From Small-Town Dreams to Big-Time Realities: A Review of Hollywood, Nebraska at South Camden Theatre Company
by Evan Harris
When I was younger, I had many friends who would say, “I can’t wait to get out of New Jersey.” They were disappointed to live in “America’s Armpit” and spoke of seeing the world and making their mark upon it. I never understood these people. Can you name another place this close to everything? I’m not sure I can. We are within driving distance of three major cities. Our coastline is dotted with incredible beaches. New Jersey has 12 national parks. Hell, we even have mountains, if you’re into that sort of thing. I didn’t even mention that we have the best bagels and pizza in the country (sorry NYC). And, as I’m sure you are well aware since you are reading this review, we have a robust theatre scene right in our own backyard. To summarize, I love Jersey. I feel very grateful that I get to call this state my home and I intend to keep it my home for the rest of my days.
But I would imagine I would feel differently if I grew up in a small town in the Nebraskan panhandle, the setting of Hollywood, Nebraska, the subject of this review. I had the privilege of enjoying this play Friday evening at the South Camden Theatre Company. This marks my second visit after previously reviewing their production of The Toxic Avenger: The Musical (read that HERE, if you’d like!), which I greatly enjoyed. My expectations were high following that performance, so I am pleased to report that this production was a delight to watch from start to finish.
Hollywood, Nebraska, written by Kenneth Jones, made its regional debut at SCTC on Friday, February 28th. This production was directed by Connie Norwood, whose extensive experience was evident in this production. It tells the story of two women who fled from Small-Town, Nebraska in pursuit of their dreams to be actors. Our protagonist, Jane, moved to Los Angeles after college and built a reputation as a “recurrer” and later as a series regular on a soap opera before her character (and seemingly her career) were killed off. The other, Andrea (pronounced On-DRAY-uh, unless she likes you) pursued acting in New York City. But these childhood friends found themselves pulled back to their hometown when Jane’s mother, Alma, suffered a minor fall and Andrea’s father passed away. And as Andrea explains in Act II, leaving home teaches you about the world. But coming home again teaches you about yourself.
When I walked into the theater, I was struck by the detail of the set. It was reminiscent of those moments in childhood when you would accompany a friend to their grandparents’ home. It was a place you had never been to before, but still felt familiar and nostalgic. The show is predominantly set in Alma’s living room, which captures the tidy yet lived-in look you’re bound to find in any home that is stuck in the past. Walls of beige and brown, patterned tablecloths and curtains, a cozy chair, and an even cozier throw blanket. SCTC board president Robert Bingaman’s work as scenic designer is fully on display. Additionally, props manager Pam Staley deserves major props herself (I’m sorry). The china cabinet in the back prominently features several props used throughout the show, further adding to the functional nature of the set. It feels like a real home. I should also give credit to the scenic assistants Steve Segal, Jordan Feld, Joe Wilmes, and SCTC secretary Jean Harden (who I had a lovely conversation with at intermission) for all the hard work they put into carrying out Bingaman’s vision. The naturalistic lighting choices made by Hunter A. Mountz contributed to the cozy atmosphere of Alma's home. And for the occasional departures to other locations, shadows of foliage, window frames, and other distinguishing features were cast on the set. This minimalist approach was successful in differentiating one places to the next while allowing the focus to remain on the actors and the story they're telling.
Between the set’s intentionally dated look and the preshow mix of hits from yesteryear, I fully expected the show to be set in the late ’70s or early ’80s. When Alma, as portrayed by Dawn Varava, made her way onto the stage and picked up her phone with its long, twisted cord, I did not expect the next sound I heard to be the classic iPhone marimba ringtone. That’s when Caity Brown’s Jane made her way down the theater’s center aisle and took the call on her AirPods. This dichotomy sets the tone for the entire play and its message of the past being at odds with the world we live in now. In a bit of remarkably clever staging, the phone call between mother and daughter had Alma seated behind Jane as they spoke. Alma feeling left behind by her family, her husband, and most recently her daughter is a persistent theme throughout the show.
Louise Gareau did great work as the costumer, ensuring that each character had a distinct style that informed their personality. Andrea and Jane’s characters very much looked like fish out of water when their outfits were put beside the rest of the cast.
The show frequently made use of the center aisle in its blocking, and I was very impressed by the speed that the actors were able to reach their places throughout the show. And taking into consideration the costume changes and the many props used throughout, I would be remiss to not give credit to the stage manager, Melody Moore. Stage management is perhaps the most thankless job in theatre because when it’s done right, the audience shouldn’t notice its impact (unless they’re a performer themselves, of course. Well done, Melody!). And speaking of transitions, each transition was accompanied by a variety of relevant sound effects and music that helped to keep these transitions as part of the show and not just awkward silence that breaks up the story. Sound designer Ashley Reiter is to thank for that! With all these moving parts, special credit must be given to technical director Joshua Samors, managing director Brad Reiter, and production manager Meghan Malloy for ensuring everything and everyone works as intended.
One of my favorite parts of seeing a show with a small cast is that you’re almost guaranteed to see excellent chemistry onstage, and I’m glad that this show was no exception. Jane and Alma’s relationship is one that may feel familiar to many. It captured that awkward transitional period when child and parent begin to switch roles in their relationship and how both can buck against it. Brown and Varava were unafraid to lay bare their most vulnerable selves, particularly in the big confrontation between the two in the second act. Excellent performances from both actors, especially considering the incredible number of lines both actors had in this play.
Andrea was brought to life by the multitalented Tanya Morgan. Reading in her bio that she, like myself, has a passion for improv comedy, I was eager to see her perform. Her choices were thoughtful, and her performance was fluid as it was clear that she was intently listening to her fellow actors. Her charisma onstage was just radiant; a true pleasure to watch.
Playing Robert, the handsome widower next door, is Stephen Kreal, an actor I always enjoy watching perform. Kreal is the sort of actor who could likely tell you what his character had for breakfast the morning before each of his scenes. He is a meticulous and hardworking performer who considers every detail when building a character. There were numerous moments where Kreal revealed much about his character without saying a word. I love seeing characters whose kindness is their greatest strength, and I don’t think there is a better actor to play such a character.
Rounding out our cast were Leah Senseney playing Robert’s teenage daughter Katie and Scott Berkowitz playing the charming, if a bit bumbling, Lance. In a show where its ethos was at the forefront, I was glad that Senseney and Berkowitz’s comedy fit so naturally into the tone of the play. These two gave their characters a liveliness and charm that the audience fell in love with from their first line to final bows. Senseney also delivered a gorgeous vocal performance that certainly gave her character’s dream of becoming an actor merit. And Berkowitz’s larger-than-life personality and bold comedic choices made him an audience favorite.
The chemistry the entire cast shared is what made this show about family, blood and found, resonate with the audience. The standing ovation was well deserved! There may have been some opening night jitters (some lines were stepped on here and there), but our actors delivered a stellar performance that kept the audience thoroughly entertained for the entire performance. I will also say that the show itself was, in my opinion, a bit longer than it needed to be. But this is much more an issue with the script itself and not the cast that performed it. I enjoyed the script, but it would benefit from some fat-trimming.
Please take the advice I gave in my Toxic Avenger: The Musical review: see this show and whatever comes next for the South Camden Theatre Company! In a world where media is dominated by remakes, spin-offs, and adaptations, I highly recommend taking your hard-earned money to a theater that is putting all its creative effort into telling original stories you likely have not heard before. And it’s all right here in our own backyard—right here in the great state of New Jersey. Hollywood Nebraska runs till March 16, you can purchase tickets here: https://www.southcamdentheatre.org/
