Monthly Archives: February 2011


When a House­wife, Grand­mother,  Col­lege Stu­dent,  Abused Woman,  Hus­tler,  Can­cer Sur­vivor and  Mis­tress  all come together on the same stage, you have a recipe for a the­atri­cal event that will be talked about for years to come. You have EMERGE 7 Women 7 Stools. This is a jour­ney through the lives of seven very dif­fer­ent women — reliv­ing their strug­gles, their feel­ings,  their pain, while watch­ing them over­come every imag­in­able obsta­cle. You’ll roar with laugh­ter and cry in solace as real­ity quickly sets in. Some sto­ries are all too famil­iar, while oth­ers are not famil­iar at all. A 4-piece kick­ing pol­ished band sets the tempo and quickly moves the mono­logues and phe­nom­e­nal singing along as this diver­si­fied group of actresses deliver an unfor­get­table mas­ter­piece. Meet the House­wife whose life is not her own but that of her hus­band and chil­dren — which leaves her to ask the ques­tion “Who am I?” Then, there is the Grand­mother whose retire­ment is abruptly inter­rupted as she takes on the rear­ing of her grand­chil­dren because her daugh­ter is an unfit mother,  and the the hilar­i­ous Hus­tler who seeks the easy way out by being a pro­fes­sional booster — as her child­hood leaves audi­ences shak­ing their heads. There’s the frus­trated Mis­tress who set­tles for mar­ried men because sin­gle ones have noth­ing to offer but her choices lead her down an unex­pected path, and the peer pres­sured  Col­lege Stu­dent  whose desire to impress her friends brings tragic results. And finally, there are the Abused Woman whose men­tal and phys­i­cal abuse cause her to flee, and the Can­cer Sur­vivor who makes it through and teaches oth­ers to do the same

This fas­ci­nat­ing pro­duc­tion  is per­formed in vignettes. The sto­ries are all dif­fer­ent but are mag­i­cally con­nected as these seven women move the minds, hearts, bod­ies, and souls of their char­ac­ters quickly and pow­er­fully as one at a time they bring them to life. These sto­ries have no bound­aries, their faces tell no lies.  They are black, they are white , they are young,  they are old. Their skin col­ors may vary  but they all  share an unde­ni­able thread — they are all WOMEN shar­ing the same plight — and they all EMERGE!

Per­for­mances are on Thurs­day, April 7 at 7:30 p.m., Sat­ur­day, April 9 at 2:30 p.m. and 7:30 p.m., and Sun­day, April 10 at 3:00 p.m.


Bob Pal­lotta, Beyond the Eye Films —  “This was the most amaz­ing, yet touch­ing show I have ever experienced.”

For­mer U.S. Sen­a­tor Avel Gordly”…bril­liantly writ­ten, replace dark­ness with the light of hope.”

Dee Baker, 1ST Lady Enter­tain­ment“Refresh­ingly dif­fer­ent and diverse, off the chain!”

Kat­rina Jef­fer­son, New York, N.Y“Incred­i­ble Sto­ries merge with incred­i­ble voices — sets this show far above the fray.”

Actress New to SCT Plays Key Role in “Stop the World”

Direc­tor Judy Caruso Williamson and actress Sonja Phipps study STOP THE WORLD script

For the lead­ing female role in Stop the World — I Want to Get Off, run­ning March 9 through April 3, direc­tor Judy Caruso Williamson has cho­sen Sonja Phipps, an actress new to the SCT com­pany, but well suited to the mul­ti­ple roles of Evie and the three other major love inter­ests in the main char­ac­ter Littlechap’s life.

Sonja Phipps is a grad­u­ate of Lodi’s Tokay High School and an expe­ri­enced actress and singer, hav­ing played lead­ing lady roles in numer­ous pro­duc­tions at Kiley’s Din­ner The­atre, includ­ing A…My Name is Alice, Star Span­gled Girl, Out of Order, and It Must be Love. She has also sang with choral groups at Delta Col­lege and other local venues. Sonja has two chil­dren, and works in her family’s Lodi and Stock­ton busi­nesses, The Music Box stores. Her cur­rent life phi­los­o­phy? “I may not be get­ting any sleep, but I’m hav­ing a won­der­ful time!” Sonja also says that one of the main things that drew her to this pro­duc­tion was the oppor­tu­nity to work with Direc­tor Judy Williamson.

Judy Caruso Williamson has been active at Stock­ton Civic The­atre since she was 16 years old. Whether act­ing, direct­ing, chore­o­graph­ing, or work­ing with the Foot­lighters vol­un­teer group, Judy enjoys  every­thing she does at SCT, and expresses great appre­ci­a­tion for the under­stand­ing and sup­port of her hus­band Mar­vin and their entire family.

The Odd Couple” Auditions March 13–14

From Artis­tic Direc­tor Jim Coleman

The Odd Cou­ple, by Neil Simon, is a com­edy clas­sic that has stood the test of time. Most peo­ple know it from the very pop­u­lar TV series, which starred Tony Ran­dall and Jack Klug­man, and the hit film that starred Wal­ter Matthau and Jack Lem­mon. It actu­ally began its life as a Broad­way smash in 1965, star­ring Wal­ter Matthau and Art Car­ney.  It has been trans­lated into 15 lan­guages and has had pro­duc­tions in at least that many countries.

The Odd Cou­ple is the story of two friends, Oscar and Felix, one sloppy and the other fas­tid­i­ous. Oscar Madi­son and his friends get together at his upper West Side apart­ment once a week for poker. Dur­ing one of the games, Felix Ungar lets the guys know that he and his wife are sep­a­rated, and being a lit­tle over­wrought and neu­rotic, he does not know what he is going to do.  Oscar, being a good friend, asks Felix to move in with him and share his apart­ment. That was his first mistake.

How­ever, if Oscar hadn’t made that mis­take, we would not have had the oppor­tu­nity to spend time with these guys in this very funny play. They are polar oppo­sites, and that is what pro­vides the fun. The play is really about friend­ships, and the lim­its to which we can push those friend­ships. In 1985, Neil Simon wrote a female ver­sion, and it was mod­er­ately suc­cess­ful, but there seems to be some­thing fun­nier about two men in the same sit­u­a­tion.  There are two won­der­ful parts for women in this show — the Pid­geon Sisters.

Audi­tions for SCT’s pro­duc­tion of The Odd Cou­ple are being held on March 13–14, 6:30 p.m. at SCT. Jaye Vocque is mak­ing his SCT direc­to­r­ial debut with this play. A three minute comic mono­logue is required for audi­tions. You can find details on the web­site. See you there!

Photos from Archives Wine and Cheese Event

Event Co-chairs Melissa Esau and Judy Caruso Williamson, as well as Archive Chair Nick Elliott, are to be con­grat­u­lated on this very suc­cess­ful after­noon gath­er­ing held at the the­atre on Feb­ru­ary 19. The pur­pose of the event was to iden­tify pho­tos and record anec­dotes for a soon to be pub­lished book on SCT his­tory. Pho­tos by Jim Treganza

Tracking” Musical Productions

SCT Artis­tic Direc­tor Jim Cole­man is a pro­fes­sional musi­cian who worked on Broad­way and around the coun­try as a Musi­cal Direc­tor for over 30 years. He will next direct 42ND Street, which will be on stage at SCT dur­ing June-July 2011.

To track or not to track? That is the question!

As we all know, the orches­tra is a huge part of any musi­cal — in fact, you can’t do a musi­cal with­out one! At SCT, we are very for­tu­nate to be blessed with many fine musi­cians in the Stock­ton area who are will­ing to work for what we can pay them.

In the past cou­ple of Sea­sons, we have pro­duced three musi­cals that have been “tracked”. Those were The Pro­duc­ers, Joseph and the Amaz­ing Tech­ni­color Dream­coat, and Okla­homa! A tracked musi­cal is one in which the full orig­i­nal Broad­way orches­tra­tion has been recorded in a the­atre or record­ing stu­dio, and is made avail­able for local pro­duc­tions across the coun­try. In our area, Sierra Reper­tory The­atre and Fal­lon House have used the track­ing sys­tem for years.

You may ask, why has SCT started doing this?

The expla­na­tion is grounded purely in eco­nomic con­sid­er­a­tions. I am a musi­cian myself, and I love live music, but today we face a harsh eco­nomic cli­mate, where we must watch what we spend with­out dimin­ish­ing the qual­ity of the pro­duc­tions we bring to our loyal patrons. The music for a show is a major bud­getary item. The cost of pro­vid­ing a live orches­tra for a sin­gle pro­duc­tion comes to around $8,000.00, while the cost of pro­vid­ing a tracked orches­tra­tion is about $2,500.00. That is a huge sav­ings for us, and thank­fully our musi­cians have been very under­stand­ing about the sit­u­a­tion. Not all shows are avail­able in a tracked form, how­ever, and for those, we still use a live orchestra.

Live music is not dead at SCT, and it will never be, but for some shows tracked music is an excel­lent choice. In our effort to pro­duce great shows, while uphold­ing qual­ity and con­trol­ling costs, we are pay­ing close atten­tion to every­thing we spend.

By address­ing this issue, I hope I have pro­vided knowl­edge that will help our audi­ences under­stand some of the dif­fi­cult deci­sions we are mak­ing in regard to expenses. The true bot­tom line? We are here to give you the very best value for your enter­tain­ment dol­lar, and your con­tin­ued sup­port means every­thing to us. - Sub­mit­ted by Artis­tic Direc­tor Jim Coleman