The “Gingy’s Diaries” was successfully presented at the Southampton Arts Center this last weekend. Directed by Michael Disher, the show featured enthusiastic readings of the material by a cast that one must applaud for their cohesiveness, zeal, and, quite frankly, talent, as the 70-minute show had a wonderful energy. The full house was fully connected and involved with some chuckling, agreeing on faces, and, on occasions, breaking out in total full-blown laughter and, in the end, a standing ovation.
The production was Produced by Southampton Arts Center, with some sponsorship, in part, by Stony Brook Southampton Hospital and the Yaffa Foundation. Southampton Arts Center Executive Director Christina Strassfield introduced the production beforehand. She has partnered with Mr. Disher to successfully bring live theater to the SAC.
“Gingy’s Diaries” is by Ilene Beckerman, author of the beloved “Love, Loss and What I Wore.” Over her 90-plus years, Ms. Beckerman, known as Gingy, has kept meticulous diaries, which director Michael Disher, a longtime friend, brilliantly adapted for the stage for this presentation.
The cast included Susan Cincotta, Dolores Reilly, Myers Bartlett, Patty Greene Brockman, Vay David, and Tom Gregory. The women in the cast represent various pages of Gingy’s diaries. This shared presentation is the brilliance of the show because each of the actors adds personal nuances to the reading as they reveal the most public, private, joyous, and painful moments of Gingy’s life.
Susan Cincotta added a very delicate, introspective personal touch. One of her talents on stage is her ability to connect with an audience. When she whispers, somehow everyone in the theater hears her, and when she smiles, so does the audience.
Dolores Reilly has warmth and a window into effectively sharing deep thoughts, and that is why she was perfect for this production.
Myers Bartlett was wonderful; she twinkled her wonderful smile and projected her pages in a unique, endearing way. The audience enjoyed her cadence and their connection with her when it was her turn to stand and be heard reading her pages.
Vay David was also excellent. When she entered the flow, she came alive, with a specific energy that made it possible to hear and understand every word and sentence in her pages.
Perhaps Patty Greene Brockman was the strongest of equals on stage. She moved about the stage like she owned it, often knowing her words without reading them. She added a pizzazz that actors are born with and cannot be taught. When she removed the scarf covering her head, her hair itself became a powerful prop projecting women’s power and zestfulness. She added a dimension to the show that perhaps was the glue that brought all the actors together.
Last but not least was the lone male in the cast, Tom Gregory who played Harry. Mr. Gregory is a favorite of the East End theater public because he consistently delivers while on stage. He is a master of accents and gestures and has his way of reaching the hearts and souls of the audience every time he is on stage in a show.
Doris Margalit and Deborah Marshall, who were not on stage for the reviewed production, shared roles with Dolores Reilly and Myers Bartlett. Reports praise their efforts from previous performances.
One cannot conclude without realizing a show takes a village of talent of folks who are never seen on stage but are the magic glue of successful productions. Therefore, kudos and accolades to Joey Giovingo for Stage Management. Illene Beckerman for the masterful Projection Illustrations that added to the show. Ken Blessing for his Lighting and Sound Design. Cheers to Production Assistants Taylor Tybaert and Mikela Ryan.
