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Doubt: A Review

Doubt: A Review

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Last weekend (August 15-17), I had the privilege of attending performances of Journey Theatric Sanctuary’s production of Doubt: A Parable. This was presented at the Rose Lehrman Arts Center on the HACC community college campus in Harrisburg, Pennsylvania.

Doubt: A Parable is a Pulitzer Prize and Tony Award winning play by John Patrick Shanley, about a nun who is Principal at a Catholic school and suspects a priest of taking liberties with a young boy. She attempts to get to the truth of the matter, enlisting the help of a younger nun, and of the boy’s mother – hindered as she is by the Church’s strict patriarchy, which makes reporting her concerns according to the rules a hopeless cause. It’s a challenging script with a difficult subject matter.

Director and Journey Theatric Sanctuary founder Troy Cooper assembled a stellar cast of four actors, each of whom was perfect for their role. Griffin Yeyna opened the show as the priest, Father Brendan Flynn, giving a sermon on the topic of faith and doubt. In a later monologue in the role of teacher, he came across as an easygoing authority figure. But in his scenes with the nuns, he sometimes squirmed under their questioning, and sometimes lashed out with indigant rage.

The main character in the show, the stern and determined Sister Aloysius, was played by veteran actor Aileen Lynch-McCulloch, who brought her experience to bear to bring out the layers in her character. Sister Aloysius was hard-headed and persistent in her pursuit of the truth, adamant in her beliefs on the proper relationship the clergy should have with their parishioners and students. She employed a kind of Socratic method in her probing questions as she recruited the younger nun to her cause, and as she interrogated the priest. She also had a worldly sense of humor that got laughs from the audience at times, breaking the tension in the very taut script.

Her counterpart, Sister James, was a less experienced nun, played by Jess Mooney in just her third role on stage. Mooney brought a sweetness and eager naivete to her character, which made her susceptible to Father Flynn’s charisma, and hesitant to see his potential dark side. Janae Yellock as Mrs. Muller, the young boy’s mother, had only one scene, but she brilliantly portrayed a 1960s era black mother, used to navigating a world of both male and white supremacy. Mrs. Muller’s strategy for guarding her son’s interests was an unsettling and eye-opening surprise for Sister Aloysius.

These four actors did excellent work expressing the subtleties of their characters’ different viewpoints. Each, in their own way, had blinders on that limited their perception of the whole truth of the matter at hand. Each, consequently, faced their own doubts. Caught up in the turmoil of these conflicting perspectives was the fate of one little boy.

The design of the quite beautiful set helped underscore this theme, being split into two sections with starkly different appearances and color palettes.

Journey Theatric Sanctuary’s production of Doubt: A Parable was tense and emotionally powerful, doing justice to the company’s stated mission of demonstrating the transformative power of theatre. I wish it had had a larger audience and/or a longer run, because there was so much talent brought to bear which deserved to be seen.

I note here that Griffin Yeyna and Aileen Lynch-McCulloch have appeared together before, in Reading Theater Project’s November 2023 production of Lauren Gunderson’s Silent Sky. They have great chemistry on stage, and I would love to see them opposite one another again. Also, in the interest of full disclosure I must mention that I have known Aileen for many, many years and she is my dearest friend.

Journey Theatric Sanctuary’s website is here: https://www.journeytheatricsanctuary.com/
I wish this new theatre company the best of luck growing its program and expanding its outreach.

Come Share a Dream with Alice and the Arts Bubble

Come Share a Dream with Alice and the Arts Bubble

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Last night I had the pleasure of watching the preview performance of The Arts Bubble’s Alice by Heart, which opens tonight (July 24) and runs through the weekend. From what I saw, it’s really quite an amazing production that you won’t want to miss. For one thing, it is presented in the round and environmentally (meaning the actors are all around the audience and even interact with them) which I now believe is how this show should always be done. It does a great job of making the story clear, which is hard to do because of all the clever wordplay in the dialogue, in the spirit of the source material. These young actors understand the script, and bring incredible physicality and energy to their performances. Plus, there is a live band!

Since I am good friends with the director, I was there from the ground up watching this production come together. I remember how exciting it was when The Arts Bubble got the rights to Alice by Heart, because it is the kind of show, in my opinion, that fits the project’s pattern of showcasing the more interesting, whimsical yet meaningful musicals that aren’t being done over and over elsewhere. This is, after all, the company that did The Guy Who Didn’t Like Musicals last year. There were some harrowing weeks when they temporarily lost the rights for admininstrative reasons, but luckily that all worked out. Some perspectives needed to be changed.

In her program note, director Aileen Lynch-McCulloch starts off with some physics, discussing quantum entanglement and relativity, and how reality isn’t fixed or solid. It varies based on frame of reference, like a surrealist painting. Our ability to shift our frame or perspective gives us power over our lives, a message at the heart of this show. Through our dreams and our imaginations, we are all creating this Universe together, and we can choose to create a world defined by love and understanding. This deep spiritual realization is something I’ve always admired in Aileen, and a reason why I am proud to be her friend and love to see her shows.

The opening performance tonight is sold out. There are three more performances: Friday, July 25 at 7 p.m.; Saturday, July 26 at 2 p.m. and Sunday, July 27 at 2 p.m. Reserve your tickets here: https://vagabondgal.wixsite.com/artsbubble/alice-by-heart

A scene from The Arts Bubble production of Alice by Heart
Life, What Is It but a Dream?

Life, What Is It but a Dream?

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Having more fun with the goodreads book review “post to your blog” html code. This time I read a children’s literature classic.

Alice’s Adventures in Wonderland by Lewis Carroll

My rating: 5 of 5 stars


In the summer of 2025, I was thrilled to discover a copy of a 2015 Princeton University Press 150th anniversary edition of “Alice’s Adventures in Wonderland,” featuring art by Salvador Dali, in a little free library in Arlington, Viriginia. This is a trade version of a limited edition that was first published in 1969, copies of which are rare and pricey. Dali’s thirteen illustrations are fascinating, dark and somewhat abstract, a bit hard at times to connect to the chapters in the book, though elements are there that tie into the story. Dual introductions to this edition, one by editor Mark Burstein and one by mathematician Thomas Banchoff, expose the connection between Dali and Lewis Carroll, who was a mathematician as well as a writer of children’s books. The introductions are far more about Dali than about Alice, touching on his mathematical obsessions, and his artistic technique that focuses on perspective and subjectivity. This edition puts Dali in the center, with Carroll’s story as a kind of filling. If there is a synergy, it is that Alice’s adventures are indeed a dream, where perspective shifts suddenly and unexpectedly, and meaning is always ambiguous, if it’s there at all. As for Lewis Carroll’s story, as I re-read it after I don’t know how many years since the first time, I found it amusing, but sometimes maddening in its refusal to make sense. Carroll’s wordplay and marvellous nonsense verse are certainly delightful. Alice, it struck me, was kind-hearted, and always doing her best to behave as she must have thought a young girl should, under the circumstances. She takes the bizarre events happening to her at face value, at most admitting they are “curious.” As almost all of the denizens of Wonderland are self-involved, incompetent, and utterly irrational, I couldn’t help wondering if this was how children see the adult world, with Alice’s incomprehension at the stupidity of adults being the subconscious source material for her dream reality. How relieved she must have been, upon being attacked by a deck of playing cards, to awaken in the familiar comfort of her sister’s lap, on a lazy summer day, though as the memory fades she only remembers her dream as something wonderful.



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Here is a picture of the copy of the book that I found, in the little free library. Pretty cool, huh?

I was so excited to find it, because Aileen is currently directing Alice by Heart for the Arts Bubble, so Alice’s adventures are prominent in our minds.

Like Dali’s unique illustrations, Alice by Heart interprets Lewis Carroll’s work in its own way. The Alice in the musical is an adolescent, not a child of tender years as in the book, and consequently has a different perspective and different priorities. Lyrics and book are by Steven Slater, who also wrote Spring Awakening, so you can imagine.

Both Dali and Slater manage to find darker, more mature themes than are in the original source material. The book(s), as written by Carroll, are whimsical children’s literature, and it takes an effort to find deeper meaning than that they are a vehicle for playful riddles and word games. But searching for meaning is what makes us human, and is, after all, why we dream.

My Triumphant Return to the Stage

My Triumphant Return to the Stage

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In a little over a week, Aileen, Tiernan and I will be performing together in a play. I haven’t acted since Aileen and I were in high school in the 1980s, when we were in the Drama Club together.

Yes, that’s right, I will be making my triumphant return to the stage, after a 40 year hiatus!

Aileen and Tiernan, of course, have been doing theatre together for as long as I’ve known them both – though always with Aileen directing and Tiernan acting, so this is the first time they will be together on stage. Aileen has been doing theatre since she was 3 years old, and used to put on plays in her back yard when she was a child.

The show we are in is Arsenic and Old Lace, a classic from the 1930s. It’s been adapted to film, and you may be familiar with the story. I will say nothing more – no spoilers!

My return to the stage is the logical culmination of my shared lifecourse with the vagabond girl.

First, we reconnected at our high school reunion. We built up our friendship long distance, and after a couple of years I moved up to where she lives. We have a lot of interests in common, and it was natural for us to form a partnership.

She was even willing to play board games with me and go to gaming conventions with me! And I was willing to be absorbed into her theatre life. I helped her with Arts Bubble productions, and I joined her as an adjudicator for the Philadelphia Independence Awards. It was inevitable that I would eventually join her for an audition, and it was our good fortune that we were both cast in this production of a show she has always wanted to do.

I’m pretty sure this has been her long term plan for me all along. 🙂

If you are a reader who lives anywhere near Reading, Pennsylvania, perhaps you could come see our play? It’s only two performances – the evening of Friday, April 4 and a matinee on Saturday, April 5. Tickets are available here:
https://fleetwoodcommunitytheatre.com/tickets.html

The Apotheosis is Upon Us!

The Apotheosis is Upon Us!

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Aileen, the vagabond gal who has been doing theater her whole life, continues each summer to direct a show with the Arts Bubble. Last summer was City of Angels, which was Tiernan’s first lead role and he was excellent at it. This summer was a newly available show, with Tiernan in multiple supporting roles, and really it’s just a whole lot of fun. Below is my mini-review and promotional post.

The Arts Bubble Presents: The Guy Who Didn’t Like Musicals

I hope you can make the time this week to see Starkid’s The Guy Who Didn’t Like Musicals, presented by The Arts Bubble at Cosmic Art Studios in Pottstown, PA, because you don’t want to miss this amazing production. The Arts Bubble continues its tradition of putting on the cool shows that no one else does, and in this case are presenting a regional premiere of a show whose rights recently released. If you are familiar with the Starkid show from their online channels and come to see The Arts Bubble’s production, you will be delighted by the matching set design, and by the leads expertly capturing the characterizations of the original performances. You will also enjoy how well The Guy Who Didn’t Like Musicals works with a much larger cast. If you are not familiar, well, I don’t want to spoil the show for you. I’ll just say it’s like a campy old sci-fi B-movie, except it’s a darkly humorous musical, and it’s a lot of fun. The Arts Bubble makes excellent use of the generous space on the second floor of Cosmic Art Studios, and gives its audience fantastic performances, with a live band and plenty of thrills and laughs. The show does have some strong language and mature themes, but it stays (just barely) at a PG-13 rating. The audience clearly loved it on opening night, and if you want to be entertained as well, then make sure to reserve your tickets now! It’s “pay what you can afford” but you do need to reserve a seat (see the link below).

https://vagabondgal.wixsite.com/artsbubble/about-4

Remaining performances are Tuesday July 2 at 7pm, Friday July 5 at 6pm, Saturday July 6 at 2pm, and Sunday July 7 at 2pm, at Cosmic Art Studios, 310 E High St, Pottstown, PA, 19464.

Mini-Review of Starmites at The Arts Bubble

Mini-Review of Starmites at The Arts Bubble

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The Arts Bubble’s production of Starmites at Pottsgrove High School is an absolute delight. This talented bunch of teens puts on a super fun show, with great production values and a big heart. It tells the story of a troubled teenage girl who escapes into a comic book fantasy world – or is it real? – only to discover her true potential. The production has a wonderful 1980s sci-fi/superhero comic feel and smoothly carries the plot, involving the machinations of a wicked villain and the conflict between two groups who have more in common than they think. It has lots of colorful, well-defined characters, brilliant comic book effects, and lovely singing and dance numbers. You won’t want to miss it!

If you saw the show on opening night you might consider coming to see it again on Friday or Saturday night, since it’s double cast! Different performers will be playing the roles of Eleanor, Bizarbara, and the Diva.

You can get tickets at the link below:

https://search.seatyourself.biz/webstore/accounts/theartsbubble/buy-tix

The Starmites in action, battling the Banshees of Shriekwood Forest.
The Mighty Starmites Are Coming to Pottsgrove, PA

The Mighty Starmites Are Coming to Pottsgrove, PA

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The last show that the Vagabond Acting Troupe put up before Aileen merged the company with another theater company was the musical Starmites. This was also one of the first of her shows that I saw after we got together around 2014. Her company used to put on shows in an old church that was out in the country, but since they left the building was torn down.

I remember how enchanting the show was and how impressed I was with the production values and with the talent of the kids. This show was done with kids and young teens! And it’s a tough one, too, with complicated songs with challenging harmonies.

Some set pieces from Aileen’s 2015 production of Starmites

Challenging kids to take on difficult work and discover their power to get it done is Aileen’s specialty. It’s what makes her such a great educator. There’s even a quote from this show that is apropos: “to a Starmite there is no such word as can’t.”

What is a Starmite, you might ask? Well, they’re kind of like a superhero. They kind of live in an imaginary world in a girl’s mind, called Innerspace, and they help her to find her courage and unleash her full potential. So maybe they’re a real part of her, inside?

Do we all have a superhero dwelling in our inner space? Yes, and that is essentially the message of the show. You have to dig deep inside yourself to find them. That’s what Aileen has been doing with young people for her entire career, which is why this is one of her (our) favorite shows.

Another reason Aileen likes this show is because it has a lot of great parts for actors to play. It provides opportunities for many individuals to stand out with a special character, and has multiple strong supporting roles. That’s important for Aileen, because the point of her shows is to be inclusive and give everyone who auditions a chance to participate.

Why have you never heard of this show? Well, it’s not often done. Possibly because it’s so challenging, or because it’s so nerdy. Aileen thinks it needs better marketing. It’s hard to tell from the title that it has a comic book superhero theme. Since those are big these days, maybe it would get more press if it were subtitled “A Superhero Musical.”

Why do I bring this up? Because Aileen is doing the show again! The same group of teens that she did Chicago with last summer asked her to come back for another summer production, and they picked this show. I’m really proud of her for continuing to shine as a theater educator, in spite of the troubles these past couple of years have brought.

The show is going up this weekend at Pottsgrove High School, which is in Montgomery County, Pennsylvania, to the northwest of Philadelphia. Below is an article about it in the local paper.

Area teens staging ‘impossible’ summer production at Pottsgrove High School

This blog is probably not the best promotional platform in the world, but on the off-chance that one of my two readers other than my Mom is in the area, you should think about getting a ticket! You can do it at this link:

https://search.seatyourself.biz/webstore/accounts/theartsbubble/buy-tix

Me and My BFF Go to See some High School Musicals

Me and My BFF Go to See some High School Musicals

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If you follow me on social media, you may have noticed that a lot of my posts lately are about going to see high school musicals. What’s up with that?

In some ways, it’s just getting back to normal. Over the past decade or so, my BFF Aileen and I have been going see lots of shows – professional, community theater, and at schools. This was put on hold for a couple of years because of the pandemic. This spring season, theater is back! At most of the productions that we’ve seen lately, the director’s notes in the program or the curtain speech make a point that it’s the first live show in the space since 2020.

But there’s also a particular reason for going to all these high school shows. Starting this year, I am an adjudicator for the Philadelphia Independence Awards. That means that I’m not just watching, I am judging the performances and technical aspects of the shows, and providing constructive feedback. I am very grateful for this opportunity, which I’d like to think I earned through my excellent writing in the past, though I know that mostly I owe it to the recommendation of my friend Aileen.

In the years that I have been going to live theater with Aileen, I have learned that young people are just as capable and talented as adults. Seriously, we have seen some high school productions that were better than stuff we’ve seen on Broadway. As an educator, Aileen has always believed in teaching children that they can do anything they set their minds to, and the kids at the shows we’ve been seeing have certainly proved her point.

Looking forward to more shows in the weeks to come!

Theater as a Sheltering Space for the Young Generation

Theater as a Sheltering Space for the Young Generation

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Last weekend I went to see a high school musical show – Shrek, to be precise. On the way in I was handed an LGBTQ pride flag and told it was my “freak flag.” I didn’t really know what this was about, having never seen Shrek before, but I eventually found out. “Freak Flag” is actually the name of a song in the show, sung by the fairy tale characters. It celebrates diversity and inclusion, and through it the characters resist how they are treated by the oppressive chief antagonist (you may recall the story from the movie).

It’s not a stretch to associate the unique fairy tale characters in Shrek with minority groups in real life who face discrimination and barriers to acceptance. So it seemed fitting enough to have these flags to wave while the fairy tale characters sang their “fly your freak flag” refrain. As I watched the kids dressed as fairy tale characters walking down the aisles of the auditorium, I wondered how many of them might experience discrimination in real life, given how kids on the fringe – whether gay, or neurodivergent, or just outsiders – are drawn to the arts and to theater.

This message of inclusiveness and acceptance was part of the show from the onset, as in the curtain speech (the speech made before the show to introduce it) the director spoke, as if assuring the parents, of how much he and the staff make sure all of the students feel accepted and valued. Everyone of them, like each unique fairy tale character, knew how special they were. To my mind, this was a perfect generational moment – this is exactly how I would expect Generation X (the director’s generation, as well as mine) to treat the children of the Homeland generation (to which all but the oldest of today’s high school students belong). Sheltering them in a protective bubble. Teaching them to be sensitive and considerate of others.

It was a moment that perfectly captured the zeitgeist of this era. I should have more such moments in the future, as the spring season is upon us and I will be attending a lot high school performances in the weeks to come.

History for Everyone

History for Everyone

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We went to see SIX on Broadway recently (whole other story) which is about the six wives of Henry VIII. The point of the show is that the history of the King is really the herstory of the Queens, and that they are the reason why he is famous. Also, in the production, the actors cast in the roles of the six Queens are not ethnically accurate to the original wives. This is in line with the same trend as seen in Hamilton. “Color blind casting” is what some people are calling it.

Now you could argue that if the goal is to create cognitive dissonance by casting ethnic mismatches (“an African-American George Washington??!”) then the casting is not actually “color blind.” If Hamilton were truly cast “color-blind,” then there would be a white George Washington in one production and a black one in another. But that’s not how it’s being done in this new wave of theatre. A more accurate term which is also currently in use is “nontraditional casting,” to reflect a conscious choice of casting outside of ethnic expectations to make a point, or impact the overall piece.

Bridgerton: we’re here for the hotties, not the history.

You may have seen this kind of casting in some recent streaming TV shows like Bridgerton on Netflix or The Great on Hulu. The former is set in regency England (Jane Austen’s time period) and the latter is another version of the often told story of the rise of Catherine the Great. Both are completely fictional, and quite enjoyable and well done shows. But there’s something incongruous, absurd even, about the casting, in the sense that race relations in that time period were so much different than they are today, and therefore it makes no sense for a black guy, however suave and debonair, to be a Duke in a Russian or English court in the late 1700s.

I’ll just put it bluntly: in that time period, black people were not in high positions of power in Europe, and except for rare instances noted in history, not engaged in courtly intrigue with them, as their peers. In portraying black and white people together as equals, something which makes sense in a story set in modern times, you might say that these shows are erasing history – trying to cover up or forget the shame of the racial injustices of the past. These shows are creating a fictional version of history that ignores a glaring aspect of it.

Alternately, you might say that, since these shows are simply recreating history, then by incorporating modern values about race into the narrative they are promoting inclusivity and empowering previously marginalized people. Some of these old history stories are rousing stuff, and why shouldn’t black people get to play these amazing roles? Is it so different from a woman playing Hamlet, as happened long ago? George Washington is a towering figure of American myth – why should white people get to own him forever?

I fret about the erasure of history as I write this, but then I have to wonder: is it so bad if future generations forget about the racial discrimination of the past, so long as it never returns? Maybe it’s possible to take the old adage about forgetting history too literally.

Let’s say some young person in the future is watching Bridgerton and is completely unaware of the impossibility of black and white people all dancing together at an upper class ball in regency England, unaware that back then the races did not mix like that, or be treated as equals. It’s not like we don’t routinely botch history in our many recreations of other eras. If someone then made them aware that black people were treated poorly, as a lower class of human, in that time period, their reaction might be an incredulous, “Really??! How could people have tolerated that? That is insane!” Maybe we could achieve a future where racial discrimination seems absurd and an obscure fact that needs to be dug up in old history books.

The problem, though, is that racial discrimination is still a thing of the present. So a show which pretends that discrimination didn’t exist in the past might lure us into forgetting that it exists today. It might help us ignore a glaring aspect not of history but of our own time. It might just be a distraction on TV, posing as proof that we have finally ended racial discrimination.

We need our distractions, so maybe the best thing is to think of these shows as escapist entertainment, fun and playful. Meanwhile, we continue to seriously look at racial issues in our society. We have nontraditional casting on the one hand, and critical race theory on the other, both tools in our struggle to repair race relations. Wouldn’t it be something, if some day, a mixed race cast in a period piece was not a politically charged choice, but merely a curious anachronism.