their all white neighborhood to sell to a black family; as the white people move to the suburbs and the black people strive to move to this “nicer” development. Fast forward, and in 2009 it is now vogue to reclaim these “classic old houses” close to the big city, and the white families start to move back.

Director Keri Wormald has assembled the perfect cast, who each play dual roles — in the 1950’s in Act 1 and 2009 in Act 2. Their consistency and differentiation of characters is flawless.

Among the stand outs are Tyra D. Robinson and Thomas E. Nowlin as a black maid and her husband in the 1950’s grouping. In the 50’s they “know their place” and are both masterful in showing subtle subservience. In turn, they let loose in 2009 as their anger is allowed to rise to the surface.

Katie McCall and David Bridgewater are a laugh a minute as the 1950’s mid-western homeowners Bev and Russ; but it is Bridgewater who tears up the scenery as a construction worker in 2009 — right out of Saturday Night Live (Da Bears). While their comedic moments work well, they also set the stage to make their dramatic moments even more powerful, as pieces of their tragic history are revealed.

Daniel Allen is memorable in a short coda as Kenneth, the son of the 1950’s couple. His soft-spoken, withdrawn moments are chilling.

McLean Jesse also steals the show as both a pregnant deaf woman in 1959 and a neurotic, high maintenance pregnant woman in 2009. Her characterization of a deaf woman is spot on without being caricaturish or insulting.

It is the ability of the cast to walk the fine line between comedy and caricature that truly makes the play work. It is award-winning material in the hands of award worthy actors. The pacing and timing are energetic. The comedy aspects are perfectly executed; with non-stop uncomfortable humor that leaves you laughing out loud, while looking around you to make sure others are laughing as well. The characters get to say things that in real life just aren’t said about life and racial tension. Parents beware, there is some strong language.

Phil Hayes’ sets and Lynn West’s costumes perfectly enhance the differentiation between the time periods and the characters.

As Bev says, wouldn’t it be great if we could all just sit around a table and talk. Clybourne Park is a show sure to leave you with a lot to talk about — in exploring how times have changed, yet people remain the same, and issues like racism just evolve.

Photo Gallery

Steve Perigard, David Bridgewater and Katie McCall	Andrew Firda, Tyra D. Robinson and Thomas E. Nowlin
Thomas E. Nowlin, Tyra D. Robinson and Steve Perigard

Photos by Jason Collins Photography

The Cast

• Russ/Dan: David Bridgewater
• Karl/ Steve: Andrew Firda
• Betsy/ Lindsey: McLean Jesse
• Bev/ Kathy: Katie McCall
• Albert/ Kevin:Thomas E. Nowlin
• Jim/ Tom: Steve Perigard
• Francine/Lena: Tyra D. Robinson
• Kenneth: Daniel Allen

The Crew

• Director: Keri Wormald
• Technical Director: Matthew Landwehr
• Stage Manager: Emily Medina
• Set Designer: Phil Hayes
• Lighting Design: Andrew Bonniwell
• Costume Design: Lynn West
• Sound Design: Reid Kirkley
• Properties Design: Sarah Stepahin
• Scenic Painting:Terrie Powers Miller
• Set Dressing: Irene Ziegler
• Running Crew: Morgan Barclay, Hannah Caffacus, Jesse Mattes
• Master Carpenter: Joel Ernst
• Dialect Coach: Janet Rodgers

Disclaimer: Cadence Theatre Company provided two complimentary media tickets to ShowBizRadio for this review.

Today’s review seems a little in my head like an episode of Sesame Street — it is brought to you by adjectives!

First, as many of you know, showbizradio.com in Richmond just passed its first birthday. I am starting my “terrible twos” with a show entitled Good People that has a great cast and an impressive set.

Cadence Theatre Company in partnership with Virginia Repertory Theatre is presenting the Richmond première of Good People by Pulitzer Prize-Winning playwright David Lindsay-Abaire. Good People premiered on Broadway, and was awarded the 2011 New York Drama Critics Circle Award for Best Play, The Horton Foote Prize, The Edgerton Foundation New American Play Award, and two Tony nominations.

Despite all of these credentials, I have to say the script and plot are very basic. This is not necessarily groundbreaking or cutting edge material. It is “nice, simple, real life entertainment.” But there is nothing wrong with that. Sometimes, we fall into this presumptuous sense that every show has to be classic to be noteworthy. It is actually this ordinary touch with the story of real life people with real life problems that makes Good People extraordinary.

In Good People, the main character, Margie Walsh loses her job at a dollar store in her native South Boston harbor projects. As a single parent, she has a severely mentally challenged daughter to support. At the urging of one of her friends, she reaches out to an old flame from her teenage years to help her out. Mike is now a well-to-do doctor living with his wife and daughter in Chestnut Hill. At first, Margie goes to ask Mike for a job; but later she decides to go “Maury Povitch” on him, and tries to convince him that her daughter is his (you ARE the father…).

Dawn A. Westbrook starts out almost cartoonish as Margie. Her brash personality and distinct Boston accent reminded me of an old Saturday Night Live Rachel Dratch character. It was this over the top delivery, however, that make Westbrook’s performance all the more effective. As the play progresses, she becomes immersed in the role, taking the audience with her when “things become real.” Her portrayal is so intense and multidimensional that you find yourself deeply empathizing with Margie and the cards life has dealt her.

Alexander Sapp (Stevie), Kelly Kennedy (Dottie) and Jacqueline O’Connor (Jean) are equally as comical and over the top, yet lifelike as Margie’s friends. Whether sitting around the kitchen table, or around a Bingo table, you feel you know these people — or wish you did. Kennedy’s character stands out in the same way Peg Bundy will forever stand out from “Married With Children.” All these blue-collar characters speak their minds, and in a very colorful way.

Jay O. Millman turns in a strong performance as Mike, the old boyfriend turned rich doctor. On the surface, he is a real mensch (which for those of you who don’t know, is a real nice guy — he’s good people) but below the surface lie some rather ugly and narcissistic thoughts. I found myself alternating between liking and hating Mike, much to the credit of Millman. My only complaint was with his accent. While it worked to have the other characters play such strong Boston accents, I had a hard time with the fact that most of the time Millman spoke with almost no accent, but at other times, his accent was even more Bostonian than the others. I personally would have preferred either a more upper class phony Boston accent (ala Charles Emerson Winchester from “M*A*S*H”) or no accent at all (or he could totally slip back into it when upset — but that would have required using it in full sentences, not just in isolated words). At times it became a bit distracting from his otherwise strong performance.

There just isn’t enough I can say about Katrinah Carol Lewis as Mike’s long-suffering (and notably black) wife, Kate. Lewis lights up the stage with her bubbly, overly happy persona. The sugary sweetness makes her periodic zingers even more poignant, especially when her smiles fade and each carefully chosen and enunciated word packs a deliberate punch.

Director Anna Johnson keeps the action comfortable and down to earth. The cast utilizes the small space well, keeping the action constantly moving with great nervous energy. Brian Barker’s scenic design is truly noteworthy for its elaborate and ambitious nature. Each of the four scenes is authentic and decorative, yet the small running crew were able to move the pieces around and pack them away at a remarkably quick pace. The only quirky moments came in the first scene, where the smallness of the stage seemed to restrain Westbrook from realistically expressing anger and thus half heartedly pushed a chair or kicked a trash bag.

Emily Clarkson’s light and McLean Jesse’s costumes effectively and appropriately enhanced the production.

I must give one last disclaimer/shout out. I, who never win anything, happened to attend on Ladies’ Night Out, and won a drawing for a lovely gift bag donated by Jeanie Rule from Elements of Carytown (with an assortment entitled “Margie’s Lace Curtain Dream Bath” of Bath Salts, and shower gels and body lotions). The irony and the timing were perfect. Today I officially became a foster parent and tomorrow is my mother’s birthday (and my Jewish mother is VERY hard to shop for — because she doesn’t NEED anything, and doesn’t want me spending money on her so shhh…guess what she’s getting for her birthday from me and my foster son?)

Perhaps this is a good sign, that I am going to have good luck in year number two at showbizradio.com. Perhaps good things can happen to good people (or at least I hope I am one). Time will tell; but time is running out for you to go see Good People. The great performances and strong talent guarantee a great night of theater.

Photo Gallery

Alexander Sapp and Dawn A. Westbrook	Jacqueline O’Connor, Dawn A. Westbrook and Kelly Kennedy
Jay O. Millman and Dawn A. Westbrook	Dawn A. Westbrook and Katrinah Carol Lewis
Dawn A. Westbrook and Katrinah Carol Lewis

Photos provided by Cadence Theatre Company

The Cast

• Stevie: Alexander Sapp
• Margaret (Margie): Dawn A. Westbrook
• Jean: Jacqueline O’Connor
• Dottie: Kelly Kennedy.
• Mike: Jay O. Millman
• Kate: Katrinah Carol Lewis
• Voice of Priest: Alan Sader
• Voice of Allie: Hazel McGrath Senechal

The Crew

• Director: Anna Johnson
• Stage Manager: Sarah Stepahin
• Assistant Stage Manager/ Running Crew: Connor Scully
• Lighting Design: Emily Clarkson
• Costume Design, Propos Design and Production Manager: McLean Jesse
• Sound Design: Jacob Blizard, Collin Pastore and Jesse Senechal
• Scenic Design: Brian Barker
• Scenic Painting: Terrie Powers
• Dialect Coach: Janet Rodgers
• Composer: Jacob Blizzard
• Master Carpenter: Joel Ernst
• Sound Board Operator: Taniqua Jones
• Technical Director: Matthew Landwehr
• 2013-14 Administrative and Marketing Intern: Connor Murphy
• Running Crew: Alex Shedd

Disclaimer: Cadence Theatre Company provided two complimentary media tickets to ShowBizRadio for this review.

Once again my day job as a special education teacher has crossed paths with my theater experience. Cadence Theater Company in partnership with Virginia Repertory Theater is exploring what life is like for people with mental illnesses and those who love them in their current production of Next to Normal at the Sara Belle and Neil November Theatre, Marjorie Arenstein Stage.

Having worked with individuals who have been diagnosed with bi-polar disorder, I have seen people who “talked” to Kurt Cobain, sanitized every inch of their house only to start over when they were done, and both attempted and successfully committed suicide.

Next To Normal follows the struggle of Diana, a housewife portrayed by Broadway veteran Andrea Rivette, a suburban housewife suffering with bipolar disorder. Rivette is riveting in displaying Diana’s introspective journey and feelings of being depressed, anxious, lost and confused. Her pain is real and her vocals stellar. However, she does not quite let go in Diana’s manic moments, leaving the audience to fill in the highs that mark bipolar disorder’s roller coaster ride in contrast to the lows.

The rest of the cast is just as powerful in their roles of Diana’s family, and those around them. Terence Sullivan is strong yet subtle as Diana’s son Gabe. He possesses the youthful charm and likeability of Finn on Glee. His body language and facial expressions enhance the emotion of his voice in each of his vocals. Duke Lafoon displays the anguish, confusion, and emptiness of her husband Dan, who tries to carry on as if everything is all right. Christie Jackson gives pathos and honesty to Diana’s 16-year-old daughter, Natalie and John Mincks adds both humor and emotion to Natalie’s boyfriend, Henry. Russell Rowland rounds out the cast with his booming voice and domineering presence as Dr. Madden/Dr. Fine (playing multiple doctors exemplifies how in Diana’s life, all the doctors seem the same).

The true to life book and lyrics by Brian Yorkey explore questions like “what IS normal?” and “which is worse, the symptoms or the cures?” Sadly, it is still trial and error in treating mental illness and the terrible side effects often result in patients ceasing their medication, or self-medicating with alcohol and drugs, leading to even more damage in their lives. The music by Tom Kitt adds to the range of the emotions from angry rock to tear-filled ballads.

Brian C. Barker’s modernistic set is captivating, with three levels, moving curtains, reflective glass doors and video screens created a visually stunning presentation. K. Jenna Ferree’s hues of orange, green and purple lighting enhance Director and Choreographer Chase Kniffen’s staging. The pace is brisk and the action enthralling and constantly moving as we walk through the spiraling effects of drugs and electro shock treatments on Diana. Sue Griffin’s costumes were appropriate to the piece and the characters.

As with any production of this magnitude, there were occasional technical glitches; a late lighting cue or an actor temporarily moving out of their lighting, and mic levels that were sometimes unbalanced, leaving Dan’s vocals overpowering Diana’s or Gabe’s at times. However, I saw the second day of the production, so I am sure these will be worked out.

If you want to see a production that is both vocally memorable and emotionally powerful, then to quote the title of one of the show’s songs, Next To Normal is “Perfect For You.”

Photo Gallery

Andrea Rivette (Diana) and Russell Rowland (Dr. Madden/Dr. Fine)	Duke Lafoon (Dan) and Andrea Rivette (Diana)
Duke Lafoon (Dan) and Andrea Rivette (Diana)	Andrea Rivette (Diana) and Duke Lafoon (Dan)
John Mincks (Henry) and Christie Jackson (Natalie)	Terence Sullivan (Gabe) and Andrea Rivette (Diana)

Photos by Jason Collins Photography

Cast

• Diana: Andrea Rivette
• Gabe: Terence Sullivan
• Dan: Duke Lafoon
• Natalie: Christie Jackson
• Henry: John Mincks
• Dr Madden/Dr. Fine: Russell Rowland

Production Staff

• Direction, Choreography and Video Design: Chase Kniffen
• Musical Direction: Kim Fox
• Scenic Design: Brian C. Barker
• Lighting Design: K. Jenna Ferree
• Costume Design: Sue Griffin
• Stage Management: Wendy Vandergrift
• Scenic Artists: Lara Koplin and Adam Dorland
• Property Design: McLean Jesse
• Sound Design: Matthew Landwehr

Disclaimer: Cadence Theatre Company provided two complimentary media tickets to ShowBizRadio for this review.

As I have mentioned in several other recent reviews, the Richmond area is currently producing 18 plays by 16 theaters as a part of the Acts of Faith Festival. With so many shows, I almost missed Cadence Theatre Company in partnership with the Virginia Repertory Theatre’s production of Stephen Karam’s Sons of the Prophet. Thankfully, I did not miss this dark comedy, which was a finalist for the 2012 Pulitzer Prize for Drama. Sons of the Prophet explores human pain and suffering, sickness and death, mixed with humor, warmth and charm.

Cadence Theatre Company in partnership with the Virginia Repertory Theatre (yes, it’s a mouth full!) has brought together a cast filled with some of Richmond’s A-list actors.

The main character, Joseph is a young Lebanese-American living in Nazareth, Pennsylvania. With a frustrating job, unexplained chronic pain and several crises at home; his health, sanity, and insurance premium are all on the line. He has a distant relative who has written a book called “The Prophet.” Joseph and his family are forced to face numerous tragedies that ring of the universal pain all families must face. Each must find their own way to deal with these painful realities through their own hope and faith.

There are just not going to be enough superlatives to describe the performances. Each actor adds to the three dimensionality of the family dynamics. As they talk over one another, and don’t truly hear one another, it gives a feeling of watching a real family. The cast truly connects on a believable level to their characters, the audience and one another. The dark humor mixes beautifully with the harsh painful reality.

Ryan Bechard, as Joesph, is reminiscent of Glee’s Matthew Morrison. He displays Morrison’s charm, good looks and occasional brooding, thoughtful demeanor (like, for Glee fans, after he was left at the altar this week). He shows tremendous range and authenticity in both his emotional and physical pain.

D J Cummings is equally likeable and charming as Joseph’s younger brother Charles. He is innocent and childlike, yet sarcastic and bratty.

Alan Sader (as his bio says, “the guy with the beard” in the Christian Children’s Fund commercials) is grandfatherly and exudes old world charm as Uncle Bill. His character is “ethnic” but in a way that anyone could relate to him — he could be European, Jewish, or, as is the case, Lebanese-American. He also is consistent in his physicality of Bill’s disabilities.

The supporting cast outside of the family each stand out in their performances as well. Melissa Johnston Price is hysterical as Joseph’s rich, deranged, neurotic and wine-loving boss Gloria. She brings great nervous energy and eccentricity to the role, without being over the top. Picture Wendie Malick aka Victoria Chase in Hot in Cleveland at her best.

Evan Nasteff is also engaging and realistic as Timothy; the TV Reporter/love interest for Joseph (by the way, both Joseph and his brother Charles are gay).

Rounding out the cast are Marquis Hazelwood, as Vin, the young man who causes the death of Joseph’s father; and Jacqueline Jones, Kimberly Jones-Clark in multiple roles. Each adds great comic ability and timing to their scenes. Jones and Jones-Clark are side-splittingly funny as two Midwestern soccer mom/school board members, and Jones-Clark’s Dr. Manor is Ellen DeGeneres incarnate. Hazelwood switches from hilarious nervousness and innocence to emotionally vulnerable fluidly and believably.

The play is perfectly directed by Anna Johnson. I have heard stories about Cadence being legendary with their abilities to design extraordinary sets on their small stage, and Sons of the Prophet did not disappoint. Scenic Designer Terrie Powers created a multidimensional set that is functional and basic but visually spot on. Lighting Designer Brian Barker and Sound Designer Andrew Hamm help set the mood and enhance the production. Costume Designer Lynn West created outfits that fit the character and were visually appealing.

The play is energetic and moves along briskly. Even the set changes are fast and smooth, with cast members doubling as set crew, yet remaining in character visually as they do it.

Families beware, there is some strong sexual content and language. My only real disappointment was that the play left me wanting more. The actors and their characters were so engaging and likeable, it left me wanting to know what would happen to them next; but isn’t that the sign of a truly great play?

Photo Gallery

Ryan Bechard as Joseph and Evan Nasteff as Timothy	DJ Cummings as Charles and Marquis Hazelwood as Vin
Melissa Johnston Price as Gloria and Alan Sader as Bill	Jaqueline Jones as Mrs. McAndrew and Ryan Bechard as Joseph

Photos by Jason Collins Photography

The Cast

• Joseph: Ryan Bechard
• Gloria: Melissa Johnston Price
• Physician’s Assistant/Dr. Manor/Board Member #1: Kimberly Jones-Clark
• Bill: Alan Sader
• Charles: D J Cummings
• Ticket Agent/Automated Voice/Board Member #2/Mrs. McAndrew: Jacqueline Jones,
• Timothy: Evan Nasteff
• Vin: Marquis Hazelwood

The Crew

• Director: Anna Johnson
• Assistant Director and Stage Manager: Sarah Stepahin
• Stage Manager: Kim Pawlick
• Production Manager and Properties Design: McLean Jesse
• Technical Director: Matthew Landwehr
• Scenic Design and Scenic Painting: Terrie Powers
• Stagehand: Reid Kirtley
• Lighting Design: Brian Barker
• Costume Design: Lynn West
• Sound Board Operator/Production Intern: Taniqua Jones
• Master Electrician: Emily Clarkson
• House Management: Sarah Stepahin and Anna Johnson
• Photography: Jason Collins Photography
• Internet Services Manager: Lindsay C. Terrell
• Publications and Social Media Marketing Director and Program Design: Billy Christopher Maupin
• Program Design Support: Susan Senechal
• Administrative and Marketing Intern: Sarah Stepahin
• Literary Associate: Claire Yenson

Disclaimer: Cadence Theatre Company provided two complimentary media tickets to ShowBizRadio for this review.

Seeing The Pillowman by Cadence Theater Company in partnership with Virginia Repertory Theater was a night of firsts for me. Not only was it the first show I had seen by this group, it was the first show I saw I have seen in the complex’s Theater Gym (a very small, painted brick theater, reminiscent of Greenwich Village; where the audience is all almost within reach of the stage) and I got to learn first hand about something called “First Friday” in Richmond. During First Friday, crowds of people literally take over the streets (good luck driving past them and even better luck finding parking where you won’t get ticketed or towed!)

And while parking was a nightmare; nightmare would be a good word to sum up The Pillowman. Playwright Martin McDonagh has not written anything close to a children’s bed time story, as the title might seem. Rather, it is a dark comedy, very appropriate for the Halloween season. The nightmarish story also is not one to be told to young children as a “Parental Discretion Advised” sign in the lobby warns. The language and themes (as well as cigarette smoke from a chain-smoking character) would not be appropriate for children. As was evidenced by frequent bouts of nervous laughter among the small audience; the play mixes humor with the grotesque leaving the audience jumping from terror and horror to laughter throughout.

The Pillowman deals with extremely heavy subject matter including child abuse, torture and murder. A writer named Katurian Katurian (Jonathan Conyers) is being interrogated by two rather aggressive detectives in an unidentified “totalitarian state” where they can do pretty much whatever they wish to get a confession. The acting clearly shows (and the script later flatly states) Tupolski (David Bridgewater) is the “good cop” to Ariel’s (Tony Foley) “bad cop.” Children in town are being murdered in a manner similar to some of Katurian’s most gruesome stories and the detectives want to know how Katurian may have been involved.

Conyers is excellent as the main character who holds this entire play together. His nervous energy keeps the action moving, despite a small stage and at times stagnant blocking. He comes across as likeable and complex as his almost simple naïve boy like demeanor mix with a scary twisted mind that can create nightmarish horror tales worthy of an R-rated Twilight Zone yet results in a dead pan comedy straight man’s dream. His banter with Bridgewater (Tupolski) is sharp, humorous and believable, and gets the play off to an energetic start. Bridgewater is consistent and believable as the sarcastic and cynical detective and does well to utilize the small stage space to keep his character interesting and in command. Foley’s bad cop is not as consistent. He does well in the second act, when the character executes a greater range of emotions, but in Act 1, he does not seem natural in displaying his characters threatening demeanor; and seems a bit uncomfortable and restrained in physical intimidation as well as both his cursing and his yelling.

The stand out performance came from Katurian’s mentally handicapped older brother Michal (David Janeski) whom Katurian has raised since they were young boys. Janeski manages to portray a man who is mentally retarded and physically handicapped in such a funny and likeable manner that he is able to walk the fine line between comedy and politically incorrect. Both vocally and through his facial characteristics, Janeski creates a very believable and at times empathetic character (although at times his voice seems to add a bit of an Irish lilt and physically, he does not seem to carry Michal’s “spastic-ness” beyond his hands and a limp).

McDonagh uses the “story within a story” device well throughout the play; having various characters read or act out Katurian’s short stories. Eric Brenner (the boy) does a remarkable job of using his body and facial characteristics to show a range of emotions without uttering a word. Sophie Shannon (the girl) also shines in several small roles to show a range of emotions and comedic timing. Matt Hackman (the man) and Emma Louise Mason (the woman) make the most of their various fictionalized characters to show enough variety to make you forget they are the same actors who had portrayed “caricatures” in earlier scenes.

McDonagh would have done well though to rework the division of the acts. With the first act running at almost 2 hours, the telling of a bedtime story to lull a character to sleep at the end of the act ran the risk of also sending the audience to see a different pillow man.

Director Steve Perigard utilizes the small stage to keep the long monologues from becoming stagnant. At times, scenes where characters sat and talked could have used some more movement, but the actor’s energy filled most of these spaces well. Brian Barker’s set was functional and worked well throughout the play to set the mood. Scene changes were quick and flaweless. K. Jenna Free did some brilliant lighting work, especially during one of the scenes with the girl.

As Cadence Theater Company in partnership with Virginia Repertory Theater continue to grow together, they will need to work on better soundproofing the Theater Gym. Noise from the hallway, as well as music (especially bass) could frequently be heard over the actors.

The poignant and tense final scene left the audience on their feet, as the second act (which ran less than an hour) left the audience drawn into the climax. Just as the Halloween season draws to an end, the run of The Pillowman ends soon, and the edge of your seat dark comedy is worth the trip (as long as it is not First Friday).

Photo Gallery

Photos provided by Cadence Theater Company

The Cast

• Katurian: Jonathan Conyers
• Tupolski: David Bridgewater
• Ariel: Tony Foley
• Michal: David Janeski
• The Boy: Eric Brenner
• The Man: Matt Hackman
• The Woman: Emma Louise Mason
• The Girl: Sophie Shannon

The Crew

• Director and Sound Designer: Steve Perigard
• Assistant Director and Stage Manager: Melissa Rayford
• Production Manager and Technical Director: Matthew Landwehr
• Scenic Design: Brian Barker
• Running Crew: Connor Scully, Marquis Hazelwood
• Fight Choreographer: Aaron Oresnky
• Fight Captain and Weapons Master: Mark Caudle
• Lighting Design: K Jenna Ferree
• Costume and Make up Design: Holly Sullivan
• Sound Board Operator: Taniqua Jones
• Properties Design: Kevin Johnson
• Scenic Artist: Adam Dorland
• American Sign Language Translator/ Coach: Catherine Dudley
• Photography: Jason Collins Photography
• Video Production: Reamer and Yeatts Media Productions
• Video Soundtrack Design: Jesse Senechal
• House Management: Sarah Stepahin and Anna Johnson
• Internet Services Manager: Lindsay C. Terrell
• Marketing Director and Program Design: Billy Christopher Maupin
• Program Design Support: Susan Senechal
• Administrative and Marketing Intern: Sarah Stepahin
• Literary Associate: Claire Yenson

Disclaimer: Cadence Theatre Company provided two complimentary media tickets to ShowBizRadio for this review.