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‘Grease’ Is The Word at NSMT’s Knock-Out Production

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Caroline Siegrist and Nick Cortazzo in “Grease” at North Shore Music Theatre. Photos by Paul Lyden.

By Shelley A. Sackett

If you think you’ve seen enough disappointing summer theater productions of the iconic film starring the incomparable John Travolta and Olivia Newton-John in their impossible-to-replicate roles (as I frankly did), think again and high-tail it to North Shore Musical Theatre’s rip-roaring, talent-laden, thoroughly enjoyable rendition of this phoenix of a musical.

For a little over two hours (one intermission), director and choreographer Kevin P. Hill, music director Milton Granger, and a superlative cast that includes the always pleasurable-to-behold Kathy St. George, create a Grease so fresh and vibrant that it’s hard to believe it’s based on a 1978 film that is based on a 1972 play.

The plot is as simple as an Archie and Veronica comic book.

During the summer of 1958, greaser Danny Zuko and straight-laced Sandy Olsen fall in love at the beach. As Sandy prepares to return home, she worries that she’ll never see Danny again, but he comforts her that the summer is “only the beginning” for them.

On the first day of his senior year at Rydell High School, Danny reconnects with the members of his greaser gang the T-Birds: Sonny, Putzie, Doody, and his best friend Kenickie. Sandy arrives at Rydell and is introduced to the girls’ gang, The Pink Ladies—Marty, Jan and leader Betty Rizzo—by mutual friend Frenchy. At lunch with their segregated social posses, Danny and Sandy each separately describe their summer. Sandy is unaware of Danny’s alternate T-Bird persona until she mentions his name, which the Pink Ladies recognize. Rizzo’s back goes up, her feathers obviously ruffled in a way that does not bode well for our virginal heroine.

Itching to kick the hornet’s nest, Rizzo gets the Pink Ladies to surprise Sandy by reuniting her with Danny at a school event. The two are blindsided. Sandy is thrilled and reaches out, expecting the tender, lovestruck Danny she last saw on the beach. Danny, buckling under the peer pressure of being a calm, cool and callous T-Bird, makes fun of her to maintain his tough image.

Hank Santos (Kenickie), Jeremiah Garcia (Roger), Nick Cortazzo (Danny Zuko),Jayson Brown (Doody)

The rest of the musical follows the antics of these teenagers as they navigate raging hormones and high school mores against an ever-shifting canvas of adventures and romances. The burning issue, however, is simple — can Danny and Sandy ever reclaim the innocent passion they shared when out of the spotlight of peer scrutiny and pressure to conform?

Thanks to high-energy song and dance numbers and a stellar production team, our star-crossed lovers’ potentially boilerplate journey from point A to point B and back again is anything but. As always, NSMT has many tricks up its sleeve, making expert use of its theater-in-the-round. This time, the guest star is an actual car that ambles onto stage (Kinicke’s red wannabe babe magnet, “Greased Lightning”) not once but twice. Rebecca Glick’s clever, creative costumes (“Beauty School Dropout” is a knockout for many reasons, one of them being the chorus’s costumes) are visual bonbons, and Jack Mehler’s scenic design is simply dazzling.

But the real stars of the show are the actors. Unusual in a cast this large, on which there are incessant singing and dancing demands, there is truly not a weak link in the bunch.

Lily Kaufmann (Frenchy), Caroline Siegrist (Sandy Dumbrowski), Sunayna Smith (Jan), Brittany Zeinstra (Marty), and Bailey Reese Greemon (Betty Rizzo)

As Sandy, Caroline Siegrist holds her own against inevitable comparisons to the late Newton-John. Her rendition of “Hopelessly Devoted to You” breathes new life into the legendary number. Bailey Reese Greemon lends Rizzo a sadness and resignation that is more nuanced than Stockard Channing’s signature portrayal (and can she sing and dance!). Brittany Zeinstra (Marty) is fabulous, especially in “Freddy, My Love,” and Jeremiah Garcia (Roger) is over the moon in “Mooning.” Nick Cortazzo (Danny) and Jayson Brown (Doody) are also noteworthy.

It is Avionce Hoyles, however, who brings down the house as Teen Angel in “Beauty School Dropout,” leaving the audience wishing the number would never end. And then there is the always riveting Kathy St. George (Miss Lynch), never more divine than when she so clearly is having a cheeky good time in a role she seems to be born to play.

Avionce Hoyles (Teen Angel) with Lily Kaufmann (Frenchy) and the cast

While the show is certainly raw entertainment, chock-full of ear and eye candy, there is a layer of introspection below its surface. The moral themes of identity, fitting in, and balancing self-worth, self-doubt and societal expectations are as relevant today as they were in 1972. Then again, in these dark times of relentless stress, turmoil and immorality, why not let go of the need to peel the onion for deeper meaning and just kick back and enjoy the show!

Grease – Book, Music, and Lyrics by Jim Jacobs and Warren Casey.Kevin P. Hill (Director & Choreographer), Milton Granger (Music Director), Jack Mehler (Scenic & Lighting Design), Alex Berg (Sound Design), Rachel Padula-Shuflet (Wig & Hair Design), Rebecca Glick (Costume Coordinator), Alaina Mills (Associate Director & Choreographer). Presented by North Shore Music Theatre at 54 Dunham Rd., Beverly, MA, through August 24, 2025  

For more information, go to nsmt.org

NSMT’s ‘The Wizard of Oz’ Couldn’t Be More Enjoyable

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Ethan Carlson, Sean Bell, Bridget Delaney, and E. Mani Cadet in “The Wizard of Oz” at North Shore Music Theatre thru July 20, 2025. Photos by Paul Lyden

By Shelley A. Sackett

North Shore Music Theatre continues its streak of winners with The Wizard of Oz, a spectacular extravaganza of a show that has everything going for it — top-notch talent, a stunning set, spot-on direction, clear and understandable sound, clever costumes and lighting, marvelous choreography, and a bang-up live orchestra.

Oh, and did I neglect to mention its iconic theater-in-the-round stage, which is used to maximum effect throughout the nearly three-hour (one intermission) show?

Even those who think they are too jaded to enjoy yet another go round of the same story should hightail it to Beverly and catch this version, which is infinitely more enjoyable than the recent film and Broadway versions combined.

Delaney

As the lights dim, five overhead surround theater screens counsel that this production is dedicated to the young at heart. As they fade to Kansas fields of grain, Dorothy (a fabulous Bridget Delaney) comes skipping down the aisle, followed by Toto (the equally fabulous Bug Minnie). Eye-winking foreshadowing is a nice addition to the familiar story about Dorothy’s conk on the head during a tornado, her journey to Oz while out cold, and her return to Kansas with renewed appreciation that there is “no place like home.”

Farmhand Zeke/Cowardly Lion (E. Mani Cadet) plays with the rope in his hand the same way he will later swish his lion’s tail. Hickory/Tin Man (Sean Bell) plays with a tin funnel on his head and Hunk/Scarecrow (Ethan Carlson) walks across the stage carrying a scarecrow. Setting the stage for who the characters will become in Dorothy’s dream, these little touches lend a nuanced humanity to their fictional avatars.

Choreographer Briana Fallon, costume coordinator Rebecca Glick and wig and hair designer Rachel Padula-Shuflet deserve huge shout outs for the way they interpreted many of the static events of the story, starting with the staging of the tornado. As the overhead screens project twisters, dancers clad in shades of gray skin tight leotards swirl and twirl across the stage carrying pieces of debris. The concept is brilliant, its execution breathtaking. This team will later gift the audience with orange spat footed crows, a sassy showgirl trio of talking apple trees, a scarlet field of dancing poppies, bejeweled snowflakes and, of course, flying monkeys.

While the second act predictably drags a bit (what second act doesn’t?), the familiar songs (“Ding Dong! The Witch Is Dead,” “Over The Rainbow,” “Follow The Yellow Brick Road,” among them) and the fabulous talent temper any lull with freshness and upbeat excitement. As Almira Gulch/Wicked Witch of the West, Michele Ragusa is spellbinding. Her vocal chops and comic timing are impeccable (plus she really knows her way around a theater-in-the-round such that her time with her back to any section is unnoticeable). Kerry Conte (Aunt Em/Glinda) shines as Glinda, her voice like a wave of a pink crystalline wand.

And then there is elder statesman David Coffee (Professor Marvel/The Wizard), beloved Scrooge in NSMT’s A Christmas Carol. There is even an inside joke (“You’re a humbug,” one character chides him) which the adoring crowd ate up in spades.

Michele Ragusa

Perhaps the true unsung heroes of the evening is the ensemble of munchkins, a corps of the most adorable and proficient youngsters (a standout is Ashley Fox, a rising 8th grader worth following). Kudos to the team that prepared them.

Finally, no musical theater review would be complete without a tip of the hat to its music director (Matthew Stern). The jazzy number that opens Act II outside the Emerald City, complete with green costumes, tap dancing and a clarinet solo, is a particular knockout.

By the time Dorothy mouths those famous words, “There’s no place like home,” the audience is ready to agree — especially if that home is North Shore Music Theatre.

‘The Wizard of Oz’ — Written by L. Frank Baum. Directed by Robert W. Schneider. Music and Lyrics by Harold Arlen and E.Y. Harburg; Background Music by Herbert Stothart. Presented by North Shore Music Theatre, 54 Dunham Road, Beverly through July 20.

For more information, visit: https://www.nsmt.org/oz.html

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Quirky, Funny and Flaky — NSMT’s ‘Waitress’ Is Feel-Good Summer Fare

Christine Dwyer (Jenna) and Brandi Chavonne Massey (Becky) in WAITRESS at North Shore Music Photo©Paul Lyden

‘Waitress.’ Written by Jessie Nelson. Music and Lyrics by Sara Bareilles. Based on the motion picture written by Adrienne Shelly. Directed by Kevin P. Hill. Music Direction by Milton Granger; Choreography by Ashley Chasteen; Scenic and Lighting Design by Jack Mehler; Costume Design by Rebecca Glick; Sound Design by Alex Berg. Presented by North Shore Music Theatre, 54 Dunham Rd, Beverly, MA through June 15.

By Shelley A. Sackett

Who doesn’t love a thick slice of pie, especially in the summer when fresh fillings are ripe and especially sweet? “Sugar, butter, flour” is the mantra chanted like a lullaby throughout Waitress, the wonderfully staged musical now playing at North Shore Music Theatre. Although pie takes center stage throughout the almost two-and-a-half-hour performance (with one intermission), Waitress is no simple, indulgent, or sentimental high. Meaty themes like domestic abuse, infidelity, empowerment, motherhood, and self-fulfillment are the secret ingredients that keep the show rolling and the audience from lapsing into a sugar coma.

Sara Bareilles’ witty, pop-ish lyrics and score marry the narrative requirements of musical theater with a variety of styles ranging from ballads and a country hootenanny to stunning duets and wacky, hysterical solos. The actors are uniformly well cast, from their vocal talents to their abilities to both shine as individuals and meld as an ensemble. Jack Mehler’s scenic and lighting designs are well thought out and effective. Director Kevin P. Hill makes good use of NSMT’s signature theatre-in-the-round stage and center trap door lift and sets a spot-on pacing. Add a live band (Music Director Milton Granger) and excellent sound (Alex Berg), and, production-wise, Waitress is as enjoyable as any production I’ve seen at NSMT.

The plot, which some have described as “half-baked,” is nonetheless a fine table on which to set this entertaining musical.

Christine Dwyer

Jenna (a fabulous Christine Dwyer) is both an expert pie baker and waitress at Joe’s Pie Diner, somewhere in the American South. Baking is her way of continuing her mother’s legacy and flexing her own creative muscle. Stuck in a stereotypical abusive relationship with her high school beau, Earl (Matt DeAngelis, who does the best he can with his cardboard character), she works long hours and considers her co-workers to be her real family.

Jenna is also afraid she might be pregnant (no spoiler; she is) and it is only the coaxing of her fellow waitresses, sassy, brazen Becky (Brandi Chavonne Massey, terrific) and gangly, nerdy Dawn (Maggie Elizabeth May, ditto) that gets her to pee on that proverbial stick.

An unplanned and unwanted pregnancy by a man she doesn’t love only adds to her load. (That she remains with Earl, a one-note bully and narcissist who demands her tip money the second she gets home, is tough to accept plot-wise.) She hides the pregnancy from Earl while she tries to come up with a plan to escape his clutches and start a new life for her and her baby.

Dwyer (Jenna) and Brandon Kalm (Dr. Pomatter)

For the time being, though, what is poor Jenna to do? Why, have an affair with her charismatic (and very married) obstetrician, Dr. Pomatter (a charming Brandon Kalm), of course! (Another plot head-scratcher some might find unrelatable and off-putting).

Meanwhile, back at the diner, Becky and Jenna help Dawn overcome her inertia and self-doubt and create an online dating profile. Almost as quickly as Jenna’s pregnancy test registers positive, Dawn gets a bite from the irrepressible, equally geeky Ogie (played with verve and vivacity by Courter Simmons). Their scenes together are among the most hilarious and weirdly adorable.

Jenna discovers the possibility of a way out of her abysmal home life when Joe (Keith Lee Grant, in a role tailor-made for him), the elderly owner of the eponymous diner, suggests she enter a pie baking contest. The prize is $20,000, her pies are definitely good enough, and she has nothing to lose. After much cajoling, she’s in.

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Eventually, all ends well (enough) for all the characters and Jenna embraces motherhood with a single-mindedness previously reserved for baking and inventing pies. If this were a dramatic play, no amount of clever dialogue could overcome the light-weight plot line, unnuanced character development and too pat ending. Luckily, Waitress is a musical and the talented Bareilles has crafted a funny, heartfelt and musically exciting score of 19 numbers that keep the action moving, the audience laughing, and the NSMT tent rocking.

For it is through the songs that the subplots and characters unfold.

In “The Negative,” for example, the three waitresses focus on the negative as they pray for Jenna’s pregnancy stick to stop at one line. “Club Knocked Up” is the obstetrician’s waiting room where the very pregnant patients pay homage to the era of the Andrews and Lennon sisters. Simmons, as Ogie, brings down the house with his Pee Wee Herman antics in the belly-laughers, “Never Getting Rid of Me,” and “I Love You Like A Table.” Massey, as Becky, then sets that house on fire in “I Didn’t Plan It.”

Bareilles really lets loose in Jenna and Dr. Pomatter’s duets, both musically and lyrically. “Bad Idea,” on which act one ends, is a slinky, sexy, tribute to the power of attraction. “It’s a bad idea, me and you; Let’s just keep kissing ‘til we come to…” Dwyer and Kalm croon as they throw themselves at each other and onto the gynecology examination table, limbs and voices silkily entwined. The ballad, “You Matter to Me,” gives the audience another opportunity to savor their harmonization.

At the end of the day, though, it is Jenna’s story, and it’s only fitting that she has the show’s two most introspective numbers. In the climactic “She Used to Be Mine,” Jenna unflinchingly assesses who she has become and who she wants to be in a song that is a rollercoaster of emotion and range, giving Dwyer the chance to really strut her vocal stuff. “Everything Changes” is her tribute to the power of motherhood.

The show’s finale, “Opening Up,” circles back to the moral of Waitress — it really does take a village for an individual to survive and thrive. The diner community is that village, holding them up and helping them keep it together. “Take a breath when you need to be reminded that with days like these, we can only do the best we can,” the company sings. Amen to that.

For more information, go to nsmt.org

North Shore Music Theatre’s ‘Oklahoma’ Is A Rollicking Kick Off to its 64th Season

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The cast of Rodgers and Hammerstein’s OKLAHOMA! at North Shore Music Theatre thru June 16, 2019. Photos © Paul Lyden

By Shelley A. Sackett

Just when the cold, wet slog of spring 2019 was about to wear down all hope that summer would ever arrive, NSMT comes to the rescue with a first-rate production of the 1943 classic, Richard Rodgers and Oscar Hammerstein II’s ‘Oklahoma!’ Perfect for theatre-in-the-round staging, this Broadway masterpiece has everything: a snappy, foot-stomping score, impressive choreography and a captivating story that is more complex and bleak than many may remember.

Under the direction of Mark Hartman, the orchestra is spot on. The opening overture is an immediate reminder of all the hits that came out of this show (‘Oh, What a Beautiful Mornin,” ‘The Surrey with the Fringe on Top,’ ‘I Cain’t Say No,’ ‘People Will Say We’re in Love,’ and, of course,‘Oklahoma!’) and last Wednesday night, the near capacity audience lip synched to almost every song. But when cowboy Curly McLaine (played with a perfect mixture of cockiness and aw-shucks-ma’am by the talented Blake Price) entered the stage astride an actual horse, the crowd predictably went wild with appreciation.

Born into a prosperous German Jewish family in Queens, New York City, composer Rodgers was the son of Mamie and Dr. William Rodgers, a prominent physician who had changed the family name from Rogazinsky. Librettist/lyricist Hammerstein II was also born in New York City.  His father was from a Jewish family, and his mother was the daughter of Scottish and English parents.

“Oklahoma” was their first collaboration and the first of a new genre, the musical play, which they created by melding Rodgers’ sophisticated style of musical comedy with Hammerstein’s innovations in operetta.

The narrative is simple on its face. Set in the Oklahoma territory in the 1900s, the musical lays out the story of two sets of lovers. Curley and the feisty, independent farmer Laurey Williams (played by the gifted Madison Claire Parks, whose dazzling singing is a delicious treat) are as in love as they are stubborn about not admitting their feelings to each other. They are early settlers building new lives on the wild frontier, and their pioneering spirits unsurprisingly clash.

Laurey’s Aunt Eller (played with zest by the buoyant Susan Cella) has some of the script’s best lines as she tries to knock some sense into Laurey and Curley, using every trick she knows short of actually knocking their heads together. The chemistry between the actors feels real, and their voices blend beautifully during their one duet, “People Will Say We’re in Love.”

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Madison Claire Parks (Laurey) and Blake Price (Curly).

 

Ado Annie Carnes (the Olive Oyl-like and spectacularly hilarious Melissa Carlile-Price), one of Laurey’s friends, and her boyfriend, cowboy Will Parker (Sean Bell, a terrific tap dancer) are the other couple. Or, at least they were. While Will was away on a trip to Kansas City, Ado Annie has fallen for the peddler Ali Hakim (the fine Cooper Grodin), who is a ladies’ man with zero intention of marrying her. Carlile-Price is a side-splitting enchantress, stealing every scene she is in.

But all is not innocence and trivial entertainment. Meatier topics like patriotism, impending statehood, and a spirited rivalry between the local farmers and cowboys provide a backdrop of danger and excitement. Add to the mix Jud Fry, the creepy farm hand that harbors nefarious designs on Laurey (darkly played by Alex Levin, whose baritone is operatic), and the plot truly thickens.

Mara Newbery Greer’s choreography elevates the show to greater artistic heights. In particular, the tap dancing in “Kansas City” and the dream sequence, “Ballet” (Bella Calafiura is a standout as Dream Laurey), are superb.

If there is any criticism of the production, it is that there is too much of it. At 3 hours, it is uncomfortably long, especially Act I (105 minutes).

Nonetheless, if you’re looking for an evening of thoroughly entertaining, (mostly) light summer fare, “Oklahoma!” fits the bill.

 

‘Oklahoma!’ is presented by North Shore Music Theatre, 62 Dunham Rd., Beverly, through June 16. Visit nsmt.org/ or call 978-232-7200.

 

 

 

Sherman-Goldman wedding : A theme of beauty

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By Shelley A. Sackett

Goldmans

Arlene “Leni” Sherman and Harvey Goldman at their wedding.

 

Arlene “Leni” Sherman wasn’t looking to start a relationship when she accepted a friend’s invitation to join him for dinner with his male dining club. He was curious to hear her “woman’s perspective” about the group. The Malden widow thought it would be a fun night out and nothing more.

Her friend called her back, asking if it would be OK with her if one more person joined the group. He told her she might know him since he too was from Malden. His name was Harvey Goldman.

“I said, ‘Of course I know him. My mother went to his bar mitzvah and his wedding,’ ” Sherman said.

Goldman remembered her too. He called and asked if she wanted to catch up before the dinner. “I had no inclination that we would date. I thought we were just getting together to schmooze and figure out what was going on in our lives,” Sherman said. Instead, the two really hit it off and that night turned into the beginning of the rest of their lives.

That was over 10 years ago. With three grown children and seven grandchildren between them, the couple decided it was time to make their relationship legal “for the sake of the grandchildren.” But at their ages, neither wanted a traditional – or typical – wedding.

The couple love musicals and are regulars at North Shore Musical Theatre in Beverly. “It’s one of the things we really do have in common,” Sherman said. Out of the blue, she put two and two together: What better way to celebrate the blending of their multigenerational families than at the theater?

When she ran the idea by Goldman, he was totally on board.

They checked NSMT’s schedule and realized the last matinee performance of the love story, “Beauty and the Beast,” was Sunday July 31. They confirmed with their rabbi, Rabbi Robert S. Goldstein of Temple Emanuel in Andover, that he was available to officiate. Suddenly, they not only had a wedding venue, they also had a ready-made theme. “It was bashert,” Goldman said.

When they went to the theater, general manager Karen Nascembeni and the NSMT staff helped turn their dream into a reality. They bought a section of the 1,800-seat theater so their more than 100 guests could sit together. “After all the whole thing of ‘Beauty and the Beast’ is ‘Be our guest! Be our guest!’” Sherman joked.

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Nascembeni helped the couple with all the logistics, including hiring Essex caterer Timothy Hopkins. The traditional Jewish wedding ceremony took place at noon in a large rehearsal space with a chuppa of yellow roses adorned with a single red rose, representative of the Beast’s enchanted red rose under glass.

For the bride and groom, however, while the theme was fun, the most important part of the day was family. “All our children and grandchildren were in the ceremony,” Sherman said.

Officiating a wedding at a musical theater was a first for Rabbi Goldstein. Although most of the weddings he has conducted over the course of his career have been in synagogues, he believes that wherever a wedding takes place, the affection that the bride and groom have for each other, and the warmth and sincere love the guests have for the couple, transforms wherever the ceremony takes place into a holy and sacred space. “Harvey and Leni are blessed. There was unbridled happiness in the room,” he said.

After an hors d’oeuvres reception, all the guests strolled across the garden area into the theater for Act One. At intermission, they returned for more noshes. After Act Two, they enjoyed an ice cream sundae bar and other desserts and drinks.

Sherman, a retired Brandeis University administrator, took the “Beauty and the Beast” theme seriously, coordinating decorations and décor. Like Belle, she and her bridesmaids wore yellow. And, like the Beast, Goldman wore blue. Each guest received a red rose as they entered the theater.

Although delighted by his themed wedding, Goldman admits it was all a little more than they originally anticipated. “The whole idea of this was for us not to be the center of attention,” he said with a laugh.

Striking a more serious note, Goldman, who owns Goldman Funeral Chapel in Malden with his son, Jay waxed philosophical: “One thing I’ve learned in this line of business is that we only have one shot. We never know what tomorrow’s going to bring. You don’t want to live your life saying, ‘Why didn’t I?’”

The Girls Are Dreamin’ in Beverly

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Eric LaJuan Summers steals the show as James “Thunder” Early in NSMT’s production of “Dreamgirls.”
PhotoPaul Lyden

Attending the season opener at the North Shore Music Theatre brings back memories of stepping off the bus on the first day of summer camp. Like the joy of reconnecting with old friends and places, the NSMT’s round stage with its magic trapdoor center pit, its live orchestra and its signature disco-esque spinning light signal that, finally, summer is here.

And with its exuberant production of “Dreamgirls”,the winner of six Tony and two Grammy Awards, NSMT throws quite the summer party. There’s even dancin’ in the streets.

Inspired by the career of Diana Ross and The Supremes, the musical follows the onstage and backstage drama of the 1960s up-and-coming female trio, “The Dreams.” From their career-launching talent contest at New York City’s famed Apollo Theatre to their farewell concert over a decade later, there are the usual love triangles, artistic squabbles and managerial double-crossings.

There are also a soulful score, slick choreography and the performances of Bryonha Marie Parham as Effie and Eric LaJuan Summers as James “Thunder” Early that make “Dreamgirls” anything but the usual summer musical fare.

Parham and Summers are hands down the standouts in the strong 22-member cast. In Effie, Parham has a vehicle to unleash her powerful voice, and what a set of pipes she has. Her “And I’m Telling You I’m Not Going” deservedly brought down the house. Summers likewise packs a wallop as the showboat Early, playing him with a blend of James Brown athleticism, Stevie Wonder crooning and Little Richard flamboyance. Not since J. Cameron Barnett tore up the stage last summer as Sebastian the crab in “The Little Mermaid” has the NSMT hosted such an electrifying performer.

Like most NSMT productions, “Dreamgirls” is a little long at two-and-a-half hours (which includes a 20-minute intermission), but in this age of shrinking values and increasing costs, that seems a pretty silly thing to complain about.

“Dreamgirls” plays through June 14. For tickets and more information, visit nsmt.org or call 978-232-7200.