Arts

Images of earlier times: Evenings with Cape Fear Ballroom Dancers

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Tuesday, 02 September 2025

Written by Anna White

The joy of shared experiences and interests is a treasure sought by many. The Cape Fear Ballroom Dancers not only facilitate such connections, but they’ve seen it bridge generational gaps in surprising ways, with dancers of all ages coming together to enjoy evenings of socialization, food, music, and best of all, their favorite steps with friends new and old.
While dances are always open to visitors, CFBC functions like a club, with a president, board, and dues-paying members. Visitors simply pay a slightly higher entrance fee than members. All their events are suitable for dancers of all experience levels, and start with a lesson, so that everyone can brush up on their skills.
Drew Zeigler, president of the Cape Fear Ballroom Dancers, says that experience level doesn’t change how much people enjoy themselves.
“A lot of folks have had no training at all, and they have just as much fun as everyone else,” he shared.
Zeigler, a retired 20-year Army veteran, said he and his wife wanted to learn how to dance for a long time. At military events, they’d watch people who knew what they were doing and think, “We should try that.” It wasn’t until after his retirement that the two stepped out and decided to take lessons together. From there, they fell in love with the experience and couldn’t get enough.
In addition to helping plan and host CFBD events, the couple often host people who travel longer distances to attend the events—opening their home so those who have now become friends have a place to crash and sleep before heading home the next day. Zeigler says they see people traveling from Raleigh, Laurinburg, Clinton, Cary, and even Virginia.
“It’s really amazing how far these people come,” he said.
With social connection being a highlight of the group, they consider opening their house, “another chance to get to know each other.”
With monthly dances, quarterly dinner dances, holiday dances, community demos, and occasional trips to attend events hosted by other nearby dance communities, the group makes it easy for members and visitors to get their fill of all things ballroom dancing throughout the year.
Monthly dances are held at Roland’s Dance Studio at 310 Hope Mills Road. Members pay $15, and non-members pay $20. The evening starts with a lesson from one of several members who have previously worked as professional dance instructors. Zeigler says they typically see 30-40 people at these events.
Quarterly dinner dances are an elevated experience, and the price varies from $50-75 for members versus non-members. These dances feature a special catered dinner, a live band, and the chance to show off your formal attire.
“People like to get dressed up and put on a tuxedo,” Zeigler said.
They’ve also held community demos at locations such as the Kiwanis Club and the Cape Fear Botanical Garden in collaboration with a local art club.
Zeigler says that, much to the delight of long-standing members, they’ve seen an influx of young members recently.
“Within the last two years have had a real infusion of young people in their mid-twenties,” he shared. The influx began when his wife extended an invitation to a young man and his sister, “They had a great time and invited their church youth group, which added 3,4, and 5 more young people, and then they invited even more,” he recounted.
Recently added to the mix were young army officers and medical professionals, all of whom went on to invite more friends.
“It’s just been fun,” Zeigler shared, “If we had photos from 4-5 years ago, you’d see we didn’t have very many young people at all.” He described it as changing the complexion of the club from a retirement community to a social event, adding, “We’re thrilled.”
When monthly dances fall close to a holiday, they are often themed accordingly; wear red at Valentine’s Day, green for St. Patrick's Day, and something spooky for Halloween. Other monthly dances have themes independent of holidays, like an upcoming 1950s tribute dance on Sept. 13. Zeigler says dancers can don poodle skirts and other ‘50s attire. “I’m so impressed with how crazy the costumes are,” he said of past events.
When asked about favorite memories made with Cape Fear Ballroom Dancers, Zeigler responded, “Just the friends we’ve made.” The events evoke images of an earlier time, according to him. “If you’re looking for a low-cost, fun evening, check us out!”

(Photo: Members of Cape Fear Ballroom Dancers dance during a Halloween event. Photo courtesy of Drew Zeigler)

Sleep all day, party all night, never grow old: The Lost Boys come to Fourth Friday Fright Night

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Tuesday, 19 August 2025

Written by Adam Taylor

Joel Schumacher’s 1987 cult classic The Lost Boys is returning to the big screen as part of the Fourth Friday Fright Night series at the Cameo Art House Theatre on Aug. 22 at 9:30 p.m. for a thrilling, nostalgic ride through one of the most stylish, energetic and unforgettable vampire films ever made.
Whether you’ve seen it countless times or never experienced it on the big screen, this is your chance to see it.
When teenage brothers Michael and Sam move with their recently divorced mom to the sleepy coastal California town of Santa Carla, they think their biggest challenge will be adjusting to small-town life with their eccentric grandfather.
But they quickly learn the town hides a dark secret: a gang of leather-clad, motorcycle-riding vampires led by the dangerously charismatic David (Kiefer Sutherland). As Michael falls under their influence, slipping further into the undead world, it’s up to his younger brother Sam and the fearless Frog Brothers (Corey Feldman and Jamison Newlander) to save him before it’s too late.
Also starring Jason Patric, Corey Haim, Dianne Wiest and Edward Herrmann, The Lost Boys is equal parts horror, comedy, action and coming-of-age drama. It’s also soaked in neon lights, unforgettable one-liners and a moody, gothic atmosphere that has made it a beloved classic for over 35 years. The film is directed by Joel Schumacher and written by Jan Fischer, James Jeremias and Jeffrey Boam.
When the film debuted in 1987, The Lost Boys broke the mold of traditional vampire cinema. Before this film, vampires were often depicted as mysterious aristocrats lurking in castles or ancient crypts. Schumacher’s vision updated the genre for a new generation: young, wild, rebellious, and undeniably cool. His vampires wore leather jackets, rode motorcycles and hung out in an abandoned hotel under a boardwalk.
They were seductive, dangerous and effortlessly stylish.
The film also brilliantly blends horror with humor and heart. It doesn’t just focus on the monsters, but on the humans caught in the middle of the nightmare. Michael’s internal struggle, Sam’s desperate attempts to save his brother and their mother’s vulnerability in the wake of divorce all add emotional depth to the story.
Plus, it never takes itself too seriously with the dialogue being sharp, the action thrilling and the scares well-balanced with dark comedy.
The soundtrack, too, has become legendary. Featuring songs like “Cry Little Sister,” “People Are Strange,” and “Lost in the Shadows,” the film pulses with a haunting, synth-heavy energy that defines the era. And everyone remembers that beefy sax player. It’s impossible to watch The Lost Boys and not feel swept up in its atmosphere.
For horror fans in Fayetteville, this is not just another movie night, but is a celebration of everything we love about 1980s horror. Vampires, blood, brotherhood, big hair, black leather and a cool soundtrack. What more could you want?
This screening is also the perfect night out for our local Fayetteville Goth Night community. The mood, music and aesthetic of The Lost Boys fit perfectly within gothic subculture. This is a film where darkness isn’t just part of the setting; it’s part of the style.
If you’ve been to Goth Night, you already know how powerful it can be to connect with others who love the same vibe, the same sound and the same sense of dark spectacle. Now imagine that same energy transported into the Cameo's intimate, atmospheric theater.
The Lost Boys is full of quotable lines, “You're eating maggots, Michael,” and “Michael…Michael…Michael…”. The unforgettable imagery and the kind of bold style that today’s horror movies often forget. It's also a time capsule; a portal back to the 1980s, complete with everything that made that decade strange, stylish and wildly entertaining.
If you grew up with The Lost Boys, this is your chance to relive it with friends or introduce it to a new generation. Whether you're a longtime fan, a first-time viewer, a horror junkie or a member of Fayetteville’s Goth Night scene, this is a movie night you won’t want to miss.
Come in costume, bring your friends and celebrate the enduring bite of one of horror’s greatest cult classics.
UPCOMING SHOWTIME:
Friday, Aug. 22 at 9:30 p.m.
Tickets are available at the Cameo Art House Theater box office or online at https://www.cameoarthouse.com/

Cape Fear Regional Theatre brings Dolly to Fayetteville stage

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Tuesday, 02 September 2025

Written by Katie Herring

“Tumble out of bed and stumble to the kitchen, pour myself a cup of ambition, and yawn and stretch and try to come to life.”
If you read those words and started tapping your toes and imagined the sound of typewriter keys, then you will definitely want to make plans to see Cape Fear Regional Theatre’s season opener 9 to 5: The Musical, running from September 4-28. Described by director Robert Schneider as a “two-and-a-half-hour party” that is a celebration of life, courage, friendship, and coming into yourself, 9 to 5 is as thought-provoking and poignant as it is funny, irreverent, and uplifting.
The Play
Based on the hit film from 1980 that featured the powerhouse trio of Dolly Parton, Lily Tomlin, and Jane Fonda, 9 to 5 tells the story of three women working in the big city corporate world who have had enough of their boss’s misogynistic bullying and sexual harassment. They take matters into their own hands to teach him a lesson.
The musical features all the same beloved characters, along with those we love to hate; it tells the same story, just with song and dance added to the mix.
Fans of the film will recognize a lot of the script, as much of the dialogue is taken straight from the movie. Patricia Resnick, who wrote the screenplay, also wrote the book (the spoken dialogue) for the musical. The music and lyrics were written by Dolly Parton herself. But, if you’ve never seen the film, worry not! The musical stands on its own with an empowering story, relatable characters, and non-stop laughs.
The three leading ladies are very different from one another, but share a commonality: they have been told in some way they can’t do something, and they decide to do it anyway.
Judy Bernly, played by Jodi Bluestein, is a recently divorced housewife who is trying to navigate her first job ever. Bluestein points out that Judy “is learning to walk in literal [and figurative] new shoes.”
Doralee Rhodes, played by Livi Rose, is constantly underestimated, judged, and isolated due to being the “pretty young thing” that is the object of the boss’s flirtation. She is courageous and has a fiery side, and decides she is not going to take it anymore.
Violet Newstead, played by Heather Setzler, is the brains behind the office’s operation, who is constantly overlooked for promotions and recognition, simply because she is a woman. They have a common nemesis, their boss Franklin Hart Jr., played by Robert Newman, the Vice President of their company, who is known for his bullying and womanizing.
Throughout the play, we get glimpses into their inner lives and thoughts, as Judy, Doralee, and Violet put their heads together to put Mr. Hart in his place and show him and everyone else what they’re made of. While the ladies’ treatment of Mr. Hart might be better described as justice, their treatment of each other and those around them is characterized by kindness.
While the play is set in the 1980s, the ideas and the characters are still relevant
and relatable.
“For better or worse,” says Livi Rose, “I think we’ve all lived versions of these characters in some way.”
The three leading ladies are shining examples of courage. They show how one can decide to “keep finding the sun,” even in dark times, decide to stand up for oneself, and not just take what the world hands out. It is a story with an important, thought-provoking, and empowering message, wrapped up in a high-energy, hilarious package.
The People
As is the case with any play, a great story, script, and music need a great company to bring it all to life onstage, and this production of 9 to 5 certainly has that! The 18-person cast is a combination of local talent and actors from “out of town,” newcomers making their CFRT debut and familiar faces to the CFRT audience. The cast is led by the equally talented and accomplished creative team, including director Robert W. Schneider, music director James Clark Jr, and choreographer Antionette DiPietropolo.
Robert Newman and Jodi Bluestein were both in CFRT’s 2019 production of Annie as Daddy Warbucks and Lilly St. Regis (respectively). When asked what brought them back to Fayetteville and Cape Fear Regional Theatre, Bluestein, who is from Manhattan, said part of what brought her back to this theatre is that she “felt very cared for by the theatre and everyone that works here. It was also just artistically fulfilling…and the quality of what we did was great.”
Newman was slated to be in the 2020 production of The Curious Incident of the Dog in the Nighttime that was cancelled due to COVID-19 restrictions, echoes Bluestein’s sentiments. He said he’s been waiting for a chance to come back and added that Mary Kate Burke, CFRT’s artistic director, had a lot to do with his desire to return.
“I work in theatres all over the country and…she’s really special…she has really done some extraordinary things for this theatre. Sometimes you work with somebody and you’re like, boy, I can’t wait to work with them again.”
They all, including director Robert Schneider and Livi Rose, point to the helpful and efficient staff, including a “wonderful stage manager,” who, through thorough planning and efficient communication, who helps everything run smoothly.
Schneider also pointed to another unique attribute of CFRT: the community.
“I’ve got to work in a lot of theatres. I’ve not found a community that takes such pride in their theatre, the way this community does…it’s incredible.” His insight was shared by other cast members who are from “out of town.” They echoed the sentiment that we, in the Fayetteville area, are well aware of what a special institution we have in Cape Fear Regional Theatre.
The show is scheduled to run for most of the month of September. Tickets are on sale now, and they are going quickly. As with all CFRT shows, they host audience outreach nights that offer a discount for certain members of the community: Military Appreciation Night on Wednesday, Sept. 10, and Educator Appreciation Night on Friday, Sept. 12.
Opening weekend features two special events: Thursday, Sept. 4, the first preview performance is the “Welcome Back Bash” to celebrate the first show of the 25-26 season. This event starts at 6:45 and features complimentary snacks and signature Dolly-Style cocktails.
Friday, September 5, is “Tumble Out of Bed Night” and the audience is invited to wear their pajamas and “tumble out of bed and stumble to the theatre for our cozy preview night, featuring coffee cocktails, snacks, and a whole lot of 9-to-5 energy-just the jolt your weekend needs!”
This high-energy, fun-filled season opener is not to be missed. Tickets can be purchased online at cfrt.org or by calling the box office at 910-323-4234.

(Photos courtesy of Cape Fear Regional Theatre)

Back to the Boulevard: Gloria Swanson’s timeless close-up at Cameo

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Tuesday, 19 August 2025

Written by Adam Taylor

Sunset Boulevard (1950), one of the most iconic and haunting American film noirs, returns to the big screen for a special 75th anniversary screening at the Cameo Art House Theatre on Saturday, Aug. 23 at 4:30 p.m.
This cinematic masterpiece, directed by Billy Wilder and co-written with Charles Brackett and D.M. Marshman Jr. is widely regarded as one of the greatest achievements in the history of Hollywood. It is a bold, darkly satirical look at the inner workings of the film industry and the psychological toll of fame and rejection. At its core, Sunset Boulevard is a story of ambition, delusion and tragedy.
The film features a stunning performance by Gloria Swanson as Norma Desmond, a once-glorious silent film star who has become a recluse in her decaying Los Angeles mansion. Norma clings desperately to the illusion that she is still beloved by the public and destined for a triumphant return to the screen. When Joe Gillis (William Holden), a struggling screenwriter, stumbles into her life, she sees him as the perfect person to help revive her career. What begins as a professional arrangement quickly descends into a twisted and claustrophobic relationship built on manipulation, loneliness and despair.
Swanson’s portrayal of Norma is one of the most powerful in cinematic history. She embodies the character with equal parts grandeur and fragility, delivering iconic lines such as “I am big. It’s the pictures that got small.” Her performance is not just memorable, it’s unforgettable. Holden's cynical, weary screenwriter serves as the perfect contrast, a man trying to survive in a town that chews up dreams and spits them out.
Adding further depth to the film is the eerie performance of Erich von Stroheim as Max, Norma’s devoted but mysterious butler, who harbors secrets of his own. Von Stroheim, himself a once-celebrated director of the silent era, adds a meta-textual layer to the film’s already rich narrative, blurring the line between fiction and reality. Named after the legendary street that winds through Los Angeles and Beverly Hills, Sunset Boulevard is a film about the myths of Hollywood. We see the dreams it sells and the people it leaves behind. It is a cautionary tale about the cost of celebrity and the isolation that can come from living in the past.
The film was a commercial and critical success upon its release and has only grown in esteem over the decades. It received 11 Academy Award nominations and won three, including Best Screenplay, Best Art Direction and Best Score. In 1998, the American Film Institute ranked it the 12th greatest American film of all time, and it has since been selected by the Library of Congress for preservation in the National Film Registry for being “culturally, historically, or aesthetically significant.”
For film students, writers, actors and creatives in the community, Sunset Boulevard is essential viewing. It’s a masterclass in screenwriting, acting, direction and visual storytelling. Billy Wilder’s writing is sharp and layered, packed with metaphor, irony, and unforgettable dialogue. Swanson’s performance offers a complex, vulnerable look at a woman caught between glory and ruin.
It’s a movie that remains as relevant as ever, particularly in today’s celebrity-driven culture. It poses questions that are still being asked: What happens when fame fades? What do we become when we are no longer seen?