B Sharp

There are no more chances to see this show, but it is still absolutely worth celebrating. Last night may have been the final performance of LEGALLY BLONDE, but the talent, hard work, and heart this cast brought to that stage deserves one more round of applause.

For anyone who doesn’t know the story, LEGALLY BLONDE follows Elle Woods, who heads to Harvard Law School to win back her ex, only to end up discovering just how smart, strong, and capable she really is. It’s funny, empowering, heartwarming, and full of energy — and this cast did such a beautiful job bringing all of that to life.

Ella Armandi as Elle Woods was absolutely wonderful and carried the show with so much charm, heart, and confidence. She had the perfect mix of sweetness, determination, and humor, and made you root for her every step of the way. Sebastian Landon as Warner Huntington III was exactly what Warner needs to be — self-absorbed and humorously clueless and entertaining to watch. He really captured that smug self-assurance well. Norah Kneafsey as Vivienne Kensington was strong, polished, and brought depth to the role. Henry Bambrick as Emmett Forrest brought so much sincerity and warmth, making him such an important heart of the story and the perfect balance to Elle’s big personality.

Adeline Spitz as Paulette Buonufonte was hilarious and lovable, bringing charm to every scene. Mikey Gibson as Professor Callahan deserves a huge shoutout for stepping into the role as a last-minute replacement and still delivering a strong performance. That is no small thing, and he handled it with confidence and great stage presence. Gracie DiMartino as Brooke Wyndham was fierce, confident, and full of energy, and exactly the kind of spark that makes that role so memorable. Jayshing Goolsby as Enid Hoopes was full of character and strong presence. And John John Doherty as Kyle the UPS guy absolutely made the most of every second on stage — bringing big laughs, and a standout performance in a role that may be short, but definitely leaves an impression. Delilah App, Tierney Hunter, and Lucy Mitsuka as Pilar, Margot, and Serena were fabulous and added so much fun, sparkle, and personality throughout the show.

The entire cast and ensemble deserve so much credit. This is not an easy musical to pull off, and they did such a great job with the vocals, choreography, comedy, and all the little moments that make a show like this so entertaining. Big applause to the directors, crew, pit, and everyone behind the scenes too, because it all came together beautifully.

This was one of those shows that reminds you just how special high school theater can be. So much hard work, so much heart, and so much talent packed into one production. The curtain may have closed, but what you all created will be remembered long after the last bow. You should all be so proud. 💕👏

LEGALLY BLONDE
Haverford Drama Club
Haverford, PA
March 19-21, 2026

Puppets, Punchlines, and Purpose: A Night on Avenue at the Barn Playhouse
Review by Laura T. Clattenburg

AVENUE Q isn’t just a musical. It’s a puppet-powered therapy session wrapped in catchy tunes and adult humor. From the first beat to the final bow, this production bursts with irreverent charm, unexpected depth, and enough belly laughs to make your cheeks hurt.

Imagine that Sesame Street grew up, got a job (sort of), and started drinking wine out of a box—and you’ve got the vibe. The show follows Princeton, a recent college grad with a “useless” English degree, as he stumbles through the messiness of adulthood. Along the way, we meet a lovable band of misfits: Kate Monster, a sweet kindergarten assistant with big dreams; Rod and Nicky, the Odd Couple with a closeted twist; Lucy the Slut, seductive and chaotic; and even a very sassy incarnation of Gary Coleman.

On Avenue Q at the Barn Playhouse, the cast is electric. The puppeteers manage tricky staging and bring each character to life with surprising depth. Their voices, movements, and total commitment to the silliness keep the audience laughing, while still making room for touching moments.

Kate Monster (Maddi Sloan) and Princeton (Stephen McDonnell) lead the way with good, emotionally grounded performances. Kate’s sweetness and sincerity shine through, particularly in her touching solo “There’s a Fine, Fine Line,” while Princeton’s wide-eyed optimism and comedic uncertainty keep the story moving with charm. Their connection feels authentic, making their relationship relatable.

The ensemble is equally strong. Rod (Justin Lamphere) and Nicky (Rob Frankel with Puppet Assistant Emily Murphy) are a standout comedic duo, blending classic roommate antics with deeper moments of self-discovery. Lucy the Slut (Christine Galeone) commands the stage with her bold, brazen flair. Gary Coleman (Akayla Butler) adds sass and street smarts, Christmas Eve (Jennifer Hsiao) brings sharp humor and unexpected insight, and Brian (Alan Ellinger) is the easygoing guy next door. Trekkie Monster (Jim Fryer) steals the show with his crazy energy. With his gruff voice, shaggy fur, and booming delivery, Trekkie is the loudest, yet one of the most lovable, residents on the block. Every twitch, growl, and side-eye is perfectly timed. His physical comedy is top-notch and delivered with precision. The Bad Idea Bears’ appearances (Brian Beloff/Jules Reanna) are brief, adding a shot of chaotic energy and devilish humor every time they bounce onstage. Though her stage time is short, Carol Ribner’s Mrs. Thistletwat makes an impression as Kate Monster’s crotchety, no-nonsense boss. She delivers her lines with dryness and just the right amount of theatrical exaggeration.

The puppetry work is impressive. The cast seamlessly blends voice, movement, and character work in a way that makes you forget you’re watching felt and foam. Every puppet is treated with the same emotional care and physical nuance as a live actor. The synchronization between puppeteers and their characters is tight, expressive, and essential to the show.

Under Steve Arcidiacono’s direction, the show never lingers or loses its rhythm. He finds a balance between zany comedy and real emotional stakes, letting the outrageous moments pop while ensuring the story still resonates. The choreography (Jenn Smith) is fun and fluid, cleverly adapted for both puppets and people.

Musical direction by Blue Colacchio ensures every number lands with energy. The cast’s vocals are strong, the harmonies well-blended, and the live accompaniment adds warmth and momentum to the score’s playful tone.

The scenic design (Phoebe Myers/Sue Alba) is charming, turning AVENUE Q into a lived-in space full of character and surprises. It’s the perfect backdrop.

Backed by producer Michael Riggs, his behind-the-scenes leadership ensures that every element, from casting to costumes to curtain call, runs smoothly. His commitment to quality and detail is evident in the show’s polish and overall continuity, creating a space where performers can shine and audiences can escape into the quirky world of AVENUE Q. This is a production he can be proud of.

Altogether, this production is a testament to the magic that happens when talent, teamwork, and puppetry collide. It’s funny, moving, and delightfully inappropriate—in all the right ways. I personally predict a sell out as word gets out so hurry and grab your seats!

Note:�Despite featuring puppets, AVENUE Q is R-rated, featuring adult situations and language.

AVENUE Q�The Barn Playhouse�June 6-21, 2025�barnplayhouse.org/avenueq
Photo credit: Steve DiNenno