Act II Playhouse announces its latest production, “Grace and Glorie,” a heartwarming comedy/drama by Tom Ziegler. The production stars Penelope Reed, a favorite of audiences at Act II Playhouse. 

Penelope Reed as Eleanor Roosevelt on the Act II stage in 2022.

Grace Stiles is a 90-year-old spitfire who has checked herself out of the hospital to return to her home nestled in the Blue Ridge Mountains. Gloria Whitmore is her volunteer hospice worker and a recent transplant from New York City. On the surface, this mismatched pair have nothing in common. Soon, however, they will find new perspectives on all of life’s challenges in this odd-couple comedy/drama that is sure to inspire laughter, tears, and hope. 

Penelope Reed, a favorite performer of Act II audiences, returns to the Playhouse in the role of Grace Stiles. Reed is best known to Playhouse patrons as Eleanor Roosevelt in “Eleanor” (2022) and she has also appeared in “Steel Magnolias,” “Boca,” and “Gaslight” (all 2023). 

Joining Reed in the production is Genevieve Perrier who returns to Act II after “Any Given Monday” (2010). 

We are thrilled to have these two powerhouse performers together in ‘Grace and Glorie’. This production is perfect for the Playhouse: an intimate story of two people that is sure to come to life in our cozy space. This play is guaranteed to surprise and delight audiences and have them laughing and crying in equal measure. – Act II Artistic Director, Tony Braithwaite.

This is not the first time that “Grace and Glorie” has been produced at Act II – it was one of the very first shows performed at the Playhouse in 2001.

If You Go:

Previews for “Grace and Glorie” begin Tuesday, Jan. 28, 2025 and the production opens Friday, Jan. 31, 2025. The production runs through Feb. 23, 2025. 

Ticket prices start at $32 and are available online at act2.org, by calling the Act II Box Office at 215-654-0200, or in-person at the Box Office at 56 E. Butler Ave., Ambler, PA. The Box Office is open Mon-Sat, 2 p.m. – 6 p.m. Student tickets are $15 and group discounts are available.

 Arden Theatre Company is bringing audiences together in 2025 with the highly anticipated world premiere of Holy Grail of Memphis. The comedy, written by Philadelphia-based, award-winning playwright Michael Hollinger, takes audiences on a profound journey of transformation and restoration.

Newton Stover II unearths long-lost blues recordings and fights to restore his grandfather’s music studio and fractured family legacy in a tale of redemption, resilience, and the power of the blues. Directed by Terrence J. Nolen, producing artistic director for the Arden, Holy Grail of Memphis unfolds on the Arden’s intimate 175-seat Arcadia Stage with performances through March 9. 

Bringing Holy Grail of Memphis to life on the stage are six incredibly talented actors, including Matteo Scammell, Erin Malimban, Newton Buchanan, Kishia Nixon, Mary Martello and Fred Michael Beam. 

Holy Grail of Memphis takes place in present-day Memphis, Tennessee, and the stage design immerses audiences in the atmosphere of a mid-century recording studio, complete with vintage equipment, microphones, mixers, and amplifiers. Amongst the meticulously crafted stage setting, theatergoers are introduced to Newton “Newt” Stover II (Matteo Scammell), a man striving to rebuild his life and preserve his family’s legacy after uncovering the long-lost recordings of legendary blues guitarist and singer Alfred “Deaf Duck” Mason (Fred Michael Beam). Mason, who was Deaf, performed throughout the Mississippi Delta for decades, inspiring countless other great Black bluesmen and women, including Mississippi John Hurt, Blind Lemon Jefferson, and Memphis Minnie. The play highlights the rich history behind the origins of the Blues and pays homage to legendary Black blues musicians who paved the way for other future artists of color. With the help of his tech-savvy intern, Lee Hara (Erin Malimban), and Derek Benoit (Newton Buchanan), a scholar, musician, and Newt’s former bandmate, Newton plans to release Mason’s recordings to the public and restore his grandfather’s studio to its former glory. However, the arrival of an unexpected visitor could throw his plans into disarray.

At its heart, the play is about listening: how we listen, and what we choose to hear. This relates to music, of course, but also to all human interactions, within and across cultural divides. As the characters begin to come into focus, they wind up embodying many cultural divides: between generations, genders, ethnicities, abilities, and geographies. Every combination of these characters produces both friction and the opportunity to listen better and more empathetically. This, I hope, will be part of the takeaway for audiences as they leave the theatre and return to their lives. – Michael Hollinger

A longtime collaborator with the Arden for more than 30 years, Holy Grail of Memphis will be Hollinger’s tenth world premiere at the Arden. His partnership with the Arden began in 1994 with his first world premiere, An Empty Plate in the Café Du Grand Boeuf, and has since added an impressive roster of additional world premieres, including Incorruptible, Tiny Island, Red Herring, Tooth and Claw, Opus, Ghost-Writer, Under the Skin, and the musical TouchTones. Of the nine world premieres, Hollinger has earned three Barrymore Awards for Outstanding New Play and the F. Otto Haas Award for an Emerging Theatre Artist. Hollinger’s work as a playwright, lyricist, composer, and adaptor has been widely produced across the United States and internationally, with many of his productions translated into multiple languages. 

If You Go:

Holy Grail of Memphis  runs through March 9.

 Single ticket prices vary by performance and start at $37. Tickets are available online at ardentheatre.org, by phone at 215.922.1122, or at the box office at Arden Theatre Company (40 N. 2nd Street). 

Special events and performances 

Post-Show Talkbacks| Wednesday, Feb. 5, 2024 at 7 p.m. & Sunday, Feb.16 at 2 p.m. Join a member of Arden’s artist team for post-show talkbacks. 

Young Friends Night! | Thursday, Feb. 13, 2025 at 7 p.m. 

Use code: YFARDEN for $30 tickets ( Young Friends Night is designed for audience members 40 and under and includes a pre-show talkback and networking event). Click here to purchase tickets. 

Teen Night | Saturday, Feb. 1, 2025 at 7 p.m. 

$15 tickets and a post-show talkback for Teens 13 – 18 years old. Click here to purchase tickets. 

Student Matinees |Tuesday, Feb. 18, 2025 at 10:30 a.m. 

Want to bring a school group? Submit a group inquiry here. 

Smart Caption Glasses | Starting Tuesday, Jan. 28, 2025 

Wearable, customizable Closed Captioning Glasses are available to reserve for performances. 

Audio Description Available | Friday, Feb. 14, 2025 at 7 p.m. & Saturday, Feb. 15, 2025 at 2 p.m.

Live verbal descriptions of actions and visual effects are available for blind and low-vision patrons.  

Open Captioning Available | Friday, Feb. 14, 2025 at 7 p.m. & Saturday, Feb. 15, 2025 at 2 p.m. 

Live, on-stage text display of all words and sounds for Deaf and hard-of-hearing patrons.   

American Sign Language (ASL) Interpretation Available | Friday, Feb. 21, 2025 at 7 p.m. & Saturday, Feb. 22, 2025 at 2 p.m. 

Live, on-stage ASL interpretation of the dialogue, provided by Hands UP Productions 

QUIXOTIC PROFESSOR QIU

by Damon Chua

Inspired by real-life cases of Chinese American scientists being targeted for allegedly carrying out economic espionage, this satirical play follows a fictitious math professor, who finds himself scrutinized by the FBI and his own university colleagues, while simultaneously navigating a delicate relationship with a childhood friend in China. As the screws tighten around the unwitting Professor Qiu, he is forced to choose between his birth country and adopted land, between loyalty and self-preservation.

If You Go:

Performances Jan. 31-Feb. 23 at The Proscenium Theatre at The Drake.  For tickets and showtimes, visit AudienceView Professional

Everyone’s favorite gal pals from Manhattan are getting together for drinks (cosmos, obviously) and to talk about, what else, sex. And the city. But when the ladies discover that they have one particular gentleman in common, things take a very dark and hilarious turn. It will be up to you to solve “Slay and the City” in this original immersive experience presented by Without a Cue Production, written by Traci Connaughton and held at Red Rum Theater (601 Walnut Street) from Jan. 11 to Feb. 24.

Manhattan’s favorite gal pals are ready to spill the tea – and all the tell-all clues. Come ready to be part of the action as you try to solve the mystery. The action will happen all around you – so listen closely in between the steamy gossip and the clinking of those cosmo glasses as you try to figure out whodunit to win a prize. There will be a chance to interact with the audience, make new gal pals and even take your own mugshot.

Theme drinks by Pops McCann – including signature cosmos, flirtinis and more – are part of the cash bar available during each performance. Come dressed as your favorite gal pal for extra bonus clues and surprises.

If You Go:

• Slay and the City: A Killer Cosmo
  by Without a Cue Productions
  at Red Rum Theater, 601 Walnut Street, Philadelphia
• Jan. 11 – Feb. 24, 2025
• Jan. 11-12 Preview
• Jan. 18 Opening Night
  Saturday shows at 5 pm and 8 pm
  Sunday shows at 3 pm
  Doors open 30 minutes ahead
  Tickets $35 plus tax and box office fee; VIP $75 (includes complimentary cocktail, packet of clues and gift.)
  Run time: Two hours

Susan will be teaching an Acting Fundamentals for Adults class in January 2025. This class will follow the Hedgerow Theatre training of “humility, industry and an aptitude for learning.” This class offers collaboration, confidence building, improvisation, and some scene study for a showcase of scenes of classics by various playwriters: Neil Simon, A.R. Gurney, David Ives, and Thornton Wilder. Click on the link for details.

There are no new updates on Susan Wefel’s possible eviction from Hedgerow House. Susan was recently seen on stage in “The Homecoming” at Colonial Playhouse in December 2024.

In the fall, an article was published in the Philadelphia area about the situation with Susan Wefel and Hedgerow Theatre. It’s available at this link:

Home No More: Hedgerow’s last company member must leave Hedgerow House – phindie

On Oct. 9, Susan, with a lot of support from generations of Hedgerow theatre alumni and friends, attended a court-ordered eviction hearing. The judge ruled that, because there was no lease agreement, the case was brought to the wrong court. So, for now, Susan remains in residence at Hedgerow House.

Also on this page, you’ll find the previous Delco Culture Vultures features that the Phindie article references. Lastly, if you want to help Susan, at the very bottom of this page, you’ll find the link to the Go Fund Me for Susan which is still active.

Opinion: The Art of Kindness

By Betty Lou Roselle

I was first introduced to Hedgerow Theatre in the 80s. I had just gone through a divorce, and I would use my sense of humor to help get through it. A shy sweet girl named Kathy said, “Betty Lou, you should look into classes at Hedgerow,” where she was currently studying. It was just minutes from my home and the rest is history.

Susan Wefel and Carl Smith in ‘Corpse.’

It was wonderful back in those days. You had a core of resident actors who lived in the house at the top of Rose Valley Road. They were involved in all aspects of theater, building sets, making costumes, learning lighting, etc. Those of us who were novice actors just taking classes could look to them for examples of where we would hopefully be some day. One of those residents is Susan Wefel. She has a wonderful vulnerability that serves her chosen career well and makes her liked by all who know her.

She teases that I was the salt (blond) and she was the pepper (brunette). Janet Kelsey, my favorite teacher and mentor seemed to take turns casting us. As the years went by, I continued acting as my hobby but was lucky enough to enjoy creating ads for the newspaper which is how I make my living.

The resident members came and went but Susie remained. A lovely writer I worked with named John Dubois would ask me to set up interviews with Wefel whenever he was doing a piece about the theatre. He told me, “She knows everything about that theater.”

Susan Wefel as Grandma in “The Addams Family.” Musical” at the Media Theatre in 2014.

Unfortunately, about three years ago Susie was told that she would have to leave in 2024. I am not criticizing the theatre. I still write reviews of shows in the area and can see how hard it is for theatres to stay afloat. Plus being in the publishing business, I have seen many friends let go from their jobs. I thank God for my bosses, owners of the Delaware County Magazine and Main Line Chronicles, they work hard to keep us going.

But what I would love to see especially from a company that is part of the Arts, is the art of kindness. Show Susan the respect she deserves. Members of the Board may not realize that she followed her teacher from Boston University to this little theatre right out of college. This has been her home all those years and she has stuck by the theatre in good times and bad.

“Who’s Afraid of Virginia Woolf” at Hedgerow Theatre, 1992, with (l-r) John Barrett, Aetna Gallagher, Ken Opdenaker and Susan Wefel as Martha.  

To all the patrons who loved seeing her on the boards, stop in to see Susan at the Hedgerow House, 146 Rose Valley Road, Wallingford, PA 19086 or send a card to tell her much you enjoyed her work over the years. And to those of us who had the honor of working with her, drop by to give her a hug and let her know how appreciated she is.

Readers share their thoughts about Susan Wefel’s dismissal from Hedgerow Theatre along with memories of seeing her perform.

Susan Wefel in the one woman show “Shirley Valentine.” Photo by Rick Prieur

Susan Wefel is amazing! I have lost count of the terrific performances we’ve seen with her as the shining star. When we moved to PA just after 9-11, we soon found our way to Hedgerow. For us, Susan Wefel IS Hedgerow. I can’t imagine a finer teacher, performer, or coach for those interested in trying out new adventures. Susan is a gem of an actress, but infinitely more: the heart and soul of what good community theatre is supposed to be.

-Pam Poe

I am utterly disgusted about what Hedgerow is doing to Susan after she gave her all to this theater for literally decades! It needs to be pointed out that she didn’t decide to leave on her own for other ventures, she is literally being banned from performing there ever again. They took her keys to the theater as another slap in the face. And to top it off she is being evicted from the only home she has known since graduating college! How is this allowed to happen to someone who gave her all and only wanted to do what she loved for the rest of her life at her home – Hedgerow.

– Cory Solar

 

“I’ve seen Susie countless times on stage in Hedgerow productions, the first time being when she played the title role in their kids’ theatre production of ‘Puss ‘n’ Boots’, in which my wife, Gwen, also appeared. Gwen and I started dating on that same day, so, oddly enough, I’ve known Susie exactly as long as I’ve been in a relationship with Gwen (36 years and counting!). The first time I auditioned at Hedgerow, shortly after that, I read opposite Susie in a scene from Terence Rattigan’s “The Deep Blue Sea”. I could tell right away that she was a great scene partner, but the theater opted to do Rattigan’s “The Winslow Boy” instead, so unfortunately I never got to play opposite her Hester. It wasn’t until years later that I had any appreciable stage time opposite her, when she and I played Cookie and Ernie in ‘Rumors’. She was marvelous in the role, of course, but my strongest memory of her performance—other than her line about cooking for her dogs—is of her delivery of a pretty innocuous line: ‘Okay.’ She managed to draw the word out so that it more closely resembled ‘Ohhhkaaaay.” People in the cast started to imitate her doing the line, and in turn she started to do an imitation of their imitations, and by the end of the run it had turned into something like “Ohhhhhhhhkaaaaaay!!!” That was twenty-five years ago, and I’ve regretted that I haven’t had the opportunity to do a scene with her since then…but hope springs eternal.”

-John Barker

I met Susie when I first became a resident at Hedgerow many years ago. She was (and is) a gifted and versatile actress; going from kid’s theater troll queens to tennis playing ingenues on any given day.  I particularly loved watching her in the “Out out Damned Spot” scene of the Scottish play.  Aside from being a gifted actress that I learned so much from, she guided so much of resident life, creating the weekly schedule for cleaning, rehearsals and meals, doing the shopping and driving the van that took us on children’s theater tours.  She quite literally kept chaos at bay in the house.  She was the backbone of the resident company.   Susie, Janet Kelsey and Moira Rankin are the only reason Hedgerow survived the fire.

-Gwen Armstrong Barker

An arson fire destroyed the interior of Hedgerow Theatre in 1985. Susan Wefel was one of the company members that helped the theater survive and open its doors again in 1991.

I had the pleasure of seeing Susan Wefel perform in several of the plays I wrote which were performed at Hedgerow Theatre. It was so much fun to see her bring to life many of the characters I wrote: Grandmother /The Lady of Summer in The Snow Queen; aristocrats and common folk in The Scarlet Pimpernel and many characters in Tales From Poe. I was also the stage manager for many shows that she was cast in – she was always a true professional, performing just for the love of it and doing whatever was needed to keep her beloved Hedgerow Theatre afloat.

-Margie Royal

My first memories of Susie were meeting her offstage during AS YOU LIKE IT while I was assistant stage Manager backstage and I remember how welcoming she was, explaining a bit about Hedgerow Theatre.  Shortly after Susan appeared in ‘THE SCARLET PIMPERNEL while I was doing wigs for a few of the cast.  She was really wonderful. in that and we got to know each other a bit more.

Susan Wefel (front right) in the opening scene of “The Scarlet Pimpernel” at Hedgerow Theatre, 1995.

Next, I was cast in TALES FROM POE.  We had some really good laughs during that time while rehearsing. And I will never forget Arasapha Farms Night. A group of us set out on Halloween Weekend to enjoy all the “scares” of the night at the Farm. Next thing I knew I was leading a Conga line at the entrance of the Haunted House with a CERTAIN PARTY wrapped around my neck and holding on for dear life. I kept saying “Susan, I can’t see with your hands in front of my face!”  Everyone was laughing and we had a really FUN night.   GOOD MEMORIES and such a MAGICAL time at Hedgerow Theatre – always in my !

I always felt that Susie had an easy manner and poise while on stage or making announcements to the audience. (especially when I became “THE VAMPIRESS” on Halloween Weekends each year.

Susie is a NATURAL in Theatre!

– Marilyn Brown

“This was a wonderful story. She seems like an amazing person!” – K.P

 

“So here I was thirty years old in therapy trying to figure out why I didn’t feel good about anything in my life. I found Hedgerow theater. I was with a friend and asked if he wanted to take classes with me and he didn’t show up – but I did. And then my life began…

Hedgerow was everything to me and one of the main reasons that it worked was Susie. She showed me a lot pretty much everything I know and she was just always there for me just like this wonderful theater that she supported. I spent many a Christmas with her family at the Hedgerow house because that was her home. She didn’t get to go anywhere else for Christmas because she was in “A Christmas Carol”.

She was Shirley Valentine… she was/is the show at Hedgerow… all the time…every time…

I love you Susie and I am so sorry that your legacy is being treated like it meant nothing And shame on you Hedgerow….I don’t know what happened, but you used to be a place of magic and ghosts….and firepits and fresh talent bright eyed coming together…

I hope the big business turn you took is worth it.”

-Jess Bye Stinson

“Whether you have performed alongside her, taken one of her adult classes, or grown up in one of the countless camps and children’s shows she’s been associated with, it is impossible to cross paths with Susan Wefel without leaving the interaction a fuller person than you were before.”

-Robert Gene Pellechio

Want to help Susan?

Ari Baker and Sammy Hurley have started a GoFundMe page for Susan Wefel. It’s available at this link.