Bill Edwards as Tom Wingfield looks back at
his family, Katie Tame as Laura and MaryAnn Hay
as Amanda in Tri-State Actors Theater's season opener,
The Glass Menagerie by Tennessee Williams. April 16
through May 11, 74 Main St., Sussex, New Jersey. 973 875-2950

FOR IMMEDIATE RELEASE

TRI-STATE ACTORS THEATER PRESENTS
THE GLASS MENAGERIE



Sussex, NJ...Tri-State Actors Theater opens its 21st anniversary season on Wednesday, April 16 with the
Tennessee Williams' THE GLASS MENAGERIE, directed by Artistic Director Paul Meacham, at the historic
Crescent Theater, 74 Main St., Sussex, NJ. Williams' masterpiece is one of the most haunting and delicate
plays of the American theater and introduced Williams as one of the preeminent American playwrights of the
20th century. This semi-autobiographical account of Williams' early days in 1930' s St. Louis is heartbreaking
yet often funny. As revealed in the opening lines of the play, The Glass Menagerie is told through the memory
of Tom Wingfield (Bill Edwards*), a restless soul trapped in a stifling factory job as the reluctant breadwinner for
a family abandoned by his father. His mother, Amanda (MaryAnn Hay*), once a grand Southern socialite,
struggles to regain her former glory through her children, while her painfully shy daughter Laura (Katie Tame*)
retreats from the world's harsh realities into her collection of tiny glass animals. The arrival of a "gentleman caller"
(Gordon Gray) could be a sign of hope ... or a disturbance that will shatter their fragile home. (Mr. Edwards, Ms.
Hay and Ms. Tame are all members of Actors' Equity Association.)

In an interview Tennessee Williams once stated, "I have always been interested in creating a character that
contains something crippled. They have a certain appearance of fragility, these neurotic people I write about,
but they are really strong." The Glass Menagerie was the playwright's first critical success when it opened in
Chicago in 1944 and premiered on Broadway in 1945. Following its New York premiere, the play won the New
York Drama Critics' Circle (Williams' first of four) and a Pulitzer Prize (Williams' first of two); it was revived on
Broadway in 1965 and again in 1983.

The Glass Menagerie opens with a preview performance at 8:00 pm on Wednesday, April 16; all seats are $15.00.
The play continues through Sunday, May 11. Opening Night is Friday, April 18. The performance is followed by
a "Meet the Artist Reception" and refreshments will be served.

Evening performances are Thursdays, April 24 and May 8; tickets are $20.00. Tickets for Friday and Saturday
evenings at 8 pm and Sunday matinees at 3 pm are $30 regular admission, $27 for senior citizens and $20 for
students. The matinee on Sunday, May 4 will be followed by a post-theater talk back with the actors and Artistic
Director, Paul Meacham, to examine the themes and issues of the play.

Large print programs, wheelchair access and elevator service are available for patrons with special needs.
Reservations are recommended for all performances. For tickets, information, and special services, please
contact the Box Office at 973 875-2950. Main Street parking is limited and patrons are encouraged to use the
free municipal parking lot on Harrison Street, directly behind the theater.

Additional information about Tri-State Actors Theater and its programs and services are available on the web at
http://www.tristateactorstheater.org. Funding for Tri-State Actors Theater has been made possible in part by a
grant from the New Jersey State Council on the Arts/Department of State, a Partner Agency of the National
Endowment for the Arts and the generous support of the Geraldine R. Dodge Foundation.

FOR IMMEDIATE RELEASE
   
STUART LITTLE RETURNS FOR FAMILY WEEK AT THE THEATRE
   
SUSSEX… The New Jersey Theatre Alliance and Tri-State Actors Theater will present
Tri-State’s Student Intern production of STUART LITTLE, the musical at 11:00 am and
2:00 pm on Saturday, March 8. The performances are part of the 11th Annual Family Week
at the Theatre, a yearly event that provides free and discounted theatre programming during
the second week of March. Performance tickets will be offered at one free child’s ticket (ages
3 to 11) with a paid regular ticket (ages 12 and over) at $10.00. Children’s tickets are $8.00.
Performances will be held at the historic Crescent Theater, 74 Main Street, Sussex.

The many adventures—both big and small—of Stuart Little are brought vividly to life in
this story theatre presentation of E.B. White's classic tale about a little mouse born
into a normal New York family. The story has been adapted for the stage by Joseph
Robinette, with music by Ronna White and lyrics by Joseph Robinette and Ronna White. The acting ensemble plays
"many human and animal roles in a series of delightful scenes that make up the marvelous maneuverings of a mild-
mannered mouse trying to survive in a "real people's world." From melodic ballads to exciting chorus numbers, the
score by England's Ronna Frank features such delightful songs as "Paddle Your Own Canoe," "Feed Him Up," "Size,"
"Stuart Little," "I'm Headed in the Right Direction" and "Nighttime in New York" (sung by a quartet of cats!).

Family Week at the Theatre is an annual statewide event offering free and discounted tickets to attendees, and
was developed to encourage families to attend professional theatre together by making the experience affordable,
educational and exciting. Across the state, in all 21 counties, young people will receive free tickets to over 100
performances and special events including free classes, workshops and backstage tours. Since its inception in
1998, the program has served over 45,000 people with professional theatre performances and activities. In honor
of its eleventh year, the New Jersey Theatre Alliance is expanding programming beyond one week to make this
the most accessible and enjoyable year to date. This year, the New Jersey Theatre Alliance invites residents to
experience the month of March in STAGES: Sharing Theatre Arts with Generations through Events Statewide.

The New Jersey Theatre Alliance provides a wide variety of programs and services for the state’s professional
theatres and the audiences who enjoy them. Family Week at the Theatre is a co-sponsored project of The New
Jersey State Council on the Arts/Department of State, a Partner Agency of the National Endowment for the Arts
and Discover Jersey Arts. Additional support has been provided by Appel Farm Arts and Music Center, Bank of
America, The Blanche and Irving Laurie Foundation, The F.M. Kirby Foundation, Fund for New Jersey Blind, The
Geraldine R. Dodge Foundation, The Horizon Foundation for New Jersey, The George Ohl, Jr. Trust, Johnson and
Johnson, The New Jersey Division of the Deaf and Hard of Hearing, the New Jersey Library Association, New
Jersey Monthly, New Jersey State Library, The Prudential Foundation and WNYC.

Reservations are necessary for all performances. For more information or to order tickets, call the box office at 973
875-2950. Tri-State Actors Theater is located at 74 Main Street, Sussex, New Jersey. To receive a full schedule of
events for Family Week at the Theatre (March 8-16, 2008) please call 1-800-THE-ARTS, or visit
http://www.familyweek.com. Large print programs, wheelchair access and elevator service are available for patrons
with special needs. Main Street parking is limited and patrons are encouraged to use the free municipal parking lot
on Harrison Street, directly behind the theater. Additional information about Tri-State Actors Theater and its programs
and services are available on the web at http://www.tristateactorstheater.org. Funding for Tri-State Actors Theater has
been made possible in part by a grant from the New Jersey State Council on the Arts/Department of State, a Partner
Agency of the National Endowment for the Arts and the generous support of the Geraldine R. Dodge Foundation.

TRI-STATE ACTORS THEATER ANNOUNCES 2008 SEASON
 
Sussex…As Tri-State Actors Theater launches into its twenty-first season in
2008, audiences can expect the best season in the theater’s history. Acting
classes for children, teens, and adults have already begun, our New Plays
Reading Series will present new challenging works throughout the season, the
theater’s special events will entertain audiences with a wealth of musical talent,
and our special matinee performances for students will bring young audiences the
best of American and classical drama. In order to insure that more area audiences
get to view Tri-State’s productions the run of each show will be extended from three "
to four weeks.
       
Sailing into its new season with a great story, Tri-State is reviving its acclaimed hit family show, STUART LITTLE, the
Musical, as part of the state-wide Family Week at the Theatre, for two performances only on Saturday, March 8.
The Tri-State Youth Company will again present this delightful tale of Stuart Little, the mouse son of the Little family,
with music and song.
     
April and May bring a great American playwright back to Tri-State in the production of Tennessee Williams’ THE GLASS
MENAGERIE. Praised world-wide as the quintessential family drama, THE GLASS MENAGERIE stars three veteran Tri-State
performers, Mary Ann Hay in the monumental role of Amanda, and Katie Tame as her fragile daughter, Laura. Because
this magnificent play is often studied in schools, special matinees for students have been added to the performance schedule.
Call 973-8785-2950 to reserve groups for these special matinees.
   
Tri-State will also present the incredible Delaware Valley Opera in May for one performance only on Saturday, May 17,
in their acclaimed salute to YIP HARBURG, the lyricist who gave the world the film THE WIZARD OF OZ with his
“Somewhere Over the Rainbow, ” "We're Off to See the Wizard," and more. Other popular hits include “It’s only a Paper
Moon,” and “Brother, Can You Spare a Dime? " which became the anthem of the Great Depression. This program is
for age twelve and over.
 
The master of laughter, Neil Simon takes a bow at Tri-State in June and stays for July 4th with his delightful summer
farce, THE STAR-SPANGLED GIRL. This fast moving, hilarious comedy, deals with two earnest young men struggling
to put out a "protest" magazine, and the all-American girl who moves in next door and manages to send both of them
into a romantic tail spin. Coming out of the conflicted years of the 60’s, love and politics blend delightfully in a bubbling
series of funny happenings, set forth with the masterly skill and inventiveness that are the hallmarks of Neil Simon.
 
July also heralds the Tri-state debut of one of the finest acoustic bands around: THE LOST RAMBLERS come to
Tri-State for the first time in a one-night stand on Saturday, July 12, that will prove to be the best night of Bluegrass
(and more!) that will leave audiences cheering for encores.
 
Tri-State’s Youth Acting Company returns in August to perform CHARLOTTE’S WEB with an all-new ensemble of
players. This exciting, musical version of CHARLOTTE’S WEB brings a new dimension to E.B. White's beloved
"classic. With music and lyrics by Charles Strouse (ANNIE, 'BYE, 'BYE BIRDIE) and book by Joseph Robinette
(national award-winning children's playwright) audiences will thrill to the very special experience of this rollicking
musical version featuring Wilbur the pig, Charlotte, Fern, and all the delightful characters.
 
New Play Readings and the final special event of the 2008 season fill the month of September. On September 27,
Tri-State welcomes back the incomparable guitarist, GLENN ZERVAS, with his ensemble of friends who accompany
his unique and inspiring guitar sounds.
 
October is “Ghosts and Ghouls” month at Tri-State, as the theater hosts the scariest ghost play ever presented—
THE WOMAN IN BLACK. A haunting tale of mystery and suspicion, HE WOMAN IN BLACK explores the chilling
past of Arthur Kipps. But as the characters delve further they begin to uncover incidents that cannot be directly
explained--chilling, scary fun! Audiences and critics alike have reveled in the terror of THE WOMAN IN BLACK.
It’s been called a “good old-fashioned ghost story that is virtually guaranteed to scare you . . .” and “a genuine,
copper-bottomed audience-pleaser [full of] spine-tingling, blood-curdling screams." One playgoer warned that
“You'll be sleeping with the light on and running away from shadows for months afterwards."
 
Season 2008 will draw to a close with Charles Dickens’ A CHRISTMAS CAROL adapted by Christopher Schario,
a tradition at Tri-State. The month of December will be filled with fine family entertainment and holiday fun.
 
Tri-State Actors Theater is the foremost professional theatre company in Sussex County, northeast Pennsylvania,
and south central New York. It’s performances have been praised by many critics including those of the
STAR-LEDGER, THE TIMES HERALD-RECORD, the Morristown DAILY RECORD, and the NJ HERALD.
 
2008 Season Subscriptions, Flex Passes and individual tickets are now on sale. Advance ticket purchases are
recommended for all performances. Large print programs, wheelchair access and elevator service are available
for patrons with special needs. For tickets, information, and special services, please contact the Box Office at
973 875-2950. Main Street parking is limited and patrons are encouraged to use the free municipal parking lot
on Harrison Street, directly behind the theater.
 
Additional information about Tri-State Actors Theater and its programs and services are available on the web at http://www.tristateactorstheater.org. Funding for Tri-State Actors Theater has been made possible in part by a
grant from the New Jersey State Council on the Arts/Department of State, a Partner Agency of the National
"Endowment for the Arts and the generous support of the Geraldine R. Dodge Foundation.

TRI-STATE OFFERS A KINDER, GENTLER SCROOGE
Saturday, December 15, 2007    Star-Ledger Staff                           NEW JERSEY STAGE
BY PETER FILICHIA

Tiny Tim isn't so tiny in this version of "A Christmas Carol."

In fact, at the Tri-State Actors Theater in Sussex, he looks as if he could be in
graduate school.

It's all part of the fun, though, in Christopher Schario's take on Dickens' famous
novel. Schario starts the show by having five people just sittin' around at Christmastime,
each in his own home, reading "A Christmas Carol." Then each breaks away from the
book and just plays the parts he likes. So tall and trim (and excellent) Philip Mutz can
portray Tiny Tim, because it's only in his imagination, anyway.

Interesting, isn't it, that none of the five sees himself as Ebenezer Scrooge, the miser extraordinaire? That's all right, because
Tri-State artistic director Paul Meacham is happy to take the role. Sussex audiences should be equally happy to have him,
because Meacham brings a great deal to the role that others around the state haven't found during this holiday season.

Many Scrooges wait until the end to show any humanity. Meacham doesn't, though Schario gives him a line that helps. When
his nephew Fred (a charming Clark Gookin) says that he got married because he fell in love, Meacham's Scrooge mutters,
"because you fell in love" in a way that he intends to be mocking -- but there's an unexpected softness in there, too, as if
Scrooge is suddenly remembering his own lost love. This gives him a head start on his ultimate atonement.

Meacham shows a wondrous delight when he's whisked back to the past (by the exquisite, erudite, and confident
Sarah Koestner). He makes a theatergoer believe that he's genuinely returned to days gone by, and very much in the
moment of remembering his less complicated life of years ago. How endearing he is during these moments.

Still, Meacham does err twice. Early on, in editorializing on the mental capacity of the poor, he twirls a finger around his ear
a few times to indicate that they're crazy. That gesture seems decidedly anachronistic for 19th century London.

Then, during the redemption scene, Meacham makes his biggest mistake. Though Scrooge is supposed to see that his life
of stinginess has been ill-spent, Meacham seems to be operating out of fear, that he'll straighten out and be generous only
because the punishment would be too terrible if he didn't. That's not the message of the show.

Perhaps Meacham simply overextended himself, because he functions as director, too. He's done an especially good job in
the breakup scene between Young Scrooge and Belle. Jenelle Sosa excels in showing a young woman who realizes, however
reluctantly, that she mustn't marry someone who's less interested in love and marriage than in shillings and pence. Philip
Mutz is appropriately clueless in not seeing what the problem is between them.

On the other hand, perhaps Meacham was just a bit too busy to notice that Clark Gookin was over the top as the Ghost of
Christmas Past. The place for a Christmas ham is on a table, and not on stage.

Be apprised that this is the shortest of the "A Christmas Carols" that New Jersey's professional theaters are currently offering.
It's less than 90 minutes, and that even includes a generous intermission. So if time is tight, and you'd prefer a theatrical
dessert to a full entree, here's the "A Christmas Carol" for you."

Sussex, N.J. — In the Tri-State Actors Theater production of "A Christmas Carol,"
written by Charles Dickens and adapted for stage by Christopher Schario, it's only
in the many locales of the story that you need to use your imagination. But that is
enough when you have a presentation overflowing with a talented and spirited cast,
colorful and authentic costumes and special effects in sound and sight.

This is an engaging show that features remarkable performances. While five of the
six actors carry multiple roles, the one exception is Paul Meacham, who not only
directs the well-done production but also stars as Scrooge. It would be difficult to
find a more resourceful interpretation of the mean-spirited and stingy owner of a
counting house in 19th-century London who hates Christmas and everything
associated with the celebration.

But before Scrooge can find redemption, he must suffer the anguish of reviewing bad choices he had made. Warning the
ill-willed man of his impending ordeal at the hands of three haunting spirits is Marley, his former partner deceased for
seven years. As Marley's Ghost, Bill Edwards is electrifying. Besides the fearsome appearance of frizzled hair and raggedy
clothes, the combination of clanging chains wrapped around him and thunderclaps overhead add to the horror of a scene
that shakes Scrooge to the core.

In altogether different roles, Edwards imbues Cratchit with servitude in dealing with his boss, warmth in caring for crippled
son Tiny Tim and duty in offering a toast for Scrooge.

While Sarah Koestner as an angry Mrs. Cratchit objects to the testimonial before changing her mind, in her role of
Christmas Past she tenderly leads Scrooge to places of his childhood, which includes the scene of a lonely boy reading
a book. Beyond playing Scrooge at school, Philip Mutz also creates a cheerful Tiny Tim and an upbeat Ghost of
Christmas Yet to Come.

Among the 24 characters, the role of Scrooge's nephew is played with a cheerful glow by Clark Gookin. The refusal by
Scrooge to donate money provides Jenelle Sosa as one of the two gentlewomen a benevolent voice for the poor.

The show also succeeds because of Patricia Meacham's authentic costumes, Jacqueline Perry's efficient set design and
Steven Silvia's profound sound effects.

If you go ...What: "A Christmas Carol" Where: Tri-State Actors Theater, 74 Fountain Square, Sussex, N.J. When: 3 p.m.
Dec. 16, 23, 30; 7 p.m. Dec. 21-22, 27-29 Tickets: $17-$27 Call: 973-875-2950

TIMES HERALD-RECORD
Tuesday, October 30, 2007
‘Price' is right in Sussex
By Cynthia Topps
For the Times Herald-Record

Sussex, N.J. – It is difficult to believe that Arthur Miller’s “The Price,” which was
written in 1968, would speak to a modern audience.  How could a play about two
estranged brothers getting together to dispense with their deceased parents’ possessions
be relevant 40 years later?  Still, [to] people searching for self-awareness, one’s
place in society, and the balance between happiness and success in one’s life [the play]
feels as modern today as it must have in 1968.
     Tri-State Actors Theater and director Paul Meacham are presenting this piece with a
competent and often brilliant cast.  The play is set in 1968 in the attic of a condemned
New York City apartment, beautifully crafted and designed by Paul Meacham and Jacqueline Perry.  This is a place
full of bittersweet memories for members of the Franz family who were ruined by the 1929 Wall Street crash.  Victor
(Randall McCann) is meeting his wife Esther (Tara Bowles), and an estate appraiser, Gregory Solomon (P. Brendan
Mulvey), to dispose of his parent’s belongings.
     From the outset, Victor is on edge, clearly reluctant to sell the “stuff” without his brother’s permission, although
they have been estranged for 15 years.  When Walter (Paul Falzone) arrives just as Victor and Solomon are finalizing
the sale, a confrontation ensues that pulls in all four characters and reveals the reasons for the estrangement.
     In the role of Victor, McCann seems every bit the no-nonsense, distrustful policeman.   He carefully questions
each character as to motives and the truth of the words spoken.  McCann is skillful at winning sympathy with his
portrayal and not going too far and turning Victor into a victim.
     Bowles’ portrayal of Esther is at times too controlled and slightly disconnected.  In her Act 1 appearance,
Bowles’ lack of warmth with her husband makes her seem self-centered and materialistic.  Her Act 2
appearance is more spirited and aware, especially when she vigorously comes to her husband’s defense.
      As Walter, the successful brother, Falzone is appropriately polished.  He is superb when he describes his
recent breakdown and subsequent soul-searching journey.  His attempts to forge reconciliation with his brother
are believable. The price that each paid--Walter sacrificing family for career with Victor sacrificing career
for family--has profoundly impacted each.  When McCann and Falzone come head to head, sparks fly.
     With all this angst, Gregory Solomon, the 89-year-old appraiser, brings wisdom, eccentricity and comic relief. 
He laments that modern society knows the price of everything but the value of nothing.  Mulvey is a delight to
watch in this role.  He plays this character as if born to it.
      If “Death of a Salesman” or “The Crucible” is the only Miller you have ever sampled, it may be time to treat
your theatrical taste buds to something different.  This production is the right brew and it’s worth “The Price.”

TRI-STATE PRESENTS ARTHUR MILLER’S THE PRICE

Sussex…Tri-State Actors Theater will present one of Arthur Miller’s most powerful plays, the touching and thought-
provoking drama, THE PRICE. First performance will be a Preview on Thursday, October 25 and the play runs through
Sunday, November 11 at the historic Crescent Theater, Main St., Sussex, NJ.
     When THE PRICE opened on Broadway on February 7, 1968, Clive Barnes of the New York Times called the play
“one of the most engrossing and entertaining plays that Miller has ever written,” and to expect a great evening of
theatre as “…it does, I think, emphatically deliver the goods.”
     The play takes place in the attic of a once prosperous Manhattan brownstone, soon to be pulled down in the
cause of progress. The apartment is a floor to ceiling clutter of furniture and family memorabilia. The play follows
Victor and Walter, two estranged brothers who reluctantly meet to dispose of their father’s belongings after his death.
After the 1929 stock market collapse left his father ruined, Victor dropped out of college to earn a living and support
the family. Now a policeman, Victor resents his wealthy brother Walter, whom Victor feels benefited from his sacrifice.
While trying to put a price tag on their family’s belongings, they discover that there are some things that are truly
priceless – brotherhood, love, and justice.
     Taking on the roles of the two brothers are Randall McCann who will play the tough New York City policeman
Victor, and Paul Falzone as the wealthy doctor Walter. P. Brendan Mulvey takes on the role of the appraiser,
Gregory Solomon. Tara Bowles plays the role of Victor’s wife, Esther. Actors Paul Falzone and P. Brendan Mulvey
are both members of Actors Equity Association, the union of professional actors and stage managers.
   The artistic team for The Price includes director and set designer, Paul Meacham, Tri-State’s founder and artistic
director; sound designer and Technical Staff member, Steven A. Silvia; costume coordinator, Patricia Meacham;
and Stage Manager, Lara Terrell, returning to Tri-State under her first Equity contract.
    The Price runs from October 25 through November 11. Opening Night is Friday, October 26. The performance is
followed by a “Meet the Artist Reception” and refreshments will be served.  Evening performances are Thursday
through Saturday at 8PM; matinee performances are Sundays at 3PM. Tickets are: $18 on Thursdays (preview -
$17), $27 regular/$25 seniors and $17 students on Friday, Saturday and Sundays. The performance on Sunday,
November 11 will be Closed Captioned for the hearing impaired. Large print programs, wheelchair access and
elevator service are available for patrons with special needs. Reservations are recommended for all performances.
For tickets, information, and special services, please contact the Box Office at 973 875-2950.  Main Street parking
is limited and patrons are encouraged to use the free municipal parking lot on Harrison Street, directly behind the
theater.
     Additional information about Tri-State Actors Theater and its programs and services are available on the web at http://www.tristateactorstheater.org. Funding for Tri-State Actors Theater has been made possible in part by a grant
from the New Jersey State Council on the Arts/Department of State, a Partner Agency of the National Endowment
for the Arts and the generous support of the Geraldine R. Dodge Foundation.

From the TIMES HERALD-RECORD
Play review: 'Stuart Little'

By James F. Cotter

August 04, 2007

     Sussex, N.J. — "I'm Headed in the Right Direction" sings the
mouse Stuart Little at the climax of "Stuart Little," a musical based on the children's book by E.B. White.
The story has been artfully adapted for the stage by Joseph Robinette with music by Ronna Frank and lyrics
by Robinette and Frank. Indeed, Stuart is headed in the right direction after a happy home life in the Littles'
Manhattan apartment where he was born and brought up with sensitivity and affection by his human parents.
When he finally decides to go out into the world to make his own fortune and to find the bird that
has been the love of his life, we know that Stuart has chosen the right path for himself.

     Tri-State Actors Theatre is presenting a revival of "Stuart Little" with the Student Intern Company
directed by Paul Meacham. The 11 teenagers between the ages of 13 and 17 are terrific as they take on
myriad human and animal roles, led by the ever resourceful, mild-mannered supermouse Stuart. Emma
Della makes Stuart a true hero, confident yet modest, threatened but optimistic. With Stuart's mouse
hat, the performer shivers and quakes, then races off to a fresh adventure, sailing boats, chased by
dogs, thrown onto an East River garbage barge, and, of course, negotiating with cats.

     As Stuart's housemate, the cat Snowbell, Allison Ann Dethmers claws the air and agrees in a duet,
"Natural Enemies," that pets need to be friends. One of the highlights of the show is a quartet sung by cats
about the joys of "Nighttime in New York.

     As Stuart's Mom and Dad, Alexa Ross and Josh Ernst are caringly comic when they agree to avoid the
m-word whenever addressing their tiny son, while Jonathon Dragon hits the right notes as brother George
who treats Stuart as a younger sibling in need of guidance. Amanda Martino has a funny scene as a dentist,
Dr. Carey, who befriends Stuart while extracting a tooth from a frantic patient played by Dallas Haines.
As the bird Margalo, Raquel Warehime flutters her wings and looks beautiful as she joins in the title duet,
"Stuart Little," while Amanda Autore as the ritzy Harriet Ames shares a frustrated date with the wandering hero.
Alexis Alemy is a helpful shopkeeper and Jackie Torres a desperate school superintendent whom Stuart
encounters in the search through the Big Apple for his true identity.

     Jim Blanton accompanies the cast at the keyboard while also acting as the accomplished musical
director. Choreographer Melissa Pisarri creates some marvelous dance sequences, and scenic artist Jackie
Perry uses alphabet blocks spelling out the hero's name in an imaginative variety of ways. The pastel-colored
costumes, logolike skyline and lighting by Courtney O'Rourke all add up to making this show a delightful
experience for young and old alike.

Tasty ‘Tuna’ in Sussex
TIMES HERALD-RECORD
Tuesday, June 19, 2007
PLAY REVIEWS

Tasty ‘Tuna’ in Sussex
By Cynthia O. Topps

Sussex, N.J.—There exists in the theater world something called the “Tuna
Trilogy.”  These are three plays written by Jaston Williams, Joe Sears, and Ed
Howard concerning the inhabitants of a fictional town in Texas called Tuna. 
They are titled “Greater Tuna,” “a Tuna Christmas,” and Red, White and Tuna.” 
The most popular of the three is “Greater Tuna,” which is being produced by Tri-
State Actors Theater in Sussex, NJ.

The play does not have a plot or a story line.  It is closer to a series of comedy
sketches that are linked together by news reports given on local radio station
OKKK.  Two performers portray 10 Tuna citizens each.  The humor comes not
only from the rapid and clever way they transform from person to person but also
from the absurdity of those characters as portrayed. Bill Edwards and Scotty
Watson inhabit Tri-State’s “Tuna” with high energy and brilliant comic timing.  Both
are equally gifted and well cast by director Paul Meacham.

Edwards is particularly fine in his portrayal of the three Bumiller children: Jody, Stanley, and Charlene.  He
morphs from Jody, a young boy obsessed with dogs, to Stanley, his stuttering juvenile delinquent brother to
Charlene, their obese, frustrated sister.  As Petey Fisk, the lisping president of the Tuna humane Society,
Edwards is hilarious while valiantly trying to save ducks, whales, snails, llamas, and shrimp. Watson is as
accomplished as Edwards.  His Rev. Spikes was comical as he worked himself into a lathered funeral eulogy
peppered with every pithy saying imaginable.  Watson is wonderfully skillful at playing Pearl Burras, a sadistic
dog-poisoning old woman, and Bertha Bumiller, the mother of the Bumiller terror trio.

The costumers Patricia Meacham and Nicole Lee Smith deserve kudos for their colorful, appropriate costumes.
But a standing ovation should go to the dressers Jane Cunningham and Alisone Alcordo, who have to change
the actors with rapid-fire precision.  The only glitches of the night were Charlene’s pants and Arles Struvie’s
mustache. Neither wanted to stay on Bill Edwards, but the actors used these mishaps for moments of improvis-
ational fun.  After struggling with his mustache, Edwards remarked that he had to wear a fake mustache after
his wife had ripped off his real one.

So if you are looking for a night out filled with laughter and chaos, go see “Greater Tuna.” Edwards and
Watson are adept at working the audience, which adds to the fun and flavor of your evening.

Play review: 'Twelfth Night'           
THE TIMES RECORD HERALD

Olivia and Maria tease the "man," Cesario,
who is really the woman, Viola, in Tri-State's
"Twelfth Night."
From.left are Katie Tame as Olivia,
Jenelle Sosa as Maria, and
Celia Montgomery as Cesario/Viola

By Lisa Hewel
For the Times Herald-Record
May 01, 2007

Sussex, N.J. — What do you get when you combine a pair of separated
siblings, a few cases of mistaken identity, a cross-dressing female, a modicum of madness, and the
absurdity of love? No, it's not an upcoming episode of "Desperate Housewives," but rather one of William
Shakespeare's most beloved comedies, "Twelfth Night" or "What You Will." Director Paul Meacham's
rousing rendition of the Bard's work is being staged by Tri-State Actors Theater, an Equity professional
regional theater in Sussex, N.J. 

Shakespeare's play, written around 1601, tells the story of Viola and Sebastian, a brother and sister
who are separated by a shipwreck and therefore think the other dead. Alone in a foreign country, Viola
disguises herself to become Cesario, a page to the Count Orsino.  Orsino is in love with the lady Olivia,
who does not love Orsino. The count sends Cesario to woo Olivia. As fate would have it, Olivia falls in love
with the cross-dressing confidante. To complicate the plot even further, an idiotic nobleman, Sir Andrew
Aguecheek, and a pompous servant, Malvolio, find themselves the objects of a scheme by Olivia's oft-
inebriated uncle, Sir Toby Belch, who leads the men to believe Olivia loves each.  Sebastian returns,
more calamity and laughs ensue, and almost everyone lives happily ever after.

As Viola/Cesario, Celia Montgomery plays the perfect protagonist. While in the midst of conflict, she is
cunning and confident; when caught in the lover's triangle, she is appropriately nervous as she avoids
revealing her gender and her love for Orsino. Andrew Danish as Orsino does well as the lovesick nobleman.
He is at times fittingly foolish, and at other times apparently confused by his growing interest in Cesario.
Katie Tame is a beautiful and bold, yet cruel and cool Olivia. She appears to have great fun being the object
of so many men's affections.

The scenes with Craig Dudley as Sir Toby Belch, Bill Edwards as Sir Andrew Aguecheek, and Clark Gookin
as Feste, are worth the price of admission alone. The trio provides much of the comic relief, and work well
together being plain old fools.  Kevin Shinnick as the puritanical butler Malvolio is as strait-laced as can be,
and then as silly as a schoolgirl when he is the object of an unkind practical joke.  Jenelle Sosa as Maria,
a young woman in Olivia's employ, is smart and sassy, and basks in the glory of pulling off her own practical
joke and then getting her man, too.  Freeman Borden as Sebastian is at first a little too stiff for his part, but is
quite funny when not realizing he is the unwitting object in a case of mistaken identity.  The remaining
ensemble cast — Jason Shane as Curio, Ben Schaub as Valentine, Ted Odell as the sea captain and priest,
and Daniel Mian as Antonio — help to keep the humor in high gear.

Original bluesy-type music by Vince Di Mura adds the right air of absurdity.

Tuesday, April 24, 2007                                          BY PETER FILICHIA  Star-Ledger Staff "
Laissez les bons temps rouler!"["Let the good times roll!"] is
certainly the current policy at Tri-State Actors Theater in Sussex.
Artistic director Paul Meacham has taken "Twelfth Night," William
Shakespeare's 1601 hit, and transposed it to 1910 New Orleans.
The good times indeed roll, along with plenty of actors who roll
around the stage in one of the Bard's rowdiest comedies.

  

Celia Montgomery & Katie Tame

Jenelle Sosa, Kevin Shinnick
and Craig Dudley

This is supposed to be the story of Viola and Sebastian, fraternal twins who are separated in a shipwreck. She
quickly decides she'd have better job opportunities if she pretended to be a man. He, of course, doesn't need
that ruse. Both cause a great deal of mistaken identity en route to being reunited and falling in love with a soulmate.
But Shakespeare indulged in plenty of time-killing scenes with some low-class drunks. Do the math: The often-
intoxicated Sir Toby Belch has 152 lines -- exactly the number that Viola and Sebastian have combined.

So there are plenty of scenes where Belch is bobbing and weaving about, placing all his energies into
maintaining a sober look. His equally besotted buddy, Sir Andrew Aguecheek, joins in the liquid debauchery.
Given the situation, Meacham has gone all out to make it wild 'n' rollicking, putting all these rakes onstage --
though he avoids the obvious in having Belch belch. Craig Dudley does the part proud. Think of W.C. Fields
with a pretentious British accent. Bill Edwards, an expert at physical comedy, playfully plays Aguecheek.
When depicting a drunk, he tries to convince others that his cane is a mere walking stick, though it's a
necessity to keep him propped up.

Clark Gookin shows Feste the jester chooses to get high on life. He's very winning, almost to the finish line,
when Meacham assigns him the show's concluding song. Alas, Gookin doesn't have the voice for it, and
grasps for notes as if he were trying to catch mosquitoes in his bare hands.

Some scholars consider "Twelfth Night" the world's first musical, given that it contains six songs. Composer
Vince DiMura provides lovely ballads and sprightly up-tempo songs. However, none sounds particularly
right for 1910 New Orleans -- especially when contrasted with the Scott Joplin tunes used as incidental
music.

Any gender-bending Shakespearean comedy must be at least somewhat convincing in having characters
mistake Viola for Sebastian, and vice-versa. Celia Montgomery and Freeman Borden do look a bit alike,
thanks to the (bad) blond wig worn by the latter. Too bad Montgomery can't sustain a deep speaking voice --
and that Borden can't shave a little closer. He's acceptable in the acting department, though, and there's some
nice chemistry with his lady love, Olivia. She's played by Katie Tame, who must have seen "Sex and the City"
on every channel, for she's channeling Sarah Jessica Parker.

Two others stand out in the 14-member cast. One is Jenella Sosa as the maid Maria, who starts out disapproving
of the drunks, but gets down and dirty to join them in trickery. The victim? Malvolio, delightfully portrayed by
Kevin Shinnick, the career sycophant who goes from workaholic to lustaholic. To see him try to smile -- he seems
to have forgotten how to do it -- is one of the show's highlights. Audiences have eight chances to see "Twelfth Night"
in the next -- yes -- 12 nights.
Peter Filichia may be reached at pfilichia@starledger.com or (973) 392-5995.

The Illustrious Theatre Company, in residence at the Warwick Valley Winery & Distillery, opens its fifth season with
Neil Simon's outrageous romantic comedy, Last of the Red Hot Lovers.  The company will also continue its unique
collaboration with Sussex County's professional theatre company, Tri-State Actors Theater by presenting a third weekend
at Tri-State's theatre in Sussex..  Last of the Red Hot Lovers opened to rave reviews on Broadway in 1969 starring
James Coco, Linda Lavin, Doris Roberts, and Marcia Rodd. It won the 1970 Tony Award for Best Play and went on to
play 706 performances.  In this charming play Barney Cashman, a middle-aged married nebbish, wants to join the sexual
revolution of the late 60's before it's too late.  Joe Barra of Pine Bush will portray Barney in ITC's production, with Victoria Ford,
Cindy Rea, and Mary Lee Shorr portraying the three women who come into Barney's life.

Simon, one of America's most famous and prolific playwrights, got his break writing comedy for Sid Caesar's live TV
comedy Show of Shows in the 1950s where he worked along side Mel Brooks, Woody Allen, Larry Gelbert, and Carl
Reiner.  He is the only playwright to have four productions running on Broadway simultaneously.  His first Broadway hit
was Come Blow Your Horn followed by numerous others including Barefoot in the Park, Plaza Suite, Rumors,
The Odd Couple, and his autobiographical trilogy Brighton Beach Memoirs, Biloxi Blues, and Broadway Bound.

Performances at the Winery are February 23, 24, 25 and March 2, 3 and 4.  Curtain time on Fridays and Saturdays is
8 PM and Sundays at 7:30 PM.  Seating, which is cabaret style, begins at 6:15 on Friday and Saturday and 5:45 on
Sunday for those planning to enjoy a dinner from the winery's Pané Café and Bakery; dinner reservation times are
required when purchasing tickets for the play.  Tickets are now available at the Winery, by phone (845-258-4858), or
through the winery's web site (www.wvwinery.com.  Go to Marketplace, then Tickets).  Ticket prices are $18, or $16
for seniors and children (12 and under).  Advanced purchase is recommended, and required for dinner reservations. 
The Warwick Valley Winery is located at 114 Little York Rd. in Warwick, just off County Route 1 in the Pine Island region.

The final two performances at Tri-State Actors Theater in Sussex will be Friday, March 9 and Saturday, March
10 at 8:00 PM.  Tickets can be purchased in advance by calling the theatre at 973-875-2950.  The historic Crescent
Theatre is located at 74 Fountain Square in downtown Sussex, NJ.
 

06/16/06 - Posted from the Daily Record newsroom
Odd couple coaches clash in 'Rounding Third'

BY WILLIAM WESTHOVEN
SPECIAL TO THE DAILY RECORD

"Rounding Third" has made the rounds in New Jersey, and now it has come around
again. The logistics of Richard Dresser's humorous morality tale -- which requires only
two actors and simple staging -- make it a popular work in regional and community
theater. And its gentle comedy-with-a-message, dressed up as a baseball story, has
proven to be a hit with audiences. Now it has, as Dizzy Dean used to say, "slud" into
Sussex, where Tri-State Actor's Theater takes a turn at the plate.

Seeing it for the second time (Centenary Stage Company fielded it two seasons back),
I finally figured out what nagged me about the play the first time around. Once I did, I was able to better enjoy
Dresser's compelling characters. It also helps that artistic director Paul Meacham has a good feel for the material
and coaxes strong performances from his cast.

The always-enjoyable David Volin and Bill Edwards star, respectively, as Don and Michael, an odd couple of
Little League coaches in contemporary Anywhere USA. Don (never "Donald") is a stereotypical type-A former
jock coach, preaching a win-at-all-costs philosophy at his peewee platoon. Michael (not "Mike") is more the
sensitive Yuppie-type, balancing his desire to share-bond with his son while taking business calls on his cell.

The coaches get to know each other during a pre-draft meeting at the local tavern, where Don guzzles longnecks
and figures since Mikey isn't drinking, he must have a "problem -- not that it's your fault, it's a disease." Michael
has problems, all right, but alcohol is not among them. As the story plays out, Don will learn about many of them,
starting with the troubling news that neither Michael nor his son knows beans about baseball. Don has his share
of problems as well, and doesn't need Michael's baggage messing up the one thing he's got going for him. Life
has obviously passed Don by, to the point where his entire self-worth is tied up in the team's win-loss record.

"Rule No. 1, winning is fun," he tells the kids on opening day. "I hope this isn't new information." Don has a lot of
Rules No. 1, starting with showing up for practice on time, a rule that Michael breaks. "Assistant coach Mike has
helped us out by demonstrating what not to do," Don tells the team before calling one of a series of mandatory
coach's meetings, where the conflict escalates.

Eventually and inevitably, the men form an uneasy friendship and help each other check their respective baggage.
Dresser's character development is a bit predictable, so don't expect any startling revelations. But the characters,
in the hands of two good actors and steered by Meacham's skillful direction, never cross the line to caricature,
giving the production a solid foundation of realism.

Volin's comedic abilities have been showcased on many a stage in New Jersey, including turns here as Bottom
in "A Midsummer Night's Dream" and as one of the mad players in "The Compleat Wrks of Willm Shakspr
(Abridged)." He's still funny, but also builds a strong and surprisingly sympathetic character study. Edwards
brings an endearing, nervous energy to his character. Oddly, while Dresser based Michael on his own experience
as a Little League coach, he is the least interesting of the two, and is saddled with some dialogue and mannerisms
that repeat in pattern long after we get the message -- Michael's a geek. Fortunately, Edwards has obviously found
his own inner geek and revels in the moment, making it easier for the rest of us to spend some time with him.

The biggest problem with "Rounding Third" is while it doesn't purport to be a baseball play, it is set in the mythical
Field of Dreams, which many Americans cannot visit without experiencing the romantic, nostalgic, almost religious
aura of America's pastime. Dresser just doesn't have a feel for that and, at times, the play drags the ballfield
around like a lead weight. But once you accept the limitations, as I finally did midway through the second act,
and focus on the characters, "Rounding Third" comes up a winner.

 FOR IMMEDIATE RELEASE:
 AN UPBEAT BASEBALL COMEDY "ROUNDING THIRD" 

Sussex…Just in time for baseball season, Tri-State Actors Theater presents the touchingly comic “odd couple”
story, ROUNDING THIRD by Richard Dresser. Two Little League coaches
- a tough, win-at-any-cost veteran coach and his new assistant -
are “baseball dads” with dramatically different philosophies. “Rounding Third”
runs June 7 through June 25 at the historic Crescent Theater, 74 Main St., Sussex. 

The new little league season is just around the corner and Don, played by
David Volin, a seasoned head coach with a reputation of winning, has lost his
like-minded assistant head coach to the Babe Ruth league. Enter new assistant
head coach Michael Johnson, played by Bill Edwards, a father who wants to spend
more quality time with his son and believes in just having fun. For Don, however,
winning is the fun of baseball and with the help of his son’s all-star pitching he is determined to do so despite
having to field Michael’s not-so-gifted son. Rounding Third is the story of these two coaches trying to find a way
to relate their two very different coaching styles over the course of the season. It is through these often hysterical
struggles that we begin to see that Rounding Third not only explores what it means to win on the field, but what it
means to win off it as well. Actors David Volin and Bill Edwards are both members of Actors Equity Assoc., the
union of professional actors and stage managers. 

Playwright Richard Dresser began writing Rounding Third when his son's Little League coach suggested
that a slower player fake an injury as part of the team's strategy for winning. "I was horrified," Dresser wrote in
an Introduction to the play. "Is this how our children are being trained to deal with competition? How many
future Enrons are brewing on our Little League fields and in our school gyms under the watchful eyes of
over-zealous coaches? What about building character and encouraging fair play? Or are such notions
laughable in this country at this point in history? At that moment I knew that I had to write Rounding Third."

Rounding Third begins with an Open Dress Rehearsal on Wednesday, June 7. Admission is free and
tickets will be available at the door. The run opens with a preview performance on Thursday, June 8; all tickets
are $17.00. Ticket prices for Friday and Saturday evenings are $27.00 and $25.00 for seniors 60 and over and
students. Regular Thursday evening and Sunday matinee tickets are $25.00, $23.00 for seniors and
students. Evening performances begin at 8:00 pm and Sunday matinees begin at 3:00 pm. Reservations
are recommended for all performances. Large print programs, wheelchair access and elevator service are
available for patrons with special needs. For tickets, information, and special services, please contact the
Box Office at 973 875-2950.  Main Street parking is limited and patrons are encouraged to use the free
municipal parking lot on Harrison Street, directly behind the theater.

Additional information about Tri-State Actors Theater and its programs and services are
available on the web at http://www.tristateactorstheater.org. Funding for Tri-State Actors Theater has been
made possible in part by a grant from the New Jersey State Council on the Arts/Department of State, a
Partner Agency of the National Endowment for the Arts and the generous support of the Geraldine R. Dodge
Foundation.

FOR IMMEDIATE RELEASE   MAY 22, 2006
MYSTERY NIGHT AT THE INN

  Sussex…Tri-State Actors Theater’s Spring Fundraiser combines dinner and a show at the Sussex Inn,
Main St., Sussex on Sunday, June 4 at 4:00 pm. Tri-State Trustees take center stage in their own original
murder mystery.

       A terrific audience participation event, Mystery Night attendees will assist investigators Bill Edwards
(Rounding Third, June 8-25) and Freddie Maas (Passion of Dracula) who are on the scene to help solve
the crime. A series of fictitious colorful local characters, suspenseful and hilarious activities provide clues to
crack the case.

       Tickets for Mystery Night at the Inn are $50.00 per person. Admission includes a buffet dinner, salad,
beverages and gratuity. There will be a cash bar. During the evening, several art pieces, dinner and theater
tickets, and other items will be auctioned.

For reservations and tickets, please call the Box Office at 973 875-2950. A portion of the ticket price is tax
deductible and will be acknowledged to all ticket buyers. Information about Tri-State and our 2006 season
is also available on the Internet at www.tristateactorstheater.org.

04/21/06 - Posted from the Daily Record newsroom
Gwendolyn Walker captures spirit
of Patsy Cline in Tri-State production

BY WILLIAM WESTHOVEN
SPECIAL TO THE DAILY RECORD

Jukebox musicals are all the rage on Broadway. Elvis, John Lennon and the Beach Boys bombed, but Billy Joel,
Abba and Frankie Valli are charting high.

With all those hitmakers rubbing shoulders in Manhattan, there's no room for the big voice, and tender story, of
Patsy Cline. Fortunately, she's found a home in Sussex, where Tri-State Actors Theater has revived its own
enjoyable revival of "Always ... Patsy Cline."

A near-capacity crowd packed the historic Crescent Theatre Friday night to welcome back Equity professionals
Gwendolyn Walker and Suzanne Hayes, stars of Tri-State' popular 2003 production of Ted Swindley's 1997 tribute
to the late country star.

Walker and her opera-trained voice inhabit the spirit of Cline with gusto, while Hayes provides the narrative hook
as Louise Seger, the single Texas mom whose real-life relationship with her favorite singer wraps the story in a
blanket of warm Southern hospitality.

For those not steeped in country-Western lore, Cline rose to fame in the late 1950s. Her powerful and dramatic
voice pushed songs like "Walking after Midnight" and "Crazy" from the country to the pop charts, but her career
was tragically cut short when she died in a plane crash in 1963.

Her story gained notoriety in the 1980s, when Oscar-winner Jessica Lange starred as Cline in the film "Sweet
Dreams." A few years later, singer K.D. Lang jump-started her career with an album of Cline songs produced by
Cline's famed producer, Owen Bradley.

Swindley's show is Cline's story, seen through the eyes of an obsessed fan who found comfort in a voice she
first heard on Arthur Godfrey's TV show.

"That's how I always wanted to sing," Louise exclaims, with Hayes curling her words around an authentic
Mason-Dixon accent.

Louise also tells us her story, happy to be rid of her no-good husband, even with the burden of two little ones to
support. She works, oddly enough, as an electronics technician. "We cain't all be hairdressers," she explains
cheerfully.

When Louise learns that Cline will be in town for a concert, she's first in line to greet her. The red and white stage
of the honky tonk serves as the main setting for the story. No matter that the multi-level stage looks more uptown
than down-home. It functions well enough for the show. A center entry at the top level provides for a few stagy
entrances, while the six musicians work the flanks.

Louise bonds with Patsy like a big sister, and brings her home after the show for bacon, eggs and more bonding,
which at times, in Paul Meacham's direction, seems on the verge of intimacy. But then, the mood changes with
more talk of children missed, followed by some lullabies and spirituals that, while not part of Cline's regular
songbook, tug at the heartstrings.

It's all as sweet as creamed corn and Hayes successfully gives the audience another character to care about.
But the unmistakable lure of "Always ... Patsy Cline" is Walker belting out the big-voiced ballads, one after
another, with convincing and genuine enthusiasm. More importantly, without resorting to pure mimicry, she does
Cline, and the songs, justice. Trying to capture Cline's soaring blend of torch and twang is like trying to play guitar
like Jimi Hendrix -- you better be good, or you're going to embarrass yourself. Walker at times borrows Cline's
quivering vibrato, but on other occasions, she's not afraid to hit and sustain notes that were probably beyond
Cline's range. Listen for one of these at the very end of "Lovesick Blues," which also ends Act 1, and you'll know
you're in the presence of a singer who deserves to be heard.

The band, which includes a fiddler and a pedal steel guitar player, is improbably led by 19-year-old Jessica Arnold,
a music major at Seton Hall. The Bodacious Bobs tackle a tough score of 28 songs. The good news is that by the
time you read this, they'll undoubtedly be even better. Let's hope fans keep filling the Crescent to cheer them on.

New Jersey Theatre Alliance 9th annual Family Week at the Theatre

Sussex…The New Jersey Theatre Alliance and Tri-State Actors Theater will present Youth Stages’ production
of The Lion, the Witch and the Wardrobe on Saturday, March 4, 2006 at 11:00am and 2:00pm. These performances
are part of the 9th annual Family Week at the Theatre, an annual event that provides free theatre performances
for children during the first week of March.  This performance will be offered at one child admitted free for every
adult ticket purchased

In this unique adaptation of the classic tale, all the roles are played by two performers... with some audience
participation. This imaginative and whimsical interpretation, stars Laurie Hardy and Joey Rizzolo. Their dynamic
acting, accentuated by simple costumes and set, allows young people to create Narnia in their imaginations.
Youth Stages, LLC is proud to bring this heroic tale of love, faith, courage and giving, a tale in which good
triumphs over evil, to yet another generation of children.  Recommended for grades K through 6.

Family Week at the Theatre is an annual statewide festival offering free and discounted tickets to young people
and their families and has been developed to encourage families to attend professional theatre together by making
 the experience affordable, educational and exciting.  Across the state, in all 21 counties, young people (ages 5 –
18) will receive free tickets to over 100 performances and special events including free classes, workshops and
backstage tours.  Since its inception in 1998, the program has served over 45,000 young people and their
parents with professional theatre performances and activities

While this performance is offered free of charge for children, there is a admission charge of $10.00 for adults and
reservations are necessary.  For more information or to make a reservation, call the box office at (973) 875-2950. 
Tri-State Actors Theater is located at the Historic Crescent Theater at 74 Main Street in Sussex.  To receive a full
schedule of events for Family Week at the Theatre (March 4-12, 2006), please call 1-800-THE-ARTS or visit www.
familyweek.com.

The New Jersey Theatre Alliance is the statewide consortium of professional theatres and exists to promote and
develop professional theatre in the Garden State.  Family Week at the Theatre is made possible by the generous
support of The New Jersey State Council on the Arts/Department of State, a Partner Agency of the National
Endowment for the Arts.  Additional support has been provided by AT&T, The Geraldine R. Dodge Foundation,
The Edward W. and Stella C. Van Houten Memorial Fund, The HMS Foundation, The Prudential Foundation,
Target Stores, Kings Super Markets, PSE&G and The Karma Foundation. American Airlines is the official airline
of The New Jersey Theatre Alliance.