Amelia Kovach, Arden Apprentice Class 31, with “Measure your Life in Love” Button (Rent, 2025)

I, for one, love the Audience Ask Button. It’s a chance to take a little piece of the show home with you.

Before I joined the team as an Arden Professional Apprentice, I donated during the Audience Ask and received my very own pin. Now that I work here, I’m even more of a fan. Holding the audience ask basket after a performance gives me the chance to connect with patrons, hear what they thought about the play, and share favorite moments from the production together. 

Around the Arden, collections of these buttons seem to appear everywhere—pinned to bulletin boards, tucked into desk drawers, scattered around the green room. Seeing all of them made me wonder: how did this tradition begin, and how far back does it go? 

So, I sat down with Arden’s founders to learn more about the history behind one of my favorite Arden traditions.  

Small Button with a Big Story 

Jonathan Silver, Associate Artistic Director, with the Arden’s Audience Ask Button Archive

For those unfamiliar with the Audience Ask, here’s how it works: after the show, members of the cast invite audience members to make a donation as they exit the theatre. In return, patrons receive a custom-designed button created specifically for that production. 

According to Producing Artistic Director Terry Nolen, the Audience Ask itself began years ago as a way to directly connect audiences to the work happening both onstage and beyond it. 

“After the show, cast members turn to the audience and say, ‘This is what we do. We have to raise a lot of money to create the work you’re seeing here. We also do work in schools and communities that you may not know about. If you’d be willing to make a gift, we’d really appreciate it.’” 

But the buttons themselves? Their origin story goes back even further.  

One of Ed Robins’s Upper Darby Summer Stage Buttons (Annie, 1984)

Managing Director Amy Murphy traces the tradition all the way back to the summer of 1984.

“When we were in college, I went back and I was on staff at Upper Darby Summer Stage. Terry Nolen was my boss. Terry’s Assistant Director was a guy named Ed Robins, who I had been dance partners with all growing up. He always made buttons for every show. Everyone commented on them. He’d sit at home with his button maker and make these things himself. I had a bunch of them.” 

Terry added that Ed originally created the pins as gifts for cast members—tangible keepsakes from an art form that disappears once the curtain comes down. 

“Playwright Michael Hollinger talks about theatre as an ephemeral art form,” Terry said. “Ed’s buttons gave us all something concrete to remember.” 

“Art Isn’t Easy” 

“Art isn’t Easy” Button (Sunday in the Park with George, 1994)

The tradition officially entered the Arden’s history in 1994 during a production of Sondheim’s Sunday in the Park with George. 

“We made these ‘Art Isn’t Easy’ buttons,” Amy said. “And that’s really how the buttons started here.” 

What surprised them most was how quickly the buttons began traveling beyond the Arden’s walls. 

“A month later,” Terry remembered, “I walked into a major funder’s office and saw the button pinned to their bulletin board.” 

That visibility was intentional. The buttons weren’t just souvenirs—they were conversation starters. 

“If you see a button that says ‘Art Isn’t Easy,’ you ask, ‘What’s that?’” Amy explained. “And then someone tells you about the show they saw at the Arden.” 

Of course, there was also a little bit of ‘90s fashion involved. 

“Realize how young we were,” Amy laughed. “You know, we were all in jeans, wearing jean jackets, and we were wearing buttons all over our jean jackets.” 

Designing a Keepsake

Clayton Tejada, General Manager, with “Humble” Button (Charlotte’s Web, 2023)

If you’ve attended productions here over the years, you’ve probably noticed that each button is distinct. Some feature quotes, others imagery, and many become instantly tied to a specific show in patrons’ memories. 

“We want it to speak to the production,” Terry said. “If it’s not just the title, then what is the thing that makes this show special? We try to create something that feels like a memorable keepsake.” 

That sense of connection is exactly what makes the Audience Ask so meaningful. The buttons may be small, but they represent something much larger: a community supporting the work together. 

Every Little Bit Helps 

Nick Hatcher, Artistic Assistant, with “Why We Tell the Story” Button (Once on This Island, 2024)

The Audience Ask invites participation at every level. Some patrons drop spare change into the basket. Others give more substantial donations by check, card, and now even Venmo. Every contribution matters.

“We offer the pin if you give at least $20,” Amy explained. “We raise something like $20,000-$35,000 from Audience Asks,” she said. “People may not realize the impact they’re part of when they drop cash into the basket, but every little bit truly helps.” Those contributions add up in a major way. 

That support has become increasingly important as funding landscapes continue to shift. 

TJ Harris, Marketing and Group Sales Associate, with “Gotta Have a Gimmick” Button (Gypsy, 2017)

“Individual giving is the bedrock of our support, especially as government and other funding priorities have changed” Terry shared. “Some people have been giving for years. Some donate once. The fact that so many individuals have stepped up and contributed is incredibly powerful. And not only does it financially allow us to do what we do, but it also inspires us to do what we do. So, we’re deeply grateful.”

And that work extends far beyond the stage. 

“Because of your contributions,” Amy said, “we’re able to go into schools. We’re able to support Philadelphia’s artist community. That’s what this whole button thing means to us.” 

A Tradition That Continues

Tylar Benedetto, Development Coordinator, with “A-R-D-E-N” Button (The 25th Annual Putnam County Spelling Bee, 2023)

What began with one person, a button maker, and a handful of handmade pins has become a beloved part of the Arden theatergoing experience—a tradition rooted in connection, community, and a collection of quirky pins. 

“The tradition keeps it local,” Amy reflected. “Dug-in. A foundation with roots in the ground. We’re about keeping it going for generations.” 

And honestly? I think that’s my favorite part. Every button tells the story of a show. But together, they also tell the story of the people who make this theatre possible. Many minds have come together to make the buttons over the years. Lately, that has been Tylar Benedetto’s responsibility. She’s pictured left with the first button she designed.

“It takes our community to continue the work that we do” Tylar says. “And donating to Audience Ask has a direct and immediate impact on the work. Thank you!” 

You can get the Arden’s latest pin by making a $20 donation when you go see Dear Evan Hansen. Thank you for supporting great stories told live on stage and thank you for being part of the Arden Family.

The post The Story Behind Our Audience Ask Buttons appeared first on Arden Theatre Company.

Apprentice Class 31 on their first day!

Over the last seven months, our class of six Arden Professional Apprentices (APAs) have been hard at work learning the ins-and-outs of a professional theatre, tackling every department at the Arden. Now, they’ve been tasked with an end-of-year capstone project: fund, produce, and mount a full showcase performance demonstrating all they’ve learned over their time at the Arden! 

In preparation for their big day, get to know APA Class 31 and learn what the apprenticeship is about! 

JT Hawkes is a 22-year-old theater artist from West Grove, PA, and received his B.A. in Theatre with a concentration in Musical Theatre from West Chester University. (Rams Up!) 

“The Arden Apprenticeship is a learning opportunity for recently graduated students of theatre to truly immerse themselves in all of the inner-workings of a theatre company, cementing their knowledge and establishing their place in Philadelphia as working, driven, passionate artists.”

JT Hawkes, 22, West Grove, PA, – West Chester University.

Q: What is the best piece of theatre you’ve seen or produced? 

A: “My Fair Lady (2018) at the Lincoln Center in NYC. Breathtaking, and flipped everything high school JT knew about theatre on its head.” 

Q: What’s one thing you’re hoping to accomplish in 2026 post-apprenticeship? 

A: “I’m aiming to release an EP/album later this year! I put out a single a couple of weeks ago (go stream if you want! I’m JT Hawkes on all platforms) and I’m working on getting more stuff recorded. It’s been a great creative outlet for me.” 

Q: What are your artistic goals for the future? 

A: “An artistic goal of mine for the future is to have a Philadelphia stage debut in some capacity. I’ve taken a brief break from performance, but I’m eager to return. I’d also like to see my own creative work (music, writing, etc.) get wider recognition and appreciation! I’ve always believed there’s a seat for everyone at the table, and I believe the same for my work as well. So, collaborating with like-minded artists is my third artistic goal for the future. Finding artists that are as passionate as I am while working here has been a gift, and I hope to continue that blessing.” 

From Iowa to India, this year’s class of apprentices is from all over! Sara Alvidrez, age 22, is a recent graduate from the University of Iowa with a BA in Theatre Arts and had never been to the East Coast prior to being selected for the apprenticeship.

“I moved across the country to a brand-new city knowing no-one, save for a few faces from Zoom interviews. Upon my arrival, Philly and the apprentices welcomed me with open arms, and I haven’t looked back since.” 

Sara Alvidrez, 22, Illinois, – University of Iowa

Q: What has been your favorite apprentice moment so far? 

A: “When Amy offered us the Actor House to host our Thanksgiving dinner. Most of us are from far away and were unable to visit family, so gathering and making home-cooked meals for one another was incredibly heartwarming.”  

Q: What’s your favorite thing about Philadelphia? 

A: “My favorite thing about Philly is the artistic community. Not only is it plentiful, but it’s full of hardworking, community-driven individuals.  Plus, people are as honest as they can be. You never have to guess what they’re thinking because they’ll either show it on their face, or they’ll tell you straight up! I also have an affinity for the historical architecture and the stories those buildings hold.” 

Q: What are your artistic goals for the future? 

A: “It doesn’t matter where I am or what I’m doing, as long as I end each day feeling fulfilled with the work I’ve done, and the ability to earn a living. I feel confident that this program has equipped me with a vast skillset, and I look forward to exploring administrative roles, especially education or children’s theater-focused projects. I’d also love to continue writing and acting, if possible.” 

Hardik Gupta, 24, is a Temple Graduate with a BA in theater and focus in Acting and Directing, and originally from Delhi, India. Similarly, when he came to Philly five years ago, he knew very little about the city. 

“When I came to Philly in 2021, right out of the pandemic, I was still trying to navigate my life and my future as a theatre maker in this city I knew nothing about. It was only when I saw the Arden’s 2022 production of A Streetcar Named Desire, I found my footing in this place. Since then, I have been in awe of the quality of storytelling and the depth of the stories the Arden tells, completely convinced that this was the right place for me to have a future. And in 2025, I was given the opportunity to be a part of this theatre and its storied legacy. Couldn’t be more grateful!” 

Hardik Gupta, 24, Delhi, India – Temple University

Q: As a kid, what did you want to be when you grew up? 

A: “I wanted to be a storyteller when I grew up. I didn’t know what form of storytelling though. At first, it was simply reading out stories and enacting them out with puppets, masks, and props. I was captivated by film or more specifically motion pictures, and I wanted to learn animation. Then, I started singing and thought that my voice would be my means to tell stories. It wasn’t until I was 14 that I realized an actor is what I really want to be – a vessel, as empty as a well that stands on mud, with a limitless potential to store stories and dispel them when needed.” 

Q: What’s your favorite thing about Philadelphia? 

A: “There’s so much history and culture in this place. Yet it continues to evolve and grow with newer traditions, festivities, and events. People here are unassuming, unapologetic, and kind – which is rare for a city. Yes, you’ll find yourself frustrated with SEPTA on a few days, the traffic on the road, the smells on the pavement, but you’ll also find the best food, the most beautiful artwork, and the serenest corners, and the best people to share it all with. Sometimes I wake up and I think I am home, in Delhi, and then I see people from all walks of life, of all genders, and all ethnicities walking by ,and I remember that while it is not my home of birth, it is my home of learning.” 

Q: What are your Artistic Goals for the Future? 

A: “To continue my development as a well-rounded theatre professional and work as an actor and director on the East Coast. I am looking to pursue my graduate education in directing post –apprenticeship, and start auditioning as an actor around theatres in Philadelphia. A dream of mine is to create a self-sustaining theatre company back home that [can] produce plays and adaptations celebrating South Asian takes and stories.” 

Apprentice Amelia Kovach, 22, is originally from the rural community of Sharpsville PA, and graduated from Kenyon College with a BA in Drama, Focus in Directing. Amelia talks Why Philly? Why the Arden?:

“I’m new in town, and I’m loving it. Being immersed in the Philly Theatre scene feels like a masterclass in how to foster an artistic community. I like that there’s a vibrant generation of young theatre-makers, who are wetting their feet and producing each other’s work. There’s a level of audience loyalty and artistic integrity that I really appreciate. Theatre is so abundant in this town!”

Amelia Kovach, 22, Sharpsville, PA, – Kenyon College

 Q: What has been your favorite apprentice moment so far? 

A: “The Apprentices threw the company Holiday Party, and it was a blast. It was galvanizing to work together and pull it off. Seeing the staff (including Amy and Terry) cut loose made all the hard work worth it.” 

Q: What’s your go-to emergency food spot in Old City? 

A: “Shoutout to Philly Style Bagels, who were open during the blizzard. We took a break from shoveling sidewalks to buy some bagels, and they loaded us up. Much love!” 

Q: What’s it like being a young theatre artist in Philadelphia? What inspires you to continue doing what you do? 

A: “Being immersed in the Philly Theatre scene feels like a masterclass in fostering artistic community. I like that the oldest companies feel like family businesses (many are). I like that there’s a vibrant generation of young theatre-makers, who are wetting their feet and producing each other’s work. There’s a level of audience loyalty and artistic integrity that I really appreciate. Theatre is so abundant in this town!” 

Apprentice Madison Luckey, 23, a UArts Graduate and Texas native, highlights why the Arden is unique by sharing why we stand out.

“All the folks at the Arden truly care about their community and making great theatre. I appreciate the Arden’s commitment to making theatre of such a high caliber accessible for all [i.e. Arden for All, Arden Drama School, Children’s Theatre]. I was speaking to my mom about the Children’s Theatre shows and she told me, ‘How cool- imagine if you had been exposed to professional theatre like that so young!’ She’s right, it’s cool.” 

Madison Luckey, 23, UArts and Texas native.

Q: What’s it like being a young theatre artist in Philadelphia? What inspires you to continue doing what you do? 

A: “Being a young Philly artist is pretty rad. Philly theatre folk are some of the hardest working people I’ve met. Not only is the community full of talented and scrappy folks, but it’s full of people who genuinely want to make great theatre and be there for one another.” 

Q: What’s your go-to emergency food spot in Old City? 

A: “Tu Rinconcito! I am Mexican and being from Texas I’ve missed my family’s comfort food, so having a little piece of home here in Philly is nice.” 

Q: What are your artistic goals for the future? 

A: “To perform again in Philly! After taking this time to broaden my skills I’d like to see how it informs my performance now having a full-scope view of putting on a production.  I also hope to continue growing as a Teaching Artist in any capacity, I am super passionate about theatre education!” 

All of the Arden Professional Apprentices are incredibly grateful for the community Philly offers. Fable Rowell, 24, is originally from Clearwater, Florida, and moved to the East Coast to study Directing at Long Island University in New York. Fable shares why the apprenticeship program is a perfect starting point: 

“In my time post-grad, I was an educator teaching playwriting, and I felt stuck at times because I didn’t know what to do next. The APA program provided an answer.”  

Fable Rowell, 24, Clearwater, FL, – LIU Post

Q: What’s your favorite piece of theatre you’ve seen or produced? 

A: “Hedwig and the Angry Inch in 2021, Lunch Bunch in 2023, Job in 2025. All three were productions that struck deep chords for where I was at my point in life.” 

Q: As a kid, what did you want to be when you grew up? 

A: “While I always loved theatre, never straying too far, I used to dream of being an astrophysicist! Something about exploring the unknown and discovering answers really connected with little Fable.” 

Q: What are your artistic Goals for the Future? 

A: “My artistic goals feel very fluid. At the start of this program I wanted to start my own company and focus entirely on directing. As the program has continued, I’ve started to appreciate and learn more about what creative work can be in administration and leadership. Now I would love to work as a Stage Manager, work as a Playwright, or continue directing. The goal that I am focusing on now is developing my fantasia play, Mirror Lake. Regardless, I look forward to all the adventures ahead.” 

Wherever their lives may take them, the Arden will always be grateful for the work of each apprentice class, and class 31 is no exception! If you wish to contribute toward their showcase, you can do so by clicking on this link! Wish them luck, keep an eye out as they start to cement themselves as Philadelphia artists! 

Also, applications for Class 32 are open. You have until May 1st to apply. Click here to learn more.

The post Meet Arden Apprentice Class 31! appeared first on Arden Theatre Company.

We partnered with the Free Library of Philadelphia Foundation for our Pay-What-You-Choose Night for Romeo and Juliet! As part of the evening, we held a QnA between Associate Artistic Director, Jonathan Silver and Managing Director of Public Programs, Daniel Blank. Together, we raised more than $3,000 to support the foundation’s mission of advancing literacy and strengthening neighborhoods throughout our city. Read the full transcription of the conversation between them below:

The post Free Library of Philadelphia Foundation I ROMEO AND JULIET Fireside Chat appeared first on Arden Theatre Company.

Emily Lathers served as our Archival Intern and tackled essential preservation projects. They reorganized the Marketing department’s physical records since the company‘s founding in 1988 and digitized A/V materials, ensuring these historical materials are preserved and accessible. Emily has also contributed to an exciting long-term archival project in preparation for the Arden‘s upcoming 40th anniversary.

As our Communications Intern, Bell Pendon collaborated with the Development and Marketing teams on their diverse projects. Their work centered on End-of-the-Calendar-Year outreach as well as designing social media graphics and supporting event operations. Bell also played a role in our Leap of Faith subscription campaign for the 2026–2027 season.

Hear from our 2025 Fall Interns and their experience:

What brought you to the Arden?

Emily: Well, I attended the PWYC preview of Falsettos with the Mazzoni Center because I love that musical, and I wanted to support a friend who worked as an electronics programmer. I graduated from Swarthmore last year; theatre courses there often come to see shows at the Arden. A sound designer and professor, Liz Atkinson, had also recently worked on La Otra at the Arden during the Fringe Festival. So, all signs pointed to the Arden! I initially saw the listing through the Philadelphia and Philadelphia Cultural Alliance job boards. I have interest and experience in performance history and archival work for theatre/dance companies, so I jumped on the opportunity.

Bell: Growing up, I was always drawn to live theatre and music, so I was deeply involved in my school’s performing arts clubs. This stayed with me, and I later gained experience by working with arts non-profits. But I still remember seeing a friend perform in 13: The Musical at our local theatre, where I was completely blown away. I wanted to feel that magic again…but this time from behind the scenes by helping create those moments of awe for others, especially those who have little to no access to the arts. So, the Arden’s mission of serving those on stage, in the classroom, and in the community really resonated with me. It felt like such a guiding light that I applied through the same listing as Emily’s.

Pictured: Emily in Our Basement Archive

What does a typical day look like for you?

Emily: I typically spend a few hours cataloging physical materials from the Marketing department in the basement archive. It’s so fun to see how Amy, Terry, Aaron, and other early Arden staff got the word out about the company in its early seasons. From early reviews, it’s clear how much heart went into the Arden from the beginning. Then, I work on digitizing and cataloging all of the CDs and DVDs in the Arden’s collection. I upload these A/V materials (show footage, press footage, interviews, and cast recordings) to a digital site where Arden staff can access them when they need. This digitization work ensures that as the materials deteriorate and technology changes, we have multiple copies of the same media.

Bell: Honestly, the work really depends on the day because tasks vary between the Development and Marketing teams. When I come in, I check in with the Directors of both teams for projects and move accordingly. For day-to-day tasks, I’m usually working on email outreach and designing templates. I spent most of my time assisting with the Development team’s EOCY campaign, but I’ve also been able to help with in-person events for the Marketing team, like distributing materials in New Jersey neighborhoods, or setting up a stand for the Wanamaker Light Show’s reopening during the holiday season. So, every day I come in ready to jump in, and each day has been exciting with completing tasks, celebrating team achievements, and helping out with what’s coming next.

Can you tell me more about what you’ve learned?

Emily: I’m learning how to design an archive to serve the needs of the Arden’s different departments. So far, I’ve worked with the Marketing and Development teams to understand how they organize their current records and how I can assist with organizing their historical records in a consistent and straightforward way. So, I’m expanding my existing skills beyond cataloging, digitization, and preservation to all the logistical and curatorial work that goes into building an archive. 

Bell: By helping in both departments, I’ve collaborated with projects in areas of social media graphics, event operations, and donor communications. During my time here, I’ve expanded my technical design skills and deepened my understanding of the strategies needed to maintain key relationships. I’ve also gotten hands-on experience with the Arden’s new email scheduling system, which has taught me how these communication tools work behind the scenes.

What have you enjoyed most about your work? 

Emily: I’m discovering that I love working with pre-digital A/V materials like VHS, cassettes, and reel-to-reel tapes! It is so important for us to be able to access and preserve these materials while we still can. 

Pictured: Bell in Our Office

Bell: For me, I really enjoy working on email campaigns and exploring my creativity there. It’s so fulfilling to be able to connect and sustain long-lasting relationships in a meaningful, intentional way.

What are you most proud of during your time at the Arden?

Emily: I’m proud that my work will help people understand the rich history of this company. I recently found an illustrated version of The Little Theatre Company That Could (after The Little Engine That Could). It recognizes all the hard work, skill, and a bit of luck that went into founding this company and is deeply inspiring for young artists who dream of doing the same.

Bell: For me, a proud moment comes from being able to gather materials for the Arden’s Happy Holidays and Happy New Year email campaign. These truly highlighted the innovative, rooted work that the Arden does on and beyond the stage.

Is there a moment that stands out to you?

Emily: I recently caught the last 15 minutes of the Children’s Theatre production of A Wrinkle in Time, with ASL interpretation by Hands UP Productions for children in local schools. During the Q&A after the show, it was so touching to see a room full of kids moved by the story and able to ask their questions directly to the actors and interpreters. I deeply admire the Arden’s focus on accessibility through programs like Arden for All and shadow interpreting. To me, archival work is also about access, so I appreciate how the Arden drives home that art is (and will always be) for everyone.

Bell: Personally, my first day became such a memorable moment since I came to the Opening Night of The Mountaintop and met Sylvan Society members at the pre-show reception. Being able to meet Charlie Rose was also such an honor and meant a lot to me. This night immersed me in what the Arden is all about by meeting the people in celebration of all they do. I truly enjoy connecting with people who sustain us and the arts, which excited me to start working.

How has this experience shaped your long-term goals?

Emily: This experience has exposed me to arts administration in Philadelphia as a viable career path. It has been so great to meet the Arden team, who are artists in their own right. Overall, I’m interested in helping theatre/dance companies and performance artists document their work in the present and preserve their work for the future, while prioritizing artists’ needs first and foremost.

Bell: I genuinely enjoyed being able to work cross-departmentally and learn under such admirable, seasoned professionals. Like Emily, being able to meet and see what goes beyond the stage and get a taste of what it’s like has energized me to move forward with this career path, especially in doing meaningful work with dedicated people.

Do you have any advice to give to future interns or those looking to apply?

Emily: Just apply! You will find your niche. Often, I think starting is the hardest part. I’m proud of taking the risk to apply and so thankful that it brought me here. I’m so excited to see where these projects go next.

Bell: I second that! This experience has really expanded my understanding of how a non-profit theatre company runs, and I’m so glad I got to be a part of it. Working here truly opens you to so much more than the role offers.

We wish our Fall 2025 interns all the best as they continue with their next projects!

The Arden accepts interns during fall and spring semesters. If you or someone you know is interested in being an intern in various positions, apply through here.

The post Get to Know Our Dr. Mindy Goldberg Rose Interns! appeared first on Arden Theatre Company.

By Jonathan Silver

What do Ted Lasso, LOST, and Stranger Things all have in common?

Growing up, I loved TV and movies (still do!).  As a child of the 80s and 90s, “Hollywood blockbuster” and “Must See TV” were all part of my vernacular.  So, it’s no surprise that in those 3 series – all ranked in my personal top 10 television shows – I clocked the influence and importance of Madeleine L’Engel’s A Wrinkle in Time

Ted Lasso seems far removed from sci-fi, however, thematically, it’s eerily close and the title character is the key to it all: Ted’s optimism functions almost exactly like Meg’s love for her family, he behaves like a walking tesseract by bringing people emotionally where they need to be, and he forgives people who wound him just like Meg who forgives Charles Wallace after he betrays her.  In an early episode, Ted gifts the AFC Richmond players each a book to inspire change in them and chooses A Wrinkle in Time for Roy Kent to highlight the burden of leadership.  Roy asks, “Am I supposed to be the little girl?” Ted responds, “I’d like you to be.”

Regarding one of my favorite prestige shows: LOST screams A Wrinkle in Time.  The island is a tesseract with its time loops and nonlinear storytelling (flashbacks, flash sideways, and flashforwards – literal wrinkles in time!), the recurring idea of light vs. dark, and the direct character correlations from the series to the book – Jack is Meg, Walt is Charles Wallace, Kate is Calvin, and the Smoke Monster is IT.  And a not-so-secret easter egg, to pass time on the island, Sawyer is seen reading a copy A Wrinkle in Time in the first season.

Sawyer in LOST reading Madeline L’Engle’s A Wrinkle in Time.

Then, there is Stranger Things: The Upside Down is Camazotz, Vecna is IT, Eleven wins her greatest battles when she fights with love, Henry calls himself “Mr. Whatsit” this season, and the series, like Wrinkle, revolves around children in a world where most adults misunderstand what is at stake.  And, of course, the book makes a physical appearance this final season with Holly Wheeler reading A Wrinkle in Time.  Serendipitous timing as the show enters its final episodes.

Holly, in the newest season of STRANGER THINGS, reading A Wrinkle in Time.

Our current production of A Wrinkle in Time honors L’Engel’s original book through spectacular theatrical lighting, costume, and scenic design as well as some of my favorite recent performances at the Arden while introducing the next generation of children and families to this great story.   At the same time,  it stirs memories of the creative, adventurous, and loving spirit of the TV shows above — which may not necessarily be for young people, but Wrinkle as a book and a play certainly is.

What do Ted Lasso, LOST, Stranger Things and A Wrinkle in Time all have in common?

I invite you to bring the kids in your life and come find out live on stage.

The post What do Ted Lasso, LOST, and Stranger Things all have in common? A Wrinkle in Time. appeared first on Arden Theatre Company.

Akeem Davis (King Hedley II) and Kash Goins (Elmore) in Arden Theatre Company’s 2025 production of August Wilson’s KING HEDLEY II. Photo by Ashley Smith, Wide Eyed Studios.

Playwright August Wilson is considered one of our most important American playwrights. His literary legacy, The American Century Cycle, is a 10-play series painting a vivid picture of 20th-century African American life. He built an interconnected web of Black artists, providing a foundation for their careers: fostering a lineage of storytelling and performing that continues to live on.  

Set in 1985 Pittsburgh’s Hill District, King Hedley II is the ninth work in Wilson’s American Century Cycle. For the Arden, this 2025 production, directed by Pulitzer Prize winner James Ijames and featuring an all-Philadelphia cast, is more than just another play. It is a continuation of the Arden’s commitment to the cycle, the audiences who see their own histories reflected on stage, and the countless Philadelphia Black artists who bring it to life.   

The play’s protagonist is played by Akeem Davis, Philadelphia-based award-winning actor, and a fierce advocate for Wilson’s work. Davis previously played Citizen Barlow in August Wilson’s Gem of the Ocean (2019) at the Arden. For actors like Kash Goins, who plays Elmore in the production, Wilson’s work is foundational to their artistic journey. Goins, has acted in and directed seven of the ten plays in the series including the Arden’s 2023 production of Radio Golf. To be a Black artist engaging with Wilson’s work is to step into a lineage that stretches far beyond the stage. His plays do not just tell stories, they affirm identities, dreams, and struggles that are often overlooked. 

Akeem Davis (King Hedley II) and Kash Goins (Elmore) in Arden Theatre Company’s 2025 production of August Wilson’s KING HEDLEY II. Photos by Ashley Smith, Wide Eyed Studios.

Akeem Davis (King Hedley II), Kash Goins (Elmore), Dax Richardson (Mister) in Arden Theatre Company’s 2025 production of August Wilson’s KING HEDLEY II. Photos by Ashley Smith, Wide Eyed Studios.

Kash Goins: “I absolutely feel like a part of the universal Wilson family. I often consider myself a “Wilsonian”, because of the connectedness that I feel to his work. It’s fascinating to get into the nitty gritty of the neighborhood, and to learn and connect the names and relationships that persist from one play to the next. The same “West” that Berniece invoked to threaten Boy Willie in The Piano Lesson showed up in Two Trains Running explaining his family’s ties to being the community undertaker. There are so many connections, major and minor. In this same way, I feel connected to those who have explored the Hill District through this text and spoken these words. I have many close friends and collaborators whose work I experienced for the first time observing them doing August Wilson. But in that same regard, when I go see a show either at Yale, on Broadway, or at a community theatre, I feel an immediate kinship with those who are embodying these characters that I know. I feel very fortunate to be a part of the Arden’s history with this work. Coincidentally, the first show that I saw at Arden was Fences (2004), and I think the second was The Piano Lesson (2008), which was directed by my artistic mentor, Walter Dallas, who was also among Wilson’s close collaborators. I’ve now been fortunate to perform in Two Trains Running (2016), and King Hedley II (2025), while also directing Radio Golf (2023). It’s hard to escape this legacy, and connection. Thankfully, there isn’t a world where I’d want to.”

Can you speak to your history with August Wilson’s work (share experiences, timeline, impactful works?)

Akeem Davis (Citizen Barlow) in The Arden’s 2019 production of Gem of the Ocean.

Kash Goins, director, and the cast of Arden Theatre Company’s 2023 production of August Wilson’s Radio Golf.

Wilson’s legacy continues to live on in the artists who continue to bring his work to life. With King Hedley II, the Arden is committed to continuing that legacy that inspires generations of writers, actors, and audiences.

The post Carrying the Torch: Akeem Davis & Kash Goins on August Wilson’s Legacy appeared first on Arden Theatre Company.

Jamison in Winter 2024 Arden Drama School classes.

By Jamison Graham

During most of my childhood, I struggled with having speech delays, and difficulty with communication and focus. I always felt that I did not fit in with other kids, who seemed to make friends easily. The feeling of not fitting in weighed heavy on my heart until I enrolled in Arden Drama School in 2023. My first class at The Arden was such a memorable experience! The class I enrolled in was focused on Musical Theatre, where I learned how to perform to various songs from well-known musicals.

We learned how to combine the basics of acting, singing, and dancing, into a single performance. I gained experience in vocal projection, breath control, and character expression. I had such a great experience that I asked my parents to register for the next class, which focused on the acting process and performance. This class helped me explore various acting methods, analyze scripts, break down scenes, and practice performing scenes with partners and individual monologues. I also enrolled in the Shakespeare class, which was amazing because I was able to explore rhythm, stage presence, and improvisation while learning about the history of Shakespeare’s plays. The best part about Arden Drama School, for me, is our grand performances at the end of each season for all of our families!

“Most people think acting is a fun way to pretend you are someone or something else, but in my perspective, acting is about finding your true essence and being brave enough to put yourself out there for the world to see.”

Arden Drama School really helped me because I learned how to feel comfortable moving freely around the stage in front of a crowd of people. I enjoyed learning the fundamentals of working with a partner by studying the Meisner technique, playing ensemble games, and really learning how to react and focus within a scene. I also learned that memorizing your lines can help but feeling the emotion in each of your lines will not only make your character feel more alive, but also more vivid to the audience, and reflect you as the actor. All of the classes are unique and educational in their own way and that’s the key to acting-being versatile.

Most people think acting is a fun way to pretend you are someone or something else, but in my perspective, acting is about finding your true essence and being brave enough to put yourself out there for the world to see. Acting and theater help you manage in an environment where feeling embarrassed or uncomfortable is just the fun of it, and making mistakes will help you develop and mature. Theater is about exploring new possibilities, feeling vulnerable, and most of all enjoying your craft. Overall, to actually tap in and be in the moment you have to become comfortable feeling uncomfortable, and Arden’s Drama School has helped guide me through that difficult process.

“Theater is about exploring new possibilities, feeling vulnerable, and most of all enjoying your craft.”

Sometimes, I still struggle with insecurities, but I’m learning how to become more reflective and apply what Arden has taught me to my personal life. The classes have helped me gain confidence with becoming more social with my peers and in my craft. I sincerely believe that the Arden drama school is beneficial for children and teens because of the amazing teachers and staff at Arden, who encourage the students to learn new skills, build meaningful connections with peers, while providing a safe and fun environment. If you are seeking a stable loving environment that will encourage a love for the arts, and inspire you child or teen to reach their fullest potential then Arden would be an excellent choice.

Edited for grammar and clarity. 

The post Finding My Voice: Jamison’s Journey Through Arden Drama School appeared first on Arden Theatre Company.

Jessica Johnson (Chris), Susan Riley Stevens (Harriet), Karen Peakes (Jean), and Rachel Leslie (Margaret) in Arden Theatre Company’s 2024 production of POTUS: Or, Behind Every Great Dumbass are Seven Women Trying to Keep Him Alive. Photo By Ashley Smith, Wide Eyed Studios.

Q: What was your first Arden play experience?
Karen Peakes: My first experience was seeing Major Barbara in the small space. I think that was before the big space was available, and it was Scott Greer, Jen Childs and Grace Gonglewski. I was like, ‘Oh my God.’ It just felt so exciting, because, I think I was still in college when I saw it, and it was like this, ‘that’s it’. That’s what I want to do, and that’s what I’m on track to hopefully do. So that was really cool. And then my first play at the Arden was The Boxcar Children, which is a children’s show, a long time ago.

Q: How does it feel to have done both mainstage and children’s theater at The Arden?
Karen: I look at children’s theatre, at least the ones I have been in, as I look at any show I have been in. I think it’s so amazing. I love children’s theatre. I love doing children’s theater because I just think it’s so important. Not necessarily for like building future actors or anything, but just the imagination of it all. And I think the children’s theater audiences are some of the most exciting I’ve ever been a part of. So, I approach it in the same way I would a regular show, like for adults. I try and make it as real and as fully fleshed out as possible. And sure, it’s going to have some sillier moments, maybe, and some more caricaturing bigger moments, but as long as it’s grounded in some kind of reality and respect, you know, you’re not dumbing it down. And I think that’s what The Arden does really well with the Children’s Theater, [it’s] not dumbed down. It’s like: ‘Here’s a beautiful story. Let’s share it in a way that is accessible to where you are in your life right now.

Q: How many shows have you done at The Arden?
Karen: I [have done] a few shows. I’ve done: The Boxcar Children, A Prayer for Owen Mean, 12th Night, A Little Night Music. And now POTUS. So five. This is my fifth show.

Q: Is there any one show that particularly stands out?
Karen: A Prayer for Owen Meany was a really special show. My husband was in it as well. Well before we got cast in that play, it was one of our favorite books together as a couple. And we actually named our son, Owen, who hadn’t been born at that point. Owen is a really special name for us, and so, and the play, the story is so beautiful. That was a really special one.

Karen Peakes (Jean), Kimberly Gilbert (Bernadette) and Alia Munsch (Dusty) in Arden Theatre Company’s 2024 production of POTUS: Or, Behind Every Great Dumbass are Seven Women Trying to Keep Him Alive. Photo By Ashley Smith, Wide Eyed Studios.

Karen Peakes (Jean) in Arden Theatre Company’s 2024 production of POTUS: Or, Behind Every Great Dumbass are Seven Women Trying to Keep Him Alive. Photo By Ashley Smith, Wide Eyed Studios.

Q: Tell us about your experience working at the Arden.
Karen: One of the things that I love about working at the Arden is its location. It’s in the heart of Old City, and it just feels so like, immediately, like you’re part of the theater community, and the sort of buzz of the city. And it’s just a really exciting place to come to work every day. I’ve always loved this area, and The Arden was one of the first places that I saw theater in Philly, and so it feels like this electricity to get to come to work here.

For me, there’s like an aliveness to this theater. When we were in rehearsal at the Hamilton, the fact that we could hear the children-there were camps going on, almost the entire rehearsal process, if not, the whole time. Doing this play, doing any play in our environment, but particularly this one, where we’re shouting these obscenities. It’s also a hopeful play, and then having these little children voices and seeing their parents. It was just very vibrant and felt like a living institution in a way that was really exciting.

Q: What has been your motivator to keep your energy up throughout POTUS?
Jessica Johnson: That’s a good question. How do we keep the energy up? Caffeine. Adrenaline. Fear.

Karen: Adrenaline, fear. Yeah. We have to do our job and we all know that. And at the end of the day, we’re all super professional and we are perfectionists. I think each of us want it to do well because we’re still talking about moments [that], ‘Oh, that doesn’t work anymore. Can we do this and this?’ And we still check in about stuff almost every day. And that’s part of it. And the fact that with this show in particular, the audiences are so varied, the responses are so varied, and that’s part of keeping the energy up because we don’t know what we’re going to get. And so it’s a little bit exciting and scary every time, and that helps. Fear is a really good motivator. laughs

Jessica: A motivator I also find there’s joy in being like, ‘Oh, they found that funny for some reason today.’ We should change a thing or we made this adjustment. And boom, now it worked. The joy of it, even when you’re tired, knowing that this is what we get to do and that there are people who make their way to the theater to sit in a dark room, it’s still really a magical thing to think theater still happens. I know that we talk about theaters dying, but that can’t be true because people are still here.

To be able to do something like this. To do a show that is foundationally a farce and alongside so many strong performers, and to be able to continue to ask questions and to stay vigilant and curious, I think is at the end of the day, I’m going to have this coffee and we’re going to figure it out. And also when the audience is there, you’re like, it’s time. These people don’t know this story. They’ve never been here before. it will feel so good to know that somebody got a little giggle or a little tickle or felt so motivated to come here to hear a story that either reflects their experience or they experienced something uncomfortable and stayed and sat with it.

Jessica Johnson (Papa Ge) in Arden Theatre Company’s 2024 production of Once on This Island. Photo By Ashley Smith, Wide Eyed Studios

Q: What was the first play you were in at The Arden? Tell us more about how you got here. 

Jessica: The first play that I was in was a piece called The Legend of Georgia McBride. It was not on the main stage. It was in the Arcadia. I’d never done a comedy. I actually remember receiving a call like, ‘Hey, are you sure you can’t come play with us, come audition?’ And I was like, ‘Nah, I actually don’t act anymore.’ I was living in Virginia and decorating cakes and things. It was so random. And I came up for the audition and then they gave me a call the next week and I was here. I remember being like, ‘Wow, I feel out of my depth’ because I don’t know comedy. These people are so funny. They’re such clowns. And I learned so much.

I think it was just getting that professional experience under my belt to be in a space where I so admired the work was it just really shifted some things. It was like, ‘This is all possible. This is all available to you.’ And even if there aren’t very many roles, and there weren’t many people within the community at the time to connect with that shared in terms of representation and experience like mine, it was a point of connection to meet young performers of color, Mikéah Ernest Jennings, God rest his soul.

He was integral to continuing to be an actor. I remember telling him once when we were backstage for Georgia McBride, ‘I’ll do this and then I’m going to go back to Virginia and I’ll just be there.’ And he was like, ‘Girl, you are an actor.’ In fact, he didn’t say ‘girl’. He was like, ‘SIS, you’re an actor’. He’s like, ‘Do you want it? You just got to figure it out. Because it’s there for you. It is available to you.’ And God bless him for that, for being put on my path at that time because of the Arden.

And Terry was also really funny because I remember we were working on a scene-we were in previews. I remember Terry pulling me aside and he said, ‘You know what you’ve got?’ And I was like, ‘No, I don’t even know.’ He’s like, ‘You got grit’. And I was like, ‘I do have grit.’ And still, that is true. It does take a level of grit to be like somebody said no, someone else is going to say, yes, I’m going to stay curious about this. I’m going to stay open to this and excited. It’s hard. But there are opportunities and there are places where you can grow and do the work. Being in spaces like The Arden has allowed me, who didn’t get to go to graduate school, an opportunity to continue to learn because people want to come here, they want to play, they want to find the strongest choice, how to make [the work] better.

Q: From your point of view, how do you feel the Arden Theatre contributes to creating shared experiences and opportunities for artists and audiences as the city’s theater scene evolves?

Jessica:  I think the thing that’s really lovely about the Arden is that it’s here not just to push us as artists, as creatives, as makers of theater. It’s here to challenge the audience. It’s here to bring us together, to put us all on the same page and say, this is the language, this is the setting. These are the places and the people. Are you ready to take this journey with us? What is it that’s stirring in you?

[This is an] opportunity for all of us to come together and take this journey and to acknowledge that we may not come with the same experiences and even come in on that day on the same page. Who knows what day you were having before you got here, but We get to have this moment together and we’re going to learn something about ourselves. Whether it be we do not appreciate that language, or actually that was pretty funny. Or you know what, that was funny. But it makes a very good point to really sit together with that. It is a magical opportunity.

Audio has been edited for clarity and to remove interruptions. 

The post Interview with Jessica Johnson and Karen Peakes from ‘POTUS’ appeared first on Arden Theatre Company.

Alex Keiper is a local artist who has been a part of the Arden Family since 2009. She has spent time as a concessioner, teacher, performer, collaborator, and so much more at the Arden over the last 11 years. She even got engaged to her now husband Michael Doherty on the Arden stage! On this Valentine’s Day, Alex (or as we lovingly call her, Keiper) took some time to answer some questions about her time at the Arden and why it has become her home theatre.

Keiper and Alex Bechtel in Charlotte’s Web

• What was your first experience at the Arden?

The first show I saw at The Arden was A Funny Thing Happened on the Way to the Forum, in 2006.  I had a few friends from the class above me that were in it and it was the first big professional, Philly based show I remember seeing.  The cast was unreal, Tom McCarthy, Tony Braithwaite, Mary Martello, Richie Ruiz, Caroline Dooner, Jeff Coon and more and more.  Although it would never be my favorite Sondheim musical, the quick and hilarious production was a perfect introduction to what would eventually become my home base theatre company.

• What was your first show at Arden? How many have you worked on since?

My first show was The Flea and the Professor, Spring 2011!  It was a new children’s musical by Jordan Harrison and Richard Gray, where I got to play a Cannibal Princess who wore a party dress and sang a love song with Scott Greer, who was in a big red spandex suit!  Also starring Rob McClure, who was heartbreakingly sweet in the play, Mary Martello as the reigning Cannibal Queen and Annie McNamara, who just finished an exciting run of Slave Play on Broadway! It was directed by Anne Kauffman who was deeply inspiring to work with. Since then I’ve been in thirteen productions at the Arden.

Keiper and Michael Doherty in Touchtones

• I know you and your husband Michael Doherty saw your love flourish at the Arden. How did you two meet and what part has the Arden played in your love story?

Mike and I met at UArts when I was a senior and he was a freshman. We didn’t really know each other until we worked together that summer, and even then didn’t get super close. We did another show together a year or so later, and went on a date, and even though it went great, I never called him back because I knew his ex and she still had feelings! Four years later we played a married couple in Incorruptible at The Arden and started becoming very close. The next season we played another married couple in La Bête and after that we couldn’t stay away from each other. We spent the next 3 years traveling for theatre and working in different states, missing each other like crazy. Then in 2017 we got to work on Touchtones at the Arden, where after a performance, Mike proposed to me and I said yes!

Keiper and husband Michael Doherty

• You have done a lot of work with Arden Summer Camp, what does the Arden’s educational programming mean to you?

The education program was a gift I didn’t expect.  From the early days of creating a camp curriculum where all the kids had to stay in the same room the whole time, to now where the camps produce fully realized productions, it has taught me to trust my instincts.  The kids who grew up through the program (one of which is conducting this interview with me!) will stay in my heart forever.  They came back every year with more confidence, curiosity, and leadership skills. And even more, it helped me to understand theatre from a totally different perspective, forcing me to ask myself who we were making the work for. Was it all for the learning experience of the students? Was it about making the best possible performance for the audiences that would come? Could it be for everyone involved without having to sacrifice one for the other? That final thought was the goal, and the balance, though hard to come by, was worth all the struggle.

Arden Summer Camp production of Seussical, directed by Keiper

• After 11 years of working at the Arden in some capacity, what keeps you coming back?

The Arden has meant the world to me. Once I really dedicated myself to living in Philly I started looking for ways to support the companies that inspired me. The Arden was on the top of that list.  [Former Associate Artistic Director] Matt Decker told me the Arden was always looking for new concessioners, if I didn’t want to keep waking up so early for my coffee shop gig.  I started selling cookies and popcorn in the lobby during the winter of 2009, the show was Peter Pan. I worked hard, trying to show them that I wasn’t just there to get paid, but that I cared about the company and wanted to help play a role in their work.  With a good recommendation from Decker and MB [Associate General Manager Mary Beth Simon] in the office, I was given a chance to start teaching at Arden Summer Camp.  Since then the Arden has opened so many doors for me.  I have been given the opportunity to teach every subject, run my own programs, direct the teen program’s annual musical for 5 years, direct several cabaret’s in the cabaret space, perform a myriad of different roles that have stretched me intellectually and artistically, and now I’m working as the Assistant Director for Streetcar Named Desire and Cat in the Hat.  Terry and Matt also helped me become an Independence Foundation Fellow, sending me to The Atlantic Acting School’s Summer Intensive, where I learned a technique that has changed my process completely.  There is no question that my relationship with the Arden has given me more than I could have dreamed, as a professional and as and person.  This business can be scary.  I’ve learned that the best way to combat that is to go towards people who believe in you and push you.  Terry, Amy and the entire Arden Family have been that for me.  I will always come back when they will have me!

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By Shira Gitlin

When I was young, my family would drive from our home in the center of the country to visit my paternal grandparents in California.  The minute we arrived, I would run inside to meet my grandfather, asking a million questions a minute, and he would laugh and say “Gey klop kop af vant” I rolled the words around in my mouth, not knowing what they meant. “a shandeh far di kinderle” my mother would chide. I would chase my sisters around repeating my grandfather’s words, not knowing that it meant “go bang your head against the wall”. Their house was a blend of English, Spanish, and a language I was not familiar with at all: Yiddish.

Yiddish is the language spoken predominantly by Ashkenazi Jews, of which both sides of my family descend. It is largely based in German grammar and vocabulary mixed with Hebrew, Aramaic, Slavic, and other ancient romance languages. It is also almost completely extinct. In the years before World War II, there were roughly 13 million Yiddish speakers. Now there are almost none. It was only recently that I learned that my grandfather, who emigrated from Argentina in 1957, spoke Yiddish first, then Spanish, and finally English. On my mother’s side in New England, phrases like shmutz (dirt), meshugganah (crazy), or chutzpah (nerve) were commonplace in conversation. Many have even become part of the common American vernacular.

Yiddish did not return to me until the summer of 2017. I had just graduated from college and was working for a theatre company in New York City. While I had seen my fair share of Fiddler on the Roof productions, my knowledge of Yiddish theatre – theatre by, for, or about Jews – was extremely limited. I met a friend who worked for the National Yiddish Theatre-Folksbiene. She asked if I had heard of Indecent, Paula Vogel’s new play. I had not, but she encouraged me to grab a ticket before the run ended. I had no idea that what I was about to experience would resonate with every fiber of my being.

Indecent is a play with music that covers the rise (and fall) of the first Yiddish play to come to Broadway, Sholem Asch’s God of Vengeance. It was there, sitting in the Cort Theater, that the words “This is what it means to be Jewish in America” washed over me. I sat enthralled for the entire hour and 45 minutes, chills running down my skin. I was reminded of my great-grandfather, who had traveled on a ship to Ellis Island in 1911, just a few years before the troupe sat in that same very long line. I was reminded of my great-grandmother, who would never talk about her family she left behind, their memories erased by ash and dust. And when one actress cries out, “This will be the only role in my lifetime where I could tell someone I love that I love her onstage” I felt like I had witnessed a history of myself.

My Great Grandmother, Celia, center

My connections to Indecent go deeper than the text alone. The women who tell the story are equally as important as the subject. Paula Vogel, in fact, has impacted my theatrical journey practically from the beginning. The first show I worked on in college was How I Learned to Drive, Vogel’s 1998 Pulitzer Prize-winning drama. Her perspectives were new and different, gritty and real. It was only later on that I realized Vogel and I share intersecting identities as gay, Jewish theatre-makers. Indecent wasn’t just written by Vogel however – it was a co-creation with director Rebecca Taichman, based on Traichman’s directing thesis at Yale. Being a director is hard. Being a female director in the commercial world of Broadway, where only six women have won the Tony Award for Best Direction in a Play (Taichman was the sixth in 2017 for her work on Indecent), is harder. As a young emerging director, I am inspired by the work of Traichman and other female directors such as Rachel Chavkin (Natasha, Pierre, and the Great Comet of 1812, Hadestown) and our own production’s director, Rebecca Wright, who has done incredible work with Philadelphia-based Applied Mechanics.

Rebecca Taichman and Paula Vogel

Indecent is a rare piece of theatre that simultaneously documents and creates. Fictional narratives are weaving through real figures of theatre history. The choice to use Yiddish subtitles in Indecent is powerful; the Yiddish language and culture was devastated by the effects of the Holocaust, but also by the active assimilation of American Jews, who pulled away from speaking Yiddish to escape rampant anti-Semitism. A powerful moment in the play comes when two Yiddish-speaking actresses attempt to learn the script in English. Reina cannot escape the harsh Yiddish vowel tones and is recast in the play. The idea that one must leave behind their identity in order to exist in a new world is heartbreaking. At the same time, I know that my own family faced that same struggle upon immigration and all that’s left over is the occasional “oy vey”.

While the language itself has all but died out, Yiddish theatre is slowly returning to New York stages. The Nation Yiddish Theatre Folksbiene, founded in 1915, is still producing work, including a well-received Yiddish version of Fiddler on the Roof at Stage 42, one of the largest off-Broadway theatres. In late 2016, New Yiddish Rep staged Sholem Asch’s God of Vengeance, just before Indecent transferred to Broadway. While Yiddish is no longer spoken regularly, it is clear that it has left an impact on American audiences.

Shira Gitlin is a member of Arden Professional Apprentice Class 26.

Indecent is onstage now thru June 23, 2019.

The post Heritage and Theatre: APA Shira Reflects on Indecent appeared first on Arden Theatre Company.