PHILADELPHIA, PA “ Kingfisher Theatre presents a fresh and intimate interpretation of the eternal Greek legend, The Odyssey: the timeless tale that follows the mythical ten-year journey of one man.

Odysseus, struggling to make his way home after the Trojan War. In a stage performance that is at once epic and "breath taking"”with live musical soundscapes performed by percussionist Rob Aptaker”this enchanting new solo work from Touchstone Theatre co-founder Bill George, with directorial assistance from Gerard Stropnicky (co-founder of Bloomsburg Theatre Ensemble) is a sensory experience and a once-in-a-decade theatre event not to be missed.

Lehigh Valley theatre veteran Rody Gilkeson will be directing the new comedy, "The Spectre of Death" written by Charlie Barnett and produced by Crowded Kitchen Players at Between the Lines Studio Theatre September 22- October 1.

Lehigh Valley Stage asked Rody a few questions about his experience with this play, a funky comedy about the fictional death metal band, "The Crypt", who try to re-unite in defiance of advancing age, declining health, and chronic moral turpitude.

LEHIGH VALLEY STAGE: What is there about this play that you particularly like and are drawn to'

RODY GILKESON: I immediately felt a draw to this piece when I read it for the very first time. The fact that Spec, who is an aging rocker, is facing his mortality and being forced to drop his Peter Pan lifestyle is appealing to me. I have a number of former band mates who are just like Spec except on a far less famous level.

LVSTAGE: What genre does this play fit into' What makes it different in any way'

RG: I believe this play would fall into the category of Dramedey ( a combination of drama and comedy ). There is a lot of humor but, at the same time, many of the characters are facing different levels of drama. Anger, loss, love, confusion and jealousy all come to the forefront in this piece.

LVSTAGE: How do you feel your own, unique background as a stage actor and singer, as well as a seasoned musician, has impacted how you are directing this show and helping shape these characters'

RG: I started out as a frontman for a band in high school and spent the last 55 years singing either in bands or in stage productions. I have met a number of musicians like Spec, the lead character in the play. There is something about music/theatre folks who have tunnel vision for their art and miss so much of what is happening in their "real lives". I believe that has certainly helped me in shaping the members of "The Cript".

LVSTAGE: What have been the biggest challenges to getting this production ready for performance'

RG: I would have to say that working as a gypsy theater has presented some problems. I am excited that the challenge of rehearsing in one smaller space and then moving into the theater for the performance has been met with positivity. It's not what I am used to, but it is certainly a learning experience.

LVSTAGE: How difficult was it to cast this production, given the wide range in ages and backgrounds of the characters and the need for both acting skills and a sense of musicality'

RG: It seems that since I have directed quite a few musicals, actors/actresses with both skills came out for the show. I was excited to find such wonderful talent. The most challenging thing will be asking the audience to accept the fact that a few of the actors aren't exactly the age that they should be. It's not a large stretch, perhaps 10 years here and there. Suspend disbelief if you will.

LVSTAGE: What are the particular challenges of directing your spouse in a play' To what extent do you have to distinguish between your personal relationship and your rehearsal relationship'

RG: The surprising thing is, Elizabeth and I have worked together on so many projects the challenges are minimal. I know she is going to deliver a quality performance every time and she trusts me to never let her or the cast down. I would say that when rehearsal is over, we discuss briefly what may need to be improved or changed and then get back to real life. It hasn't always been like that, but as I have aged, I now have taken off the blinders. I don't allow the tunnel vision that I described earlier. She actually would make a really good director if she ever decided to take a project on.

LVSTAGE: What would you hope the audience experiences during and after seeing this production'

RG: I am sure a lot of the audience members would know very little about rock folk. I am hoping that they might leave with a small understanding of what older performers may be going through and how their lives are often "outside the tour bus" as Delilah explains to Spec. Also, as the title suggests, we are all facing the specter of death in one way or another. Sometimes it takes a realization of that fact to make us better, more understanding people.

LVSTAGE: Tell us a little about Between the Lines Studio Theatre, what you like about the space, and what you find challenging.

RG: As I said, being a theatre gypsy is very challenging. This is the first time where I have moved into a performance space with only a few days to get the show ready for an audience. BTL is a really lovely, intimate space that works extremely well for a smaller show like "The Specter of Death". I am sure once the audience comes to see our production, they will want to see more shows at this theater.

For information, visit ckplayers.com or call 610-704-6974

In Moravian University Theaters production of the coming-of-age musical "The Mad Ones," 18-year-old Samantha Brown grapples with the unknowns of the future.

Its a fitting sentiment for the final show to be produced in the University's Arena Theatre, which will be demolished in January as part of a renovation and expansion of the universitys Haupert Union Building(HUB). The musical runs through through Nov. 19.

After more than 40 years as the home of Moravians theater students, the Arena Theatre, a small black box theater located in the basement of the HUB, will be removed to make space for an expanded health and counseling center for students.

There is no plan for the university to build another dedicated theater space at this time, says Christopher Shorr, director of theater at Moravian.

"Students have been doing theater at Moravian since 1789. It is part of Moravians heritage," Shorr says. "Just like the character in the musical, theater at Moravian is at a crossroads, facing the unknown. Thats a scary place to be, but its also a place of incredible possibilities. So I think the show is perfect for us at this moment in time."

The Arena Theatre opened in 1981 as the first dedicated space for the Bethlehem schools student theater company. Shorr notes there has been theater at Moravian for nearly 200 years, beginning the first year it became legal to perform plays in Pennsylvania.

In an interview with Moravians student newspaper "The Comenian," university president Bryon Grigsby said the decision was made because the theater program is small and it is not cost effective for the school to support it in the same capacity as other schools with larger theater programs like Muhlenberg College and DeSales University.

"Much of our strengths lie in the facilities we have for STEM, majors like biology, nursing, public health, and health sciences," he told "The Comenian." "As universities need to keep down tuition costs for everyone, it becomes ever more important to focus on what an institution does well with the facilities it has at hand."

Shorr says he will continue to teach theater at Moravian. The schools Master of Fine Arts in Performance Creation offered in conjunction with Touchstone Theater, will not be affected since those students perform mainly at Touchstones South Bethlehem theater.

"Our students will keep doing theater," Shorr says. "I am confident in our students desire to keep something going. We will be finding creative ways to do theater. We will experiment with different spaces and maybe do some performances outside."

Shorr also says there are possibilities for the theater company to perform off campus, such as the the City of Bethlehems Ice House.

He says next semester, a night of one act play readings March 22 and a student cabaret April 19 and 20 will be held in Hearst Hall, a recital space on the universitys south campus.

"There will be plenty of opportunity for performance," Shorr says.

"The Mad Ones," written by Kait Kerrigan and Bree Lowdermilk, tells the story of high school senior Samantha who sits at a crossroads, facing a choice about her future. She is being pulled in different directions by her mother, her boyfriend and her best friend and struggles with the pressure to do the expected and the fear of the unknown.

The 90-minute musical is intimate and nearly sung-through, perfect for the Arena Theatres swan song.

Ava Ferentinos is appealing as Samantha, her high schools valedictorian who has been accepted to Ivy League schools like Harvard and Columbia. Ferentinos ably channels Samanthas angst as she questions her proscribed future, inspired by Jack Kerouacs "On The Road."

Hannah Kolonoski is a burst of irresistible energy as Samanthas free spirit best friend Kelly who encourages her to take chances and throw away the map.

The two performers harmonize well on songs such as "Freedom," "The Made Ones" and "Go Tonight."

As Samanthas high-achieving but paranoid mother, Ry Kral is a domineering presence who struggles to give her daughter the space she needs. Kral is heartfelt on "I Know My Girl" and "Miles to Go."

Sherry Anderson is sweet as Adam, Samanthas loyal and inciteful, but not ambitious boyfriend. Their rendition of the hit song from the show "Run Away With Me," is moving and a highlight of the show.

The set is minimal and director Shorr well utilizes the entire Arena space to tell the story.

A talented orchestra made up of Ryan Anderson, harp; Hailey Belverio, guitar; Karina Bernatowicz , violin and Amal Shokr, piano adds melodic harmonies.

The final show is 2 p.m. Nov. 19.

Tickets are $15 for adults and $10 for seniors. For reservations, email Christopher Shorr: This email address is being protected from spambots. You need JavaScript enabled to view it.

About 1 of every 5 people is age 60 or older, but the last time you went to the theater, chances are you did not see that percentage of older actors on the stage.

The fastest growing population in the commonwealth is people age 65 and older, and many theater groups report that older patrons make up as much as 50 percent of their audiences.

 Seniors are bigger supporters of theater and other cultural activities like classical theater and dance, since they have more leisure time and disposable income than younger audiences. 

So why haven’t these devoted patrons been seeing themselves on stage?

Fortunately,  things seem to be changing as there has been a growing focus on the representation of older characters and actors in theater in recent years.

Overall, while there are still challenges in the representation of older characters and actors in theater, there is a growing movement toward more authentic and varied portrayals that reflect the richness of the aging experience.
Positive portrayals of older characters can challenge ageist stereotypes and promote a more nuanced understanding of aging. When audiences see older characters depicted with depth and agency, it can foster empathy and appreciation for the older generation.

Crowded Kitchen Players of Allentown has been on the forefront of the movement, by producing original plays with abroader focus on all ages and the issues that affect multiple generations.

Their newest play “Death by Lullaby,” written by CKP’s founder Ara Barlieb and running Oct. 11 to 26 at the IceHouse  in Bethlehem, follows a newly arrived retirement community resident who becomes suspicious when her fellow residents begin dying off from what she is being told are natural causes.

In the past, older characters  in plays have frequently been confined to stereotypes, such as the "wise elder," the "grumpy old man," “the grieving widow” or the "nutty grandmother."

These portrayals can limit the complexity and diversity of older characters on stage and restrict opportunities for senior actors, as they may be considered only for those types of roles rather than being cast in a broader range of characters.

Even Shakespeare, with his emphasis on historical stories, often relegates older characters to stereotypical or secondary roles. In Shakespeare’s "King Lear," the title character is depicted as mad and vulnerable, reinforcing the stereotype of older individuals as helpless and emotionally unstable.

Other well-respected plays follow suit. Neil Simon’s "The Sunshine Boys" features two men ho fit the grumpy old men stereotype and who are bitter and stuck in the past.  

Ivan Menchell’s "The Cemetery Club" features older women who often embody the stereotype of the grieving widow, focusing on their losses rather than their lives and ambitions. 

And in many plays, older characters are simply relegated to the background, as younger characters take center stage.

However,  as the population has been aging, there's been a shift in the demographic of audiences and artists that has led to more roles that resonate with both older performers and viewers, making stories more relatable.

There's also been a cultural shift towards valuing experience and wisdom, challenging the stereotype that only youngeractors can carry leading roles. Theaters are beginning to realize older actors bring depth and nuance that can enhance performances.

Recent years have seen a push for greater visibility of older actors and characters in mainstream theater. 

In the Lehigh Valley, local playwrights have been writing plays that put more focus on older people and offer more complex roles for older actors.

Barlieb wrote “Noelle, a Christmas Cocktail in Two Acts,”  that was produced by Crowded Kitchen Players in 2021 to address issues affecting the elderly population. The critically-acclaimed play focuses on the matriarch of a dysfunctional family who becomes the victim of a money-making end-of-life care system. 

Bethesda, Maryland-based playwright/composer and former Easton resident Charlie Barnett wrote  "The Spectre Of Death," about a 60-something death metal band, members of which are dealing with their physical decline, as they struggled to stay relevant in the music world.  The play was produced and staged by Crowded Kitchen Players in 2023.

In “Twilight in the Park” by Bethlehem playwright Paul Kodiak, he examined how the onset of dementia can rip apart families. The play, produced by Crowded Kitchen Players earlier this year, presents an Army veteran, who is struggling with dementia, and his wife who still loves her husband of more than 50 years but is helpless and frustrated by the changes she sees in him.

The shift is not just local. Nationwide, playwrights are increasingly creating works that center around older characters, providing opportunities for senior actors to portray diverse, complex roles. This includes exploring themes like identity, legacy, and inter-generational relationships.

The Pulitzer Prize-winning play "The Humans" by Stephen Karam, features older characters who have rich, complex lives and relationships, addressing themes of family, anxiety, and the realities of aging.

In Bess Wohl’s play "Grand Horizons," an older couple navigates their marriage in retirement, tackling themes of love, identity, and the challenges of aging with humor and depth.

And John K. Adams’ "The Golden Age" follows the lives of older characters in a retirement community, showcasing their struggles, relationships, and aspirations, challenging the notion that life diminishes with age.

Additionally, plays that focus on younger people are often being recast with older individuals.
Jason Robert Brown’s off-Broadway hit "The Last Five Years" originally focused on younger characters, but recent productions have included older performers, offering fresh interpretations of the struggles and growth within relationships.

Even Broadway is recognizing the contributions of older actors.

In September, Jen Silverman’s 2015 play “The Roommate,”opened on Broadway with septuagenarians 
Patti LuPone  and Mia Farrow in the lead roles.  The show, originally written about two 50-something women, is about a divorced woman from Iowa who takes in a lodger from the Bronx and how they uncover each other's desires to change their lives.

Many playwrights also are actively addressing ageism in their works. By creating narratives that challenge societal perceptions of aging, they help to normalize the presence of older characters on stage.

Older actors are increasingly featured in leading roles, reflecting a broader range of experiences. This visibility helps to reshape audience perceptions and highlights the talent and capabilities of older performers.

Production also are embracing inter-generational casting, which allows older actors to share the stage with younger performers. This not only enriches the story but also emphasizes the interconnectedness of different age groups.