Features

Theater artist Susan Chase brings her mother front and center in her joyful, heart-breaking one woman show, which premiered at Bethlehem’s Touchstone Theater March 20.

Chase, a former Bethlehem resident and Touchstone ensemble member, who now lives in Philadlephia, premiered her original solo show in Bethlehem, before she takes it off-Broadway and on tour on the East Coast.

The 90-minute performance uses spoken word, music, dance, and film to celebrate not just Chase’s mother, but all mothers

Written and performed by Chase, “Mother’s Day” is an evocative look into how one woman’s relationship with her mother has shaped her entire life.

Chase opens the show dressed as a witch and recalling the magic of the woods when she was a child.

Describing herself as a tomboy, she conjures up stories of exploring castles, hiding treasure maps, sneaking a smoke and dangerously scaling a fire escape.

Then she pivots and says she has realized that the magic was actually from her mother.
“Mothers are God-like,” she says. “They create us. But they also create a world, and place us in the center of that world.”

Chase is impassioned as she describes the all-consuming love between a young child and their mother.

She tells how her mother was a constant, reassuring presence who was always in “the other room,” and 
how her her mother swooped in just in time when she got her hands on matches and burned herself. Skillfully blending movement with home movies and old kodachrome photos that display on a video screen behind her, Chase weaves the heartfelt story of her life as seen through the filter of her mother.

Many of the stories are humorous, such as her childish horror when her mother changes her hair color  and when she realizes her mother wouldn’t go in the pool because she didn’t want to mess up her hair.

Chase is jubilant as she talks about dressing up in her mother’s 1960s era colorful matching ensembles.

Especially touching is when she dances in coordination with a video of her mother ice skating.

Chase admits she closely resembles her mother, and the old photos prove the point.

She also explores her mother’s sense of loss after Chase and her two sisters left home, and how she attempted to fill the space in her heart with shopping for trinkets.

However, when Chase got pregnant as a single mother, she explains she looked to her mother for approval and acceptance.

The later section of the play takes a darker turn as Chase painfully discusses how her mother spent her final years in a dementia facility, and details her frustrated struggles to see her mother during COVID shutdown.

Chase’ play is ultimately passionate and illuminating, inspiring viewers to revisit their own relationships with their mother.

Sydney Smith is multimedia designer and technical director and Justin Solonynka is accompanist. Gerard Stropnicky has provided directorial assistance.

Chase will perform “Mother’s Day” Off-Broadway 7 p.m. April 16 as part of the annual United Solo Festival in  Theatre Row. 410 W 42nd St., New York City. Tickets are available at unitedsolo.org/the-18th-annual-united-solo-theatre-festival/mothers-day/

Chase also is scheduled to perform the show on May 4 at Theater Exile, 1340-48 S. 13th St., Philadelphia. For tickets, call 215-218-4022 or go to www.theatreexile.org

She will be at StoneRidge Center, Mystic, CT May 11. For tickets and information, call 860-572-5600.

Chase says she will tour the play again in the fall and will be back at the United Solo Festival in September and in Worcester, MA in October.

For information on additional performances of “Mother’s Day,” go to www.facebook.com/profile.php?id=61570464436240.

About 1 of every 5 people is age 60 or older, but the last time you went to the theater, chances are you did not see that percentage of older actors on the stage.

The fastest growing population in the commonwealth is people age 65 and older, and many theater groups report that older patrons make up as much as 50 percent of their audiences.

 Seniors are bigger supporters of theater and other cultural activities like classical theater and dance, since they have more leisure time and disposable income than younger audiences. 

So why haven’t these devoted patrons been seeing themselves on stage?

Fortunately,  things seem to be changing as there has been a growing focus on the representation of older characters and actors in theater in recent years.

Overall, while there are still challenges in the representation of older characters and actors in theater, there is a growing movement toward more authentic and varied portrayals that reflect the richness of the aging experience.
Positive portrayals of older characters can challenge ageist stereotypes and promote a more nuanced understanding of aging. When audiences see older characters depicted with depth and agency, it can foster empathy and appreciation for the older generation.

Crowded Kitchen Players of Allentown has been on the forefront of the movement, by producing original plays with abroader focus on all ages and the issues that affect multiple generations.

Their newest play “Death by Lullaby,” written by CKP’s founder Ara Barlieb and running Oct. 11 to 26 at the IceHouse  in Bethlehem, follows a newly arrived retirement community resident who becomes suspicious when her fellow residents begin dying off from what she is being told are natural causes.

In the past, older characters  in plays have frequently been confined to stereotypes, such as the "wise elder," the "grumpy old man," “the grieving widow” or the "nutty grandmother."

These portrayals can limit the complexity and diversity of older characters on stage and restrict opportunities for senior actors, as they may be considered only for those types of roles rather than being cast in a broader range of characters.

Even Shakespeare, with his emphasis on historical stories, often relegates older characters to stereotypical or secondary roles. In Shakespeare’s "King Lear," the title character is depicted as mad and vulnerable, reinforcing the stereotype of older individuals as helpless and emotionally unstable.

Other well-respected plays follow suit. Neil Simon’s "The Sunshine Boys" features two men ho fit the grumpy old men stereotype and who are bitter and stuck in the past.  

Ivan Menchell’s "The Cemetery Club" features older women who often embody the stereotype of the grieving widow, focusing on their losses rather than their lives and ambitions. 

And in many plays, older characters are simply relegated to the background, as younger characters take center stage.

However,  as the population has been aging, there's been a shift in the demographic of audiences and artists that has led to more roles that resonate with both older performers and viewers, making stories more relatable.

There's also been a cultural shift towards valuing experience and wisdom, challenging the stereotype that only youngeractors can carry leading roles. Theaters are beginning to realize older actors bring depth and nuance that can enhance performances.

Recent years have seen a push for greater visibility of older actors and characters in mainstream theater. 

In the Lehigh Valley, local playwrights have been writing plays that put more focus on older people and offer more complex roles for older actors.

Barlieb wrote “Noelle, a Christmas Cocktail in Two Acts,”  that was produced by Crowded Kitchen Players in 2021 to address issues affecting the elderly population. The critically-acclaimed play focuses on the matriarch of a dysfunctional family who becomes the victim of a money-making end-of-life care system. 

Bethesda, Maryland-based playwright/composer and former Easton resident Charlie Barnett wrote  "The Spectre Of Death," about a 60-something death metal band, members of which are dealing with their physical decline, as they struggled to stay relevant in the music world.  The play was produced and staged by Crowded Kitchen Players in 2023.

In “Twilight in the Park” by Bethlehem playwright Paul Kodiak, he examined how the onset of dementia can rip apart families. The play, produced by Crowded Kitchen Players earlier this year, presents an Army veteran, who is struggling with dementia, and his wife who still loves her husband of more than 50 years but is helpless and frustrated by the changes she sees in him.

The shift is not just local. Nationwide, playwrights are increasingly creating works that center around older characters, providing opportunities for senior actors to portray diverse, complex roles. This includes exploring themes like identity, legacy, and inter-generational relationships.

The Pulitzer Prize-winning play "The Humans" by Stephen Karam, features older characters who have rich, complex lives and relationships, addressing themes of family, anxiety, and the realities of aging.

In Bess Wohl’s play "Grand Horizons," an older couple navigates their marriage in retirement, tackling themes of love, identity, and the challenges of aging with humor and depth.

And John K. Adams’ "The Golden Age" follows the lives of older characters in a retirement community, showcasing their struggles, relationships, and aspirations, challenging the notion that life diminishes with age.

Additionally, plays that focus on younger people are often being recast with older individuals.
Jason Robert Brown’s off-Broadway hit "The Last Five Years" originally focused on younger characters, but recent productions have included older performers, offering fresh interpretations of the struggles and growth within relationships.

Even Broadway is recognizing the contributions of older actors.

In September, Jen Silverman’s 2015 play “The Roommate,”opened on Broadway with septuagenarians 
Patti LuPone  and Mia Farrow in the lead roles.  The show, originally written about two 50-something women, is about a divorced woman from Iowa who takes in a lodger from the Bronx and how they uncover each other's desires to change their lives.

Many playwrights also are actively addressing ageism in their works. By creating narratives that challenge societal perceptions of aging, they help to normalize the presence of older characters on stage.

Older actors are increasingly featured in leading roles, reflecting a broader range of experiences. This visibility helps to reshape audience perceptions and highlights the talent and capabilities of older performers.

Production also are embracing inter-generational casting, which allows older actors to share the stage with younger performers. This not only enriches the story but also emphasizes the interconnectedness of different age groups.

Reclaimed Performing Arts Company will present "Much Ado About Nothing," at 7 p.m. Dec. 10 in the Rodale Room on the third floor of Miller Symphony Hall, 23 N 6th St, Allentown.

Reclaimed Performing Arts Company was founded by 2023 Cedar Crest College graduate Carter Reichard, who says the goal is to create a judgment-free artistic space, that is not limited by how artists are perceived.

"We have been focused on removing the type-casting lens from the casting process," Reichard says. "We produce a variety of productions and styles of theater, with the goal of showcasing those that are typically unseen and under-represented in the arts."

Reichard also is director for "Much Ado About Nothing," a Shakespeare comedy that will be the first show in the groups "Extreme Shakespeare" series.

For extreme Shakespeare, the cast will spend just one day rehearsing the production before performing.

After the show was cast in August, actors received the scripts along with expectations from Reichard and production team of Jack Warnke, Chelsi Fread and Reese Blaszczyk, including costuming and anything specific that needs to be worked on.

On the day of the performance, the cast will come in and rehearse during the day. They will learn their blocking, work through anything they need to that hasn't already been handled, and perform the show that night.

One of Shakespeares most performed plays, "Much Ado About Nothing" follows the romantic pairings of Claudio, played by Cameron Kunsman, and Hero, played by Olivia Theisen; and Claudio's friend Benedick, played by Jordan Frantz, and Hero's cousin Beatrice, played by Samantha Philipps. Claudio and Hero fall in love when Claudio arrives in Messina with a group of soldiers. However their relationship is nearly ruined by false accusations by the villain Don John, played by Fiona Wilson. Benedick and Beatrice seem an unlikely couple with their verbal sparring but are tricked into confessing their love for each other. The title uses a play on words referencing "noting," which means gossip and rumors and sounds like "nothing."

The cast also Bob Falkenstein, Travis Nugent, Aaron Castro, Parker Ryan, Erick Goldsmith, Matt Johnston, London Griffith, Andrew Galindez, Ty Schacher, Chelsi Fread, Meaghan Lawlor, Tanya Toulomelis, Ash Miller, Kelsey Snivey, Emma George and Isabella Robbins.

Tickets are $5. For information, go to reclaimedpac.square.site/.

Head shots:Cameron Kunsman (Claudio)

Olivia Theisen (Hero)

Jordan Frantz (Benedick)

Samantha Philipps (Beatrice)