Spike Heels is a provocative comedy-drama that explores the power play between the sexes, the American class system, feminism, sex, and the possibility of a four-sided love affair. This updated take on Pygmalion by award-winning writer Theresa Rebeck deftly explores class and gender politics as the four characters battle their way through the unintended consequences of their morally ambiguous choices.
Featuring Jack Mustard, Veronica Shea, Robert Stevens and Nicole Elizabeth Zimmerman.
TICKETS: Advance tickets are $15.00, and online sales end 30 minutes before showtime. At-door (and phone in) tickets on the night of the event after that point will be $20.00.
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Visit eccentrictheatercompany.com for more information.
WHEN: Sat Apr 13, 2019 8:00 PM
WHERE: UCPAC Mainstage, 1601 Irving St., Rahway, NJ
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Eddie Money continues to delight new and old fans alike throughout the country. He burst onto the scene in 1977 with his debut album that went double platinum with hits like “Baby Hold On” and “Two Tickets to Paradise.” The former New York City police officer continued his success streak with some of the era’s most creative videos for songs like “Think I’m in Love,” "Take Me Home Tonight" and “Shakin’.”
Mickey Thomas is considered one of rock music’s most recognizable stars. He first made his mark in 1976 with The Elvin Bishop Band and the hit “Fooled Around and Fell in Love” before joining Jefferson Starship in 1979. The group immediately scored a No. 1 hit with “Jane.” The group renamed itself Starship and released a string of hits, including “We Built This City” and the Oscar-nominated “Nothing’s Gonna Stop Us Now” from the movie “Mannequin.” “It’s Not Over Till It’s Over” became MLB's theme in 1987. Every album released by the group has gone gold, platinum and multiplatinum.
WHEN: Sun Apr 14, 2019 2:00 PM & 5 PM
WHERE: UCPAC Mainstage, 1601 Irving St., Rahway, NJ
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UCPAC hits a double: a double-feature on 35 mm film!
At 2 PM, 1992’s A League of Their Own steps up to bat. This fictional account of the real All-American Girls Professional Baseball League, founded when the WWII draft led to a scarcity of male players, boasts an all-star cast. Dottie (Geena Davis) is scouted for the team and must learn to contend with demeaning audiences, an alcoholic, has-been coach (Tom Hanks), and even rivalries between players (Madonna, Rosie O’Donnell).
Next is The Natural (1984) at 5 PM, based on Bernard Malamud’s 1952 novel. Robert Redford stars as Roy Hobbs, a prodigy whose skills get him a tryout with the Cubs at 19. However, an attack leaves Hobbs with a gunshot wound, completely derailing his dream. Hobbs signs with the NY Knights, the last place team, at age 35, and must now prove through age and injury that he can still become the “best there ever was.”
From 4-5 PM, Paul Citti will play the UCPAC’s historic “Biggest Little Wurlitzer” organ!
In a shared New York City apartment, Beth and Doug struggle with the awkward aftermath of what appears to be a one-night stand that began at an affair the two were attending. During the course of the play, we learn that the two have known each other for quite a while: Beth can recite the names of Doug’s former girlfriends, and he confesses to having a major crush on her since seventh grade! The nonstop, 80-minute discussion of “our situation” includes verbal sparring; self-conscious, flinch-inducing confessions; and embarrassing announcements as the two attractive young people peel away the layers of their past and their present to reveal a surprising circumstance that will affect their future as a couple.
Driscoll’s adept direction keeps the verbal hits coming without being rushed and elicits natural, convincing performances his two actors. Talking nonstop, Jeff Ronan’s Doug is adorably awkward as he is reluctant to return to bed after what was has been a rapturous experience? and very kind and loving. It’s almost painful to watch him wither under Beth’s barbs and standoffish responses to his romantic overtures. Lilli Marques’ Beth appears to be looking for a fight; indeed, she wants him to convince her that their future is worth pursuing. It’s that revelation that arouses our sympathy for this young woman caught what will probably be a fraught situation. (No spoilers.)
The clever, snappily delivered dialogue and the sexually charged, believable chemistry between Ronan and Marques make The Way We Get By a not-to-be-missed production. The fact that it’s short and well-acted are two more reasons to see the show. But the theater is small (only 30 seats), and there are only two more weekends to catch it, so hurry on over to Summit to see this terrific addition to the local theater scene. You won’t be sorry you did.
Set in Dublin, Christian O’Reilly’s comic drama follows the relationship of two lonely thirty-something strangers, acerbic New Yorker Jane and sincere, if a bit “tick,” Dubliner Tim, from their meeting at a New Year’s Eve party in 2016 to the following December 31st, a momentous period for each of them and for them as an accidental couple. The initial chance meeting leads to a one-night stand that leads to a pregnancy that leads to questions about the identity of the father that leads to acceptance and ends up as—well, I won’t spoil the ending, but suffice it to say that it’s satisfying if not pat.
Tightly directed by Driscoll with sympathy for the two not-always-likeable characters, the production features two dynamite performances. At the center is Tim, beautifully portrayed by Brendan Scullin as a simple painter/decorator with little experience with women and a tough upbringing without a father. Employing a full-on Irish brogue, Scullin bumbles and sometimes mumbles as he tries to negotiate the relationship minefield with a seemingly more sophisticated, better educated American woman he thinks is totally out of his league. His unvarnished candor can be hilarious as well as poignant, especially in the scene where he tries to explain why he hasn’t called Jane and later when he reveals his fertility “issues” to his female counterpart. By the time December 31, 2017, rolls around, Scullin’s Tim has matured; no longer ashamed of his smaller intellect but proud of his big heart, he convinces us he’s ready to field whatever curve balls life throws at him.
Lilli Marques is equally as fine as sarcastic, sometimes nasty, often belittling Jane, the less sympathetic character of the two. Despite the brittle exterior she presents to the world, Marques is unafraid to let slip glimpses into Jane’s vulnerabilities. Dumped by her boyfriend of eight years, she reveals actions she took that probably precipitated the break. And, as an only child, she has failed to live up to her parents’ high expectations. Her most heart-rending admissions come in the play’s ultimate scene, which Marques delivers with poignancy and grace. She is to be commended for playing credibly drunk in the opening scene (top).
Centenary Stage Company’s production of Art runs February 16 through March 4 in the Sitnik Theatre of the Lackland Performing Arts Center. Remaining performance dates are Fridays, February 23 and March 2 at 8pm; Saturdays, February 17, 24 and March 3 at 8pm; Sundays, February 18, 25 and March 4 at 2pm; Wednesdays, February 21 and 28 at 2pm and Thursdays, February 22 and March 1 at 7:30pm. 
One of the problems with Later Life, stylishly directed by David Christopher, lies in Gurney’s depiction of the protagonists, leaving the actors with not much to develop by way of characterization and the audience with little sympathy for their plight. Appearing onstage for the first time in 30 years, Alan Ellis (right) looks a bit stiff and uncomfortable. For the most part, this suits Austin, a rather formal, polite man who considers Boston to be the Athens of America and worries about its loss of civility. Ellis’ rigid posture telegraphs Austin’s inability to understand the opportunity this meeting presents, a chance for a new beginning with a woman he has connected with once before. That he’s had a good life, with a fairly good marriage, successful grown children and a fulfilling career makes this fear of impending doom seem suspect. One wishes Ellis’ debut appearance would have provided more “meat” to show his dramatic stuff.
As Ruth, Leslie Williams (left) is the more likeable of the two. In contrast to Austin, her life has been less than happy: Multiple marriages and the loss of a young child engender our sympathy for her. Open to a new opportunity with Alan, she tests his recollection of their previous encounter, nostalgically commenting, “We were doing something rare in this world; we were making a connection, " one that, sadly, went nowhere. Williams’ coyness borders on the chirpy and at times her character sounds like a therapist, but, again, Gurney hasn’t given her much to work with.
Ruppert is hilarious as Jimmy (right), the “tobacco challenged” retired philosophy professor who’s trying to kick his “existential” smoking habit; a computer geek aghast that his wife is still using DOS 2.0 and Wordstar (it’s 1993); and Austin’s best friend, the ebullient Walt (right) who raves about Austin’s squash game as though it’s what defines the man. Laganga brings down the house as the busybody hostess who sets up Austin and Ruth; a snooty Brit (below) who gives a running commentary about the food she’s brought outdoors; Esther McAllister, an adoring Southern housewife, new to Boston, in whom Ruth confides the sorry details of her life; and the woman who has brought Ruth to the party and who divulges her friend’s current marital status to Austin. In these brief vignettes, Gurney reveals more about character than he does with the two protagonists, giving Ruppert and Laganga something to run with.
David Munro’s minimal set—a low wall and wrought-iron bistro set—provide all the set design needed for a play that focuses so much on character. Gordon Wiener’s sound design of party hubbub, heard whenever someone enters or leaves the terrace, adds to the verisimilitude of the setting.
