Tag Archives: Melissa Nicholson

Kid’s Play: This month, both Open Stage and Gamut showcase young acting talent

March 28, 2025 | by Stuart Landon and Hope Mager

In a not-so-quiet rehearsal room in downtown Harrisburg, 13 mighty dwarves stomp their feet in unison, their voices rising in a thunderous chorus as they polish a particularly tricky musical number.

A few blocks away, a sea of young Munchkins eagerly gathers around their Glinda, hanging on her every word as they work through a pivotal scene. For two of the city’s most renowned professional theatres, spring means one thing: it’s time for young artists to take the stage.

This season, Open Stage’s OSHKids Performance Company presents “The Hobbit: The Musical,” while Gamut Theatre’s Young Acting Company brings “The Wonderful Wizard of Oz” to life. These productions feature student actors, offering more than just a chance to perform—they serve as transformative experiences for young people, both as artists and as individuals.

“Watching these kids grow is the real magic,” said Rachel Landon, education coordinator at Open Stage and director of “The Hobbit.” They start the year a little hesitant, sometimes shy, and by the time they take their final bow, they’ve not only developed confidence on stage but also built friendships, leadership skills, and a true sense of teamwork. That’s the beauty of youth theatre.”

For over 25 years, Open Stage’s OSHKids program has provided young actors, ages 8 to 13, with exciting production experiences, alternating between plays and musicals. This year, “The Hobbit” transports audiences into the world of Bilbo Baggins, where courage and adventure collide in a quest for home.

At Gamut Theatre, Melissa Nicholson, executive director and longtime director of the Young Acting Company, has also seen growth in her students as they prepare for “The Wonderful Wizard of Oz.” Gamut formed its first Young Acting Company in 2010, performing “Snow White.” Each spring, a cast of up to 50 students, ages 6 to 18, perform a full-length play.

“Theatre is about more than just learning lines and blocking,” Nicholson said. “It’s about young people finding their voices, working together, and gaining the confidence to stand up and be seen. That kind of growth lasts long after the final bow.”

Both companies have long histories of bringing classic stories to life through young performers. Gamut’s Young Acting Company has tackled everything from “Robin Hood” to “The Jungle Book,” while Open Stage’s OSHKids have ventured to fantasy worlds like Neverland and Narnia. Both companies have explored their own original adaptations of “Alice in Wonderland,” each offering a fresh take on Lewis Carroll’s whimsical world.

“There’s nothing quite like watching a student who was once afraid to speak in front of a crowd transform into a confident performer,” Landon said. “Whether they go on to pursue theatre or not, this experience sticks with them. It changes them.”

“These productions give young actors the opportunity to see what’s possible when they work hard, take creative risks, and support each other,” Nicholson said. “It’s not just about telling great stories—it’s about teaching life skills they’ll carry with them forever.”

For the students involved, productions are more than just an after-school activity—they are the culmination of months of growth, storytelling and artistic collaboration. Whether audiences journey through middle-earth or follow the yellow brick road, they’ll witness the magic of young performers discovering their voices and bringing these timeless tales to life.

“The Wonderful Wizard of Oz” runs April 11 to 13 at Gamut Theatre, 15 N. 4th St., Harrisburg. “The Hobbit: The Musical” takes the stage April 24 to 27 at Open Stage, 25 N. Court St., Harrisburg. More information and tickets can be found at gamuttheatre.org and openstagehbg.com.

UPCOMING EVENTS

At Gamut Theatre
www.gamuttheatre.org
717-238-4111

Improvapalooza
April 5 at 7:30 p.m.

Young Acting Company presents
“The Wonderful Wizard of Oz”
April 11 to 13

The Gamut Gala
April 13

Stage Door Series presents
A reading of “Othello”
April 20, doors at 6:30 p.m.

At Open Stage
www.openstagehbg.com
717-232-6736

The 15th annual Capital 10
A Run for the Arts!
A 10-Miler and 10k starting on City Island
April 5 at 9 a.m.

“I’m Proud of You”
A new play about journalist Tim Madigan’s friendship with Fred Rogers
Through April 12

Black NewsBeat
Dr. Kimeka Campbell leads conversations on culture and activism.
April 9 & 23 at 7 p.m.

EFF Live!
A night of outrageous, comedic erotic fan fiction readings
April 19 at 7:30 p.m.

“The Hobbit: The Musical”
OSHKids students bring Tolkien’s adventure to life.
April 24 to 27

If you like what we do, please support our work. Become a Friend of TheBurg!

Character Building: Youth acting classes inspire creativity, confidence and a love for the stage

February 27, 2025 | by Gina Napoli

Students of The Alsedek Theatre School. Photos courtesy of Open Stage.

The year was 1980-something, and awkward me wanted acting classes. With only the Yellow Pages, my mother enrolled me in Open Stage Studio/School, now The Alsedek Theatre School (TATS).

Although both parents have now forgotten my onstage appearance, we’re even, because I forgot my lines. Decades later, Anne Alsedek was kind enough to pat my shoulder when I shared that memory. Although my current role in theater is clearly “ticketholder,” the lessons stuck through 2020-something.

For today’s youth, Harrisburg is spoiled with an array of local programs for both summer camps and year-round instruction, as far as Lancaster, York and the west shore, or as close as downtown Harrisburg. The Alsedek Theatre School and Gamut Theatre both have grown robust programs, and the newer Harrisburg Improv Theatre has youth classes to infuse your child with a flair for the unprepared.

And if summer camps still seem far off, keep in mind that many theater programs open registration months in advance.

Every acting program is going to teach basic acting techniques like voice, body movement, character building and collaboration. “Yes, and” your child can expect to derive much more to build their own characters: confidence, empathy, critical thinking, resilience, self-actualization, self-regulation, creativity, empowerment, public speaking, taking turns and valuing others’ contributions.

Whether your child has professional stage aspirations, or just wants to try acting, there’s a place for all.

Sparking Imagination

Head of TATS and Open Stage’s Producing Artistic Director Stuart Landon described the school’s culture as a “supportive community, a welcoming, collaborative space where bold, intimate storytelling thrives.”

To help students ages 8 to 18 grow artistically and personally through meaningful experiences and social awareness, their curriculum emphasizes process over product, valuing experimentation in safe spaces.

Teens experiment by connecting with challenging stories and material, exploring complex characters and themes. A focus for younger students is sparking imagination through literature and storytelling.

“Thought-provoking stories push students to expand their empathy and understanding of the world,” Landon said.

With the belief that theater is art plus discipline, TATS employs lead instructor and education coordinator Rachel Landon, a heavily credentialed acting teacher with international experience. Stuart praised his sister’s abilities to connect with students of all levels, providing what he described as extraordinary mentorship, bringing out the best in her students.

“[Rachel] believes in meeting her students where they are, guiding them to discover their unique voices as artists and individuals,” he said.

Board member Heidi Bowie, also mother to Sawyer, 14, voiced high praise for both Landon siblings, describing TATS as “a family that brings you in.”

“The directors understand how to push limits to keep kids comfortable, but also learn and grow,” Bowie said. “The kids become their best selves onstage.”

Be Seen, Be Heard

Gamut Theatre also attempts to challenge students, with an actor-based approach.

Executive Director Melissa Nicholson said that Gamut allows kids ages 8 and older to explore what’s possible without trappings like costumes, makeup or props.

Your child’s age is not a defining factor for which class they belong in. Placement is based on proficiency, with promotion to the next class based on instructor recommendations. Gamut’s capstone class offering is by invitation only.

Gamut’s approach focuses on students using their voices, bodies and minds as tools to create characters and ensembles, presenting themselves well onstage to be seen, be heard and be understood.

The curriculum encourages experimenting and risk-taking, allowing students to explore vocally and physically playing characters different from themselves, not only in gender or age, but also how animal characters might think or move.

“It’s cool to be able to do that with young students,” Nicholson said. “When you get older, you see how you’re most marketable, and stay in that lane.”

Gamut’s faculty attracts accredited instructors holding theater degrees, teaching degrees or both. With instructors, classroom assistants and actors experimenting, everyone is learning from each other and enriching themselves with experience. Instructors who have less experience may serve as a classroom assistant under a more seasoned one, for example.

Jessi Gazsi, 39, mother to two children under 10 with opposite personalities, said that she loves Gamut’s accessible vibe and foundation of inclusion, which unexpectedly extended to a sometimes-lonely mom finding a valuable community of adult friendships post-pandemic.

Playing & Experimenting

For youth that may want to try something a little different than typical acting classes, Harrisburg Improv Theatre offers a chance to go off script.

Founder/owner Jake “Straight Outta” Compton said, “We’re punk rock with a culture of playtime.”

Improv training is equal parts writing, directing and acting, at the same time. Although instructors don’t emphasize acting basics, they highlight other important points.

“We talk about what works in scenes, about having honest emotional reactions,” Compton said. “Many improvisers end up in film rather than theater because of understated acting styles. It’s more subtle, closer to reality, and plays better in film, not so much onstage.”

With no scripts and barely any setting or props onstage, iron is sharpening iron. The class is equally shaped by the students as collaborators.

“It’s all about scene work and building with your person. We collaborate and imagine building a world together,” Compton said. “Kids are great at playing like this. You say, ‘Yes, and…’ and add to it.”

Improv is all experimental, with rewards exceeding risk, and everyone supporting each other.

“There’s value to kids interacting in a physical space, making eye contact… getting a feel for timing that you might not get in traditional acting classes,” he said.

HIT offers kid-prov classes for ages 8 to 17, plus mixers with adults.

The theater’s first class is now reaching adulthood, enjoying success in acting, with some even enrolled in the Capital Area School for the Arts.

“Stage time has helped them be more confident, act in films and win acting competitions,” Compton said.

While some acting class students may go on to pursue the craft professionally, others may not, but instructors still see the benefit that the education had on them.

Landon is equally proud of TAT’s non-acting alumni.

“Anne Alsedek believed theater teaches essential skills like communication, collaboration and creative problem-solving—reflected in the success of our students across all disciplines,” he said.

Nicholson advocates for a different definition of success: a love for acting and lifelong theater involvement.

No matter which youth theater program you consider, ask about scholarships, internships, discounts, free tickets, ridesharing and working in exchange for tuition. Accessibility makes the dream work.

Class Act
Are your kids interested in exploring and developing their thespian talents? Fortunately, there are quite a few programs offered in our area.

Harrisburg
Gamut Theatre Group: www.gamuttheatre.org/gta

Capital Area School for the Arts: www.casa-arts.org/theatre

Harrisburg Christian Performing Arts Center: www.thehcpac.org

Harrisburg Improv Theatre: www.hbgimprov.com/classes

Open Stage: www.openstagehbg.com

Camp Hill
The Pollock Center: www.thepollockcenter.com

Hershey
Hershey Area Playhouse: www.hersheyareaplayhouse.com/theatre-academy-offerings

Lancaster
Fulton Theatre: www.thefulton.org/community/academy/classes

Popovsky Performing Arts: www.popovskyperformingarts.com

New Cumberland
West Shore Theatre: www.westshoretheatre.org/arts-and-education

York
The Belmont Theatre: www.thebelmont.org/classes

Appell Center for the Performing Arts: www.appellcenter.org/shows-and-tickets/category/workshops-classes

If you like what we do, please support our work. Become a Friend of TheBurg!

A Different Kind of “Cinderella”: A new adaptation from Gamut Theatre’s Young Acting Company holds surprises

March 28, 2024 | by Carolina Nicholson

Photo by John Bivins

When you hear “Cinderella,” chances are that you picture an evil stepmother, two bumbling stepsisters, some talking mice, and, of course, a glass slipper.

That’s the image Disney painted for us with the animated film in 1950 and resonates with young and old alike today.

But did you know that the classic tale by Charles Perrault dates back to 1697 in France?

Gamut Theatre’s Young Acting Company (YAC) is bringing Perrault’s tale to life with their upcoming production of “Cinderella,” adapted by Sean Adams. Even though you can expect the “evil stepsisters” in the show, Adams sought to give the characters more depth and humanity than the classic portrayal. You may even walk away with a new favorite character.

“Sean took a lot of care creating a script of strong women and not just painting characters as ‘good’ or ‘evil,’” said Melissa Nicholson, director of the YAC at Gamut. “The characters are multi-layered and fun to play, and that makes it fun to watch!”

Nicholson also admitted that she hasn’t seen the Disney movie, but this stage version will be just as entertaining—if not more.

Nicholson has been directing the YAC annual performance since 2010 and has learned a lot about working with students during that time.

“There are always challenges working with a wide age range,” she said. “It takes a lot more time to explain and run things with the very young ones, but it’s all worth it to have so many different ages involved. The older students really look out for the younger ones and mentor them along the way. To me, that is one of the most rewarding aspects.”

Even with its ups and downs, the process always holds more joy than frustration.

“I love watching returning students grow as young performers from year to year and also the ‘new to me’ students growing during the process,” Nicholson said. “From the very beginning, we try to instill a sense of ensemble while pushing them individually to be seen, be heard and be understood on the stage. When it clicks for them and they really start to own the stage, that’s when I get really jazzed.”

She said that she also enjoys watching students help each other out and volunteer to assist with things above and beyond just performing on stage.

“YAC students handle all of their own scene changes,” she said. “So, everything you see on stage is student-driven.”

For this production, in particular, the YAC team decided to go with a theme many parents and grandparents will be excited about—the 1980s. The audience is sure to recognize much of the soundtrack to the show.

According to Nicholson, audiences can also expect to see a classic Punch & Judy routine, some fun dances, a little swordplay, and, as always, a happy ending.

“Cinderella” runs April 12 to 14 at Gamut Theatre, 15 N. 4th St., Harrisburg. For more information, visit www.gamuttheatre.org.

UPCOMING EVENTS

At Gamut Theatre
www.gamuttheatre.org
717-238-4111

Improvapalooza
April 6 at 7:30 p.m.

“Cinderella”
April 12 to 14
Friday at 7:30 p.m.
Saturday at 2:30 p.m. & 7:30 p.m.
Sunday at 2:30 p.m.

“Romeo and Juliet”
April 19 to 21
Friday and Saturday at 7:30 p.m.
Sunday at 2:30 p.m.
The Gamut Gala
April 28 at 4 p.m.

At Open Stage
www.openstagehbg.com
717-232-6736

The 14th Annual Capital 10-Miler
A run for the arts
Saturday, April 6 at 9 a.m. 
City Island 

OSHKids Performance Company 
“Charlie and the Chocolate Factory”
April 11 to 14

EFF (Erotic Fan Fiction) LIVE! 
Friday, April 26 at 7:30 p.m.

If you like what we do, please support our work. Become a Friend of TheBurg!

Stay Awhile: Sankofa, Gamut team to highlight local history in “The Jackson Rooming House: Music’s Resting Place”

January 30, 2024 | by Gina Napoli

Cast of ” The Jackson Rooming House: Music’s Resting Place.”

When I think of great musicians like Louis Armstrong and Duke Ellington, Ma Rainey and Bessie Smith, Count Basie and Cab Calloway, Muddy Waters and Sister Rosetta Tharpe, I can’t picture any of these colossal stars in my hometown. But back in their heydays, all played Harrisburg venues as they worked their way up and down the East Coast.

This month, their journeys through Harrisburg will be highlighted in Sankofa African American Theatre Company’s original play, “The Jackson Rooming House: Music’s Resting Place.” Sharia Benn, Sankofa’s executive artistic director, and Clark Nicholson, Gamut Theatre’s founding artistic director, co-authored this musical drama to celebrate Black History Month.

The play’s plot features the journeys of trailblazing Black artists who brought their legendary jazz, gospel, blues, country and western, and rock ‘n’ roll music to towns all across the country. It’s set against the historical backdrop of Jim Crow-era segregation, when mainstream travel wasn’t considered safe for Black people.

“Their music formed the contemporary music we enjoy today,” Benn said. “It became America’s music, enjoyed by all races and generations of people.”

The play opens with three young Harrisburg residents, who find themselves in the ruins of the Jackson Rooming House on N. 6th Street. When they cross over a magical portal, their surroundings transform into the hotel’s former glory during its primetime.

The young people learn directly from former owner, German Jackson, and present-day guides not only about the music that influenced the generations, but about how Black performers were afforded safe and dignified transportation and lodging by using The Green Book, a Black-friendly travel directory. From the 1920s through the 1970s, the Green Book listed the Jackson Rooming House, among other Harrisburg landmarks and Black-owned establishments.

Even if you’re only familiar with the present-day burger joint next door of the same name, this play will reanimate the Jackson Rooming House as a lively scene, complete with well-appointed rooms and concierge-level service. (Some of the musicians mentioned were even painted on the building’s mural before it collapsed in 2021.) And audiences will learn about the wonderful world of local rooming houses that hosted these famous entertainers so long ago.

Although Benn and Nicholson researched and wrote the play with middle school and high school students in mind, people of all ages will learn some important local history, as well as the greater message. And if education isn’t why you usually attend live theater, don’t worry—the play features a great live band you can skip, scat and doodle-do to.

Local actors play all the roles, many performing in previous productions for both Sankofa and Gamut.

“Local is part of Sankofa’s mission,” Benn said. “We have talent here that needs to be mined, developed and encouraged. When we do have talent, they will go away [from Harrisburg], but I want them to have something to come back to—and for.”

Marking the sixth year of Sankofa and Gamut collaborating, Gamut Theatre’s Executive Director Melissa Nicholson values this partnership in support of Gamut’s mission to tell stories in new and exciting ways, to bolster their educational programs, and to be able to share history with student groups.

“It’s important to Gamut that we cherish classic stories, stories from the past and to share with future generations where we fit into history, especially Black history,” Nicholson said.

Benn is hopeful that this play will help to promote a sense of safe belonging for young people, especially “under the shadow of the pandemic and political unrest.”

Directly following each show, talkbacks will give attendees the opportunity “to ask questions, learn and share in a community where we find ourselves divided politically, culturally and socially,” Benn said.

“Music has a unifying spirit, bringing us together, allowing us to level set, to come out stronger, more respectful, more peaceful than when we went in,” she said.

Benn’s other challenge: “Sit next to someone you wouldn’t otherwise.”

And a postscript—Benn feels a special connection to Gertrude “Ma” Rainey because she portrayed her in Open Stage of Harrisburg’s 2012 production of “Ma Rainey’s Black Bottom,” earning Benn a “Best Actress in a Play” award from Broadway World.

“The Jackson Rooming House: Music’s Resting Place” runs Feb. 10 to 25 at Gamut Theatre, 15 N. 4th St., Harrisburg. For more information and tickets, visit www.sankofatheatrehbg.com or www.gamuttheatre.org.

If you like what we do, please support our work. Become a Friend of TheBurg!

Burg Review: Climb aboard Gamut’s merry, charmingly silly “H.M.S. Pinafore”

November 19, 2023 | by Gina Napoli

In November 2022, when Gamut Theatre put on a sampling of Gilbert & Sullivan’s 14 operettas, (“Innocent Merriment; Or, an Evening with Gilbert & Sullivan”), it was one of Gamut’s many lighthearted experiments.

At the time, Executive Director Melissa Nicholson said, “We’re dipping our toes for a full-length Gilbert & Sullivan show, seeing how well-received it would be, seeing if people would like it.”

We – the royal “we” – might be just a white mouse in Gamut’s cheese maze, but we are chuffed and amused by playwright/composer team’s “Gilbert & Sullivan’s H.M.S. Pinafore,” a musical/comedy/opera/romance mishmash that epitomizes British humor, chock-a-block with silly dialogue, quirky characters, over-the-top slapstick, comically irresponsible use of props, and enough 16^th and 32^nd notes to make any musician go at sixes and sevens.

But even with the longest song titles and busiest musical score, this cast expresses nothing but foolish mirth. At the helm of the swelling seas of “Gilbert & Sullivan’s H.M.S. Pinafore” are Director/Choreographer/Tenor Benjamin Krumreig (Ralph Rackstraw) and Conductor/Music Director Nicholas Werner. And a brava zulu to Costume Designer Charlene Gross for stunningly bedecking the ladies and sailors in the opulent finery of the day.

For those wary of embarking on an operetta, fear not. Unlike traditional opera, the lyrics are in English, so you won’t need subtitles to follow along. The songs are beautifully sung, with satisfying harmonies lilting easily on the ears. Fast-paced and ridiculously silly, lyric themes bow to a social class system that even Americans, with our ignobly born stations such as they are in comparison, can surely understand. And if you miss some of the tongue-twisters the first time around, they will likely be repeated, usually two lines later, if not right away.

Numbers that are especially shipshape and Bristol fashion:

The sailors (Tony Barber, Kwyn Caldwell, Daniel Hutchins), Bill Bobstay (Joe Regan), Dick Deadeye (Preston Schreffler) and Krumreig impressively blend their vocal ranges to deliver, “We Sail the Ocean Blue,” “A Maiden Fair to See,” and “A British Tar.” The harmonies resonate well with Captain Corcoran (Eric Mansilla) and his strong tenor in “I Am the Captain of the Pinafore.”

Mansilla shows his range in his solo, “Fair Moon, to Thee I Sing,” in sweet duets with Buttercup (Latreshia Lilly) in “Sir, You are Sad” and “Things are Seldom What They Seem,” and his vocally complementary duet with Schreffler (bass), “Kind Captain, I’ve Important Information.”

As the nobly born Josephine, Sarah Anne Hughes resembles a delicate porcelain figurine. Her lovely soprano touches the ceiling and keeps rising with standout aria, “Sorry Her Lot,” the complex, “The Hours Creep on Apace,” and her nearly romantic duet with Krumreig, “Refrain, Audacious Tar.”

As the highbrow and haughty Sir Joseph Porter, Thomas Hostetter makes me laugh with almost everything he sings and says and does and dances onstage. He really shows his character in the revealing, “When I Was a Lad,” all about how he failed up through the naval ranks. Hostetter’s contribution plays a key role to my favorite song of the play, the hilarious “Never Mind the Why and Wherefore,” also with Hughes and Mansilla.

None of my blathering is intended to diminish the remainder of the ensemble cast (Larissa Curcio, Madison Eppley, Rachel Rochet Gerber, Jonneke Van Olden and Sarah Pugh), whose collective chorale rings out over any number of bells with the resounding and lively, “Sir Joseph’s Barge is Seen,” “Now Give Three Cheers,” “Carefully on Tiptoe Stealing,” “Farewell to My Own,” and “A Many Years Ago,” amongst others.

The rich and robust score sheet is enhanced with some of the goofiest dance steps one has seen in over a year and a fortnight. With as complicated and majestic a performance delivered by all the vocalists and musicians, (including keyboardist Nick Werner, violinists Margan Hackett, Kierra Heinly, and Joseph McAnulty, and cellist Sarah Topping), the dancing is, well, erm, laughably achievable – intentionally so.

I’ve often heard it said that to perform opera is the artistic equivalent of an Olympic athlete. So, I give three cheers to all hands (that’s the entire cast) for their enthusiastic vigor in bringing this jolly good show aboard Gamut’s stage.

“Gilbert & Sullivan’s H.M.S. Pinafore” runs Nov. 18-Dec. 3 at Gamut Theatre, 15 N. 4^th Street, Harrisburg. Find more information at https://www.gamuttheatre.org/.

If you like what we do, please support our work. Become a Friend of TheBurg!

Raised by Wolves: “The Jungle Book” and growing up with Gamut’s Young Acting Company

March 30, 2023 | by Francesca Amendolia

Anjali Mishra as Mowgli in “The Jungle Book”
Photo courtesy of John Bivins Photography

Think you know what “The Jungle Book” is all about? If you’ve only seen the Disney movie, think again.

Rudyard Kipling’s 1894 stories about a “man-cub” abandoned in the jungles of India and raised to adulthood by the animals who live there are darker, richer and more complex than the animated film (or the live remake). There’s no lazy Baloo the bear teaching Mowgli about the bare necessities or King Louie singing about how he wants to be like “you-oo-oo” (you’re welcome for the earworms). Instead, there are real dangers, important lessons to learn about the “Law of the Jungle,” and bullies to face down.

Kipling’s Mowgli stories explore what it means to be “civilized,” the importance of found family, and the pain and exhilaration of growing up. It’s these stories that local playwright Sean Adams first adapted in 2012 for Gamut Theatre’s Young Acting Company (YAC), a script he has revised for the 2023 production, which will be the first full-blown, 50-young-actors YAC show since 2020, when COVID shut down “Cinderella.” (That show was turned into a podcast that you can still listen to).

After last year’s “Panchatantra Tales,” directors Melissa Nicholson and Rachita Menon were eager to extend a collaboration that both artists had found rewarding and invigorating. That production, which told several of the stories sometimes described as the Indian equivalent to Aesop’s fables, combined Gamut’s tradition of classic theatre with classical Indian dance and music. The result was a beautifully rendered synthesis of cultures, talents and energies.

Looking for another project that would benefit from their diverse training, expertise and cultural backgrounds, they decided upon “The Jungle Book,” a story set in India and one that draws, according to Kipling, on the Panchatantra.

Nicholson, executive director of Gamut Theatre, wanted to do a few things differently from the 2012 production. First, Mowgli would be a girl—not just the actor, the character.

“I wanted to see what happens if you change the gender of this character,” said Nicholson.

Turns out, it doesn’t change much—it’s still a complex coming-of-age fable about figuring out who you are and where you belong.

A more pervasive, if subtler, change was giving Mowgli a stronger voice.

“I noticed, in the first version, people spent a lot of time telling Mowgli who he was and where he belonged,” Adams said. “This time around, people do a lot more listening.”

That’s important, Nicholson and Adams agree, because young people—the people telling this story—are very invested in figuring things out for themselves.

“It’s also funnier,” said Adams, which gives the actors (whose ages range from 6 to 18) something to dig their comedic teeth into.

There are several other rewarding challenges for this cast, Nicholson points out—there’s dance and movement and vocal work. How can actors use their voices to create distinctive animal calls? How can they stand or move like a wolf, a monkey, a snake, a tiger? Actors must tell the stories with their bodies as well as their voices.

That’s also true for the dancers in “The Jungle Book,” whether they’re classically trained or just beginning to learn. Menon, founder and artistic director of the Rasika School of Dance, explains how, in Bharatanatyam, a classical form of Indian dance, there are specific hand gestures to describe the natural world: vines, flowers and trees. Her choreography also echoes the various jungle inhabitants: tigers, bears, snakes, peacocks, deer and so on.

While certain dances (such as the opening piece) will be performed by trained Bharatanatyam dancers, Menon is also teaching the young actors two Indian folk dances: Kurathi Attam from south India and a north Indian dance called Garba, where dancers use colorful skirts to create patterns and formations. Accompanying the dancers (and adding weight to their steps in the Elephant Dance) will be a trio of djembe drummers from Studio Solomon.

Stories and plays about people figuring out who they are and where they belong are enduring for a reason—self-discovery is a journey everyone takes. Mowgli discovers that she fits in nowhere—not in the jungle with her wolf family or bear teacher but also not in the village with humans. To grow up, she realized that she will have to create her own definition of family, that what matters most is not who you were born to be but rather who you choose to become.

“The Jungle Book” performed by Gamut Theatre Group’s Young Acting Company, runs March 31 to April 2 at Gamut Theatre, 15 N. 4th St., Harrisburg. For more information, call 717-238-4111 or visit www.gamuttheatre.org/yac.

UPCOMING EVENTS At Gamut Theatre
www.gamuttheatre.org
717-238-4111

“The Jungle Book”
Young Acting Company
April 1 to 2

“Macbeth”
April 14 to 16

The Gamut Gala
April 23

“Rollicking Ripsnorters”
Popcorn Hat Players
April 29 at 1 p.m.

If you like what we do, please support our work. Become a Friend of TheBurg!

Burg Review: Gamut stages “triumph” with ambitious, skillful tribute to Gilbert & Sullivan

November 7, 2022 | by Gina Napoli

Sarah Anne Hughes and David Ramón Zayas

Gamut Theatre opened its 30^th season last weekend with “Innocent Merriment; Or, an Evening with Gilbert & Sullivan,” directed by trained opera singer Benjamin Krumreig.

Popular for their distinctively British Savoy operas and operettas, (a mashup of musical, comedy and opera), Gilbert & Sullivan composed 14 operettas. Incorporating a sampling of 28 of the duo’s greatest hits of music and silly skits, yet intentionally skips over the unnecessary element of a continuous plot.

Before the show begins, the stage looks like we’re getting a peek behind the curtain of an old Victorian-era theater, with apparel draped all about the gilded antique furnishings, including two prop trunks with the surname of their producer D’Oyly Carte (get it?) painted on the sides.

This sets the mood perfectly for the ambush of intentionally ridiculous nonsense that characterizes British humor, rife with over-the-top characters, whimsical slapstick, ridiculous storylines, absurd dialogue exchanges and illogical reasoning that tippy-toes down a path of no particular shape.

Here you will find, among other hilarity, foolish choreography, the sort that features grown men playing pat-a-cake and the same sort of slap games you’d see little girls playing during recess.

Unlike traditional opera, you won’t need subtitles to understand it, although some of the speedier scores require listening with a processing speed that runs molto rapidamente than the typical brain. And I would have to ask my dog to translate the lyrics of some of the soprano arias that hit those impossibly high falsetto notes.

If some of these songs were a novel, there would be very little white space. They are that packed, filled with satisfying harmonies, tongue twisters with four-syllable words, and humorous lyrics that still hold up over a century later.

The sole instrument stringing along the merriment is a playful piano. I’ve learned from past performances how talented Nicholas Werner (pianist) is. But I didn’t imagine that his fingers could run a marathon all by themselves. To play over two hours’ worth of Gilbert & Sullivan’s music, heavily laden with 16^th and 32^nd notes, is the equivalent of doing continuous drumrolls. It’s a demanding gig, and Werner nailed it.

I would rattle off all the notable songs and skits I enjoyed, but the titles are long, my word count is firm, my revered editor is a stickler, and he finds me long-winded enough already. Suffice it to say, the entire cast earned their respective places in this ensemble cast with their impressive singing and acting chops. (One baritone, Matthew Hogan, took the role so seriously that he carved his facial hair into literal Victorian-era chops.)

In addition to the original score, baritones Hogan, Jimmy Kohlmann and David Ramón Zayas treated us to a bonus track: a parody of a Gilbert & Sullivan favorite entitled “I am the very model of a modern-major Shakespeare fan.” This song is the tongue-twister to beat them all. Bravo for their extraordinary memorization and lightning-fast recitation skills. (Lyrics by Mya Gosling, whose works on Shakespeare are worth following into its rabbit hole.)

I am impressed by the number of players making their Gamut debut with this musical: Tony Barber (tenor), Maggie Haynes (mezzo-soprano), Sarah Anne Hughes (soprano), Melissa Janicki (soprano), Latreshia Lilly (soprano), Becky Mease (soprano), Olivia Ramsey (soprano), and Scott Sealover (tenor). If the debuts weren’t mentioned in the program, I would not have suspected. Additionally, the newish Sydney E. Crutcher (soprano) lends her lovely lilting voice to the show and also works for Gamut as a production manager.

Through this production, Gamut Theatre Executive Director Melissa Nicholson said, “We’re dipping our toes for a full-length Gilbert & Sullivan show, seeing how well-received it would be, seeing if people would like it.”

For a little peek behind my proverbial curtain… although I am a fan of opera and musicals, my husband George is not. The one and only time I dared to drag him to an opera, he smuggled a six-pack to the theater to get him through it. But because he regularly and randomly sings all 12 syllables of my full name in 16^th and 32^nd notes more often than John ever sang about Yoko, I think George would enjoy Gilbert & Sullivan. If my caveman everyman can find something to enjoy in Gilbert & Sullivan’s oeurve, I think anyone can.

Bravo/brava to cast and crew for undertaking this vigorous show. The vocal ranges showcased here (to borrow from my favorite British baking show) are a triumph, with the actors delivering a remarkable amount of comedy, energy and detail in their performances.

“Innocent Merriment; Or, an Evening with Gilbert & Sullivan” runs through Nov. 27 at Gamut Theatre, 15 N. 4^th Street, Harrisburg. Find more information at www.gamuttheatre.org.

Burg Review: Gamut, Narcisse offer a fresh, fascinating take on Shakespeare’s “The Winter’s Tale”

June 3, 2022 | by Gina Napoli

Free Shakespeare in the Park returns with “The Winter’s Tale” at the band shell in Reservoir Park.

In its 29^th year of presenting Free Shakespeare in the Park, Gamut Theatre has partnered with Narcisse Theatre Co. to present the experimental, “The Winter’s Tale.”

This tragicomedy has little to do with cold weather and everything to do with changing seasons – a metaphor Director Clark Nicholson attributes to the sometimes unexpected and abrupt shifts we encounter in day-to-day life.

Presenting “The Winter’s Tale” outdoors amidst smells of sunscreen and insect repellant is intentional comedic irony from Gamut, in stark contrast with the play’s heavy beginning. The only cold things you’ll find then are the icy relationship between Sicilia’s King Leontes (FL Henley, Jr.) and his very pregnant wife Queen Hermione (Erika Eberly), and the cold-blooded murder and intrigue that ensues.

As soon as the heavenly intro music ends, plucking at your mood like sad violins, the conflict smacks you straight away. Leontes sees Hermione giving King of Bohemia Polixenes (Michael James Kacey) extra attention. At first, Leontes delivers veiled, passive-aggressive subtext to his wife. It escalates quickly into aggressive-aggressive. Blinded by rage, Leontes accuses Queen Hermione’s unborn child of being a bastard, physically attacks Hermione during her trial, and then orders the Queen and her accused lover Polixenes murdered. Their son, Prince Mamillius (Zahar Georgievskiy), is killed in the crossfire, and Leontes exiles the newborn to be consumed by the elements.

Even if the iambic pentameter dialogue format confuseth thee, you can easily pick up what Henley is laying down in his body language, voice tone, facial expressions, and interactions with the other characters. You can see the scorn steaming off his scalp. His dialogue is filled with Elizabethan-era words we need to bring back, such as hobby horse, bedswerver and cuckold. The first two are Leontes’ fancy way of saying that his wife is, well, promiscuous. The final word refers to his shame about it.

Leontes’ court advisors recognize he is abusing his power. Paulina (Jenni Chavis) brings a strong presence to the impassioned court physician and advisor to King Leontes. She chastises him for his vengeful behavior, especially his decision to reject the newborn princess. Camillo (Christopher Ellis), who was supposed to be the cupbearer carrying out the murder of King Polixenes, warns him instead.

The very tail end of Act 1 is when the comedy kicks in, and it carries through Act 2. Its comic relief helps us recover from that grim Act 1. Fast-forward 16 years, and the banished princess is all grown up. She has lived as a normal person among Bohemians in colorfully mismatched costumes, like a neon patchwork of humble folks who have a knack for fashioning something happy and useful out of very little.

The lighter mood shift is our reassurance that Princess Perdita (Sydney Crutcher) has led a good life, and we learn she’s found love with Florizel (Jimmy Kohlmann), Prince of Bohemia. Their marriage ceremony flows seamlessly with Bohemia’s sheep shearing party. Almost all loose ends are tied up at the end, with the plot mystically and beautifully foraying into the spiritual realm. (We inwardly hope that King Leontes, despite his treachery, is Perdita’s father. Otherwise, that family tree just became a wreath.)

Although Gamut Theatre remains committed to incorporating Shakespeare’s original verbiage, the actors do take some liberties in interpreting their characters, a choice that Gamut’s Executive Director Melissa Nicholson supports. It’s a reminder that The Bard’s dialogue isn’t only for the erudite.

For example, the Shepherd (Jeff Wasileski) and the Clown (Josh Miccio) could have been acting their scenes at a hillbilly camp somewhere in the deep South. And Autolycus (Joel Colvin) has an overpowering Bronx accent. The Shepherd breaks character to deliver funny, tension-easing, contemporary one-liners.

Part of the romance of sitting outside to absorb live theater is the Reservoir Park venue, complete with a fresh coat of paint on the band shell, the familiar cracks and crumbles a blight of the past. Whenever the lighting (Tristan Stasiulis) shifts within the band shell, the set, props and even the flooring change color. With no lighting, the stage looks chalky and distressed. But the right lighting gives it an iridescent quality, like a mysterious crystal pirate ship sailing off and landing in an enchanted forest. The lighting in the spiritual realm is particularly inspired.

Nearing the end of his life, the Bard likely wrote the end of “The Winter’s Tale” with a kinder quill than perhaps the corners of the love triangle deserved. The themes find timeless relevance and resonance within humanity of any era: love and revenge, redemption and reconciliation, mistakes you can’t undo, and leaders coming to terms with accountability. Those who abuse their power will eventually have to answer for their actions, even if their consequences aren’t immediate.

If you go, bring a lawn chair, umbrella, lawn blanket, sunscreen, insect repellant and your flexibility. Weather may foil the plot, but the interloping background noises become part of the three-hour experience.

Gamut Theatre’s Free Shakespeare in the Park, “The Winter’s Tale,” runs June 3 through 18, Wednesdays through Saturdays, in Reservoir Park, 100 Concert Dr., Harrisburg. Admission is free. To really get your Shakespeare on, Gamut will present “A Midsummer Night’s Dream” on June 22 through 24, and Narcisse Theatre will perform “Antigone” on Sept. 2 through 10 at Italian Lake, Harrisburg.

If you like what we do, please support our work. Become a Friend of TheBurg!

“Panchatantra Tales” to bring Indian dance, culture to the theater stage

April 4, 2022 | by Maddie Gittens

Dancers in “Panchatantra Tales” at a rehearsal

Rachita Menon remembers reading the Panchatantra, a series of Indian fables, as a young girl.

Now, those childhood stories, that many Indian children like Menon grew up with, will become a stage production for the first time.

“Those stories always stuck with me,” she said. “I wanted to bring them to life.”

Menon’s Rasika School of Dance has collaborated with Gamut Theatre to create “Panchatantra Tales,” bringing Indian classical and folk dance to the stage in central PA. The show will run at Gamut Theatre for one weekend only, from April 8 to 10.

At her dance studio in Enola, Menon teaches the traditional south Indian dance style “Bharatanatyam.” She has always felt that this style of dance would be perfect for the stage, with its expressive hand gestures and beautiful dress, she said.

“We’ve seen this in bigger cities, but we haven’t seen something like this in central PA,” Menon explained.

The “Panchatantra Tales” was written by Sean Adams and is co-directed by Menon and Gamut’s Executive Director Melissa Nicholson. It is based on Indian stories that are comparable to “Aesop’s Fables.” The show is both comical and packed with meaning, touching on themes of kindness and respect, much like the original stories.

The show follows a noble king in ancient India who has three big problems: his children, the reckless and lazy royal princes. He fears for the future of his people, and thus consults with a wise guru, who teaches the young princes through animal stories and folk tales. These lessons are woven together to form the Panchatantra (“Five Treatises”). In the end, the princes will learn about dharma–the duties and virtues expected of us–and the importance of being part of a bigger picture.

Both students from Rasika School of Dance and actors from Gamut’s Young Acting Company will perform together in the show. Performers range in age from 6 to 18 years old.

“This is a big dream come true to me,” Menon said. “To promote this style of dance in a way that the global masses can relate to. It’s crossing boundaries.”

Audience members can expect to see lots of dancing, of course, but also singing, beautifully designed costumes, exciting fight choreography and classical Indian hand gestures. It’s a play that anyone of any age will enjoy, Menon said.

“It’s an experience that everyone should come watch,” Menon said. “It’s not something you’ve seen before.”

Gamut Theatre is located at 15 N. 4^th St., Harrisburg. For more information about “Panchatantra Tales,” visit their website. Tickets for the show are still available, but selling fast, according to Menon. They can be purchased on Gamut’s website.

If you like what we do, please support our work. Become a Friend of TheBurg!

The Hidden Gems of HBG: A Bonus Valentine’s Day Podcast

February 14, 2022 | by Karen Hendricks

What are the hidden gems of Harrisburg? And where are these sparkling treasures?

That’s what we asked nearly all of our podcast guests over the past year. But—surprise, surprise—we saved these audio treasures for this bonus Valentine’s Day episode.

This special Valentine’s Day edition of TheBurg Podcast is sponsored by Explore HBG.

Nearly 25 guests reveal their favorite, go-to places they consider unique to Harrisburg, Pennsylvania. And some of the answers may surprise you: They range from sparkling gems of nature to the capital city’s cultural gems, outstanding restaurants and businesses, iconic architectural gems, plus even a few quirky local gems. Some are truly hidden, off-the-beaten-path gems.

Discover the hidden gems of the Burg, on TheBurg Podcast: Hosted by Lawrance Binda, editor of TheBurg; and Karen Hendricks, TheBurg Podcast’s host and producer.

Guests, sharing their hidden gems, include:

Melissa Brown, UPMC Central PA
Fred Burton, Harrisburg-based writer
George Conrad, president, Standing Stone Trail Club
Karen Cullings, executive director of the Daphin County Library System
Seth Dellinger, Animal Advocates of Central PA
Jenifer Donnelly of Recycle Bicycle Harrisburg
Clare Flannery, Harrisburg runner
Monica Gould, DEI expert, of Strategic Consulting Partners,
Rich Hauck, TheBurg illustrator
Brad Jones, Harristown president and CEO
Kasey Jordan, Harrisburg native and ice skater with Revolution Ice Unity
Kevin Kulp, president, Harrisburg Senators
Maestro Stuart Malina of the Harrisburg Symphony Orchestra
Maureen Marks of Maureen Marks Arts
Diane McCormick, freelance writer for TheBurg
Sammi Leigh Melville, TheBurg’s resident film writer
Rod Mortel, High Hopes for Haiti
Melissa Nicholson of Gamut Theatre
Steph Perez, Harrisburg artist
Ian Potter, muralist and Harrisburg native
Peter Sirotin of the Harrisburg Symphony and Market Square Concerts
Crystal Skotedis, Harrisburg resident, principal with Boyer & Ritter LLC
Todd Vander Woude, executive director of the Harrisburg Downtown Improvement District
Andrew Williams, music teacher, Reach Cyber Charter School

TheBurg Podcast introduces you to some of the Harrisburg area’s most fascinating people, through their own authentic stories, expanded from every month’s magazine–because there’s always “more to the story.” TheBurg Podcast is released monthly on the second Friday of every month. It is hosted and produced by Karen Hendricks, an award-winning journalist and PR professional. Visit her website here.

TheBurg Podcast received two prestigious awards in 2021: First place, Excellence in Journalism, Society of Professional Journalists, Keystone Chapter; and Honorable mention, Keystone Media Award, Pennsylvania NewsMedia Association Foundation.

To sponsor a future episode of TheBurg Podcast, contact Lauren ([email protected]). TheBurg is a monthly community magazine based in Harrisburg, Pa.; Lawrance Binda, co-publisher/editor.

If you like what we do, please support our work. Become a Friend of TheBurg!

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