Dear Sugar…
by Sarah Dorsey
I would be the worst thespian if I did not warn you to BUY YOUR TICKET NOW, because Burlington County Footlighters 2nd Stage sells out fast.
Bring tissues if you’re lucky enough to get a ticket!
Review the content before buying tickets for young adults. This show discusses some heavy stuff!
…
22. This was one of the best plays I’ve ever seen in a blackbox theatre.
Burlington County Footlighters 2nd Stage, located in Cinnaminson, NJ, provides a more intimate setting for smaller productions. Outside, guests will find plenty of parking to accommodate all ticket holders. Inside 2nd stage, guests will have to squeeze into their seats and get comfortable with the person next to them, because the space is tiny and the seats are packed together. For this production of Tiny Beautiful Things, based on Cheryl Strayed’s novel, the cast will also occupy the seats scattered amongst audience members. This made for such a magical experience– the theatre was truly all around us tonight! I consider myself lucky to have had the opportunity to see this beautiful production opening weekend. The show runs for about 1 hour and 40 minutes with no intermission. The director, Jonathan Edmondson, did make an announcement at the beginning of the show that audience members could excuse themselves if they needed to (and they did provide a straight path to the exit); however, not a soul moved in fear of missing even a moment from this piece.
Tiny Beautiful Things, originally a novel by Cheryl Strayed, tells the story of an unpaid columnist for The Rumpus from 2010-2012. Sugar, the pseudonym for the columnist, provides the readers with raw unfiltered advice that weaves her own life experiences through her responses back to the writers. The book was adapted into a play by Nia Vardalos and was first seen Off-Broadway at The Public Theatre in 2016. The original script calls for one actor to play Sugar and three Letter Writers; however, Burlington County Footlighters added two Letter Writers to the cast. I have no opinion on whether three is better than five or vice versa, because the cast made it work. The show follows some heavy content such as grief, child loss, drug addiction, crumbling marriages, and sexual assault. While these topics are often hinted at or used in other works of art on the stage, it can be difficult for some people to observe. Please reflect before seeing this show. If these are not topics that you wish to hear about, I would recommend sitting this one out, but if you are someone that wants to be moved and heard through the stories of others, see this show now. I have yet to see other community theatres take on this piece, so it seems to be a rare find on the South Jersey stage.
The production team consisted of Jonathan Edmondson (Director and Set, Sound, and Props Design), Susan Jami Paschkes (Producer and Letter Writer), Jim Frazer (Lighting Designer), and Alizah Allen (Mental Health Consultant). Edmondson’s work as director, set, sound, and props was meticulously curated. The blocking, or choreography as I saw it, was strategically part of the storytelling. The set was made up of simple pieces– chairs and table house right, lounger with cushions house left, love seat with ottoman center, and Sugar’s desk with her laptop, books, and multiple drinking glasses up stage right. The fluidity of the set helped the cast move around through each piece. Frazer’s lighting design consisted of the regular overhead theatre lights as well as thoughtfully placed lamps for the cast to turn on and off throughout the production. It was not overwhelming or distracting, rather it was illuminating. Paschkes, as producer, coordinated with members of the Footlighters team for marketing purposes as well as production of the program. She worked tirelessly to keep the show running on and off stage! While Allen did not appear on stage, her work behind the scenes was apparent. The actors were able to portray these roles with ease because of Allen’s work behind the scenes. The show did not have anyone listed for costumes because Edmondson trusted his cast with their own fall wardrobe, and they pieced together a mosaic of autumn colors and textures perfectly.
The cast was made up of, what I like to call, “A-List South Jersey Community Theatre” actors. Carrie Rupnow-Kidd, Sugar, beautifully guided this ensemble through difficult story lines and pages of longer monologues. She told the stories not just through her lines but through her actions, reactions, her movements, facial expressions, and hand gestures– I’ve never felt so compelled to ask, why have I never seen you on stage before? And, what will you be working on next? Her story telling ability is next level. Working alongside Rupnow-Kidd, she had her letter writers: Amanda Dranchak, Maranatha Theorgood, Phyllis Josephson, Stevie Neale, and Susan Jami Paschkes.
Susan Jami Paschkes, Letter Writer, opened the show with a somber, observative walk into the set. Almost a warning to the audience of the heavy nature of the show. She took on different letter writer men, women, and even the original Sugar. Her ability to transform into each role was moving and so powerful. Following behind, Amanda Dranchak, Letter Writer, gave another quiet walk around before her emotional portrayal of a mother after loss, a woman grieving a marriage, and so much more. Each line thoughtfully and sometimes painfully recited to better understand her character’s inner most intimate feelings. Back on the stage after an 8 year hiatus, Stevie Neale, Letter Writer, brought to life the saddest and most unfortunate letter. They took their time with the longer monologue to really push this audience to feel the emotions of this father after…well you’ll have to see the show. The audience, after their long monologue, could be seen wiping tears away from their eyes. Bravo Stevie! It’s like this show was waiting with open arms for them to return for this story telling moment.
Phyllis Josephson, Letter Writer, a regular on the South Jersey stage provided a masterclass in love and comfort towards her castmates. Her dialogue was moving and purposeful. She delivered each piece with such grace for the real life letter writer. Finally, Maranatha Theorgood, Letter Writer, the final and funniest letter writer. She might be thinking “WTF, no really WTF?” Her one letter writer seemed to have that same thought for Sugar on multiple occasions. Theorgood brought laughter into the audience in between really powerfully sad scenes. Her delivery was spot on and perfectly timed.
The entire cast of Tiny Beautiful Things worked so well, so effortlessly together. It felt more like I was watching a ballet than a play. They moved so seamlessly together with what can better be described as choreography than blocking. The audience was made up of strangers, family, and friends alike– yet everyone stayed to applaud each cast member and congratulate them on a job well done. This adaptation belongs on a mainstage for more people to enjoy and for more people to see true story telling.
Thank you to BCF 2nd Stage for welcoming me into such a safe and (tiny) beautiful environment. I will forever chase this feeling of gratitude for being permitted to see such a soul-stirring piece of art.
Tiny Beautiful Things runs through October 17th, and you can find tickets using the following link: https://tickets.bcfootlighters.com/show/tinybeautifulthings
