From the Desk of Jim R, Take 2, Column 15, "The Watch Factory Restaurant" (Cheshire, CT) (Restaurant Review)

By James V. Ruocco

When it comes to Austrian cuisine, there are many shades of tastes and flavors that immediately spring to mind. The dishes themselves, of course, are delicious, filling, satisfying and easily enjoyable. But they can be as decidedly different as the geography of Austria itself, its many cities, regions and provinces. It's all a matter of the menu, the recipes, both new, old and traditional and the culinary skills of the actual chef who prepares them.

And therein, lies the fun, especially if you have a penchant for "all things Austrian" and are willing to indulge in its many dishes, ranging  from wiener schnitzel and kasnocken to gulasch,  fleischknodel,  rindsrouladen and bierfleisch.

Again, it's all a matter of taste, preference and how much you're willing to spend.


One my favorite places to dine is The Watch Factory Restaurant (122 Elm St. Cheshire, CT). Here, you will find a broken-in lineup of Austrian food, a smattering of German dishes and some choice American standards. The food itself is exceptional, exciting, full-flavored and so lovingly prepared, a round of seconds is not entirely out of the question. Nor is a well-stocked bag or two of "take away."
You can also happily build a lunch or dinner entirely of two or three starters. Or simply pick an entrée with a starter on the side. No small talk....Just select and order.

The restaurant, located in an old, nicely restored factory building, offers a fine selection of starters: shrimp and artichoke crepes, homemade soups, a gruyere cheese spaetzle and onion confit, scallop mousse in herbed cream, zucchini and gorgonzola puff pastries, marinated beets and gorgonzola, mussels in mustard cream and mesclun greens with different options for dressings.
For entrees, there are many different choices: pork chops with roasted peppers, atlantic sole with lemon sauce, trout with capers and brown butter, top sirloin with a shallot confit,  black pearl salmon with tomato herbed cream, duck breast with seasonal fruits and wine sauce, bratwurst with white wine mustard sauce, rack of lamb with red wine and parsley, chicken breast with a mushroom red wine sauce and roasted monkfish in garlic cream. There's also the traditional wiener schnitzel and jager schnitzel.

Lemon mousse, black forest cherry roulade, chocolate mousse, sacher schnitte with raspberry sauce, cheesecake apple strudel comprise the dessert menu.
Mostly everything is made in house, which, in turn, accounts for a unique and very different dining experience. You may have to wait a minute or two longer, but trust me, what comes out of the kitchen and lands on your table, comes from the heart.

A shrimp and artichoke crepe, for example, overflows with diverse, traditional flavors, that you savor with every bite. The filling, a divine and creamy mix of sautéed shrimp and artichokes, is light and airy rather than overstuffed and side-splitting. It is folded simply and nicely, according to the crepe handbook, and contains a perfect blend of eggs, milk, flour and salt. It's a dish that simply melts in your mouth in ways that are entirely comforting.

The idea of mussels in mustard cream, at first, sounds a bit daunting. In general, mussels are a flavorful seafood concoction cooked in dry white wine and combined with oil, garlic, shallots and salt. However, one bite or two into this decidedly wicked shellfish dish and all thoughts of traditional mussels dishes quickly fade from memory.

I've had plenty of schnitzel's in my day (chicken, pork, veal). In fact, every time my dad and mom were in the mood for something Austrian, we'd place a family order for schnitzel with red cabbage on the side. I remember polishing off every single morsel off the plate. And most often, my dad would ask the waiter for schnitzel "take away."

The Watch Factory Restaurant brought back that wonderful state of bliss with a heaping portion of veal jager schnitzel, accompanied by a sweet, deliciously prepared, pickled red cabbage. The entire dish was heavenly with plenty of savory bite and crispness. It was cooked to perfection with an exact blend of spices, flour for dredging, butter, olive oil, jager and veal stock.  My parents would have loved it and so would my grandmother.

Another wonderful dish is the black pearl salmon drenched in a mouth-watering, to-die-for tomato herbed cream.  Here, it's all about the sauce and what was wonderful about it was its spicy, creamy consistency and how it heightened the taste of the already-delicious salmon.

Dessert-wise, everything on the menu is work ordering. Not all at once, of course. But during each and every visit to this establishment. Top of the list is the sacher schnitte with raspberry sauce, the cheesecake and the lemon or chocolate mousse.

The Watch Factory Restaurant is owned and operated by Chef Markus Patsch, who began working and cooking in his native Austria, South Africa and Germany. He came to the United States in the 1970's as personal chef for renowned pianist and entertainer Victor Borge.
Patsch  opened his first restaurant, the Gourmet Table in Darien, CT (it has since closed). His second, The Watch Factory Restaurant, has been running for years with its steady clientele of regulars, business class workers, students, out-of-towners and first-time visitors/soon-to-be-regulars.
This is a man who knows his food, loves and understands it, is not afraid to take chances and is often  willing to experiment or try something new. And that, in a nutshell, is what make his restaurant, so special.

One of the nicest things about The Watch Factory Restaurant is its polite, courteous and charming staff. Every one of them goes the extra distance to make sure that every customer who comes through the restaurant doors feels perfectly comfortable at all times. They answer whatever questions you may ask. They are well-versed in the Austrian, German and American cuisine at hand. They make suggestions if you're unsure about what to order for lunch or dinner. And never once, do they make your feel rushed or out of place. They are very, very welcoming, which, when you think about it, is rare nowadays. Patsch has done himself proud.

Much remains familiar and enjoyable at The Watch Factory Restaurant. Its well-crafted food that leaves a good impression and has you hankering for a return visit or booking almost immediately.   The menu, carefully prepared by Patsch, is a nice mix of creative choices that appeals to everyone. And, the restaurant delivers it well. I can't wait to return. Tomorow, perhaps.

The Watch Factory Restaurant, 122 Elm St, Cheshire, CT

(203) 271-1717.

Hours of Operation:

Sunday - Closed
Monday - Closed
Tuesday - Saturday:
Lunch: 11:30 AM - 1:30 PM
Dinner: 5:00 PM - 9:00 PM

 

 

(A special thanks to Linda Hodson Gordona for recommending this restaurant for review) 

 

 

 

From the Desk of Jim R, Take 2, Column 14: A Review, "The Who's Tommy" at the Warner Theatre

By James V. Ruocco

The success of a theatrical production.....drama, comedy or musical....rests largely at the helm of its director. He or she is the auteur, the visionary, the creator who takes the text off the paper, molds and shapes it into something that brims with life, plays and toys with the senses and lets you bask in all its theatrical glory.
Jonathan Larsen's "Rent," immediately, springs to mind. So does "Dear Evan Hansen" and  "The Curious Incident of the Dog in the Night-Time."
A fourth, of course, is the original 1993 production of  "The Who's Tommy" and it's subsequent West End production in London, three years later.
Both productions rocked its audience into a frenzied stratosphere and acid-trip high that was absolutely unbeatable.

That torrent-filled, drug-induced high permeates Sharon Wilcox' thrilling, emotional staging of "The Who's Tommy" at the Warner Theatre. If anyone was meant to stage Pete Townshend's brazen, quirky, absurdist rock opera, it's Wilcox. She doesn't just recreate "Tommy," she breathes new life into this celebrated musical story that began life as a concept album in 1969, then, was transformed into a kitschy Ken Russell movie musical and finally, a Broadway and London production.

Her inspired take on the material captures both the creator's spiritual, sexual and atmospheric subtext, its emotional frenzy and forgiveness and its rock opera aura. She adds so many swirls, whirls, layers and colors to this "Tommy," Townshend's overly-familiar musical score and story actually struck me anew.
Moreover, there is a terrific, electrifying energy to Wilcox's work that grabs you from the second the production starts and continues through the end of both Act I and Act II. It doesn't drop for a single meg-a-second as her fully committed cast embrace the show's material, its rock concert feel, its high-amped concept and its often quiet, tender, thought-provoking moments.

Wilcox, admittedly, has never been to London. Really? Yes, really. Nonetheless, she puts "the English" back into "Tommy," which, surprisingly, was absent, at times, in both the Broadway and West End production. Here, actors often speak or sing with English accents. Their moves, their stances, their positioning, their manners are reflective of both the men and women who lives across the pond. And lastly, the actual groupings of the characters through both dance and stage blocking, are unmistakably English. Heightening this experience, is the very English set design (superbly executed by Steve Houk) and Wilcox's plucky, imaginative choreography, which recalls elements from various West End musicals including both "Blood Brothers, "Tommy" and  those long-forgotten BBC variety shows.

Wilcox is so in sync with "all things English," there were moments in "Tommy," where I actually thought I was back at London's West End at the Shaftesbury Theatre instead of downtown, fucking Torrington. This is also due, in part, to the flawless lighting design, crafted by LBC Lighting; Renee C. Purdy and Aurora Montenero's  exceptional, colorful costume design (very Carnaby Street in Act II); and Chris LaPlante's explosive sound design.
There is also a fight sequence in Act I, staged by Wilcox and fight choreographer Rob Richnavsky, which effectively uses strobe lighting to enhance the dramatic momentum. Brilliant, just brilliant.
But wait! There's more.

A  movie screen, strategically placed smack, dab, right above the big, panoramic playing area (this is the Warner Theater, folks, not Seven Angels) allows for beautifully designed projections, videos, live action, pop art, posters and news clips to chronicle the passage of time, from Tommy's birth in the 1940's to his cult status in the '60s. This brilliant video/production design enhancement, has been cleverly crafted by director/choreographer Sharon Wilcox and the equally talented Katherine Ray. It is worked seamlessly into the ongoing action without missing a single beat by Ray and her video/production crew Craig Clavette and Randale Nunley.

But things don't stop there.
To keep the story of "Tommy" flowing at breakneck speed, Wilcox, genius that she is, has assembled a first-class running crew (Terry Breen, Kenneth Austin, John Quinn, Liz Glasser, Tori Campbell, Michelle Rinaldi, Craig Clavette, Anthony Esandrio and Scott Iwanicki.) to change and move sets (supervised by Key Grip, Taryn Glasser) faster than you could say Clark Kent. All ten of these people, deserve a standing ovation in their own right. Bravo! Bravo! Bravo!

The story of "Tommy," if, you may remember, is hardly Ben & Jerry's ice cream or Tiptoe Through the Tulips. It's unsettling stuff but, then again, so was Jonathan Larsen's "Rent." Nonetheless, the story, as envisioned by Pete Townshend  and Des McAnuff, begins with the newly married Mrs. Walker trying to survive in World War II London while her husband Captain Walker is sent off to war in Nazi Germany.

Of course, her handsome husband is captured and presumed dead just about the same time she gives birth to a beautiful baby boy named Tommy. By the time the war ends, Mrs. Walker has a boyfriend, has sex repeatedly (she is a very hot redhead, you know) and before you can say Paulette Goddard, Captain Walker comes home, catches them in the act, shoots and kills the son-of-a-bitch while a traumatized young Tommy witnesses the crime and, for story purposes, drifts into a catatonic state, unable to hear, speak or see. Not "Coronation Street," by a longshot.

As "Tommy" evolves, Captain Walker and his wife search for a cure, never giving up hope, anxiously waiting for a miracle. Unbeknownst to them, young Tommy ends up being sexually abused by his twisted Uncle Ernie  and tortured and bullied by his nasty Cousin Kevin and his mates.
But since this is musical theater, there is a light at the end of the tunnel. Tommy eventually grows up, becomes a very famous pinball wizard, gets his sight back via a second trauma (thank you, Mrs. Walker) and is suddenly transformed into a cultish Carnaby Street rock messiah hero with the same sort of obsessed groupies who once ripped the pants and other unmentionables off the Beatles, the Dave Clark Five and Cliff Richard.

The outstanding element of any musical or rock opera is, first and foremost, the band and its musical direction. For "Tommy," musical director Dan Ringuette (he also conducts and plays Keyboard 1) is the right choice to lead this mammoth production to musical victory at the Warner. He gives pop, pulse, frenzy, dazzle, humor and edge to Pete Townshend's refreshingly melodic, sometimes, twisty, complicated score.

 There's lots going on (one musical number after another, some short, some long) because "Tommy" never actually stops. Of course, therein, lies the challenge, but Ringuette is never once daunted.
The sentiments of "Tommy," the harmonies, the frenzied beats and rhythms, the sexual musicality, the chants, the declarations, the irony, the camp, the drama, the passing of time and the bloody oddities of the piece explode with lovingly, precisely interpreted eclecticism.

One minute you get the melodic "It's a Boy" and 'Twenty One," quickly followed by the edgy "Amazing Journey." Or much later, the glorious "Pinball Wizard," the harmonious "I Believe My Own Eyes" and the plot changing "Smash the Mirror."

Smartly interpreted by Ringuette and his very talented seven-member band, Paul Tine (Keyborad 2), Chris King (Keyboard 3) , Mark Garthwait (Guitar 1), Meric Martin (Guitar 2), Dan Porri (Bass), Nate Dobas (Drums) and Dan Borgman (Horn), this production of "Tommy" moves swiftly into the 21st century and hits its audience happily in the face with songs they know and love (lots of "Tommy" groupies were in the audience opening night cheering, texting and taking those fucking ridiculous vanity selfies of themselves) without the datedness and darkness of other productions including several national touring companies that quickly derailed halfway through the first act.

If ever there was anyone more suited to play the pivotal role of Mrs. Walker in "Tommy," it's Roxie Quinn. She is a beautiful, beguiling actress and singer with enough God-given talent to address, tackle and inhabit the part of this gutsy, driven character. Here, she is presented with a plum role that requires depth, range, personality, charm, allure and motherly concern. She inhabits the role intuitively from start to finish. She never misses a beat. And vocally, Quinn's voice is Broadway caliber, giving everything she sings ("Twenty-One," "Smash the Mirror," "Do You Think It's All Right?) the vocal strength, style and shape of a personal confession.  She often reminds one of "Rent's" Idina Menzel or a young Betty Buckley.

Adam Boe, ideally cast as Captain Walker, returns to the Warner stage after a 16-year absence. He is a very talented and charismatic leading man, well-matched to play opposite leading lady Roxie Quinn. He's got one of the best male voices in the show and his duet with the vocally perfect Quinn ("I Believe My Own Eyes") is a genuine showstopper worthy of a standing ovation. Elsewhere, Boe exhibits great strength and understanding of his character, the music and his interactions and exchanges with the principals, supporting cast and the ensemble. He also looks as if he was plucked right out of some BBC drama, set in wartime England.

 

"Tommy" marks the first time I've been privy to seeing the wonderfully charismatic Peter Bard on the Warner stage. As the bullying Cousin Kevin, Bard is a confident, multifaceted performer, so bloody well connected to the role, one quickly forgets he's an actor in a big stage musical. Bard is the real deal, folks. He owns the part of Cousin Kevin. His main vocals ("Cousin Kevin," "Tommy Can You Here Me?") are consistent and impressive. His moves, facial expressions and quirky persona are "spot on" and completely in sync with Townshend's vision of the character. And, to his credit, Bard's characterization far surpasses that of Anthony Barrile from the 1993 Broadway production of "Tommy" and Hal Fowler, who played Cousin Kevin on the West End stage.

Josh Newey, who rocked the Warner Stage Company studio theatre last year as the manic Ash in the wild and deliciously wacky "Evil Dead: The Musical," brings enough energy and twisty panache to the part of Uncle Ernie to fill not just one, but five different auditoriums. This is not a likeable character. After all, he does sexually abuse young Tommy. But Newey is an actor and a magnificent one at that. Here, he cuts looses, goes hog wild and adds more color and shading to the part than both Paul Kandel on Broadway and Ian Barthlomew in London. I, for one, can't wait to see what he does next. And, I will be there on opening night to cheer him on. Like Bard, Newey is the real deal.

The part of the older catatonic Tommy, who also doubles as Narrator, is certainly a difficult role to pull off. Musically, there's a lot of different vocals terrain to address. Acting wise, you have to be completely in sync with the character's deaf, dumb and blindness. Noel Roberge who was wonderfully charismatic in the Warner Stage Company's thrilling production of "Assassins," is ideally cast as Tommy. He rarely disconnects from the character's troubled mental and physical state and is quite comfortable vocally in the show's big, swirling moments "I'm Free," "Sensation," "Welcome" and the closing anthem "We're Not Gonna Take It."
Roberge has also done his homework. He often sings and speaks with an English accent and shows impressive range toward the end of Act II when Tommy is transformed into a pinball wizard media celebrity/rock star and eventual messiah of the people. There's no doubt that this Tommy is plucked right from 1960's London, Carnaby Street and the BBC. Roberge executes all the right moves, the right stances and positioning and lastly, the right celebrity overkill.

In the role of the Acid Queen, made famous by Tina Turner in the 1975 Ken Russell musical film adaptation of "Tommy," Kate Chamberlain is sexy, pitch-perfect and alluring. She slinks about the Warner stage with acid-induced gusto and commands your attention with her vocally perfect interpretation of the dynamically rousing "Acid Queen."







A show of this size and caliber needs a very strong ensemble cast and Wilcox achieves that with many of her casting choices. Bronwyn Hamill, for example, has a variety of roles, which she plays with just the right amount of poise, depth and personality. Nicole Bard, who thrilled audiences last season as Laura in "The Glass Menagerie" at the Thomaston Opera House, is in fine form here. She too plays multiple roles, each one different from the next. Catlin Barra, who was absolutely terrific  as Shelley in "Evil Dead: The Musical" at the Warner, is also in fine form. Then, there's Lauren Jacob who looks and acts as if she stepped out of a Carnaby Street fashion magazine, circa, London, 1964.

"The Who's Tommy" is one of the most ambitious productions to be showcased at the Warner Theatre in recent years. It is a crisp, savvy, insanely rousing musical porridge of Englishness with healthy and absurdist dashes of psychedelic daydreams, Christ-like symbolism, nostalgia, acid trips, time travel, murder, sex, bullying, homosexuality, obsessive groupies, Carnaby Street fashion, romance, cover ups, traumas, miracles, and oh, yes, a pinball machine.

"The Who's Tommy" is being staged at the Warner Theatre (68 Main St, Torrington, CT). Performances are 8 p.m. Feb. 10 and 11 and 2 p.m. Feb. 12.

For tickets or more information, call (860) 489-7180.

(Jim Ruocco welcomes your comments. You can contact him at JimRuocco@aol.com)

 

 

From the Desk of Jim R, Take, 2, Column 13: Sharon Wilcox directs "The Who's "Tommy" at the Warner Theatre

By James V. Ruocco

No one fashions musical theater quite like director/choreographer Sharon Wilcox.
Her work is compassionate, pitch-perfect, punchy, raw, honest and real.
Who, better than Sharon, to direct the Warner Theatre's upcoming production of "The Who's Tommy."
I for one, plan to be there opening night as both friend, critic and theatregoer.
And though I haven't seen a single rehearsal or heard a single musical note, I know that this "Tommy" is going to ROCK.

"I am really lucky because this will be the second time I have had the opportunity to work on 'The Who's Tommy,' " says Wilcox. "I directed it for the Thomaston Opera House back in April 2005.
So, it will be almost 12 years when we open it next month. Incidentally, my music director for that production was Dan Ringuette and he will be returning as my MD once again for this 'Tommy.' "
Looking back, Wilcox recalls that she had "a wonderful experience with that production" the first time round. Twelve years later, and, with dozens of directing credits under her belt, she's ready for her new production of "Tommy."
"I thought it was time to try my hand at it again and put what I have learned to good use," she says.  "You are only as good as the cast you assemble - if you cast a show correctly, that's 90% of your job right there.
"The other thing I am excited about is bringing together an ensemble of actors, singer and dancers to tell the story (a small group that play nearly every role in the production). We've also got a unique set design planned (thank you Steve Houk) and just want the show to rock as hard as 'Rock of Ages' last season."
The cast, handpicked by Wilcox, is both first-class and first-rate.
It's quite an impressive list.

Tommy & Narrator: Noel Roberge
Tommy (Age 10): Trevor Rinaldi
Tommy (Age 4): Brendan Harris
Mrs. Walker: Roxie Quinn
Captain Walker: Adam Boe
Uncle Ernie: Josh Newey
Cousin Kevin: Peter Bard
Sally Simpson: Lauren Jacob
Mrs. Simpson: Sara Carlin

Mr. Simpson:Jim Wood
Kevin's Father: Rey Budny
Kevin's Mother: Sara Carlin
Minister: Jim Wood
Minister's Wife: Bronwyn Hamill
Nurse: Bronwyn Hamill
Nurse 2: Kaitlyn Anthony
Nurse 3: Nicole Bard
Nurse 4: Sara Carlin
Officer #1: Jonathan Zalaski
Officer #2: Joey Frighetto
Allied Soldier #1: Steffon Sampson
Allied Soldier #2: Shelby Davis
Lover: Tony Leone
Judge: Jim Wood

 

1st Barrister: Tony Leone
2nd Barrister: Rey Budny
Hawker: Tony Leone
Harmonica Player: Rey Budny
Gypsy: Katie Chamberlain
1st Pinball Lad: Devlin Tenney
2nd Pinball Lad: Tony Leone
Specialist: Jim Wood
Specialist's Assistant: Bronwyn Hamill
News Vendor: Joey Frighetto
DJ: Rey Budny

Local Lads/Security Guards: Jonathan Zalaski, Christopher Franci, Tony Leone, Joey Frighetto, Tyler Bard, Devlin Tenney, Shelby Davis, Steffon Sampson
Local Lasses: Kaitlyn Anthony, Katie Chamberlain, Caitlin Barra, Lauren Jacob, Nicole Bard, Cassie Martin, Malie Grasmere
Ensemble: Kaitlyn Anthony, Nicole Bard, Tyler Bard, Caitlin Barra, Rey Budny, Sara Carlin, Katie Chamberlain, Shelby Davis, Christopher Franci, Joey Frighetto, Malie Grasmere, Bronwyn Hamill, Lauren Jacob, Tony Leone, Cassie Martin, Devlin Tenney, Jim Wood, Jonathan Zalaski

"The Who's Tommy" is being showcased at the Warner Theatre (68 Main St, Torrington)
Performances are Feb. 4 through Feb. 12.
For tickets or more information, call (860) 489-7180.

It's Time for Carole King & a Cast of Mormons

The early life and career of songwriter Carole King is lovingly retraced in this "jukebox musical, which uses songs she wrote with husband Gerry Goffin, among others, to tell her story.
"Beautiful" is set in 1959 when King was 17 and pregnant and married to Goffin. In the 10 years that follow, we get to hear lots of song classics, including "Will You Still Love Me Tomorrow," "Natural Woman," "Up on the Roof," "You Got a Friend," "Take Care of my Baby," "Walking in the Rain" and "One Fine Day."
We also get a very real, emotional story, which moved, the real King to tears when she saw the musical about her life for the very first time. And yes, she loved it because, in her words, it "was told so compellingly."
"Beautiful: The Carole King Musical " runs Jan. 17 through 22.

Uganda.....not Salt Lake City is the setting for "The Book of Mormon," an offbeat, off-the-wall musical that gets high marks for its absurdity, vulgarity, obscenities, religious malice and celebrated uniqueness.
Created by "South Park's" Trey Baker and Matt Stone, the actual story, so to speak, charts the valiant efforts to two goody-goody Mormon missionaries as they desperately try to convert the citizens of Uganda to the Mormon religion.
Winner of the 2011 Tony Award for Best Musical, "The Book of Mormon" is not for the faint of heart as it deviously pokes fun at smiling door-to-door Mormons, their 190-year-old Mormon religion, Jesus Christ, Darth Vader, Yoda, sexual liaisons, sacrilege, homosexuals, AIDS, dysentery, "The Lion King," "The King and I," "The Sound of Music" and just about everything else. Its use of four-letter words is absolutely hilarious.

"The Book of Mormon" runs Feb. 14 through 19.
Tickets prices are $25.50 to $96.50 depending on the production.
Performances are 7:30 p.m. Tuesdays, Wednesdays and Thursdays, 8 p.m. Fridays, 2 and 8 p.m. Saturdays and 1 and 6:30 p.m. Sundays.
For tickets or more information, call (860) 987-5900.

Judas Iscariot......His Last Days

Rehearsals have begun for the Vagabond Theatre Company's upcoming production of "The Last Days of Judas Iscariot."
Set in a courtroom in a corner of purgatory called "Hope, " this two-act drama, written by Stephen Adly Guirgis, chronicles the court case and fate of Judas Iscariot. More to the point, if God is supposedly all-forgiving, why then, is Judas condemned to an eternity in hell?

The production, directed by Mat Young, stars John R. Smith Jnr., as Judas Iscariot and Jesus of Nazareth, Eric James Dino as Satan, Lynette Victoria as Fabiana Aziz Cunningham,  Juan Ayala as Yousef  El-Fayoumy, Maggie Pangrazio as Bailiff and Simon the Zealot, Giovanna Olcese as Saint Monica, Sister Glenna, Loretta and Soldier 2, Martin A. Smith as Pilate, St. Matthew and Uncle Pino, Justine Wiesingeras as Mother Teresa, Sigmund Freud, St. Thomas, Henrietta Iscariot and Soldier 1, Alynne Miller as Gloria, Mary Magdalene, St. Peter, Matthias of Galilee and Soldier 3, Patrick Duffy as Butch Honeywell and John T. Liszewski as Judge Littlefield and Caiaphas

 "The Last Days of Judas Iscariot" is being staged at the Performing Arts Center of Connecticut (18 Lindeman Drive, Trumbull, CT).

Performances are March 17 through 26.
Tickets are $20 (general admission) and $15 (students and senior citizens)

(Jim Ruocco welcomes your comments. You can contact him at JimRuocco@aol.com)