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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.

Reclaimed Performing Arts Company will present "Much Ado About Nothing," at 7 p.m. Dec. 10 in the Rodale Room on the third floor of Miller Symphony Hall, 23 N 6th St, Allentown.

Reclaimed Performing Arts Company was founded by 2023 Cedar Crest College graduate Carter Reichard, who says the goal is to create a judgment-free artistic space, that is not limited by how artists are perceived.

"We have been focused on removing the type-casting lens from the casting process," Reichard says. "We produce a variety of productions and styles of theater, with the goal of showcasing those that are typically unseen and under-represented in the arts."

Reichard also is director for "Much Ado About Nothing," a Shakespeare comedy that will be the first show in the groups "Extreme Shakespeare" series.

For extreme Shakespeare, the cast will spend just one day rehearsing the production before performing.

After the show was cast in August, actors received the scripts along with expectations from Reichard and production team of Jack Warnke, Chelsi Fread and Reese Blaszczyk, including costuming and anything specific that needs to be worked on.

On the day of the performance, the cast will come in and rehearse during the day. They will learn their blocking, work through anything they need to that hasn't already been handled, and perform the show that night.

One of Shakespeares most performed plays, "Much Ado About Nothing" follows the romantic pairings of Claudio, played by Cameron Kunsman, and Hero, played by Olivia Theisen; and Claudio's friend Benedick, played by Jordan Frantz, and Hero's cousin Beatrice, played by Samantha Philipps. Claudio and Hero fall in love when Claudio arrives in Messina with a group of soldiers. However their relationship is nearly ruined by false accusations by the villain Don John, played by Fiona Wilson. Benedick and Beatrice seem an unlikely couple with their verbal sparring but are tricked into confessing their love for each other. The title uses a play on words referencing "noting," which means gossip and rumors and sounds like "nothing."

The cast also Bob Falkenstein, Travis Nugent, Aaron Castro, Parker Ryan, Erick Goldsmith, Matt Johnston, London Griffith, Andrew Galindez, Ty Schacher, Chelsi Fread, Meaghan Lawlor, Tanya Toulomelis, Ash Miller, Kelsey Snivey, Emma George and Isabella Robbins.

Tickets are $5. For information, go to reclaimedpac.square.site/.

Head shots:Cameron Kunsman (Claudio)

Olivia Theisen (Hero)

Jordan Frantz (Benedick)

Samantha Philipps (Beatrice)

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.