Corrections or additions?
This article by Pat Summers was prepared for the June 5, 2002 edition of U.S. 1 Newspaper. All rights reserved.
Colored Glass Meets Its
This is a story of "stained glass serendipity."
It’s about two artists who met and then merged their individual artistry
to produce stained glass in countless applications: windows and doors
of all sorts, sidelights, transoms, and of course, pendants and panels
to hang in the light — good news for the world of stained glass.
Individually, the names Kurki and Osler, of Osler-Kurki Studio, could
suggest different forms of art: long a professional illustrator, Kim
Kurki is known for her finely-detailed commercial designs, as well
as drawings and paintings. Bill Osler has been associated with found-object
sculptures along with his work in glass.
Each is strong solo, but together, the two (a couple for about 12
years) make beautiful stained glass music. When her drawing, detail-orientation,
and special interest in the natural world link up with his long-honed
skill at working with glass, the result is symphonic stained glass
art. Between them, they handle the broad continuum of operations that
go into making a notable stained glass object — from its original
design to selection of colors and glass to be used, and from cutting
the glass pieces to installing the finished product.
Stained glass works from Osler-Kurki Studio will be part of the June
members’ group exhibition at the Artsbridge Gallery, Lambertville.
An opening reception on Friday, June 7, from 6 to 9 p.m., launches
the show that runs through June 30.
"Wildflowers," at two-by-four feet, is possibly the largest
glass piece that will be shown and most representative of the couple’s
work. It’s a heroic stained glass sampler, in which Osler-Kurki’s
myriad complementary artistic contributions are on display — as
is the range of glass, colors, and techniques it employs.
For those who may associate stained glass only with church windows
from their youth, or colored glass in the transom at Aunt Violet’s
old house, or even with the ubiquitous Tiffany-style lamp shades —
there’s a growing field of stained glass art — a medium that can
embody the elements of color, form, line, and texture as artfully
as a painting, a mobile, a mural.
And since both the art and craft of making stained glass objects go
back to the Middle Ages, there may also be some doubt about how it’s
done. It’s not glued in or poured between "lines" of lead,
nor is it fashioned from found or broken glass.
A visit to the Osler-Kurki Studio, in Penns Park, Pennsylvania, near
the intersection of routes 413 and 232, permits a step-by-step that
is — shall we say, illuminating? It starts on the walls of the
studio building, where finished pieces of all sizes and designs hang
at the windows. Outside the serious work area, the pair’s stained
glass is profusely displayed.. This richness serves to acquaint the
prospective customer with Osler-Kurki’s wide range and encourage further
ideas and variations. Their handy photo album showing residential
and public commissions only adds to that.
A stained glass work could more accurately be called "leaded glass"
after the strips of lead that hold glass pieces — only some of
which may really be "stained" — in place. Every work in
stained glass starts with a paper design. (There is no doodling or
sketching with the raw materials in this art form; they must conform
to an image the artists and [optional] customer have decided on.)
After the first step on the production continuum — Kim Kurki’s
full-scale drawing, possibly with color and with each designated piece
numbered — comes glass selection. At the ready are sheets of colored
glass as well as scraps of all sizes, many organized by hue in boxes
and cans. Although color is paramount, glass texture matters too.
The shape for each piece of glass is traced from Kurki’s drawing onto
stiffer pattern paper and cut out with special scissors that leave
room for the lead strips into which each piece of glass will be fitted.
(These soft lead strips, available in different thicknesses for various
parts of a stained glass work, are easy to bend, and, judging by Bill
Osler’s dexterity, to cut. Each end is shaped like an I-beam, with
the glass locking into its channel on each side.)
Osler also makes glass-cutting, including smooth curves,
look easy — although it decidedly is not. His hand tool requires
both strength and steadiness, which he applies to fashioning each
piece of glass from its pattern. After incising the glass, he knows
when to snap it with his thumbs or tap the surface and break out the
On a Homasote board, Osler assembles the work: piece by glass piece,
each delineated and held in place by lead strips that he winds around
them and cuts at their junctures with other lead pieces. He uses small
nails to hold the frame tight while he puts it together.
Soldering — or melting the lead at all its meeting-joints —
comes next, and like the cementing step that follows, it must be done
on both sides of the stained glass object. (To recall old stained
glass windows that bowed and eventually broke is see the effects of
lead’s inherent softness: over time and through varying temperatures,
lead loses its shape, relaxes. Now, the "lead" strips Osler
uses are alloys — for greater strength..)
After melting the solder material with a heated iron, Osler applies
what looks like melted tinsel to the joints, carefully covering the
lead cuts he had made. "I try to make all my joints real neat,"
he says, "because they’ll show up brighter than the rest of the
lead." His approach is skilled, workmanlike; he would probably
gasp at some casually-made stained glass "sun-catchers" around,
with their oversized, thick globs of solder.
At this point, the result can look, and act, like a jig-saw puzzle,
he says. If you picked the piece up after soldering only on one side,
it could fall apart. Even lifting it to turn it over and solder the
other side can be risky business; the pieces still rattle.
Next comes the cementing process. Putting a gob of his aromatic, homemade
mix of whiting, linseed oil, and blacking on top of the stained glass
piece, Osler uses a brush to cover the surface, pushing the cement
under the lead and generally filling any cavities. Then he sprinkles
powder over all to blot up the oil and clean the glass before allowing
it to "set up" for a few days, after which he repeats the
process on the other side. By that time, the lead is darkened and
the piece is waterproofed, as well as significantly strengthened.
But a stained glass work is usually more than colored glass within
lead strips. Beautiful as that can be — and the best, such as
those by Louis Comfort Tiffany, are typically praised for their clear,
jewel-like colors, there’s more. To the repertoire they already offer
— designs ranging from colonial to Victorian and arts and crafts
to contemporary; both representational and abstract styles — Kurki
and Osler have added "painted glass," which really means painting
Using pigment and fine ground glass, Kurki uses a line drawing technique
to add details, shadows, shading. This must all be done before a stained
glass work is assembled because any hand-painted pieces must be separately
fired to fuse the "paint" with the glass.
Still other techniques and types of glass can be found in Osler-Kurki’s,
"Wildflowers." It includes both line work and subtle shading,
with some flowers boasting lead-outlined petals while others have
drawn ones. This dual handling, Kurki explains, avoids too many "lead
lines" that could clutter the surface of the piece.
Special glasses are also incorporated: "flash glass" has more
than one layer of color and can be cut through by sand-blasting or
acid-etching; in opaque "art glass," developed by Tiffany,
the colors have a mottled effect and can vary depending on the number
of hues added to sheet-glass before it cools. Altogether, "Wildflowers"
conveys both Kurki’s abiding love of wildflowers and wonder at the
natural world, and Osler’s expertise with myriad facets of glass work.
Their current glass project is an awesome sounding five-foot octagonal
window that will be back-lit in a two-story-high ceiling. Not only
was the design an artistic challenge — it will be an antique map
with a parchment look, "scrolly writing," and sea monsters
— but both transporting and installing this work presented hurdles,
as did maneuvering on the high platform Osler had built to install
the frame with six sections. That was actually the hardest part; now
the panels can simply rest in the frame.
"Restorations," or repairs, are a regular part of glass working
for Osler. Part of the fun is trying to match the old glass that might
partially remain in damaged works. One wonders what he would think
of the massive job of restoration performed on priceless stained glass
work by Tiffany. In 1957, a catastrophic fire at Laurelton Hall, his
home near Oyster Bay, Long Island, seemed to have irretrievably destroyed
much of the work housed there — until a philanthropic couple from
Winter Park, Florida, undertook a rescue. The glass fruits of their
largesse can be seen at Winter Park’s Morse Museum.
Lacking that level of restoration work to occupy them, Osler and Kurki
have the time to make their own leaded glass pieces — much to
the good fortune of anyone who sees or owns them. When not joining
forces on stained glass, each of the pair does individual art things.
Kurki, with a BFA from Kutztown University, trained
as an illustrator and has more than 20 years experience in the stationery/giftware
industry, with her decorative tins, greeting cards and stationery,
and product packaging published and distributed worldwide. Her "fine
art" drawings and paintings — like her stained glass designs,
both stylized and influenced by natural forms and botanical subjects
— have been show in numerous juried exhibitions.
She says she "loves detail, but it also drives me crazy,"
happily reporting the stained glass work forces her to simplify. Even
so, Kurki’s illustrations and designs are testimonials to her ever-accumulating
research findings; she talks easily about historical and mythological
sources apparent in her varied projects, and says, "I like rhythmic
natural cycles and using symbols."
At one end of the long gamut of Kurki’s recent solo work is a series
of very large, multi-panel illustrations for a Philadelphia pharmaceutical
company. At the other end is a book about wildflower folklore she
has written and illustrated, and she hopes will soon be published.
Osler entered the world of glass right out of high school, working
for about 13 years in a stained glass studio before establishing Osler
Studio, specializing in custom leaded glass. His designs may be geometric
or abstract, with softly curvilinear shapes that are especially appealing.
His work has been included in exhibitions at Phillips Mill, Morpeth
Gallery, and Wheaton Village.
A self-taught and intuitive sculptor, Osler might use stone, bone,
wood, papier mache for his pieces, sometimes symbolic and other times
seeming artifacts. They may draw on mythology and often convey gentle
humor. He also makes garden sculptures, which are easy to place, given
the couple’s extensive property — highlighted by the art-full
house (yet another story) they built together from plans that Kurki’s
architect father gave them..
The best order a client can give to the Osler-Kurki stained glass
duo is "free rein." They have no fear of artistic license,
liking most to collaborate on their joint inspiration for beauty in
Union Street, Lambertville, 609-773-0881. Opening reception for the
monthly group show that includes 10 stained glass pieces from Osler-Kurki
Studio. Gallery is open Thursday to Sunday, noon to 6 p.m.; show continues
to June 30. Free. Friday, June 7, 6 to 9 p.m.
"Day Work" and "Dream Time," sculptures by New York
artist N.H. Chechen featuring figurative compositions in bronze, wood,
and copper. The artist is a graduate of the University of Baghdad
who earned his MFA from Pratt Institute in 1984. He founded and operates
the Fine Art Studios Sculpture Center in Orange County, New York.
Open Monday to Thursday, 10 a.m. to 4 p.m. To July 3.
"Ellis Island, the Sad Side" by Robert Borsuk, and David Miller’s
"Take a Walk on the Boardwalk." Open Saturday, 11 a.m. to
5 p.m., and Sunday, 1 to 5 p.m. To June 23.
Borsuk’s images of Ellis Island were taken in 1998 and ’99 inside
the abandoned buildings where thousands of immigrants and future Americans
passed. Uninhabited since 1954, Borsuk finds beauty among the ruined
interiors. Miller sees the boardwalk as a magical summer place where
people come to see and be seen, to play, and act out their fantasies.
His Seaside Heights photographs are of both the pleasure seekers and
the loneliness of the immigrant concession workers.
Solo exhibition of Sandra Nusblatt’s watercolors, "From Hopewell
to the Jersey Shore." Open Tuesday to Friday, 10 a.m. to 5 p.m.;
Saturday, 9 a.m. to 3 p.m. To June 28.
908-996-1470. "Ed X 3," an exhibit by painters Ed Baumlin,
Ed Bronstein, and Ed Letven. Open Wednesday & Thursday, 11 a.m. to
5 p.m.; Friday & Saturday, noon to 6 p.m.; and Sunday, noon to 5 p.m.
To June 10.
Rachel Bliss, "Portraits," figurative works that come from
her life experiences living for the past 15 years in an urban community
in North Philadelphia. Gallery talk is Saturday, May 18, at 3 p.m.
Gallery is open Wednesday to Saturday, 10 a.m. to 6 p.m.; Sunday,
noon to 5 p.m. To June 8.
Suite 208, Morrisville, 215-295-8444. Group show by William Taylor
and staff members of Taylor Photo in Princeton. Parachute is an artist-run
gallery featuring innovative art in all media. Gallery hours are Monday
to Friday, 9 a.m. to 5 p.m.; Saturday, 1 to 5 p.m. To July 15.
Branch Station, 908-725-2110. "Artist to Artist: Berlin to New
Jersey," an exhibition of works by more than 25 artists of the
12 Months/12 Originals Printmaking Collective of Berlin, Germany,
and the Printmaking Council of New Jersey. Gallery hours are Wednesday
through Friday, 11 a.m. to 4 p.m.; Saturday, 1 to 4 p.m. To July 20.
Georges Road, South Brunswick, 732-524-3350. "Art Smart,"
an exhibit to celebrate artist-educators in South Brunswick with work
by visual artists Rajini Balachandran, Stephanie Barbetti, Michele
Eagle Diatlo, Steven Levine, Joan Mintz, Helen Post, and Maxwell W.
Nimeck, and by poets Edward Belding and Joyce Greenberg Lott. On view
Fridays to Sundays, 1 to 4 p.m., to June 30.
Utilities Office, Route 130, just south of Route 33, 609-259-3502.
Fourth annual art exhibit selected by Terri McNichol, artist and teacher
at Mercer County Community College. To June 21.
609-397-0275. "2002 Boxes," an exhibition of assemblages by
Ann Thomas. Works that begin with ephemera, become small narratives
that make a dramatic impact. Gallery hours are Monday and Thursday,
1 to 9 p.m.; Tuesday and Wednesday, 10 a.m. to 6 p.m.; Friday 1 to
5 p.m.; and Saturday, 10 a.m. to 5 p.m. To June 29.
"Savoring Summer," an exhibit of recent paintings by Lisa
Mahan and John Schmidtberger. Gallery is open Thursday to Sunday,
noon to 5 p.m. To July 8.
609-397-4590. Solo exhibition of silver prints by multi-media artist
Victor Macarol. "My images are gently humorous, often ambiguous,
vignettes on the foibles of humans and other living creatures who
are desperately fighting for survival in an impersonal world,"
says Macarol. The artist is recipient of a New Jersey State Council
on the Arts distinguished artist award. To June 15.
215-862-5300. "Figure and Ground: Work by Jonathan Hertzel,"
a show of works on paper and figurative sculpture. Gallery is open
Tuesday to Friday, 10 a.m. to 5 p.m.; Saturday, 10 a.m. to 3 p.m.,
and by appointment. To June 29.
Still life oil paintings by Barbara Hayden Lewis. Gallery hours: Tuesday
to Saturday, 10 a.m. to 5 p.m., Sunday, noon to 4 p.m. To June 30.
Works," an exhibit of over 100 pieces by American and international
glass artists. Some subdued, some in bright hues, the limited edition
pieces are signed and numbered. Open Tuesday to Saturday, 11 a.m.
to 5:30 p.m. To June 30.
Nassau Street, 609-921-6748. "From Tow Path to Bike Path: Princeton
and the Delaware and Raritan Canal," an exhibition that looks
at the history and creation of the canal, the life of death of its
workers, and more recent environmental and preservation issues. Open
Tuesday to Sunday, noon to 4 p.m.
show and sale of Shona stone sculpture of Zimbabwe to benefit area
homeless families. More than 600 works are on exhibit and available
for purchase. Civil unrest in Zimbabwe makes future exhibits uncertain.
Exhibit hours are 11 a.m. to 9 p.m. weekdays; Sundays, 11 a.m. to
5 p.m. To June 16.
In the dining room, exhibit of paintings by Doris Keller Terris, a
member of the Pennsylvania Watercolor Society, Garden State Watercolor,
and American Artist Professional League. Part of proceeds benefit
the Medical Center. Show may be viewed daily from 8 a.m. to 7 p.m.
To June 27.
Monotypes and handmade paper collage by Priscilla Snow Algava. Her
work was exhibited in March at the So Hyun Gallery in New York. Artist’s
reception is Sunday, June 16, from 3 to 5 p.m., for the show that
runs to July 2. Gallery is open Monday to Thursday, 9 a.m. to 5 p.m.;
Friday and Sunday, 9 a.m. to 3 p.m. Closed Saturdays.
"A Festival of Caribbean Art" featuring works by Canute Caliste
of Carriacou and Haitian-born Etzer Desir. Caliste is a father of
23 who paints vividly of his island home. Desir’s faux-primitive style
depicts everyday life in his native land. Open Friday and Saturday,
1 to 6 p.m. To June 16.
Woodblock Prints," a 16-print survey from Suzuki Harunobu (1725)
to Hiroshige (1850s); to September 1. "Anthony Van Dyck: `Ecce
Homo’ and `The Mocking of Christ’" and "In the Mirror of Christ’s
Passion: Images from Princeton University Collections," to June
9. Open Tuesday through Saturday, 10 a.m. to 5 p.m.; Sunday 1 to 5
p.m. Free highlights tours every Saturday at 2 p.m. New website: www.princetonartmuseum.org.
609-258-3184. "Heroic Pastorals: Images of the American Landscape."
Gallery hours are Monday to Friday, 9 a.m. to 5 p.m.; Saturday and
Sunday, noon to 5 p.m.
Library Place, 609-497-7990. "Natural Rhythms Stilled," an
exhibition of photographs by John Hess, a photographer and biology
professor at Central Missouri State University. Monday to Saturday,
8:30 a.m. to 4:30 p.m.; Sunday 2 to 8 p.m. To June 28.
Lawrenceville, 609-896-5168. Annual exhibition of works by Rider
students in all mediums. Monday to Thursday, 2 to 8 p.m.; Friday to
Sunday, 2 to 5 p.m. To August 11.
609-252-6275. "Mind-Body," an invitational group exhibition
of works by artists who explore the subject of science and medical
technology using such tools as MRI, X-rays, and microscopic photography.
Gallery hours are Monday to Friday, 9 a.m. to 5 p.m.; and weekends
and holidays, 1 to 5 p.m. To June 23.
Exhibiting artists from New Jersey are Abbie Bagley-Young, Catherine
Bebout, Janet Filomeno, Eileen Foti, Frances Heinrich, Maria Lupo,
Tim Trelease, and Debra Weier. Also featured: Rick Bartow, Justine
Cooper, Irina Nalchova, Fredericka Foster Shapiro, Marina Guitierrez,
Jeanne Jaffe, and Inigo Manglano-Ovalle.
Princeton Photography Club exhibit of both color and black-and-white
photography including nature photography, double exposures, still
life, landscapes, and portraits. In the main lobby, to June 14.
Ellarslie Open XX, the 20th annual Ellarslie juried exhibition, selected
by Anne Fabbri, founding director of the Noyes Museum and now director
of the Paley Design Center at Philadelphia University of the Arts.
Museum hours are Tuesday through Saturday, 11 a.m. to 3 p.m.; Sunday,
1 to 4 p.m. To June 16.
609-586-0616. Tenth Anniversary Year Spring Exhibition features artists
who have had one-person shows at Grounds for Sculpture over the past
decade. In the Domestic Arts Building: Richard Wright, photography.
Regular park admission $4 to $10. Open Tuesday through Sunday, 10
a.m. to 9 p.m., year round; Sunday is Members Day. Admission $4 Tuesday
through Thursday; $7 Friday and Saturday; and $10 Sunday. Shows run
to July 14.
Represented by one sculpture each, some created especially for the
anniversary show, are Magdalena Abakanowicz, Bill Barrett, James Dinerstein,
Leonda Finke, Red Grooms, William King, Wendy Lehman, Robert Lobe,
Marisol, Jeffrey Maron, Robert Murray, John Newman, Beverly Pepper,
Andrzej Pitynski, Robert Ressler, Michael Steiner, Dana Stewart, Strong-Cuevas,
Jay Wholley, and Isaac Witkin.
609-292-6464. "Cruising Down the Delaware: Natural History You
Can See," an introduction to New Jersey’s natural features by
way of the historic waterway. Included are specimens of bears, bobcats,
salt marsh turtles, and ancient fossils; to November 3. Museum hours
are Tuesday through Saturday, 9 a.m. to 4:45 p.m.; Sunday noon to
Also: "Jacob Landau: A Memorial," a selection of 36 works
from the museum’s holdings, in honor of the New Jersey artist who
died last November; to June 30. "Art by African-Americans: A Selection
from the Collection" to August 18; "American Indians as Artists:
The Beginnings of the State Museum’s Ethnographic Collection,"
to September 15.
On extended view: "New Jersey’s Native Americans: The Archaeological
Record"; "Delaware Indians of New Jersey"; "The Sisler
Collection of North American Mammals"; "Of Rock and Fire";
"Neptune’s Architects"; "The Modernists"; "New
Jersey Ceramics, Silver, Glass and Iron."
New Brunswick, 732-846-5777. "From the Old World to the New World,"
an exhibit of recent additions to the museum collection featuring
works by nine Hungarian Americans, all of whom emigrated to the U.S.
between 1920 and 1957. Artists are Laszlo Moholy-Nagy, Bertha and
Elena De Hellenbranth, Sandor Sugor, Emil Kelemen, Willy Pogany, Tibor
Gergely, Zoltan Poharnok, and Vicent Korda; to April, 2003. Also,
original art and text from the book "Light From the Yellow Star,
A Lesson of Love from the Holocaust" by Robert O. Fisch; to June
9. Museum hours are Tuesday to Saturday, 11 a.m. to 4 p.m.; and Sunday,
1 to 4 p.m. $5 donation.
732-745-4177. "Uncommon Clay: New Jersey’s Architectural Terra
Cotta Industry," an exhibition of artifacts and written and oral
histories of New Jersey’s once booming architectural ceramics industry.
Open Tuesday through Friday, 1 to 4 p.m.; and Sunday, 1 to 4 p.m.
On view to May 30, 2003.
908-735-8415. Annual National Juried Print Exhibition selected by
Eileen Foti of Rutgers Center for Innovative Print and Paper. Also
on exhibit, "Eileen Foti: Images of Extinction." Both shows
to June 23. Museum hours are Tuesday to Sunday, 11 a.m. to 5 p.m.
215-340-9800. "Bucks County Invitational V," the annual show
of contemporary works features Vincent Ceglia and Lisa Manheim, paintings;
sculpture by Karl Karhuma; and the photography of Claus Mroczynski;
to July 7. Outdoors, a group of minimalist sculptures by Maria A.
Hall, to June 30. Open Tuesday to Friday, 10 a.m. to 4:30 p.m.; Saturday
& Sunday, 10 a.m. to 5 p.m.; and Wednesday evenings to 9 p.m. $6.
Brunswick, 732-932-7237. "India: Contemporary Art From Northeastern
Private Collections," the largest exhibition of its kind to be
held in an American museum. Show features more than 100 works from
20 collections, with an emphasis on the post-independence era, 1947
to the present. Museum hours are Tuesday through Friday, 10 a.m. to
4:30 p.m.; Saturday and Sunday, noon to 5 p.m. Admission $3 adults;
under 18 free; museum is open free to the public on the first Sunday
of every month. To July 31.
Indian artists include members of the Progressive Artists Group, F.N.
Souza, M.F. Husain, Krishna Ara, and Syed Raza. Also first and second-generation
Indian modernists Ram Kumar, Tyeb Mehta, Ganesh Pyne, and artists
who have emerged in recent years such as Atul Dodiya and Jitish Kallat.
Also "In Context: Patterns in Contemporary Printmaking." "The
Baltics: Nonconformist and Modernist Art During the Soviet Era,"
the first major survey of modernist art produced in Estonia, Latvia,
and Lithuania during the post-Soviet period. "Efim Ladyzhensky."
"By All Means: Materials and Mood in Picture Book Illustrations."
All to July 31.
of Dracula" on Wednesday, June 12 at the Ritz Theater, 915 White
Horse Pike, Oaklyn. Based on the novel "Dracula" by Bram Stoker,
production dates are September 6 through October 5. All roles are
open; come prepared with a three-minute monologue. Call 856-858-5230
sing to join the choir for its 14th season, 2002-2003. Remaining audition
dates for girls entering grades 3 to 9 are June, 11, 12, and 15. For
information, or to schedule an appointment, call the PGC office at
609-688-1888 or e-mail PGChoir@aol.com The choir presents two major
concerts each year, as well as less formal engagements. Weekly rehearsals
are held Monday evenings at Princeton Day School. Some partial tuition
scholarships are available. The season’s final concert will be June
8, at 6 p.m. at Grounds for Sculpture’s 10th Anniversary Celebration.
and interviews for its RAP/Repertory Apprentice Program, a 10-week
pre-professional conservatory led by master teachers. Program begins
July 1 and runs to September 1. Tuition $1,000. Campus housing available.
For details call 609-921-3682.
Call for Entries
for the October show. All fine art mediums and artistic crafts are
eligible to be juried. Last year, the festival featured over 160 artists
from 15 states. Application deadline is Saturday, June 15. Call 215-598-3301
or e-mail email@example.com
for house painting event in Trenton on Saturday, June 8. The project,
"Paint A Bite Out of Grime," will paint and repair several
homes on Klagg Avenue beginning at 9 a.m. Call Patrice D’Angelo at
609-392-5494 ext. 204.
to the Big Apple on Saturday, June 22. Round trip bus transportation
from Atlantic City, tickets to see the hit musical "Contact,"
luncheon, and shopping is $125 per person. Call 609-499-1360.
classes for families with young children, Monday, June 10 to June
24 in Montgomery, Pennington, and South Brunswick locations. These
classes preview the Kids’ MusicRound 6-week summer session that begins
July 8. 609-333-0100.
Corrections or additions?
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