Preview: Exit 7 Players, "Clue"

Exit 7 Players, Ludlow, MA

www.exit7players.org

February 10-12, 17-19, 2023

The classic board game is brought to life in Clue! Six guests are invited to a dinner party thrown by an anonymous host. They are given aliases -- Colonel Mustard, Mrs. White, Mr. Green, Mrs. Peacock, Professor Plum, and Miss Scarlet. Though discouraged from revealing personal information, it is soon discovered that all of them have fallen victim to the same blackmailer, they're very host of the evening. Each is presented with a weapon and an option: pay their extortionist double or kill the innocent butler. What follows is a madcap, slapstick evening full of murder, mystery, and laughs as they seek to puzzle out the culprit amongst criminals.

The director for the production is Krystle Bernier.

Understudy performance on Friday, February 17, 2023.

REVIEW: Exit 7 Players, The Curious Incident of the Dog in the Night-Time

Exit 7 Players, Ludlow, MA

www.exit7players.org

through March 20, 2022

by Jarice Hanson

The Curious Incident of the Dog in the Night-Time originated in London’s West End in 2012 and came to Broadway two years later, winning multiple Tony Awards and the “Best Play” award in 2015. The show is based on the novel by Mark Haddon and adapted by Simon Stephens, and tells the story of Christopher, a neurodivergent 15-year-old, who stumbles upon a neighbor’s murdered dog and writes about the experience of trying to find the murderer. In the process, he negotiates his first foray into the sensory-stimulating world of dealing with police who initially think he killed the dog, to negotiating train travel to find his mother, and dealing with people whom he can’t and won’t trust. 

The play gives the audience an insight into the mind of a young man coming of age who is on the Autism Spectrum. Without ever specifying Christopher’s condition, the staging of the play itself brings us into the mind of a person for whom sensory overload is a matter of daily life. It’s a play so well written and so sensitively structured, it would be rare for a community theater to successfully tackle the subject. Fortunately, in the hands of director Michael O. Budnick and a cast of hard-working actors, Exit 7’s production hits the mark. 

Young Lucas Gonsalves very ably portrays Christopher, the sparkplug who drives the show. Gonsalves has fine stage presence, a believable British accent, and the physical stamina to sustain the energy of the show. Make no mistake—this is a very taxing role, and Gonsalves commits to it fully. He demonstrates a range that allows him to moderate his performance between moments of frenzy and a controlled collapse when external forces require the character to completely shut down in withdrawal.    

Jason Rose-Langston very effectively portrays Christopher's father as he deals with his son’s gifts and limitations, while still making you believe he deeply loves his son and struggles to understand him. Equally up to the challenge of the role is Gilana Chelimsky who portrays Siobhan, Christopher’s teacher, who adds an effective measure of control to the events that draw young Christopher into the functioning world while she recognizes his very special talent for math and systematic information processing. Also of note is Jami Wilson's performance in the pivotal role of Christopher's mother.

Much of the show depends on helping the audience experience the sensory overload that drives Christopher’s boundless energy.  The set constructed by Michael O. Budnick, Frank Croke, and Bruce Torrey is a masterpiece of projections, light, and sound that defies the limitations of the space and gives attention to the ensemble of Nancy Wright, Jeffrey Flood, Andy Price, Dan Jarvis, Hannah Zaitz, and Teresa Allie, all of whom play multiple roles, and who hit their marks with precision, timing, and control.   

Kudos to Exit 7 Players who recognized the importance of this very unique story and who so effectively take the audience into the mind of a young man who is considered “different.” In their telling of the story, they reach into our hearts and minds to show the beauty in love that cuts through all of our differences.

In Memoriam: Jenn (Hebert) Marshall

In the Spotlight (and formerly Bravo Newspaper) note with sorrow the sad loss of Jenn (Hebert) Marshall. From the very start, Jenn and the entire Hebert family became synonymous with Exit 7 Players of Ludlow. Jenn was a producer, director, choreographer, actress, and teacher for the past 30 years. Jenn was one of the stalwarts of the Pioneer Valley’s excellent community theatres. To our local theatre world, her family, friends, and fans, Jenn is irreplaceable and will be missed. 

PREVIEW: Exit 7 Players, Spring Awakening

Exit 7 Players, Ludlow, MA

www.exit7playrs.org

April 20 – May 6, 2018

Based on Frank Wedekind’s groundbreaking and controversial play (once banned in Germany), Steven Sater and Duncan Sheik’s brilliant rock score and searingly emotional book take the story of sexual awakening, youth revolt, and self-discovery into a new century. It’s 1891, and grown-ups hold all the cards.

Rated R. Due to mature content, parents are strongly cautioned. Material may not be suitable for young audiences.

The April 27 and May 5 performances will be ASL (American Sign Language) interpreted. If needed, contact the box office to inform them.

Little Women: The Musical

Exit 7 Players, Ludlow, MA

http://exit7players.org

through November 6, 2016

by Michael J. Moran

Louisa May Alcott’s classic novel “Little Women” tells the story of the four March sisters – Jo, Meg, Amy, and Beth – coming of age during and just after the American Civil War in the 1860s. The musical version debuted on Broadway in 2005, and has been a popular choice ever since for college, school, and regional theatres.

The luminous production by Exit 7 Players makes a strong case for the show. The central character is the headstrong tomboy Jo, and 17-year-old Stephani Bauduccio is sensational in the role.  Bauduccio’s kinetic energy and plastic face unerringly convey all of Jo’s shifting emotions as she matures from an adventure-seeking teenager to an insightful young woman on the verge of a successful career three years later as a writer about her beloved family and community. Bauduccio’s lovely singing voice makes her big number, “Astonishing,” a real tour de force. This is a local actress to watch.

The other nine cast members fill out a convincing ensemble, with especially fine musical acting by Janine Flood as the girls’ mother, Marmee, whose rendition of “Here Alone” is heartbreaking; Gavin Kramar as their student neighbor, Laurie, whose “Take a Chance on Me” brims with lovesick enthusiasm; and Jarod Bakum as Professor Bhaer, whose subtly shaded “How I Am” perfectly expresses the gradual opening of this stern academic’s heart to love.

Director Jenn Marshall is also responsible for the nicely varied choreography and the resourceful set design. Judy Hemingway’s appealing costumes are period appropriate. Musical director Dan Monte leads a spirited eight-member band.

Those who frequent community theatre know that each troupe uses every opportunity possible to fundraise; i.e. raffles, homemade refreshment sales, and “telegrams” to actors.. These helpful traditions have not only helped the company to maintain and improve its historic Ludlow theatre, but built them a loyal following.

Musical theatre lovers in the Pioneer Valley are urged not to miss this delightful telling of a timeless tale for all ages.

Jesus Christ Superstar

Exit 7 Players, Ludlow, MA

www.exit7players.org

through November 21, 2015

by Stuart W. Gamble

Andrew Lloyd Webber and Tim Rice’s modern rock-opera masterpiece “Jesus Christ Superstar” is electrifyingly staged by Exit 7 Players. Directed by Paul DiProto, it perfectly balances the epic and intimate moments of the greatest story ever told.

DiProto sets the final days of Jesus in the 21st century during the recent Occupy Wall Street events.  Jesus’ followers tweet against corporate greed. A slideshow depicts images of the disenfranchised with those of Gandhi. et al.  Placards that read “People not Profits” and “Occupy Everywhere” underscore this theme.

Although JCS is Jesus’ story, Judas’ inner conflict is equally compelling. Paula Cortis’ Judas’ internal suffering in “Heaven on Their Minds” and “Damned for All Time” show the conflict between the character’s loyalty to Jesus and fulfillment of the gospel. Cortis displays both superb vocals and shattering dramatic power. Wearing combat-like fatigues, she is the militant counterpoint to Jesus’ pacifism.

David Wallace is perfect as Jesus. From the musical’s opening to the very end, Wallace convinces the audience of Jesus’ suffering especially in the show-stopping “Gethsemane (I Only Want to Say).” Wallace’s Jesus demonstrates both fear of death and a quest for answers.

The villains of the piece are played with menacing aplomb by Justin W. Smith, Erin Wallace, Gene Choquette, and Ryan Bird as, respectively, Caiaphas, Annas, Pilate, and Herod. Choquette’s  velvet-voiced Pilate, Wallace’s champagne-swilling Annas, and Smith’s stone-coldness, exude evil in their solos. The amusing, Vegas-style “King Herod’s Song” is performed with devilish-delight by Bird.

Nikki Wadleigh’s Mary Magdalene is purity incarnate. Her  arias “Everything’s Alright” and “I Don’t Know How to Love Him” are underscored by Cliff Schofer’s flute and Kevin Barker’s percussion. Unfortunately, these iconic songs are placed down-stage right, making visibility difficult. Wadleigh’s duet with Peter (Michael Garcia) “Could We Start Again, Please?” provides a welcome reflective moment .

The 13-member ensemble is completely invested throughout. Their versatility is commendable. The guitar, bass, and synthesizer of Scott Sasanecki, Sheri Jyringi, Bill Martin, and Michael Rhealt blend well with the actors. Musical director Bill Martin, choreographer Melissa Dupont, lighting designer Frank Croke, costumer Judy Hemingway, and Croke and Mike Crowther’s set create a polished production.

Lloyd Webber’s 70’s classic may be familiar, but Exit 7’s current production proves that everything old is new again.

9 to 5: the Musical

Exit 7 Players, Ludlow, MA

www.exit7players.org

through May 10th 2014

by Eric Johnson

Yes, the 1980 movie is also a musical.

Dolly Parton and Patricia Resnick will not likely be compared to Rogers and Hammerstein for this work; however, the show is good for quite a few laughs and some toe tapping.

Jeff Clayton plays the “sexist, egotistical, lying, hypocritical bigot” Franklin Hart just enough over the top (verbally and physically) to elicit enthusiastic laughter from the opening night audience. Kathy Renaud is most entertaining in her portrayal of the hopelessly infatuated Roz, Hart’s executive assistant. The chemistry between Doralee, Judy and Violet, is crucial to this show and Jami Byrne-Wilson, Emily Stisser and Diane Lamoureaux pull it off without a hitch. The characters' relationship changes and grows dramatically and swiftly. These extremely talented actresses handle it deftly, creating many moving comical, and dramatic moments. The scene stealing supporting role award goes to Heather Maloney as Margaret. She reels across the stage sipping from a flask eliciting numerous laughs. All supporting characters and ensemble did a very nice job and complemented the production ably.

Music director George Garber Jr assembled competent, talented musicians to provide the soundtrack for the evening’s entertainment. The opening number ("9 to 5") did seem to be going a bit fast for performance as an ensemble piece and, as a result, was a bit shaky. There are, however, many enjoyable musical highlights to the evening. The songs "I Just Might," "Backwoods Barbie," "One of the Boys" and "Let Love Grow" all showcase the assembled musical, vocal and dance talent present in the theater.

Director Scott Nelson, along with Mike Crowther, created a very stylish and functional (albeit sparse) set design using modular, multitasking pieces. Fiendishly clever.

If criticisms must be made, the show could benefit from some general tightening up, pace and timing were not consistent. Perhaps opening night jitters are to blame for that. There were numerous anachronisms in costumes and hairstyles. If the show is set 300 years ago, few will notice, when it is set 35 years ago, that’s a different story.

That said, an on-stage office full of singing, dancing and jokes galore is a nice way to wrap a week of one’s own 9 to 5.

Les Miserables

Exit 7 Players, Ludlow, MA

www.exit7players.org

through October13, 2013

by Shera Cohen

It is habit for theatre audiences to give standing ovations no matter what the show's quality. Your neighbor stands and so should you? Not necessarily. The standing ovation "rule" is to laud only the exceptional. On opening night before a full house, "Les Miserables" (Les Miz) deserved and received an instantaneous ovation.

A community theatre troupe's tackling "Les Miz" is a Herculean undertaking, requiring insight into many lead characters, directing smooth transitions, selecting top notch singers and a "cast of thousands." Exit 7 accomplishes all of this.

"Les Miz" is the epic, set in early-19th century France, of Jean Valjean -- a19-year prisoner all for the wont of stealing a loaf of bread -- and Captain Javert, his eternal nemesis. Their lives entwine to test the metal of what makes a man good. On the surface, there is the hero and the villain. The story's crux is justice and injustice.

Ben Ashley portrays the smoldering, tortured, and loving Jean Valjean. He creates an exemplary larger than life character while physically aging on stage. Ashley successfully outdoes himself with each song, especially "Who Am I?" The true test falls on the fatherly determination of "Bring Him Home." He nails it. Peter Thomsen's Javert is cold, merciless, and yet vulnerable. The play allots him two songs, "Stars" and "Soliloquy," both of which are masterful.

There are many superlatives to write about each of the featured players. In general, three types of performers populate musical theatre: singers who can act, actors who can sing, and those who can do both. Exit 7 selected an even balance of each type to compose the best of all worlds. Special bravos to talented youngsters Wynton Jarvinen and Lily Girard in demanding roles.

Still more kudos, yet this review's word count mounts: director Jeffrey Flood's skills in mounting the barricade/battle scenes, the authentic-looking period costumes, and conductor Christina Climo and her dozen musicians!

Is it the applause still ringing in this reviewer's ears or the surging power of "One Day More," the sweet "In My Life," the boisterous "Master of the House," or the sorrowful "On My Own?" All of the above.

Chapter 2

Exit 7 Players, Ludlow, MA

www.exit7players.org

through February 17, 2013

by Walt Haggerty

Neil Simon, master of the one-liner, joke-a-minute comedy classics “Barefoot in the Park,” “The Odd Couple,” and countless others, has a dark side revealed in depth in “Chapter Two,” the current production of Exit 7 Players.

The play does offer a carefully rationed measure of humor, but generally with a bite, as it relates the story of a grieving novelist whose adored first wife has passed on, leaving him totally devastated. Once he meets the woman destined to be wife #2, the courtship is compressed into less than two weeks with predictably unhappy and ultimately unfunny results.

The Exit 7 production is cast with great care. The play is reportedly inspired by Simon’s own loss of his first wife to cancer, and his marriage to actress Marsha Mason.  As novelist George Schneider, Scott Nelson does an excellent job, navigating the route of his character from depression and resistance to “matchmaking,” to exuberant, smitten suitor. His darker, even cruel behavior near the end of Act II is convincingly played.

Leo, George’s caring but misguided brother, having marriage problems himself, is determined to find a mate for George. Stephen Fruchtman squeezes as much humor from this character as is possible, but also shows a serious side in his description of the relationship that existed between George and his late wife. Christine Voytko, as Faye Medwick, a dizzy friend of heroine Jenny Malone, played by Chris McKenzie-Willenbrock, is given the greatest opportunity for laughs, bringing welcome spurts of humor and lightness when most needed.

Top laurels in this production go to McKenzie-Willenbrock for her brilliant portrayal of Jenny. Her performance captures every emotion from light repartee, early affection turning into deep love and concern, until finally nearly total collapse, as what once appeared to be so right shows signs of disintegration. A positive resolution by the novelist, George, saves the day and the play. A visit to “Chapter Two” is well worthwhile to see this actress alone.

Aida

Exit 7 Players, Ludlow, MA

www.exit7players.org

through October 28, 2012

By Eric Johnson

Strong, solid, spirited. All words that aptly describe the title character of Aida as well as this production of the rock opera by Elton John and Tim Rice.

Director Kim Lynch and Musical Director Christina Climo have assembled and guided a wonderfully talented and dedicated ensemble cast of performers, all of whom possess the skills, talent and experience to make "Aida" a thoroughly entertaining evening of theatre. Choreography by Amy Bouchard is impressive, fluid and agile movement that compliments the plot and the music nicely and, as with all good choreography, looks effortless even though one knows better.

Chae-vonne Munroe (Aida), Ryan Slingerland (Radames) and Chris Willenbrock (Amneris) all bring stunning vocal ability and a completely believable chemistry to the characters they portray. The intensity that Munroe channels into Aida is almost disturbing at times, yet thrilling to watch. Slingerland portrays Radames internal battle of duty and conscience subtly yet most effectively. Willenbrock is a joy to observe as she deftly showcases the many facets and trials of Amneris. The remaining lead actors and ensemble do a fantastic job with pace and energy in this show, keeping it flowing throughout.

The multi-level set by Josiah Durham, Paul Hamel, and Ken Samonds is a very nice addition to the production. The artwork by Samonds goes a long way towards transporting the audience into Egypt in the time of the Pharaohs. Lighting design by Frank Croke is, as usual, a perfect compliment to set and scene. Costumes by Solvieg Pfluger and Moonyean Field integrate evenly into the overall aesthetics of this show.

With "Aida," Exit 7 once again proves that their reputation for high quality community theatre is both well deserved and hard earned. It is obvious that there was a lot of careful planning, inspired vision, and just plain hard work that led up to this enthusiastically received opening night performance.

The 25th Annual Putnam County Spelling Bee

Exit 7 Players, Ludlow, MA

www.exit7players.org

through April 28, 2012

By Walter Haggerty

How Do You Spell G.R.E.A.T? Exit 7 Players have the answer – and they are superb. In fact, the entire production of “Spelling Bee” is an inspired evening of top drawer entertainment from start to finish.

The prospect of turning a traditional high school spelling bee into a hit Broadway musical is about as promising a project as a musical based on the life of Adolph Hitler becoming a success. Oh well, anything is possible on Broadway.  “Spelling Bee,” which began its life at Barrington Stage, turned out to be a real winner with a Tony nomination and an extended run on Broadway and beyond.

At the Exit 7 Players Theatre, a cast that has been fine-tuned to perfection by director Tom LeCourt, gives an ensemble performance that is impeccable. Their portrayal of a group of high school misfits, whose single opportunity to shine is their spelling expertise; discover through their competition that there really is more to life than winning. With a series of entertaining songs, a liberal dose of humor, and ultimately acceptance of, and even affection for one another, the evening arrives at a jubilant conclusion.

Every member of the cast deserves accolades for his/her distinctively molded characterizations – each a bit off center, but always on target. Steve Grabowski’s Leaf Coneybear, with his cape and hand puppet, is a delight. Kyle Boatwright as Logainne, gives an evenly balanced performance of a brilliant, slightly confused teenager.

Megan Hoy’s Marcy manages to escape her reputation as a perfect student by reveling in deliberately making a mistake in spelling. Todd Porter, as William Barfee (pronounced Barfay), is a hilarious, sarcastic spelling wizard with a “magic” foot. Nikki Wadleigh’s performance of the nervous, unsure, waif-like Olive Ostrovsky, is pure gold.

Finally, David Webber’s Chip Tolentino, the handsome, bright, boy-next-door, betrayed by a quirk of nature, could easily settle into the cast of “Glee” as a replacement for one of their obviously aging teens. The adults –  Eric Johnson, Michael Garcia, and especially Kathy Renaud, were excellent throughout.

 ”Putnam County Spelling Bee” is a perfect example and living proof that America truly does have talent – and some of it is right next door.

Rent

Exit 7 Players, Ludlow, MA
www.exit7players.org
through October 16, 2011
by Eric Sutter

Jonathan Larson's Tony Award winning and ground breaking musical "Rent," about a group of struggling Bohemian artists on NYC's Lower East Side, revvs up the stage and the emotions at  is Exit 7. This intensely entertaining production is a colossal undertaking by director Meghan Lynn Allen and musical director Bill Martin. It's a mixed-up, muddled up, shook-up world with themes of sexuality, AIDS, and the ravages of poverty. The intricate story is convoluted with many sub plots that turn delightfully, revealing various love connections. The set is simple with emphasis on  music and dance. It simmered and seared with high voltage edgy rock numbers and challenging choreography by Amy Meek.

Lead characters Mark (Josiah Durham) and Roger (Michael Lorenzo) must be carefully followed. Roger is a singer/songwriter looking for his big break. Love and friendships are unveiled through song dialogue. Big numbers -- "Rent" and "Seasons of Love" -- livened every cell in one's body. Relationship songs such as "You Okay Honey" with Angel (Michael Garcia) and Collins (Joshua Osborne), "Light My Candle" with Roger and Mimi (Kyle Boatright), and "Tango Maureen" with Mark and Joanne (Christine Greene) were loving fun and helped develop characters' personalities. "On the Street," a passionate full company number, featured a big voice stand-out by Blanket Lady (Susan Duncan). Maureen (Nikki Wadleigh) turned out the humorous "Over the Moon," which coaxed the audience to "Moo." Act I closed with the over the top "La Vie Boheme" in high fashion.

The plot thickens in Act II as the characters' emotional baggage becomes weighty. Steamy duets ensue with "Take Me Or Leave Me" between Maureen and Joanne, and "Without You" with Roger and Mimi. "Contact" features Angel, who hasproven to be a firm testament to the strength of the human spirit. After Angels' AIDS death, Collins sings "I'll Cover You" backed by a powerhouse group ensemble vocal. "Goodbye Love" finds Roger, Mimi and Benny(Silk Johnson) in a heated love triangle. "Your Eyes" is Roger's love song to Mimi -- watch for her strange twist of fate. There is no day but today!

This powerful musical is chock full of strong language; it is intended for mature audiences.

Thoroughly Modern Millie

Exit 7 Players, Ludlow, MA
www.exit7players.org
through May 8, 2011
by Eric Johnson

Perhaps this show should be called "Thoroughly Timeless Millie" because

that is exactly what the story line is, timeless. Small town girl hits

the big city lights with a plan and a dream, both of which are

compromised right from the start. It is a story that has been told many

times before, and will continue to be told in various settings and with a

plethora of characters. Everyone loves a story about triumph over

adversity, and good defeating evil.

The beginning of the opening number showcases Dylan Rae Brown as Millie,

the aforementioned small town girl seeking out her fortune in New York

City circa 1922. Brown captivates and charms the audience right from the

start -- her remarkable voice and stage presence are most entertaining.

The chemistry between Millie and Jimmy, the fast talking, street wise

city boy (adeptly played by PJ Adzima) is delightful. The characters are

real and believable throughout.

The skilled and talented ensemble complements the production

wonderfully. A few standouts include Katie Clark as Miss Dorothy, Jeff

Clayton's Graydon, and Dawn Rendell's Miss Flannery. The "scenery

chewing" award for this production is a tie between Pat Haynes as Mrs.

Meers and Kathy Renaud as Muzzy. Each actress takes a turn stealing the

scene in the first act, and when they have a scene together in the

second act it is pure, over the top hilarity.

Director Kim Lynch has done an exemplary job of casting and directing a

show which could lend itself to being too "cutesy" in the wrong hands.

Musical Director Christina Climo and the orchestra do a very nice job

with the score which includes a brief homage to the patter songs of

Gilbert and Sullivan. The choreography by Amy Bouchard works

beautifully -- it is tight and deftly executed.

A combination of built pieces and projections (courtesy of Technical

Director Frank Disco) comprise the set design which also works very

nicely. Exit 7 Players upholds its reputation for high production values

with this show, as evidenced by the standing ovation from the

enthusiastic opening night audience.

"Thoroughly Modern Millie" is an entertaining and skillfully executed

production, thoroughly.

Jekyll & Hyde

Exit 7 Players, Ludlow, MA
www.exit7players.org
through November 14, 2010
by Shera Cohen

It is nearly impossible for anyone who has ever seen "Jekyll & Hyde" (J&H) to leave the theatre without singing or humming the showstopper song "This Is the Moment." In the case of Exit 7's presentation, the song title literally describes the success of the production and the entire troupe. Ever since "Big River" (1995), the work of those onstage and backstage has continued to go upstream, sometimes against the tide of what many might expect from amateur theatre.

J&H is a musical rarely performed even by professional troupes, as it is extremely difficult for the actor in the lead role. Yet, Exit 7 tackles this musical head on. Audience members were heard saying, "This is better than Broadway." Save for a large orchestra (instead of Exit 7's excellent six-piece band) and expensive sets (Exit 7's furnishings worked well, particularly with backdrop slides), the comparison between NYC and Ludlow is not a stretch.

Everyone knows the story of J&H - one man, both good and evil. But there is more to the story. The plot extensively details the motivation in this character and the dichotomy of the components that make a man whole.  J&H is a disturbing play with exquisite music and important lyrics - somewhat opera-like.

Kim Lynch seems to have had an easy job directing, as well as Alison Forance choreographing, but only because their cast is perfect. From the kids in the chorus to the Red Rat dancers, those with secondary roles (each well defining his/her character) to the leads, it is difficult to find a single flaw.

Reams of accolades can be written about J&H's star, Ben Ashley. This, too, is the best moment in his career as an actor and singer. The difficulty of switching from Jekyll to Hyde and back again within seconds of each other could have easily become comic. Not so here. These are the tensest moments in the production. Augmenting Ashley's brilliance are Melissa Dupont and Katie Clark, in his duets with each, and their, "In His Eyes," is lush.

The weekend of November 12th is your moment to see "Jekyll & Hyde."

The Family That Plays Together

The Ashleys of Southampton

Stacy and Ben Ashley have been a couple for nearly 20 years - many of those years onstage. Now they are a quartet, and still onstage. Stacy and Ben met during a production of "Guys & Dolls," which seems a fortuitous title to their eventual relationship. Sixteen years of marriage later, their son Ben and daughter Jacqueline join mom and dad onstage in Exit 7 Players' spring play "Titanic."

Has the smell of the greasepaint been in the family for generations? Perhaps. Or, perhaps the kids grew up watching their parents rehearse and perform that they thought every parent does this. Since Stacy and Ben have starred or appeared in countless local theatre productions, mostly musicals, rehearsing meant a lot of singing - over and over again. "Whatever show were working on, they would be singing every word," says Stacy of her children. "They have been dragged to all kinds of rehearsals since they were born. Ben used to fall asleep as a toddler during rehearsals for 'Buddy Holly' [dad Ben took the lead role]. Luckily, Jacqueline came early, just before 'Forever Plaid' opened [again, dad Ben starred as one of the Four Aces' wannabes]."

By the time they could walk, they were performing, having started dance and then theatre classes at the Hackworth School of Performing Arts in Easthampton. At age 15, Ben is already quite comfortable in community theatre and high school productions. He is simultaneously rehearsing for "Titanic" and his role of the Cowardly Lion in "The Wizard of Oz." His sister Jacqueline appeared with her brother in "It's a Wonderful Life," but concentrates on dance.

Local audiences would be hard-pressed to have not seen Stacy and/or Ben, particularly in Majestic Theater shows, where they have starred in performances and were lead singers in The Majestics Band for 10 years.

"Titanic" will be the Ashleys third play as a family. "Ben is playing my son, Jack Thayer, and my husband is Fred Barrett, the Stoker," says Stacy. Jacqueline has a role as passenger in steerage. "She tells everyone that 'she goes down with the ship.'"

To see the Ashleys, along with the other 40 actors in this massive community theatre production of "Titanic" on April 16 - May 1, check Exit 7's website at www.exit7players.com.

The Andrews Brothers

Exit 7 Players, Ludlow MA
www.exit7players.com
through Oct. 31, 2009
by Eric Johnson

What is so funny about guys in dresses? In this case, it seems to be these particular guys.

Robert Clark III, Joe Alvernaz, and Steven Sands are hysterical as Lawrence, Max and Patrick Andrews, three USO stage hands who find themselves caught without a headline act (you guessed it, the Andrews Sisters) and have to perform in their stead. There are plenty of belly laughs to be had in Act II as the boys cavort about the stage; Sands in particular has some hilarious scene-stealing moments.

Diane Lamoreaux is the perfect choice for pin-up girl/chanteuse Peggy Jones; her curvaceous physique and sultry voice fit the time period perfectly. It would be nice to see more depth to her character; perhaps it was just opening night jitters but against the bar set by the rest of the cast, her performance seemed somewhat flat.

Creator/author Roger Bean doesn't present anything truly original or fresh, as all of the music is culled from existing songs of the '40s and the story is fairly predictable, but that doesn't make it any less entertaining. The show is also refreshingly short for a musical -- about two hours.

The standout performance comes from the orchestra. Eight musicians (including music director/keyboardist Karla Newmark) create a big band sound that fills the room and gets toes tapping. The vocal performances by the cast are deftly executed with a generous amount of three-part harmony.

Pam Abair's direction creates a wonderful pace that keeps this show rolling along nicely. Kudos to choreographer Jenn Marshall for not going over the top; the movements never seem awkward or beyond the abilities of the actors. Likewise, the set design by Paul Hamel and Abair is just enough to complement the production without going too far.

The cast and crew are to be commended for a balanced and highly enjoyable performance. "The Andrews Brothers" delivers a night of great music, plenty of laughs and, oh yes, guys in dresses.

George M!

Exit 7 Players, Ludlow MA
through May 17, 2009
By Donna Bailey-Thompson

Some may speculate that George M. Cohan's obsessive determination to make it big on Broadway began while he was still in the womb. He was born into a vaudevillian family - father, mother, sister; while just a kid, he wrote routines for the family act. There were setbacks during his climb to the Great White Way, but his goal never wavered, nor did his ego.

Fast forward to 1984 when the love of theatre and no fear of hard work gave birth to a new community theater: today the Exit 7 Players celebrate 25 years of presenting productions of higher and higher calibre. This is where George M! and Exit 7 Players are the rubber that meets the road.

If it's possible for the departed to tune into a theatrical interpretation of his life, then George M. Cohan's ethereal self can extract pleasure from visiting this energetic production. For sure, his notorious ego is getting stroked. As performed by Del Caraway, Cohan's obsession with show business is evident throughout this musical that exacts demanding performances by everyone, from the leads through the chorus. The forgotten songs and the ones still appreciated today (all written by Cohan)- "Yankee Doodle Dandy," "Give My Regards to Broadway" - and the hypnotic tap dancing of a few or the full company, are reminders of Cohan's talent that drove him to greatness and inspires the dedicated cast and crew to put on a winning show. Bravo to Director Bob Sullivan-Neer.

Choreographer David Michael Bovat's innovative combinations have turned neophytes into authentic dancers; thanks to Musical Director Karla Newmark, every sung word is understood; Costume Coordinator and Seamstress Carolyn Samonds has created a calendar of fashion spanning 60 years; Stage Manager Sue Crowther keeps the backstage from becoming a logistical nightmare.

Cohan's friend William Collier said, "George is not the best actor or author or composer or dancer or playwright. But he can dance better than any author, compose better than any manager, and manage better than any playwright. And that makes him a very great man."

Similarly, Exit 7 Players is a fine community theatre that honors professional standards.

"Who's Afraid of Virginia Woolf"

Exit 7 Players, Ludlow MA
through February 28, 2009
By Donna Bailey-Thompson

This outstanding production of "Who’s Afraid of Virginia Woolf" is a triumph worthy of an Off Broadway venue. Under the sensitive, vigorous direction of Marck Morrison, playwright Edward Albee’s masterpiece is as fresh and cogent today as when its debut rocked Broadway in 1962. Four accomplished actors give stellar performances – Claire Bertrand (Martha), Bob Laviolette (George), Jami Byrne Wilson (Honey), and Brian Dickey (Nick). There is not one false note during the play’s three hours. From the blaring opening scene through the final heart-wrenching moments, Ludlow’s Exit 7 Players present riveting first-rate theater.

A bare-bones, no-meat synopsis of the play: Martha and George are serious swillers of booze who have honed verbal abuse to an outrageous art form. After they arrive home from a faculty gathering, Martha informs George that she has invited a young teacher, Nick, and his wife, Honey, to stop by for a drink. Throughout the night into the dawn, emotional mayhem prevails. Scabrous exchanges substitute for polite conversation. Terrible psychological scars are semi-exposed that beg the question: truth or illusion? Regardless, there is "blood under the bridge."

Each actor skillfully balances the character’s facade with its underlying reality. George and Martha’s symbiotic relationship hovers at a parasitic level; both Laviolette and Bertrand through subtle body language convey within their mutual contempt a complicated, revengeful respect. Nick, the supposedly fair-haired young man is exposed as being as unscrupulous as his hosts. His fragile wife Honey’s slow motion progression from tipsy into alcoholic stupor is pantomimed virtuosity. Throughout all three acts, Morrison’s directorial skills have become the actors’ own. His respect for the audience’s need to absorb their insight into Martha and George’s convoluted natures is the gift of decompression – a protracted final scene of George putting the house to bed before he cradles Martha, his spent other.

Productions of this caliber demonstrate that the bottom line difference between a quality community theater and a regional or NYC venue is money: the pros are salaried, whereas the "amateurs" are dedicated volunteers. Those who lump all community theater into a slapdash hobby category will have their parochial opinions torpedoed by Exit 7's "...Virginia Woolf."

Be advised: for mature audiences only.

The Goodbye Girl

Exit 7 Players, Ludlow
through October 4, 2008
By Donna Bailey-Thompson

Say a huge hello to "The Goodbye Girl" a musical, that hits all the right notes – story, director, choreographer, cast – another outstanding Exit 7 Players production.

From the rousing opening number filled with expectations about moving from Manhattan to Los Angeles, the mood plummets when single mother Paula (Lea Oppedisano) discovers that Tony, her actor boyfriend, has dumped her in favor of a role in Spain. Her daughter Lucy, a precocious 10 (Emma Henderson), stoically accepts this latest downer. Paula vows, "No more!" and is determined to resume her career as a dancer. At a rehearsal studio with dancers who know the routine, she demonstrates she’s not only out of shape but rusty. The intricate number, "A Beat Behind," is cleverly choreographed by Todd Santa Maria.

In the middle of the night, a deadbolted door prevents a stranger, with a key, from entering the apartment. Elliot (Nate Luscombe) has bought out Tony’s lease. Paula dictates the house rules. Elliot, armed with the lease, pulls rank and imposes new rules. Wide-eyed Lucy misses nothing. Elliot is an actor who has been lured from Chicago to star in "Richard III" at a theater so far off Broadway, it’s off the sanity map. Its director, Mark (Jim Coulter) wants Elliot to play the king like a queen who wants to be king. That sequence brings down the house. Still to come is Act II.

Originally a movie written by Neil Simon, based upon the life of his then-wife Marsha Mason who played the title role, the musical version opened on Broadway in 1993. Simon’s craftsmanship endures but, thankfully, the wisecracks are minimized. The voices of Paula, Elliot, Lucy, and the landlady Mrs. Crosby (Christine Kasparian) have the Broadway-like zing of professional training.

This "Goodbye Girl" is edgy, at times hysterically outrageous, yet tender and sweet, especially the individual scenes Paula and Elliot have with Lucy: Emma Henderson is a little girl with big talent and the poise of an adult pro. She listens. This is a polished production – nine musicians, a stylish set design, and a crew with no wasted motions. Director Dan Derby, take a bow.

Les Miserables -Youth

Exit 7 Players, Ludlow
through August 17, 2008
August 8, 2009
By Donna Bailey-Thompson

The tension of social unrest – generations of injustice that led to France proclaiming a Second Republic – and the individuals caught up in its life-changing drama, are knocking the socks off audiences as performed at a professional level by dedicated amateur actors ranging in age from five to eighteen. In this abridged version of the blockbuster musical, "Les Miserables," the integrity of Victor Hugo’s classic novel is honored and in many respects intensified by the awe-inspiring performances of 47 young people.

Based upon the high quality of Exit 7 Players’ productions, the professionalism of their "Les Mis" should not be surprising, but, it is. To inspire such outstanding performances is a testament to Director/Choreographer Jenn Bauduccio’s skill and the cast’s trust in her guidance..

Exit 7's "Les Miserables" Special School Edition is an outstanding theatrical experience. As the dying Fantine, Monica Giordano’s solo is heartbreaking. Other emotional peaks are attained by Michelle Waslick, age 9 (Gavroche); Tray K. Sanders, age 13 (Enjalras); Sarah Banning, age 15 (Eponine) whose "On My Own" breaks more hearts. The amoral Thenardiers – Lisa Rizza, about to become a college freshman and Colby Herchel with three years acting experience – offer lively, humorous nastiness. Star-crossed lovers Cosette (Katie Stiefel) and Sam Plotkin (Marius, age 16) pour out their longing for one another.

The determination of Jean Valjean (Gavin Mackie, high school senior) to become an honest man and the doggedness of the sadistic law enforcer Javert (Michael Piels who enrolls in NYU this coming semester) to destroy Valjean, infuse their scenes, singly and together, with raw energy. Their duets stir and alarm. Musical Director Devon Louise Bakum has infected the young cast with a desire to excel. The songs are not easy to sing, yet the chorus and soloists deliver with ease and conviction. The costumers – Bauduccio, Mary Hernandez, Sherri Montagna, Lori Rodriguez, Cheryl Chant – incorporated authenticity into their creations. The imaginative minimal sets are the handiwork of master carpenters Paul Hamel and Tom Marshall Jr.

Unsung are the parents and families of the cast who juggled their other responsibilities to support their cast member’s ambitions. Before the auditions, Exit 7 spent years planning and negotiating. And now, Bravo!