Sonia Foderaro

Sonia Foderaro loves the theatre. She has never been interested in being on stage but she loves watching live performances. She attends several different theatres, volunteers as an usher at several, and serves on the Board of Trustees for the Bristol Riverside Theatre.  In 1989 Sonia discovered the Langhorne Players.  

After attending a couple shows she decided to subscribe. In 2002 an announcement went out to all the subscribers that they were looking for volunteers to do a variety of jobs to keep the theatre moving forward. Sonia volunteered to help in the Box Office and to usher when needed. During each show Sonia can usually be found volunteering  in the box office. She helps in the Mill’s pre-season clean-ups and did some scrubbing and painting after the last flood that left layers of mud in the theatre.

Sonia is retired from teaching elementary education and ESL in the Trenton, New Jersey School District. She is an active lifetime member of the Girl Scouts of Eastern Pennsylvania. She will be celebrating 65 years as a Girl Scout this coming year. She served on the Board of Directors for the former Freedom Valley Girl Scout Council  and currently serves on the GSEP Gold and Silver Committees where she mentors girls working on their awards. She is also a GSEP trainer doing both age level and outdoor training. As part of the GSEP History Committee she volunteers weekly in the Archives at Valley Forge. 

Locally she serves on the Oakville Service Unit Team , chairs the Oakville Recognition Committee, and plans and carries out several activities for the Oakville girls each year.  Both FVGSC and GSEP have recognized Sonia with the highest awards given to adults in Girl Scouting.

She and her husband John reside in Falls Township. They have three adult children and two grandsons.

Ken Marblestone

Ken Marblestone is very pleased to have joined the Board of Langhorne Players in 2014 as its Treasurer. However, Ken has had a long association with Langhorne Players, not only as a regular attendee of its productions, but on stage as well.

Ken's first appearance with LP was as Chickie, one of the back-room politicians in Bruce Graham's Belmont Avenue Social Club in 2000. He returned during the 2003 season as Howard, the harried son-in-law of a woman with Alzheimer's disease in The Waverly Gallery. Most recently, Ken played Sir Johnstone Kentley, the father of the murder victim in 2012's Rope.  He also was privileged to have participated in Langhorne's gala fundraiser Showin' Off in 2011, during which he appeared in excerpts from Sylvia.  Elsewhere, Ken has appeared onstage in 11 musical productions with Neshaminy Valley Music Theatre, on which Board he also serves, as well as with The Playmasters, Town & Country Players, Willow Manor Players, Bridge Players and the Ohev Shalom Players, among others. Favorite roles include Albert Peterson in Bye Bye Birdie, Harold Hill in The Music Man and Bela Zangler in Crazy For You.

But Langhorne Players has always had a special place in Ken's heart. "The intimacy of this theatre and the challenging nature of the productions LP puts on always create a unique theatrical experience for me, regardless which side of the footlights I'm on."  When asked to join the Board, he jumped at the opportunity to give back to an organization that has provided so much joy and intellectual nourishment over the past 15 years. As Treasurer, Ken is responsible for paying the expenses, collecting the revenue and balancing the books of the theatre. In addition, he has volunteered in the box office and in the pre-season clean-up of the Mill.

When not participating in community theatre activities, Ken practices law as one of the principals in the Mand Marblestone Group LLC, a pension law and consulting firm in Center City. The firm is one of the leading providers of retirement plan design and administration in the country, and Ken's experience and knowledge has made him a sought-after speaker at national conferences from New York to San Diego. 

Among Ken's many publications are articles in Taxation for Lawyers, Taxation for Accountants and The Journal of Pension Planning and Compliance. He serves on the Board of the ASPPA Benefits Council of Greater Philadelphia, and has earned a peer reviewed AV© rating from Martindale-Hubbell©, the highest rating awarded for legal ability and professional ethics.

Ken has lived in Lower Southampton since 1985 with his wife Laura, who, while shunning the spotlight, has done the make-up for many of the productions in which Ken has performed. "I cannot thank Laura enough for giving me the time and space to indulge my passion for community theatre."

Kate Fishman

Theater has been particularly good to me.  It’s where I met my husband (actor, Scott Fishman seen at Langhorne Players in plays Darwin in Malibu, Writer’s Block and The Kingfisher,) and it’s where my “creative juices flow,” allowing me an outlet for the artistic side of my brain.  Truth be told, it’s where I play!

For years I admired Langhorne Players, the depth of talent, the creative level of production, but most especially for each season’s offerings.  Not for them the tried and true running of the standard bill of fare.  No, Langhorne Players consistently searches out interesting, contemporary plays. “Plays worth talking about.”  And while there are some wonderful classics out there, and yes, we’ve done our share of them, it’s refreshing to see a play that speaks to our times, to the issues facing us now.

The first play that I directed at LP was Fiction by Steven Dietz, a wonderful play about two writers, married to each other - one dying - and they confront each other’s various “fictions” in their lives and marriage.  It was a touching play, written beautifully and developed with an appreciation for the intelligence of the theater audience.  It’s what I’ve come to expect from the Langhorne Players slates.

In the years since I did that play, I have enjoyed participating in the Langhorne Players seasons as director – obviously, (Fiction, Apartment 3A, Miss Witherspoon), stage manager (End Days and even a couple of back stage stints for Miss Witherspoon), actress (Orson’s Shadow), in the box office, spring cleaning and, of course, audience member. And it’s been a joy.  Each theater creates its own community – call it family, and the people who keep LP going are wonderful, caring, hardworking individuals with a love of theater that ensure year after year successful entertainment for our area.  And it includes you, the audience we do it for.  You provide us with so much energy because of your responsiveness, every performance depends on it and you have come through for us with each and every production.  Thank you.  *applause*

So, here I say “thank you” to Langhorne Players for the rich opportunities and to you, our audience for supporting us with your loyalty and high expectations.  Never forget; we do it for you.

2015 In Review

A Princeton High School student was commissioned by the director to compose an original work for Breaking the Code based on the Fibonacci Sequence. Her composition Enigma magnificently captured the beauty and symmetry of the sequence but also captures in cacophony the discordant notes of Alan Turing’s brilliant but tragic life.

Opening Night Receptions were introduced this season to an overwhelmingly positive response by our audiences. Local merchants La Stalla, Rose Bank Winery and McCaffrey’s Supermarket all of Newtown, PA donated food, wine and desserts respectively.

We conducted a survey in 2015 to ensure that we were meeting the expectations of our audience. 93% of those surveyed would highly recommend Langhorne Players to a friend. Patrons commented: 

Love your choice of plays always the best of Broadway and Off-Broadway. Please keep doing edgy, quirky, intimate, powerful theater. Sets you apart & keeps us coming back.

 Love the quality of the performers, interesting plays & the whole experience. Great season!

Enjoy seeing shows not done by all theaters in the area. You tend to be more selective which I appreciate and like.



Scott Fishman

As any regular knows, Langhorne Players is distinguished by their unique selection of plays. You won’t see this company putting on a rehash of the regular community fare; every production is designed to challenge your heart and your mind.  “Plays Worth Talking About” isn’t just a slogan.


There is a commitment to excellence here that brings out the best in directors, actors, and all the folks who support them behind the scenes.  My first experience of Langhorne was as an audience member at a production of Scotland Road.  I was just off four years running another theater and immediately felt this was a place where I wanted to get involved.  Happily, it wasn’t long before I was cast here as Charles Darwin in Darwin in Malibu, a brilliant script that explores conflicting theories of existence with humor and depth.  With over thirty productions behind me at the time, this was unequivocally one of my best theater experiences.

The following year, I was cast in Writer’s Block, Woody Allen’s farcical look at romantic relationships.  Last year, I played a very different role in The Kingfisher as the butler whose long-term bromance with his employer is threatened by the reappearance of an old flame.  There’s consistent positive energy at this theater - backstage, onstage and in the audience. It is part of what makes both performing and experiencing a play at Langhorne unique.

I recently joined the Langhorne Players Board and assumed the role of Marketing Director in hopes of continuing to broaden our outreach to the community and not incidentally, filling as many seats as we can so that we may continue our mission. We’re planning a number of new initiatives all geared to building the already powerful reputation of this 67-year old theater group.

I returned to theater in middle age following a long hiatus from my last acting gig which was in high school.  Since the late 1990’s I’ve been involved in many productions including lead roles as Atticus Finch in To Kill A Mockingbird, Ebenezer Scrooge in A Christmas Carol, Leon Trotsky in Variations on the Death of Trotsky, and Gardner Church in Painting Churches. Theater has been “very, very good to me,” but I have to say, my favorite role that has come out of my stage involvement is the one that I get to live every day.  I met my wife Kate, who directed this production ofMiss Witherspoon, at an audition for The Importance of Being Earnest some 12 years ago - best audition of my life.

In “real” life I’ve founded two market research companies the first of which became one of the preeminent organizations in U.S. healthcare consulting.  My second career is in education teaching at Philadelphia University and Drexel as well as directing a commercialization consultancy at U Penn’s Wharton School.  It’s all been a good run made that much better by this thing called Community Theater. There is still nothing that quite compares with stepping out on the boards. 

Elliot Simmons

Many years ago, an actress friend of my wife, Eileen said to her, “You should audition at Langhorne Players, you’d love it there. They do great theater.” And so it came to pass.


That was back in the 1991 season when I was cast in both The Dresser and The Boys Next Door and to paraphrase Humphrey Bogart, “It was the beginning of a beautiful friendship.”


Over the next 22 years, Langhorne Players became my “home-away-from home as time passed I also became involved with the administrative side of the theater. I served on the Play Reading and Director Selection committees, became the Publicity Chairperson, and was Secretary for over 14 years. Two years ago, I returned to the Publicity post once again. I was active on the creative side being involved with over 28 productions at LP appearing in 14 plays including Art, Dancing At Lughnasa, Shadowlands, Sylvia, Flea In Her Ear, Rumors and this season’s The Kingfisher to name just a few.


Over the past 22 years, I have been privileged to direct 14 plays including Incorruptible, The Belmont Avenue Social Club, Sideman, Coyote On A Fence, Picasso At The Lapin Agile, Laramie Project, Desperate Affection, Memory of Water, this season’s Something Intangible and many others.


I have also acted, directed, written and produced The Comedy Revue (Original Comedy Cabaret Theatre) for The Philadelphia Fringe Festival and other venues. I have also worked with many theater groups throughout the Philadelphia region but I always like to come home to Langhorne Players.


The most important thing about being part of LP has been the audiences that greet you as if you are part of their family and who are genuinely happy to see you in performance and of course, the actors, the designers, and the crews. The dedication, professionalism, and passion that go into every production here at Langhorne Players set this “Non-Profit” theater apart from so many others.


I wish I had the space to list all the great people that I have worked with, those that mentored me, and those who became friends. It suffices to say that you are all in my memory and in my heart. "Live long and prosper Langhorne Players."

Marty Sherman

Marty first joined the ranks of the Langhorne Players back in 1986 when an actor dropped out of a production of The Rainmaker and director Janie Taylor asked Marty to step in at the last minute. He had a positive experience with that and then Mike Cooper (another longtime Langhorne stalwart) cast Marty as Felix in the Odd Couple. Well...Marty was hooked on Langhorne! Since then Marty has been in approximately twenty or so performances. Among them were Assassins, Weird Romance, Two Rooms, Visiting Mr. Green, Lebensraum, Proof and a host of others. 


Marty has had involvements with many other companies in New Hope, Philadelphia, New Jersey, and New York (sometimes for pay but more often as a volunteer) but always has a soft spot in his heart for Langhorne. “The important thing to me," Marty says, "is working with committed and dedicated artists whose sole raison d’être is to do good work. It’s a wonderful feeling to take the audience on a journey which allows them to forget about their troubles and to even forget about time for a while."


But in addition to acting, Marty found that he was making strong friendships with others here at Langhorne and, before long found himself being involved as a board member, a member of the Director Selection committee and even being called on to Produce a production. 


He and his wife Lois can be seen often as volunteers in the box office and ushering. Marty notes that this really IS a Community Theater — that it is run by and for the community at large. Involvement has been so rewarding and we wanted to give back to the theater company that has provided us with such rich memories. There are so many dedicated people who give freely and generously of their time and talents and, of course, we always welcome new faces in the wide variety of roles involved with the running of such an enterprise. In fact, that’s the only way we can survive. Marty cautions all of us that “If we want to see this wonderful theater continue to bring the kind of entertainment we have grown to look forward to and enjoy, we need to encourage more of those of you who are reading this to step up and lend a hand!” You don’t have to have any experience to help. Bring whatever energy you have and we’ll find a way to benefit from your time and talent — no matter what that might be.

Jack Bathke

I have Aaron Wexler to thank for my involvement with Langhorne. After several failed auditions at the Mill, he contacted me to sign on as lighting designer for Theresa Rebeck’s Mauritius, and since then, I found myself designing lights on nearly every show for both the 2011 and 2012 seasons. However, though I am proud of the work I have done as the de facto “residential’ lighting designer for the Langhorne Players, the stage still beckoned me to come play on it.


Having been involved with theatre since before I was born (my parents were both drama majors at Trinity University, San Antonio, Texas and even had their wedding in the courtyard at the Ruth Taylor Theatre), I am no stranger to the theatrical profession. From my first “role” as a lion in a Creative Dramatics class for five year olds to my tenure at the Actors Studio Drama School (The New School University, NYC), I find myself “on the boards” in over fifty productions, taking a hiatus in middle school to discover myself and try out choir for a bit. While at other theatres, I play some of my favorite roles and even share the stage with such acting giants as Ossie Davis (Actors Studio), yet the Langhorne stage continues to elude. That is, until one day in April when Kate Fishman cast me in Jeff Daniel’s Apartment 3A, and finally, I could add the Langhorne Players to my resume.


Additionally, I add director to my roles at Langhorne with last year’s 100 Saints You Should Know and the upcoming 33 Variations. And though I have actually appeared onstage at the Mill only once, my work as a designer, director, and actor is continually sharpened by the professionalism, camaraderie, and dedication to making theatre that not only entertains but also educates and inspires. Thank you to Aaron Wexler for contacting me, and thank you to everyone else for making the Langhorne Players the kind of place I want to return to every year. 

Aaron Wexler

The year was 2001. I had just graduated from college with a degree in theatre and was recovering from having broken my arm during a send off to my alma mater.

My cast had just come off and I was looking for something to do. My friend, Jimmy Perry, told me about auditions for a show called As Bees In Honey Drown at a theatre he’d been working at since high school, Langhorne Players. Eager for the opportunity, I decided to go and read for director Rich Stockwell, but perhaps I was a little too eager. After having read a few times I was called up to read again, but this time as I leapt up onto the stage, I tripped and on the way down I held out my arm to break the fall. The very same arm I had broken just a few months earlier. Not yet fully healed, I could feel it snap as I collapsed onto the stage. Rich, sensing something was wrong, jumped out of his seat in the house. “Oh my god, are you okay?” he asked. “No,” I said, “I think I re-broke my arm!” He didn’t tell me until later that he was thinking, “Re-broke? What does he mean, ‘re-broke’? Is he going to sue the theatre?” An ambulance was called, and as they carried me out on a stretcher, I called out, “So did I get the part?” I found out soon enough that I did, and though Rich has always denied it, I can never be sure if I wasn’t cast just to prevent a lawsuit.

In any case, that began a decade-plus long relationship with the theatre I consider my artistic home. I have been fortunate enough to have appeared onstage at least once in every season since, and performed in some of the most challenging and rewarding roles of my career here. In recent years, I have begun directing shows as well, something equally as rewarding as acting in them. But perhaps what I am most grateful for are the friends I’ve made here at the Mill. Lifelong friends bound together by our mutual love of this incredible art form that has enriched all of our lives and hopefully, if we are very lucky, the lives of our audience members, too. 

Hans Peters

As a pre-teen I was exposed to theater first-hand, as family and friends were members of the Southampton Players, a contemporary of the early Langhorne Players. We converted an old barn to a theater, and I helped with everything from transporting scavenged seats to building sets to making refreshments, (think 20 gallons of lemonade in a trash can!). My big break came in the 7th grade when I was cast in the title role of The Winslow Boy. Unfortunately, soon after the barn was sold, and Southampton Players died without a proper venue. 

Time went by, and my dreams of again immersing myself in theater remained on hold in favor of more practical pursuits. Yet Laura and I were season ticket holders here, and every performance elevated my latent passion. I particularly remember coming home from seeing As Bees in Honey Drown thinking, “I really want to do this.” 

 A life-threatening experience in 2010 brought me up short with that “now or never” feeling. I auditioned for Eurydice, and with the incredible luck of being cast, was on my way.  Though I have appeared on other stages, I consider Langhorne my “home.” Everyone here is friendly and supportive, and this creaky old mill speaks to me in a way that connects my lifelong work in construction with my new career in theater. I have been given opportunities unimaginable (well ok, unlikely) in real life. As actor, set designer, set builder, producer, and booth operator, my abilities have been challenged and rewarded. I have also enjoyed the more mundane thrills of usher, box office, signage, trash management, and roof repair. 

When watching a good performance it’s easy to overlook the immense amount of work it takes to make it happen. I am so honored to be working with such dedicated, talented and energetic people — true magicians who give of themselves play after play, season after season, and work their wonders to create the flights of fancy that are theater at its best.

Robert A. Norman

In 1992, I auditioned for a show at Langhorne Players. It had been 16 years since I was on stage, having worked in a job that did not allow the investment of time a production needs. The show was Neil Simon’s Rumors. I was cast as Ken, had an incredible time being in the show, and was once again completely hooked on theater.

It would be three more years before I was on stage again, and four more before I was on stage again at Langhorne Players, but in those few years I got involved at Langhorne Players more deeply than I would ever have imagined. At that time Rich Stockwell and Curt Herr were the artistic powerhouses at Langhorne Players. I started working with them on all facets of show production and through that work I acquired two great friends, a wealth of experience, plus I have an incredibly rewarding time working at this little theater.  

By now, I’ve done almost every job there is to do at Langhorne Players. On the production side, I’ve directed, acted, built sets, and run lights and sound. My favorite acting role was as President Chuck Smith in November, and my favorite shows to direct thus far have been dirtyBlonde and True West. On the administrative side, I’m a board member, oversee the bookkeeping, and have been Treasurer for a decade. I have managed our beautiful, but very needy, home—the Spring Garden Mill—for 15 years including the flood “reconstruction” after Hurricanes Floyd and Irene, as well as the replacement of the roof.  My wife, Liza, and I started and continue to oversee our annual fundraising “Friends of Langhorne Players,” as well as design the programs for each show. (Phew! That sounds like a lot.) But I do it because I love Langhorne Players—the work we do, the people who are involved here, our incredibly loyal audiences, and all the things that make this jewel of a theater company so unique.

Charles Gorman

I had long enjoyed the theatre but only from the perspective of an audience member, I never gave any real consideration to particpation in it. But then a friend I knew from work asked if I could help his roommate for a few nights at this little theatre near my home. All I was supposed to do was “be on book” for a few rehearsals but something happened—I got hooked on making theatre magic. That little theatre was Langhorne Players and that show was Death and The Maiden in April/May of 1995. I ended up helping backstage for the entire production run. 

I met the first of many good friends during that show, one of whom, Eileen Simmons taught me the basics of what makes a good stage manager. A few months later I got a phone call from Eileen’s husband Elliot, who asked me to help with another show at Langhorne, also backstage. I didn’t know it then but I found a home at Langhorne and all these years later I am still here.

As the years went by, I learned just about every function that is needed to make Langhorne Players run, but my focus remained backstage. I have stage managed at least one show every season (and many seasons more than one show) through 2009. In 2010 I started my tenure as President of Langhorne Players and decided to focus my energy on that role and stepped out of backstage and into the lobby. But I missed being involved in the day-to-day activities of a show, so I decided to try one of the functions I never tried at Langhorne—being on stage. Earlier this season I made my stage debut at Langhorne Players as Tony in Apartment 3A. I loved it.

Langhorne Players is a collection of some of the most wonderful people I have ever had the pleasure to know and work with. I am so glad that I found them and they let me play here. 

Bernard DiCasimirro

I have Heather McHenry to blame or thank for my involvement in Langhorne Players.

Ten or so years ago Heather and I worked on a very “technically challenged” piece of theatre in New Jersey. This particular group had lost their home in a fire. True to the old saying, “the show must go on” they rented a banquet hall at the local VFW. Based on the condition of the place, the last banquet held there probably occurred during the Eisenhower administration. In between reconstructing and dismantling the set after every second performance in order to prepare the hall for twice weekly bingo, and stomping on roaches, Heather and I talked a lot about theatre. She told me about a marvelous little place in an old mill where sets were constructed only once and bingo was never discussed. Ah, it sounded like Nirvana. 

A few months later, I was cast in Lebensraum. What a wonderful introduction to the old mill and to the LP audiences. I am so grateful that Rich Stockwell gave me that chance and so happy to have worked with him while he was still a regular at LP. I will never forget meeting a Holocaust survivor in the lobby one night after the show. She held my hands and said, “That was my story, you told tonight.” Nine years later, whether I am doing the curtain speech or just seeing a show, one of our regular patrons will stop me to discuss Lebensraum and what it meant to him or her. Working on that piece was one of the best experiences I have ever had in or out of the theatre. It reinforces what I have always believed, theatre is magic.

Since Lebensraum I have been involved with LP on various levels. I have been on the board for the past few seasons and chair the Play Reading Committee. In preparation for each season, my committee and I read and discuss about thirty plays. The discussions are always lively and contentious and fascinating. We are a passionate group. We work very hard to find plays that will work well at the Mill, present interesting ideas, and will entertain our very discerning audiences.

I have also had the great fortune of directing three wonderful plays in that past couple of years. I am tremendous fan or Edward Albee and served as director for two of his Pulitzer Prize winners, Three Tall Women and last season’s Seascape. I was also at the helm for Tongue of a Bird. Directing at LP, while tremendous work, is very rewarding.

On a pretty regular basis, I also find my way back to the stage and my real love, acting.

In between the truly fun stuff, I helped scrub away the muck from last year’s flood, painted dressing rooms, organized props and created a pretty convincing faux parquet floor.

Langhorne Players is all that Heather promised and more. It truly is a marvelous place in an old mill filled with people on both sides of the stage who love theatre and are willing to work incredible hard to breathe life into five, thought provoking plays year after year. 

Kathy Junkins

Kathy Junkins is no stranger to the theater having been involved with one theater project or another for over 35 years. She first came to Langhorne players in 1998 to see their final show of the season, Incorruptible. Seeing an amazing show in an intimate space made her come back time and time again to see what Langhorne had to offer. Coming to see shows at Langhorne Players always made for an interesting ride home with husband Ken, because the shows always offered topics for great discussion. Sometimes it was even hard for her to sleep on LP show nights.

In 2009, Kathy and Ken were looking for a theater company where they could dedicate their time and really be involved. Langhorne Players was the place they chose or maybe Langhorne actually chose them. Ken was asked to direct Darwin in Malibu and Kathy helped out with the show. She loved working with the other volunteers and the LP board members. Devoting time to LP really was a lot of fun. Kathy began taking a lead role in the box office. She still does this today. She secures volunteers to work in the box office and usher for each show. She manages the seating chart for each show and she also answers the Box Office phone. If you ever received a call back to confirm your tickets, you probably talked to Kathy.  

In 2011, Kathy directed End Days, Langhorne Players’ third show of the season. When she read the script, she became passionate about directing it and had a great time doing it. Kathy also worked on the food reception team for the Showin’ Off benefit in the fall of 2011 and helped with the cleanup after the flood(s). This year Kathy served on the director selection committee for the 2012 season, is serving as producer for Apartment 3A, and will also be stage managing Rope later in the season. 

By day, Kathy is the Information Technology Manager for the New Jersey Treasury Department, Division of Property Management. In addition to husband Ken, she has 5 sons, 3 daughters-in-law, and several grandchildren.

Passionate Performers. Passionate Volunteers.

Hurricane Irene almost brought us to our knees on August 28, 2011. But with the help of over 30 volunteers, the Spring Garden Mill was made whole enough in a few days to allow the interrupted production, Rabbit Hole, to get off three more performances before striking the set. Here are photos of just some of the wonderful people who make up Langhorne Players.


Ken Junkins

I worked on various theatrical productions with several past and present LP staples long before I ever visited the Spring Garden Mill. Community Theater is very incestuous, and whenever you work with someone new, you can bet that they have worked with someone who has worked with someone you have worked with before. When actors and technicians talk about working at LP, they talk with excitement. They talk about how wonderful it is to practice and develop your art here, and how respectful everyone is of each other’s talents. This buzz about town made me curious and eventually I came to see what everyone was excited about.


The first show Kathy and I saw here was Incorruptible (in 1998) and we enjoyed it immensely. In the time shortly following that I worked in some capacity or other with just about everyone in that production; Joe and Ken and Natalie and Susan. And again, there was a buzz about LP, but this time it was about the cutting edge of theater that was selected to be performed here, and how audiences, well, if not craved these shows which were far from the familiar chestnuts, they at least conversed excitedly about them. I was hooked, and began looking for an opportunity to work here, to engage with this theater, its stalwarts and its audiences.


I was (and am) known in local theaters for my scenic designs, though I have also been known to sometimes act, and sometimes sing, and sometimes even produce. Yet my first opportunity at LP came when I saw a call for directors for the 2009 production of Darwin in Malibu. With a handful of directing and co-directing projects behind me, I leapt at the chance to direct something new and fresh and in particular at the Spring Garden Mill. Having gratefully been given the opportunity, and being blessed with a successful production I looked toward volunteering in other capacities. I ushered, I signed on to design and produce November for Aaron Wexler, I designed Eurydice for Maurizio Giammarco, and at the end of the 2010 season I took on the responsibility for the scene shop, as, what I like to call, “Shop Boss”.


In 2011 I am excited to be designing the sets for all five of the season’s shows, as well as having just produced End Days for my wife, Kathy. I am excitedly looking forward to volunteering for our fundraiser Showin’ Off in September, and I will be the featured gallery artist during The Tale of the Allergist's Wife.


Langhorne Players is known for “Plays Worth Talking About”, but it is also a theater worth talking about, a volunteer experience worth talking about. People in every capacity and theatrical corner of this theater rich region talk about LP. I invite you to volunteer in some capacity, big or small, and experience for yourself why we are worth talking about.


Tyler Winthrop

 Reprinted from the program for END DAYS by Deborah Zoe Laufer, July 2011

It has been ten years since I have started coming here to the Spring Garden Mill, and I can honestly say I would not be doing what I do if it was not for this group.

When I first arrived, I was a novice to the theatre world, a bio geek at heart, who loved the stage. My first show here was dirtyBLONDE, and I remember feeling as I came out of the theatre that there was something special here, and that I had to start volunteering.

It started off small, ushering, helping with set construction, until I was asked to help assistant stage manage one of their shows Anton in Show Business.  I had never done anything like that before, and was surprised and relieved at how helpful everyone was. I was asked to run lights, again not knowing a thing about them, and again through the kindness of their hearts, the Players showed me the ropes on that too.

I think that is why I love this theatre more than any other, because of the way you get treated and everyone’s willingness to help others learn and grow as an actor, director, stage manager and person. You don’t have to be some creative genius, just a person who loves the arts and who is willing to learn.  And through this group I found a passion I never knew existed. It’s been ten years and in the fall I will be starting school for my Masters in Stage Management at Rutgers University. I never would have found this if not for the people of Spring Garden Mill, and I hope once school is over, I can return for another ten years.

Alice and John Weber

Reprinted from the program for SEASCAPE by Edward Albee, June 2011

We began our association with Langhorne Players in 2000 when Alice took on stage manager duties for Light Sensitive.  We had only moved to Bucks County (from Delaware County) a couple of years earlier and were still finding our way as far as what theater in this neck of the woods was like.  And we are fortunate that we discovered Langhorne Players shortly after we got involved in the theater scene in our new location.

Between the two of us, we’ve filled every role possible at Langhorne (pun intended) – we have played lead and supporting parts, stage managed and directed, ushered and handed out programs, helped built sets, run lights and sound, sold tickets and set out refreshments, produced sound effects from scratch as well as borrowed them from outside sources, written and recorded scripted materials to be used during scene changes and even recorded the curtain-opening speeches one season.  And we wouldn’t have it any other way!  Because to enjoy the full experience of Langhorne Players, you need to take part in every facet of a production. 

What we found in Langhorne Players is a place that strives to be on the cutting edge.  A place that produces shows that are lesser known, but much more rewarding, both for the audience and those involved in the productions.  There are higher standards to be met here, but the results are always worth the extra effort.  If you are reading this now, then chances are you have been to a few shows here before, or perhaps you’re a season ticket holder.  Then you know what we say is true – you will not see shows of this quality and this uniqueness in very many other places.  And a Langhorne Players ticket is very affordable, considering what you will receive in return. 

Theater is very important to us.  It changed our lives.  We met doing Ten Little Indians in high school and sometimes wonder what our lives would have been like had one of us not been cast, or if one of us decided not to audition for that particular play.  We have worked separately and together in theaters all over the Delaware Valley and, looking back over it all, we can truly say that there is nowhere that comes close to the Langhorne Players experience.  We are proud to be associated with Langhorne – we have grown in so many ways and hope that our contributions help this theater continue to grow. Long live Langhorne Players!!

Jim and Lauren Perry

Reprinted from the program for ORSON'S SHADOW by Austin Pendleton, October 2010

We have had the pleasure of calling Langhorne Players, and the Spring Garden Mill our “Home Theatre” for a combined 27 years! Jimmy joined the theater in 1993.

“Of all the places I’ve worked in my theatrical career, I always truly feel ‘home’ when working at Langhorne Players. Maybe it’s the open, collaborative, way the theatre troupe operates, or maybe it’s just the familiar scent of the building that reminds me of wonderful summers of my early adolescence, a time where my passion for theatre began.

"My first show was Shivaree by William Mastrosimone. I had just turned 19 and was playing a teenaged boy who suffered from Hemophilia and who was in love with a belly dancer who lived next door. I was young and excited because this was a big role! I couldn’t wait to tell my Mom. The conversation went something like this:

Jimmy: Mom! I got the lead in show!
Mom: That’s great news Jimmy. Good job!
Jimmy: There are so many lines.
Mom: You’ll do fi ne, you always do.
Jimmy: I get to have a love scene with a really hot girl that plays a belly dancer!
Mom: You WHAT?!”

Since that fateful conversation, Jimmy has gone on to do just more than just perform on Langhorne’s stage. He’s run lights and sound for numerous productions, designed lights and sets, acted as chair of the Tech Committee (building a number of sets), and served on the Board of Directors as Member at Large 2002 to 2004, again in 2005, and Vice President 2006 to 2009.

Lauren started working at The Mill in 2000. “I made my LP stage debut in 2001 with our production of A Fair Country, and followed that with a role in the next production of the same season, As Bees in Honey Drown. But in 2003, I had my most adventurous moment, being directed in Laundry and Bourbon by my then-boyfriend Jimmy. We didn’t quite know how it would work as a Director/Actor team, but we made it through without causing any bodily harm. We wed in 2005, so we’re pretty sure it worked out okay!

"I continued my LP fun, joining Jimmy on the Board of Directors, first as Secretary 2002 to 2004, then 2005 through 2008, and finally stepping into the role of President last year. In between I did a little stage managing, and of course, was your regular at the season ticket table 2001 through 2009.

"Together, we’ve participated in a number of productions throughout Pennsylvania, New Jersey and Delaware, but Langhorne Players is truly our home—it’s our version of a playground. We come to feed our imaginations, building new worlds and creating a space where any and all are welcome to set aside the cares of the world and experience something new each night the lights go up.

"We have always enjoyed our time at The Mill. It’s more than just the excellent work the theatre produces. The lasting friendships we have developed with so many wonderful people over the years are ones we will cherish forever; and we hope to add new faces and new friends in the years to come.

"On a personal note…in the 1950’s Jimmy’s mother Julie was a member of Langhorne Players, so he’s second generation – how cool is that? And in January, 2011 we are expecting to welcome our first little one—the third generation Langhorne Players Member for our family—that’s even cooler!"

Heather MacHenry

Reprinted from the program for EURYDICE by Sarah Ruhl, August 2010

I began my relationship with Langhorne Players with the 1985 production of Play it Again, Sam by Woody Allen. I played Nancy, the main character’s ex-wife, and I was only ever “seen” in his mind. There was great dream lighting for all of the scenes I, along with the other characters in Allen’s mind, was in.

Since that production, I have been very fortunate to have played a number of other characters on the Langhorne stage. Sometimes the role was a featured player. Sometimes it was part of an ensemble, and sometimes I was a bit player. Every role however, helped to tell the story and to carry our audience along on a journey of some sort.

In the past 25 years there have been many times where my contribution to the story has been from off stage in a production team capacity. I have worked the box offiice, served refreshments, taken publicity photos, directed, painted sets, made costumes, taken out the trash, cleaned bathrooms and worked in the lighting booth. The listgoes on but I am sure you get the idea.

Throughout my years here I have also made an effort to bring new people into the fold. I want others to share in this relationship that I have had with Langhorne Players, and the magic that takes place on our stage.

And it is that magic that keeps me coming back year after year. There are few places where actors can challenge themselves with the kinds of stories we tell here at Langhorne. I find that with every show I learn something, about myself as well as the subject of our story. In addition I get to meet other people who are of a like mind, those who love to tell the stories and work collaboratively to create new places and lives. What a joy to know these people and to share with our audiences.

Years ago I worked on the show Lettice and Lovage by Peter Shaffer. In this show the character Lettice explains that it is her job to enlargen, enlighten and enliven her audience. I think that puts what we strive to do here at Langhorne perfectly. My relationship with Langhorne Players has certainly enlargened, enlived and enlightened my life. And I hope to continue this relationship for more years to come.