Bread & Puppet: On Tour - P. 11
Star Masseuse - P. 3 St. Jay Players - P. 5 Catamount Arts - P. 6 Arts at LSC - P. 8 Academy Attends Drama Festival - P. 16 NEK Dairy Farming - P. 18 Cover Photo by Eric Blaisdell
NewsINK Staff: Eric Blaisdell Morgan Forester Erin Milne Samantha Knight Samantha VanSchoick Adviser: Dan Williams
Cover Photo: Scene from Bread and Puppet
NewsINK is a publication of the Vermont Center for Community Journalism at Lyndon State College. Find us online at Issuu.com/newsink. Address queries to: NewsINK, Department of Electronic Journalism Arts, Lyndon State College, P.O. Box 919, Lyndonville, Vt. 05849.
Massage Therapist to the Stars In Your Backyard “I’ve always said touch is everything.”
Story & Photos by Morgan Forester
Above: Massuese Damien Archambeau
Facing page photos: (L) Thai Massage Mats (R) Sculptures and figurines in the studio
Incense smoke combines with the smell of fresh coffee from the café downstairs filling the naturally lit studio. There is a rustling as Healer Damien Archambeau clears off his massage table and workspace from his last client in preparation for the next. This is his second studio since his move back to the Norhteast Kingdom about two and a half years ago.
Damien, People magazine has featured you as being “Hollywoodʼs version of magic fingers.” Just what is the philosophy behind the “magic”? Iʼve always said touch is everything. Itʼs very important to release whatever connection in the body through touch some way some how. Itʼs very important. If you get one massage every month, which is considered average, One massage a month keeps you less stressed and circulating blood flow and energy in the body so that your body stays healthier and so it can heal itself naturally keeping you from getting sick and having to see a doctor. It helps flush the toxins out of your body. Thatʼs average? How does the average working person manage a once a month massage? Itʼs a matter of understanding that massage is not a luxury thing to do. If you want to save up for and travel to a resort and pay $150 for a massage go ahead, you will probably find a decent therapist to work on you, but if you have pain in the body or you want to stay less stressed you should be getting work done more frequently. Thatʼs why I donʼt charge as much. Itʼs not about the money, itʼs about what weʼre doing for your body and it should be more affordable for you to get more regularly. So once someone books an appointment how do you decide what work they should get done? Iʼm not what we call a fluff and buff massage therapist. Itʼs a joke amongst massage therapists of how we interpret those who give very nice, enjoyable, relaxing, spa-like massages but they donʼt do much deeper healing work. Iʼm a healer. The work that I do here varies depending on the person and what we are trying to accomplish for their body. I practice 20 types of massage. I offer all types of massage offered at other facilities but most people come here because they want to feel better. About 95 percent do. Have you ever had someone come to you saying that the work you did for them didnʼt work out? Yup… I have, and thatʼs when I say ʻI told you you
needed to comeback in a couple of days for another session,ʼ and theyʼre like ʻohʼ. I see. You say healing is what your practice is about but what drew you to massage to begin with? I guess my grandfather since he was a world recognized massage therapist. He practiced massage for 55 years and also went to school to be a chiropractor. He was one of the first people to incorporate acupressure with chiropractic adjustment. Originally I thought maybe Iʼd be a chiropractor. By the time I was 12 I could do a full body massage ʻcause my grandfather taught me a lot of stuff. Originally I wasnʼt planning on really continuing with it, it was just something I knew but one day I realized it was a part of me and something I wanted to keep doing so right after high school I went to massage school right after. You mentioned ealier that massage has taken you many places, any where youʼd be if you werenʼt practicing here? I have no idea. I have lived in a lot of different places and Iʼve panned on going back to some of them. I guess Iʼve realized over all my travels that I have a wanderlust, so it doesnʼt really matter where I live so long as it satisfies my need to travel occasionally. And what about Kinara Spa? Did you meet any interesting celebrities? Oh, Iʼve worked on so many. -- Well there are big celebrity names that go in to the facility like Halle Berry and Helen Miren, the [People] article says that right off the bat so most people know Kinara as a high end place. While in California I met Megan Mullally and others. In Jackson Hole, WY. I met Uma Thurman. Have any of them sought you out after? I was offered a job by Uma Thurman. They ended up not doing that area so I guess Iʼve been waiting for her to call back. If she knew I was here she would probably come here, she likes his area.
The St. Johnsbury Players are the Northeast Kingdom’s oldest community theater group. Every year they present three to four musicals or dramas. This year, they will be performing
Once upon A Mattress Story and Photos by Samantha VanSchoick
Top: Mark Breen and Jessica Simpson hide underneath mattresses during rehearsal. Lower: Sue Aussiker and Chris Colpitts rehearse a scene.
“Itʼs the ʻPrincess and the Peaʼ fairy tale…with a little twist,” said director Michele Laberge with a laugh while explaining the plot of the newest St. Johnsbury Players musical, “Once Upon a Mattress.” In the original tale, there is an evil queen who does not wish to see her son, the prince, marry any ordinary girl. The queen puts all the prospective princesses through ridiculous tests, like putting one tiny pea under 20 soft downy mattresses to see if she can sleep. “Once Upon a Mattress” chronicles the story of Princess 13. “Itʼs kind of a fractured fairy tale,” said St. Johnsbury resident and actress Sandy Breen. “Iʼm the bad guy—the mean queen.” Breen
Continued on Page 20
In St. Johnsbury, World-Class Arts Are
Hidden in Plain Sight
Behind the stately façade of the former Masonic temple on St. Johnsburyʼs Eastern Avenue lie some things you may not expect. “We like to say we are the only full-service arts organization in Vermont, perhaps in New England,” says Jerry Aldredge. “Many organizations do some of the things we do, but no one does everything we do.” Aldredge is speaking of Catamount Arts, the nonprofit arts organization for which he serves as artistic director. Aldredge began his relationship with Catamount Arts during his 32-year career as an English teacher and administrator at St. Johnsbury Academy, when he ran arts series with the help of Catamount. After retiring from the Academy six years ago, Aldredge took a job as development director at Catamount Arts; three years ago he moved up to artistic director and now oversees a panoply of arts services at Catamount—and a panoply it is. Catamount Arts has two movie screens and shows independent, foreign, and local films, as well as live, high-definition broadcasts of performances at New Yorkʼs Metropolitan Opera. It boasts one of the largest art galleries in the Northeast Kingdom, which exhibits and sells contemporary art by primarily local artists, and it has the only box office in the region. Catamount also hosts lectures, concerts, and theatrical performances by local and nationally-known acts, both at its Eastern Avenue facility and at other venues in the community. Some of its upcoming performances include a concert by Rock and Roll Hall of Fame in-
Story by Erin Milne
Opposite Page: Catamount Arts 2012 Group Show
Right: Catamount Arts 2012 Art Auction Fundraiser Photos Courtesy of Catamount Arts
ductee Buddy Guy on April 16th at St. Johnsbury Academyʼs Fuller Hall and a concert by the 1950s and 60s rhythm and blues group The Four Preps on May 5th at the Littleton Opera House. Catamount also provides a number of arts education programs. It has two classrooms at its Eastern Avenue facility where it offers classes in skills from acting to calligraphy to bookmaking. According to Aldredge, it also provides school programs that serve approximately 5,000 local students. The story of Catamount Arts begins with its humble beginnings in 1978 as a traveling movie theater that made stops at schools. In 1980, it found a home above the Star Theater in St. Johnsbury and began hosting concerts; in 1985 it moved to the former post office on Eastern Avenue and opened a theater and art gallery. In 2008, it moved to the former Masonic temple and expanded its services to their current proportions. The organization now sees approximately 1,000 people move through its doors each week. Catamount Arts gets about 40% of its funding from ticket sales; the rest comes from private donations and memberships, non-profit funding, and grants. It also holds an annual art auction fundraiser. All of that money goes back into helping the organization achieve its goal of bringing world-class arts to the Northeast Kingdom. “We really consider ourselves a community arts organization,” Aldredge says. “We want to bring that level of arts to the people of our community.”
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Concerts, Plays and Art Shows Mean Just One Thing: Lyndon State College is
More Than Just a School
Story by Erin Milne
Barclay Tucker, director of LSC始s Quimby Gallery, contemplates the gallery始s latest exhibit.
Photo by Erin Milne
NewsInkNewsInkNewsInkNewsInkNewsInkNewsInkNewsInkNewsInkNewsInkNewsInkNewsInk She has appeared on Saturday Night Live, hosted her own TV show, and performed in major cities around the country, and on April 27, Emmy-winning comedienne Paula Poundstone is coming to the Northeast Kingdom. Surprised? Donʼt be: Poundstone is just one act among a bevy of nationally renowned bands and comedians, groundbreaking documentaries, and free art displays that can be found at Lyndon State College. Lyndon State College is establishing itself as a center for the arts through its Lecture and Arts Series, says Bob Whittaker, dean of institutional advancement at LSC. The series, which has been running for five to six years, features a range of events spanning concerts, comedic performances, films, plays, art exhibits, and lectures. While Whittaker says that the series tends to feature local talent, there has recently been more focus on bringing in national acts as well. In March, the school saw visits from the 40th Army Band and Prince Edward Island musical duo Richard Wood and Gordon Belsher. The wide range of acts is part of LSCʼs bid to become one of the main cultural hubs of the Northeast Kingdom. Whittaker focuses heavily on the “one of,” since he says LSC is not in competition with other local arts organizations but rather seeks to cooperate with them. This is evident in LSCʼs partnerships with the
Catamount Arts organization of St. Johnsbury and Kingdom County Productions, an independent film studio in Barnet. LSC hosts many of its events in conjunction with these organizations. According to Catamount Arts artistic director Jerry Aldredge, Catamount Arts is the exclusive online ticket provider for LSC events and has an LSC page on its website. Catamount Arts also gives LSC students and staff free admission to its movies. LSCʼs connections with other arts organizations are crucial to its ability to bring in big-name talent, Whittaker says. He cites Jay Craven, filmmaker and cofounder of Kingdom County Productions, as an essential resource. “Jay Craven at Kingdom County Productions is the key ingredient in getting Paula Poundstone to the college and the region. Heʼs been producing high-level talent performances in this region for decades,” Whittaker says. LSC is currently hosting a series of documentaries by Bess OʼBrien, cofounder of Kingdom County Productions and wife of Jay Craven. The series, which began on Feb. 28 and runs through April 24, features four films on topics ranging from heroin addiction to foster care to domestic violence. LSC also has a partnership in the KCP Presents series of arts events, which are held at various locations around the Northeast Kingdom.
The cast of “Pippin” rehearses for its April 19 opening at Lyndon State College.
Photo by Danielle Drown
In addition to these events, LSC is home to the Quimby gallery, a visual arts gallery located in the campusʼs Harvey Academic Center. The gallery, which is free and open to the public, hosts exhibits of work by both professional and student artists. Named for LSC alum and photographer Susan Quimby, who died unexpectedly of respiratory failure in the 1970ʼs, the gallery has been operating since 1976, according to LSC professor of electronic journalism arts David Ballou, who helped create the gallery. Originally a photo gallery known as the Quimby Room, the gallery has been renovated several times and now displays all types of visual art. Events in the Lecture and Arts series are planned by the Lecture and Arts Committee, which is comprised of LSC faculty and staff. Some acts are also brought to LSC by the Campus Activities Board, which is run by students. Other events are put on by the students themselves, such as the plays performed by the Twilight Players, LSCʼs theater club. The Twilight Play-
Comedian Paula Poundstone will come to LSC on April 27.
ers will present the musical “Pippin” April 19-22. The events are funded with a combination of ticket fees, money from LSCʼs operating budget, and the Harriet M. Sherman Lecture Fund, an endowment within the Vermont State Colleges system. The series also receives private donations and sponsorship support from Hayes Ford and the Vermont Broadcast Associates. LSC publicizes its events in several ways. Its flagship marketing tool is the Lecture and Arts calendar, which gets mailed to between 3,000 and 5,000 addresses every semester and can be found on magazine racks at many local businesses and organizations. LSC also posts posters on area bulletin boards and places ads with the Caledonian-Record and local radio stations. The marketing push is all part of LSCʼs goal of getting locals to find their artistic home at the college. “We want to broadcast to the community and bring the Photo courtesy of LSC community in,” Whittaker says. Lyndon State student Krysta Davis at the Quimby Gallery.
On Tour With Bread and Puppet
Story and Photos by Eric Blaisdell Ithaca, N.Y. - A cop始s clothes are ripped off in a striptease. A llama runs in a field. The devil and a dragon protect a princess. They are helping Bread and Puppet get across its social message at a recent performance at Ithaca College. That message was a commentary on the Occupy movement as well as other protests around the world and how modern culture has failed its citizens. While the connections may be lost on the average person, they are visually stimulating and the show is entertaining. If nothing else, the audience can enjoy some harp and accordion playing while a cardboard lion dances. Story continued on page 12
Susie Perkins plays the drum during a recent perfromance of Bread and Puppet at Ithaca College
Scenes from Bread and Puppet’s “3 or 4 Plays from the Republic of Cardboard” at Ithaca College Top: Esteli Kitchen, Ali Boyce, Katherine Nook and Lili Weckler perform. Bottom Left: Performer Katherine Nook.
Bread and Puppet is a theater group out of Glover, Vt., that performs political shows using puppets made out of cardboard and papier-mâché. It is planning to travel to China at the end of May, but there have been some problems that are holding up the trip. The current show, “3 or 4 Plays from the Republic of Cardboard,” has chants of “No, No, No” and dirt sprinkled onto the hands of cardboard police before they throw sad-looking cardboard protesters in jail. Watching the show the viewer could grasp what the performers were trying to say, even if the performers did not exactly know. “You really have to think about it and hear it 20 million times to be like, ʻOhhh,ʼ” resident company member Susie Perkins said after passing around an oversized top hat made out of cardboard to collect donations from the Ithaca audience. Perkins is one of the main puppeteers who also played a trombone, a harp and helped narrate the stories. She blamed the confusion about what the performance was actually saying on Bread and Puppetʼs founder Peter Schumann. Schumann is from Germany and Perkins says that he gets caught up in the text and he can lose American audiences who do not understand what is going on. She does not think the text takes too much away from the performance, however. “You can do puppetry without text; you donʼt need any text to convey the idea,” Perkins said. While the troupe is touring, company manager Linda Elbow is busy back in Vermont trying to untangle arrangements for a trip to Chengdu, China, in late May. In China, Perkins says Bread and Puppet will focus more on puppetry and less on text when they perform a shadow show. The show will use a white sheet and the puppets will be behind the sheet with a light pointed at them. “It is less words, it is poetry and then shadows so it is very abstract so you could interpret it however,” she said. “In puppetry you can get away with so much because it is just images. You are not really saying anything.” The other member of the resident company, Katherine Nook, is excited to perform with Bread and Puppet for only the second time overseas. She is eager to perform the shadow show and to work with the cardboard and the lights to create different things. “A lot of times, even though we do focus on precision of movements (in our current show) it is a little more rough. With shadow shows you canʼt really be rough because it doesnʼt show the way you want it to,” Nook said. This will be Bread and Puppetʼs first visit to mainland China and it may be its last. The theater company is working with Chinese The-
ater Works, based out of Brooklyn, N.Y., to attend a worldwide puppetry festival from May 27 to June 3. “That is the theory,” company manager Elbow said by phone. “Weʼre not there yet. It is very complicated. Iʼll believe it when we are there.” They normally tour overseas and have performed in Taiwan, but never in mainland China. One of the problems holding up the trip is financing. When Bread and
“I was selling posters after the show and people were coming up to me and grabbing me by the throat and saying ʻwhat the hell was that about.ʼ” -Linda Elbow, Bread and Puppet manager
Puppet goes overseas, one of the stipulations of the contract is that the venue has to pay for transportation. “The Chinese do not pay for transportation; they pay for accommodations when you get there,” she said. “Chinese Theater Works applied for a grant to fund the travel and the expenses connected with travel, but they did not get it. We are going to wind up paying around $3,000 of our own money and over $1,000 for visas.” Elbow says that this is reason enough for Bread and Puppet to not make a return visit to mainland China. She said that the group is still going because they have been working with Chinese Theater Works for three years on the shadow show. Another hiccup in the process is that the timeline has not been finalized. “(Chinese Theater Works) doesnʼt know exactly what the schedule is going to be, which makes me have to put off getting visas, which Iʼm going to have to do by mail,” Elbow said. “Iʼm going to have to collect everybodyʼs passports and send them off for a while.” Bread and Puppet is not going directly from the United States to China. They already have two tour dates scheduled in Poland on May 23 and 24. In Poland, where they have performed before, Bread and Puppet will work with The Puppet Academy from Wroclaw to develop a show based on one of their forms: An Insurrection Mass and a Funeral March for a Rotten Idea. The company will work with the academy to come up with a “rotten idea” based on a local issue the Polish are experiencing.
They will also build an oven in Poland to bake the bread that Bread and Puppet is famous for. The groupʼs founder Peter Schumann, who was not at the performance at Ithaca, said about his bread from the Bread and Puppet website, “We give you a piece of bread with the puppet show because our bread and theater belong together. For a long time the theater arts have been separated from the stomach. Theater was entertainment. Entertainment was meant for the skin. Bread was meant for the stomach. The old rites of baking, eating and offering bread were forgotten.” Once the show is developed the
company and the Polish students will then travel to Bielsko-Biala to perform it. The show will revolve around holding a funeral for rotten idea and ultimately burying the idea written on a piece of paper, either in the ground or in a trashcan. Elbow, who used to tour with the company, has experienced firsthand the different ways audiences interpret Bread and Puppet shows. “It is very interesting what works and what doesnʼt,” she said. “I havenʼt toured for a while, but I remember being down in New York one time and I was selling posters after the show and people were coming up to me and grabbing me by the throat
and saying ʻwhat the hell was that about.ʼ “When we did it Poland people were coming up after the show in tears and taking off their jewelry and giving it to us,” Elbow said. She went on to talk about a time the group performed in the former Yugoslavia and there happened to be a group from Cuba in the Audience. Elbow said that the Cubans were the only ones who laughed at the comedy show, which meant to her that people in the United States are more aligned to those in Latin America as opposed to Europe.
WHAT DRAMA! ACADEMY TO NEW ENGLAND FESTIVAL
St. Johnsbury Academy is looking forward to the New England Drama Festival in Guilford, NH on April 26. St. Johnsbury Academy lit up the stage on March 23 and March 24 as it hosted the Vermont State Drama Festival. It competed with the 10 best drama acts across the state of Vermont. The competition starts off with regionals where two schools from each region move on to the State festival. “At first there were five or so regional festivals, each of which had five or six schools. The two best from each of those came here today and this is the 10 best one acts in the state of Vermont,” theater club president Nora Gair said. St. Johnsbury Academy impressed the audience with its per-
formance of “The Laramie Project.” The story is about a gay college student from Wyoming who was murdered in 1998. This festival has been going on for many decades now and will be
going on for as long as drama is in schools. When the festival was first created everybody viewed it as a competition even though the board did not agree with this. The board met about ten years ago and decided to change the name to a festival to ease off the competitive side of things so friends can be made and people can learn from others.
“The directors of the Vermont Drama Council got together and really decided that every student that leaves a festival ends up feeling as
Clockwise from left:The helmets represent the medieval theme for the Vermont Drama Festival. St. Johnsbury students start off the festival.Two St. Johnsbury students perform in “The Minstrelʼs Tale.” The St. Johnsbury cast take the stage.
Story by Samantha Knight Photography by Brian Stone though that day has been an incredibly worthwhile celebratory experience,” theater director William Vinton said. Each year the festival has a theme. The theme this year was medieval. Each room that was used by the students was decked out in armor, tapestries, medieval dresses, and even dragons. The outside of the theater was even decorated in a medieval feel. Each school is also asked to design their own t-shirts resembling their act or their school. During the festival after each performance all the students come together and talk about what they thought went well in the piece and things that need improvement, but only in a positive manor. This helps each school improve each year and know the things that they need to change as a whole or as individuals. Later, the school that performed talks about how they think their piece went and how they need to improve. “For me, I look at it as an opportunity for my kids to really experience wonderful theater from all over the state and to interact with students who have the same interests that they do,” Vinton said.
ʻI look at it as an opportunity for my kids to really experience wonderful theater.ʼ -- William Vinton, St. Johnsbury Academy Theater Director
FARMERS WANT MILK PRICES TO MOOOOVE UP
DANVILLE – James Beattie wakes before dawn to tend to the 100 cows on his dairy farm. He usually isnʼt done until 7 or 8 at night. “I have to clean them, feed them, milk them,” Beattie said. “I start work at 4 or so. There is always stuff to do -- fencing, stuff like that.” The pace slows a bit around noon for the fifth-generation dairy farmer. “Sometimes I sneak home and take a nap,” Beattie said. “I get to start chores again by 2:30 to be done by 7.” Beattie took over the farm when no one else in the family showed an interest. He just makes ends meet and does not have enough income to hire anyone to help. Beattie and other Vermont farmers are struggling with low milk prices, which threaten the future of an important piece of Vermontʼs heritage. Three years ago, farmers got $1.60 per gallon for their milk. Today they get is $1.
NewsInkNewsInkNewsInkNewsInkNewsInkNewsInkNewsInkNewsInkNewsInkNewsInkNewsInk “I would prefer if they had it on a quota system,” Beattie said. “They pay you good for your milk, but if you go over how much youʼre supposed to make they donʼt pay you hardly anything.” Beattie said Canada has a system that many small farm owners believe will work right here in America. At the Kempton Farm in Peacham, cows enter the milking room in groups of 84. Twentyfour can be milked at a time. “They face the opposite direction so they are not facing you, then you put the milkers between their legs,” says William Kempton. “We have a computer system – it tells us the cowʼs number and how much milk theyʼre giving.” Williiam and his father Mathew have 750 cows on their farm. “I personally think we ought to have a quota system of some sort because thatʼs really why milk prices drop,” Mathew Kempton said. “We are a fairly large farm for this area, but we are small compared to some of the big farms out west and down south. They are milking thousands of cows.” Counterclockwise from upper right: A sign warns farm hands on the Kempton Farm in Peacham to keep the milk processing area free of contamination; a cow from the Kempton farm poses for a close-up; Cows at James Beattieʼs farm in Danville await their meal; Beattie favors a quota system to support milk prices; a tractor waits for work at the Kempton Farm.
ʻWe are small compared to some of the big farms out west and down south. They are milking thousands of cows.ʼ
- Farm Owner Mathew Kempton
Story by Samantha Knight Photography by Kyle Gould
St. J Players take ‘Princess and the Pea” for a spin Continued from Page 5
is a veteran Player, having been involved for with the group for about 30 years. In addition to doing community theater, Breenʼs day job is being a hair stylist in St. Johnsbury. According to Breen, the St. Johnsbury Players have been putting on plays for 75 years. She became interested in the group after seeing them perform, so she decided to try out. “I was hooked,” she said. Over the years, sheʼs played the roles of both actress and director, but she definitely favors one above the other. “Directing is my passion,” said Breen. Breenʼs husband, Mark Breen, is also an actor in the play. “This play is definitely funny, itʼs just fun to do,” Mark said. During the daytime, he is the senior meteorologist and planetary director for the Fairbanks Museum. Mark plays the minstrel who opens the show and gets involved in the Kingdomʼs business. Itʼs not a hard process for him to get into character. “I donʼt really think about getting into character
Once Upon a Mattress Showtimes: 5 and 7:30 p.m. April 27, 28; May 4, 5 2 p.m. May 6 St. Johnsbury School adults $10 students, seniors $7 before the show, but I try and walk into every scene like itʼs the first time Iʼve experienced it. So when I see the wizard, Iʼm like, ʻOh, thereʼs my great friend!ʼ” he explained. According to Laberge, casting the play was a bit of a challenge. “We had some trouble finding enough people, mostly men,” she said. For three days, Laberge held try outs that involved dancing, singing, and reading lines. “Everyone had the opportunity to sing the songs from the actual play,” she explained. Though finding enough people was a chore, Laberge believes the biggest challenge has been “teaching nondancers to dance. Also,
bringing everyone son, shows director Michele Laberge a together at one possible costume. time. We have stuShe does believe that “a dents who have school and large audience helps the teachers that are teaching, actors.” However, with the so getting everyone together can be challenging.” instant availability of enterLaberge loves comtainment, attendance has munity theater because of declined. the variety of talent. Laberge was quick to “I always love watching say that live theater is a them grow in confidence very different sort of enteras they come out to do tainment. something. Sometimes itʼs “Seeing the people you something theyʼve always work with, live next door to, dreamed of doing, but up on stage—you can renever quite been brave ally see what theyʼre capaenough to come out. I also ble of.” love taking non-dancers “Once Upon A Matand watching them blostress” is a family-oriented som. The guys especially will say they canʼt dance, play. but we have a full dancing “I especially think little cast!” girls will love it, seeing all Laberge doesnʼt have the gorgeous gowns,” said any theater superstitions. Laberge. “Lady Larkin”, played by Jessica Simp-
Top Left: “Queen Aggravain,” played by Sandy Breen, delivers a spiteful monologue. Top Right: The Queen waves incense in front of Princess 13, played by Laura Wayne, while Princess 12, played by Sue Aussiker, holds her nose. Below: The Jester, played by Nicole Bradford, tap dances while cast members sing.
NewsInkNewsInkNewsInkNewsInkNewsInkNewsInkNewsInkNewsInkNewsInkNewsInkNewsInk Clockwise from top left: Prince Dauntless, played by Nathan Colpitts, assists Princess 13, played by Laura Wayne, with her history. Wayne sings a song about marriage. Johanna Kennedy plays the piano. Guitarist Barry Hayes tunes his instrument.
Back Cover Photo by Eric Blaisdell