AFD is delighted to welcome back the uber-talented and super-nice powerhouse of Paul Alperin, who'll be bringing down the house as Fester in our upcoming production of "The Addams Family." He does a lot at AFD, from playing the cello to singing and dancing to helping build sets to participating in selecting plays. He previously appeared on-stage in "The 25th Annual Putnam County Spelling Bee" (William Barfée) and "Avenue Q" ("Brian"), and in the pit orchestras for "Violet," "The Light in the Piazza," and "Nine." A resident of Arlington, Paul has performed with several professional theater companies in Metro Boston as an actor and cellist, including SpeakEasy Stage Company ("Shakespeare In Love"), American Repertory Theater/Company One ("Miss You Like Hell"), The Umbrella Stage Company ("Parade" and "Bonnie and Clyde: The Musical"), and Bad Habit Productions ("Man of No Importance" and "Play On: Music that Moves Us"). Other favorite roles include Josephine Strong in "Urinetown: The Musical" (Longwood Players) and Lord Farquaad in "Shrek: The Musical" (Open Door Theater). Don't miss him in "The Addams Family" coming soon! Paul works in HR for a Cambridge-based biomanufacturing company, and he served on the Play Reading Committee for AFD's '18-'19 and '19-'20 seasons. Love and thanks for Rebekah and Newton, whose tail-wags make every day meaningful.

First read through of the book for "Addams Family" musical pulled together some major talents, and resulted in a lot of laughs and high spirits. We're excited about the play itself (funny! clever! melodic!), but also about our fresh and funky bunch of players, including some folks who've made indelible impressions in previous productions. Welcome back, Paul Alperin, who was delightful in our production of "25th Annual Putnam County Spelling Bee." Here he is at the table read, and in full costume... as the foot. the magic foot. And welcome to Vanessa Calantropo, who stole the show in last season's production of "Dirty Rotten Scoundrels"! Again, here she is today, and back then... Be sure to join us in September, when all the fun hits the stage!

Two nights only, your chance to catch seven great little works, featuring local talent: playwrights, actors, directors. Just $10 at the door brings a lot of entertainment! Face Time by Donna Hoke Directed by Nick Zendzian ​ Remember Me by Christopher Lockheardt Directed by Jenna Corcoran ​ Haircut by Mary Babic Directed by Michael Trabucco ​ The Dad’s Dance by Charles Hertz Directed by Patrick Skehill ​ A Monogamy of Swans by John Minigan Directed by Amy Bennett-Zendzian ​ Stew by K. Alexa Mavromatis Directed by Sara Dion ​ The Home for Retired Canadian Girlfriends by John Bavoso Directed by Tom Formicola

As Arlington Friends of the Drama’s lavish new production of “Dirty Rotten Scoundrels” premiered on Friday, May 3, the lead scoundrel, Lawrence Jameson, played by Boston’s Nicholas Mann, and his partner-in-crime, Andre, played by North Billerica’s Craig Howard, sang “Give Them What They Want,” and that’s just what the show delivered. For fans of comedy, “Dirty Rotten Scoundrels” channels the 1988 movie comedy of the same name, offering up slapstick seductions, dizzy dames, a rootin’ tootin’ Oklahoma heiress, an Austrian psychiatrist with a lunatic brother, a none-too-bright con-man-in training (Steve Martin in the movie) played by Boston’s Jeff Mitchell, and a never-ending torrent of jokes, puns, and wisecracks. For the romantics among us, the show has a tender love song and pas de deux, “Like Zis/Like Zat,” sung and danced by Arlington’s Karen Fanale and Craig Howard (in an irresistible vaudeville French accent). For lovers of spectacle, “Dirty Rotten Scoundrels” has too many costume and scene changes to count, and a terrific ensemble of dancers, including a bevy of French maids dressed as exactly as one would imagine. For musical comedy aficionados, there are songs galore, from the hysterical—“All About Ruprecht” and “Love is My Legs”—to the sentimental “Love Sneaks In” and “Nothing Is Too Wonderful to Be True.” As one audience member said on opening night, “The combination of talented actors, the director [Ryan Began], and members of the production team, along with the costume and makeup folk—everybody who worked on the show—made this one of the best AFD shows I’ve seen.” Lucky for you, the show runs two more weekends through May 19. Tickets (or even better, an AFD membership) can be purchased online right here or at the box office starting 45 minutes before show time at 22 Academy Street, Arlington, MA. Or call for information at 781-646-5922. Don’t miss it. They may be dirty rotten scoundrels, but that’s what makes them so entertaining and loveable. Production photos by Leslie Maiocco

“That was definitely better than last night!” The cast of "Dirty Rotten Scoundrels" laughs. They are sitting on the stage, spread out over the steps of the recently painted set, scripts and pencils in hand, ready to take notes. The previous night they had done a run of Act 1, and it had been a little rough, but tonight the run of Act II was a big improvement. The show is coming together on schedule for an opening night on Friday, May 3. Each night after a run-through, director Ryan Began gives notes, some general, some specific, ranging from anything the overall tone he is looking for, to a specific change he wants an actor to make in a particular moment. Ryan starts with the big picture first. “Some of your moments were much too subtle. There is no room for subtlety in this show. I want you to fire on all cylinders. Don’t worry about being over the top; I can always pull you back later. Every night I want you to leave everything you have on the stage. I trust you, you just need to trust yourselves.” This director may expect his cast to give their all to fulfill his artistic vision of this show, but it’s no less than what he expects and gives himself. Ryan, who lives in Boston, has directed for Huntington Theatre Company, SpeakEasy Stage Company, and New Repertory Theatre. Last year at AFD, he directed “The Light in the Piazza.” Under his directorship, that show ranked among AFD's most successful musicals. Ryan stays up at night creating timetables for sets and props and designing rehearsal schedules. He searches for inspirational images for his designers, polishing his vision of the show and figuring out how to convey it to his actors. He posts on social media to get the word out. Then he grabs a few hours’ sleep (maybe) and puts in a day’s work before returning to the AFD in the evening to work some more. His artistic vision is a full one. He can’t help but envision the set, the costumes, the lighting as he begins to read through a play months far in advance of casting. By the time auditions arrive, before the first production meeting, he has amassed ideas and images from hours of research, and he knows exactly what he wants. Now he is seeing his vision come together. The cast is very funny, the choreography is amazing, the singing sounds wonderful. But there is still room to make it even better. So the cast sits, pencils in hand, listening and taking down notes. There will be notes for props and costumes, lighting and sound as each rehearsal progresses ever closer to opening night. Tomorrow is the designer run, where all the designers (lights, sound, costumes, hair and makeup, props, set design) are asked to attend and see how their part of the project is coming together with all the other elements. The next night is the “sitzprobe,” the first night when the band and the cast come together and hear what each other sounds like. A week later they perform their first show before a live audience at the open dress rehearsal for seniors. By then, everyone will be tired. But the adrenaline of their first performance will buoy them forward. When the band strikes up on opening night, Ryan’s job will be done. His months of preparation will have paid off, because he trusts his cast, and they will be doing what he has asked: they will be ready, firing on all cylinders, performing one very entertaining and over-the-top show, leaving everything they have on the stage for audiences to enjoy. Be a part of that audience and don't miss this sparkling and fresh musical comedy! Tickets are now on sale at https://www.ticketstage.com/T/AFD

There's fun to be done at Arlington! OMG, the talent you'll see when "Dirty Rotten Scoundrels" open on May 3! Get your tickets now and beat the rush! Nicholas Mann ( the elegant Lawrence Jameson ) and Jeff Mitchell (the scruffy Freddy Benson) bring to life the movie characters created in the 1988 movie on which this delightful and irreverent musical is based. Nick has appeared in such shows as "Big Fish" at the Umbrella Community Arts Center, "Homemade Fusion: A Musical" at The Opposite of People Theatre Company, and "Into the Woods" at Little Theatre of Stoughton. Jeff made his AFD debut in this season's "Rosencrantz and Guildenstern Are Dead" as the snaky and sneaky Claudius. His acting chops include Stage Manager in "Our Town," for which he won the 2018 DASH Award for Best Lead Actor in a Play, Black Stache in "Peter and the Starcatcher," Snoopy in "You’re a Good Man, Charlie Brown," all at the Footlight Club in Jamaica Plain. An actor who can play a king AND a beagle? We love this guy. Heather Pruiksma has created a lot of theater, but this is her first time on the AFD stage and we are rejoicing. Her acting credits include Annie Oakley in "Annie Get Your Gun," Hedy LaRue in "How to Succeed in Business Without Really Trying," and Janet van de Graff in "The Drowsy Chaperone," all at The Cannon Theatre in Littleton; Gertrude McFuzz in "Seussical, The Musical" at Open Door Theater in Acton; and some exciting ensemble roles in "The Addams Family" at Theatre III in Acton, "Cabaret" at River’s Edge Players in Hudson, "Chicago" at Nashoba Players in Westford, and "Spamalot" at the Concord Players. What can we say about Vanessa Calantropo (Jolene Oakes) except "WOW"? She's returning to AFD after appearing as Cassie in "A Chorus Line" in 2015. Current productions include American Repertory Theater’s production of "The Donkey Show," playing Dimitri on Saturday nights in Cambridge. Favorite Boston credits include: With the Gold Dust Orphans, "GREECE," "Whatever Happened to Baby Jesus," and "Brokelahomo;" with The Umbrella theater, Yitzhak in "Hedwig and The Angry Inch," Kate in "The Wild Party," and Shelia Franklin in "HAIR." More Boston-area credits include "Homemade Fusion" (The Opposite of People), Gussie Carnegie in "Merrily We Roll Along" (FUDGE Theater), and Mrs. Walker in "Tommy" (The Footlight Club). We're thrilled to welcome back AFD favorite Karen Fanale (Muriel Eubanks) who returns to us after her outstanding performances as Margaret Johnson in "The Light in the Piazza" and Mrs. Robinson in "The Graduate." Additional recent credits include "The Most Happy Fella" (concert) and "Anything Goes" at Reagle Summer Music Theatre, "The Prime of Miss Jean Brodie" at Theatre-To-Go, and "Company" with the Burlington Players. Craig Howard (Andre Thibault) has performed with numerous community theatre companies in the last 30+ years. We are delighted that he's making his full-length-play debut at AFD. You may have seen Craig in “Peter Pan” (Hook), “Spamalot” (Arthur), “Urinetown” (Lockstock), “The Producers” (Max Bialystock), “1776” (John Dickinson), “A Christmas Carol” (Scrooge) and “Fiddler On The Roof” (Tevye). He recently appeared as Marcus Lycus in “A Funny Thing Happened on the Way to the Forum” at Carlisle’s Savoyard Light Opera Company, Gomez Addams in “The Addams Family Musical” at Acton’s Theatre III, and as Narrator for Concord Players’ “The Hunchback of Notre Dame.” Talent in the Ensemble and off-stage, too? Please. We've got some heavy-hitters here. Watch this space for more details about them.

We don't have a big stage at AFD, but we make the most of what there is. And for "Witness for the Prosecution," we do some real magic. It starts as a fusty law office of Sir Robarts; and then, presto change-o, becomes the Old Bailey, with the judge all perched on high. Our formidable stage crew makes the transition in no time flat, and you can watch the whole thing. Starring Maren Reisch as the stage manager. Come watch the magic starting Friday!

We're delighted to welcome George Middleton, in the role of Sir Wilfrid Robarts in "Witness for the Prosecution" (by Agatha Christie). George has lived in Arlington for a long time, but this is his first time on stage with us. An actor who trained in London and worked in New York City, George brings serious gravitas to the role of the defending barrister. Of his role, he notes, “Sir Robarts is a lovely role. He’s an English eccentric, a Queen’s Counsel that you get in the upper class of British society. As the top of the heap of the legal profession, he’s very self-assured. But he’s almost smug in his faith in the legal system, and Agatha Christie does shake that up a bit. Her play has some commentary about that.” He appreciates the skill of Christie at character in the middle of mystery. “She’s a master at plotting, obviously, but what makes her literature endure is that her characters are not stick figures. They’re so interesting in their eccentricities and quirks. Other writers have a lot of whodunit without the real people.” Of the director, J. Deschene, he says, “She’s a really talented director, very creative. She gives us things that enrich the scene.” The language is crucial to the time and place as well, “And she’s very precise about sticking to the script word for word. It’s so particular.” Still, he notes that “she digs into the text for humor in a lot of places as well.” As one who knows good theater and good entertainment, Genard encourages audiences to come to this one. “As always,” he says, “You’re in good hands with Agatha Christie. This play is no exception. There are surprises and even shocks-- you won’t be disappointed."

Nearly 100 years after Agatha Christie created her, Romaine Vole endures as one of the most complex, unsettling characters in modern fiction. She first appeared in the short story version of "Witness for the Prosecution" in 1925; then in the play and movie versions in the 1950s. Immortalized by Marlene Dietrich in the 1957 movie, she's been played by Diana Rigg, Andrea Riseborough, and Mary Kerridge. Her character bears a lot of weight, showing prejudices around gender, class, and nationality. A German in war-weary London, she's not trustworthy - nor transparent. A woman who speaks with force and clarity, she's neither lady nor servant. She's still, yet powerful; loving, yet dubious; truthful, yet -- lying? When she first appears, as the wife of the man accused of murdering a spinster, we assume she will confirm her husband's assertion that he didn't do it: he returned home that evening from visiting the older woman (Emily French)- on time, unperturbed, clean as a whistle. Instead, in a strange twist, she turns on him, and ends up as a witness for the prosecution, upholding their evidence that he was late, bloody, and agitated. However, she disturbs us, and the jury, with her fierce demeanor, her unwillingness to be agreeable, her accent and her strange history in Germany. In TV and movie versions, there was a backstory around Romaine as a performer - an actress, a singer, a performer - and all that baggage that brought with it. The play doesn't go there, but there's a sense of something wrong about Romaine - and her marriage and her husband. Kristen Heider as our Romaine Vole AFD is lucky to have Kristen Heider as our Romaine. She brings a stillness, and an excellent German accent, to the character. Kristen has wanted to play Romaine since she was 10 or 11—she can’t remember exactly—and growing into a rabid mystery fan (as opposed to an E. coli-infected one). A theatrical Jill-of-all-trades, Kristen is relatively new to the Boston area. She is a company member of Flat Earth Theatre where she has appeared in "Fat Pig" (IRNE Award Nomination, Best Supporting Actress in a Play-Fringe) and "Radium Girls," in addition to taking on many other on- and offstage roles. Other local credits include productions with WholeTone Opera, the Hub Theatre Company of Boston, and Boston Public Works. Kristen also enjoys voice acting and can be heard in various announcements about town, on a number of audio dramas, and occasionally live with The Post-Meridian Radio Players. When she's not acting or otherwise making theater, Kristen is a music librarian, singer, and bass trombonist with a deep and abiding love for tea.

Is Leonard Vole a goofball innocent, caught up in a web of lies by a crafty German woman with few scruples but many wiles? Or is he a sort of Post-WWII Ted Bundy in a war-weary, threadbare London? You make the call, in our upcoming production of Agatha Christie's "Witness for the Prosecution," opening March 1! Patrick McCormick as Leonard Vole writes a note to his barrister. Vole is a fascinating character, by turns charming, befuddled, agonized, inventive--and a bit predatory. He charmed the spinster Emily French with his good looks, youthful vigor, and agile mind. Yet what was their relationship? He says he regarded her as his aunt; the housekeeper Janet MacKenzie says he was trying to bilk and/or marry Emily for her money. He spent many evenings with her... Come puzzle it out with us. Patrick McCormick, who plays Leonard with grit and outrage, has recently appeared in "Gross Indecency: The Three Trials of Oscar Wilde: (The Longwood Players), "Love’s Labour’s Lost" (Shakespeare in the Valley) and "The War on Safety" (Brooklyn College). He holds an MFA in Acting from Brooklyn College.

While Sir Wilfrid (the defense barrister/attorney) gets top billing in "Witness for the Prosecution," for my money the role of Mr. Myers, Q.C. (aka Queen's Counsel) is a bit more juicy and flashy. And it takes some serious acting chops to convey his passion, outrage, and -- confusion. Fortunately for AFD, we have all that in the body of Brian Lavalle, who brings a serious dosh of spice to the man who's determined to convict the shiftless Leonard Vole of murdering the spinster Emily French. Patrick McCormick as Leonard Vole and Brian Lavalle as Mr. Myers As the diabolical plot unfolds, we're all baffled to find that Leonard's wife, the steely foreign-born Romaine, turns up in court as a witness for the prosecution (NOT the defense). Mr. Myers draws her out, and then hammers away at Leonard -- as Leonard holds fast to his assertion that he's innocent and his wife is lying and it's all a terrible nightmare... Brian has appeared with the Winchester Players, the North Shore Players, Steps off Broadway in Bellingham, and the Newton Country Players. He has played a variety of roles that include: George Bailey in "It’s A Wonderful Life," Mr. Shellhammer in "Miracle on 34th Street," Adult Frank in "Cheaper By The Dozen," Sandy Lord in "The Philadelphia Story," Brother Dan in "Joseph and the Amazing Technicolor Dreamcoat," and Herr Zeller in "The Sound of Music." We're happy to welcome him to the AFD stage!

"I was her housekeeper. I’ve no opinion of companions, poor feckless bodies, afraid to do a bit of honest domestic work." One of the more riveting and affecting moments in "Witness for the Prosecution" (by Agatha Christie, ahem) comes when the murder victim's housekeeper/companion takes the stand, and brings the woman's humanity and vulnerability to light. Janet MacKenzie, played by veteran actor Sandy Armstrong, is a woman trapped by class and gender (as well as her slight outsider status as a Scot) in postwar Britain. Fiercely loyal, obviously shrewd and clever, but caught up in domestic details, she loves her mistress, enjoys hard work, and regards men with more than a dollop of skepticism. Sandy Armstrong and George Middleton Her testimony, in the middle of Act 2, is angry, emotional, and blistering. She wanted to protect the victim, Emily French, from the wiles of young men; or did she want to protect her stake in Emily French's fortune?; or did she feel jealousy of Emily's wandering heart? You probably should come to find out. Sandy Armstrong has been involved in community theater in one form or another for more than forty years. She produces, directs, does make-up, sets, and associated art work as well as performing. Sandy was a Founding Board Member of Merrimack Repertory Theatre in Lowell and for many years produced and performed in shows for The Paint and Powder Club of Greater Lowell, raising funds for local children’s charities. Some of her favorite roles include Mame in "Mame," Mother Superior in "Nunsense," Grandma in "Lost In Yonkers," Dotty in "Good People," and Jeanette Burmeister in "The Full Monty." On the AFD stage she’s played Ethel in "Moon Over Buffalo" and The Narrator in "Side by Side by Sondheim." Sandy has produced three shows for AFD and this spring she will co-produce "Dirty Rotten Scoundrels" with Susan Harrington. Sandy was a 2014 EMACT Supporting Actress nominee for her role as Felicity in "The Shadow Box" and is a DASH Consultant for EMACT.