Tag Archives: AJTC

Just around the corner

In a Jewish ghetto in Vilna, Poland, actors in an amateur theater group are struggling with their material. It’s 1931, and the play they’re rehearsing is based on an historical event called the “Dreyfus Affair.”

Dreyfus was a French-Jewish army captain, husband and father of two, falsely accused of treason in 1894 — who wasn’t completely exonerated until 1906. Seems the actors, especially the one playing Dreyfus, can’t quite grasp the relevance.

Members of the troupe focus instead on the nuisances of everyday life and their petty differences, frustrating the director who feels great passion for the play that recounts Dreyfus’ plight.

Morris (Michael Cortez) attempts to direct Myriam (Amy Serafin) and Michael (Will Hightower) in “Dreyfus in Rehearsal” performed by Arizona Jewish Theatre Company (Photo: Mark Gluckman)

That’s the premise of “Dreyfus in Rehearsal,” a play originally written in French by Jean-Claude Grumberg, an award-winning actor, playwright, screenwriter and author whose parents were Holocaust victims.

Arizona Jewish Theatre Company presents the Arizona premiere of “Dreyfus in Rehearsal” Jan. 26-Feb. 5 at the John Paul Theatre located at Phoenix College. Admission to previews is $20 plus a can of food.

“Dreyfus in Rehearsal” was adapted by Garson Kanin (1912-1999), a New Yorker trained at the American Academy of Dramatic Arts who wrote screenplays, novels, memoirs, short stories, essays and plays.

Arizona Jewish Theatre Company is “presenting the original script of this play, with special permission from the Garson Kanin Estate.” Kanin wrote the screenplays for two famous Tracy-Hepburn films, and his play titled “Born Yesterday” enjoyed a brief revival on Broadway last year.

Producing director Janet Arnold describes “Dreyfus in Rehearsal” as a humorous and poignant juxtaposition of witty banter and egotistical antics with the immediate threat of encroaching Nazi Germany.

Director Morris (Michael Cortez) has a moment with actor Arnold (Charles Sohn) in AJTC’s “Dreyfus in Rehearsal” (Photo: Mark Gluckman)

Those fond of finding modern-day parallels will surely discover them. Many are noted in Adam Gopnik’s “The Trial of the Century” in The New Yorker. It’s a review of Loius Begley’s 2009 book titled “Why the Dreyfus Affair Matters.”

“Dreyfus in Rehearsal” is directed by Ben Tyler, who has directed several shows in the Valley and serves as executive director of the Centennial Theatre Foundation, which funds and develops new works that reflect “the unique, diverse qualities of Arizona and its people.”

Arizona Jewish Theatre Company was founded “to preserve and enhance Jewish culture, by producing quality plays which reflect the Jewish experience” but welcomes diverse actors and audience members. May we all be mindful of what’s happening just around the corner.

— Lynn

Note: Click here to learn more about Albert Dreyfus, here to read a review of a 2009 production of “Dreyfus in Rehearsal” at the Beckett Theater in NYC, and here to learn more about Arizona Jewish Theatre Company’s fundraising efforts. Or click here to watch a brief YouTube preview of the Arizona Jewish Theatre Company production.

Coming up: Ed Asner talks autism, arts, education and advocacy

Update: Click here for news of a Roman Polanski film focusing on the Dreyfus Affair. 5/10/12


Comedy meets chemistry

Family dysfunction and senior love/lust make for interesting chemistry during two unique performances coming to Phoenix this week

After learning that playwright Steve Solomon used to teach physics, I decided to ask about similarities between the two crafts. In typical stand-up fashion, he was off and running with a riff about sparks and explosions in his onetime classroom. “I was a fun teacher,” he says.

Seems former students still come to see his shows, which feature an homage of sorts to family dysfunction. His “My Mother’s Italian, My Father’s Jewish & I’m in Therapy” opens a Phoenix run this week at the Herberger Theater Center. It’ll feature actor, comedian and impressionist Ron Tobin.

Solomon did the one-man show himself until demand outpaced his powers to get from place to place. Last year, he did about 200 of the 300-plus shows featuring this work or one of its variations. “We’re in South Africa now,” he says, “and we’ll probably be in Israel and Australia by the middle of the year.”

I say we clone all the good comedians and stick the rest of them in a closet. Solomon shares my take on comedy trending towards the rude and crude. “Most comedy clubs,” he says, “are a little too crude and coarse for me.”

Comedians are born rather than made, according to Solomon, who says he’s been at it since the age of two. Once he got a bit older, Solomon liked to trick his mom by imitating her father’s voice on the phone.

Growing up in Brooklyn, Solomon discovered that folks were reticent to open the front door for Chinese take-out unless he voiced a Chinese dialect. Seems his fondness for using diverse voices, accents and dialogues — something shared by one of Solomon’s two grown children — has turned into a rather lucrative career.

Solomon tells me he and his daughter used to walk around NYC pretending to be Russian immigrants who didn’t know English, and were pleasantly suprised at all the helpful types they encountered.

“There are about 20 voices we use in the show,” he says. Solomon says he looks for performers like Tobin who make people feel they’re actually hearing lots of different people rather than watching someone trying to sound like lots of different people.

The show is best appreciated, he tells me, by folks 40-ish and up. Younger audiences sometimes lament that “the jokes are old.” His response? “I wrote those jokes.” Solomon’s in his mid-fifties and readily admits younger crowds don’t always get it. “Kids who see it have trouble relating to it.”

Still, he’s generous in sharing advice with aspiring young comedians. “Don’t stop,” he tells them. “Do it any moment, any time — even if your family is annoyed.” There’s a twist, he says, that makes comedians see the world differently. Hence his belief that he can teach a comedian to be an actor, but not the other way around.

Ed Asner performs Advanced Chemistry Tuesday night to benefit Arizona Jewish Theatre Company

Turns out a remarkable actor with a gift for both comedy and drama will be in the Valley Tuesday night for a fundraiser benefiting Arizona Jewish Theatre Company. Ed Asner, whose voice-over performance in the film “Up” is among my son’s favorite film memories, performs a reading of “Advanced Chemistry” Jan. 17 at the Arizona Biltmore in Phoenix.

“Advanced Chemistry,” written by New Yorker Rich Orloff, looks at “love and lust among the senior crowd.” This production is being directed by Dan Schay, who served until recently as managing director for Phoenix Theatre. Orloff will attend the reading, and join Asner after for a short Q & A session. Then they’ll hit a post-show reception complete with complimentary drinks and dessert for those who’ve purchased VIP tickets to the event.

Asner is “the only actor ever to win Emmy Awards for playing the same character in both a comedy and a dramatic series,” according to his bio on The Museum of Broadcast Communication’s website. We all remember him as Lou Grant on both “The Mary Tyler Moore” show and its “Lou Grant” spin-off. He’ll be joined on stage Tuesday night by Janet Arnold, producing artistic director for Arizona Jewish Theatre Company, and Jenn Taber.

Asner’s long and diverse list of credits includes eight television series, two television miniseries, more than three dozen made-for-television movies and more than twenty films. Broadway fans can enjoy his performance as “Pop” in the 1993 “Gypsy” film starring Bette Midler.

Asner hails from Kansas City, attended college and made his professional stage debut in Chicago, and made his way to Hollywood in 1961. He’s earned five Golden Globe Awards, seven Emmy Awards and served as president of the Screen Actors Guild from 1981-1985.

During the course of just a few days, you can enjoy acting, playwriting and comedic genius. No lab coat required.

— Lynn

Note: Click here for “Advanced Chemistry” ticket information and here for “My Father’s Italian, My Mother’s Jewish and I’m in Therapy” ticket information.

Coming up: Rock & roll for a cause

A season to LUV…

I love this season’s selections from Arizona Jewish Theatre Company

When Arizona theater companies started announcing their 2011/12 season selections several months ago, I was especially excited about every single offering in just a couple of line-ups — including the 24th season for Arizona Jewish Theatre Company, which launched just last night.

Their production of “What About LUV?” — a musical based on the play “LUV” by Murray Schisgal — runs through Nov. 6. It’s a tale of convoluted love set on New York City’s Brooklyn Bridge, opening with one character preventing another from making a fatal jump. The work features features book by Jeffrey Sweet, music by Howard Marren and lyrics by Susan Birkenhead.

Arizona Jewish Theatre Company presents “Dreyfuss in Rehearsal,” a work by Jean-Claude Grumberg and adapted by Garson Kanin, Jan. 26-Feb. 5, 2012. It follows a group of amateurish actors trying to stage a play about a very serious topic even as religious persecution begins to impinge on their own young lives.

“The Blessings of a Broken Heart,” adapted by Todd Salovey from the award-winning book by Sherri Mandell, will be performed by Arizona Jewish Theatre Company March 22-April 1, 2012. It’s based on the true story of a mother who discovers her own courage amidst tragedy after moving her family from Maryland to the wilderness of Israel. The work features music and images from the Holy Land.

You’re unlikely to see these works elsewhere, and all are perfectly suited to the Arizona Jewish Theatre Company — which excels with relationship-driven storylines and pieces that blend life’s lightest and heaviest moments. The company performs at the John Paul Theatre on the campus of Phoenix College, and also presents works for youth.

This season’s youth offerings include “Fiddler on the Roof, Jr.” — which is being performed just three times the weekend of Dec. 10 & 11. I’m especially excited to see the work after discovering the name of a child from the “RAK family” on a list of cast members (though I doubt she’ll ever stoop her calling herself a “stage mom”).

In addition to its “Curtain Call” educational division for children and teens, the Arizona Jewish Theatre Company has a teen improv troupe called “All Rights Reserved” — which entertains audiences prior to “Curtain Call” performances and at various community events.

Finally, the Arizona Jewish Theatre Company is presenting two works in recognition of Arizona’s centennial — a staged reading of Ben Tyler’s “Goldwater: Mr. Conservative” performed by Ken Bennett (Nov. 1) and a staged reading of a new play by Harriet Rochlin titled “For Better And Worse: Jewish Marriages in the Arizona Territory” (Jan. 30). Also a special event featuring author and director Salovey (March 26).

While the company is dedicated to reflecting and illuminating “Jewish culture, history and perspective,” the stories they tell elucidate experiences we all share –from love and laughter to longing and loss.

— Lynn

Note: Click here to learn more about the Arizona Jewish Theatre Company, and here to enjoy more hearts and other fun finds from [Stuff] by miss emma jude. For information on official Arizona centennial events, visit az100years.org.

Coming up: From civilized to savage

Moms in musical theater

Patti LuPone as Mama Rose in Gypsy on Broadway-Photo by Joan Marcus. LuPone performs at Scottsdale Center for the Performing Arts March 3, 2012.

I got to thinking about mothers in musical theater the other day while looking forward to the return of “Mamma Mia!” to ASU Gammage this week, which my daughter Lizabeth is eager to see for a second time. Apparently watching a fictional parent prance around in bell bottoms has more appeal than living with the real thing.

Alice Ripley as Diana in Next to Normal-Photo by Joan Marcus

We’ve seen all sorts of parents portrayed on Valley, and other, stages. We saw Alice Ripley perform the role of “Diana” in “Next to Normal” at the Balboa Theatre in San Diego. Estelle Parsons perform the role of “Violet” in “August: Osage County” at ASU Gammage. And Rich Hebert perform the role of “Dad” in “Billy Elliot” at ASU Gammage as well.

“Mamma Mia!” follows the adventures of a young daughter, “Sophie,” readying to wed. She lives on an island with her mom, “Donna,” who isn’t quite sure which of three suitors from her own youth might be Sophie’s biological father. It’s all set to music by ABBA and it’s an especially fun show for folks who like their theater upbeat and awash with bright colors.

Madalena Alberto as Fantine in Les Mis-Photo by Michael La Poer Trench

A mother facing a more serious dilemma, the care of her young daughter in her absence, is at the heart of the next musical coming to ASU Gammage — Les Miserables. As a mom named “Fantine” who has sacrificed much for her child lay dying, an ex-convict named “Jean Valjean” vows to keep the child “Cosette” safe. It proves quite a task given his own past and stirrings of revolution in early 19th century France.

The perplexing nature of parenting seems sometimes to be the only thing fueling the future of theater craft. A quick review of shows coming to Valley stages during the 2011/12 season reveals a long list of works filled with mommy or daddy issues — some set to music, others just words.

Kaye Tuckerman as Donna and Chloe Tucker as Sophie in Mamma Mia!-Photo by Joan Marcus

Arizona Theatre Company presents the Yasmina Rez play “God of Carnage” in Tucson and Phoenix this fall. It’s the tale of two couples brought together by a playground fight between their 11-year-old sons. I’m delighted to learn that mothers and daughters aren’t always the ones under the microscope.

Phoenix Theatre performs a classic work of musical theater about stage mothering gone horribly wrong next spring. “Gypsy” is the story of “Mama Rose” and the two daughters forced to endure her insecurity and interference. That woman needs to cut the cord already.

Arizona Jewish Theatre Company presents “The Blessing of a Broken Heart,” based on a book in which Sheri Mandell shares experiences surrounding the murder of her 13-year-old son Koby and his friend Yosef. It’s been adapted for the stage by Todd Salovey, and reviews of other productions paint it as gut-wrenching.

While I suppose it’s tempting for some to relish all those ABBA moments without experiencing more sobering reflections on parenting, I’m looking forward to doing both.

— Lynn

Look to these nuns for some serious fun... (Photo: Scottsdale Center for the Performing Arts)

Note: Looking for an additional way to enjoy mother/daughter or grown-up friend time? Head to Scottsdale Center for the Performing Arts Sat, May 21 for the “Sing-Along Sound of Music.” $12/adults, $6 children ages 3-12. Warm up & costume contest at 2pm, film and sing-along at 2:3opm. Hosted by “Sister” Patti Hannon of “Late Night Catechism.” Click here for info on costume discount available from Mardi Gras costumes in Scottsdale.

Coming up: Summer dance classes, Ode to season tickets, Seuss meets symphony, Musings on photo I.D.

I am what I am

As events unfolded last Sunday, I couldn’t help repeating the chorus of a song called “I Am What I Am” over and over again in my head. From the Broadway musical “La Cage aux Folles,” the song is a sort of anthem to self-acceptance.

Ironic considering my failure to execute my one big goal for the day — attending an Arizona Jewish Theatre Company production called “My Name is Asher Lev” — which tackles the topics of identity and self-acceptance.

Because it was to be my third theater outing of the weekend, I felt even guiltier than usual about leaving my husband behind to care for more mundane tasks like paying bills and caring for pets.

I assuaged my guilt by attempting to squeeze in just one more load of laundry before leaving for the afternoon. That’s where it all started to go horribly wrong. Turns out I had just enough time to make the show, but I breezed right past the final turn that would take me to my destination.

I was distracted, I suspect, by the song that was playing on the SiriusXM Radio “On Broadway” channel at the time. It was “Bring Him Home” from the musical “Les Miserables” — which has always reminded me of my 21-year-old son in poignant ways that only my husband and I fully understand.

When I got to the John Paul Theatre on the campus of Phoenix College in Glendale, where the Arizona Jewish Theatre Company performs, it was about ten minutes past showtime. And to their credit, they’d started the show on time — with a nearly packed house that would make it hard for me to find a seat without being disruptive.

So I snagged a program, information of their upcoming “Curtain Call” youth theatre production of “A Rockin’ Tale of Snow White,” and their “Summer Theatre Day Camps.” I hoped to find a little coffee joint nearby where I could review the program or read one of the daily papers I keep in my car for just such occasions.

When in doubt, follow this advice from a Cafe Press bumper sticker

I drove away, planning to return two hours later for a post-show talk back with Janet Arnold, Layne Racowsky and the show’s three cast members.

And I remembered that I’d been meaning to get to the historic district in Glendale to check out local arts offerings and photograph a bit of local flavor.

I found the flavor I was looking for at a coffee joint called “A Shot of Java” — which has a rare blend of cozy charm and quirkiness that makes it especially appealing. I stumbled on this little gem after parking nearby to photograph a sign that caught my eye because of its “Mad Hatter” motif.

I asked for directions to local museums. We used to have a bead museum, they told me, but it just shut down. “I know,” I said — vowing to photograph it anyway as a reminder of what can happen when we take local repositories of arts and culture for granted.

I used the time I’d allotted for “My Name is Asher Lev” to explore the City of Glendale further — and I’ll be sharing more about my fun finds in a future “Art Adventures: Historic Glendale” post complete with photos of plenty of signs.

My kids often tease me about my fondness for taking pictures of signs, but I felt somewhat vindicated as I watched a story about an artist with a similar affliction on the “CBS Sunday Morning” program earlier in the day.

I returned for the “My Name is Asher Lev” talk back, and discovered that audience members included students taught by one of the show’s actors. Their questions, and those of others who actually managed to see the play, were enlightening — and will be included in a future post that I’ll publish before the show’s final weekend performances (it runs through April 3).

My final stop of the day was a coffee shop I frequented when my daughter Lizabeth trained with the School of Ballet Arizona. Sitting at one of the outside tables was a friend I first met while Christopher attended New Way Academy in Scottsdale. I sat to catch up a bit before heading home to make dinner, asking how she’d spent her day.

Turns out she was lucky enough to catch one of the many productions I just didn’t have time to take in — the Ballet Arizona performance of “Modern Masters.” She described each of the three pieces they performed in beautiful and exquisite detail — leading me to wonder whether she might be a budding arts critic, or interested perhaps in writing a guest blog about a future dance performance.

Tonight I was planning to attend opening night of “Fiddler on the Roof” at ASU Gammage — a piece that feels especially poignant as James and I ready to send our youngest daughter off to college in the fall. But I knew better than to leave late in the hopes of making it in time. Once again, my plate is full with family responsibilities.

Still, I’ll be taking time out later this evening to write a post about the show — which I saw performed at ASU Gammage many years ago. It was a different production, but the story in all its grandeur does not change — and it’s one that all parents can relate to and learn from.

“Fiddler on the Roof” runs through this weekend at ASU Gammage, and if you’re not going tonight, there’s still time for you to learn from my mistakes. Get through all that work you brought home now. Make the kids use paper plates, and tell your family you’re boycotting laundry.

It rarely seems to work for me. But I never give up trying.

After all, I am what I am…

— Lynn

Note: My “Art Adventures: Historic Glendale” will post just in time for you to get a taste of the city’s historic district before it holds a free event titled “Artworks First Saturdays” from 10am-4pm on Sat, April 3. Watch for musings on “Family and Fiddler” tomorrow (Wed, March 30).

Coming up: New season announcements!, A new “Women of Broadway” series hits the Valley

Arizona theater presents Israeli playwright

Jerusalem Mea Shearim square (Israel)Mea Shearim square, an ultra-orthodox neighborhood in Jerusalem, is the setting for Act I of Motti Lerner’s “Hard Love” (Photo:  Ahron de Leeuw)

Arizona Jewish Theatre Company opened its 2010-2011 season with “Hard Love” by Israeli playwright Motti Lerner, translated from the Hebrew by Anthony Berris.

Janet Arnold, the company’s producing director and director of this work, notes that it’s the first Israeli play performed on an Arizona stage.

Lerner was born in Israel in 1949. The program for the show also notes that he “teaches playwriting at the Kibbutz College in Tel Aviv and has been active in the peace movement in Israel since 1973.”

Act I is set in “one of the oldest neighborhoods in Jerusalem, established in 1874” and inhabited by adherents to “the most conservative form of Orthodox Judaism.” Act II is set in Tel Aviv, “a very modern, cosmopolitan city” likened by some to “a little Manhattan.”

I entered the John Paul Theatre at Phoenix College, where AJTC performs, knowing nothing of Lerner’s work. Less than two hours later, I left a staunch admirer — and I wasn’t alone.

Two gentlemen a bit older than I sat on a bench in the lobby after the show discussing how “moving” the experience of seeing the work had been compared to the more familiar musical theatre fare they often enjoy.

The play considers the lives of two young lovers who marry but go their separate ways after tragedy strikes. Their differences are apparent in their contrasting styles of dress, decor and more.

“Hard Love” opens as one knocks upon the other’s door some two decades later, after each has remarried and raised a child. It ends as one exits a door, and the audience is left to wonder.

Can a love rent by religious differences ever be restored? When do rules turn from guideposts into chains? How do we balance duty with desire?

Why do parents lament seeing themselves in their children? Does atheism have its own orthodoxy? Why are some windows opened while others stay tightly shuttered?

“Hard Love” is a must-see work for those with an interest in religion and relationships, for those who’ve ever dreamed of rekindling a long-lost love, for those who wrestle with their own faith and/or doubt.

Both cast members, Eric Schoen (Zvi) and Lesley Ariel Tutnick (Hannah), deliver strong performances. Schoen’s extensive background in performing the works of Shakespeare is evident.

There’s stiff competition in Valley theater this weekend, but “Hard Love” should be at or very near the top of your list. It’s gripping storytelling exquisitely directed.

— Lynn

Note:  Click here to learn more about “Hard Love” as well as Arizona Jewish Theatre Company youth programs — including Curtain Call Youtheatre (which presents “Village of Idiots” in December) and the All Rights Reserved teen improv troupe. And check out the AJTC online auction for your chance to enjoy everything from brownies to a beach vacation.

Coming up: “An Evening of New Works” hosted by Phoenix Theatre

The big bad musical

Have you been turning to television rather than theater to get your forensics fix? Bones. CSI. Dexter. All feature some fascinating whodunits.

But the most intriguing case yet can’t be seen on any screen. It’s coming to the stage, right here in our own neck of the, well, woods.

It’s a case involving the “Big Bad Wolf,” who’s facing trial to determine whether he’s guilty of eating both “Little Red Riding Hood” and her grandmother.

How delightful to ponder a crime scene not riddled with bullets, crawling with clue-carrying bugs or taken over by high tech laser beam technology.

No Ford Bronco chases. No Nancy Grace commentary. No disturbing violence set to tacky pop tunes.

Just good old-fashioned fun…

Arizona Jewish Theatre Company presents the first of two summer camp productions by Curtain Call, their educational youth theater division for children and teens, on Thursday, July 1 at Greasepaint Youtheatre (formerly Stagebrush Theatre) in Scottsdale.

“The Big Bad Musical,” featuring the trial of the “Big Bad Wolf,” will be performed at 3pm and 7pm that day only, but matinee-goers need to stay mum lest evening patrons learn ahead of time of the jury’s verdict.

Admission is free, but donations—which go to the company’s scholarship fund—are always welcome.

Their second summer camp session (which runs July 6-30) also will present a final show (titled “Adventures of a Comic Book Artist”) and there’s still time for interested youth to enroll.

Janet Arnold, producing director for Arizona Jewish Theatre Company, recommends that folks check their website regularly for updates since they have plenty of other programs and performances in the works.

The tech-savvy among you can visit “AJTC Curtain Call” on Facebook to learn of upcoming auditions, productions and more.

Arizona Jewish Theatre Company will be doing youth productions Dec 11-12 and May 7-8 at their new performance venue, the John Paul Theatre at Phoenix College, though specific shows have yet to be announced.

Arnold describes the campus theater as “lovely” but also shared when asked that the group has just a single item on its “wish list” at this point—a theater home to call their very own.

I put this out there because you never know who might be reading, and it never ever hurts to ask.

Arizona Jewish Theatre Company will present three shows—all Arizona premieres—during their 2010-2011 season, which marks their 23rd season together. Here’s a sneak peek…

“Hard Love” by Motti Lerner, one of Israel’s foremost playwrights, tells the story of the brief marriage of a young ultra-orthodox couple and the decades of aftermath that follow the husband’s decision to abandon religion. Oct 28-Nov 7. Directed by Janet Arnold.

“The Last Schwartz” by Deborah Zoe Laufer is a “comedy on serious themes” that follows the Schwartz family as they gather for what may be the last time at the home of their recently deceased parents. Feb 3-13. Directed by Ben Tyler.

“My name is Asher Lev” by Aaron Posner, based on the Chaim Potok novel, considers the plight of a young Hassidic artist torn between his need to create and the traditions of his community. March 24-April 3. Directed by Layne Racowsky.

I’ve no doubt that many of you could easily make the leap from the title of this post to some of your most-hated musicals.

Go there if you must, but remember this too…

Arizona Jewish Theatre Company affords you the opportunity to discover some new best-loved plays.

Plus, being spotted at the theater can be an ever-so-convincing alibi.


Update: The Arizona Jewish Theatre Company’s “All Rights Reserved Teen Improv Troupe” is holding auditions on Thurs, Sept 16, 2010 in the Social Hall at Congregation Beth Israel (Shea & 56th St.). Auditions, for 13-18 years olds, begin at 7pm. To schedule an appointment time, please call 602-264-0402.

Note: You also can support Arizona Jewish Theatre Company by attending a “fun-raiser” on Thursday, July 1, at Sweet Tomatoes restaurant at The Pavilions in Scottsdale (9029 E. Indian Bend Rd.). 15% of proceeds from theater supporters who dine there between 4pm and 9pm that day will go to the theater.

Coming up: More fun with fairy tales as a community theater in the West Valley presents “Into the Woods” and more