In sharp contrast to last Christmas which I described as one of the coldest in memory, this year was relatively balmy. Temperature was in the '50s at the end of one of the warmest years on record. An estimated thirty of us gathered at the home of my nephew and his wife for a buffet, gift exchange and one of the family's patented wild and noisy Yankee swaps.
You can see my pictorial coverage of the event at this link:
Cinderella by former Winni artistic director Neil Pankhurst is promoted on the Winni website as "filled with big costumes, dynamic dancing, silly slapstick for the littles, innuendo for the adults, and a double entendre or two (or three)...a treat for all ages 3 to 103!" The Playhouse Professional Company, along with a bunch of talented kids, deliver on this promise with flying colors.
Buttons, the Bell Boy (Seth Turner), encourages the audience to participate loudly, expressing approval or disapproval as appropriate, and guides the play through its songs, dance numbers and story. Winni veteran Jim Rogato is Baron Basil Hardup and Ashley Meeken, who we last saw in "Mamma Mia" at the Winni, is his wife, Baroness Sybil Hardup. Sophia Kim is an irresistible Ella, later to become Cinderella. Kat Gold played the dual roles of Lily and the spirit of Ella's mother.
A feature of pantos has always been gender-switching, and this production lives up to that tradition. Prince Charming is played by Teghan Marie Kelly. Molly Chiffer assumes the male role of the prince's buddy, Dandini. The two ugly sisters, Philis and Lydia, absolutely steal the show as played by Robert Hooghkirk and Nick Winkler. In garishly ornate gowns and accessories, wielding folding fans, preening, snarky, insulting, all with exaggerated feminine gestures, they really chewed up scenery when they were on stage.
The songs, a mix of pop, golden oldies and classical, some parodied, were marvelous. Dances literally rocked the house. I particularly enjoyed a tap dance number featuring the entire ensemble led by Seth Turner. The production ran about two and one-half hours with one 15-minute intermission, longer than average, but the energy never flagged and neither did audience enthusiasm.
Neil Pankhurst directed this production. Judy Hayward was music director and Nicole Sullivan directed choreography. The many fantastic costumes were designed by DW. Many more contributed. It's great to have panto back at the Winnipesaukee Playhouse.
Very often, the mere threat of rain will keep valuable antique cars away, but this show was graced with the presence of two rare Rolls-Royce "woodies" and three 1914 Stanleys. My series includes the the process of starting the Stanleys and watching them go steaming away in video. You can see it all at his link:
The entire downtown area is closed to normal traffic for the show. Amesbury offers many good photo ops besides the cars. It's a walking city, hilly but attractive, with many old brick buildings, wooden stairways to climb to upper and lower levels, and the Powwow River tumbling down from the heights to the lower levels.
Threat of rain didn't seem to discourage attendance. The city was filled with a variety of cars, trucks and motorcycles, including some valuable antiques from the '20s and '30s and 19th Century horse-drawn carriages from the Amesbury Carriage Museum. There were so many spectators it was difficult to move about at times.
You can view my coverage of the event at:
Unlike the cool, overcast previous day in Stowe, Vermont, the Rye Lions Show was held under cloudless skies and warm temperatures. Take a look at this excellent exhibit at this link:
The show has a very British theme overall, with booths selling English-made products. The popular ladies' hat competition, an annual tradition, was held in the "Queen's" tent. My coverage of the event can be seen at this link:
https://www.linwoodstreet.com/invasion23/
In spite of the lower turnout, there were many fine cars, some rare and unusual, along with an excellent exhibit of beautifully restored pickup trucks from 1949 through 1970. I couldn't resist allowing my camera to wander for some pastoral shots and video of a nearby pond.
I'd be grateful if someone could explain to me why this Apkarian, whoever that is, has earned a "gate" at NHTI.
You'll find my coverage of the show, complete with pastoral pond and Apkarian's Gate, at this link:
The popularity and success of the play finally got my attention and I made a reservation to see the Playhouse Professional Company's presentation at the Winnipesaukee Playhouse in Meredith, New Hampshire. This is not your average musical play. It deals with oppression, poverty and mass murder at the beginning of the industrial revolution in London. The Playhouse's excellent production rivals the best of Boston and New York.
Players artistic director Timothy L'Ecuyer directed this presentation, and Matthew A. Stephens was music director. The first thing that impresses you is the towering set designed by Inseung Park, made to resemble 1800s industrial construction with movable ladders to allow actors to move up and down between the levels.
The cast of ten was led by Jesse Luttrell as Sweeney Todd and Molly Parker as Mrs. Lovett. The tall, muscular Luttrell and his powerful voice dominate the stage, sometimes almost frightening in his anger. Parker is excellent as Lovett, owner of a pie shop and Sweeney's willing accomplice in his murderous rampage, dispatching customers in his barber shop with his razor. The two eventually concoct a diabolical, fiendish scheme that will serve both their needs.
A love story plays out in the background, with Ethan Yaheen-Moy Chan as Anthony Hope and Kelley Jane Davies as Johanna. Dalia Aleman as the beggar woman, a seemingly minor role early on, turns out to be a character of much more importance. Rudy Martinez as Judge Turpin is Sweeney's nemesis. The rest of the superb cast is rounded out by David Fine, John-Michael Breen, Jason Thomas Sofge and Robert Hooghkirk.
Like most Sondheim musicals, the story is told in the songs. I counted thirty-four of them in the program. Even much of the dialog is set to music. Music director Stephens' pounding accompaniment sometimes seemed to shake the theater. I'll remember this production as the best of the 2023 summer theater season in New Hampshire.
The show is hosted by Atkinson Lions and Atkinson Fire Association. I like the fact the show is restricted to cars 25 years old or more, a good idea if you're calling it an antique show. Pictures of the event at this link:
The show is sponsored by the Manchester Rotary Club. Proceeds benefit non-profits. I won't take up a lot of your time describing it here. My inadequate effort to cover it all in photos and a video can be seen at this link:
Ever since the first Baskerville was found brutally murdered in a gruesome manner and many of his heirs down through the years have met the same fate, legend has it the family is being "hounded" by a monster dog which leaves huge footprints at the crime scenes, and has been heard howling. The howls, resounding through the theater, are particularly spine-tingling. Sherlock Holmes (Bill Mootos) and Dr. Watson (Ryan Halsaver) believe this legend is rather absurd and set out to prove it, meeting a host of bizarre characters along the way, all played by just three actors.
Mootos' formal British manner as Holmes is appropriate for that character, but it allows him to be outshone by the rest of the cast, Gil Brady, Buddy Haardt and Rachel Alexa Norman. Brady and Norman are especially effective, each with at least half a dozen different characters with completely different look, speech and mannerisms. Haardt mainly plays an American from Texas in a Stetson hat and carrying a six-shooter, with all the typical Texas braggadocio.
Directed by Blair Hundertmark, this production owes much to its crew as well as the actors. The splendid 19th Century parlor, ingeniously equipped with moving pieces to quickly change to other settings by moving the pieces in and out, was conceived by scenic designer Richie Ouellette and prop designer Lily Bitner. Production stage manager Deirdre Benson and assistant Kate Hausler, in her first Barnstormers assignment, were also indispensable to this play's success. Dan Clawson's light design was put to good use, as well as Kimberly O'Loughlin's sound. And none of it would have worked without Chelsie Cartledge-Rose's costumes.
As for the cars, it was a relatively small gathering of customs, street rods and muscle cars, along with a few impressive racers. A few motorcycles showed up. There were also some huge tractor-trailer rigs and buses. I'm not sure they were part of the show or if it was their permanent base, but I photographed them anyway.
Got a few minutes to spare? You can go through all my photos of the event in a few minutes at this link:
Now observing its 90th season, Peterborough Players presented Tell Me On a Sunday. This was a one-woman show, only a week after seeing a one-man show at the Barnstormers. This musical has been presented in many forms since Andrew Lloyd Webber chose Don Black as his lyricist in 1979. The one-act play, running only about an hour and ten minutes, tells the story of an English girl who comes to the United States in search of love. As are other Lloyd Webber productions, the story is told entirely in song. Ilyse Robbins served as director and choreographer for this Players production. Jenny Kim-Godfrey was music director.
I was delighted when I arrived at the Players and opened my program and discovered Bridget Beirne was the lone performer, appearing as "the girl" who was unnamed in most of the many performances worldwide, but when Roberta Peters assumed the role on Broadway, the girl was given the name Emma. In the Players program, I noticed Beirne was listed as Emma, although the name is never mentioned during the performance.
I had seen the very versatile Beirne many times, but never in a singing role. I must admit I was stunned. Beirne, wearing a huge, realistic red wig of flowing curls and non-descript, mixed attire, demonstrated a terrific voice as she went through the twenty-four songs that tell the story of Emma's attempts at finding love in America, interspersed with letters home to her "mummie," all in a perfect British accent. She has shown a gift for various accents in other performances which left me wondering which was real. I finally had the pleasure of a brief conversation with her a few years ago and discovered her natural speech is standard American English.
Moving about scenic designer Shelly Barish's multiple-level set with lots of windows, staircases and balconies, her lusty voice going through the twenty-four songs with few breaks, Beirne was backed up by an excellent orchestra conducted by Jenny Kim-Godfrey who also played the flute, all combining to produce some of the finest music I've heard in summer theater in years. I was sorry to see the the show end. At curtain call, the nearly full-house showed their appreciation with a standing ovation.
The show featured a number of real old-timers, including Model T and Model A Fords, a classic 1941 Cadillac, a Buick from the '30s and other models from the first half of the 20th Century, some in all-original condition. These cars, unfortunately, seem to be disappearing from "antique" shows in recent years. You're more likely to find shows dominated by models made after 2000 and lots of customs and street rods.
Melmark New England, serving individuals with developmental disabilities, has generously offered to host this show for several years. You can view my coverage of the event at this link:
https://www.linwoodstreet.com/beanpotsummer23/
But a light drizzle began around noon, so I decided to leave immediately. I was satisfied I already had a good collection of photos, and wouldn't be missing much. So I left after my shortest day ever at the Vermont Automobile Enthusiast's annual show, their 66th.
For the past few years, this show, one of the nation's oldest, has seen a recycling of mostly the same cars year after year. But this year, there was a noticeable improvement in variety, with more cars I hadn't seen before. I hope that's a sign of a better mix in future years. Even the annual fashion show, where participants must dress in the same period as their vehicles, drew six contestants, much better than last year's two.
I didn't get caught in the storms. The rain ended as I headed south toward home. I haven't heard how it ended up in Waterbury. They had another full day of the show ahead of them. I hope they were able to complete it.
You can view my seventy-five photos of cars, including the fashion show, at this link:
.jpg)
The Stable also brought out a number of its own cars for viewing, but that leads to my only criticism. The Stable's cars were crowded into limited space under a tent with poor lighting for photography. It's possible their intent was to give the advantage to the invited cars. The barn housing the Stable's racing cars was open for visitors, but there again in poor light.
My criticism aside, I was not disappointed. The visitors' cars alone made the show worthwhile. My photos can be seen at this link:
If Heritage Day returns in future years, I certainly recommend it. Besides the car show, there was a flea market and craft fair and, of course, food. You can see my photo coverage of the event at this link:
I added a few photos at the end that I took earlier in the morning at a cars and coffee show at the Tupelo Music Hall in Derry, New Hampshire. All proceeds from this event go to the Great New England Toy Run benefiting Toys for Tots held in December.
Both shows can be seen at this link:
The play is relatively short with a small cast, but the Barnstormers included an intermission because its regulars would be disappointed if they couldn't take a break and purchase chocolate chip cookies and lemonade, as well as "adult" drinks.
In a beautifully-constructed flat (thanks to scenic designer Gaya Chatterjee), Enid (Aimee Doherty) is confiding to her friend Doris (Darien Crago) that her years-long engagement to Dick (John Long) seems it may never end. Mrs. Huggins, the maid (Cheryl Mullings, one of my favorite Barnstormers regulars) announces a stranger will be coming to see a flat that evening. Only a maid, Mullings still gets plenty of stage time, and even gets to briefly demonstrate her operatic soprano voice.
The stranger, Gerald Strange (Robert St. Laurence), is greeted on arrival by Enid. She's so instantly smitten by him she can't hide it, and he seems equally enthralled by her. Their conversation quickly turns flirtatious. The very next day, Enid breaks the news to Dick that she can't marry him, there's somone else. He takes the news stoically and leaves.
Act II opens in the completely new setting of the living room of a cottage in the country, again thanks to designer Chatterjee and the production staff. Enid and Gerald have been living here for three months. Another maid, Mrs. Birch, is also played by Mullings in different dress and personality. When questioned by Enid about Gerald, she cryptically states that you never know what men may do.
Enid begins to find disturbing things about Gerald. A collection of books about crime, a locked desk, and what happens when the clock strikes 9. You can see the beginnings of Dame Agatha's style of vague hints, offset by red herrings, that were hallmarks of her work. Enid and Gerald's relationship dissolves into accusations, screaming, threats and physical violence.
This is not a play that ends neatly with all the loose ends tied up. You leave asking yourself, "Now what did I just witness?" You're left to reach your own conclusions. If you see it, let me know what your conclusions are, and I'll tell you mine.
Dan Winerman directed this production, Deirdre Benson was production stage manager and Sara MacIntyre her assistant. Lily Bitner designed props and Kevin Dunn lighting. Chelsie Cartledge-Rose designed costumes and Kimberly O'Loughlin sound. Violence coordinator? Fight Captain? Wow! Those were the responsibilities of Robert St. Laurence who played Gerald. So now you know this wasn't just another English play of manners.
Divided up into sections on different levels on the hilly Misselwood campus, every section seems like another car show as you stroll the property. The Misselwood House is the centerpiece, and several quiet, nicely furnished rooms with paintings and well-stocked bookshelves are open to visitors. A large tent with a cafeteria and tables and chairs is free to $100 VIP ticket holders. Be advised, the price is going up each year. General admission was $45 this year.
To convince yourself that you should go, take a look at my photographic coverage of this year's event at this link:
Turnout was high with show cars filling almost all of the sprawling property. There were so many spectators it was difficult to move about without bumping into people. It made photography a bit challenging. There was a good mix of old and new, classic and custom. A Rolls-Royce shared space with street rods. Open this link for a sampling of the types of vehicles the show had to offer:
The show featured five young, talented women with great voices. Their characters were identified only as Yellow Girl (Deijah Faulkner), Green Girl, (Dwan Hayes), Red Girl (Sabrina Koss), Orange Girl (Kelsey McCollaum) and Blue Girl (Emily Song Tyler). The colors referred to the color of their dresses. Great idea! It made them the easiest to identify of any cast I've reviewed in years.
The setting is England in the sixties. Four of the girls are English and one (Yellow Girl) is the only American who has come in hopes of meeting former Beatle Paul McCartney. Each has her own backstory told in song and dialog, and they all refer to a magazine named Shout! for advice on fashion, relationships, love, marriage, etc. An off-stage voice of the magazine advises them, often in unflattering ways. The music is all from the sixties, much of it familiar, such as Wishin' and Hopin', Son of a Preacher Man, Your My World, Downtown and more, all performed with rousing enthusiasm by the five women.
As I looked around at the audience, I noticed a majority were in my age range, no doubt attracted by the music of their era. I hope more of today's 20 and 30-somethings will come to see this show and hear some of the finest pop music produced in living memory. Taylor Swift? Really, now!
Shout! The Mod Musical was created by Phillip George and David Lowenstein. The Winni performance was directed by Timothy L'Ecuyer. Choreography was by Ashley Meeken. Judy Hayward was the music director and Andrew Burns designed costumes.
I probably spent more time than I intended on two military vehicles, but as I was admiring them, the kind lady who owned one of them invited me to sit in the drivers' seats, climb to the gun turrets in each vehicle, and offered to photograph me while I was at it. Who could refuse that offer? The Humvee and the M35A2, both fully equipped for war, shown in great detail, are the main attraction, not me.
The rest of the show was a good mix of classics, muscle cars and customs, including a few late models. It can all be seen at the following link, including more than you ever wanted to see of me:
.jpg)
July 9, 2023 — Like so many this season, the Bay State Antique Auto Club show was threatened by rain, or at least pop-up showers. Held on the grassy fields of the spacious Endicott estate in Dedham, Massachusetts, it's a rain-or-shine show. It goes on regardless of weather.
At least at the Endicott, there are plenty of places to duck for cover, including several cupolas and the large back porch of the mansion. This particular day was overcast and humid, but luck was with us and there was no rain during the show's allotted time.
This is a show that has hosted over one thousand cars some years, but hasn't reached that figure in several seasons. This year the smaller attendance made it necessary to re-draw the divisions between various classes, always carefully separated at BSAAC shows. There's a custom and street rod section, a section for unmodified standards, a truck section, and a few individual makes get their own sections, such as Cadillac. The centerpiece for the show is the Endicott mansion, and the most outstanding cars get an honored spot on the front lawn.
Although smaller than past BSAAC shows, this show still had a large turnout by the standards of the region, with a good variety. You can see a sampling of them at this link:
Amherst, New Hampshire is typical of celebrations of the Fourth in small communities all over America. I wasn't there for the fireworks the evening before, but I captured video and a couple of pages of photos of activities on July 4.
https://www.linwoodstreet.com/amherst4th2023/
In the nearby Maritime Museum you'll find history of the original Nao Trinidad, along with videos of the replica's construction and footage of it on the water in full sail. You'll also find much history, artifacts and various memorabilia about Newburyport's past as a major American seaport.
Even after the Nao Trinidad is gone, Newburyport is a fascinating city to visit, rich in history and an excellent walking and biking city. You can see my brief coverage at this link which hardly does it justice:
https://www.linwoodstreet.com/naotrinidad/
The self-proclaimed "New England's Premier Auto Show," a bit of an over-statement, hosted hundreds of show cars and drew an impressive number of spectators, but was below turnout of previous years, possibly due to uncertain weather forecasts. As usual, one large field was dedicated to Corvettes.
Still, it was a productive show for photographers. You can view the results of my efforts at this link:
The play has a rather hokey but charming story line. But you don't see Mamma Mia! so much for the story, but for the songs and dazzling production numbers. Those things it has in abundance, performed by the "Winnie's" professional cast. The songs are from the 1970s Swedish group ABBA. Most of us will find "Dancing Queen," "Mamma Mia," "I Have a Dream" and others familiar.
Sophie (Teghan Marie Kelly) has traveled to a fictional Greek island for her marriage to Sky (Andy Edelman). Her mother, Donna (Ashley Meeken) follows to attend the wedding. But something is missing for Sophia — her father. She never knew who he was, and Donna has never been forthcoming with that information. He may be one of three gentlemen Donna invited to the wedding, Bill (Alex Huffman), Harry (Jason Thomas Sofge), Sam (Andy Hansen), or maybe none of those.
Ashley Meeken as Donna is the one to watch. Tall, with great stage presence and a powerful voice, she dominates most of the production numbers. Another cast member, Ashley Rubin as Tanya, appears in a torrid sea-going dance number in a leopard-patterned bathing suit. Besides those already mentioned, other cast members, all excellent, were Deijah Faulkner, Sabrina Koss, Dwan Hayes, Vinnie Canale, Eddie Uribe and Kevin L. Scarlett, backed up by a talented ensemble.
Mamma Mia! music and lyrics are by Benny Andersson and Bjorn Ulvaeus. Chloe Kounadis was director and choreographer for the Winnipesaukee Playhouse presentation and Braden Chudzik was music director. Melissa Shakun designed the set. Olivia Kirschbaum designed the costumes, quite an achievement for such a large cast with many costume changes.
Did Sophie learn who her father was? Well, sort of. You have to see it.
But as the 18th drew closer, forecast changed to just a chance of showers. Marlborough made the decision to go ahead with the show. Main Street was filled to capacity with show cars. There wouldn't have been a parking space for one more. So many spectators filled the street it was difficult to move about, never mind take pictures. So much for the theory "rain dates don't work." This one couldn't have worked out better.
You can see my photos and a video of the second biggest show so far this season at this link:
https://www.linwoodstreet.com/marlborough23/
So I've chosen the most interesting vehicles for this series, mostly those I haven't seen before, with a few repeats of entries so exceptional they deserve a second (or third, or fourth) appearance on my site. Hope you like my choices which can be viewed at this link:
This show has always been known for its humor, with comic entries, mannequins, etc. This year there wasn't so much of that but still a show with wide variety, with late models and all the years going back to the Model T, Model A and my favorite, a 1913 Buick.
So I'll stop talking and let you begin admiring the automotive history represented in this fine gathering:
As it turned out, they got the whole show in before rain began. I ended up with only 38 photos, but this relatively small local show tends to draw many of the same cars year after year, and this season I'm making a conscious effort not to include cars I've photographed many times. In spite of that, there are still a few repeats, but also a few rare surprises. You can breeze through the series in a few minutes at this link:
This hill climb is a reenactment of the first one in 1908. Today, many restored racing cars from that time period participated. I got photos of most of them as they lined up for the start line. My hunch the start would have the best photo ops didn't exactly pan out. Being forced into a jam of spectators in a roped-off area made it nearly impossible to get a good camera angle. However, I did get about 45 seconds of video showing a couple of cars charging noisily up the hill.
Next, I strolled along Main Street where more antique cars and craft displays were set up. Following that, I took a shuttle back to the high school where yet another car show, this one featuring a couple of hundred cars, was in place in the high school's spacious parking areas, along with a good-sized craft fair.
Photos and a video of my long day at this varied event, spread over several miles, can be seen at this link:
https://www.linwoodstreet.com/wilbraham/
A 10-minute drive south to Yankee Candle Village found that partially shut down. The former main building is closed and vacant, as is the popular Christmas Shop with its beautiful Christmas displays. However, the grounds with their many flowers are still well-kept. A former full-service restaurant has been replaced by a pizza parlor. I took a few photos around the reduced village which I added to the truck series. You can see it all at this link:
By the time I arrived, there were already a few dozen Model A's at the farm. More would arrive, and the final tally was 101, one more than their goal. Of course, I didn't photograph all of them, just a sampling of the more interesting in terms of condition, color, style, etc., at least in my opinion There were other makes, including several classics of the '30s through '50s that apparently belonged to the farm.
I don't have much information on the Bean Farm. It doesn't appear to be a working farm. There were no animals and no evidence of gardens. There was no admission charge, no one greeting car owners or spectators, no one directing traffic. Signs identified areas as "Old Car Parking" or "New Car Parking." A sale of raffle tickets was the only money collected. A large buffet was served, all free. That was unprecedented. I have never before found free food at a car show, or anywhere else for that matter.
The day was cool and overcast, but the rain held off until the show was over. You can view my coverage of this rather unusual event at this link:
March 26, 2023 — I had never been to the Newport Car Museum in Rhode Island. I was well-acquainted with the Audrain Automobile Museum in Newport and may have thought they were one and the same. But I learned the Newport Car Museum is actually in Portsmouth and is unrelated to the Audrain which I had visited many times. A friend had done a photo series on the museum in Portsmouth and I was impressed with the number and quality of cars there.
I found the Newport Car Museum's website and was further impressed by the stunning beauty of the cars. Unlike the Audrain which installs a whole new exhibit about every three months, the Newport exhibit is permanent with an occasional car added or a loaner returned to its owner. Many of its cars are loaned or donated. It typically features about ninety vehicles, all beautifully restored to their original new condition and artfully displayed in the spacious, well-lighted, very photogenic museum.
I didn't attempt to photograph all ninety of the cars at the Newport Car Museum, but selected something less than 60 of what I considered the finest. Hope you're as impressed as I was. You can see them at this link:
https://www.linwoodstreet.com/newportmuseum/
My coverage of the Audrain Automobile Museum is at this link:
The play was "Breadcrumbs" by Jennifer Haley, directed by Catherine Stewart, first presented in three live performances at Capitol Center for the Arts on the Bank of NH Stage in Concord, New Hampshire, then live-streamed over the Internet.
The play jumps back and forth in time, a trend in drama and story-telling that seems to be increasing, but which I feel is being over-used and often confuses me, although I'll own up to being easily confused. But many times the story line doesn't make it clear which of its multiple time periods we're witnessing. But thanks to Tayva Young's ingenious use of lighting we're saved from becoming lost in time once you catch on to her technique. You can still get lost in this play, but being lost is part of the grim subject matter.
Alida (Katie Collins), a writer, has been diagnosed with dementia. Beth (Rachel Chapin) is a nurse's assistant assigned to Alida's care. Alida, already writing reminders on scraps of paper and occasionally groping for the correct word, is hoping Beth can help her write her life's story. Their relationship is not an easy one. Alida, living alone and always self-sufficient, is resentful and bad-tempered. She orders Beth out many times, repeatedly berating her for being late, lying, and having a disorganized personal life.
In flashbacks, signaled by a switch from color to black and white in the Internet version, Collins plays herself as a child and Chapin portrays Alida's' mother. This is what I meant by clearly identifying its place in time.
The two actors carry this play beautifully through its alternately heart-warming and heart-breaking progression. It has all the fine production values, direction and stagecraft we've come to expect from theatre KAPOW.
There was a replica of the 1886 3-wheel Benz, accurate in every detail, generally credited by automotive historians as the first automobile. Also among the rare vehicles were two V16s, a Cadillac and a Marmon, the only V16s ever produced.
I photographed every vehicle and motorcycle in the exhibit, with multiple views of several. You van see them at this link:
