Boeing-Boeing by Jarice Hanson
Hartford Stage, Hartford, CT through February 5, 2012

While great plays are timeless, some plays are better suited to the era in which they were written. “Boeing-Boeing” is a good example of a play that encapsulates the 1960’s fascination with jet travel, breaking sexual mores, and women’s liberation, but satisfies that theater-goer’s appetite for substance by feeding them a Twinkie. While “Boeing-Boeing” won the Broadway 2009 Tony for Best Revival a Play, the Hartford Stage production tries, but fails to energize this tired farce. Director Maxwell Williams cleverly uses conventions of 1960’s television shows to place the plot in the appropriate era, but the story of an American man who has three fiancés from different countries, all of whom are “air hostesses,” relies on stereotypes; the ditzy American, the passionate Italian, and the Teutonic steamroller from Germany. The most well-crafted role in the play is that of a nerdy Wisconsonite male friend who comes for a visit, well played by Ryan Farley – a master of slapstick. From the start, the audience knows that the situation will get out of hand when all three women converge upon the apartment at the same time—no spoiler alert needed. The cast tries to overcome the thin script with abundant energy, and the three characters who deliver lines with accents effectively enunciate, though their tongue-twisting efforts result in occasionally bobbled lines. The 1960’s bachelor pad set is elegant, but simple, as is the plot. Each of the women’s costumes is color coordinated with the airline for which she works—and the audience is asked to believe that even on their days off, the stewardesses lounge in their uniforms, leading one to believe that the audience for the show is thought to be so dim that they might not be able to tell who’s who if the color-coding scheme falls apart.

Memphis by Shera Cohen
The Bushnell, Hartford, CT - www.bushnell.org

The Bushnell just keeps on bringing Broadway Tony Award winning musicals to Hartford. This week’s production is one from that short list of winners -- “Memphis.” Yes, New York is a nice place to visit, and theatre is perhaps the best of the best. However, do not ignore the classy, professional productions mounted in Hartford. The story is Memphis, Tennessee in 1951 and the birth of rock ‘n roll. The first image seen is a giant radio dial, then the voice of a refined DJ, followed by music of Perry Como and Patty Paige. A moment later, the lights pop up on the dance floor of a tucked away nightclub and headliner Felicia. The rousing opening number, “Underground,” is full of energy, verve, rhythm, fun, lively music, and black singers/dancers. In walks Huey, a disheveled white hick who wants what the others have. He is oblivious to color. While the emphasis of “Memphis” is music and dance – and there is plenty of it throughout – the story is fully developed (although predictable) and important. Rock ‘n roll represent black vs. white. It’s their music. No, it’s our music. These are fighting words. Yet, all could be right with the world through the melding of music, particularly heard in the beautiful and meaningfully song “The Music of My Soul.” One flaw in the production is the lack of chemistry between Huey and Felicia. Color is definitely not the issue. Completely different personalities, levels of sophistication, and philosophies do not always mean that opposites attract. Does the fault lie in the actors or the story or both? The answer is difficult. “Memphis” is a big show, told smoothly through simple sliding and rising set elements, bright lights, and rockin’ pit and onstage bands. Even if Huey and Felicia are not Romeo and Juliet, their surroundings full of countless ensemble dance numbers and singing pros keep the show moving, and the audience on their feet for a standing ovation.

The Santaland Diaries by Shera Cohen
Shakespeare & Company, Lenox, MA - www.shakespeare.org

Ryan Winkles is just so cute. He looks like a flirtatious cherub. Even Winkles’ name is cute. It is no surprise that he is cast as Crumpet the Elf in “The Santaland Diaries.” Yet, don’t look for your usual holiday sweetness and charm (both of which are quite evident in Winkles’ talent) in this one-act play with a season appropriate title. Instead, expect comedy, satire, risqué dialogue, and some pointed jabs at reality. Playwright David Sedaris penned “Diaries” based on his own experiences as an elf at Macy’s in NYC. Wrinkles portrays a wannabe actor whose dream is to be cast on “One Life to Live.” He chronologically relates the detailed processes of how one becomes an elf. In the first seconds of the play, Director Tony Simotes immediately opens the fourth wall, exposing Winkles to his audience. He plays with us, jumps up the aisles, and asks questions. He has us at “hello.” Simotes and Winkles have been a creative team for several years. They are so in sync that their jobs seem incredibly easy. The script is clever, the anecdotes are gems, and the story has a point from start to finish. Amid the fun and oftentimes side-splitting humor, are surprisingly serious moments. These ebb and flow smoothly and return to the humor. Is the real Santa white or black? How do parents behave and respect their kids in public? These are subjects to think about, but later. Although Winkles seemingly portrays one character, he becomes many – chief elf instructor, a smart aleck Santa, a whinny child, and many more. How does he do this while dressed, for most of the play, in a bright multi-colored elf uniform? The answer? Perhaps better than any actor in the Pioneer Valley, Winkles uses his face, particularly his smile and his eyes. A curl of the lip, a darting glance “say” far more than pages of script. If audiences have as much fun watching “Santaland Diaries” as opening night’s crowd, and as much fun as Ryan Winkles aka Crumpit the Elf exudes, then it’s a new and great way to spend the holidays.

Lisztomania by Michael J. Moran
Close Encounters with Music,
Mahaiwe, Great Barrington, MA - www.cewm.org

Franz Liszt’s 200th birthday anniversary converged with the 20th anniversary season of Close Encounters with Music in a program entitled “Lisztomania.” Cellist and CEWM Artistic Director Yehuda Hanani prefaced the concert with an entertaining and informative 10-minute lecture about Liszt, the composer-pianist who became a Catholic priest late in life but never gave up his close friendships with many notable women (Hanani quipped, “he wore the habit but didn’t kick the habit”). The program featured several of the solo piano works for which Liszt is best known, opening with the lovely “Two Legends” in sensitive performances by Jeffrey Swann, who later played the flamboyant “Les Jeux d’Eau a la Villa d’Este” with color and panache. Hanani joined Swann to present five more piano originals that Liszt himself transcribed for cello and piano. Most striking was “La Lugubre Gondola,” a late piece in which Hanani’s dark tone emphasized its early hints of atonality. His expressive playing brought a mellower sound to the charming “Romance Oubliee” and three romantic “Consolations.” Swann was a virtuosic accompanist.To end the concert’s first half, Swann was joined by violinist Yehonatan Berick for a scintillating account of Saint-Saens’ “Introduction and Rondo Capriccioso” in a transcription for violin and piano. Saint-Saens was one of many fellow composers whom Liszt generously promoted throughout his life. After intermission, all three principals closed the concert with Mendelssohn’s “Piano Trio No. 2,” whose classical structure and emotional restraint contrasted sharply with the rhapsodic freedom of Liszt. But this passionate reading showed that both composers could express deep feeling with different resources. Hearing Liszt on the same program with music by two of his contemporaries gave the audience a nicely rounded portrait of his life and times. As both speaker and performer, Hanani is an engaging personality, but the program book could have included some notes about the music to expand on his introductory comments. This is a small caveat about an upcoming season of concerts by Close Encounters with Music that all feature a distinguished roster of world-class musicians performing at the Mahaiwe and other Berkshire venues.

Godspell by Felicity Hardy
Unitarian Society, Springfield & Monson, MA

There are some shows that appear often in the area. "Godspell" is one of those musicals. The loose structure of the show itself, which is told as a series of parables demonstrated by Jesus, John the Baptist/Judas, and a ragtag group of clown-like disciples, is one left wide open for interpretation and reinvention. The one thing that can be said of "Godspell" is that the same version is rarely done twice. Director Kathleen Delaney takes this a step further with a complete reinvention of the musical's structure. In addition to Jesus' main band of followers, she has added a Greek chorus, led by the mostly-silent character "Evry1" (played with mystery and commitment by Joshua Farber) designed to be "yang" to Christ's "ying." The chorus seems to have its own story to tell, at times antagonistic and at times adoring, but the already somewhat abstract structure of the show is both helped and hurt by this aspect. This abstractness adds further confusion to a story already struggling to tell itself clearly, but also delivers exciting visuals and innovative staging. Another departure is the inclusion of "environments" – a series of vignettes introducing each of Jesus' followers as individuals, providing snippets of backstory. While the sequence is drawn out, and perhaps could have been better served with all actors on stage with scene shifts designated through lighting changes, it clarifies these characters. Steve Pierce makes for a charming and charismatic Jesus, humble, funny, and personable in a way that makes it clear why the rest of the characters want to listen to him. Michael Lorenzo is brooding and dark as John the Baptist, serving as the group's sardonic rebel and lending both humor and drama. The rest of the group is a dynamic and cohesive ensemble, each with distinct personalities. By the play’s conclusion, they do feel like a family, and their chemistry as a unit is what makes for an emotional journey. This version of "Godspell" is one that takes risks in order to reinvent itself. Not all of these risks are successful, but the overall message of love and hope is still intact. It is a passionate and sincere production.

Holiday Masterworks by Michael J. Moran
Hartford Symphony Orchestra, Hartford, CT - www.hartfordsymphony.org 

As Music Director of the Hartford Chorale since 2006, Richard Coffey was no stranger to the Hartford Symphony when he led the orchestra in an imaginative program of three “Holiday Masterworks,” the third program in their 2011-2012 “Masterworks” concert series. Even with no apparent holiday connection, a lively reading of Glinka’s exuberant “Overture to Russlan and Ludmilla” opened the concert on an appropriately festive note. Tchaikovsky’s “Suite No. 1 from The Nutcracker” was a more familiar but always welcome holiday treat, especially in the HSO’s glistening account. From the delicate celesta in the “Dance of the Sugar Plum Fairy” to the sweeping harp in the “Waltz of the Flowers,” every musician played with obvious affection for each movement at Maestro Coffey’s ideally balanced tempos. A snowflake projected across the wall behind the stage added another nice seasonal touch. After intermission the orchestra was joined by the Hartford Chorale, the Connecticut Children’s Chorus, and three soloists in the HSO’s first ever performance of the rarely heard Christmas cantata “Hodie” (This Day) by Vaughan Williams. Dating from 1954, this hour-long piece was the composer’s last major choral-orchestral work. Its 16 short movements alternate between settings of Biblical texts about the Christmas story for children’s chorus and settings of poems by various authors for mixed combinations of chorus and soloists. The performance by all forces was brilliant. The very full orchestra reveled in the music’s wide range of moods and sonorities, from the grandeur of the opening chorus to the jubilant finale. Hushed settings of “The Oxen” by Thomas Hardy and a “Pastoral” by George Herbert were the emotional heart of the piece, and both were movingly sung by baritone Eric Downs. Tenor Eric Barry was appealing of voice and clear of diction, and soprano Stephanie Gilbert’s singing was radiant. The adult choristers were magnificent throughout, while the children sang with purity and charm. Full texts were included in the program book, but they would have been easier to follow with projected subtitles. Still, the audience was clearly grateful to hear a thrilling new discovery by a 20th century master.

4 Sides of 40 by K.J. Rogowski
CityStage, Springfield, MA

CityStage’s “4 Sides of 40,” delves into the trials and tribulations of four individuals and the lives they lead as…forty and single, forty and newly married, forty and long time married with kids, and, of course, forty and divorced. This humorous walk through the possible perils of forty is told in an evening with four stand up comics, each with their own style and routine, and each with a tale of woe. The cast members - Lenny Marcus, Al Ducharme, Eric McMahon, and Patty Rosborough - are tried and tested stand up comics, who not only deliver their funny and very salty routines, but also encourage audience participation, ranging from comic movie trivia quizzes, to hugging audience members, (watch out if you sit in the front row), to calling attention to anyone who dares to leave for the bathroom during the show (since there is no intermission), which feeds right into that running gag. This is a production about adults. For those who attend, be aware, this is an adults only show. The stories deal with all aspects of relationships from the mundane to the intimate, and no topic is spared, told in colorful detail. Name a body part, and it's in there; name a bodily function, and it's in there; name something you don’t think they would dare say, and they’ll say it. But it is all done for the humor and not to shock or offend, and that’s what makes this evening of comedy that folks can relate to work. It's four folks just telling their stories, like they would to any trusted group of 300 friends. Letting their hair down and cranking the humor up. It’s the good, the bad, and the ugly of the 4 sides of 40.

Peter Pan by Walt Haggerty
The Bushnell, Hartford, CT - www.bushnell.org

Cathy Rigby as Peter Pan has become almost as traditional as the Macy's Thanksgiving Day Parade…and she's marvelous! Rigby is no stranger to the "boy who refuses to grow up" and it appears that, now in her fourth tour, that she is equally ageless. In the current production, Cathy Rigby is constantly in motion - somersaults, cart wheels, twists, turns, and of course, flying - oh yes, especially flying. It would be difficult to imagine a more exuberant or, in fact, endearing portrayal of Peter Pan. Finding an equally talented actor to fill the dual roles of Mr. Darling and the "slimiest villain of all,"Captain Hook, had to have been nearly insurmountable. However, in Tom Hewitt, success was achieved with a flourish. From tango to tarentella, to waltz, Captain Hook triumphs. Only in his duel with Peter is he undone. Kim Crosby gives an endearing performance as the mother of the Darling children, balancing her concern for them with respect and understanding for their overwrought father. Crosby is also effective as the grown up Wendy. Krista Bucellato as young Wendy is delightful, overflowing with tender concern for her brothers and the Lost Boys. Cade Canon Ball (John) and Julia Massey (Michael) perform admirably as Wendy's brothers, each adding special distinctive touches of humor, with Massey a particular standout in the big Act II dance number. James Leo Ryan, as Hook's sidekick Smee, is the soul of subservience with humor. Clark Roberts, without ever showing his face as either Nana or the Croc, creates distinctive personalities for each as he effortlessly steals each scene. Jenna Wright, as Tiger Lily and rescuer of Peter, charms the audience with her dancing and acting. The music and dance throughout are superb, perfect supplements to the original James Barrie story. The joy of all participants, principals, Lost Boys, pirates, Indians, et al is evident throughout and rewarded vociferously by a capacity audience. Some final words -- "Peter Pan" is a pleasure for all ages. If an excuse is needed to attend, borrow some children, but go and enjoy.

Magna Opera by Michael J. Moran
Hartford Symphony, Hartford, CT - www.hartfordsymphony.org

For the second “Masterworks” series of her debut year, Music Director Carolyn Kuan led the Hartford Symphony Orchestra in an exciting program of opera excerpts by five composers, featuring three overtures and two complete semi-staged acts. A rousing performance of Wagner’s dramatic “Flying Dutchman Overture” captured the eerie mood of that composer’s first successful opera. The piece also and set the stage for Act III of Verdi’s “La Traviata,” in which Violetta is reunited with her estranged lover, Alfredo, later joined by his father, Germont, only to die of consumption at the opera’s close. The 35-minute scene was movingly rendered by students in the Yale Opera program at Yale University, with only Violetta’s bed, a table, and two chairs as unobtrusive props. After intermission, Kuan began the second half of the program with a lively account of the playful Overture to Mozart’s “The Marriage of Figaro.” Next came the 20-minute Act III of Puccini’s “La Boheme,” which finds the lovers Rodolfo and Mimi reuniting after an argument and their friends Marcello and Musetta separating after an argument. A mostly different cast of Yale students again turned in beautifully engaging performances. The concert ended on a high note with Offenbach’s exuberant “Overture to Orpheus in the Underworld,” whose diverse elements of humor, pomp, and dance Kuan unified into a brilliant whole. All the artists were excellent, with special praise to soprano Jamilyn Manning-White (Violetta) and baritone Cameron McPhail (Germont, Marcello), whose gorgeous voices and nuanced acting skills make them talents to watch. The orchestra, too, sounded wonderful throughout, from Wagner’s blazing brass, to the lush strings of Verdi’s prelude, to Offenbach’s many solo turns. A number of empty seats suggested that some HSO patrons may have feared the prospect of a night at the opera. They needn’t have worried, as the Maestra’s concise and earthy introductions to both acts summarized the main characters and the action preceding the staged scenes. Her explanation of Offenbach’s uniquely comic take on the story of Orpheus and Eurydice was hilarious. The appreciative audience applauded all three of these pieces with standing ovations.

Greater Tuna by K.J. Rogowski
Majestic Theater, West Springfield, MA

“Greater Tuna,” by Jaston Williams, Joe Sears and Ed Howard, challenges both its actors and its audiences on several levels. First, two actors must play a myriad of roles, requiring fast costume and faster character changes. Second,scenes deal with many topics, some just plain silly, and others of a hit close to home nature. Last, the challenge of the show is in which the direction the sets and props best succeed. In this case, basically less is more. All of these facets must work together to achieve this show’s primary purpose -- a night of raucous comedy. The Majestic’s production delivers on most of these, but misses some comic opportunities. James Hartman and J.T. Waite dash on and off stage, appearing in numerous funny costumes, depicting 20 of Tuna’s 26 inhabitants, which is no mean task. While most of the scenes/topics play well, several seem to miss that humor mark. For example, a KKK member delivering a diatribe on violence, or the effects of Agent Orange on Vietnam veterans has one impact on an audience, and it’s not funny. The possibility exists for the actor to portray the character and his messages with a tone that mocks both the character and the message, to deliver the pointed humor intended. The ‘less is more’ factor, at times, makes the audience think ‘where are they, and what are they doing ’ before going on to get the laughs. Here the set is especially important, since it is comprised of only two kitchen tables, four chairs, and a radio. An example is when the designated ‘radio station’ table suddenly becomes another kitchen. The same happens regarding the use of props, since there are none. Virtually all props are pantomimed -- phones, violins, papers, dogs, and dishes -- except at the end when a gun just appears. With its funny folks and pointed humor “Greater Tuna” should deliver greater laughs.

Cinderella by Walter Haggerty
Opera House Players, Broad Brook, CT - www.operahouseplayers.org

There's magic in the air in Broad Brook as the Opera House Players present Rodgers and Hammerstein's "Cinderella" with an outstanding company. This treatment of the beloved fairy tale was conceived by R&H in 1957 as a special project for live television and served to introduce Julie Andrews to an audience of 107 million viewers in its single performance. Broad Brook Players' production may not reach as large an audience, but it is no less enchanting. For adults and children in the area, this is a not-to-be-missed opportunity. The music is top drawer R&H with "Impossible," "Ten Minutes Ago I Met You," and "A Lovely Night" among the standouts. In addition to providing the lyrics, Hammerstein also wrote the book with a light and humorous touch. Impressive performances are contributed by many cast members, most notably Caitlen Fahey, making her Broad Brook debut, in the title role. With seven numbers, she carries the heaviest musical burden performing each song beautifully. Warmth and humor best describe Fahey's characterization which easily captivates the audience. David Climo and Julie Martini, as the King and Queen, manage their regal roles with great humor, balanced with a special tenderness that reflects their love and concern for their son. As Prince Christopher, Andrew Small is stalwart, handsome, and charming.every inch, a prince. The trio of Stepmother and "ugly" stepsisters, portrayed by Reya Kieppel, Khara C. Hoyer, and Megan Graul, respectively, temper their "meanness" with enough humor and out-and-out silliness to reward the audience with much laughter. Sara Steiner is a joy through her singing and nonsensical performance as Cinderella's Fairy Godmother. Not to be overlooked are the contributions of two "magical" characters, Sprite and Pixie, played by Jessica Turgeon and Christine Zdebski, who contribute greatly to keeping the production moving forward seamlessly. The entire cast is elegantly costumed by Moonyean Field; and Debora Curyla manages to make a quartet of musicians sound like a much larger ensemble. Barbara M. Washer, in her Broad Brook directorial debut, rates highest praise for a flawless, highly entertaining production.

Barber, Schuman & Rachmaninoff by Michael J. Moran
Springfield Symphony Orchestra, Springfield, MA - www.springfieldsymphony.org

SSO President Kris Houghton drew appreciative cheers when she welcomed the audience, many of whom had been without power at home for much of the previous week, to a warm and well-lit Symphony Hall for a concert that included one of conductor Kevin Rhodes’ “favorite pieces” and an “out of body experience” for 25-year-old Korean-born pianist Joyce Yang. The program opened with Samuel Barber’s most popular piece, the Adagio for Strings, arranged by the composer for string orchestra from the slow movement of his string quartet. Rhodes led a performance that was deeply moving for its simplicity and restraint. The strings sounded rich and full from the hushed opening to the powerful climax and the quiet conclusion. Rhodes' told his audience that most would next be hearing William Schuman's Symphony No. 3 for the first time. The Maestro asked orchestra members to play specific themes, thus providing a helpful road map through this “uncharted territory.” The taut and incisive rendition of this 1941 composition perfectly captured the “optimism and perseverance in overcoming great odds” that Rhodes identified as its guiding spirit. While brass and percussion were most prominently featured, the strings again played wonderfully, and the symphony’s closing peroration was particularly exhilarating. Following intermission, Joyce Yang’s stunning appearance in a floor-length sleeveless red dress reinforced her thrillingly romantic interpretation of Rachmaninoff’s Piano Concerto No. 3 in D Minor. Her flowing tempo at the opening became more lingering and then quickened as the first movement developed, with Rhodes drawing some portamento from the strings before the soloist’s powerful cadenza. Yang’s reference to the piece in a recent interview as an “out of body experience” was supported by her precise and strongly physical technique, when she almost lifted her body off the bench at climaxes in all three movements. Rhodes led a scrupulously balanced accompaniment, with woodwinds and horns unusually audible. After receiving a standing ovation from the audience and a bouquet of roses from the Maestro, Yang extended the mood with an encore of Rachmaninoff specialist Earl Wild’s sumptuous arrangement of Gershwin’s "The Man I Love".

Swayambhu (Shantala Shivalingapppa) by Barbara Stroup
UMass Fine Arts, Amherst, MA - www.fineartscenter.com

Shantala Shivalingapppa brought a reverent and appreciative audience back in time to an Indian temple in her Bowker Auditorium presentation of Kuchipudi classical dance. Alone with four musicians on the stage, she both interpreted a narrative and made a religious statement with her choreography. Body movement was agile and athletic, hand and facial movement explicated a story, and she captured complete attention throughout. As Ranjana Devi explained in her pre-concert talk on Indian classical dance, dance is theatre, and music is integral to it: "Without music there is no dance." Four musicians provided vocal expression of story line, flute embellishments, and percussion in absolute synchronization with Shantala's feet. They became a team of five and showed a total dedication to each other and to this art form. Its religious meaning was apparent to the largely western audience, even if the narrative was difficult to follow. Kuchipudi dance is one of nine government-defined classical dance forms performed by women only, and is characterized by leaps and jumps. Shantala was costumed first in purple and then in white. Henna adorned her fingers and toes, making her long limbs appear even longer. The seven-part program began with an invocation to Ganesha, elephant-headed god of new beginnings and ended with Pasayadan, a prayer of peace and joy for all beings. The stage was mimimally decorated with diaphonous curtains and a small Shiva statue on one of several transparent shelves that floated above the floor. Swayambhu was offered as part of the Asian Arts and Culture Program at UMass. Now almost 20 years old, the program includes diverse offerings to schools, audiences, and the general community. It illuminates the vast cultural heritage of many Asian and Middle Eastern countries by showcasing events and capturing touring artists for one-time performances here. Kudos to the Fine Arts Center for continuing to support this program.

Water by the Spoonful by Kait Rankins
Hartford Stage, Hartford, CT - www.hartfordstage.org

In this world premiere drama by Quiara Alegria Hudes, “Water by the Spoonful” seems like two separate plays: the first about an Iraq war veteran and his cousin coping with his mother’s death, and the second about a group of recovering drug addicts seeking support in an online chat room. The two storylines are revealed to be deeply intertwined by the end of Act I. With a play that can easily trip over itself with its complicated settings and heavy subject matter, director Davis McCallum handles everything with a light touch. The settings ebb and flow with quick, quiet changes and shifts in lighting, and cyberspace settings are brilliantly presented with the characters’ avatars projected on the back panel. What could have been clunky and confusing is instead clear. Hudes’ beautiful writing is wordy and complex, handled effortlessly by seven actors: Armando Riesco (Elliot), Zabryna Guevara (Yazmin), Lisa Colon-Zayas ( Odessa), Theresa Avia Lim (Orangutan), Ray Anthony Thomas (Chutes&Ladders), Matthew Boston (Fountainhead), and Demosthenes Chrysan (Professor Aman/Ghost/Officer). In their hands, Hudes’ words are light and quick, between poetry and realistic dialogue, and yet never unnatural. The dramatic themes of addiction, parental neglect, post-traumatic stress, and mourning could easily pass into self-indulgent melodrama, but they never cross that line. Instead, the result is both funny and heartbreaking, with characters that are easy to care about. “Water” is about connection. Connecting with one’s family, connecting with strangers over long distances, and the bravery it takes to make (and repair) those bonds. The actors succeed not only connecting with each other, but with the audience, taking the audience on a journey of twists and turns and numerous storylines tied up together. The second in a trilogy that begins with “Elliot, A Soldier’s Fugue” (a Pulitzer Prize finalist) and will end with “The Happiest Song Plays Last,” “Water” leaves the audience wanting to know more about where the characters came from and where they will go. For audience members needing more, Hartford Stage provides copies of “Elliot” (autographed by the author) in the gift shop.

Mahler’s “Titan” by Michael J. Moran
Hartford Symphony Orchestra - www.hartfordsymphony.org

In her “Masterworks” series debut as their first female and youngest Music Director, 34-year-old Taiwan-born conductor Carolyn Kuan led the Hartford Symphony Orchestra in a program that demonstrated her mastery of the Germanic core of the standard repertoire. Written in 1794-1795, Beethoven’s Piano Concerto No. 2 in B-flat Major, Op. 19, reflected the classical style of Mozart’s late concertos, but its high spirits foreshadowed the mature Beethoven, and the dialogue between piano and orchestra in the Adagio foretold its more famous counterpart in the Fourth Concerto. The boyish looks of the 21-year-old soloist from Tashkent, Uzbekistan, Behzod Abduraimov, belied his interpretive maturity. He balanced measured tempos in the first two movements with a vigorous first movement cadenza and a romp through the final Rondo to achieve a performance of classical poise and grace. After intermission, Kuan directed an impassioned account of Mahler’s Symphony No. 1 in D Major, whose nickname, the “Titan,” has stuck although the composer stopped using it after several early performances. Kuan’s flexible tempos and dynamics heightened dramatic contrasts and accentuated the varied roots of Mahler’s inspiration, from Viennese ballrooms to klezmer bands in the third movement alone. Balances were transparent throughout the piece, so that the triangle and the harp, for example, could be clearly heard even in the loudest passages. The orchestra has never sounded better. Though the horns in particular were challenged at times in the Mahler, they also turned in some of the evening’s finest playing in the first and last movements. Strings, woodwinds, and percussion were consistently impressive, and all the musicians seemed inspired by their charismatic new Maestra to play their best. The audience was excited not only by Kuan’s physical energy and engaging personality, but by her spoken introduction to the Mahler, with musical examples played by the orchestra. These were brief but pointed, as when she illustrated repeating themes and Mahler’s belief that a symphony was a “world that must contain everything.” This positive outreach to her community augurs well not only for the new HSO season but for the hopefully long duration of Kuan’s tenure in Hartford.

Jersey Boys by Shera Cohen
The Bushnell, Hartford, CT - www.bushnell.org

“Oh, What a Night,” is not only the title of one of the Four Seasons’ hit songs, it is also the succinct description of the musical “Jersey Boys.” This chronological story of the creation of the group and the personalities of the men who made it happen is a non-stop, energetic, song filled retrospective. It puts faces to the names of the four young men from Jersey whose music has become instantly recognizable and loved. It is no surprise that “Jersey Boys” (JB) won the Best Musical awards at the Tonies, Grammies, and Outer Critics Circle. As of July, 2011, 13 million people worldwide have loved JB. As of October 20, 2011 the number is now 13 million + 1. For those readers who are under age 20 and/or have lived in a cave for the past 40 years, the Four Seasons were one of the preeminent guy groups. Think “Sherry,” “Big Girls Don’t Cry,” “Let’s Hang On,” and “Dawn” and try hard not to hum silently. It can’t be done! Each member of the quartet narrates in four sections (aka seasons) the professional and personal highs and lows of the group and the individual men. The intertwining balance from dialogue to music and back again is seamless, as are the floating backdrops and sliding walls which set the eras apart. The boys inch their way from bowling alley gigs to empty nightclubs to eventual fame. The main cast are superior singers who can also act. Joseph Leo Bwarie (Frankie) does well at playing shy; Preston Truman Boyd (Bobbie), the best actor of the troupe, portrays the amiable composer; Michael Lomenda (Nick) has a nice comic touch; and John Gardiner (Tommy) becomes the tough guy. More importantly, the audience wants to hear Bwarie’s falcetto coupled with the other’s skilled voices, and these boys sound as close to the real McCoy as possible. The show closes with “Who Loves You?” The answer: everyone in the Bushnell’s full house. A note on theatre etiquette. It seemed, because of the nature of the music and story, that many in the audience were theatre newcomers. That’s wonderful – the more who support the arts the better. However, a professional venue like the Bushnell (or any other) is not the place to become inebriated and talk loudly throughout the entire performance. In spite of nicely asking our drinking neighbors to please be quite, being shrugged off, and then the house manager’s Herculean efforts ignored made for a tainted evening for what could have been a fabulous night at the theatre.

The Motherf#@ker With the Hat by Jennifer Curran
TheaterWorks, Hartford, CT - www.theaterworkshartford.org

It would seem that a play that cannot be named in polite company might be in need of a gimmick. Considering though that the playwright is Stephen Adly Guirgis, such nonsense is quickly put to bed. Within ten minutes it becomes abundantly clear that there really is no other title that would work. Add impeccable direction by Tazewell Thompson, a break-neck pace that never misses a beat and the result is a terrific show. Donald Eastman's set design is a sparse outline with plenty of gray space for the actors to fill in the details. From Veronica's rumpled mattress on a bare floor, to Ralph and Victoria's Pier 1 Imports loveseat or Cousin Julio's lovingly attended to cart of lush green plants, the audience is roller-coasted from points A, B and C and back again. At its very basics, “Hat” is a love story. Jackie (Ben Cole) and Veronica (Clea Alsip) have loved each other since the eighth grade, Ralph (Royce Johnson) and Victoria (Vanessa Wasche) are in a loveless marriage, Cousin Julio (Varin Ayala) may or not love his wife but his love of life and family keep Jackie in line. The eviscerating verbal sparring lays bare the truth of each the characters: I do as I do and not as I say. There is much here about truth and honesty (one doesn't always have a lot to do with the other), addiction and recovery. There’s more in the script: being held accountable (or not) in a suffocating world where ignorance is far from bliss and language can't begin to communicate the complexities of these characters' struggle for love, understanding and a little bit of peace. “Hat” isn't a play for everyone. It isn't a “nice” play. Indeed, it’s a blood and guts revelation of a man whose own limitations and ignorance keep him stuck in the same pattern, unable to break out of it and incapable of explaining why. For theatre fans who want to see something without a gift-wrapped ending or a moral tale, one could do no better than a trip to TheaterWorks.

City of Angels by Jarice Hanson
Goodspeed Opera House, East Haddam, CT

Billed as a sexy Hollywood Whodunit, "City of Angels" mixes 1940's film noir with contemporary theatre conventions including scene projection, a slow-motion fight scene appropriate for America's Funniest Home Videos, and skull hand-puppets all as homage to tired gumshoes who can't resist a pretty dame. In this production, director Darko Tresnjak has mounted a complicated show with remarkable technical proficiency. You can't miss with a script by Larry Gelbart, who writes lines like, "Only the floor kept her legs from going on forever," and music by Cy Coleman, who crafted some of the best duets of his career in for this show, What sets this musical apart from others are the witty lyrics by David Zippel. The stock characters - the Brylcreemed private eye, the femme fatal with the rich, aged husband, and the nubile step-daughter may seem cliché, but the show has many fresh twists. About twenty minutes into Act I, the audience realizes that all of the characters are in the mind of a writer, hired by a movie studio to pen a screenplay, only to have his work changed by the hilarious studio executive, played by Jay Russell. The action revolves around the back-and-forth world of the movie studio and the life of the script writer, played by D.B. Bonds. There is not a weak character in the cast; and Bonds, Lauri Wells, and Nancy Anderson have wonderful voices and get some of the best tunes. Some members of the production team warrant a special shout-out; Michael O'Flaherty's music direction shines, and David P. Gordon's scenic design, enhanced by Shawn Boyle's projections, make this production a visual treat. The show may have been a bit fresher when it premiered on Broadway in 1989 and today's mash-ups and parodies take a bit of the kick out of the script, but the "City of Angels" is smart, entertaining, and this production is top-notch.

Pushing the Envelope of Fun with the Bard by Sherry Shameer Cohen
Westport Country Playhouse, Westport, CT

The moment you see the filmy curtain in front of the set of Shakespeare’s “Twelfth Night, or, What You Will,” you know you are in for an unconventional production. Suffice it to say that director Mark Lamos is comfortable taking risks on stage – something that this reviewer usually welcomes to keep plays written centuries ago alive instead of just archival writings. That said, this production does not completely satisfy.

Andrew Boyce’s surrealistic scenic is stunning with its eclectic collection of beach scene, chandeliers, balloons, abandoned items and shabby chic architecture, all of which suggest the timelessness that Lamos seems to be striving to achieve. Tilly Grimes’ rather dilettantish costume design is rather confusing, especially since some of the characters are barefoot, and not on the part of the set that is clearly a beach. The cast, too, is diversified, both ethnically and in its mastery of Shakespearean dialogue.

Nevertheless, for all its unevenness, the play is thoroughly engaging, thanks to the performances of Donnetta Lavinia Grays (as the feisty Maria), David Schramm (as Sir Toby Belch), Jordan Coughtry (Sir Andrew Aguecheek), and, above all, Darius de Haas (as Feste). David Adkins (as Malvolio), Susan Kelechi Watson (as Olivia), Paul Anthony Stewart (Antonio) and Lucas Hall (Orsino) also gave mostly fine performances, but this production really belongs to de Haas. It must be mentioned that de Haas injured his Achilles heel shortly before opening night, but that was worked brilliantly into the staging with the use of a period wheelchair. Being seated throughout the play did not prevent de Haas from delivering a performance so fluid and natural that one would think Shakespeare intended Feste to be in a wheelchair. Feste’s sole purpose is to be a seasoned observer of human folly in a play that encompasses joy and sorrow. He can do it from a perch or a beach chair. It doesn’t matter where because de Haas’ exceptionally beautiful voice and limber movements would have delighted the Bard. (Note to casting directors: Look beyond any disabilities a performer may have.)

But back to Shakespeare’s intent. The play’s title is believed to refer to the close of the Christmas season, when everything is about merriment, joy, hope and lightness. The play is dotted with lyrics (some set to more contemporary melodies, including the tune of the good night song from “The Sound of Music”) as well as its classical themes of mistaken identity and subplot which involves a prank on the puritanical Malvolio. Was Shakespeare’s intent really served? That part is debatable. Lamos pushes the envelope of fun, even in the few places some cast members may miss. On the other hand, the play is a bit complicated and the combination of the direction, set and costumes make it seem as if almost every performer and crew member simultaneously emptied all their tool boxes to create this production. (Four actors even did some calisthenics in one scene.) A bit of tightening would have been welcome. The production may be imperfect, but the audience loved it, and it is worth seeing, if only for de Haas’ memorable performance.

"Twelfth Night" runs through Saturday, Nov. 5. For tickets or more information call 203-227-4177 or visit www.westportplayhouse.org. Lamos, who is Artistic Director of the Westport Country Playhouse and veteran director of 30 Shakespearean plays, will also conduct a master class on acting and directing Shakespeare on Monday, October 24 from 7:00 to 8:30 p.m. This event is free and open to the public.

Wait Until Dark by Shera Cohen
Suffield Players, Suffield, CT thru 10/29/11 - www.suffieldplayers.org 
Suffield Players are particularly skilled at mounting murder mysteries. This play is the real thing, edge of your seat two hours of theatre. After the final applause, the audience leaves with the communal feeling of exhaustion. That is a powerful statement of cause and effect. The troupe accomplish exactly as planned for “Wait Until Dark.” The play’s title succinctly describes the plot. Our heroine is a blind woman who is physically and figuratively in the dark. What happens to her in one day is a terrifying test of her metal. Susy unknowingly becomes entrenched in the middle of drug trafficking and murder as she is pitted against three strong sighted men. Karen Balaska’s phenomenal success in portraying Susy is her physicality. She plays blind with a capital “B.” Her stance, movement, and manipulation of props are perfect. At the start, Balaska’s character is plucky and naïve. We see gradual changes as her intelligence and inner sight dominate. Susy’s motivation to stay strong and fight is first and foremost for love of her husband. However, Danny Viets is miscast as a too-young and too strict mate, making Susy’s emotional commitment confusing. But Balaska makes us believe. The first two villains on the scene are portrayed by Bill Mullen (Mike, faux friend of the husband) who effectively becomes the big lug bad guy with a conscience, and Zach Grey (Sergeant Carlino) who plays smugness well. Enter Konrad Rogowski (Harry Roat) as “the brains” of the operation. Rogowski’s acting is the epitome of super psycho intellect. Roat is a relentless crazed man. Young Emma Rucci (teen neighbor) does a fine job as Susy’s smart and smart-alecky ally. Director Robert Lunde could have taken the easy road on many scenes, particularly those set in pitch dark. Lunde introduces the play, telling his audience that some sections will be completely black. So, it’s not a spoiler to write about the success of these unseen scenes. Where sound effects might have sufficed in a lesser production, the undoubtedly battered and bruised actors, running on a small stage in the dark (Balaska and Rogowski in particular), and the less battered director treat the audience to a powerful ending 

Rock On! Broadway by Eric Sutter
Springfield Symphony Orchestra, Symphony Hall, Springfield, MA - www.SpringfieldSymphony.org
With Kevin Rhodes conducting, the opening Springfield Symphony Pops concert of the 68th season was right on! Featuring music from the best Rock musicals of the 70's and 80's, the orchestra was challenged to perform. The "Chess" overture set the mood. The rest of the great evening followed. Broadway musicals were changed forever in 1968 when "Hair" debuted. Soprano Sarah Uriarte Berry and tenor Ron Bohmer gave an empowered "Aquarius." A nicely done "Easy To Be Hard" featured a lovely Berry as solo. Bohmer clowned as a long-haired hippie with his singing "Hair." Of course, they finished with a rousing "Let The Sun Shine In." Fantastic! From "Tommy," the Symphony shined on "Overture" with that great opening electric guitar solo. Piano, horns and strings built tempo to a crescendo ending. The percussion was steamy. Berry sang "Smash The Mirror" in a Broadway shrill that wasn't quite effective with its too high pitch. Bohmer, as Tommy, was better with the thrilling "I'm Free" which resounded triumphantly. The sound was excellent and lighting superb. A comical Rhodes joined both lead singers doing "The Time Warp" dance from "The Rocky Horror Picture Show." By the end of the number, some of the audience engaged in dancing. After intermission, the "Overture" from Andrew Lloyd Webber's "Jesus Christ Superstar" lead the second portion of the program. A solo by Berry, "I Don't Know How To Love Him," was pleasant, acknowledging why this number is a standout. Berry particularly showed her vocal skills in the slower numbers. The strings propelled "Gethsemane" with Bohmer in a heartfelt perfomance. The singers then paired up on the duet of "Seasons of Love" from "Rent." An offering from "Little Shop Of Horrors" was fun. "Godspell" provided a magnificent volley of music that the audience sang along to - especially "Day By Day." Orchestra and vocalists reprised "Let The Sunshine In" with much singing and dancing. Rebuilding Springfield through the the arts never felt better.

Rent by Eric Sutter
Exit 7 Players, Ludlow, MA - www.exit7players.org 
Jonathan Larson's Tony Award winning and ground breaking musical "Rent," about a group of struggling Bohemian artists on NYC's Lower East Side, revvs up the stage and the emotions at is Exit 7. This intensely entertaining production is a colossal undertaking by director Meghan Lynn Allen and musical director Bill Martin. It's a mixed-up, muddled up, shook-up world with themes of sexuality, AIDS, and the ravages of poverty. The intricate story is convoluted with many sub plots that turn delightfully, revealing various love connections. The set is simple with emphasis on music and dance. It simmered and seared with high voltage edgy rock numbers and challenging choreography by Amy Meek. Lead characters Mark (Josiah Durham) and Roger (Michael Lorenzo) must be carefully followed. Roger is a singer/songwriter looking for his big break. Love and friendships are unveiled through song dialogue. Big numbers -- "Rent" and "Seasons of Love" -- livened every cell in one's body. Relationship songs such as "You Okay Honey" with Angel (Michael Garcia) and Collins (Joshua Osborne), "Light My Candle" with Roger and Mimi (Kyle Boatright), and "Tango Maureen" with Mark and Joanne (Christine Greene) were loving fun and helped develop characters' personalities. "On the Street," a passionate full company number, featured a big voice stand-out by Blanket Lady (Susan Duncan). Maureen (Nikki Wadleigh) turned out the humorous "Over the Moon," which coaxed the audience to "Moo." Act I closed with the over the top "La Vie Boheme" in high fashion. The plot thickens in Act II as the characters' emotional baggage becomes weighty. Steamy duets ensue with "Take Me Or Leave Me" between Maureen and Joanne, and "Without You" with Roger and Mimi. "Contact" features Angel, who hasproven to be a firm testament to the strength of the human spirit. After Angels' AIDS death, Collins sings "I'll Cover You" backed by a powerhouse group ensemble vocal. "Goodbye Love" finds Roger, Mimi and Benny(Silk Johnson) in a heated love triangle. "Your Eyes" is Roger's love song to Mimi -- watch for her strange twist of fate. There is no day but today! This powerful musical is chock full of strong language; it is intended for mature audiences.

Opening Night Gala - Springfield Symphony Orchestra, Springfield, MA - www.springfieldsymphony.org
by Michael J. Moran

The Springfield Symphony Orchestra opened its 2011-2012 season with a program of three pieces by Russian composers, an “electrically charged…genre that has proven to be one of our strong suits” in the past, according to Music Director Kevin Rhodes in a program note. After a rousing performance, with enthusiastic audience participation, of “The Star-Spangled Banner” to mark the start of a new season, the concert proper began with Rimsky-Korsakov’s “Russian Easter Overture.” A colorful blend of Russian Orthodox chants with the composer’s exotic harmonies and orchestration, the piece made special demands on the brass and percussion sections, all of whom rose to the occasion with gusto. The Tchaikovsky “Violin Concerto” reunited Rhodes and the SSO with soloist Axel Strauss for the first time since he played the Mendelssohn “Concerto in E minor” with them 11 years ago. In 1998, Strauss became the first German artist to win the Naumburg Violin Award. Now in his mid-30’s, he has lived in the United States since 1996 and teaches violin at the San Francisco Conservatory of Music. While fully meeting its technical challenges, Strauss gave the Concerto a Romantic interpretation, drawing out the first movement cadenza to broad lyrical effect, along with the second movement Canzonett. The appreciative audience jumped to their feet after his thrilling rendition of the folk-inspired finale. A brilliant performance of Shostakovich’s “Symphony No. 5 in D minor” followed intermission. Rhodes reminded the audience that this 1937 piece was not an example of “art for art’s sake” but, in the composer’s words, “a Soviet artist’s reply to just criticism” of several of his earlier works by government authorities. With the entire orchestra playing marvelously in all four movements, the symphony’s links to the Russian historical tradition were also clear, especially in the intense Largo movement, which evoked the slow movements of Tchaikovsky’s fifth and Rachmaninoff’s second symphonies. The Maestro’s famously kinetic style of conducting was on full display throughout the evening, and the positive energy of this opening night promised a great season ahead.

The Best of Enemies by Shera Cohen
Barrington Stage Company, Pittsfield, MA - October 5–16, 2011
Based on the fact that Mark St. Germain is the playwright is reason enough to make a point of attending “The Best of Enemies.” St. Germain’s “Freud’s Last Session” was such a phenomenal hit at Barrington that it has moved to off-Broadway. The same may soon be said about “Enemies.” The play is a true story of life in Durham , NC in the early 1970’s when the divisions between races and classes were not simple lines in the sand, but high stone walls – unable to be climbed or torn down. Color and money dictated government and particularly the school system. The story’s focus is the relationship between Ann Atwater, a hard core elderly black woman whose only fears are the future of children, and E.P. Ellis, a strong and purposeful man who is proud of his Klan membership. The two are complete opposites in every way possible: sex, race, age. But are they? Perhaps it is their economic status which very slowly chips at the wall. Aisha Hinds and John Bedford Lloyd are superb in their roles. Clifton Duncan, as the young black mediator of the ongoing conflict, and Susan Wands, as Ellis’ down trodden intelligent wife, are the only other actors in this quartet. Both are strong in their roles. So much is said with a small cast and sparse set. In fact, more would have been ineffective. Julianne Boyd directs “Enemies” in vignettes created by large slide backdrops floating in and out. At many points, particularly when the actors speak out to assemblies, the audience feels that it is part of a documentary, and not theatre attendees. The play runs 90-minutes. Thank goodness for no intermission, as it not only would have broken the chronological momentum, but more importantly, the visceral experience. How much more “real” can theatre feel? Barrington Stage is one of the few theatres that dares to present some tough drama during each of its summer seasons. Music and comedy are the norm. Obviously, audiences accept the challenge of serious and actual events, which is why “Enemies” will be staged for an unexpected return in October. 

Traces by Emily List
The Bushnell, Hartford, CT - www.bushnell.org thru October 9, 2011
The five young performers in “Traces”— a fusion of circus, dance, comedy and music —actually trace a number of things through the course of this explosively energetic show. They trace the audience members’ journey from the lobby to their seats projected on a big screen at the back of the stage, which elicits laughter as they see themselves entering the theatre. They trace the playful tossing of a basketball as it develops into an aggressive break dance. They use chalk to trace one another’s limp bodies on the floor as a ballpoint pen traces an entire city on the screen. They trace their lives in a slide show and through personal facts spoken ardently into a microphone that frequently descends from the ceiling. “I’m a romantic,” Francisco Cruise breathlessly tells the crowd. “I love cereal. I especially love Cinnamon Toast Crunch.” The personalization and character development are aspects of “Traces” that make it so endearing. The audience cares for the welfare of the acrobats/dancers because they distinguish themselves as individuals, playing instruments and plunking out different tunes on a wooden piano, from balletic standards to Chinese pop tunes on chop sticks. But they also work as one, seamlessly propelling and flipping themselves through the air. This is done with the ease as props, such as wooden chairs and basketballs, are tossed through space. It matters little that the show is strung together as an eclectic, chaotic circus. The audience is pulled immediately into the dramatic action through humor: “Please take flash photography even if it permanently maims the performers,” is one pre-show announcement. That humor and energy keeps the audience uproariously supportive as the players display incredible agility, suspending one another with hand-to-hand circus techniques, leaping through hoops and climbing up and down vertical poles that reach from floor to ceiling. “Traces,” under the creative direction of the Montreal-based Seven Fingers Company, is a show not to be missed.

Mary Zentmyer is “Sister” in Late Nite Catechism
CityStage, Springfield , MA - www.citystage.symphonyhall.com - October 12–16, 2011
Many audience members think that Mary Zentmyer is a bona fide nun. That’s true testament to this actress’ skills in her performances of Sister, star of “Late Nite Catechism.” Having donned the habit for a good part of the last 15 years, Zentmyer was one of the first Sisters cast in the role. She was auditioned by the play’s writer team of Vicki Quade and Maripat Donovan. There are now approximately 20 Sisters touring throughout the country. Zentmyer describes her role in three parts: acting, improve, and stand-up comedy. The thought of memorizing a 25-page monologue was scary at first. “This is not your typical play. It’s very interactive,” she said. “It’s a memory play, a nostalgia play. I connect with the people,” she continued. The target audience is former students (including herself) who experienced the nuns that resembled Army drill sergeants. “We thought they were mean, but it’s no wonder they were cranky, because they wore 20 lb. wool garments every day, all year round,” she laughed. Sister’s strictness is the best humor of the play, and the audience response is incredible. She pokes gentle fun; the show is never mean-spirited. Zentmyer has been on the road for most of her career due to her repeat performances primarily in the mid-West and New England . They keep calling her back! “People have been so nice to me. Being a one-woman show, they see that I’m alone and invite me to dinner,” she laughed. The best part of the experience is the Meet & Greet post-performance. It’s like confession, with lines of audience members, each telling stories from their youth. Asked: do you have to be Catholic to ‘get’ the show, she replied that it does help the audience ‘get’ the full humor. “It plays well to all religions and regions,” she responded. We all like to go back to a different time in our lives, even remembering strict teachers. The show is already sold out for her upcoming run in Detroit . “Middle-America Protestants enjoy it. And New England , with lots of Catholics, certainly ‘get’ it,” she continued. “Making people laugh for a living – it’s the greatest job,” Zentmyer said.

War of the Worlds by Shera Cohen
Shakespeare & Company, Lenox, MA thru November 6, 2011 - www.shakespeare.org
The year? 1938. The day? October 30th. The place? Mercury Theatre, NYC. Shakespeare & Company takes its audience back to an actual episode in history, to the days when radio dramas were as brilliantly told and “visible” as any HD/3D/etc. movie of today. Tony Simotes directs a play within a play, starring a cadre of the troupe’s best actors. There’s the light-hearted “Jack Holloway Show,” complete with country music (for New Yorkers?), an episodic short drama (“Ace Moran, American Hero”), tap dancing (hmm, hard to see on radio), advertisements (the sales department’s excellent idea to highlight local businesses), and a vignette from “A Midsummer Night’s Dream” (shameless but hysterical self-promotion). Along with audience participation, a flashing “Applause” sign, and an onstage sound effects man using 70-year-old tools of the trade, Jack Holloway, et al, joyfully entertain their listeners and studio audience. “We interrupt this program…” With these four words begins the drama within the comedic variety show. Act II takes a 180 degree turn as laughter changes to gasps. Sounds of telegraph machines crank out more alarming words prefaced by “This just in...” Today’s audience knows the outcome of the story, but the scare of Martians invading Earth was very real when Orson Welles performed his live hoax in 1938. Simotes and crew (especially Michael Pfeiffer on sound and Stephen Ball on lights) create a sci-fi time revisited. While Shakespeare & Company’s performance is family friendly, there are many scares and terror of what could have happened long ago and to some degree has actually occurred in this century with other equally horrifying invasions. The actors take on double and triple roles – something quite common and expected at this theatre. Elizabeth Aspenlieder segues from chipper singer to an on-the-spot reporter meeting her death at the hands of aliens. She switches demeanor, voice, and language texture in a heartbeat. These same skills are those of Simotes’ dream cast – particularly Jonathan Croy, Josh Aaron McCabe, and David Joseph. It is a pleasure to see Joseph (newcomer of the group) excel in plumb roles at this venue. Lenox, MA isn’t Grovers Mills, NJ, but it very well could be.

Little Women – The Musical by Walter Haggerty
Opera House Players, Broad Brook, CT through September 25, 2011
Louisa May Alcott's “Little Women” a musical? Well, if you can turn “Les Miserables” into a musical, why not “Little Women”? With a trio of newcomers at the helm - Allan Knee, music; Jason Howland, book; and Mindi Dickstein, lyrics - it works, and it's a delight. The March family comes alive and they sing and they dance and have a wonderful time and so does the audience. Each member of the March family has their moment in the spotlight but, as it should be, there is Jo as the focus of family, around which all else revolves. Jo, in an inspired and exuberant performance by Meagan Hayes, grows and matures as the story progresses. Hayes dares to relate the melodramatic potboilers that mark Jo's early writing efforts, she pulls it off. In later more serious moments, Hayes proves to be equally adept. As Marmee, the mother, Donna Schilke is the personification of loving, caring, concerned motherhood, somehow managing while her husband is off at war. Aunt March, played by Mary Jane Disco, offers a formidable, subtly nuanced portrayal of a powerful woman with a soft center. Daughters Meg, Beth, and Amy, played by Elizabeth Drevits, Kiernan Rushford and Jessica Frye, respectively, are each given their due with distinctive, winning scenes that demonstrate the uniqueness of each character. Paul Lietz brings youthful enthusiasm and humor to the role of Lurie and Brett Gottheimer's Professor Bhaer delivers a superb performance of a conservative, restrained teacher discovering love and doing it without ever losing his impeccable German accent. Director John Pike is deserving of special praise for finding precisely the right balance between the humorous and serious moments of the story, and in creating an outstanding ensemble performance from his enormously talented company. Projections of period settings and handsome costumes add greatly to the production. Musical accompaniment by a four-piece ensemble is excellent. For an evening or a matinee excursion to an age of innocence, “Little Women” is worth the visit.

The Crucible by Karo Kilfeather
Hartford Stage, Hartford, CT thru October 6, 2011
A thinly veiled allegory on the communist hearings led by Senator Joe McCarthy, Arthur Miller’s “The Crucible” is a weighty theatrical classic and fine example of pointed social and political commentary. The play is loaded, and the Hartford Stage production wields it like a gun. Beginning with a loud, chaotic start, “The Crucible” rises to a tension that is never fully released. The audience is as captive as the hapless innocents waiting for their turn at the witch trials. Choosing a “Grapes of Wrath” meets the Dust Bowl aesthetic over pilgrim attire brings the play closer to us in time, and in spirit. For such a searing political piece, could it be only coincidence that the play produced during the Great Recession recalls the dry somberness of the Great Depression? Indeed, director Gordon Edelstein probably does not want anyone to miss out on possible parallels to today’s political and military events, making some less-than-subtle choices along the way. However, the production overall is so strong, that these are easily forgiven. The outstanding ensemble cast is led by Michael Laurence as guilt-ridden everyman John Proctor, Kate Forbes as his accused wife Elizabeth, David Barlow as the well-meaning Reverend Hale, and Sam Tsoutouvas as the Deputy Governor who is a powerhouse of self-righteousness and disdain. He is larger-than-life, but never a ham, and matter-of-factly delivers crushing blows to the hopes of Proctor and his friends. Laurence offers a heart-wrenching portrait of torment as delivered by others and by one’s own self-loathing. He and Forbes create a marriage that is achingly real, and alternately resentful and tender. Rachel Mewbron as Abigail is frighteningly cold and unlovable, and shines coolly when tormenting Keira Keeley’s frightened Mary Warren. As can be expected of Hartford Stage, the production makes inventive, bold use of a spare and exposed set with well-executed light and sound design. It is a must-see, adult show that grabs the audience and pulls everyone to their seat’s edge. Luckily, Hartford Stage has extended the run through early October.

Buddy Holly Returns by Shera Cohen
Majestic Theater, West Springfield, MA - www.majestic.com - thru October 30, 2011
I would like to think that I am somewhat entitled to a bit of credit for the success of The Theater Project’s (aka Majestic Theater) success of “The Buddy Holly Story.” With over 100 performances under its proverbial belt from 1997, and reprised shows in 1998 and 2002, neither the Majestic nor its audiences will let Buddy go away. That’s wonderful news since it’s here again in 2011. After having seen “Buddy” in England, Danny Eaton (founder, producer, director, designer, set builder, playwright) knew that he must produce this musical. During the early years of The Theater Project, Danny often asked my opinion on the selection of plays and actors. Well, I’m not sure if he sought my learned opinion, or if I forced it on him. I knew very little about the real Buddy and less about the musical. “Peggy Sue,” horn-rimmed glasses, died very young – that was the extent of my knowledge. I researched, learning more about what an excellent talent Buddy had been and what he could have been. Some readers may remember the community theatre group St. Martha Players. With few exceptions, I made a point of attending their shows. At that time, St. Martha was “the” theatre for consistently well produced musicals. Unfortunately, their venue was not up to par with the quality of the troupe. A church cafeteria was what the crew and actors had to work with. A stage was placed in the middle of the room and the audience sat cabaret style. Sight lines were terrible. One of my favorite books, made into a musical, was “The Secret Garden.” It was next up on St. Martha’s calendar. A must-see! Sometimes reviewers are given the best seats in the house (a nice perk), but there was no best seat in this house. I went with a friend, and we sat at a table abutting the stage, with eye-level comparable to sitting in the front row at the movies. I knew the reputation of the director (Anna Giza, I believe) and some of the actors, so I came with high hopes. The playbill listed Ben Ashley as the uncle. Hmmm, never heard of him. The uncle is a starring role. Who is this actor? As a very attractive young man took his place onstage, acted well and sang even better, my friend and I mutually nudged each other that here was a guy with potential. We sat close enough to touch his shoes, so for the next two hours, Ben was up close and personal. I thought: Who does he remind me of? He next sand the duet “Lily’s Eyes” (with Frank Aronson). I was struck by the beauty of the song and the voices. I was also struck by who Ben Ashley reminded me of. Put a pair of 50’s black narrow glasses on him and a guitar in his hands, along with his already obviously good looks and talent. “I found your Buddy Holly,” I enthusiastically informed Danny the next morning. I don’t know all the particulars that happened next. I’d like to think that Danny called the new Buddy saying, “Hey, Ben, I hear you are great. Shera wants to cast you as Buddy Holly for the next 15 years (well, off and on). Do you want the job?” The rest is history.

Wicked by Bob Smith
The Bushnell, Hartford, CT through September 11; www.bushnell.org
In a relatively short time, "Wicked" has become a musical for the ages and it is not difficult to understand the phenomenon. This show succeeds extremely well on many different levels. It starts with solid storytelling; serious themes, populated with engaging characters but with a sense of humor. A strong contributor is the unique fact that both leads are strong, multi-dimensional females. All this helps to underpin an emotional reality in a fantastical setting, for this is the back-story of "the witches of Oz before Dorothy dropped in" and how friendship can shape our lives. "Wicked's" status as a timeless work is due in large part to the music and lyrics of Stephen Schwartz. Combined with the vocal artistry of the cast, the songs leave an indelible impression. The Act One closer, "Defying Gravity" melds every element of theatre into one chill-inducing moment. That song, along with others like "I'm Not That Girl" and "For Good" are already popular standards due to their tenderness and heartfelt lyrics. On the opposite end of the emotional scale is the giddy anthem of bubbly blond sorceresses everywhere, "Popular." This song is so frothy that it probably put a smile on people passing by the outside the theater. Dee Roscioli, the 'wicked" witch Elphaba in this production has played the role more than any other performer and her experience is evident. One needs a stellar voice for this complex role and Roscioli delivers goose bumps with almost every solo. As her opposite, understudy Megan Campanile gives a beautiful texture to the flouncy, bouncy "good" witch Glinda. The entire cast matches their energy and verve. The lighting is spectacular and the sets are practically a life form of their own. The crowds at this Bushnell return engagement are packed with prior fans that know the lines and music by heart. But there are plenty of newcomers as evidenced by the surprised laughter and gasps emitted upon seeing the show's many high points for the first time. Both types of audience members are well served by this outstanding, and yes, magical production.

Mark Morris Review by Emily List
Jacob’s Pillow, Becket, MA - www.jacobspillow.org
Through his choreography for the 30th anniversary celebration of his company at Jacob's Pillow, Mark Morris proves that he is still what many critics have described as "the bad boy of modern dance." The visceral mischief begins before the dancing does, as the audience is shown projections of two characters - one, a native-American man; the other, a seemingly pre-Raphelite saintly woman with a halo. On closer inspection, the style is more art nouveau, with the woman wearing a jaunty 1930s cap. Indeed, the first piece, "Resurrection," is not a serious dance imbued with Christ-like images, but a hilarious portrayal of a Hollywood murder, set to music by Richard Rodgers. The dancers kick and roll around the couple like synchronized swimmers until the woman lifts herself up to bourree deadpan across the stage to the astonishment of her dance partner. "Ten Suggestions," is a solo admirably danced by Amber Star Merkens. Set to the menacing tinkling of Alexander Tcherepnin's "Bagatelles Opus V,” a chair, hoop, hat and ribbons are amply used to help Merkens cross from stage right to left, a feat in which she does not succeed. The piece is very circus-esque, as Merkens balances precariously on the chair, clowns around with her straw hat and plays with her hoop. She uses the hoop not as a hula dancer, but as a partner that is twirled, stepped through. For "Dancing Honeymoon," Morris' ensemble is back for another tribute to the 1920s and 30s - this time through Broadway musical comedy box-stepping and Rockette-like kicklines. The music sounds as if it weren't live, but resonating from a 20s speakeasy. This critic's favorite is "V". The choreography is more classically balletic and finds the dancers swinging themselves and their partners into suspensions, sometimes arabesquing into the air, and at times, lightly dropping to the ground. For the uninitiated, "V" is not about the number 5, but about playing with space and patterns. The dancers find ways of creating the V, then other formations. The evening is dramatically charged, from the use of live music to the bold lighting and costumes and especially to the dancers, whose sense of humor and light-heartedness easily transfer to the audience.

Aspen Santa Fe Ballet by Amy Meek
Jacob’s Pillow, Becket, MA - www.jacobspillow.org
Jacob’s Pillow, which is America’s longest-running dance festival, has once again put together an eclectic, thought-provoking summer schedule of shows. The festival was a 2010 National Medal of Arts honoree, and it continues to provide Western Massachusetts with an array of top international dance companies and choreographers. The Aspen Santa Fe Ballet has appeared at the Pillow numerous times, because audiences love the unique energy and diverse repertory of the company. This night was no different, and the dancers kept the audience engaged with a program of three commendable works. The first piece, "Uneven," was choreographed by Cayetano Soto and displayed the dancers moving throughout the space with each other in complex shapes. They showed great control, strength, and agility in both solo and partner work and moved from curved to angular movements with fluidity and sharp accented beats. The dancing was enhanced by the beautiful cello music played by Kimberly Patterson, and the dramatic lighting and costumes. "Stamping Ground" was created in 1983 by Jiri Kylian, an internationally acclaimed choreographer, based on traditional Aboriginal dance. The work explored the interplay of movements between percussion rhythms and silence. The mix of power and timing by the dancers made this an exciting and humorous work to watch. The last piece of the program, "Red Sweet," was choreographed by Jorma Elo. It is a work often performed by this company which showcased classical ballet technique, although blended with contemporary and some hip-hop dance.The choreography was playful and complex and a light ending to the show. Judging from the enthusiastic response from the audience, this company remains a favorite to watch at the festival.

Film Night by Shera Cohen
Tanglewood, Lenox, MA - www.bso.org
Standing at the maestro’s podium, John William turned from facing the Boston Pops Orchestra to see his audience of at least 100,000. He asked one simple question, “Isn’t this a magical place?” The response? Cheers, clapping, foot stomping, and every form of verbal accolade imaginable. This throng of percussive action continued throughout Film Night at Tanglewood. The shed was packed, as was the lawn with only inches of grass between patrons. More than any other year, it seemed as if many t’weens and teens populated the concert. It was wonderful to see them. John Williams needed no introduction on stage or now. As several overhead screens lowered, the conductor held his baton high and immediately led his orchestra through “Hooray for Hollywood.” To a fast paced montage of movie clips from the past 90 years, it was a toss-up as to which the audience liked better – the music or the movies. But this was no contest. The night was all about movie music. Throughout the concert, other lengthy film compilations filled the screens. The Salute to Westerns began with a rousing “The Cowboys,” followed by the whispery “Dances with Wolves,” culminating with “How the West Was Won” with split second edits of actors from Tom Mix to Jeff Bridges. Of course, John Wayne got a lot of screen time. A surprise montage, accompanied by the theme from “Sabrina,” delighted the audience in a remembrance of Audrey Hepburn. During The Tribute to Film Composers, it was no surprise that approximately one-quarter of the movie scores were those of Williams. Yet, this man is so humble and self-effacing. He shared all clapping and cheering fully with his orchestra, as the musicians rose each time at his insistence, especially after the “Star Wars” finale (a medley of all six SW movies). Was all of this enough for one of the finest concerts ever performed? No. Actor Morgan Freeman poetically narrated the story of “The Reivers” to Williams’ score; violinist Gil Shaham lovely played a trio of pieces from “Shindler’s List” and then exuberantly dove into the entire overture of “Fiddler on the Roof.” Yes, Tanglewood is magical, as is the Boston Pops and music genius John Williams.

Wittenberg by Robbin M. Joyce
Chester Theater, Chester, MA - ww.chestertheatre.org
The slings and arrows of the conflict between Faith and Reason may seem a sea of troubles, but it makes for entertaining theatre. David Davalos has created a very witty play, set as a “prequel” to Shakespeare’s "Hamlet" that will delight even those who don’t appreciate the Brooding Dane. Byam Stevens, along with a highly creative production team, has created a university setting wherein Hamlet seeks guidance from two renowned professors: John Faustus and Martin Luther. The set, complete with stone buttresses and heavy wooden doors creates a feeling of weight , while the compass painted on the floor could be symbolic of Hamlet’s need for direction. The lights expertly change with hardly a notice, but punctuate the gravity of the topic at hand. Joel Ripka, as Hamlet, allows the Elizabethan language to trip off his tongue and plays a suitably ambivalent Hamlet. Aubrey Saverino skillfully portrays all of the female characters, from a bar-maid to a defrocked nun to the Virgin Mother. Kent Burnham, as Luther, fairly portrays the father of the Protestant Reformation with a graceful strength of character and conviction. But it is James Barry, as Faustus, who steals the show. His engaging demeanor, combined with a mastery of his own presence and his relationship to his fellow actors, is a joy to watch. He lithely draws a willing and appreciative audience into the arguments between Faustus and Luther, and plays a mean lute to boot. This is a clever, creative play that allows Faith and Reason each their own valid argument, but justifies neither. It’s full of smart wordplay and sharp retort, with a nod to the work of The Bard himself. To see, or not to see, that may be the question; but see with most wicked speed.

Autres Temps by Shera Cohen
Wharton Salon, The Mount, Lenox - www.whartonsalon.org 
In its third year, the Wharton Salon troupe continues to mount one Edith Wharton short story each summer. Dennis Krausnick, once again, has adapted the work of Wharton into play form. While the productions of 2009 and 2010 depicted Wharton’s style, purpose, and stories admirably, this year’s “Autre Temps” fails to do Wharton or Krausnick justice. Celebrating Wharton’s 100-year old piece by staging it in what was once her stable, makes this the ideal and intimate venue for this relatively new and small theatre group. Many of Wharton’s novels and stories focus on the mores of a century ago, class, society, social change vs. tradition, oftentimes reflected through the subject of divorce. The characters, setting, and plot of “Autre Temps” fit the Wharton mold. This was an era when divorce was shameful, and the divorcee was often annihilated from social circles – essentially making her entire purpose for life worthless. Knowing that Diane Prusha (a Shakespeare & Company acting veteran) was the star showed high promise for the play. Unfortunately, even Prusha cannot pull it all together into a cohesive drama. Basically, the production is just not ready. Actors stumble on lines and many are inaudible (even from the fourth row), either the direction is sluggish or the actors or both, set areas are unused and set changes take much too long. Some important theatre elements are ignored; i.e. the audience’s seeing props when a stage door is opened, actors prematurely and inappropriately moving in anticipation of dialogue. Now, perhaps this third day of performance happened to be an especially bad day for cast and crew? The play’s French title means “Other Times.” From past experience, it is clear that the Wharton Salon is more than capable of wonderful productions. However, those were “other times” which, hopefully, can occur again next summer.

The Game by Walter A. Haggerty
Barrington Stage Company, Pittsfield, MA - www.barringtonstageco.org
“The Game” is the not-to-be-missed event of the year. “The Game” is not just one more light summer musical. It is pure theatre magic in every way. It is in a word – sensational! Based on an 18th Century novel, “Les Liaisons Dangereuses,” the story follows the scandalous misadventures of a fascinating assemblage of French aristocrats. It relates the sometimes amusing, but ultimately tragic outcome of their “game” when one woman’s manipulative actions unleash a tidal wave of events that result in devastating consequences. The score is magnificent. The music by Megan Cavallari is varied and richly melodic. The book and lyrics by Amy Powers and David Topchick, traverse a game of subtle intrigue, moving from light and frothy early moments to deeply moving, even tragic results. Director Julianne Boyd has guided her fantastic company through their dangerous games making every move precisely the right one for each occasion, heightening the audience involvement and sympathies.
Rachel York is giving the performance of a lifetime with flashing smiles and eyes that could strike lightening into the heart of any adversary. From seductive teasing to vengeful manipulation, she is outstanding. As Vicomte de Valmont, Graham Rowat ranges from an amusing cad to consummate villain without missing a beat. Amy Decker’s shattering performance of her “My Sin” aria is a moment that will surely remain engraved in the memories of every member of the audience. Joy Franz as Madame De Rosemonde is a delight in the amusing repartee of Act I, but reveals a distinctly chillier side in Act II. Chris Peluso and Sarah Stevens as the young lovers are perfection, as is Christianne Tisdale as Madame de Volanges. The opulent costumes of Jennifer Moeller, together with the sumptuous scenic design of Michael Anania, give “The Game” a level of elegance rarely, if ever, matched in a summer theatre production. In short “The Game” is marvelous on all counts and should not be missed by anyone who appreciates great theatre.

Footloose and Fancy-FULL by R.J. Nickerson
North Shore Music Theatre, Beverly, MA (produced in association with The Cape Playhouse, Dennis, MA) thru August 28 - www.nsmt.org
North Shore Music Theatre is cutting loose - FOOTloose, and it is a non-stop, fast-paced, energetic romp that should not be missed.  Taking us all back to the '80s in color, costume and content, Footloose is the story of a young man, Ren, who moves from Chicago to the "hick" town of Bomont where he turns things upside down and inside out before he brings the long-suffering community back together as a town. Featuring headliner (and NSMT favorite) George Dvorsy as Reverend Shaw Moore, this cast hasn't a weak link in the bunch.  Something is to be said for an ensemble show...that acts like an ensemble!  The fun onstage was more than shared by the audience, and each actor shined with individual moments to make every kid (and every grown-up) get their time in the spotlight.  John Jeffrey Martin won hearts the minute he walked onstage with a playful and charming 'Ren'.  The lovely Chelsea Morgan Stock was perfect as defiant 'Ariel'...and can we just talk about Matthew Dorsey?  Let alone his commitment to his quirky character throughout, numbers "Mama Says" and "Let's Hear it for the Boy" were throroughly enjoyable as we watched 'Willard' go from 'meek little geek' to charming and sleek'!  The supporting characters as a whole were united and strong; never disappointing.  And Maureen Brennan's sincerety as 'Vi' was truly touching.  The pairing of Brennan and Dvorsky was a beautiful, emotional match.  Eric Alsford deserves a cheer for some amazing harmonies, and choreographer Vince Pesce brought exciting, lively and non-stop movement - which was all expected when you go to see a toe-tapper like this show!  A shout out to Director Mark Martino, too, for understanding theater in the round and making ALL scenes accessible to all sides - subtle position shifts by actors throughout musical numbers, constant movement in staging without making anything un-natural - very well done. Kick up your heels, break out your best shoulder pads and dance your way to Footloose at NSMT.  You're guaranteed to leave the house invigorated.

As You Like It by Shera Cohen
Shakespeare & Company, Lenox, MA thru September 4, 2011 - www.shakeskpeare.org
The audience at Shakespeare & Company certainly likes it very much – “As You Like It,” that is. This is of Shakepeare’s best known comedies with characters, script, and length which make it accessible to those who might feel terrified by anything written in the 16th century. As is typical of the Bard, the central story unfolds (along with secondary plots) to eventually weave the stories together into one happy ending. That is not a “spoiler alert,” since everyone knows that these comedies end with kisses and promises of a joyous future. They also include major elements: disguise, mistaken identity, banishment, love at first sight, a fool, country bumpkins, dukes, a palace, usually a forest, and our hero and heroine. In the case of this troupe, double and triple roles are the norm. Yet, audiences are never mistaken as to which character is acted at the time. Director Tony Simotes takes on double duty, not only at the helm of “As,” but other plays at this venue which perform in repertory. Simotes is a master at executing comedic timing. While slapstick abounds, it is the characters and their relationships that are paramount, and from these come laughter. Simotes has a dream cast, with Merritt Janson in the lead role. This actress has successfully portrayed dramatic characters in the past (Desdemona in “Othello”), but her forte is comedy. She creates a charming, intelligent, coy, witty, sad, and purposeful Roselind. Janson is surrounded by dream cast veterans Jonathan Epstein, Jonathan Croy, Johnny Lee Davenport, Malcolm Ingram; and newbies Jennie Jadow, Tony Roach, and Kevin O’Donnell. Credit must be given to the unseen players – the backstage folk who make it all look easy and flowing onstage. Founders Theatre stage is a long rectangle, so shaping a play has pluses and minuses. The set are numerous toy-size buildings, bridges, castles, etc. placed on the floor and moved about as the action moves. Certainly clever, the decision undoubtedly puts the focus on the people vs their surroundings. The costumes are a fun mix of 16th century, present day, and anytime. Music and full ensemble dance begin and end the play. “As You Like It" is very likable.

Ozawa Hall Concerts by Michael J. Moran
Tanglewood, Lenox, MA thru August - www.bso.org
The largest audiences at Tanglewood attend the weekend programs by the Boston Symphony Orchestra in the Koussevitzsky Music Shed. But comparable pleasures await listeners who attend the many smaller-scale concerts presented, usually on weeknights, in the more intimate setting of Seiji Ozawa Hall. The same world-class soloists who perform on weekends often come early or stay on to present standard repertoire pieces from novel perspectives. July, for example, featured a stellar evening of the Emerson String Quartet playing the last quartets written by Haydn, Bartok, and Schubert. Their technically flawless performances were given added emotional weight by the knowledge that these final statements in this medium were made late in each composer’s life. The following week, Jean-Yves Thibaudet (the soloist in both Ravel concertos that Sunday) played Ravel's complete music for solo piano over two evenings. Even listeners who caught only one program were treated to insightful performances of such comparative rarities as the complete “Miroirs” suite and the exquisite miniature “A La Maniere de Borodin,”which sounded more like a product of the Russian master himself than Ravel. A special treat two weeks later was the opening concert of the 2011 Tanglewood Festival of Contemporary Music in which Festival Director Charles Wuorinen led an ensemble of Tanglewood Music Center (TMC) vocal and instrumental students in two of his own works, including the world premiere of “It Happens Like This,” a “cantata” setting seven whimsical poems by James Tate. The music was delightful and surprisingly accessible, and the performances expert. In an August 10 concert by “Stephanie Blythe and Friends,” the mezzo-soprano, who started her career as a TMC student, shared the stage with her “friends” John Oliver and his Tanglewood Festival Chorus and several instrumental soloists in two works written for her by Alan Louis Smith, including another world premiere. But perhaps the high point of the evening was her soaring a capella rendition of Lowry’s “How Can I Keep from Singing?” The most heartening aspect of Ozawa Hall concerts may be the large contingent in every audience of TMC students, the future of classical music.

Open Marriage by Shera Cohen
Ventfort Hall, Lenox, MA thru September 3, 2011 - www.gildedage.org
For the past several summers, Ventfort Hall has hosted a one-woman biographical play. Except for history buffs, the subject is a person unheard of, yet important as one of colorful people who populated the Berkshires. This is the case with “Open Marriage,” the life of Elsie Clews Parsons – a woman ahead of her time, highly educated, and a free-thinker. Being a wife and mother did not curtail her pursuit of unconventional adventure in her travels and in her bedroom. Z“Open Marriage” is the labor of two women to design one success. Writer Juliane Hiam has penned the last three Ventfort plays. In the matter of 75 minutes, Hiam and Undeland create Elsie. The character not only ages, while never changing makeup, but also manages to keep one foot in the 21st century and the other in the early 20th. Undeland is obviously wedded to her role. She is this woman, particularly as she involves audience members in the script. Last year’s play was mounted in a semi-circle alcove in Ventfort’s large entry. The setting was intimate and ideal for a small audience. Elsie, however, walks and trots around the library where the audience sits cabaret style. As much as this new venue perhaps evokes the character’s free life – through the actress’ movement and direct interaction with everyone in the room – the problem of where to watch the character is unanswered. Elsie is certainly a woman to keep one’s eyes on, but it literally means constantly turning in your seat, craning your neck and/or moving the chair. Return to the alcove. Ventfort is a hidden gem with much history, some of which is linked to JP Morgan. A suggestion is to plan time before the play to tour the Hall. The Berkshire Designer Showcase (runs through the fall) permits 14 local decorators free reign of one room each on the entire second floor. “Lovely” describes this summer mansion. Also, lovely is young teen tour guide Victoria Mason, who has drenched herself in knowledge of Ventfort since she was age 7. She is articulate and eager to tell the stories of the home and its former residents. And, if there’s time, check the amazing doll exhibit.

A Quartet of Plays: 1 Hound, 2 Gents, Twins & Molly by Shera Cohen
Shakespeare & Company, Lenox - most through September 4, 2011 - www.shakeskpeare.org
Read Spotlight’s review of “The Hound of the Baskervilles” from 9/30/2009 . Ditto. The production of this fast, furious, and funny play replicates its success of two years ago. The only significant change is the move from the Bernstein Theatre to Founders Theatre. The latter offers room for additional set surprises. The trio of humorous actors – Ryan Winkles, Josh Aaron McCabe, and Jonathan Croy – coupled with direction by Tony Simotes, make for a play worth seeing at least twice. “Two Gentlemen of Verona” is a romp with the Actor Training Performance Intern Company. All of the usual Shakespeare stuff fills this comedy: mistaken identity, banishment, love at first sight, a forest, women disguised as men, a duke or two, and a happy ending. The outdoor Rose Footprint Theatre is home to “The Venetian Twins.” While this Moliere-ish farce could have been penned by The Bard, credit goes to Carlo Goldoni. And, since names are being dropped, keep watching David Joseph – a young actor with charm, versatility, and a singing voice to match any tenor. In the starring dual role (after all, these are identical twins), Joseph is a powerhouse as he runs through the tented stage and spouts hilarious lines. Deftly adapted by the troupe’s talented team of Jonathan Croy and Jenna Ware, the play is easily appreciated on two levels, with puns and asides for adult viewers and straight laughs for younger audience members. BTW, take a look up at the left corner of the tent top to see mother bird feeding her offspring in their nest. How she and the babes contend with ruff ‘n tumble antics of “Twins” is remarkable. The one woman show, “Red Hot Patriot: The Kick-Ass Wit of Molly Ivins,” started this week on the Bernstein stage. Who else but Shakespeare & Company’s founder/actress Tina Packer could play such a profound, funny, and big role? Packer gives life to the real Molly, a political journalist of note for several decades. On any given day except Mondays (even actors need a day of rest), this company mounts at least five plays per day. Whew!

Touch(ed) by Barbara Stroup
Williamstown Theatre Festival, Williamstown thru August 14, 2011
“Touch(ed)” is a fine two act play that explores the difficulty of psychiatric decision making when there is conflict between professionally-prescribed care and a common sense intuitive, approach. But that clinical description fails to describe the well-crafted drama presented here: playwright Bess Wohl places two sisters, Kay and Emma, and Kay’s caring boyfriend in an isolated cabin. Kay, the caretaker for 10 years, transports “Penelope” (or Emma, or Madeline) out of institutional care for a week’s trial in the real world. Boyfriend Billy comes along to help. Wohl balances drama and comedy perfectly, and has an uncommon ear for dialogue that is believable. These three characters are so accessible that they could be a friend or relative of any audience member. Yet their development has multidimensional complexity with each changing as they each see a more nuanced view the world. The actors – Michael Chernus, Lisa Joyce, and Merritt Wever – in inhabit their roles fully and live in Wohl’s dialogue with compelling comfort. Sensitive to each other, both laugh lines and serious lines work to move the piece forward at an appropriate pace. Without making a caricature of mentally ill people, Wever shows enough expression, gesture and posture to recognize the illness and effects of medications. In Act I, Emma dislikes any touch, and stares at the spot on her sleeve that Kay’s fingers forgetfully inhabited for a micro-second. By the climax, she is reaching out herself. Joyce goes from chirpy, nervous and controlling to angry, burnt-out exasperation and finally to subdued acceptance. Chernus possesses an intrinsically interesting vocal quality that he uses with skill for both comedy and pathos; he was an instantly likable Billy. His character sees the artist in Emma but also supports the controlling caretaker in Kay; Chernus’ interpretation makes all of this work. The set shows both the inside and outside of the cabin, and a dramatic change in its position contributes to the play’s climactic ending. These are three characters that try to do their best as they deal with problems anyone could face. The viewer feels enriched by having met them.

Romeo and Juliet by Shera Cohen
Shakespeare & Company, Lenox through September 3, 2011 - www.shakespeare.org
Just when you thought it was safe to go to the theatre, there it is again – “Romeo and Juliet” (R&J). Lovely, tear-jerking, and meaningful the first time around; mandatory reading in high school and then in college; movie versions produced every decade (whatever happened to Olivia Hussey?); and numerous 20th century adaptations make R&J synonymous with the name of Shakespeare.  BUT, R&J’s return in the Berkshires this summer is definitely worth another look. Boasting a huge cast with young R&J actors (they looked 14, which is the age the doomed lovers should be), director Daniela Varon focuses on the characters. This is no whitewash of Capulet vs. Montague families and a variety of others who populate the stage. Every role is uniquely human. Their names are remembered. Each comes with baggage to create fully fleshed people. Of course, there’s R&J – David Gelles and Susannah Millonzi. Both are Equity actors who come with experience. However, they portray naivety, joy, wonder, giddiness, and passion. There is not an audience member alive who does not know the play’s finale, and yet we watch and wait as if unknowing. One young teen boy was overhead afterward saying, “I was really hoping they were gonna’ make it this time.” He echoed the thoughts of many. The stage is stark with a woman’s eyes viewing the audience, the actors dress in white (save for the party scene), the time is the 1500’s or 21st century…it doesn’t matter. Of particular note is the superior acting of Kevin O’Donnell (Mercutio), Starla Benford (Nurse), and Walton Wilson (Friar). These are important characters, so it’s no surprise that skilled actors were cast. Here, again, the actors develop true, living, hurting people. O’Donnell’s Mercutio oozes the tortured man whose bravado often makes him uneasy to observe. Benford’s Nurse sasses in a spirited and keenly intelligent demeanor beyond her station. Wilson ’s Friar ebbs between his devotion to man or to what is holy. Yes, this R&J is very safe, warm, shocking, and new at Shakespeare & Company.

Turn of the Screw by Robbin M. Joyce
Chester Theater, Chester, MA thru August 14 - www.chestertheatre.org
There is nothing as fearsome as what the imagination can conjure. Jeffrey Hatcher has taken a story, plucked from the imagination of Henry James, and created an 80 minute psychological thriller that, under the direction of Daniel Elihu Kramer, will seduce even the most skeptical of audience members.  The stage is bare, except for a single Victorian chair lit from below with eerie, gas-style footlights. It is framed by floor-to-ceiling shutters in such a state of disrepair as to simultaneously create a haunted feel and provide a frustrating partial glimpse of the world outside. A low bass note punctuates the tale with an other-worldly resonance. The story begins with the Narrator, Justin Campbell, relating a story told to him by his sister’s Governess. As the story unfolds Campbell deftly becomes multiple characters: the Master, the Housekeeper, the Nephew and even provides vocal sound effects. Campbell moves through his characters with ease, creating a seductive employer that’s as believable as his precocious little boy is. Alison McLemore, as the Governess, takes the audience on her descent into madness. From her appearance as the naïve prospective employee to the self-proclaimed heroine who will save Miles’ soul at any expense, McLemore carries her role with an intensity that expertly drives the tension of the story. That tension makes this play worth seeing. Does the Governess really see the ghosts of her predecessor and the Valet? Are the ghosts trying to possess the children? Is she? The audience is left as frustrated by these unanswered questions as a sexually-repressed, Victorian-age woman would be. But that is the beauty of this play; it’s left to the viewer’s imagination to decide just how horrific and thrilling it really is.

Capitol Steps 2011 by Shera Cohen
Cranwell Resort, Lenox, MA thru September 3 - www.capsteps.com
It should be no surprise that In the Spotlight’s reviews of Capitol Steps tend to be repetitive. Year after year, it’s the same show, format, music, and usually the same ensemble. But, this is a good thing, a very good thing. Take a solid production template and tweak it with new material and Capitol Steps can be enjoyed again and again. Past Spotlight reviews (written by this critic) included adjectives and accolades like: satirical, humorous, irreverent, lively, hilarious, energetic, and a treat. The quintet of comedians/singers (3 men, 2 women) and one pianist give a 90-minute, non-stop, laugh-a-thon on news headlines, primarily focusing on happenings in DC (thus, Capitol Steps). No one is safe from salacious lyrics set to familiar Broadway and pop music tunes. Donned in cheesy costumes and wigs, the actors do their best to look like Obama, Hillary, Bill, Joe, and Sarah. Immediately and “magically” they transpose into Quadafi, Charlie Sheen, Donald Trump, various Cabinet members, and all of the current Republican Party candidates. Yes, all…the actors take dual roles. The topics are predictable in dozens of mini-scripts: the national debt, the Tea Party, airport pat downs, tree huggers, and homeland security. The troupe laughs at the audience and vice versa. There are just too many songs to remember, but “How Do You Solve a Problem Like Korea ” (think “Sound of Music”) is an example. Every show ends with a hilariously long monologue by one of the quintet. He essentially speaks backwards, juxtaposing letters, in fast motion. With twisted malaprops (isn’t that redundant?), it takes a keen ear to catch every joke. Yet, when it seems nearly impossible to understand this speedy repartee, it’s ultimately clear and very, very funny. Things are simple at a CS show: the set is a backdrop of the logo, the stage is an elevated platform, the room is a large windowless basement, the seats provide poor sight lines, but on a 90 degree day it’s pleasantly air-conditioned. Forgive and forget the amenities of which there are next to none. Just as the news changes daily, Capitol Steps is the show to see repeatedly.

A Doll’s House by Shera Cohen
Williamstown Theatre Festival, Williamstown, MA - www.wtfestival.org
“If it ain’t broke, etc.” is the dictate Sam Gold should have adhered to in his direction of “A Doll’s House.” Why take a classic (by Henrik Ibsen) and modernize it in look, language, and feel? It doesn’t work on many levels.The story is Nora’s, a woman so influenced by her husband’s subtle yet strong hand of righteousness that she becomes childlike. She is his little squirrel as she crawls along the floor playing with her own children. Outside circumstances and people challenge her status. The audience waits for what should have been an extremely tense and dramatic outcome. Lily Rabe (Nora) holds the entire play together, not only literally as she appears in every scene but one, but figuratively. She portrays a young woman whose nerves are raw, on the brink of becoming insane. Rabe’s Nora appears frivolousness, yet smolders underneath. The audience feels for her plight and her future. As excellent as Rabe is in the difficult role, one questions why this particular actress was cast. She is tall and has a deep voice – neither of which connotes a child, particularly when playing against a man of equal stature. Yet, thank goodness that Rabe was hired. Actors appear primarily as sounding boards to Nora. Josh Hamilton (husband Torvald) needs an injection of meanness infused into his character; Lily Taylor (Nora’s friend) should reach her potential to make Kristine sympathetic; Adam Rothenberg (“threatening man”) is effective as a distraught man, yet the cadence of his speech is staccato; and Matthew Maher (Dr. Rank) is lost between humor and weirdness in Ibsen’s emotionally tortured character. The fault, dear audience, lies in the direction. The set depicts an old, stylish apartment complete with library and beach-like furniture. The sex is too playful touch and tickle. The kids and dog scene can be cut. Most importantly is the ending. Nora’s sacrifice is paramount and succinct. The scene drags endlessly, tells the audience what we already know, and emphasizes Torvald instead of Nora. Not good. This, being opening night, leaves time to make improvements. WTF is such a respected theatre venue, that the alterations are very possible.

Sylvia by Barbara Stroup
Berkshire Theatre Festival, Stockbridge, MA
In a twist on the usual scenario - "Please Mom, can we get a dog?" - A. R. Gurney lets his mid-life protagonist propel the expansion of the family in this light-hearted play at Berkshire Theatre Festival. The real center of the play is Sylvia, the dog herself, played by (human) Rachel Bay Jones. Jones captures the antics and habits of everyone's favorite pet with her large eyes and expressive face. If dogs make the best people, Jones definitely makes the best dog. Greg's attachment to Sylvia is immediate and adoring - he is clearly a man in love. Sylvia adores him back. David Adkins plays Greg, and to his credit, is an unflinching recipient of licks and love attacks from Jones, the 'dog.' Dog lovers usually welcome these canine expressions of affection with joy, but it takes a real actor to welcome them from a human! The conflict in the play arises from the reaction of Kate, Greg's wife, and her attempt to keep the couple on the path they had mapped out for this child-free stage of their lives. Kate is played sternly by Jurian Hughes. The director dresses her in neutral no-nonsense business wear, just in case we need reminding that this lady has a Plan. Three supporting characters appear, and all three are played with comic excellence by Walter Hudson. Tom, a dog owner, counsels Greg about spaying. Phyllis, an old friend, gives up abstinence after an encounter with Sylvia. Leslie, a psychotherapist, hides all gender clues in his counseling practice, and then challenges Greg to 'guess.' These characters take the play out of the living room making them a welcome addition to the narrative, especially because of Hudson's talent for bringing them to life. The play becomes a musical at one point, with a trio of "Every Time We Say Good-bye I Die a Little" - a seriously sad song given a comically bizarre twist. The playwright resolves the conflict off-stage making the final epilogue seem a bit anti-climactic, but the play deals nicely with the pleasure and peril of canine companionship and its effect on a human relationship - while dispensing nicely with cats!

Dinner with Friends by Jennifer Curran
New Century Theatre, Northampton, MA
“Dinner with Friends” was first presented won a Pulitzer Prize in 2000. The play focuses on two married couples who vacation together, dine together and raise their children together and what happens when one of the marriages ends seemingly abruptly. The upper-class Gabe (Sam Rush) and Karen (Kathy McCafferty) is the couple trying to understand what happened to their friends’ marriage and more importantly, what that says about their own lives and partnership. As Tom (David Mason) and Beth (Brianne Beatrice) let go of their union and reveal the truth about their lives to their friends, Gabe and Karen are left struggling to deal with possible weak spots in their own marriage. With beautiful set design by Jacquelyn Marolt that puts the audience smack dab in the middle of Connecticut suburbia or the coast of Martha’s Vineyard, gorgeous lighting by Daniel D. Rist and understated costume design by Emily Justice Dunn, everything is in place to create a perfect playground for willing and capable actors. It’s always surprising when a professional theatre fails to remember some of the basics. The director’s hand is seen in awkward movements and blocking which gets in the way of the action. In moments that were clearly written to be light-hearted to reveal an unspoken intimacy or the closeness of the characters, the lines tend to fall flat or sound over-wrought. That isn’t to say that there isn’t much to like about “Dinner.” David Mason provides a man reborn in his flawed but lovable Tom. Sam Rush’s Gabe offers a reaction to his friend’s departure from assumed domestic bliss with just the right amount of horror and hurt. There a person in the room who wasn’t silently cheering for Brianne Beatrice’s Beth as she offers up some brutal honesty to her friend Karen. And then in the center of it all is Karen herself. Kathy McCafferty’s performance is excellent. Her character’s desperate need to hear the words, to feel the feelings, to be reminded that it is in fact all worth it in the end is as universal to marriage as car pools and dinners with friends.

World Premiere Tarzan Swings at NSMT by R.J. Nickerson
North Shore Music Theatre, Beverly, MA thru 7/24
Bill Hanney's North Shore Music Theatre is presenting a World Premiere production of the Disney musical, TARZAN.  Written by Tony Award-winner David Henry Hwang, who wrote the musical's book based on both the 1999 Disney film and the original Edgar Rice Burroughs story "Tarzan of the Apes,"  Hwang worked directly with NSMT to revise the Broadway script. As most of us know, Tarzan tells the classic tale of a shipwreck that leaves an infant boy orphaned on the shores of West Africa. The helpless baby is adopted and raised by the mate of the leader of a tribe of gorillas who is grieving the loss of her baby. As he grows and matures, the boy yearns for acceptance from his ape father and to discover the reason for his uniqueness. Eventually he encounters his first human - Jane - and all of their worlds are transformed.  The cast of TARZAN is led by Broadway's Brian Justin Crum in the title role. 100% invested in his role, Crum was outstanding in his physicality, character and emotion. Innocent and naive one second, proud and strong the next, this role calls for an actor to run the gamut, and Crum not only ran it...he swung it. I have to note, a patron next to me commented, "Oh, I wish he'd straighten up," to which I had to reply, "Would you if you had been raised since birth by gorillas?"  From start to finish, Crum was... well, simply put - a primate. This was outdone only by his flawless vocals. Also a standout was Christopher Messina as Tarzan's sidekick, Terk. Ever so thankful to get the voice of Rosie O'Donnell out of my head, I found Messina's Terk thoroughly enjoyable to watch. His energy was perpetually high as he made his way about the stage, whether it be on all fours, tumbling, or swinging from a vine...which he seemed quite adept at.  I was very surprised to read that this was Messina's first professional musical production, but I will not be surprised to see many more in his future. A shout out to all in "Trash the Camp," which was too short, but wonderful still. Also worth noting, Robyn Payne (Kala), Todd Alan Johnson (Kerchak) and Jay Russell (Professor Porter). The touching "Sure as the Sun Turns to Moon" between Kala and Kerchak was playful and loving, and the Professor was beautifully understated but ever present. A character unto itself was the brand new 14-piece orchestration of the Oscar and Grammy Award-Winning music written by Phil Collins, conducted by Anne Shuttlesworth. Sadly, there are too few full company numbers, as those (specifically "Two Worlds" and "Son of Man") were by far the strongest overall. As an ensemble, this cast soared vocally. Enhancing the orchestra and cast were also added pit singers, one of whom being Massachusetts-native Alex Newell, currently of Oxygen's "The Glee Project" fame. I would prefer a CD of the NSMT company vocals over the Broadway CD. Tarzan is directed by Bill Castellino, who is making his NSMT directing debut. At times, I questioned choices made. For example, section 7 was blocked by Terk on the hanging ladder during Kerchak's final moments. Also, perpetual vines pretty much throughout were great for keeping us in the jungle, but they were very under utilized. Lastly, having some ensemble members in vague basic costumes (as the fruit hangers and later the carnivorous plants) made them seem like "other random people in the jungle".  My son, a '9-year-old theater kid' asked why those men were holding the fruit on that vine. He also did not recognize (nor did I) the different between the gorillas and the panther. Again, commented from son, "Why did that gorilla attack the family? That's not in the story."  Regardless, very much enjoyed were the use of screens and projections for "I Need to Know," the scenes of Tarzan's original family treehouse, and of special note - Kala and Terk's scene that actually took place in the house - wish there could have been more of those to further include the audience. Tickets for TARZAN are priced from $35 - $65. Kids 12 & under save 50% at all evening performances (though I might warn parents of an under 6 attention factor). Performances run Tuesday thru Thursday at 7:30pm, Friday and Saturday at 8L00pm, matinees Wednesday, Saturday and Sunday at 2:00pm. For tickets and information call (978) 232-7200, visit www.nsmt.org, or visit the box office in person at 62 Dunham Road.

pride@prejudice by Robbin M. Joyce
Chester Theater, Chester, MA through July 17
How great would it have been to have a Smartphone years ago when slogging through the dreaded list of required reading in high school? Writing essays, book reviews, reports and term papers would have been a breeze; perhaps even enjoyable. Sitting in the audience of Chester Theater Company's presentation of pride@prejudice was almost like having that information available. Daniel Elihu Kramer delights the sold-out house with his adaptation of Jane Austin's novel, Pride and Prejudice. He carefully culls the important scenes from her storyline and cleverly interjects them with commentary, exposition, letters by Austin, questions from the audience and even some web-surfing and chat room conversations.  The five cast members -- Aubrey Saverino, Gisela Chipe, Jay Stratton, Michele Tauber and Colin Ryan -- all move among 30 characters with ease and aplomb. Despite the fact that Jay Stratton, for instance, plays both Mr. Darcy and Mr. Collins, the audience never for a moment is confused about which of Elizabeth's suitor is which. Indeed, we see all the major characters, several minor ones, the author herself and a plethora of frustrated high school and college students. This is a delightful production and one not to be missed. It breathes new life into a beloved story, and very well could inspire a re-reading of the novel. The only question left unanswered is the nature and outcome of Austin's relationship with Tom Lefroy. Perhaps we should Google it.

moonchildren by Jennifer Curran
Berkshire Theatre Festival, Stockbridge, MA through July 16
Michael Weller’s moonchildren opened on Broadway in 1972 to small audiences and rave reviews. There have been scores of plays written about the 1960's, but precious few that get it right. Moonchildren isn’t about tie dyed shirts or love beads; it is as rich and complicated as the time. Weller’s decision to choose a tiny slice of an era allows his audience to go beyond picket and peace signs. With scenic design by John Traub and costumes by George Veale, the mid 1960’s are brought to life in the most real way possible. The play itself is complex and its characters can feel just out of reach. Viewers go home without learning who everyone truly is or where they come from. The direction by the very talented Karen Allen bridges those gaps and allows the characters to take on lives on their own. The impeccable comedic timing of Joe Paulik (Mike) and Matt R. Harrington (Cootie) drive the show. In a master’s class of one-upmanship and rapid fire one-liners, Paulik and Harrington are brilliant. The two actors play so well together they could easily steal every scene, that they don’t is mostly due to Hale Appleman. Appleman’s Bob, the center of the story, is played with an understated grace and powerhouse of emotional reserve. The audience can see the rising frustration and fear and anger at the changing tides in Bob’s world. We watch as Bob struggles to find his way through death, both figuratively and literally. As a story about growing up, generational gaps and the certainty of change, moonchildren is a rarity. It defies its time and is as relevant today as it was in 1972. The casting is spot on and nary a weak spot to be found.

Broadway Classic, Alive and Well in the Berkshires! - Guys and Dolls by Walter A. Haggerty
Barrington Stage Company, Pittsfield, MA through July 16, 2011

If you’re looking for the perfect musical (or just a great evening’s entertainment), look no farther than the Barrington Stage Company’s staging of the classic, “Guys and Dolls,” on through July 16. There’s no question that this ageless Frank Loesser, Jo Swerling, Abe Burrows blockbuster has earned its classical status and is counted among the greatest of all Broadway musicals.  In its current revival, superbly directed by John Rando, it has been given a swiftly moving, meticulous production that scores on every level. When laughs start during the choreographed overture, the audience members know instantly that it is in good hands.  This “musical fable of Broadway,” inspired by a host of colorful Damon Runyon characters, features a quartet of youthful performers with impressive Broadway credits. Michael Thomas Holmes’ Nathan Detroit has the audience as well as Miss Adelaide, well within his grasp from the moment he steps on stage. Leslie Kritzer delivers an incomparable performance as Miss Adelaide capturing every ounce of humor without missing a beat (or a bump). In a second act duet, this couple hold a note so long that it would have rocked the Met. Morgan James as Sarah Brown sings beautifully and handles the transition of her character, from cold to hot, with style and sensitivity. Matthew Risch gives Sky Masterson class and believability with a flawless interpretation.  As impressive as the principals are, every role is cast with care and directed and performed to perfection. From Daniel Marcus as Nicely-Nicely Johnson’s show-stopping “Sit Down, You’re Rocking the Boat” to Gordon Stanley, as Arvide Abernathy, singing “More I Cannot Wish You” to Miss Sarah, each performer becomes a real individual with his or her own personality. Even the ensemble members become distinct, individual characters.  The choreography of Joshua Bergasse is extraordinary in its range and complexity. From sets and costumes to a first rate orchestral accompaniment, this production bodes well for a great summer of entertainment in the Berkshires. Bravo to all!

My One and Only by Shera Cohen
Goodspeed Opera House, East Haddam (CT) thru June 25, 2011

Goodspeed continues to make the best British musical comedies even better. The production qualities of such classics as “Babes in Arms,” “Me and My Girl” and “The Boy Friend” – at Goodspeed in the past decade – are equaled by those in “My One and Only.” Considering that the familiar music is by Who’s Who of 1940s composers (in this case, the Gershwins), and the dancing is “wow,” it’s no surprise that this energetic, excellent show is up to the exceedingly high standard as its Goodspeed predecessors. Here’s another inane plot of boy meets girl – boy is a hick pilot and girl is a swimming champ (think: pretty Gertrude Ederle). At first, it seems as if Tony Yazbeck (our hero) is primarily a dancer who can also sing. After all, his opening song is the not very difficult “Blah, Blah, Blah.” Correction, once he is assigned more melodies, capped by the stirring “Strike Up the Band,” it’s obvious that Yazbeck excels at song and dance equally. Gabrielle Ruiz (our “little fish”) is to be complemented on her vocal skills which are similar to those of Julie Andrews, particularly in “S’Wonderful.” While her dancing cannot be judged, because she has little to do, lacking was charm and charisma. Ruiz’s character didn’t seem worthy of the affable hick. Other characters fill out the bill, particularly the versatile and funny “Greek Chorus” quartet who becomes reporters, preachers, barbers, etc. throughout the story. The side plot of the snidely bad guy (with thick accent and mustache) and female mechanic is adorable. Alde Lewis, Jr. (Mr. Magix, relationship advisor) gives a standout performance the minute that he literally stands up from his chair. His Magix has a suave air and dry sense of humor, with tap dancing feet that create a capella music. The title song and very long tap and soft-shoe number by Yazbeck and Lewis is the showstopper. The audience reaction indicated that the piece wasn’t long enough – give ‘em more. But there’s lots more, and now enough room to write about the 3D movie-like set, the array of costumes, and the choreography. Goodspeed follows the adage of truth in advertising. Billed as a “tap dance spectacular” – it certainly is!


Thoroughly Modern Millie by Eric Johnson
Exit 7 Players, Ludlow, MA through May 8, 2011

Perhaps this show should be called “Thoroughly Timeless Millie” because that is exactly what the story line is, timeless. Small town girl hits the big city lights with a plan and a dream, both of which are compromised right from the start. It is a story that has been told many times before, and will continue to be told in various settings and with a plethora of characters. Everyone loves a story about triumph over adversity, and good defeating evil. The beginning of the opening number showcases Dylan Rae Brown as Millie, the aforementioned small town girl seeking out her fortune in New York City circa 1922. Brown captivates and charms the audience right from the start -- her remarkable voice and stage presence are most entertaining. The chemistry between Millie and Jimmy, the fast talking, street wise city boy (adeptly played by PJ Adzima) is delightful. The characters are real and believable throughout. The skilled and talented ensemble complements the production wonderfully. A few standouts include Katie Clark as Miss Dorothy, Jeff
Clayton’s Graydon, and Dawn Rendell’s Miss Flannery. The “scenery chewing” award for this production is a tie between Pat Haynes as Mrs. Meers and Kathy Renaud as Muzzy. Each actress takes a turn stealing the scene in the first act, and when they have a scene together in the second act it is pure, over the top hilarity. Director Kim Lynch has done an exemplary job of casting and directing a show which could lend itself to being too “cutesy” in the wrong hands. Musical Director Christina Climo and the orchestra do a very nice job with the score which includes a brief homage to the patter songs of Gilbert and Sullivan. The choreography by Amy Bouchard works beautifully -- it is tight and deftly executed. A combination of built pieces and projections (courtesy of Technical Director Frank Disco) comprise the set design which also works very nicely. Exit 7 Players upholds its reputation for high production values with this show, as evidenced by the standing ovation from the enthusiastic opening night audience. "Thoroughly Modern Millie" is an entertaining and skillfully executed production, thoroughly.

The Odd Couple by Eric Johnson
Majestic Theater, West Springfield, MA through May 22, 2011

The Devil is always in the details. When one sets out to produce a period piece from 100 or 1000 years ago, minor details will go unnoticed by most. Electing to re-create 1968,
however, is a bit trickier as anachronisms will be noticed. Director Gina Kaufman states in the program that “the specifics of the characters’ behavior don’t make sense to me anywhere or any place else,” and she is correct. Neil Simons’ play about two men sharing a Riverside Drive apartment following Oscar’s divorce and Felix’s estrangement from
his wife is most definitely dated and needs to take place in that when it was written. Now for the details: Greg Trochlil (set) and Ilene Goldstein (costumes) do a fabulous job of setting the scene and seeing to all the little things such as shoes, a Roger Williams’ album next to the stereo with turntable and 8-track player, and a generous smattering of that awful avocado green color that was a staple of furniture and appliances in that era. The performances all are genuine and natural. Tim Cochran (Speed), Stuart Gamble (Murray), Daniel Popowich (Roy), and Steve Henderson (Vinnie) do a fantastic job opening the show, sitting around the table playing cards, smoking and drinking in the litter strewn apartment. Josh Perlstein as the slovenly Oscar inhabits the role convincingly and confidently and commits to some great choices for the character. James Emery’s portrayal of the injury prone, obsessive Felix is delightful. Emery does a very nice job with a challenging role. Stephanie Carlson and Cate Damon as the Pigeon Sisters leave the audience in tears from raucous laughter in the date scene. Kudos go to producing director Danny Eaton and to the cast and crew of “The Odd Couple” for taking on a show that is considered by many to have been done to death. Exceptional production values and excellent casting make this a show worth seeing.

The 39 Steps by Shera Cohen
Hartford Stage, Hartford, CT through May 1, 2011
www.hartfordstage.org

Only one serious error can be pointed out in Hartford Stage’s production of “The 39 Steps” – the ending. No, not the ending of the play, but the curtain call bowing. The cast of four are divided, two then the other two, receiving audience applause. Each member of the quartet deserves equal, and huge, credit. That being said, the play itself is an extremely clever combination of movie elements from Alfred Hitchcock mysteries (the play is based on his movie of the same name), to 1940’s film noir, to Keystone Cops, and Monty Python. Throw in a spy, a corpse, a mansion and it’s a flick. In fact, some audience members at Hartford Stage are seated as if watching a movie within a play. There’s the handsome run-away hero (with pencil mustache), the double roled femme fatale/woman on the train, and all the rest. The latter meaning two actors take on the incredibly difficult task of portraying dozens of characters each, changing costumes and sexes with split second timing. Director Maxwell Williams, along with his scenic designer, lighting and sound team, not to mention backstage dressers, is due equal kudos to those onstage. A rather disheveled odd looking set with a stack of motley props becomes numerous indoor and outdoor scenes – sometimes both at the same time. One prop morphs from a waterfall into a train. The train chase is the most creative and funniest moment in the play. While the characters take themselves very seriously, the humor is displayed through their movements. Dialogue alone would not make “The 39 Steps” a comedy, which is probably why Hitchcock knew it worked as a dark mystery. Robert Eli portrays our matinee hero with spot-on aplomb and a feigned sophisticated demeanor. For most of the play, Christina Pumariega depicts a damsel in distress who underplays her role to help the other cast members receive the laughs. Noble Shropshire and Steve French are “the other cast members.” Versatile, malleable, physical, and quick, with accents to fit each separate role, these two take the play from funny to hysterical.

A Steady Rain by Stacie Beland & Mark Axelson
TheaterWorks, Hartford, CT through May 8, 2011
www.theaterworkshartford.org

It is a rare feat, indeed, when one can be treated to theatre that is so raw, so visceral that the characters and their stories stay with you for hours after you've left the venue. Such is the case with "Steady Rain." The production is bare-bones, driven entirely by its two actors, Kyle Fabel (Joey) and Aaron Roman Weiner (Denny). Fabel and Weiner brilliantly bring (and, sometimes, push) the audience through a tale of morality, dedication, love, and loyalty. At an hour and a half with no intermission, the actors grab the theatregoers' attention from the moment they start speaking until the story reaches its ultimate, devastating conclusion. One scarcely has time to breathe as the rapid-fire pace of the dialogue, coupled with the brilliant sound design of J. Hagenbuckle, batter the senses.  Joey and Denny are police officers who have been friends all of their lives and, more recently, have been repeatedly turned down for Detective badges. Both characters are inherently flawed-they tell their stories with unflinching honesty. What's troubling is that as self-destructive as Denny is and as damaged as Joey is, they can't be hated, despite their actions often ranging far into the category of hateful. They're very human. It is painfully easy to see what drives them to the end of their story.  In a production such as this, there is a lot of storytelling responsibility for the actors. Fabel and Weiner are more than up to the task. As Joey and Denny, they describe their weavings through morality and immorality directly to the audience, only occasionally acknowledging the other actor. They hurl images, written with such exacting language that the audience has no choice but to visualize what Joey and Denny have experienced. Under the expert direction of Tazewell Thompson, who has masterfully choreographed the pace and the movement behind the words, the actors are brutally authentic. The production feels all too real. Thompson is to be congratulated - this is a show that relies heavily on human dynamic which is largely open to directorial interpretation. He delivers perfection.

The Savannah Disputation by Shera Cohen
Majestic Theater, West Springfield, MA through April 3, 2011

Throughout the centuries, wars have started in the name of religion. “The Savannah Disputation” is a blip on the radar of clerical conflict on the home front. The angle on this battle is humor which is sustained throughout. There is a heap of proselytizing going on, as the characters take the issue of Christianity vs. Catholicism very seriously.
Admittedly, this reviewer did not “get” all of the jokes, although theatre-goers at the Majestic certainly did. The saying is that you have to be Jewish or a New Yorker to fully appreciate Woody Allen’s humor. This play follows that code. “ Savannah ” is a comedy about religion with underlying skepticism and seriousness. The characters are caricatures for the most part. That said, the actors in these roles do exactly what they are supposed to do in their individual performances and their interaction with each other. Brenny Ravine, as the young over-zealous minister Melissa preaching her word from door-to-door, is charming and wide-eyed. She embodies strong will with some vulnerability. Her goal is to convert two middle-aged Catholic sisters – one more Catholic than the other. Barb McEwen’s opinionated and bossy Mary is mostly on the mark, leaning a bit toward over-acting. Jeannine Haas balances McEwen’s boisterousness with a mousy Margaret. Yet Haas personifies a woman with more substance. Writer Evan Smith’s dialogue pits one woman against the other lovely. Robert Lunde (Father Murphy) likens himself to the fulcrum of the seesaw (the ying and yang of the sisters and Christianity vs. Catholicism). He is a steady rock with a soft edge. Although the play’s date is the present, Greg Trochlil’s staging of the women’s home reflects that they have yet to leave the era of the 1950’s. Christine Thompson’s costuming accomplishes the same effect.  There are several written and directorial subtleties that underscore the battles related to getting the message “of the gospel,” so to speak. Melissa’s cell phone music is “Mission Impossible” and Margaret deletes answering machine calls. However, deleting this play from a theatregoer’s things to do list will be a loss of laughs in this bleak winter season.

The Mystery of Irma Vep
Shakespeare & Company, Lenox, MA through March 27, 2011
www.shakespeare.org

The play’s title is a misnomer. This is no who-done-it. Perhaps the real mysteries are, how did the each of the actors keep up the fast pace and a straight face. Without hesitation, “Irma” is simply one of the funniest comedies ever written. Yet, “simply” is the wrong word, as “Irma’s” plot is quite detailed, but at the same time it’s not important to understand what is going on. Hmmm? The characters, set, sound effects, lighting, costumes, and most importantly the dialog are spoofs of movie classics. “Rebecca,” “Wuthering Heights” and “Gaslight” meet “Psycho,” “Deliverance,” and “Twilight” (okay, so the latter isn’t a classic, yet). Toss in speeches from Shakespeare’s “Richard III” and “Hamlet” and the hodgepodge is hilarious. The plot: the husband of the deceased lady of the manor (located on the foggy moors of England) remarries. Life on the estate is not very pleasant for new bride Enid. The maid hates her, hubby hunts a lot, and werewolves deliver the eggs and milk. However, Enid does enjoy a pithy ukulele duet with housekeeper Jane, as well as reading the one and only book in the library. This all sounds rather weird and stupid. It is. Take all of the above and cast only two actors, each playing multiple roles, sexes, and species, and this explains why “Irma” is unbelievable and unbelievably funny. Josh Aaron McCabe (Lady Enid, et al) and Ryan Winkles (Lord Edgar, etc.) are the acting duo who carry it all off while changing costumes in seconds. Fine actors in solo roles, put the two together on stage, and their quickly timed banter, movement, and expressions are priceless. McCabe’s wide-eyed Enid balanced with Winkle’s sly tilt of the head say a thousand words – all laughable. Pregnant pauses, sexual innuendo, and double entendres are aplenty. In recent years, Kevin Coleman has directed some of the most successful comedies at Shakespeare & Company. “Irma” is his best effort yet. It is safe to say that audience members will leave the theatre having missed some of the lines, because they were too busy laughing at others. BTW: Kudos to the three costumers, who deservedly took closing curtain bows.

Snow Falling on Cedars by Shera Cohen
Hartford Stage, Hartford, CT through February 13, 2011
www.hartfordstage.org

It is opening night and Hartford Stage has its hands full creating and executing three inseparable stories into one plot in little more than two hours. "Snow Falling on Cedars," based on a best-selling novel, achieves nearly all that it strives to attain in story, character development, and the broader scope of historic facts.  At its core is the ashamed internment of Japanese-Americans during and shortly after WWII. One Japanese character softly and strongly says to a Caucasian, "Look at my face." Those four words sum up the deep conflict of the times and the people. The sub-plot of young, forbidden love takes the global crisis to a human level. Finally, is a mystery played out in a murder trial. The latter is the less defined with a pat and convenient ending. A lot happens in onstage, with 12 actors double and triple cast, a multitude of scenes jumping back and forth from the 1940's to the 1950's, and a stylized set with turning floor. Except, on occasion and at the play's start when some of the double roles are confusing, director Jeremy B. Cohen works a marvel of fast and seamless overlapping segments to become a full and excellent production. Admittedly, there are too many scenes which make the play feel longer than it is in spite of Cohen's swift changes of the set elements. As for Scenic Designer Takeshi Kata's accomplishments, less is more with a sliding backdrop of various pictures and two large moveable ramps expertly depicting nearly everything conceivable on the fictitious island off of Washington. Primarily an ensemble cast, the lovers might be considered the "stars." Kimiye Corwin and Dashiell Eaves make for a poignant duo. Yet, actors Bill Doyle, Kate Levy, and Ron Nakahara take advantage of their moments to shine.
Part narrative and part dialogue, the play simultaneously tells and shows the progression of the story. Oftentimes, Act II of any script is not as well depicted. "Cedars" is one of the exceptions, particularly with the balance of humor and hands-on war combat action, of which there is neither in Act I.

Pinter, Pinter by Steve Capra
Atlantic Theatre, NYC

Harold Pinter’s reputation was established by an early play, The Caretaker, which appeared in 1960. Two years later, he wrote The Collection. This play exhibits the signature Pinter themes: latent danger, the ambiguity of meaning, perspectivism. It’s this third motif that figures dominantly in the script. Two couples are involved, one gay, one straight. One of the gays may have spent the night with the young lady in question – or he may not have. Even the two involved change their stories, he at a whim, as if even the individual can’t be sure of a memory. They use their recollections as weapons or enticements, and their veracity is of no importance. Even the degree of vagary is carefully measured for effect.  The fellow’s lover (the older gentleman who’s keeping him) has his suspicions; his young partner gets anonymous phone calls and visitors. He responds with a lie of his own, exonerating himself from the responsibility of responding to his boy’s possible infidelity. It’s like the end of Cat on a Hot Tin Roof, in which the action is resolved by a lie. This difference is that in this play, it’s just one lie among many. If truth exists, it’s beyond our ken.  The Atlantic Theatre is producing the play on its second stage, impeccably. The clipped British English has the sharpness of the knife the two rivals use in a mock duel. When they turn their heads, it’s with a snap, like a switchblade flicked open. The direction is brisk, without dwelling on Pinteresque pauses. The actors modulate their performances marvelously, always keeping a characteristic guardedness.
The Collection, in its one-act simplicity, is a prototype of Pinter; indeed, it’s nearly generic Pinter. The second one-act on the Atlantic’s double bill is more intriguing. A Kind of Alaska was written 20 years after The Collection, in a period when Pinter was particularly concerned with memory. A Kind of Alaska springs from Oliver Sach’s book Awakenings, which chronicles this doctor’s work with victims of sleeping sickness (encephalitis lethargica). The disease swept the world ina pandemic between 1915 and 1925. Its victims lay in a sleep-like stupor.  Pinter uses the fact of the disease as his conceit. The central character, Deborah, “fell asleep” quite suddenly, standing up, when she was 16 years old. The play is set in her hospital room 29 years later, on the day she wakes. Knowing no better, she still believes she’s 16. She has no memory of the 29 years, and the onus of explanation falls on her doctor and her sister. The themes memory and time are obvious. Moreover, since this is Pinter, the other two characters lie or not as they see fit. But the deepest level of the play is revealed when Deborah describes her consciousness in her sleep. She talks about “interior windows masquerading as walls… glass reflects glass forever and ever.” It’s a spot-on metaphor for consciousness with nothing to be conscious of. Consciousness itself. The role of Deborah is played by a superb actress, Lisa Emery. The stage is almost exclusively her playground. She has the physical life of a teenager; her emotional life flows effortlessly. There’s no drama in the play to speak of; Madame Emery keeps us engrossed as she expresses the parade of thoughts that run through Deborah’s confused mind. This is, after all, what G.B. Shaw would call a “bravado play”. Larry Bryggman (who plays the elder gay in the first piece), plays her doctor, so proud that he can barely control his delight. He loves his patient (who is his one-time sister-in-law), but she is nonetheless an object to him. Walt Spangler designed both sets. The first is a handsome split stage, as Pinter specifies. For A Kind of Alaska, he’s kept to stark sterility: white walls, white bed clothes, and a mute white radiator.

Andreas Garfield's Home Sweet Home by Steve Capra
The Scandinavian American Theater Company (SATC) is a new project with the mission to bring Scandinavian theatre to the US. The founders are ex-pats, the playwrights and directors borrowed Scandinavians. Their American premiere is a production of a play by Andreas Garfield, Home Sweet Home. In this play, a young couple have (has?) a friend to dinner, the fellow’s old army buddy (his name is Carsten). He’s just returned from Iraq (the Danes fought in Iraq with the “American-led coalition”). It’s a vivid portrait of post-traumatic stress syndrome. Carsten gradually reveals the effects that his experiences have had on him. In the process, he exposes the fatuous smugness of his hosts’ domesticity. Iben, the woman (her name is Iben), is a dove (in the jargon of the 60’s), and she’s tactless enough to speak her mind. At one level, the play is a discussion of the war, or, more precisely, of the polarized opinions of the war. The dialogue could be about any war. One point of mounting the Danish production here is that it translates literally into the American experience. It succeeds in being simultaneously specific and universal. Iben’s candidness naturally sets off a breakdown on the part of the soldier-guest (Carsten). The actor playing him has a Danish accent, while the other two do not. The dissonance stresses the guest’s being the other. He ultimately drops the courtesy and explodes, attacking their attitudes and experiences. At its deepest level, the script discusses the complacency of comfort. And so the play works on several levels. But its structure is flawed. It develops in fits and starts, its arc intermittently broken. Instead of progressing steadily toward its fate, it stalls and then jumps ahead as if to compensate. It goes off on an inexplicable tangent when Iben and the soldier flirt with each other. They may be doing it to tease her husband, but the have no reason to. Indeed, they dislike each other. Christopher Berdal’s direction is crystalline. By the same token, it’s too pointed, lacings subtlety. The acting is committed and often very effective, but generalized: we don’t see that the characters have a history together. The set is very nice, the walls defined by identical cardboard boxes (the pair is moving into the new house); we do indeed believe there are rooms behind them. One of these rooms is the bathroom, to which Carsten withdraws on occasion. His solitary scenes back there are projected on to the wall of boxes. I never find this sort of media-rich production satisfying. Something in the play wants to be a movie. And so we wish luck for the SATC. Its promise outweighs it flaws, and we’re looking forward to more work from them.

Irving Berlin’s White Christmas by R.E. Smith
The Bushnell, Hartford, CT through November 21, 2010
www.inthespotlightinc.org 

Hey kids, let’s put on a Christmas show! Those familiar with the classic movie “White Christmas” with recognize the story and those who haven’t seen the film will still recognize the plot. Bob Wallace and Phil Davis are a successful song and dance team in 1954. With romance in the air, they find themselves putting on a show in the barn of an inn owned by their former commanding officer. They’ve followed the lovely and talented sister act, Betty and Judy Haynes, to Vermont for some romantic entanglements and snappy tap
dance numbers.  But calling “White Christmas” a Christmas show is like calling “Meet Me in St. Louis” an Easter show. The score is a showcase for some of the best of Irving Berlin. There are memorable tunes throughout, including “Count Your Blessings,” “How Deep is the Ocean” and “Sisters.” Act One ends with a full out production number set to “Blue Skies” that would do Busby Berkley proud. The ensemble exhibits some first rate hoofing.  One role expanded upon from the film is that of busybody housekeeper
Martha. This affords the opportunity for Ruth Williamson to showcase the song “Let Me Sing and I’m Happy”. As Betty and Joan Haynes, Amy Bodnar and Shannon M. O’Bryan are top notch. Their strong voices, impressive dance skills and snappy delivery appropriately recalled the starlets of the 50’s. The sets are beautiful, shifting from the intimate lobby of the Inn to the soaring windows of the Regency Room in NYC. In the fine old tradition, there are some colorful and massive backdrops used as well. It's a simple device that is still effective when emphasizing big song and dance numbers like “I Love a Piano”. The Bushnell itself was “costumed” for the occasion, with snowflake projections spilling over the building and even across the street. Even if one is not ready to start decking the halls or roasting chestnuts, “White Christmas” is still a terrific way to relive the glory days of movie musicals and the infectious melodies of Irving Berlin.

Jekyll & Hyde by Shera Cohen
Exit 7 Players, Ludlow, MA through November 14, 2010
www.inthespotlightinc.org

It is nearly impossible for anyone who has ever seen “Jekyll & Hyde” (J&H) to leave the theatre without singing or humming the showstopper song “This Is the Moment.” In the case of Exit 7’s presentation, the song title literally describes the success of the production and the entire troupe. Ever since “Big River” (1995), the work of those onstage and backstage has continued to go upstream, sometimes against the tide of what many might expect from amateur theatre.  J&H is a musical rarely performed even by professional troupes, as it is extremely difficult for the actor in the lead role. Yet, Exit 7 tackles this musical head on. Audience members were heard saying, “This is better than Broadway.” Save for a large orchestra (instead of Exit 7’s excellent six-piece band) and expensive sets (Exit 7’s furnishings worked well, particularly with backdrop slides), the comparison between NYC and Ludlow is not a stretch.  Everyone knows the story of J&H – one man, both good and evil. But there is more to the story. The plot extensively details the motivation in this character and the dichotomy of the components that make a man whole. J&H is a disturbing play with exquisite music and important lyrics – somewhat opera-like.  Kim Lynch seems to have had an easy job directing, as well as Alison Forance choreographing, but only because their cast is perfect. From the kids in the chorus to the Red Rat dancers, those with secondary roles (each well defining his/her character) to the leads, it is difficult to find a single flaw.  Reams of accolades can be written about J&H’s star, Ben Ashley. This, too, is the best moment in his career as an actor and singer. The difficulty of switching from Jekyll to Hyde and back again within seconds of each other could have easily become comic. Not so here. These are the tensest moments in the production. Augmenting Ashley’s brilliance are Melissa Dupont and Katie Clark, in his duets with each, and their, “In His Eyes,” is lush.  The weekend of November 12th is your moment to see “Jekyll & Hyde.”

How to Succeed in Business Without Really Trying by R.E. Smith
Goodspeed Opera House, East Haddam, CT through November 28, 2010
www.inthespotlightinc.org 

"How to Succeed in Business. . ." is a musical that is as much fun to watch as it is to hear. Colors, shapes, choreography, and costumes all serve to enhance and propel the story of .J. Pierrepont Finch. "Ponty" is an ambitious window washer who flatters, winks, and ingratiates himself a quick move up the corporate ladder. Despite the play's being over 40 years old, the characters of this business world will be quite familiar to today's "tired working man.”  Every member of the cast and ensemble is top-notch. One could choose to watch any supporting player in the background for a whole scene and still be treated to a well-rounded, smile-producing, performance. The choreography is energetic and strong. The show’s biggest stopper, "Brotherhood of Man" can barely be contained in the Goodspeed's intimate setting. Despite the male protagonist, the ladies are really in charge of this "Business.” Natalie Bradshaw, as Rosemary Pilkington, has the presence and voice of an ingénue from an earlier time. Her voice is strong but sweet and she has a confident sparkle in her eye. Erin Maguire as "Smitty," Rosemary's best friend, has the genuine voice, rhythms, and delivery of a classic screwball comedy "pal.” From Jennifer Smith's executive secretary to Nicolette Hart's blond bombshell, every actress delivers strong style, wit, and comedic chops. Even the set is a stand out. Since the Goodspeed is often home to revivals set in more rustic or rural times, it is a bit startling to see the "modern" lines and colors of the early sixties. But what a unique and lively set it is! Doors and panels slide about, shuffle, and rearrange, creating offices and elevators. Desks, chairs, and coffee carts glide around giving every transition a fluid energy. The score by Frank Loesser includes classics like "Happy to Keep His Dinner Warm", "Grand Old Ivy," and "The Company Way" will have audience members literally tapping their feet along with the score. As always, the Goodspeed proves that "they don't make them like this anymore," but shows like this are every bit as worth seeing as ever.

Antony and Cleopatra by Stacie Beland
Hartford Stage, Hartford, CT thru November 6, 2010

Hartford Stage is offering a decadent performance of "Antony and Cleopatra," hallmarked by a rich tapestry of solid ensemble acting and stunning production value. With so many aspects of the production being so original, it's difficult to give credit where it's due. Tina Landau's direction is spot-on. It resonates in the performances of the featured players, but is also visible in the performances of those characters who, under Landau's brilliant direction, remain wordlessly (but not silently) onstage. An example of this lies with Julio Monge's Soothsayer, who witnesses most of the dramatic action from the shadows. Monge never lets his focus waver even as the action shifts away from him. Truly, each and every actor's performance is layered with character development. Alexander Cendese's excellent portrayal of a frat-boy Pompey, Keith Randolph Smith's boisterous and ultimately repentant Enobarbus, Jake Green's much-maligned Messenger, and Scott Parkinson's simpering and snapping Cesar all deserve more praise. John Douglas Thompson, as Antony, raises the bar for the ensemble. While careful not to outshine any other performance, Thompson sparks onstage. That spark never leaves, even as he is lying motionless onstage after meeting his inevitable end. Thompson perfectly balances clear recitation and honest character. His portrayal of Antony's actions and the emotions behind them were are such that probably each audience member can feel them. As for Cleopatra, Kate Mulgrew's performance quality is up to the task, but more so than her physicality permits; she seems to push a youthful and impetuous Cleopatra. Her recitation and the sheer exuberance, however, make it an eminently watchable and enjoyable performance.  Every so often, a production comes around that reminds one what it is like to see a Shakespearean performance, instead of a performance of Shakespeare. This is that production. Pre-modern language is made modern, relevant, and eminently alive at Hartford Stage. This is a seamless balance of design, performance, and production that is simply not to be missed.

All My Sons by Shera Cohen
Suffield Players, Suffield , CT thru October 23, 2010
www.inthespotlightinc.org 

One has to dig really deep to find anything possibly wrong with the production of Suffield Players “All My Sons.” With the use of a spyglass, there are only two areas that could be improved upon – the trellis on the set and page 5 of the program book. More later. “All My Sons,” Arthur Miller’s second play, is one of the single most dramatic and powerful plays written to date. Riveting, emotional, and gritty are words to describe this post-WWII story. The plot is about two families. Yet, Miller tackles something bigger than all of us and cuts to the core of morality. The play opens on what looks like a real yard and fully built backdrop of a kitchen. Family members and neighbors come and go as the play unfolds. Humor is gradually replaced by somber tones and ultimately and painfully to solid stillness onstage and in the audience. Miller wastes no words as we learn about patriarch Joe Keller, his wife, and son; and Ann and George Deever, former neighbors. Each comes with his/her own pack of secrets, lies, and sense of justice. They crash against each other on the battlefield of this backyard. Words as sharp swords draw blood and tears. This is drama at its best. Director Ed Wilhelms cast the finest actors to portray their personal best as well as ensemble best. Konrad Rogowski’s Joe inwardly smolders with a sense of righteousness and guilt. He is the crux of the play. Marge Patefield’s Kate (Joe’s wife) becomes eaten alive by her own secrets. Rayah Martin and Shaun O’Keefe are the young lovers with the weight of sorrow on their backs – not the expected joy. It is very hard to imagine any of these actors performing better than they did on opening weekend, except perhaps next weekend. Oh, to the two “faults.” The trellis is too busy, with its natural criss-cross design, sometimes distracting the audience from the actors seated by it. And, advice to future audiences – don’t read page 5 in the program as it’s a spoiler. “All My Sons,” however, is no spoiler, but the best community theatre seen in many years.

The Diary of Anne Frank by Sherry Shameer Cohen
Westport Country Playhouse, Westport, CT thru 10/30/10

Everyone knows The Diary of Anne Frank. Whether it is in the book form that was required reading in middle school, the play or any of its film productions, the story of the teenager in hiding touches almost every living soul. No doubt every soul shed tears during Gerald Freeman's production at the Westport Country Playhouse.  Freeman considers his production "selective lyric realism" rather than a documentary. Frances Goodrich and Albert Hackett's play was adapted several years ago by Wendy Kesselman to make it more Jewish and more reflective of the revised edition of the diary, which includes Anne's writing about her budding sexuality. This version is here to stay for at least another generation or two.  This production, cast to perfection, stars Molly Ephraim as the feisty, intuitive heroine, Mitch Greenberg and Felicity Jones as her parents and Lauren Culpepper as her sister. Mimi Lieber, Steve Vinovich and Ari Brand played the Van Daan family. Lou Liberatore played Mr. Dussel, the dentist, and Monica West and Allen McCullough played Miep Gies and Mr. Kraler, who helped them during their ordeal. Finally, Philip M. Gardiner, Jack Kesy and Nicolas Wilder played the men who arrested them.
Even with the revisions in the original play, there is no surprise element in the story. We all know what happens. What made this production so good are the excellent direction, flawless casting, with an exceptional touch by Gardiner (to be mentioned later) and Willa Kim's faithfully recreated costumes. The one weakness of the production was the intention to recreate the annex, which has been repeatedly described as narrow, with very steep steps leading to it. Scenic Designer John Ezell had to work with the wide stage that has otherwise always served the Westport Country Playhouse so well. Could he have designed it to look more narrow and have facades of the buildings to either side of 263 Prinsengracht? Sure. But it might have looked rather forced and the younger members of the audience would have a hard time believing that people did indeed live in such cramped quarters -- and worse -- and that might well have detracted from the play. (Note to small theatres. In this case, an impossibly small stage can be a blessing, after all!)
Now about that exceptional touch I mentioned earlier. The Franks, Van Daans and Mr. Dussel lived in that annex for nearly two years. There was no air conditioning in those days. There was no heat. There were no amenities such as clothes washer and dryer. There was one bathroom, and it was hardly spa-like. The readers and audience didn't see any of these things, but everyone knew that's how it was. Gardiner captured all unpleasantness that with one simple gesture: he took a handkerchief out of his jacket, brought it to his nose just long enough and put it back when his mission was over. It was a movement that was so natural and so credible. This is something I daresay they don't teach in drama school, and I give Gardiner kudos for coming up with this. Even if you've seen this play before, see it again. The Diary of Anne Frank will run through October 30 on Tuesday through Saturday evenings at 8:00, with matinees on Wednesday at 2:00, Saturday at 4:00 and Sunday at 3:00. Tickets are available through the box office weekdays from noon to 6:00 p.m. Westport Country Playhouse is located at 25 Powers Court, off Route 1. (203) 227-4177. www.westportplayhouse.org

The Real Inspector Hound by Shera Cohen
Shakespeare & Company, Lenox through November 7, 2010
www.inthespotlightinc.org 

Laughs begin before the play does, as the announcer informs the audience of the usual dos and don’ts. Yet the instructions are far from usual. The audience’s second response of laughter comes seemingly prior to the production as well. A bumbling late-comer cannot find his seat, stumbles over patrons, and ultimately sits in the first row, stage left. Indeed, he is the lead in this quirky play – actually two plays. An extremely bad melodrama is swallowed up by a farce. Think: Monty Python performs Agatha Christie. As the pathetic play-within-a-play whodunit is mounted, two critics (actors) comment throughout. These men are none too bright although they sound smart – English accents do that. In reading the program book, character names are giveaways that something funny is amuck. Descriptions alongside these names (“the crippled half-brother” and “mysterious stranger”) are pluses in case anyone misses the joke the first time. Director Jonathan Croy, one of a Shakespeare & Company’s best actors/directors and ol’ timers, purposely paints both plays with broad strokes, all for the sake of non-stop humor. His cast includes some Berkshire “greats” like Josh Aaron McCabe (lecherous critic), David Joseph (suave murderer), and Wolfe Coleman (brainless inspector). The comedy is physical. A card game is a hodgepodge of anything goes. A love scene, if you could call it that, involves the pair rolling all over the floor and into a dead man. Yet, nothing stops this chaos. While the blind housekeeper joke is lovely, it goes on a bit too long, even for the farce factor of “let’s milk it.” Also, with two characters seated in the audience, it must be a problem for those seated behind them to fully see what is going on. Section A seating is dead on, but a recommendation is to ask about sightlines before purchasing tickets. The set is an isolated mansion. The sound is somewhat regal music upon the entrance of every character, every time. The elegant costumes are from a B movie set. And doesn’t everyone wear a gown while playing tennis? There isn’t anything on or in the set that is supposed to be real, which adds even more to the fun.

The 25th Annual Putnam County Spelling Bee by Shera Cohen
Majestic Theater, West Springfield through October 17, 2010
www.inthespotlightinc.org 

How do you spell the one word that means: delightful story of three-dimensional characters, highs and lows of childhood, set to music? The answer: M-A-J-E-S-T-I-C. The Majestic kicks off the 2010/2011 season with a sweet play about a spelling bee. Seemingly an odd subject for a musical, the opening full-cast number sets the tones for the next two hours of warmth and fun. The plot of “Bee” is exactly as one would expect – competition of youngsters in a spelling contest. These are the tense finals for six kids in the running. With audience participation of the brave souls who join the bee, the adults spell right along with the youth until all are purposely eliminated. The challenged words are those that the average person with a doctorate degree in English would never know. Each word is defined and used in a sentence, resulting in the biggest ongoing laughs of the show. Actor Tim Cochran’s (Vice Principal) deadpan delivery adds to the humor. Event MC and former bee winner Rona, portrayed by Lori Efford, serves as den mother to the pack. The competition continues with some losers and one winner. More important than the spelling of “chimerical” are the subjects of mutual and self-respect. Each young speller comes with poignant and sympathetic baggage, and every character possesses a physical or psychological flaw. In other words – these are real people. For adult actors to portray cute children is not an easy task. Throw in choreography and singing, and the burden (or joy) is three-fold. Two “students” need to enunciate their lyrics a bit (the funny lyrics must be heard). While “Bee” is an ensemble with a capital “E,” a Majestic “regular” should be mentioned. One of the area’s best actors/singers, Luis Manzi might have been better instructed to play his role as the ex-con Comfort Councilor broader. The set is ideal as a typical school gym. The band of three never overpowers. Songs are not memorable, yet one is exquisite (Manzi, Efford, and Hilary Buxbaum’s “I Love You Song”). Dual roles are clear. Passage of time is handled perfectly by director Meghan Lynn Allen. Be sure to be at the “Bee”.

Music of Sri Chinmoy by Steve Capra

Sri Chinmoy was born Chinmoy Ghose; Sri is an Indian title of respect, from the Sanskrit for radiance. He was born in Bengal and entered an ashram at the age of 12. He immigrated to the US, to teach, in 1964, at the age of 33. He became a celebrity guru, an internationally influential teacher with celebrity followers (and not without his detractors). He passed on in 2007, in New York. Sri Chinmoy delivered a message of peace and tolerance through writing, drawings, and music, and he’s credited with an astounding output. He was one of the inspirations of new age music, performing hundreds of Peace Concerts around the world. This year, a free concert called Songs of the Soul: Celebrating the Music of Sri Chinmoy is on tour, and it was just presented in NYC. Singers and instrumentalists from around the world presented "classical and modern arrangements" of Sri Chinmoy’s songs, many sung in Bengali. One song, a paean to Sri Chinmoy, was written by Leonard Bernstein. The program opened with a commanding call from three conch shells, and the enormous mantra word Om. The Achenbach String Trio (parents and daughter, apparently Austrian), with a cello and two violins, gave the songs a baroque sound unique to the evening. Eight women, billed as A Capella Singers, isolated the melodic lines. A group led by Tapan Modak and Santanu Bhowmick gave the songs more complexity than the other musicians. They played with two strings, a woodwind, drums, piano and vibes - and a sort of shruti box (like a flat accordion). The drummer used both ends of his drumsticks, alternately, covered with what looked like fabric of different thicknesses. The drum made a dull, primal thudding sound, giving the songs a force eschewed by the other groups. I’m not partial to the sound of a shruti box (or, for that matter, the sound of an accordion), but it can create a low drone that’s a marvelous constant under the changing pitches. At times Santanu (I think it was Santanu) broke into a sort of Sanskrit scat. Other groups included Vedic Fire, who sang in Sanskrit, and The Sri Chinmoy Bhajan Singers, a women’s ensemble. How does a fellow write about this music? It was written to be firstly a spiritual experience, the musical expression of peace, its musical harmonies reflecting devotional harmonies. It escorts us gently to a meditative place, and we’re thankful for Sri Chinmoy’s contribution. But without any tensions whatever, these songs become bland after preliminary listening. Without dissonance, they neither reflect nor transcend human suffering; they ignore it.

Musashi by Steve Capra
Lincoln Center, NYC

One of the international entrants in the Lincoln Center Festival this summer was a Japanese production of a play written by Hisashi Inoue, directed by Yukio Ninagawa. It’s a response to a Japanese myth about a fight between two samurai – Musashi being the victor. The one-to-one battle forms the brief prelude to the contemporary play Musashi. After the introductory fight, there’s a blackout, and then the new play begins. The opening is delightful. Trees glide down the stage and the modules of a wooden temple slide into place. A gorgeous set - and a rare moment of kinetic beauty as the foliage wanders and then finds its place. The set remains for the rest of the play, and when the occasion demands, those trees tremble and rustle - it’s marvelous. All of nature is party to the drama. The action is set 2,200 days after the classic fight. Musashi and a small group of Buddhists are about devote themselves to a three-day retreat at the temple – as we so often take ourselves off to the woods for re-creation. Musashi’s rival shows up, and the two foes agree to settle the old score in three days – on Genji Hill. They both stay for the retreat, vowing to keep away from each other for the duration. The story revolves around the attempts the other retreatants make to deflect the fight. Finally the supernatural is revealed, and we learn why the trees have been rustling.
There are references throughout to the Noh, Japan’s classical drama), throughout. One character is a Noh playwright who sings the Noh when he’s excited, and another sings a Noh song that might come out of one of its 14th-century scripts. The acting is meticulously kept in a mode between realism and classic Noh stylization. When the moment is right, the actors take on traditional gestures and stances. They combine the two established styles and create a style specific to the play. The balance is maintained with knife-point precision. It’s brilliant, a superb, transparent application of modernism.  But one piece of action doesn’t lead to another and form a plot in this script. At three-and-a-half hours, the play is beautiful but dull.  Sometimes a wonderful flute et al back up the visuals unobtrusively. But then the world of the play is violated by a tango played on an accordion. An accordion, thank you. Whatever effect this music has on Japanese audiences, for us it breaks the mesmerizing stylistic spell. As the retreatants would say, with endearing humor, “Buddha preserve us!”

From the Pasolini by Steve Capra
Lincoln Center, NYC

This summer, Lincoln Center presented Teorema as part of the Lincoln Center Festival,. The script is adapted from the Pasolini film (in turn adapted from his novel) by the show’s Flemish director, Ivo van Hove. The company is Toneelgroep Amsterdam, performing in Dutch with English supertitles provided. The characters in Teorema almost always talk not exactly to us or to themselves, but out loud, for our sake. They almost never talk to one another. Sometimes they speak in third person, occasionally in the first. Occasionally they speak in the third person and then repeat the line in the first person. Sometimes they don’t speak at all, and a heavy silence lingers on the stage. Indeed, this is the ultimate in verfremdungseffekt. The characters speak into microphones, so that even the acting is deconstructed. Usually they tell us what they’re doing while they’re physically doing something else, or while they’re doing nothing but wandering the stage. However, sometimes they tell us what they’re doing while they’re doing it. “I clench my hand in a fist,” she says, while clenching her hand in a fist. Hearing an actor describe what she’s doing while she’s doing it is repulsive. The script is a cross between a soap opera and a Dumas novel. We’re subjected to lines like “Your love was a consolation, but now you’re pushing me closer to the abyss,” and “I know your sadness is inconsolable and does not even want consolation.” There’s never a let-up to this pretentiousness, so we become inured to any effect the overblown prose might have.  There’s no through line in this play, only episodes. Nameless man visits a smug bourgeois family, seduces everyone, leaves. The family members are in one emotion at a time, and they always share the same emotion. They only have three – longing, lust, and loss. The handsome, dark-skinned guest is lust himself.  Minimalist, the script, actors and director give us no more than they must to make their sharp, scathing point. The characters are without motivation; they execute the action of the play like somnambulists, or robots. They are as James Joyce wrote of the Artist as a Young Man: “Nothing stirred within his soul but a cold and cruel and loveless lust.” The set is broad and wide and flat, grey on grey, with angles – no curves - dull and tense and loveless, like its occupants. The characters trash it after the nameless demonic leaves. Only one character survives the loss intact. In a magnificent, searing moment, he throws off his body mike and comes alive with a defiant scream. Van Hove’s work is bold, stunning, flawlessly executed, and directors would do well to note some of these techniques. But he directs like an ideologue, so committed to his intellectual premise that he takes us somewhere we don’t want to go. The trip’s too difficult. A marvelous string quarter called Blindman! [new strings] sits on stage and plays beautiful, lugubrious classical music. Sometimes they run the turntables that are on stage for no reason. The play is staged in a repurposed warehouse on Governor’s Island, in New York Harbor. We had to take a short ferry ride to get the island, and then we walked for 20 minutes to the venue (on the hottest day since the Big Bang). Now, Lincoln Center can afford a shuttle bus. If they made us walk, it’s because they want to give the production a distance from our ordinary lives (as if there weren’t enough distance in the script). They want to put the production in bold face by making us invest in it. But that’s no excuse. The play would be better served by a parlor reading than a production in this expansive space.

The Winter’s Tale
Shakespeare & Company, Lenox, MA thru September 5, 2010
by Shera Cohen
www.inthespotlightinc.org

“The Winter’s Tale” is not your usual Shakespeare fare. It’s not a “history” play as royalty populating the story are fiction. It’s not a comedy, because there is death. “Tale” is among The Bard’s quartet of Romance Plays – neither comedy or tragedy but what today might be termed tragicomedy.  The plot of misplaced jealousy and kind forgiveness, of kings and queens, of the mundane and mysticism, makes for a wonderful tale, no matter what the season. Many questions arise pertaining to morals, integrity, and betrayal. One of Shakespeare’s most accessible writings, it is a shame that it is not often performed. Shakespeare & Co. has rectified that in this visually beautiful set depicting two countries with characters dressed and coiffed to fit any ancient century. Most interesting is the profound difference between Act I and II – the first, tragic and dramatic; the second, frothy and comic. After intermission, 16 years have passed and with it the characters’ lives. Director Kevin Coleman has balanced the two acts as perfectly as a seesaw with strength equal on both sides.  Many from the cadre of regulars take lead roles in “Tale,” including Jonathan Epstein and Johnny Lee Davenport as the two kings. They are an excellent match, yet Epstein seems a bit affected. Corinna May pours every ounce of fury into her character Paulina, Malcolm Ingram creates a loveable shepherd, Josh Aaron McCabe embodies a moral man asked to do horrible deeds, and Jason Asprey intentionally steals the show as a con man. It is Wolfe Coleman as the young shepherd, a relative newcomer to the troupe, who portrays innocence, sweetness, and stupidity with physical humor to delight his audience.  In what is otherwise a nearly perfectly executed production, one suggestion remains – to significantly cut and/or tighten up the long festival scene in Act II. While it adds flavor (literally and figuratively) to the play, the music, dance, singing, picnicking, and even more dance stretches out to enhance little to all that is so powerful and funny in “The Winter’s Tale.”

I Do! I Do!
by Sherry Shameer Cohen

The ups and downs of marriage are retold in song and dance in a new production of I Do! I Do!, now playing at the Westport Country Playhouse. Based on Jan de Hartog's "valentine to marriage," The Fourposter, the Tom Jones and Harvey Schmidt musical begins in 1895 as newlyweds Agnes (Kate Baldwin) and Michael Snow (Lewis Cleale) celebrate their first time alone on their wedding night. The original play spans 25 years, but Jones and Schmidt expanded it to 50 years. That's a long time to consider, especially in an era when half the marriages end in divorce and many people marry later in life anyway. Who can't relate to most of the vignettes in the show -- putting up with a spouse's quirky habits, the sharp turns couples take once they have children, feeling unfulfilled in their careers and resigned about their life together? And in between, the moments of tenderness that make you realize what really matters in life.  Tom Jones has reworked part of the book, according to Mark Lamos, Westport County Playhouse's artistic director. Despite that, the show, like any good marriage, is still less than ideal. The beginning is dated and there is no reference to World War II. He could have deleted the song "Goodnight" about the couple's awkwardness at first-time intimacy. It would not have changed the storyline that the couple's love was tested by infidelity and feelings of being taken for granted even after reconciling. The three songs between "The Father of the Bride" and the finale "This House" represent a long stretch of the marriage, but do little to explain how Michael and Agnes transitioned from worried parents of adolescents to empty nesters to senior citizens. "What Is a Woman?" and "Someone Needs Me" focus briefly on Agnes' feeling of emptiness, but it seems to me those songs may have worked as well earlier in the show. Michael, after all, had expressed his chagrin at being forced to write romance novels because he could not support his family as the author of literary fiction. Agnes just seems restless and Kate Baldwin plays her as someone who is still young until nearly the final scene. Lewis Cleale was far more credible as his character aged. Their singing voices are superb, though, and their chemistry just right.  Wilson Chin's set keeps the large fourposter bed in the center of the bedroom, which is surrounded by the solid frame of a house. Still, there is a feeling of lightness on the set, mostly because of Michael Lichtefeld's clever choreography and Susan H. Schulman's deft direction. A nice touch was the use of a "wall" of picture to replace a traditional curtain. At the end, the frames were empty, ready for the next couple to create their own memories.

Tanglewood – Indoors and Out, Lenox, MA
By Shera Cohen

There are thousands of seats to choose from in front of the Tanglewood shed. Mine was a bit in the sun. As the afternoon progressed so did the shade. The “seats” are actually bring-your-own chairs and blankets, placed anywhere and everywhere on this ever so pristine lawn. On a Sunday afternoon with a temperature of 83 degrees and a shining sun, I was as close to nature as this city “girl” likes to get. The music of the Boston Symphony Orchestra had not yet begun, and that was just fine, as time was needed to first take in the experience of this landscape called Tanglewood.  While I did have an assigned seat in the Koussevitzky Music Shed, I immediately chose the outdoor setting instead. I was one of thousands (as mentioned) who enjoyed this open-air amphitheatre. Prime seating seemed to be under the many tall leafy trees. Families, couples, seniors, babies – it was a who’s who of people that I didn’t know. While watching and listening from my lawn chair (one from the 1960s and not the new fold-ups), I discovered important facts that I was unaware of: sushi can be eaten warm, people still use Red Flyers, women are quicker and more efficient than men at setting up picnics, multi-tasking is a big deal (listen to music, drink a soda, read a novel, participate in conversations), many listeners leave the concert half-way through the final movements (that seems a shame), kids aren’t into Frisbees as much as they used to be, men wear Red Sox baseball caps, women wear huge straw hats, and everyone wears sun lotion. This is a colorful place – the newly cut green grass, blue sky with wisps of off-white clouds, tablecloths of flowers, and a sea of motley colored umbrellas. The clang of bells alerted those with seats inside the shed and outside that the concert was set to start. Without fanfare, conductor Christoph Von Dohnanyi led the BSO through two exquisite compositions. My critiques of music are far from expert, which is why this article does not focus on the soft strings, trumpet alerts, and dynamic percussion. As far as this layman is concerned, Beethoven’s Violin Concerto in D, Opus 61 featuring Arabella Steinbacher deserved the long standing ovation which it and she received. Following intermission, Dvorak’s Symphony No. 8 in G, Opus 88 was musically riveting. Not that anyone would notice, but I was among those lawn listeners who stood and applauded in awe. Was the music really captured in the breezes that surrounded me? Probably not. My place on the lawn became a small expedition, as I walked the entire perimeter to the high bushes setting the division line between Tanglewood and the Berkshire mountains and lake. My secret place (apparently not so secret as others had been on my same course) was the maze of trees, grass, shrubs, and vineyard. Not quite edible yet, blue and green grapes hung disorderly on their vines. I ran into three teens who said to each other that they were lost, but they didn’t seem to care. I observed that the longest lines were not to the women’s facilities, but to Ben & Jerry’s cart. When I arrived, I had asked the gatekeepers, sitting on small stools between the parking lot and the box office, if they were able to hear the concert from their distant location. How sad it would be to sit so close and not appreciate the music. They smiled and answered, “Yes.” Apparently, every “seat in the house” at Tanglewood is a great one.

The Comedy of Errors
Shakespeare & Company, Lenox through September 4, 2010
by Shera Cohen
www.inthespotlightinc.org

One of The Bard’s funniest plays takes the Bernstein Theatre, or rather the circus stage. All within the confines of a colorful, yet small, circle are 12 actors portraying 20 characters living in two cities with an ocean between them. Such is “The Comedy of Errors,” a fast-speed farce with (no surprise here) mistaken identities. Shakespeare and this Lenox troupe have double the work and double the pleasure with their story of two sets of identical twins – one a master and the other his servant. Directors Dennis Krausnick and Clare Reidy have successfully replicated comedy d’arte.  Sad is the dad who lost his wife and sons in a shipwreck. Sad is the servant who must marry the kitchen-maid whose body is “spherical, like a globe,” and sad is the mistress whose husband loves her sister. Yet, this is a boisterous comedy. The laughs increase with the addition of a medley of strange props (a chain gets the biggest laughs), a transvestite prostitute, some liberties with the script (2010 references), and pratfalls galore. Oftentimes, it seems that actors will crash into walls as they run at breakneck speed into the circus circle, and then leap out. But Shakespeare & Company actors are pros, so not a single knee was scrapped by this young cast – all members of the Center for Actor Training’s Performance Intern Program.

And, for something on an even lighter note, if that’s possible… The Amorous Quarrel through August 28, 2010

This time it’s Moliere’s broad comedy of love, disguise, mistaken identity (again), jealousy, and slamming doors. Every character is dim, except the servants – it is they who steal the show. “Quarrel” is very much an ensemble cast, as is “Errors.” While the language is an English translation of Moliere’s French (with adaptation by director Jenna Ware), and “Errors” is Shakespeare’s own, both plays are extremely accessible for young audiences and their chaperones. Many jokes are double entendres that kids will not understand, but adults will. One special aspect of all of the plays performed in the tent stage of the Rose Theatre is the songs – each original for the particular play, with lyrics to pay attention to get the laugh.

Art
Barrington Stage, Pittsfield
by Shera Cohen
www.inthespotlightinc.org

Chick flick, loosely defined, is a movie (perhaps a play) whose lead character is a woman and primary audience consists of females. The opposite might be said about “Art” – which is definitely a Guy Play. However, while women may have to drag their male partners to the movie/theatre, it is a pretty good guess that these men enjoyed what they saw. “Art” provides women equal enjoyment. Friendship is at the crux of the story. Three men, each quite different from the others, are the protagonists. They talk about, fight over, philosophize, study, and laugh at one piece of art. Serge has spent a bundle on a large modern art painting by a pseudo-famous artist. He loves his purchase. His friend Marc hates it and tells Serge so. His other friend, Yvan, waivers on his opinion. The audience laughs at the trio, first in bewilderment and later at the raucous ridiculousness. Why? This supposed painting is solid white – white paint on a white canvas. The prop is far more than an unframed canvas; it is the playwright’s canvas on which to hang the relationships between the men as duos and as a trio.  Director Henry Wishcamper, along with help from his lighting designer, has set the quick pace of the plot of interaction coupled with numerous periodic soliloquies. Actors David Garrison (effectively feigning a highbrow character), Michael Countryman (nicely exasperated by the situation Marc is in), and Brian Avers (emotionally portraying a confused loose cannon) are completely in synch. The characters are intelligent, inquisitive, petty, hurtful, and supportive. Bits of jealousy are tossed about. They talk about each other in confidence, yet the audience eavesdrops, making for the humor of the story. “Art” is a 21st century version of “The Emperor’s New Clothes” placed on a deeper level between individuals who could possibly be our own friends.  For anyone who has/had/will have friends, taking a microscopic look at male friendships is very pleasant for a change from the, perhaps, too many “chick flicks.”

Capitol Steps 2010
Cranwell Resort, Lenox thru September 5, 2010
by Shera Cohen - www.inthespotlightinc.org 

The 2009 flyer for Capitol Steps quotes accolades from numerous sources, one being, “Some people in Washington are confused…the Capitol Steps are not.” That was stated by former Vice President Al Gore. Little did Al know that he would be the brunt of the somewhat risqué humor by CS exactly one year later. But he isn’t alone, as numerous senators and Tiger Woods get theirs – jibes, laughs, and teases to the tunes of recognizable popular songs. For instance, “Eye of the Tiger” becomes “Fly of the Tiger.” CS is irreverent, humorous, fast, satirical, and up-to-date. No one is safe from being made fun of. Needless to say, whoever lives at the White House becomes a pawn. Past residents as well: Bill and Hillary, George W. The major factor that makes CS a success is the continuously changing scripts. CS in 2009 is not the same as 2010. The show in April was probably be very different from July’s production. Three men, two women, and one pianist are CS. Their costumes are cheesy, the wigs are worse, choreography is pathetic, and the basement theatre location is uninviting. None of that matters. Actually, all of it matters, because the worse the accoutrements, the better the show and the bigger the laughs. Surprisingly, the players’ voices are top notch. None will take the Metropolitan Opera stage, but they sing a mean “Evita” parody. In addition to the usual subjects personalities mentioned earlier are VP Joe Biden, Senator Scott Brown, Nancy Pelosi, Sarah Palin, leaders of numerous countries (Korea was especially memorable), and an unintelligible Bob Dylan. CS also takes pot shots at news of the day: border crossing, airport regulations, the oil disaster, and the U.S. census. Every show ends with a hilarious long monologue by one of the quintet. He essentially speaks backwards, juxtaposing letters, in fast motion. It takes a good ear to catch every joke, but getting only half puts any audience member in proverbial stitches.

Sea Marks
Shakespeare & Company, Lenox thru September 4, 2010
by Shera Cohen - www.inthespotlightinc.org

Not so long ago, people wrote letters. Corresponding back and forth in long hand and with a pen is something today’s younger generation might think of as ancient. “Sea Marks,” set in an era of pre-email, texting, and tweeting in the 1960’s is, perhaps, a bit old fashioned – but that’s what makes it especially lovely. The plot takes the audience from the seacoast of Ireland to the city of Liverpool, England. The locales could not be any more different. In this two-character play, it seems that Colm and Timothea could not be any more different as well. Colm shyly begins the correspondence, although he has only met Timothea once. She responds, officiously at first, because she doesn’t even remember meeting this man. Not a good first impression. Yet, theirs is a growing and powerful love story. Nearly all of Act I is a series of letter writing, and, indeed, is the winning half of the play. While Walton Wilson has been a regular at this theatre for many years, “Sea Marks” is his first starring role. Kristin Wold, a Shakespeare & Company veteran, can play just about every role with perfection and her Timothea is no exception. Wilson is an equal match for her. Both portray fragile, quiet, middle-aged strangers who do more than fill each other’s loneliness. Each makes significant changes in their lives. Self-confidence begins to replace vulnerabilities as they take the risk to fall in love.  The play is sheer poetry, literally and figurative. The playwright could have easily written a book of sonnets in lieu of, or along with, the play. In fact, the language is the third profound “character.” The simple earth color sets, soft lighting, and director Daniela Varon’s juxtaposition of the lovers (particularly in Act I) subtly keep the plot flowing smoothly and slowly. Act II has a few speed bumps – some due to unnecessary verbiage about Timothea’s ex, and others from quickening the pace just a bit too much in contrast to the exquisite Act I. Yet, nothing spoils the sweetness, simplicity, sadness, and joy of love and “Sea Marks.”

Happy Days
At Westport Country Playhouse thru July 24, 2010 - www.westportplayhouse.org
by Sherry Shameer Cohen

Samuel Beckett's Happy Days, which just opened at the Westport Country Playhouse, is a compelling show that demands the audience's commitment as few shows do. Basically, the play is about a 50-year-old woman who is optimistic and life-affirming, even though she is literally imprisoned in the earth.  But that précis doesn't do justice to the play. There is a reason that Beckett's plays are not performed frequently. They are hard to like and it is often hard to relate to the characters or their circumstances. Happy Day’s main character, Winnie, is supposed to be Everywoman, but she is hardly the woman most of us would like to be, even if she were not in her predicament. It was not surprising that at least 30 people scurried out of the theatre between the two acts, which were performed without an intermission. It was a noble risk by WCP’s Artistic Director Mark Lamos to include this play, but one that this theatregoer appreciates. Lamos also directed the show, which stars five-time Tony nominee Dana Ivey as Winnie and Jack Wetherall as Willie, her presumed husband or partner.  Beckett's original stage directions called for Winnie to be a mound of sand up to her waist, but scenic and costume designer John Arnone's has her in rocks (made of Styrofoam, no doubt) the size of small boulders. Behind the rocks are three walls of gray and grayer divided by a line that is almost black. I questioned this change because Beckett was notoriously inflexible about the extensive stage directions he wrote into his plays, often interrupting the characters’ lines. Allegedly, if he saw a production in which the director changed anything, he would raise hell. They gray is self-evident. Despite the title, the play is not happy and delightful. The rocks, in my opinion, are an excellent idea because stone is so much more formidable. Moreover, Winnie -- and any actress who plays her -- must be equally strong for the play to work. Winnie spends her day keeping up her standards with the grooming supplies from her deep handbag and her optimism, although she admits that "sorrow keeps breaking in." Between the shrill morning and evening bells, she babbles extensively about her situation, her memories and her daily rituals. She is desperate for communication from the mostly unseen Willie. Even a word here and there will do to satisfy her. When he talks, she considers it a happy day. Hence, the title. And when Willie crawls up the rocks in the latter part of the play, only to fall, it evokes memories of the story of Sisyphus.  Why see it, then? As Lamos told the audience before the curtain rose, you have to be prepared "leave [your] world behind and must let yourself be available to this one." There are many ways to interpret this play. Many people can relate to Winnie's entrapment and isolation, whether they are ordinary people who are unemployed, working hard to keep their dignity and standards and trying to remain optimistic about their future, or Lindsay Lohan, who will soon face prison because of her illness and poor choices. Theatre is more than just about entertainment. You don't have to like a play or its characters, but it is satisfying to leave a play thinking about the different elements of it. Anyone who thinks acting isn't a real job absolutely must see it. Actually, read it first. Envision trying to play Winnie, especially reciting her many lines while executing Beckett's detailed stage directions. Then see it. Whether you like it or not, Happy Days is a play you won't forget quickly. And Dana Ivey's tour-de-force performance will stay with you forever. Some advice to all the young people whose idea of acting is based on actors from the Twilight franchises, Gossip Girl and Hollywood burnouts such as Lindsay Lohan: read and see Beckett's plays. You will get a much better idea of what acting entails.  Tickets are available through the box office weekdays from noon to 6:00 p.m. Westport Country Playhouse is located at 25 Powers Court, off Route 1. (203) 227-4177. www.westportplayhouse.org

What is the Sound of 16 Hands Clapping? By Steve Capra
Flamenco is magnificent, mysterious, subversive. Festival Flamenco de Cordoba performed at NYC’s Town Hall recently for three nights. Their performances are mesmerizing, riveting. The troupe is from Spain, 66 years old, and this is its first American appearance. The company as comprised of six dancers, including one man, and five singers/ instrumentalists, including one woman. The instruments are guitars, with one box drum called a cajon, on which the drummer sits.  Its maestro is Merengue de Cordoba (two of the dancers are his daughters), who opened with splendid guitar. His genre is flamenco puro – the second word meaning both “pure” and “antique”. The first baritone flamenco wail sounded like an adhan, the Islamic call to prayer, strident and insistent.  The women dance in gorgeous dresses – white, black, red, or print. Sometimes they hold up their trains and dance as if with partnera; sometimes they kick the trains behind them in a step that is the recurring accent of the piece. Sometimes they wore shawls with tassles half the width again of the main cloth. They dance with their arms and hands, sometimes tossing their heads abruptly, insolently. In fact, this work had an emotional intensity nearly violent.  In the first dance, I was surprised to see the three women begin and end the dance sitting. In one dance, the three women tossed their fans to the floor with a snap.  The single male dancer, Antonio Alcazar, was no less awesome. He crossed the stage virtually running, and spun with the alacrity of a skater, and with more grace. In one piece, he danced a cappella (do dancers dance a cappella?), accompanying himself with the incomparable tap of flamenco shoes. Like many jazz groups, they ended with a solo from each dancer, and eight company members clapped out the flamenco’s complex rhythm. This is the sound of 16 hands clapping.  The dancing is powerful in a way rare in dance. We’re eager for the company’s next visit to NYC!

Sweeney Todd: The Demon Barber of Fleet Street
Barrington Stage, Pittsfield, MA through July 17, 2010
by Karolina Sadowicz
www.inthespotlightinc.org 

The tale of the murderous, vengeful barber Sweeney Todd has been thrilling audiences for over 30 years with black humor and merciless wit, and has yet to lose its edge. Barrington Stage Company's production is a razor sharp presentation of the dark classic. After years of imprisonment and other trials, a mysterious man returns to Victorian London and assumes the name of Sweeney Todd (Jeff McCarthy), opening a humble barbershop above Mrs. Lovett's (Harriet Harris of "Frasier" and "Desperate Housewives") pie shop. There, he begins plotting his revenge against the sinister Judge Turpin (Ed Dixon) and impulsively kills a rival barber, setting off a bloody spree and inadvertently and repulsively growing Mrs. Lovett's meat pie business. McCarthy's Sweeney Todd is more vengeful and angry than brooding, fiercely expressive in his anguish and reluctant to show restraint. Never remotely amiable, he is hardly concerned about winning over other people, even the audience, but it works. His cool response to Mrs. Lovett's increasingly desperate affections provides some comic relief in a story that grows more somber and violent. Charmingly creaky Harris plays Mrs. Lovett as a bawdy, hilariously immoral pragmatist with a secret longing, committing and accepting all kinds of monstrosities to get what she wants. Despite her own dark secrets about Sweeney Todd's previous life, she deftly mixes both sour and sweet, and is a highlight of the show. A chartreuse-suited Pirelli played by Branch Woodman is an unabashed scene stealer and a delightful foil to Sweeney. The young sailor Antony (Shonn Wiley) and Johanna (Sarah Stevens), Sweeney's daughter, both offer beautiful singing performances and inject hopeful innocence into a world that seems as polluted as Sweeney believes it is. Christianne Tisdale brings unexpected laughs and tragic peaks in her portrayal of the mad beggar woman. The play is superbly produced, with efficient and appropriately grimy setting, and outstanding sound production that showcases the considerable talent and discipline of the entire ensemble. It's an exciting production that blends laughs, madness, and even a little fear.

Noises Off
New Century Theatre, Northampton
by Eric Johnson
www.inthespotlightinc.org

Sardines. It’s all about the sardines. Well, not really. What Michael Frayn’s “Noises Off” is about is love, jealousy, anger, weakness, etc. Sounds like a drama, doesn’t it? This play is a comedy about drama, the drama that inevitably occurs when offstage romance blossoms.  New Century Theatre (NCT) is celebrating their 20th anniversary this year, and the entire season is comprised of audience favorites from the past. Director Sam Rush has assembled a wonderfully talented and experienced cast to take on this production, most of whom are reprising roles from the 2000 season production.  In an ensemble cast, Sara Whitcomb, Phil Kilbourne, Patrick Tango, Lisa Abend, Molly Haas-Hooven, Buzz Roddy, Cate Damon, James Emery and Steve Brady all give spectacular performances in this extremely demanding show. At times the pacing of the play is insanely fast and furious, and this group of actors manages to pull it off without missing a beat.  All of the ingredients of a typical British farce are present here – slamming doors, various states of undress, split-second timing, all deftly executed by this cast. Add to this, the actors are playing actors who then have to play characters and it becomes clear just how challenging this show is.  Daniel D. Rist once again creates a lavish set and complementary lighting design that draws appreciative “oohs” and “aahs,” and applause from the audience when revealed.
Congratulations to the NCT patrons for picking a marvelous show to kick off the 20th season, and kudos to Sam Rush for his precise direction of what could be a very unwieldy piece in less capable hands. This reviewer is pretty certain it will be awhile before he can say, or even think of the word ‘sardines’ without cracking a smile or chuckling
to himself.

Dinner with Friends @ Westport (CT) Country Playhouse
by Sherry Shameer Cohen

With the announcement of the Gores' breakup, could the opening of Donald Margulies’s Dinner with Friends at the Westport Country Playhouse be any better?  The Pulitzer-prize winning play stars Steven Skybell and Jenna Stern as Gabe and Karen and David Aaron Baker and Mary Bacon as Beth and Tom, two couples who are best friends and vowed "to get old and fat together, the four of us, and watch each others’ kids grow up, and cry together at their weddings." But Beth and Tom didn't live up to their commitment to themselves, their children or their BFF. As Gabe and Karen get custody of their friends' excess baggage, they reexamine their own relationship. The topic of infidelity is a staple in every genre of writing, but Margulies's insightful and incisive writing give depth and intricacies to the foursome without portraying them as stereotypes. Gabe and Karen are the picture-perfect couple who have exciting, fulfilling jobs as professional foodies and enviable homes in Connecticut and Martha's Vineyard. They are also principled, vulnerable, likeable and played well by Skybell and Stern. Gabe and Karen had reintroduced Tom and Beth to each other in a flashback scene set in their summer home. But Beth and Tom were never well-matched and it was no surprise that their marriage fell apart. What is surprising are the secrets each reveals. Tom hated his destiny to follow his father's footsteps into law, get married and have children. Beth reignited her affair with a colleague of Tom’s and is renewed, reinvigorated and ready to remarry. Gabe and Beth’s unequivocal trusted in their closest friends is now gone. Skybell transformed the witty and light Gabe into a man sincerely tries to understand his friends' marital meltdown and selfishness while accepting the inevitable slowdown of middle age in himself and Karen. Stern’s efficient, organized and pragmatic Karen also becomes more mellow and humble. Baker deftly navigates the role of the frustrated, self-centered husband who feels imprisoned in his life, while Bacon evolves from the off-centered ditzy artist into a woman of confidence and determination. But the real stars of the show are David Kennedy, who did a fine job in his directorial debut at the Westport Country Playhouse, Lee Savage for his amazing scenic design (I want Gabe and Karen's houses!), Matthew Richards's lighting design and, above all, Donald Margulies. Not only does his ingenious dialogue ring true; his choreography supports his words. During the scene in which Gabe and Karen make their bed at night, they move in perfect synchronization, underscoring their unity and commitment to one another. This is a couple you can believe in and a play you must see. Show times are through June 19 on Tuesday through Saturday evenings at 8:00, with matinees on Wednesday at 2:00, Saturday at 4:00 and Sunday at 3:00. Tickets are available through the box office weekdays from noon to 6:00 p.m. Westport Country Playhouse is located at 25 Powers Court, off Route 1. (203) 227-4177. www.westportplayhouse.org

Kyogen by Steve Capra
Yamamoto Kyogen Company, Japan Society, NYC

New York’s Japan Society continues to present some of the most interesting stage work in the city. It recently presented Japan’s Yamamoto Kyogen Company. Kyogen is a tradition Japanese form associated with the noh. They were often performed together, collectively known as nogaku. The noh, was a serious form, and the Kyogen contrasted, addressing human foibles and scenes from daily life. Kyogen’s costumes are simpler than the noh’s elaborate designs, but its nobles still wear those wonderful overlong pants. Its backdrop, the only element of set, is a painting of a pine and, as the noh, actors enter UR. Kyogen actors (they’re always men) speak with a sound like growling, like throat singing. Their speech is so stylized that I’m told young Japanese find it difficult to understand. Their singing, while identifiable, is only marginally different. The stage conventions are important, as they offer us an alternative, non-representational stage language. The acting is stilted, almost somnambulistic. Actors face each other at the beginning of a conversation, then face us, then turn back at the last line. Turning to us is sometimes indicative of stress. They use fans as cups and vocalize the sound of pouring. They may be non-mimetic, but an actor coughs when necessary in an isolated bit of verisimilitude. I was surprised to see that when the occasion demands, two characters talk at once; one is talking to us. To indicate a horse walking and a man beside him, both may be still – we’ve been told they’re traveling – or the human may be still while the horse walks. The man playing the horse horse walks on feet and hands without putting his knees on the floor. The kyogen has some laughs, but it’s comedy more in the sense that we associate with Chekhov – ie, trivial. And like Chekhov, it can be moving through its triviality. In the second piece, Moon-Viewing Blind Man, a fellow plays a mean trick on a blind man he’s befriended. The blind man has just sung “Take pity on this blind man”, and we’re told “Sanity moves out of reach”. Let’s hope that he Japan Society keeps importing this wonderful sort of work.

Thank You, Mdme von Essen: Creditors by Steve Capra
Donmar Warehouse, BAM, NYC

August Strindberg wrote Creditors while he was married to Siri Von Essen. It is said that she played the barrel organ and taunted her husband by suggesting that their daughter may not be his child. Charming. Mdme Siri has divorced her first husband, a baron, to marry Strindberg, and the playwright apparently had some reservations about this. In Creditors he writes about a woman and her second husband. He says that “she was fully formed when I met her”, reflecting Strindberg’s debt to the baron.
But enough contextualism. The young man is led to doubt her fidelity by a new friend, an older man, a Strinbergian Iago. Strindberg makes it clear that he’s dramatizing the doubt within the young fellow when his new buddy tells him “I do not exist. Only you do”. The Donmar Warehouse production of Creditors has come to BAM from London “in a new version by David Grieg”. It’s brilliant, with acting as intense as Strindberg’s emotional tempest. Anna Chancellor in the bravura role of the wife is stunning in her command of technique an emotional grounding. She can act with subtle subtext or, when the occasion demands, abandon. Between the three characters there’s an excruciating series of emotions culminating in a resolution of brutal intensity. No one matches Strindberg when it comes to staging emotions as conflicting characters. They argue the way Shavian characters do, but instead of tossing around intellectual issues, they explore emotional ones. Ben Stones’ set is a wonder itself, colorless with waves of light, far from realism. It has the sparsity we associate with asylums for the insane, where objects are minimal so people don’t do themselves harm, and it’s chilling. The boards show on the whitewashed walls that seem to get dirty as the play progresses. The grand skylights expose only rain outside. Not a ray of sunshine here. Director Alan Rickman has put all this intense acting in the same key and kept the whole show crystal clear and precise. He’s put humor into Strindberg through careful details of line-delivery and blocking, and he wisely knocks it off after the first half of the play. The premise is that Strindberg intended the humor, but it’s difficult to believe this is what he had in mind when the play appeared in 1889. Does this laughter come from the script? Or does it reflect our distance from melodrama, our condescension to it? But then, it’s impossible for us to experience the play the way Strindberg’s audience did. Richman’s choices are probably as true as the somber interpretations of Strindberg we’re accustomed to.

Karen Finley Strikes Again with The Jackie Look by Steve Capra

Karen Finley was one of the NEA Four – the four performance artists whose National Endowment for the Arts grants were cancelled in 1990 over issues of “content” – i.e., “decency”. The then Senator Jesse Helms took exception to one of her acts – specifically, she had stood on stage in her panties and covered herself with chocolate (delicious!).
The issue became a cause célèbre. Because the other three were gay, the press usually spoke of “Karen Finley and four mainstream (or alternative) artists”, and her name became the most strongly associated with the issue. The NEA Four appealed to the Supreme Court, and in 1999 lost the appeal. Finley was blacklisted by New York’s Whitney Museum and other organizations.  But she's been back. Early in her most recent one-woman show, she alludes to the matter. The projection behind Finley shows us a webpage - jfk.org - and she says of the site “I certainly hope there’s no funding from the NEA.” If there were, you see, the organization would be in danger of losing its funding, being associated with her and all. The show is “The Jackie Look” in which Finley appears as Jackie Onassis. She’s dressed like Jackie O., but there’s no suggestion of impersonation. Indeed, she’s barely in character at all. To make it clear that this isn’t representational theatre, Mdme O. tells us tells us: “I’m going to be giving a talk on 42nd Street near Ninth Avenue” – that is, at the venue where we’re sitting.  She keeps her voice, for the most part, very soft, but late in the show, for a moment, she brays. This is the moment of unladylike anger we’ve come to expect in her work. he’s eschewed the striking visuals of her earlier work, and become more literary. The monologue is dense, meandering and impossible to follow. And so we stay with it in the present moment. We appreciate her telling us “Life is more important than art but life is meaningless without it,” even though we can’t put it into a context. ts chief theme is Finley’s signature concern, the commoditization of women, woman as icon. She reminds us “A women can’t be too perfect.” She refers to the recent first ladies, particularly to “Michelle”, as well as to Princess Diana, Marilyn Monroe, and the Mona Lisa. “Please release me from your gaze,” she pleads, but later she moves on to “Thank you for looking at me.” She ends telling us “I don’t have to pose for every shot. That is something women have to learn.” Her speech is a combination of poetry, humor, blather, and symbolism. Speaking of our current First Lady’s wardrobe, Jackie tells us smugly “I showed my arms during the cold war.” But speaking of the dress stained with JFK’s blood, she tells us “I never took the dress off.” She discusses, in parallel, the quality of being public, another characteristic theme. There are overtones of the NEA flak deal – that is, of Finley herself – here as well. When I interviewed her, in 1999, she said Helms “could only deal with me personally, even though it was public. There was a voyeurism – a public-ness in the relationship.” As always, much of her delivery is half-memorized text with much improvisation and errors of speech. She once told me “The whole notion of memorization and character is very dated in theatre… I’m interested in presenting real time, the struggle...” But when she reads from her script, the speaks the text nimbly and precisely. his is a terrific piece. On the whole, Finley’s work has been uneven. That dicey quality is entirely in her genre of experiment. She told me “I don’t like to have the work guaranteed.” She’s one of America’s important contributions to the theatre, as original as anything we’ve produced in our generation.

Annie Get Your Gun by R.E. Smith
Goodspeed Musicals, East Haddam, CT through July 3, 2010

Truly the Goodspeed must have magical powers. How else is there to explain the method by which the venerable theatre can fit all the energy of a big top, Wild West show into its compact space? But then it is the vivid characters and intimate songs that really fill the stage in the classic “Annie Get Your Gun,” a loosely based account of the life of sharpshooter Annie Oakley. The list of immortal Irving Berlin songs comprising the score starts with “There’s No Business Like Show Business” and proceeds, non-stop, to “Anything You Can Do”. Every song is extremely well served by the talent. Jenn Gambatese, late of Broadway’s Tarzan, brings a clear, pure voice to rough and tough, sweet and sassy Annie. She effortlessly switches from steely-sharp marksmen to moon-eyed infatuation at the drop of a clay pigeon. Kevin Earley, as Annie’s rival/romantic interest Frank Butler, has an easy charm and precise comic delivery. Earley’s tremendous, classic, singing voice causes delighted nods of approval every time he starts a number.  Andrew Cao and Chelsea Morgan Stock as romantic ingénues Tommy and Winnie make a delightful, winning couple. Cao has a physical presence, winning smile and boundless energy that make him a delight to watch, even in the background. Stock was spunky, determined and light on her feet. Their energetic song and dance “I’ll Share It All With You,” choreographed atop a train car, is an Act I highlight.  Working from the Peter Stone update of the original Herbert and Dorothy Fields script, the show features not only timeless songs, but also witty banter and sharp dialogue. Director Rob Ruggiero’s pacing is intelligent and quick, and the staging features delightful techniques to illustrate Annie’s sharpshooting skills. From the moment the audience walks into the theatre and is greeted by the authentic set, taking one inside the tent of the Buffalo Bill’s show, it is clear that everyone is in for a delightful evening of musical theatre without a single false note.

Aspen Santa Fe Ballet by Stacie Beland
UMass Fine Arts Center, Amherst

The Aspen Santa Fe Ballet, a fairly new company with an already extensive repertoire from the most influential choreographers in the world, presented a stunning showcase of four pieces. The program, which featured unconnected works each by a different choreographer, was tightly bound together by common themes and powerful dancing. Though ballet sometimes has a reputation for being somewhat boringly pretty, these powerful works were nothing short of spectacular.  The first, In Hidden Seconds, choreography by Nicolo Fonte, used stage haze - a shared responsibility of stage design between the choreographer and the lighting designer to create a mood of mystical transition. This powerful show opener presented the company in a stunning exhibition of movement that fluidly moved from staged anarchy to entropy to harmony and back again. It was a riveting, haunting piece. Twyla Tharp’s Sue’s Leg followed -- a joyful piece, bolstered by the music of Thomas “Fats” Walker . The dancers, costumed rather contemporarily in khakis and muted colors, moved as though there was a sly and subtle amount of flirtatious underscoring. The controlled actions included a few well-placed finger snaps, winks, and easy movements that highlighted the breezy fun of the choreography. Slingerland showcased the choreography, lighting design, and costuming by William Forsythe. A contemporary pas-de-deux took a ballerina and her male partner through a series of movements while keeping their hands tightly clasped together the entire time. There was a sense of “catch and release” through each tableau. It was a stirring and beautifully executed. Lastly, the audience was treated to a work by Jorma Elo. Red Sweet, performed by the company, paired the music of Vivaldi and Biber with calculated, intricate movement. A work of passion, it’s comprised of tight scenes of control, release, and play. As the music became bigger, so to did the movements; during the silences of transition between music, Elo set movement with poignancy.  It was a night of stunning, powerful dance -- a visual treat for anyone who stood witness to it. Aspen Santa Fe has leapt into the world of dance and is here to stay.

She Loves Me
Westport Country Playhouse, Westport, CT thru May 15 - www.westportplayhouse.org
by Sherry Shameer Cohen

“She Loves Me” opened the 80th season at Westport Country Playhouse with freshness, energy and charm. The show, which opened April 20, stars Jeremy Peter Johnson as Georg and Jessica Grové as Amalia in the roles of bickering store clerks who already fell in love as anonymous lonely-hearts correspondents. Is the concept dated since its origins as Miklos Laszlo’s 1937 stage comedy, “Illatszertar?” It is not exactly implausible in an age of Internet dating and forums. Its last film production, “You’ve Got Mail,” was a hit. The show’s spontaneous sounding music and lyrics and old world courtesy are most welcome today. Its references to hard times, store closings and possible job loss make it very relevant to audiences today. Johnson and Grové are in fine form as the leads. Johnson is most likeable and Grové’s voice is glorious. But the strengths of this production are the performances by the supporting cast members. This reviewer has seen two other productions of “She Loves Me” including the 1993 Broadway revival and the one that toured at the Stamford Center for the Arts. The supporting roles are often played predictably and one-dimensionally. Shop owner Mr. Maraczek is usually portrayed as someone who lives in the past, Kodaly a suave cad, Ilona Ritter a ditz, Sipos a bully of a working stiff and Arpad a bit of a twerp. Here, Lenny Wolpe gives Mr. Maraczek an elegant vim and vigor that would make AARP proud and makes the audience wonder why Mrs. Maraczek would succumb even to the charms of Kodaly (played to perfection by Douglas Sills).. Nancy Anderson plays Ilona with poignancy, purity and sensitivity. Michael McCormick balances wisdom and likability in Sipos’s determination to survive on the job. Christopher Shin’s exceptional singing voice, disarming manner and skillful movements let Arpad fulfill his promise of promotion from young delivery boy to maturing sales clerk. Another find is the charismatic and capable David Bonanno in the dual roles of Keller and Headwaiter. He sings “A Romantic Atmosphere” beautifully and with just the right amount of comic restraint. The one flaw in this production is Riccardo Hernandez’s set design. Loyal patrons of the Westport Country Playhouse are spoiled by great sets. Sadly, this one seems simultaneously skimpy (no doubt due to budget restraints) with the overuse of curtains and overwhelmed with blow-ups of old-fashioned paintings and chubby angels. The touches of art nouveau design are beautiful, though, and Rui Rita’s lighting complements the rest of the set. Candice Donnelly’s costumes are appropriately dressy for the period. The sound, while clear, could be adjusted down a notch for the venue. Kudos to Wayne Barker for creating the sound and depth of a larger orchestra than is actually used. Overall, the production is a winner.  “She Loves Me” has been extended through May 15. Show times are Tuesday through Saturday evenings at 8:00, with matinees on Wednesday at 2:00, Saturday at 4:00 and Sunday at 3:00. Tickets are available through the box office weekdays from noon to 6:00 p.m. Westport Country Playhouse is located at 25 Powers Court, off Route 1. (203) 227-4177.

Mark Twain’s The Adventures of Tom Sawyer
Hartford Stage, Hartford, CT thru May 9, 2010
by Karolina Sadowicz
www.inthespotlightinc.org 

This year marks the centennial anniversary of Mark Twain’s passing, and as part of ongoing celebrations in Hartford, Hartford Stage commissioned playwright Laura Eason to adapt Twain’s novel about a boy full of mischief. The result is a modern, high-energy staging that swiftly presents the highlights from one of Twain’s most beloved works.  A youthful (but adult) and exuberant cast breaks into dance as the lights turn bright, and as-yet-undefined characters take turns delivering some of Twain’s narrative. The structure of this production is purposeful, with little time spent on exposition. Tom’s (charming Tim McKiernan, in his professional acting debut) life and friendships are presented through quick, punchy vignettes so that the audience is promptly delivered to the heart of the story: a murder witnessed by Tom and Huck Finn (excellent Casey Predovic) in a graveyard, and the wrong man imprisoned. Tom and Huck struggle with what they witnessed, their own mischievous natures, and whether Tom’s “engagement” to relentlessly adorable Becky Thatcher (Louisa Krause) will impede their future adventures. A principal cast of eight carry off some 20 roles, with Teddy Canez convincingly playing the least likable characters: the schoolmaster, the minister, and the murderous Injun Joe. Nancy Lemenager is both hilarious and heartbreaking as Aunt Polly, and Erik Lochtefeld makes a woeful and endearing Muff Potter. The spirited, kinetic acting is supported by a lively soundtrack and Daniel Ostling’s superbly inventive set, which transforms with great effect from a schoolhouse, to a wheat field, to a jail cell, to a labyrinthine cave. Most set pieces are lowered from the ceiling to suggest changing settings. Some aspects of this stylized production don’t quite fit the material. A nightmare sequence tests how much the book ought to be modernized, jarring the audience out of the moment. The swift pace is well kept, but sudden shifts between unrelated scenes leave a sense of substantial omissions.  Including Twain’s narrative voice is a nice touch, and the playfulness of the original text is well conveyed. This creative, ambitious production reminds the audience what it is to play and seek adventure, just as it should.

A Man for all Seasons
Majestic Theater, West Springfield, MA thru April 3, 2010
by Eric Johnson

Conscience. Is it great courage or extreme folly to follow one’s conscience if it means losing everything? This is the question Robert Bolt poses in this play, and it is one we are left to answer for ourselves. Faced with the same choices, what would we do? A Man for All Seasons relates the story of Sir Thomas More and his devotion to his own conscience. The issue is separation from the Catholic Church and subsequent founding of the Church of England by King Henry VIII in order to divorce Catherine of Aragon and marry Anne Boleyn. The multi-level and multitasking set design by Greg Trochlil is impressive -- no surprise there. Colorful period costuming by Elaine Bergeron and the muted lighting design by Daniel Rist complement each other nicely and create a raw mood that is a perfect setting for this historic tale.  Add to this backdrop, an extremely talented, competent, and confident cast and what follows is, quite simply, good theatre. The performances are all convincing and the “larger than life” characters are portrayed realistically without being overdone. The entire cast works well as an ensemble, the characters believable and genuine. Kudos must be given to director Danny Eaton for taking on this challenging project and bringing it to fruition -a job well done. A Man for all Seasons is a thought-provoking, dark production and, in all good conscience, one definitely worth seeing.

Communicating Doors
Suffield Players, Suffield, CT thru March 6, 2010 - www.suffieldplayers.org
by Shera Cohen - www.inthespotlightinc.org
 
You don’t have to be a “Lost” fan to fully appreciate “Communicating Doors,” but it might help. Britain ’s “Neil Simon,” Alan Ayckbourn penned this comic, science fiction, mystery before the cult TV show began. Perhaps “Lost"’s writers saw the play, said “great concept,” and the rest is history? Toss sex and murder into the plot mix and there’s a lot to like in “Doors.”  Set over the course of one day, yet in a 40-year time span (sounds odd, but true) are six characters whose lives intertwine in 1984, 2004, and 2040. The lead role is that of a twenty-something, which makes the literal timing all the more purposely confusing. Time moves back and forth at the drop of a hat – actually at the opening of a door. The set is a hotel suite, beautifully crafted with three rooms, a balcony, and a surprise. The latter is a key element, as important as any of the characters. Well-executed lighting and sound design help create the mystery. A novice (yet fully equipped) dominatrix is our heroine. Relative newcomer Becky Rodia Schoenfeld portrays Phoebe with sweetness and naiveté. She is ever-present onstage, the lynchpin who keeps the steady swift pace from scene to scene. Schoenfeld is a top-notch young comedian who doesn’t mind throwing her whole body into the action. Much of her time is spent in dialogue and antics with Ruella, played by veteran actress Mary Fernandez-Sierra. The two characters’ immediate connection and rapport is honest. These total strangers care about each other and the audience cares about them.  Dale Facey’s direction nicely transitions from one decade to another and back again, yet on the same set in different time-warps. Albeit, the play is a bit long and small cuts would have been helpful. A section in Act I requires an elderly man to collapse, perhaps with a heart attack. This is done in humor, yet the audience cannot see the actor since the couch blocks the audience’s view. Had we seen it, there would have been more laughs. The writer has strewn his play with clever dialogue, the director with physical humor, and the actors with the best English accents heard on a community theatre stage.

Les Liaisons Dangereuse
Shakespeare & Company, Lenox, MA through March 21, 2010
by Shera Cohen - www.inthespotlightinc.org

Most of the characters in “Les Liaisons Dangereuse” are evil personified. They are also smart, handsome, sophisticated, highbrow, cunning, vengeful, and, “evil” bears repeating. Christopher Hampton’s play, set in 1780s Paris, is created as a game, both visually and verbally. The squares on the floor and the sharp banter between the two lead roles add up to a championship chess competition. The stakes are high, even for the winner. At play’s end, it is difficult to determine who loses more. “Liaisons” is mounted at the intimate Bernstein Theatre. The 18 scenes fluently move from one to the next in the form of dance, accompanied by period music. From the play’s opening note, the chess/dance begins. Clever at first, the characters’ jumping from square to square becomes too obvious. It is safe to say that everyone in the audience “got it” – this is a deadly match, albeit with some humor. It is hard to believe that, when last seen at Shakespeare, Elizabeth Aspenlieder and Josh Aaron McCabe each starred in comedies. They were uproarious, throwing themselves (even physically) into their roles. While reserved in demeanor that befits “Liaison’s” characters, the actors portray villains with capital “Vs”. Aspenlieder’s Marquise is the brighter and worse of the two, excusing her motives because she is of the weaker sex. Ha! McCabe’s Vicomte pads his evil ways with humor, making him a bit more palatable as a human being. Aspenlieder surpasses herself in each new role. McCabe has not appeared often to date, but one hopes he will. Tina Packer directs her actors in supporting roles, some with more stage time than others, so that each embodies a character not to be forgotten. Tony Simotes is to be credited as choreographer of the lengthy frightening sword and dagger fight in Act II.  Normal human emotions of jealousy and revenge, betrayal and cruelty run rampant among “Liaison’s” population. The play is far more than a battle of the sexes. Good vs. evil is too simplistic. The Marquise exclaims, “This is war!” And the audience relishes every evil moment. For mature audiences.

The Lion King
The Bushnell, Hartford
by Shera Cohen - www.inthespotlightinc.org

While many theatre-lovers have taken sides on the Disneyfication of today’s musical theatre – its effects on the medium, audiences, and future audiences – this review takes “The Lion King” strictly at face value. The fact that its Broadway opening earned just about every theatre award given is no surprise. Perhaps a bit surprising to some is that the national tour, in cities such as Hartford , is equal in presentation, skill, special effects, costuming, and choreography. “Lion King” in CT compares equally to NYC’s “Lion King.”  The story, straight from the movie version, offers some life lessons to lions and to humans, particularly the children in both species. There’s drama and humor – the later on two levels for the appreciation of the kids and their adult chaperones. Elton John and Tim Rice’s music ranges from contemporary rock (“The Morning Report”) to ballads (“The Live in You”) to calypso, and more. Of course, there is the expected beauty of “Circle of Life” and contagious beat of “Hakuna Matata.” Singers shine, particularly in “Shadowland” and “Endless Night.” All of this makes for the foundation of a good musical.  The “wow effect” of “Lion King,” and far bigger than the songs, singers, and story combined, is the staging. The real stars are exquisitely talented director/costume designer Julie Taymor and choreographer Garth Fagan. Unfortunately, neither appears onstage to receive standing ovations.  “Lion King” is a visual delight with humans portraying life-size animals, birds, and vegetation. It is easy to only see the costumes and masks. Yet the faces of each actor “underneath” perfectly reflect his/her character. The backdrops of shimmering sun, dessert, sky, mountains, and elephant graveyard are massive. Color abounds in the come-to-life imaginations of the young lions. Technology is state-of-the-art in creating the art of live theatre, particularly in the stampede scene. Fagan, known for his choreography of his own famous dance troupe, as well as works performed by troupes across the globe, has created movements perhaps unseen onstage before “Lion King’s” debut.  As for opening night’s audience, chock full of children, it was a pleasure to hear their sounds of exclamation, lion “grrrrs,” and questioning “Is that real?!”

Almost, Maine
Majestic Theater, West Springfield through February 14, 2010
www.majestictheater.com
by Shera Cohen - www.inthespotlightinc.org

“Almost, Maine ” is charming, delightful, funny, and sweet. “Almost, Maine ” is also poignant, sad, powerful, and harsh. This is a non-existent town located in northern Maine where, on a Friday night, one can see the beauty of the aurora borealis lights, taste moose paddies, and fall in or out of love. John Cariani’s dialogue is as crisp as the cold winter night setting. Scene after scene offers the opportunity for clichéd one-liner responses between characters. Yet, the playwright takes the story on a more difficult path. Lines are tossed back and forth, seemingly on one level – then the surprise, or a series of surprises. Cariani’s work is clever as he balances the literal meaning of words with ways in which humans understand them; i.e. “falling in love” does not mean to fall on the ground…or does it? The play is actually a series of vignettes, loosely strung together. Four actors portray many roles each. Every scene is a mini-play about a couple, with actors pairing off in as many ways as the math will permit. Equity actors Sandra Blaney and Dan Whelton perform with non-Equity players Kait Rankins and Tim Cochran. All actors are evenly matched in skill and versatility. To see the range of talent of each player is worth the ticket price. Any one of the foursome shifts from a half-crazed being to a sober and somber person in the time it takes to change a parka. Segues of fast scene changes and minimal props to create both indoor and outdoor settings seem easy, but are probably not. The constant backdrop of stars, projected moving titles, and music help set up each segment.  Director Keith Langsdale, for the most part, orchestrates his quartet smoothly within scenes and between them. On occasion, one actor completely blocks out another. As the play continues to run its course, this will undoubtedly be “fixed.”  For theatergoers looking for a “real” play, “Almost, Maine ” might not fit their expectations. However, for those seeking fine theatre starring four outstanding actors, a trip to the deep freeze of a pretend town in Maine is worth the trip.


In the Heights
The Bushnell, Hartford - www.bushnell.org
by Shera Cohen - www.inthespotlightinc.org

While the title of “In the Heights” refers to New York ’s Washington Heights neighborhood, this is a musical that’s high on life, dreams, challenges, and changes. The story may be universal for all eras, yet this is very much a contemporary show evidenced particularly by the multi-racial cast, songs that toss English and Spanish lyrics back and forth, and atypical choreography unlike any that Rodgers & Hammerstein, Mel Brooks, or the Disney staff could imagine.  First to be noticed is the set. Wow! Against the backdrop of the Washington Bridge are floor to ceiling tenements, quite real with cracks to see through windows, doors, and walls. Storefronts create the ground level, where most of the action takes place. Second noticed is Kyle Beltran as Usnavi (leading role) spouting a rap song about his life and community. This reviewer wasn’t the only audience member to worry that the entire play would be rap, hip-hop, and generally not understood by anyone over age 25. Any reservation did not last long, as every word of Beltran’s song was not only distinct, but carried the plotline forward. While hip-hoppers jumped and jived all over the stage, this was true to their characters. Twenty-somethings are not going to waltz or do precision can-can. The dialogue is minimal, as the songs flow one after each other, with each better and more rousing that the last. There is the usual showstopper – “$96,000” – surprisingly followed by four more showstoppers. It is hard to keep up with and equally hard to stop clapping. Each actor is given his/her moment in the sun. Those in the roles of Benny, Nina, Carla, Sonny and Nina instantly become individuals to like. Beltran’s Usnavi is so charming and naïve that it’s hard to resist the temptation to take him home as a pet. Some of the plot of Act II is a bit disjointed, but minimally noticed against constant dancing that comes from nowhere and is contagious, the clever lighting, a pit band to beat the best of them, and one of the best touring companies to reach Hartford and the U.S.A.

Piecemeal – The Frankenstein Musical
Majestic Theater, West Springfield, MA
through December 6, 2009
by Shera Cohen - In the Spontlight - www.inthespotlightinc.org 

“Piecemeal” has taken a known entity – the story of Frankenstein – and created a humorous, loveable, musical prequel. The Majestic presents local playwright Howard Odentz’s version of how Dr. F., Igor, the Monster, et al came to be. Not only did Odentz write the play, he composed the music. Perhaps one of this young man’s best talents is his sense of humor with lyrics.  The set is dark with a brick-like haunted house center stage. Dry ice flows thick, bolts of lighting appear. The staging is exactly what it should be, complete with graveyard, damsel in the belfry, and the very important “lab-or-a-tory.” Period costumes and coifs, eerie sounds, and body parts strewn about add to the expected macabre tone. Accents are British, but sometimes hard to understand by audience members.  However, most of the major elements are unexpected, which makes “Piecemeal” a pleasure to see. This is not an overdone plot, but one that takes twists and turns from opening number to finale. The main characters are not what audience members would expect either. The focus is on Igor (remember Marty Feldman’s “walk this way”) as a child who becomes an adult. What a horrible life he has, yet he has dreams that he pursues. He’s a Gothic “Rocky,” and we root for him. Nick Gilfor (young Igor) is so precious, and Scott Zenreich (adult Igor) is an excellent actor who can also sing well. As if there isn’t enough going on, toss in a love story as well a few stuffed animals.  Music abounds throughout, with nearly every song carrying the plot forward. While the story and set bring to mind images of “Oliver” meets “Sweeney Todd,” the score moves from honky tonk to 50s doowop to soulful melodic ballads. The cast includes many with skilled, trained voices; i.e. Luis Manzi, Frank Aronson, Laura Lites, and R. Steve Pierce. This is Pierce’s first time at the Majestic. His demeanor, voice, and movement create his stylish fop character. “I Love to Sew” is a showstopper. Zenreich and Lite’s dramatic and tender duet brings romance into Act II. And Zenreich’s “Choices” replicates “Rocky’s” run up the steps.  Most of all “Piecemeal” is very funny. Mary Shelley’s Frankenstein would burst his stitches enjoying this new musical.

A Funny Thing Happened on the Way to the Forum
Goodspeed, East Haddam, CT - www.goodspeed.org
by Shera Cohen - In the Spotlight - www.inthespotlight.org
The introductory song of “Forum” says it all. “Comedy Tonight” is exactly what takes place on the Goodspeed stage. The plot is silly, the women are sexy, and the characters are stupid – all with a capital “S.” One of Stephen Sondheim’s early works, it is also one of the more accessible. Perhaps better known for profound lyrics that move the play forward rather than beautiful music, Sondheim does show off his skill as a wordsmith. However, this time the text is all for laughs. “Forum,” set in 200 BC, takes the audience to a cartoon setting painted with bright colors. It’s a tale of noblemen and slaves, eunuchs and courtesans, long marriages and young love, warriors and wimps, mistaken identities, and cross dressing. Let’s not forget the rubber chicken. This is vaudeville at its best, an increscent flow of one-liners with ba-da-bing endings. The story is sexist, risqué, dated (okay, it’s Ancient Rome), and full of shtick. What could have been a drama about a slave seeking freedom is immediately tossed aside and replaced by constant comedy. Throughout the play, the fourth wall (the audience) is completely open. There is no pretense of anything serious, and as the first song also states – expect a happy ending. There are three categories of characters/actors: an ensemble of those in leading roles, curvaceous women who stand a lot, and a trio of Proteans (think Keystone Cops, each portraying a dozen roles each). Adam Heller (Pseudolus) works up a literal sweat as he creates the chaotic plot. David Wohl (Senex) underplays so well that he becomes one of the top laugh-getters. If John Scherer (Hysterium) had failed in his role of the nervous nelly, by the book, feigned female, a huge chunk of “Forum” would have sunk in the nearby Atlantic Ocean . All went swimmingly well, as this is an actor whose every nuance is the epitome of humor and comic timing. Director Ted Pappas moves his motley groups of characters (many dressed to look like jesters) at a very fast clip. “Forum” is a broad show with lots of physical humor. As dark winter comes to New England , take a trip to Rome , aka Goodspeed, for bright shinny fun.

The Hound of the Baskervilles
(Shakespeare & Company, Lenox through November 8, 2009)
by Shera Cohen - In the Spotlight - www.inthespotlightinc.org

Leave any reverence for Sherlock Holmes or Arthur Conan Doyle at home before attending “The Hound of the Baskervilles” at Shakes&Co. The play’s title is the only element of Doyle’s work that is still in tact. In just three weeks, director Tony Simotes has created one of the funniest play productions since “The Complete Works” and “Irma Vep.” In fact, blend the ingredients of theme and caricatures of “Works” and “Vep” and mix in dashes of any Monty Python spoof (for younger readers, think “Spamalot” without the music), and the U.S. premier of “Hound” becomes a delicious dish. While the plot of the original “Hound” forms the framework, it’s easy for the audience to realize within the first minute that this is no ordinary Holmes, the sleuth. The big mystery of this “Hound” is to wonder, how does Simotes pull it all together and how do three actors pull it off? The answers don’t really matter, as the end results are that they succeed phenomenally.  To paraphrase the playbill, Simotes stated that he wanted to present a richly layered play that speaks profound truths about the human condition. “But instead, I directed this.” That was a tease for the next two-hours of non-stop comedy onstage and audience laughter.  The sound effects are howling dogs. The lights are dim, creating gigantic shadows. The set is sparse; i.e. it’s unbelievable what can be done with an old park bench. The costumes are many because two the actors portray multi-roles (male and female). The pace is fast, faster, and fastest as the story moves to its conclusion. Josh Aaron McCabe and Ryan Winkles are flawless in creating physical humor. While McCabe seems quite sober at first, he surprises in his hysterical roles as a Gypsy dancer and diminutive person (okay, a 3 foot hermit). Winkles is this year’s Shakes&Co. shining young star. He can do nothing wrong. His Scottish farmer with lamb in a sack is priceless. Jonathan Croy (a Shakes&Co. old timer) has the unenviable task of playing the semi-straight man, receiving fewer laughs than his cohorts. Ahhh, the price of fame.  Finally, kudos to the costume changers. Thank goodness for Velcro

The Bacchae by Steve Capra
(Shakespeare in the Park, Public Theater, NYC)

Euripedes won The Dionysius Festival award for Best Tragedy award in 405 BC (a year after his death) for The Bacchae. This year, New York’s Public Theater is producing it as part of its Shakespeare in the Park program. They can be excused for the anachronism… The Bacchae isn’t the best Greek tragedy. Most of the action has already taken place before the play begins, or else it takes place offstage and we hear about the events through reports. This is perhaps just as well, since that action involves cannibalism and dismemberment, among other unpleasantries. Nonetheless, director Joanne Akalaitis and her cast make a notable, not splendid, production out of the script. Jonathan Groff plays Dionysius, the god disguised in jeans as a mortal, with the effeminate sexuality of Jim Morrison, and well done. Joan Macintosh has the production’s bravura moment as Agave, when she discovers that she’s murdered her son and is, indeed, holding his skull in hands. A classic Greek recognition. She lets out a prolonged shriek worthy of Fay Wray (King Kong), and she melts like the Margaret Hamilton (Oz). It’s marvelous moment of histrionic abandon.  Unfortunately, the other principles are no more than serviceable. But the production’s best moments occur during the choral odes, the most challenging passages of any script. Akalaitis has put her women – they’re all women – in red sort-of pantaloons, and she’s given them marvelous movement that is not merely blocking but not yet dance. They’re almost always doing the same thin physically, but the movement choices leave each an individuality.  Best of all, they sing the odes, intelligibly and demonically, to Philip Glass’ fascinating, pulsating music. The four musicians play three brasses and percussion, and the sound is commanding and elegantly simple.  The set of this direct, minimalist production has an upstage of non-parallel bleaches. They form beautiful lines, but they have an incomplete look. Dionysius’ long opening monologue is spoken before a smoking geyser and, later, a thin volcanic crevice appears running the depth of the stage, red from inner lighting. Terrific!

Alexander Pushkin's Boris Gudunov by Steve Capra
(The Chekhov International Festival, Lincoln Center Festival, Park Avenue Armory)

Declan Donnellan is a Brit, but he’s staged Pushkin’s Boris Gudunov (1825) with a Russian company from The Chekhov International Festival. It was presented a part of The Lincoln Center Festival at The Park Avenue Armory, in Russian with English supertitles. It was wonderful, satisfying theatre, as crisp and pointed as Pushkin’s blank verse. Godunov was the Russian czar around 1600. Pushkin took as fact the belief that he had murdered the Czarevitch Dmitri, the child son of Ivan the Terrible, to gain the throne. The antagonist is a monk who pretends to be Dmitri grown (czarevitch as survivor) and mounts an army with the help of Polish nobles. The plot is the story of his assault on Boris’ czarist forces, Godunov’s death from conscience, and the pretender’s victory. It’s said that this play inspired Macbeth, and indeed, the script is like a lean Shakespearean tragedy. Like Shakespeare, Pushkin shows us all of society, from the court to the tavern. The descent to the common allows for comedy when the bar staff deal with both soldiers and a drunken bully. What a choice of devils! The Shakespearean overtones are explicit when the supertitle translation reads “Oh, what a noble mind!” as a court official refers to Gudonov. The line is from Hamlet, but the point holds. Like Shakespeare, as well, Donnellan mixes periods to keep the theme current. On throne, Godunov looks as czarist as we could want in rich robes, but off-duty he and his men wear suits. The pretender and his aristocratic retinue wear tuxedos. The battles, of course, are designed with the unmistakable uniform of the soldier. From the opening, with eight, cowled monks and the scent of incense, the production is spare in design and rich in effect. In the large armory space, the audience straddles the long, narrow stage. The piece is stunning when the monks hold one-foot candles in three-foot holders, and rich in sound when the monks chant under lines. A square of the floor is removed to produce a pool for the scene when the monk-turned-politico woos his mistress, and the political becomes the personal in her ambition. This elegant, simple production runs only about two hours, yet manages to present a great scope. However Pushkin might have imagined the staging, Donnellan has the advantage of being able to draw from Brecht’s techniques. It’s through the simple suggestiveness of epic theatre that drama manages to be, well, epic, and still retain dramatic tension. And so when Pushkin’s characters are in public, Donnellan lights the audience. We become Moscovites - or they become Americans, depending on how you look at it. He keeps the politics immediate with reference to waterboarding when a soldier is interrogated (his head is held in a bucket of water). The production is never overweight, never slight, never dull and never rushed. It balances its various elements exquisitely.

Life and Fate by Steve Capra
(The Maly Drama Theatre, St. Petersburg)

The production of Life and Fate presented in New York as part of the Lincoln Center Festival is from The Maly Drama Theatre, St. Petersburg, Russia. It’s adapted from Vasily Grossman’s celebrated Russian novel, set during World War Two. There are various Russian locals, but the chief setting is a Moscow apartment. Its occupants are the family of a nuclear scientist, Shtrum, and most of the action of the play concerns his relationship with the Stalinist government. The production is in Russian with English supertitiles.
Lev Dodin’s staging of the play is brilliant, stunning stagework. His stage presents several locales at once fading into one another – the apartment, a work camp, a battlefield… What’s more, the characters show up in scenes where they have no business being. As the camp prisoners discuss cruelty and patriotism, the family is present, surrounding them, listening silently. The battle of Stalingrad takes place literally around the scientist’s bed, he and his wife entangled in love. The play opens with a recurrent image: the characters – many of whom never meet each other in the action of the play – are silently playing volleyball. The first words come from a woman who is nowhere in particular. She’s the mother of the Jewish scientist, killed by the Nazis, reciting her final letter to him, and she shows up a number of times. These two motifs create mythical moments, outside of the period of the action.  Dodin’s adaptation of the novel exploits the unique strength of theatre and does what a novel cannot do. It reminds us that in any moment other moments present. He shows them to us at once. We’re all connected; we all create a net. A volleyball net. The play’s chief theme is political. We watch as Shtrum’s relationship with the government reverses, and he’s approved by Stalin. When he asked to sign a document condemning other scientists he capitulates, with “I feel very sorry or you, but your fate is not mine”. Just as cogent is the flashing between the Soviet work camp and the Nazi POW camp, when the volleyball net becomes a fence. It makes no difference. A camp is a camp, and a dictator is a dictator. Unfortunately, Dodin has attempted more than any stage can handle, and the play is much too long. There are long speeches and political talk that weigh down the vehicle. And there’s melodrama when the script dwells on points that would be better merely suggested. Shtrum has a long monologue before he loses his integrity, and we don’t need to see this inner monologue. If Dodin’s staging lacks delicacy, its luscious, complex texture is bold and welcome, an enormously creative method of adaptation.

Carlo Goldoni’s Trilogia della villegiatura by Steve Capra
(Piccolo Teatro di Milano and the Teatro Uniti di Napoli, Lincoln Center Festival)
As part of the Lincoln Center Festival, the Piccolo Teatro di Milano and the Teatro Uniti di Napoli presented Carlo Goldoni’s Trilogia della villegiatura (in Italian with English supertitles). Goldoni was an 18th century Venetian, and his plays – there are more than 100 of them - are Italian classics. He wrote in a comedy of manners, satirizing his society. The plot of Trilogia concerns two bourgeois families and their circle. They spend a vacation in the country replete with romantic entanglements.  Under the direction of Toni Servillo, this production gives the script a luscious, refined mise-en-scène. When the actress peers into a bin, she bends from the waist, and her back forms a lovely curve. This concern with gesture is clear throughout the play; the actors isolate movements and invest them with italianite grace. The sets reflect the refined aesthetic, with hanging vines and a gorgeous yellow sun. The lights pour a dappled rural pattern on the stage floor. And there are the sound of crickets and thunder, to complete the texture.  Goldini developed Italian theatre away from commedia del arte, but we can see its ghosts on stage. The lead characters are tall and handsome; the minor characters – the clowns – are short and dorky. There’s a fool catching flies. Upstage of the other characters, he’s a comment on them as well as one of them. Concerned largely with food and card-playing, the characters are drowning in trivialities. But the script rises above the trivial. The characters’ fashion-centered superficiality, their utter uselessness, is a timeless theme, as is their overspending. Money, of course, is our perennial concern.  But foremost in this play is the concern with convention. Betrothed to one man but in love with another, our heroine marries not for love, but for duty. Or is it for appearance? “One must choose honor before life,” she tells us. But also “My reputation’s at stake. It’s too horrible to consider.”  In Goldini, dialogue had not yet developed subtlety. Characters explain their emotions, and the texture of their conversation is more self-conscious than natural. But when the actress says “Te amo… te amo… te amo…,” we want nothing else in the world.

The Dreamer Examines His Pillow by Shera Cohen
(Shakespeare & Company, Lenox)
www.inthespotlightinc.org 

Many audience members, especially newcomers, to Shakespeare & Company do not realize two important factors. First, approximately half of the plays presented in a given season are not written by the Bard. Second, many plays (Shakespearean or otherwise) are mounted at the new Bernstein Theatre. Shakes & Co. is a campus of happenings nearly round-the-clock. In addition to Founders Stage (mainstage) and Bernstein, there are at least three other venues.  Back to the “otherwise plays” at Bernstein. “The Dreamer Examines His Pillow,” by playwright John Patrick Shanley (“Doubt”), is very much contemporary in its very explosive power of words, relationships, humor, and angst. Response to the reading of “Dreamer” at last year’s Studio Festival of Plays offered the Shakes & Co. staff a preview of what audiences wanted to see. The full house on a Wednesday night (not your typical “theatre” night) instantly rose to a standing ovation at the play’s conclusion. Donna and Tommy broke up. Tommy takes up with Donna’s young sister. Donna goes to dad for advice. Dad could care less. This is the four sentence synopsis of “Dreamer.” Doesn’t sound like much of a play let alone one of intensity. Add some twists. Donna still loves Tommy, yet is confused and upset. Tommy still loves Donna, yet doesn’t have a clue where his life is headed. Dad has the experience and wisdom to help the situation of both young people, yet is far from overjoyed to do so. Each is scared to help him/herself as well as each other. Herein, is the real play about father/daughter and male/female relationships, love and sex, art and soul shown with intensity and laughter. The language is beautifully poetic, especially in the soliloquies. Director Tod Randolph moves her cast of three seamlessly and purposefully for the most part. Actors John Douglas Thompson, and newcomers Miriam Hyman and Bowman Wright share equal time onstage. They are dynamic in their various duet conflicts.  “Dreamer” is a play for mature audiences.

Freud’s Last Session by Shera Cohen
(Barrington Stage, Pittsfield - www.barringtonstageco.org)

It was a wise decision to bring encore performances of “Freud’s Last Session” – the play which kicked-off Barrington Stage’s 2009 season – back to complete the company’s summer months of plays. Another excellent choice was to mount “Freud” at Stage 2 located a few blocks from the Mainstage. This intimate theatre with its smaller stage and fewer seats is ideal for the audience to closely eavesdrop on the conversations of Dr. Sigmund Freud and author C.S. Lewis. While Freud and Lewis probably never met in 1939 (the play’s time) or at any other time, does not matter. Their discussion, which is the script, is timeless. Born a Jew, Freud was a staunch atheist eager to preach his beliefs. Lewis, on the other hand, was a steadfast Christian. Lewis enters the study of the eminent, elderly, and dying Freud, and their 80-minute conversation starts. A one-act play, with only two characters, one of whom audience members might not know (Lewis wrote “The Chronicles of Narnia”), arguing the merits of religion as well as life vs. suicide could easily become a snoozer. Excellent acting, directing, pace, humor, and setting (yes, the couch was ever present) keeps the verbal action intelligent and quick like a fine game of chess.Martin Rayner’s Freud is sick with incurable cancer, yet still brilliant and witty. The actor, perhaps half the age of Freud at 83, truly fleshes out the doctor. Yes, there is mention of psychoanalysis and sex, but the audience observes far more about Freud as a husband, father, and atheist. Mark H. Dold (a regular at Barrington ) portrays Lewis as unassertive, not yet famous, and intimidated by the renowned Freud. Yet, he grows -- through posture, voice, and physical proximity to Freud -- as a man to be reckoned with. Rather than adversaries, the two men become respectful debaters. The trappings of the period set, along with sounds of airplane bombers and radio broadcasts of caution, are seen and heard throughout the play. Kudos to the backstage crew.

Camelot by Karolina Sadowicz
Goodspeed Opera House, East Haddam, CT thru 9/19 - www.goodspeed.org

The tale of Camelot begins with a somber, apprehensive prologue.King Arthur is about to go to war against Lancelot, his beloved friend and knight, who stole off with the queen. The story is so familiar, and yet the mournful chorus and rumbling orchestra make the blood rush with anticipation as the audience is whisked away to the day it all began. Broadway regular Bradley Dean commands love and respect as a gregarious, playful King Arthur. Erin Davies as Guenevere is lithe and alluring in her vanity and lust for romance, and awakens in her king a desire to be a great man. In their first encounter they charm and disarm each other with such delight that it’s hard to believe there is heartbreak ahead. “Camelot” exceeds expectations from the first note. Though the theatre is small and intimate, the sound, light, and performances are Broadway caliber. Richly costumed by designer Alejo Vietti, the production is an ongoing exhibition of gowns, fur capes, and armor that ooze with royal splendor and lush textures. The simple but versatile set changes drastically with evocative, dramatic lighting, and creates a very strong sense of place. There is, however, nothing static about the performance. Superb vocal performances from the leads and ensemble carry notes of joy, excitement, longing, and anguish, making each moment bigger and more powerful. French actor Maxime de Toledo is effortlessly charming as Lancelot, and affable both in his hopeful grandeur and surprising humility. No one is surprised when Guenevere gives him her heart, because the audience has already done the same. Ronn Carroll plays a hilarious Pellinore and carefree foil to an increasingly mature and troubled Arthur. Adam Shonkwiller slithers about as the villainous Mordred, impossible to like even before he orchestrates the downfall of Guenevere, Lancelot, and all of Camelot. Creative staging by director Rob Ruggiero makes use of the aisles, allowing the actors to make the performance both more intimate and grand. Full of emotional peaks, beautiful music, and flawlessly timed humor, “Camelot” is an absolute delight that can be relished for days after the final bow.

Tanglewood on Parade by Shera Cohen
Tanglewood, Lenox, MA
www.inthespotlightinc.org 

In spite of the fact there were no floats or horses, this “parade” was certainly full of music – in fact the best music in all of Massachusetts and probably New England . Started six decades ago, Tanglewood on Parade is an annual all-day event appreciated by more than 10,000 people. Overlooking the throngs of audience goers, particularly those on the lawn, the figure of 10,000 is conservative. The weather undoubtedly increased the expected crowds as this was a perfect Tanglewood day. Four orchestras performed various pieces from 2pm until the grand finale fireworks at 11pm. Admission included 14 separate concerts to choose from in 7 venues including troubadours on the lawn. This was a who’s who of conductors (John Williams, James Levine, Keith Lockhart, Leonard Slatkin, and Rafael de Burgos), composers (Rossini, Enescu, Bernstein, Copland, Tchaikovsky), and other recognizable names (choreographer Mark Morris, Governor Deval Patrick). The evening’s program listed primarily familiar pieces, which is common to Parade, and welcomed by the audience. The overture to “William Tell” was obviously rousing, performed by the “house band,” so to speak, the Boston Symphony Orchestra, kicking off the final concert of the day. Enescu’s “Rumanian Rhapsody No. 1” is one of those well-known pieces which the average listener does not know by name but only by ear. Gentle and yet swift like a speeding train that had lost its breaks, Enescu’s music is memorable. The Tanglewood Music Center Orchestra (most talented youth) took on the lengthy dances from “West Side Story.” The young percussionist worked in fast-motion, and the audience did all but sing-along. Parade would not be complete without the Boston Pops. John Williams conducted his own “Tributes: For Seiji” (Seiji Ozawa), and Keith Lockhart took the podium for Copland’s “Lincoln Portrait.” Narrated by Governor Patrick, the Pops performed the entire score. It took a few minutes for the combined musicians of two orchestras to overflow the stage for the “1812 Overture.” Every Parade’s finale is the “1812” coupled with fireworks. It’s been heard before, and will be heard again. Once is not enough, nor are a dozen or 100 times.

Tanglewood Rehearsals by Shera Cohen
Lenox , MA - Saturdays, July & August, annually
www.inthespotlightinc.org 

The sounds of symphonic music compete with the squawking of crows. It’s the Boston Symphony Orchestra vs. the feathered creatures. Fierce battle ensues. While the birds hold their own periodically, the BSO always wins out. Such are Saturdays each summer at Tanglewood. Nearly every Saturday in July and August, the BSO opens its huge tent and pristinely mowed lawn for open rehearsals. Starting at 10:30am and ending at various times – whenever the conductor feels that the orchestra is rehearsed to his/her satisfaction (approximately between 12pm-1:30pm) – hundreds of music lovers enjoy these quasi-concerts. Usually, the music is that of the Sunday afternoon program. Tanglewood’s program book lists the composers, pieces, conductors, and guest artists. Audiences know in advance what and who they will hear.  The choice is to sit indoors (actually a huge tent) or outdoors, or both, as there are no designated seats. Many arrive at 7am to get the “best” seat. But “best” is in the mind of the listener, and for many their folding chairs on the manicured lawn is the best seat in the house. But, if arriving at 10:25am, nothing will be missed. Rehearsals do start exactly at 10:30am. The dress is casual with the musicians in shorts and t-shirts. The same applies for the crowd. It’s not unusual to see rows people donned in Tanglewood shirts, caps, and sweatshirts. Symphony rehearsals have become more and more popular, having perhaps taken a cue from the many years of success at Tanglewood. Some may think that by attending a rehearsal there is no need to go to the finished product. In fact, the experience is the opposite. Listening to a rehearsal, with its frequent or not-so-frequent stops and starts for the conductor’s corrections and comments, makes the ultimate performance clearer in appreciation and understanding of the work. The ticket price is $17 for adults and free for children under age 12. It is wonderful to see kids, usually on the lawn, enjoying the music of Bach, Mozart, Ravel, et al. Sometimes the sounds that they hear are only background to their chatting with siblings or playing video games. That doesn’t matter. They are there, soaking it all in, even subliminally. It is likely that these kids will be our future generation of symphony goers and patrons, remembering their wonderful trips to Tanglewood.

Measure for Measure by Shera Cohen
Shakespeare & Company, Lenox through September 2, 2009 - , thru 9/5 - www.shakespeare.org
www.inthespotlightinc.org

The subject matter of many of today’s movies and television shows is tragicomedy. While this word is probably a relatively new entry in the dictionary, a little known fact is that Shakespeare was one of the first to write a play with equal elements of drama and humor. “Measure for Measure” is such a piece.  Director Dave Demke has updated the play, setting it in 1930s pre-World War II Austria. At the same time, Shakespearian images remain in costuming, staging, not to mention language. As the title implies, the balance of several themes exists throughout the story; i.e. justice and injustice, loyalty and ephemeral causes, wisdom and ignorance, power and succumbing, church and state. Yes, these are serious issues, which make for the “tragic” side of the tragicomedy. They balance with the many Keystone Cop or Marx Brothers-like scenes of slapstick, stupidity, and literal running around in circles with no destination.  Future audiences should not be put off by the fact that the actors are not Equity (professional), but are members of the Center for Actor Training’s Performance Internship at Shakes & Co. This education program is highly selective and well-respected throughout the country. “Measure’s” cast is an ensemble of very talented younger actors, each of whom portrays at least three roles. A lecture by the director as well as a talk on the costuming of “Measure” took place in late-July. Attending either or both augmented understanding of the play, although neither is required to appreciate the story. Standout performers are Nathan Wolfe Coleman, lecherous townsman Lucio; Emily Karol, low-brow sheriff Elbow; Aaron Sharff; flophouse resident Pompey; and Tom O’Keefe, wise yet bookish Duke. Here again, in keeping with tragi and comedy and measure for measure, each actor (except for O’Keefe in the lead role) played both sides of the ying and yang – not an easy task for seasoned thespians, let alone theatre students.

Twelfth Night by Shera Cohen
Shakespeare & Company, thru 9/5 - www.shakespeare.org
www.inthespotlightinc.org

It’s no wonder that “Twelfth Night” is often considered one of Shakespeare’s best comedies. Proof of that is Shakespeare & Company’s current production. Like other works of the Bard, the plot includes mistaken identity, women dressed as men (this was probably even funnier in the 1500s with male actors dressed as women), love triangles, a shipwreck, and sometimes a pompous idiot. This play has all of these elements down to perfection. Just by looking at the playbill, it was no surprise that the cast of many Shakes & Co.’s masterful “regulars,” director Jonathan Croy, and music director Bill Barclay would mount a clever, quick, and comic play. It never ceases to amaze that most of actors do double-time throughout the summer in dramatic roles in either “Othello” or “Hamlet.” The versatility of talent is evident on a daily basis. Croy, who also wears the hat of set designer, has created numerous scenes that receive audience laughs even before an actor speaks. Think Disneyesque topiary, add unnoticed paper on the bottom of one’s foot, and stick it all together with bubblegum. This makes for odd and hysterically funny staging. The lovely actress Corinna May puts her entire body into making servant Maria elegant and roughhouse simultaneously. Elizabeth Raetz (sought-after lady) spews both virginity and lustiness. Robert Biggs (Fool) gives his supposedly drunken character great wisdom. Ken Cheeseman (servant Malvolio) should be unabashedly ashamed and equally proud to well-create one of the most ridiculous roles of a blowhard to appear on any stage. Young actor Ryan Winkles (Sir Andrew) is a man to watch. His comedic timing is flawless as he uses every wink of the eye, scrunch of his neck, and fancy footwork to make Andrew the most memorable character in this large cast. Slapstick, physical humor, and broad strokes form the canvas of “Twelfth Night.” But this is more than a meaningless, laugh in the moment, comedy. While not dwelled upon, the plot includes the definition of love and how men and women feel and think differently.

The Temptations/James Naughton by Shera Cohen
Colonial Theatre, Pittsfield, MA - www.thecolonialtheatre.org
www.inthespotlightinc.org 

Separated by 24 hours, the Colonial Theatre played host to two extremely diverse evenings of music. It's not at all hard to believe that the rockin' doo-wop sing-alongs of the 50s/60s would be equally appreciated by an audience as the smooth, jazzy, cabaret songs of numerous eras. Yet, this was the case for The Temptations concert on a Sunday night followed by James Naughton on Monday. Perhaps one difference between the two was the familiarity. For anyone over age 50 (which seemed to account most in the full house), The Temptations evoked memories including the lyrics of nearly all of their big hits. Think "How Sweet It Is," "Just My Imagination," and "My Girl." The latter is dubbed The Temptations National Anthem. The five-member group, backed by a sometimes too loud band, included those who started 48-years ago. But age didn't deter the old-timers onstage, or those in the audience from moving, grooving, clapping, and swaying. Indeed, the quintet's choreography was that of the guys' groups of the 50s. Perhaps it looks comical today, but not then, and the Colonial audience ate it up. Selections from The Temptations platinum records and 57 CDs included showstoppers "Get Ready" and "Since I Lost My Baby." While two singers were obviously newcomers, the guys age 70+ held their own with still fine voices, including one whose bass went down to the proverbial floor.  The stage belonged to James Naughton on Monday. His is a name well-known in the Berkshires as an actor whose primary venue is Williamstown Theatre. His is also face that most have seen on TV or in the movies; i.e. Ally McBeal's dad, Meryll Streep's husband in "The Devil Wears Prada." Naughton works steady, particularly on Broadway, where he is a Tony Award winner. He calls himself an actor who happens to sing. And, he sings very well.  Naughton mixed a repertoire of oldies ("Star Dust" - yes, real oldies), a Duke Ellington medley, and rarely heard ditties full of odd lyrics sung at breakneck speed. The latter proved Naughton's agility and humor. While the Colonial is a large, elegant theatre, a cabaret setting was the format. In keeping with that, Naughton told many backstage anecdotes, which were equally as entertaining as the music.

True West by Jarice Hanson
Williamstown Theatre Festival, Williamstown, MA thru 7/26/09 - www.wtfestival.org
www.inthespotlightinc.org 

When Sam Shepard's "True West" debuted in 1980, it signaled a shift from the playwright's earlier absurdist work toward a more realistic style. In the Williamstown Theatre Festival's production, the genius of Shepard proves to be timeless.  "True West" is a fable of brothers who represent archetypes of the hero and shadow, as well as a metaphor for the greed, corruption, and violence of the west -- this time set in a small suburban house 40 miles from Los Angeles. Nate Corddry, in his eighth Williamstown season, plays Austin, a screenwriter who has successfully pitched a romantic film treatment to Hollywood, and has now holed up in his mother's home to write the script while she's vacationing in Alaska. When Paul Sparks as Lee, the ne'er-do-well brother shows up, he pitches a ridiculous western to Austin's obsequious agent (flamboyantly played by Stephen Kunken) and the tables begin to turn. Debra Jo Rupp's cameo as mom showcases her control and comic timing, and adds to the understanding of how two brothers could be so different, yet so similar.  The show really belongs to Corddry and Sparks, who take sibling rivalry and contemporary ideas of manhood to extremes. On opening night, a few lines were rocky, and Sparks' words were muffled in the early part of the play, but this is the type of show that will undoubtedly grow as these two actors find a brotherly bond necessary to heighten the tension of Shepard's verbal intensity. Some of the funniest moments belong to Sparks who drinks beer with a straw, and uses a golf club for great comic effect.  Director Daniel Goldstein has created a wonderful set that honors Shepard's realistic, absurdist, and experimental modes, and has found the intelligence in this powerful comment on contemporary life.

Boston Symphony Orchestra by Debra Tinkham
Tanglewood, Lenox, MA - www.bso.org 

Home, Sweet Home! Tanglewood that is; summer home of the Boston Symphony Orchestra and the start of their 128th season. Today's incredibly brilliant performance began on an incredibly beautiful Berkshirian day, with Herbert Blomstedt, who made his conducting debut with the Stockholm Philharmonic Orchestra, in February 1954. First up was Ludwig van Beethoven's short Overture from the incidental music" to Goethe's "Edgmont," Opus 84, a story of victory, and ultimately, tragedy, which was first performed at Tanglewood in 1940. Max Bruch's Violin Concerto No. 1 in G minor, Opus 26" featuring the lovely and talented Joshua Bell, was a show stealer. This three-movement concerto was so beautifully performed that the only downside was that it ended much too soon. Bruch's love of the violin and his "desire to compose music that is immediately…comprehensive to the bulk of the audience on first hearing," was truly evident. So passionately and captivatingly performed, it was as if all other sounds paused to enjoy the "Allegro moderato prelude, Adagio, and Allegro energico finale." Bell's love of the violin began at the age of 12 and today he plays a 1713 Gibson Stradivarius.  Symphony No. 8 in G, Opus 88, a four-movement symphony by Antonin Dvorak, completed today's delicious venue. Its introduction was rich with cellos, clarinets, bassoon and horns, with ebbs of passion growing and waning throughout. Dvorak handled the many key changes craftily, leaving the listener with nothing but the feeling of flowing harmonics.  Today's music on the mountain left many speechless. The atmosphere, while packing up, and those lagging behind, was euphorically somber. Next Sunday's performance, with James Levine conducting an "All-Mozart Program" will be something to look forward to, for there's no such thing as disappointment at the summer home.

GOLF: The Musical by Frank Aronson and Jarice Hanson
Majestic Theatre, West Springfield, MA thru 8/2/09 - www.majestictheater.com
www.inthespotlightinc.org 

From the title, it is obvious that "GOLF: the Musical" is different from most theatrical fare. This affinity show (meaning that the performance is geared to an audience with a special interest in the topic) by Michael Roberts has played off-Broadway, and in small venues. The songs and sketches range from clichй to clever, but the four performers in the Majestic Theater cast create an ensemble that holds the various pieces together.  Darron Cardosa's sweet tenor shines in "The Beautiful Time," which contains the evening's most surprising lyrical twist. Luis J. Manzi's powerful, supple voice rings, and he deftly portrays a minister in the Church of Golf, and a tour guide at the Golf Museum. Lea D. Oppedisano was a favorite of the audience, especially with her solos "Great Lady Golfer" and "Golf's Such a Naughty Game." One of the sweetest tunes was sung by Bill Nabel, crooning a love song to his golf club, "Big Bertha." His lyrical baritone voice has a surprising range, used to create his own characterizations as well as supporting the ensemble. The foursome trade vaudevillian barbs, step in and out of different characters, and most of all-blend their voices as though they've been together for years.  The spare set is effective for this full-scale cabaret act, which also has a crowd-pleasing audience participation putting contest. Director Danny Eaton has found the most humorous moments in this brazenly self-referential script, and uses the theatre space to great effect. Music Director Amy Roberts-Crawford and percussionists Leo Arthur and Brian Peltier masterfully set the pace for the evening which is par for the course (this joke fits the material). Real golfers will get the inside jokes, while the rest of the audience can laugh at the plaid and the puns.

Candide by Shera Cohen
Berkshire Theatre Festival, Stockbridge, MA thru 8/15/09 - www.berkshiretheatre.org 
www.inthespotlightinc.org
Many know that the musical “Candide” was composed by Leonard Bernstein. That’s about all that even the most avid theatergoer is aware of. This can change, as Berkshire Theatre Festival mounts the satirical operetta based on the work of Voltaire, yet set in the 21st century – well, more or less. The theme that life as we know it is “the best of all possible worlds” runs through both the dialogue and music. Also running (literally) is a hodgepodge of characters, scenes, and strange people. The action begins in a colorful jungle gym school setting full of children and their teacher Dr. Pangloss – the latter, effectively portrayed by Ben Rosenblatt – who is another thread stringing the plot along. Songs like “Life Is Happiness” and “Oh Happy We” fill the Pollyanna-like Act I. The story increasingly adds war, death, and rape, so that perhaps the audience is not viewing such a lovely world onstage? Like “Pippin” and “Into the Woods,” this musical twists its plot and fleshes out its important characters from one dimension to two or three. McCaela Donovan (heroine Cunegonda) is a charmer with excellent comedic timing and mannerisms, not to mention a wonderful soprano voice. Her “Glitter and Be Gay” is the play’s showstopper. Julia Broder (The Old Woman) portrays a gypsy character with bold Lucille Ball-like humor and a tad of reality. Director Ralph Petillo deserves bravos for manipulating his cast of 20 around the stage, down the aisles, on the floor, and perched on scaffolds into nearly as many separate scenes. Two pianists hold it all together through 22 songs. Important to add is the fact that every lyric of every song is distinct. Opening night saw a full house. Some youth attended. At first, “Candide” seems like a fairytale for children. They can certainly enjoy the play and excellent production values. Yet, like the old “Rocky & Bullwinkle” cartoons, there are two layers of humor – one blatant and the other black. The adults will easily “get” and thoroughly enjoy both.

Capitol Steps by Shera Cohen
Cranwell Resort, Lenox, MA thru 9/6/09
www.capsteps.com
Lightning, thunder, near-hail size rain, and a dark sky at 6:30pm in July were reasons not to venture out for any cultural activity. However, the show was Capitol Steps, and even though this reviewer has seen CS a half dozen times in the past, every show is new. Get the raincoat and run from the car to the vestibule of Cranwell.  A quintet of comedians/actors (2 women, 3 men), plus one pianist are the members. While material, both in stories and songs differ from week to week, the show’s format is constant. The purpose: lambaste politics, celebrities, and current events to the tunes of familiar music with clever and oftentimes uproarious lyrics, while wearing incredibly awful costumes. Each of the five play numerous roles as one skit immediately follows the next, giving the audience little time to breathe between laughs. No one is off limits to receive a jab. Of course, those in government receive the brunt of the satirical lyrics; i.e. Obama, the Clintons , Biden, Pelosi, McCain, and even George W. The latter never knew that the White House had a library. An example the to-the-minute CS’s script was the rifle-packin’ ex-governor of Alaska , Sarah Palin. Starting with three songs to the tunes of “Mamma Mia,” the troupe’s other background music included Broadway and 50s/60s sounds. Octomom was picked on for “littering,” Susan Boyle had not yet discovered make-up, Korea ’s leader needed a haircut, and auto company execs bemoaned their decreased bonuses. The greening of America was set to song, as was the topic of prescription drug commercials. A constant treat in each show is the backwards, twisted malaprops of contemporary politics. The first letter of a word is juxtaposed with that of the next word. Just when it seems impossible to understand this very fast repartee, it’s all clear and very, very funny. One word of advice is to arrive early for two reasons: pick your seat in the least cramped aisle, and CS is often a sell-out.

Nano, Nano by Beverly Creasey
Muhammed Ali used to demonstrate the speed of his famous jab by asking, "Do you want to see it?"  A nanosecond later, he'd ask "Wanna see it again?"  Nanoparticles are a little like that.  So how do you demonstrate what can't be seen?  With jugglers, of course!  Tom Stoppard used jugglers to illustrate Wittgenstein's theory about the limitations of language in his play, JUMPERS.  So it should come as no surprise - well, maybe a little surprise - that jugglers have taken up residence at Boston's Museum of Science.  Carol Lynn Alpert's The Amazing Nano Brothers Juggling Show was conceived (in collaboration with juggler/comedians Dan Foley and Joel Harris) to teach audiences painlessly about nanotechnology.  Her clever script has a prologue, three acts and a finale, all of which fit into forty thrilling minutes.  Kids will love the shenanigans and adults will come away knowing exactly what makes up DNA - and how a scanning probe microscope works - and it won't hurt a bit.  In fact, you'll leave the museum feeling better, since laughter is, as they say, the best medicine.  Foley and Harris can juggle tennis rackets, baseball bats, birdbaths and houseplants AND they can execute these breathtaking feats while atop unicycles!  They're deft comedians who can charm the little ones and impress their parents equally.  My only disappointment is that they didn't, like their distant cousins The Flying Karamazov Brothers, juggle a cat.  The Amazing Nano Brothers Juggling Show returns to the Museum of Science in October'09.  Watch for them.

Blue Day at La MaMa by Steve Capra
Alessandro Corazzi is an Italian playwright/director. One of his plays, directed by himself, appeared recently at La MaMA. Blue Day is a stage duet: we discover a disgruntled, laid-off factor worker dousing himself with kerosene (timely, no?). A young girl, a teen, passes by and, of course, through her trivial chatter, he passes from a lower state to a higher state, a sort of tragedy in reverse (there should be a term for that). An opening siren is followed by a film of factory workers, and our anti-hero is discovered wearing a sign saying “I lost”. The actor is suitably morose and defeated, with a disciplined, flat delivery of nearly every line. The young actress, on the other hand, is clichéd and false, and her performance is painful to watch.  At 45 minutes, the play might be engaging if it were directed with insight. Its referrals to labor politics are intriguing, but clumsy. It has mystery in the psychology of both characters, but Corazzi never examines it in directorial terms. The translation doesn’t help, with lines like “Who tells you such nonsense?” There’s an explanatory voiceover that adds nothing. What’s more, the gamine turns into another character or a few moments, and we have no idea what reality she’s in.  Corazzi shows subtlety and creativity by having the poor fellow ascend from despair to desperation – no higher. And there’s a surreal sequence at the end that we’d like to see expanded. Perhaps in the hands of a skilled director the script could be salvaged.

Breaking the Surface by Steve Capra
Susan Lei’ataua is artist-in-residence at New York University’s Asian/Pacific/American Institute. She’s put together a presentation of monologue and music called “Breaking the Surface”, presented recently at NYU’s Skirball Center.  We discover her upstage, at the top tier of narrow, elongated four-tired step piece; she introduces herself saying “Salutations to the first heaven! ... This is the story of a mountain. This mountain is a woman”. Her white dress flows on the sides to the stage floor, so she does indeed look like a lovely, symmetrical mountain. She takes a step down as the stages of the tale proceed, with “Salutations!” as appropriate.  Her narrative is a sort of myth combining the spoken word with singing and instrumental music. It’s extraordinary that she speaks and sings in the same voice; it makes for seamless transitions and gives the piece a marvelous, smooth flow, like the flow of her gown.  Her story is pretty, referring to nature and a mythic journey from New Zealand to Hawai’i, to Alaska to NYC. It has some lovely poetic moments, as when it describes her transformation into a sequoia as “a height not from a rock”.  However, the prose depends on natural images we’ve heard before, like “Massive waves crash turquoise”. Indeed, the script borrows from primitivism, animism and symbolism to produce an educated sort of world kitsch. She ends on the subway, admonishing us to “Wake up!” and asking “What is your name?”– but by this time we’ve lost the thread of the complex extended metaphor. The music is by Gareth Farr, and performed by him and five other musicians in an ensemble including cedarwood flutes. It’s exquisite, never dull, never intrusive, lovely in song and perfectly blended with the spoken words. Sometimes it reflects the sounds of nature, like classical Eastern music, but then it slips in jazzy slides.

The Singing Forest by Steve Capra
Craig Lucas has a brilliant design for The Singing Forest (at The New York Shakespeare Festival). He’s written an lively, silly farce about some guys and some gay (psycho)therapists. The therapists know each other, they share clients who may be gay, etc, etc… What’s more, there’s a rich guy and his celeb family and a bunch of characters floating around who all end up being connected to one another one way or the other… But on top of this he’s added a gruesome backdrop: the Nazi persecution of gays. These segments are largely flashbacks to Vienna around the time of the Nazi annexation, and they’re not at all farcical.  An aging ex-therapist, played by Olympia Dukakis, is hub of the farce. In the flashbacks, we meet her as a teen. We watch (as do the other witnesses, silently) as her brother and his lover are arrested. We follow her attempts to help him, and in these scenes the adolescent fraulein is played by the adult Mdme. D. It’s a brilliant scheme. Unfortunately, the script has a series of fatal shortcomings. The first act of this long three-act play is a total disaster. Lucas never creates real people in this farce. The characters speak to meet the playwrights need, not their own, so the machinations are merely contrived. The jeune premier, we’re told, is a cipher, a bland (his name is Grey). We’re told this, but we don’t see it; his blandness is never dramatized. Then there’s the problem of using therapy as a dramatic device. There’s nothing more facile in drama than therapy. The structure of therapy is not the stuff of drama. Lucas’ sense of gay-on-stage is none too sophisticated, either. Some of these guys prance around stage like Chelsea types. And of course, because the characters are gay, there has to be nudity; it’s become a stage iconography. After the first intermission, the evening improves. As scenes get serious, the people get real, the gays are classy. Lucas is not one to miss an opportunity to throw in a dramatic technique, and Freud himself shows up in Vienna. But in the last scene, Lucas panders to his Jewish audience with a revelation that has nothing to do with the rest of the play.  The farce is so complex and contrived that we never really understand the relationships. The play is at its best in it serious moments, particularly when Lucas has the sense to make his characters shut up – ie, in Vienna, when the young men are arrested. But he succumbs to cheap effect: there’s an onstage atrocity we’d prefer not to see, thank you very much. Oedipus blinded himself offstage, and Lucas would do well to be more circumspect. In using the gay holocaust as a backdrop, Lucas is attempting the sort of historic scale that Stoppard gave us in The Coast of Utopia. Stoppard failed, and so does he, without even that Brit’s flair for dialogue to sustain him. He tries, like John Osborn, to hot things up with sex – but he lacks Osborne’s vicious sensibility.  Mdme Dukakis is terrific, showing us extraordinary comedic and dramatic skills as she weaves the conflicting styles together. Jules Ahmad, as well, is brilliant in both farcical and his tragic roles. Director Mark Wing-Davey exploits the strengths of the script, but fails to compensate for its weaknesses.

42nd Street by Shera Cohen
Goodspeed, East Haddam, CT - www.goodspeed.org
www.inthespotlightinc.org
"The show must go on!" This cliché is the entire plot of the sparkling, toe-tapping "42nd Street" at Goodspeed Opera House. The story is the backstage life of a new musical - the audition, rehearsal, and tour of "Pretty Ladies" (the play within the play). The era is the Great Depression. Why "great" was ever linked with the economic doldrums of "Depression" is a question to ponder. "Great" can, however, apply to this revival in 2009. Perhaps it was not a coincidence when Goodspeed planned its season opener to be more apropos in theme than one would have guessed. As the sounds of the pit orchestra hit that strong opening note and the ruby red curtain rises, onstage are 14 hoofers tapping away. Their shoes are another instrument, and one that never stops during the entire musical, thank goodness. The ensemble is first and foremost superb dancers. They are young, energetic, attractive, in unison, and can sing. The production itself is the "star" and can be compared to a large canvas - on it are colors, swooshes, vibrancy, glitter, boldness, and whimsy. Some of these colors are literal in the costumes (the musical becomes a 1930s fashion show) and the lighting. That said, this is not to discount those in leading roles, with each actor playing his/her caricature exceptionally well. Kristen Martin (ingénue heroine) is a sweet soprano who taps as fast as a speeding bullet. Austin Miller (her beau and Harry Connick look-alike) is sassy with feet that keep up with his gal. James Lloyd Reynolds (the boss) doesn't sing much, but delivers comedy so straight to get extra laughs. Laurie Wells (leading lady) is the real singer in this quartet. And what do they sing that leaves the audience unable to eradicate tunes from their collective heads for the next week? "We’re in the Money," "Lullaby of Broadway," "Shuffle Off to Buffalo," and the title number. The other important stars are choreographer Rick Conant and director Ray Roderick - a dynamic duo who set the tone and spirit of "42nd Street" to please the likes of Busby Berkeley.

Vitek Kruta, International Artist from Holyoke by Shera Cohen
Paradise City Fair, Northampton - 5/23-25/09 - www.paradisecityarts.com May 23 - 25, 2009
"Doing art is a basic human right. It's my way of life, a force and purpose for being here," says Vitek Kruta. One of the hundreds of professionals showing and selling art at this spring's Paradise City, Kruta is also one of the many talented individuals who does not need a "day job." In Prague, Germany, and now in Holyoke, Kruta has perfected his various art genres for the past 35 years.  A bedroom wall was his first canvas as he sculpted a purposely lopsided molded frame with painting inside. People went to the wall to straighten the picture, and the joke was on them. This Trompe L'oeil 3D art form can be translated "fooling the eye, illusion." This continues to be one of Kruta's styles which have been successful and popular - enough to have made him a "regular" at Paradise City for eight years. This juried show accepts only the best of fine and functional art from throughout the country. Visionary Landscapes are Kruta's mainstay. From his mind and memory, he almost feels, smells, and hears a scene. "I try to open an esoteric door and invite the viewer to go to these places," he says. His Surrealist Paintings "illustrate reality that is not real." Kruta's explanation of his technique is exploration of the subconscious. Shapes are familiar and resemble what is known - not the tangible, but the essence. "I like to work with materials - wood, clay, mosaics, metal. The enjoyment is in the process of making things. I get an idea and I do it," he says. His home is his workplace with an attic and basement full of materials of all forms, shapes, and sizes.  Exposed to art since he was a youngster, Kruta's own children have followed this career path. Three family members restored the paintings in Northampton's First Churches. In fact, art restoration is a large section on Kruta's resume. One genre which will not be seen at Paradise City is his murals. Needless to say, they are too large, not to mention affixed to walls in hospitals, buildings, and homes. Yet, easy to carry and perhaps place in one's garden are exotic 3' metal flowers. He cuts, bends, and shapes the stems and petals out of sheet metal "to simultaneously become real, yet not real," not unlike his other art. He made the clear decision as a youngster that he would never separate himself from art. "Whatever I do must be connected to art," continues Kruta. That was his commitment to himself many years ago, and still holds today.

Phantom of the Opera by Donna Bailey-Thompson
The Bushnell, Hartford CT thru May 10, 2009 - www.bushnell.org 

There are big shows and then there is Phantom of the Opera, an extravaganza. Before the first note is played, billowing yards (tons!) of fabric enhance the proscenium pulling the audience into its dark interior that reeks with mystery. At center stage is a large lump covered with an aging canvas on which is stenciled, "C H A N D E L I E R." Before the performance has yet to begin, seeds of apprehension are planted.  The simple storyline belies the spectacular tension of this world-wide favorite that opened in London in 1986 and is Broadway’s longest-running show: a deranged musical genius with horrendous facial scars who lives in the depths beneath the Paris opera house, falls in love with a young soprano. She is seduced by his admiration of her voice but alarmed by his possessiveness. The opera house employees and performers are kept off balance by the Phantom’s malicious mischief which becomes progressively violent.  Throughout, under the direction of conductor Jonathan Gorst, the outstanding pit orchestra fills the theater with the emotional music of Andrew Lloyd Webber and the lyrics by Charles Hart. Directed by Harold Prince, a cast of 36 finds its marks for 19 different scenes. The energy generated on stage is palpable. The intricacy of the sets, the engineering required to swing from one scene to another (54 motors are used to fly scenery on and off stage), the unseen use of pulley, winch, a radio-controlled boat moving through dry ice fog, the crashing of the 1,000-pound chandelier – and more – support the human drama that swirls about the damsel in distress.  The familiar arias – "The Music of the Night," "All I Ask of You" – are performed with passion that stirs the soul by John Cudia (Phantom), Trista Moldovan (Christine), and Sean MacLaughlin (Raoul). The costumes (230) are electrifying. The entire company is a well-oiled machine which imparts spontaneity. To transport this show required twenty 48-foot semi trucks. In turn, this production transported individual theatergoers into a rapt, wildly-appreciative audience. Applause explosions rivaled the startling pyrotechnic effects.  "The Phantom of the Opera" is an over-the-top WOW.

The Fight for Intellectual Freedom - Brecht’s The Life of Galileo by Beth Purcell
Catalyst Collaborative @ MIT and Underground Railway Theater - www.centralsquaretheater.org -  April 10 – May 17, 2009

The famous recantation. The famous recanter: Galileo taking back his revolutionary theory, when faced with torture, that the Earth moves around the Sun and not vice versa. The thought sends shivers up our spine that someone so strong in his convictions could recant his beliefs – and in Galileo’s case, that meant his bedrock belief in reason, in science, in the truth he’s seen and proven. Brecht wrote the play in the late 30s when the Nazis were in power, crushing any research, teaching, expression that didn’t align with their propaganda. His play makes us question: Is a man, a scientist, great if morally weak? How important is it for a person to be morally strong?

“The Life of Galileo” is a wordy problem play where the most sensational plot point, the Inquisition, happens off stage. In order for it to work as compelling theatre, URT/CC immerse the audience in the sights and sounds of 17th century Italy with a carnival scene, giant murals of red Jupiter and of ancient Greek temples and statues exploding into space, projections of a star-strewn dark sky and moody music between the many scenes. Director David Wheeler keeps the actors in motion on the 3/4-in-the-round stage; the scaffolded platform and stairs are in plain view; the audience is close to the action and can see other theatre-goers’ expressions across the stage – this is a shared, live theatre experience.

And Wheeler’s down-to-earth direction keeps the story real with Galileo washing his legs in a stone basin or his housekeeper, hands on hips, making her outspoken pronouncements. It’s the human relationships, the feelings between people, that the audience relates to: the fear the Cardinal Inquisitor generates as he warns Galileo’s innocent daughter, Virginia, in a tone of menacing desire; or Galileo’s callous disregard of Virginia’s marriage prospects when he resumes his forbidden research, symbolically pointing the telescope skyward which causes her to fall in a faint as if shot by canon. Most moving is the relationship between Galileo and a small boy, Andrea, who grows up to become his protégé. When, later, Galileo seems to betray everything he stood for, Andrea’s disillusionment is heartbreaking. He declares: “Unhappy the land that has no heroes,” to which Galileo replies: “Unhappy the land that needs the hero.”

In some way, the play is all about smashing cherished beliefs – or clinging blindly to them. Several characters speak of the peasants’ need for religious faith and a civil hierarchy, something Galileo has taken away from them by “abolishing the Heavens,” the mystery of God’s workings. Neither the higher clergy nor the peasants want to be reduced to a speck of matter on “a chunk of rock endlessly revolving,” as they perceive Galileo’s new theory about the Earth. We ponder: Is our life meaningless if we are not the reason the world came to be?

This production brings up soul-searing questions which Underground Railway Theatre and Catalyst Collaborative @ MIT are eager to engage. The play is staged in celebration of the 400th anniversary of Galileo’s first telescopic observations, so they’ve invited scientists to lead pre and post-show debates and discussions and have set up “talk back” boards in the lobby where people can post their answers to the Big Questions posed by MIT scientists, such as, “What did Galileo unleash?” One broad answer: “Opportunity for dissent.”

There are excellent performances from Stephen Barkhimer as both the Inquisitor and Chancellor, Amanda Collins as Virginia, in the evolution of her character from giddy girl to resigned caretaker, and from Debra wise who brings a physical immediacy to her role as the housekeeper. In a masterful turn as Galileo, McElvain brings energy and gravitas to a role that could lack sympathy. In his hands, we see the selfishness, obsession and cowardice, but also the anguish, frailty and the thirst for knowledge and discovery.

We live in a modern world with a heliocentric view of the universe. And yet – we say the sun rises and sets every day, favoring our naked senses over what we know is true. There is something in us that clings to the idea we are central, our Earth is central, to sustain our sense of self.


Best Little Whorehouse: A Good Ole Time by Beth Purcell
Turtle Lane Playhouse - www.turtlelane.org

Best Little Whorehouse in Texas is a kick up your heels, feel-good musical. What it lacks in inner conflict, it makes up for with high energy song and dance numbers and, in this production, a strong rapport amongst the characters. Based on the story of the Chicken Ranch, a popular brothel just outside La Grange, Texas, where the Sheriff closed an eye to its illegal doings, the musical version romanticizes the relationship between Mona, the keen-witted Madam with a heart of gold, and her “girls,” and makes the Governor himself a patron of the bordello, complicit in its ability to operate.

The story rotates from the setting of the brothel, a homey place despite its sleazy purpose, to the contrasting outside world: a coffee shop where the Mayor and other men discuss their options in keeping the Chicken Ranch open; the Sheriff’s office; locations where the Watchdog reporter interrogates people. This investigative reporter is a funny character, a moralizing egotist with a self-styled evangelical bent. The Watchdog (based on television reporter Marvin Zindler who crusaded against the Chicken Ranch) has a commanding stage presence as David Giagrando plays him, raving about the house of ill repute, banging on a tambourine, his chorus or groupies, the Dogettes, echoing his sentiments.

Another stand-out performance is given by Harry Rothman as the Governor, especially in the song “The Sidestep.” What a song-and-dance-man! The audience guffawed as he sang “Ooh, I love to dance a sidestep. Now you see me; now you don’t,” referring to the slick character of a politician, expert at evading reporters’ questions.

The heart of the musical is the snappy dancing, well-choreographed by Karen Fogerty. The girls are sexy and spunky and when they get together with the men, as in “The Aggie Song,” it’s a yee-haw good time. The music by Carol Hall is less interesting, but full of energy and Texas twang. Ballads such as “Hard Candy Christmas” and Angela Foley’s soulful “Doatsey Mae” add a poignancy to this story of the importance of a unique brothel in a small community.

Despite the fairy tale quality of the writing, the acting is quite honest, especially from Rebecca Shor, who carries the show with authority, as Mona, and David DeCosta as the Sheriff, with a real chemistry between them. Director James Tallach encouraged a feeling of intimacy between Mona and her girls, and amongst them, that pulls the audience in.

John MacKenzie’s set and lighting evoke a sexy, yet homey atmosphere, with the brothel wallpapered in red and often softly lit. It’s a place where the girls casually drape themselves and their unmentionables over the upstairs railing, where they feel taken care of by their mother hen, and where the customers – as well as the audience – can suspend their disbelief for an evening and pretend it’s a place of romance.

To Kill a Mockingbird by Shera Cohen
Hartford Stage, Hartford through April 4, 2009
www.inthespotlightinc.org

Why would anyone who has already read the book, or watched the movie, or both (perhaps a couple of times each) want to spend time seeing a theatrical production of “To Kill a Mockingbird”? The answer is not necessarily “wanting” but “needing”. Every decade or so, audiences/readers must be reminded of the tale of the mockingbird and its themes of justice and courage amidst ignorance and fear.

Hartford Stage has, thankfully, brought this Depression-era story set in the Deep South to today’s New England audiences. While Harper Lee’s characters lived 70-years ago, it is not hard to understand and empathize with many of the important issues that, to a large degree, remain the same.

Throughout the play, a narrator (the adult Scout) reflects on episodes in one particular year in her young life. Her presence, coupled with floating sets and seamless onstage movement by cast and crew, creates an unbreakable line of content and emotion that build to the perfect crescendo. All the time, director Michael Wilson uses every scene – even those that are but three minutes long – to subtly maximize the audience’s belief of the times, struggles, and characters.

Matthew Modine is one of those actors seen often on TV and in movies, but few remember his name. He’s not an “A List” guy, but he should be. To be equally excellent on screen and on the stage is rare. This man is the consummate professional. Modine’s Atticus Finch personifies a man of integrity who, by the way, is one of the wisest father figures in literature.

The three child actors (Olivia Scott, Henry Hodges, and Andrew Shipman) probably have the most onstage time and dialogue, yet each is ideal in his/her role. It’s hard to imagine others cast in these parts. They create the mold that structures the play with their innocence, respect, fearlessness, lack of prejudice, and frankness (“out of the mouths of babes”). Their characters exemplify the qualities that ought to be and that there might be hope for the future.

A visionary director, exemplary actors, and skilled crew make “Mockingbird” a piece of theatre to experience more than once.

Four Dogs and a Bone by Donna Bailey
Suffield Players, Suffield, CT thru February 28, 2009
www.inthespotlightinc.org

As befits their reputation, the Suffield Players are presenting a demanding play whose success is contingent upon savvy direction and an experienced cast. This production scores on all counts.  "Four Dogs and a Bone" is a biting comedy about the dirty little details encountered when filming an underfunded movie. Written by John Patrick Shanley, a veteran Hollywood script writer and best known recently for his honored Broadway play and now a movie "Doubt," three of the dogs are a dishonest producer and two actresses who are rapacious carnivores: their diets include ingesting their own kind. The fourth dog is the script writer whose desperation to save the movie does not include devouring the others through bloodless means.

The first act covers a lot of expository ground, of the shock and awe variety. At times the abrasiveness seems nonstop, especially as spewed forth by Lea D. Oppedisano who as Colette, knows she is no longer an ingénue to reap empathy but is now headed for character roles where she can be type cast as incarnate evil. Oppedisano’s Colette’s is a force of nature – major disaster category. Her adversary is the supposedly sweet Brenda (Megan Fish) who chants and plots mischief. During the second act, their scene within a minimized dressing trailer is as tight as the space itself.

As Bradley, the money-short producer who is plagued with a flaming hemorrhoid (nothing like a little bathroom humor), Josh Guenter seems to channel Paul Giamatti – glib, light on his feet, as tailored as an unmade bed. Robert Lunde as the fair-minded script writer, Victor, throws up his arms in frustration at the unbridled shenanigans. His disapproval gives the audience permission to feel shocked by the despicable behavior, even while laughing at scabrous remarks they would not tolerate elsewhere.

Director Meghan Lynn Allen prevents "Four Dogs and a Bone" from becoming farcical melodrama. The production can inspire anything from the killer comment, "That was much ado about nothing!" to the exclamation, "What a hoot!"

Dead Man's Cell Phone By Jarice Hanson
TheatreWorks, Hartford CT thru March 15, 2009
www.inthespotlightinc.org 

In Sarah Ruhl’s comedy, "Dead Man’s Cell Phone," the audience enters a world of feelings and emotion by eavesdropping on cell phone messages. Two people are in a café, where a woman is annoyed by the constantly ringing cell phone of the man at the other table. When she grabs the cell phone to answer it, she realizes he is dead.To protect his dignity, she lies to a series of callers, leading her to ultimately meet and confront Gordon Gottlieb’s overbearing mother, miserable wife, ineffective brother, and exotic mistress.

The protagonist, Jean, is played by Finnerty Steeves, an appealing actress who can communicate much by just raising an eyebrow. We meet her in the stark café, wearing a frumpy gray and black outfit that matches her life, before she is catapulted into Gordon’s life, illustrated on stage by colorful backlighting and an annoyingly effective sound design that assaults the senses the way an incessantly ringing cell phone does. As a result of the world she finds herself in after taking Gordon’s phone, Jean begins to expand her senses (and those of the audience) beyond what she hears on the cell phone to touch, taste, and sight. Each of the other characters, also fully realized and expertly directed by Rob Ruggiero, find what they need in life, through Jean’s interpretation of Gordon’s wishes.

In addition to Steeves’ portrayal of Jean, Craig Wroe as Gordon, stands out in this ensemble piece, for his expository monolog from another dimension—letting those seated in the theatre in on the real Gordon. With a touch of absurdity in the second act, carried through by the audience’s immediate cell phone use after the show, the play ends with an appreciation and marvel at Ruhl’s comic absurdity of contemporary life.

Jersey Boys By Sharon Smith
(The Bushnell, Hartford CT, thru February 22, 2009)
www.inthespotlightinc.org 

“Oh, What a Night” at the Bushnell, indeed! That song title is also the best way to describe an enjoyable evening watching a performance of "Jersey Boys," the story of Frankie Valli and the Four Seasons. The quartet may sing “Big Girls Don’t Cry” but if you miss this must-see show, you just might! 

"Jersey Boys" recounts the story of how four singers under a street lamp, from the wrong side of the tracks, made it in the big time. Who would have thought that the performers of such wonderful songs as “Sherry”, “Can’t Take My Eyes Off You” and “Walk Like a Man” would have personal histories that include theft, jail time and mobsters?  The incredibly talented Four Seasons are played by Matt Bailey (Tommy DeVito), Joseph Leo Bwarie (Frankie Valli), Josh Franklin (Bob Gaudio) and Steve Gouveia (Nick Massi). Their vocal and physical similarities to their real-life counterparts are uncanny. The actors portray the characters so well that it is difficult to believe they are not the real Four Seasons -- to cry when Frankie cries and feel betrayed when Tommy’s indiscretions tear the band apart.

Jersey Boys moves along quickly and uses effortless transitions to instantly shift focus from a small smoky nightclub to the set of American Bandstand. Even the costumes help trace the band's trajectory and tie it to their name by using vibrant colors for the Spring and Summer of the Four Seasons career and finishing with more muted colors as the (literal) Fall of the band began. As befits the rough and tumble New Jersey upbringing of the boys, their language is also pretty colorful.

A drawback to the "Jersey Boys" is wanting to “Stay” just a little bit longer enjoying the trip back in time. With at least 40 singles on the best- selling charts, the Playbill included a song list of “The Ones That Got Away” (songs that couldn’t be squeezed into the show). Any hope that the curtain call would feature one or more of these songs remained unfulfilled.

Don’t miss this “Fallen Angel” of a show!

The Grand Master  by Steve Capra
The Grand Inquisitor (CICT/ Théâtre des Bouffes du Nord/Paris, presented at New York Theatre Workshop in New York's East Village).
Peter Brook is probably the most famous and influential director alive. He works out of Paris. He's directed an adaptation of The Grand Inquisitor that was presented in the East Village.
The reader will recall that The Grand Inquisitor is a chapter from The Brothers Karamazov. It's a parable that Ivan tells his brother Karamazov to make a metaphysical point (they talk like that). The story is about Christ returning to us during The Spanish Inquisition. He is not welcomed by the authorities.

Brook's contribution to theatre has been minimalism, and his stage here is nearly bare, with a raised platform center, a chair UL for the Inquisitor and a chair DR for his Prisoner, Christ. The stage picture is stark black and white.

This script is a monologue. Bruce Myers begins and closes with narration describing the episode, but he spends the bulk of the hour speaking as the GI himself. He's usually addressing Christ, Who sits with His back to us, and when he does there are some wonderful moments. As he recites his dizzyingly philosophical discourse, he reflects a series of fleeting emotions - in turns accusatory, smug, challenging… His spare, carefully determined gestures are eloquent. "Man must decide for himself what is good and what is evil," he says, and he raises his forefinger to his temple in a gesture with mystery. And he has a silent moment when his arms seem to debate with one another, reflecting his own doubt.
Unfortunately, he has none of this emotional fluidity when, from time to time, he relates to us. "Now you see them, your free men," he says to Christ his Auditor, standing DC and facing us.

His attitude to us includes only accusation and, lacking subtlety, it lacks truth.

Marie-Helene Estienne's adaptation is neither reading nor drama, and so it has neither distance nor tension. It's ill-conceived that she and Brook have the same actor narrating and acting. Worse, we hear lines like "The day ends, followed by night."

There are painful moments during the narration that frames the speech. Speaking of the Inquisitor and his relationship to the Listener, Myers says "Then he draws nearer," and as he says it, he draws nearer the listener. This sort of trans-form literalization is difficult to sit through.

In short, this production belongs to my least favorite theatre species - the show that depends on the celebrity of the artist. If Brook's name weren't on the program, the name of the Grand Master, the production would be quickly dismissed.

Directors might note that the wooden riser on stage, perhaps six inches high, does not define space strictly. Sometimes our man steps off it, like a drawing that laps over its border. It's beautiful.

Jerry & Ed by Donna Bailey-Thompson
Majestic, West Springfield MA through November 30, 2008
www.inthespotlightinc.org

Life-long friendship, mutual respect and tomfoolery, and the vicissitudes and nonsense of aging are woven into an original play that entertains while unloosing emotions – especially love.

"Jerry & Ed" has come along at the right time, a best buddy play that momentarily blocks out today’s downer news. The charm doesn’t unfold immediately because Jerry’s opening monologue is a collection of cornball one-liners that net painful groaning. But once Jerry (Steve Henderson, who also wrote the play) gets that painful shtick out of his system, the play rocks and rolls.

The plot is simple: Jerry and his life-long best friend Ed (Dick Volker) are widowers residing at the Garden Acres Retirement Community. They have walkers they don’t need; with a wink they let the audience in on the scam, "It’s an insurance thing." When their tempers flare, the walkers held at shoulder level turn the aging bad boys into antlered game who lock horns, so to speak. If their balance were better, they’d probably paw the ground.

As one memory leads to another, their adventures and misadventures are resurrected. They take us and the girls they’re courting, Margaret and Doris, to an amusement park where they hate the ferris wheel and are not thrilled with the rollercoaster. Their romancing is interrupted by World War II. During one firefight, pinned down by ordnance, Ed is injured in the leg. Even in the midst of battleground horror, their love and exasperation with one another spawns humor. When the war ends and their troop ship arrives in New York, they phone Margaret and Doris. They are battle-tested veterans, giddy with romantic longings. When their barely articulate proposals are accepted, they are euphoric.

Henderson’s Jerry and Volker’s Ed are fully developed characters. Volker’s restrained remembrance of Doris’s final illness grabs the heart. Jack Neary’s direction is sensitive to Henderson’s deceptively simple script that teems with the high drama of ordinary human beings’ basic emotions. Throughout "Jerry & Ed" a sweetness permeates. Regardless of how old and wise they get, their boyish innocence endures.

Like Under a Microscope by Steve Capra
Sunken Red began its life in 1981 as a novel, in Dutch, by Jeroen Brouwers. It relates the author’s life from his childhood imprisonment with his mother in a Japanese prisoner-of-war camp, through his adulthood, to her death. Guy Cassiers, a Belgian director (invariably referred to as Flemish), has adapted it into stage monologue, Sunken Red, presented at The Brooklyn Academy of Music. Cassiers focuses on the most personal elements of the novel. The script is good, not great, intensely self-absorbed, reminiscent of Beckett’s Krapp’s Last Tape.  Alone throughout, the character addresses us. Apart from the Japanese guards who terrorized him as a child, there are no men in his memory. He speaks of his mother, his wives, his daughter, his mistress, in an objective stream-of-consciousness. He’s obsessed with sexual organs. Unfortunately, Cassiers jumps on this character element and includes a masturbation scene that caused one yuppie couple to march up the aisle. Indeed, it’s an ill-advised choice, unsuited for the context. The character climaxes, but the play doesn’t – it just continues, as if libido counted for nothing. Moreover, Cassiers disregards his character’s basic drive – to analyze in order to avoid experiencing.  Cassiers’ great accomplishment is to cast Dirk Roofthooft, a Belgian actor. His solo performance is brilliant, insightful in analysis, fluid in technique, subtle and expressive in emotion. Our man is speaking soon after his mother’s death, he’s skipped the cremation, and he’s embarked in an intense introspection to solve some indefinable problem of life. He’s complex, course and vulnerable. Roofthooft brings the character as close to us personally as we are aurally – we can hear him soughing. With exquisite control, he reveals the emotion beneath the character avoids. “At times I’m half crazy with fear of undefined things” he observes, and we wonder if this is one of those times.  Cassiers constructs the script with a late climax dwelling on a particularly horrendous experience the child had as a prisoner of war. He throws his tech at the moment. Like the set and the other obvious directorial choices, it’s superfluous. Cassiers should have remained unobtrusive and concentrated on supporting his extraordinary actor. Roofthooft is so commanding and absorbing, that he needs no mis en scène. We want to explore his work in isolation. It suffers examination like a perfect gem under a microscope.

Heart of Concept by Steve Capra
Louder was produced by Verdensteatret, a Norwegian company. Company members travelled to the Mekong Delta to absorb material for this non-linear piece. The objects of the set suggest a gym, with speakers scattered on the floor instead of weights, and instead of a Nautilus machine, the huge spindly legs of a spider. Images on the back screen include the jungle, indigenous architectures intricately deconstructed, fish playing before a pagoda, and a long, ominous warship. There are drawings of death and war, some from Brueghel.  Cut-outs move across the stage in a rope. And there’s some pretty clever lighting. When the cut-outs themselves aren’t lit, they cast shadows on the lit backscreen. And when they are lit, the backscreen is dark. Actors,as well, lit or shadowed meticulously. They’re actors on stage, or musicians, not characters.  There’s next to speech, but there’s babbling, hollering, shrieking and, throughout, the unidentifiable sounds of the rain forest. These last crescendo to the point of our using the ear plugs we were given at the door.  The effect is evocative, engrossing – really terrific, if somewhat confusing. There’s more than a little Heart of Darkness here, overwhelming and oppressive. The company has left the referent behind and produced something abstract. For those with the background, however, it evokes Southeast Asia. A Vietnamese friend in the audience said it all took her back to her childhood. Those speakers, which rotate on different axes, and into which actors peer for no apparent reason, refer to the propaganda speakers throughout Vietnam.  It’s all a postmodernist combination of abstraction and reconstruction. It appeared at PS 122, off-off-Broadway,

Big River by Shera Cohen (Goodspeed, East Haddam, CT through Nov. 30, 2008)
Advertisements refer to “Big River” as “a slice of pure Americana.” Who was better than Mark Twain, through his most famous character Huck Finn, to simultaneously weave a tale of our county in its glory and shame?

“Big River” jam-packs most of the Huck Finn story (it was a thick book) along with 17 songs into two and a half hours. It’s a big task to accomplish this successfully. Goodspeed, known for its excellent productions of tried and true musicals as well as those fresh out of the computer, is the ideal setting for this important story. Many read Huck’s tale as a high school assignment. On the surface, Twain’s dialect is melodic and humorous which gives the tone of froth. Yet, the author – and in the case of the musical, the composer, lyricist, director, and actors – is dead serious in the subject matters of conscience, trust, humanity, and slavery.

Huck (Will Reynolds) and Jim (Russell Joel Brown) seek their own freedom. At times they are equals, yet circumstances of the 1840s make that impossible. The camaraderie between the actors/characters is obvious, particularly in the songs “River in the Rain” and the showstopper “Muddy Water.” While the lanky, curly top Reynolds portrays Huck with vim, naiveté, and a voice to accentuate his character, he seems a bit old for the role. Brown brings depth, sorrow, and his own innocence in his portrayal of the slave Jim. His only solo, “Free at Last,” shows off his pure baritone voice.

Director Rob Ruggerio, along with his crew, creates sets with minimum multi-purpose staging and maximum skillful lighting. The pit orchestra is as fine as any at Goodspeed, with the wonderful addition of The Musician (David Lutken), an ever-present figure onstage as he plays the guitar, harmonica, banjo, and zither. Tunes run the gamut, including country, gospel, ballads, and blues. The large ensemble of townsfolk, Huck’s buddies, and slaves fill the small stage with song and dance from the opening funny number “Do a Wanna Go to Heaven?” to the reprise of “Muddy Water” finale.

The Sunday matinee full house loved Twain and Huck in October, 2008 as much as readers must have loved both in 1885.

Four Mystics Minus Two by Steve Capra
The Whirling Dervishes of Damascus and the Sheikh Hamza Shakkur Al-Kindi Ensemble presented The Sufi Liturgy of the Great Ummayad Mosque of Damascus recently (at The Kaye Playhouse of Hunter College in New York). There were meant to be fours dervishes, but two were denied visas, as was one of the musicians. New York was honored to host them, and the concert was a marvelous artistic and worshipful event.  The songs have the majestic reverence of prayer:

“Oh God, I begin my entreaties by praising your goodness.
In humility and acceptance I turn to you.”
Instruments included the qana (zither), ney (reed flute), ‘ud (lute), and riqq (tambourine). The music is intricate and subtle, and all the more engaging for its strangeness. As Hamlet advised, “As a stranger give it welcome.”

From time to time the dervishes would stand and begin their extraordinary ritual. They start by walking in small circles, about four feet in diameter. As the music intensifies, they begin to whirl, counter clockwise, accelerating until they reach about 60 rpm’s. They rotate on the left heel, with their eyes closed. This lasts for perhaps ten minutes, during which their splendid white gowns billow around them like great sugar bells. They return to their seats with perfect composure.
The position of the arms is important. It varies within a piece, and with the dancer, sometimes symmetrical, sometimes not, always with the elbows bent, the fingers pointing down or up, sometimes with a hand before the face as if the dervish were examining his palm through his closed eyelids. In certain positions they’re channeling energy from heaven to earth. I’ve also been told that the various positions stimulate various parts of the brain. They are unquestionably deliberate.

The ceremony is firstly a form of worship. The Mawlawiyya (order of the dervishes) is a brotherhood of Sufism, the mystical branch of Islam. The name of the ritual is sama; it’s a spiritual listening. Sama developed in Turkey in the twelfth century, and spread to the neighboring Islamic countries.

There’s no dissonance here between worship and performing. The perfomer is a priest (as in most priesthoods, they were all men). They were whirling for all of us.

The Peking Opera by Steve Capra
The Qi Shu Fang Peking Opera is technically an American company, but its members are Chinese nationals. Purists (like me) will be satisfied with this. After all, at the opening of the show, we are addressed in Chinese before we’re addressed in English. The company recently presented Women Generals of the Yang Family at the Kaye Playhouse of Hunter College. Performed in Chinese, it’s a great show. From the moment we see the opening backdrop with its stunning blue mountains, we know this will be a spectacle. This is a traditional and elaborate Chinese form. Costume is central – bright colors and complex patterns, red robes with white cuffs to the floor, feathers yards long, soldiers in pants. Actors speak, sing, scream or speak over music. They dance, tumble, and sometimes move with a graceful sideways walk. They work with gorgeous, stylized gestures. The first backdrop morphs to the golden emperor-dragon icon of the court.
Note that all the stage movement is SR to SL. It’s apparently the natural stage flow, not dependant on the way we read.  The story of this play tells us how 12 widows in mythical history (during the European middle ages, actually) saved the country from invasion after the general falls in battle. The dialogue is suitably artificial (“As we face a hanging bluff, the horse will not budge”); when it wants to be humorous, it’s delightful. It all culminates in a wordless, acrobatic battle with juggling and kicking and stylized swordplay (stickplay, actually). It’s all wonderful.
The music ensemble includes traditional instruments – gong, drum, fiddle, horn, etc… The Qi Shu Fang company has added an electric synthesizer! The music is insistent, commanding, not subtle.  This drama works for expansion, not compression. It’s all clearly designed to impress – a festival of nationalism. There are no ideas here, no discussion.  The Peking Opera dates from the 18th Century; its repertoire includes over 1,400 works. We applaud the Qi Shu Fang company for keeping it alive and offering it to us here in the States.

Unblinking: The Thirty-third Year - Playing Life, Theatre ASOU at Mabou Mines, PS 122 by Steve Capra
Theatre ASOU, from Graz, Austria, visited Mabou Mines recently (at PS 122, New York), with a sort of performance piece called The Thirty-third Year - Playing Life. The company uses projections, costume changes, and a disembodied, amplified voice to create a set of characters, all manifestations of the sole actor. Indeed, the script was devised from the actor's life through interviews with the author (Robert Riedl). It's a probing exposure of character, and it doesn't shrink from life's worst experiences - death and grief.

Throughout, the actor is engaged in conversation with an alter ego. "What is it that you want from me?" he asks his other self. "Just shut your mouth," comes the response. But this disembodied voice (who is the director) can be reassuring as well, "Just be you", he tells our man. There's a great deal of Pirandelloing around here. The best bit is a visual pun on the word "cast", as the actor enters with his leg in one of those plaster things - he's in the cast today.

We admire the expression of loss and guilt that Theatre ASOU gives us. However, the repartee re: acting vs life goes on well past its welcome, and the production fails. It depends too heavily a concept that isn't developed, merely repeated. An upstage screen keeps throwing the actor's soulful eyes at us - sometimes his soulful eye - and, like the script, it doesn't blink. But this means it never changes, and the self-examination isn't stageable.

The production owes much to the honest, fluid emotional life of its actor, Gernot Rieger. His technique is sharp and sure and polished. When he addresses us, in the play's best moment, he's direct and disarming. "Would you like a relationship with me?" he asks. But still, the answer is decidedly "No". Who'd want to deal with his self-absorption? And when he says "Maybe this is a kind of therapy," we've had enough.

We'd like to see this company again, with its unblinking honesty, when its talents are channeled through a pithier vehicle.

The Miracle Worker by Shera Cohen
Majestic, West Springfield through 10/12/08

The staging is the first clue that the Majestic’s opening play, “The Miracle Worker,” launches a wonderful professional 2008/09 season. Set designer Greg Trochlil and lighting designer Daniel Rist arrange multiple areas, representing indoors and outdoors, clearly defined by outlines of wooden panels and variations of spotlights.

The high caliber of the play continues from the very first words spoken to final words of Helen Keller fingered in the hand of her teacher Annie Sullivan. Playwright William Gibson’s dialogue is exquisite as he initially hints at the potential of each character, and then proves it. Just as Gibson depends on choosing the right words, the plot is about words and language. Communication is the crux of the play – without it, the human spirit is locked. Helen and Annie’s story is real, and playgoers know its beginning, middle, and end. Yet, seeing it often never seems to be too often.

Zoya Kachadurian skillfully directs her cast of 14 (including some adorable children) in a well-paced natural clip. The flow is seamless, especially when moving in and out of flashbacks. There are no weak actors. Marianna Bassham (Helen’s mother) portrays a gentile Southern lady with a backbone when it comes to her child. Eric Love (father) could have easily phoned in his performance as one-dimensional, but this was far from the case. Dan Whelton (brother) shows the clear growth of his character’s inner self.

Wherever did the Majestic staff find Brittany Andrea? Actually, the answer isn’t important. What is pertinent is that she is a must-see young actress who is only in town for one month in the physically and emotionally demanding role of Helen. She balances relentless frustration with naïve awakening. Andrea is Helen.

The play is truly the story of Annie Sullivan, who was the miracle worker. Jen Schwaber gives Annie a dichotomy of forthrightness and doubt, strength and vulnerability, courage and bravado, humor and drama. Her battles with Andrea call for shear stamina, and perhaps accepting some bruises throughout the play’s run. Schwaber is an actress who easily meets the many challenges of Annie.

While at the Majestic, note the beautiful paintings by Willie Ross School for the Deaf students which are on display throughout the run of this play.


Spamalot @ The Bushnell, Hartford by Shera Cohen
There’s one really big thing wrong about “Spamalot” at the Bushnell – only five performances. Given that one fault, audiences have no choice but to fill the seats immediately and to the rafters to experience one of the most outrageous, creative, and funniest musicals ever.

To have remembered and enjoyed the Monty Python series or movies means instant love of “Spamalot,” because it’s more of the same along with music and funky lyrics, cartoon-like sets, costumes from every century (who cares if this is supposedly the Middle Ages), cheeky special effects, and this time it’s all in fabulous Technicolor. Nothing is off-limits – sex, politics, death, or religion. The monk and nun sensual dance is a hoot. To have never seen Python makes little difference. Audiences need only bring open minds, funny bones, and expectations of exaggeration and camp to thoroughly enjoy the play, at least enough to see it once a year.

The story is that of King Arthur, his knights, the Lady of the Lake, and search for the Holy Grail. Ahh, sounds familiar, from books of old. From that basic plot are twists and turns to Casino Camelot, “a very expensive forest,” and Broadway. Blatantly hysterical running jokes are poked at many musicals: i.e. “Fiddler,” “West Side Story,” “Singin’ in the Rain,” “Les Miz,” and “Phantom.” The knights especially like Mel Brooks and especially dislike Sondheim and Sir Andrew Lloyd Webber.

The actors are constant hams, which could give the expectation that the singing skills might not be equal to the shtick. Wrong. There are some wonderful strong voices, in particular Christopher Sutton at Prince Herbert doing a lovely falsetto. Except for those playing Arthur and Lady, all of the actors have at least three roles each. It wasn’t until after the standing ovation to boisterous audience cheers that this reviewer had time to read the playbill. Two of the best acted characters are Sir Lancelot and The French Taunter. What do you know – Patrick Heusinger portrays both.

Ending with an audience sing-along to a reprised “Always Look on the Bright Side of Life,” it is clear that “Spamalot” shines bright.

Eleanor: Her Secret Journey by K. J. Rogowski
Berkshire Theatre Company, Stockbridge through November 9, 2008

Berkshire Theatre Festival's production of "Eleanor: Her Secret Journey" is a one woman show of power, passion and change, that documents her reflections on the early years with yet to be president, Franklin. Equally important is a look at her personal observations on both world and intimate personal events that were to shape her future from 1945 on.

Elizabeth Norment's skill as an actor captures the panorama of that world stage as she plays Eleanor, Franklin, and a cast of others notables, as they discuss, debate and sort out the morals, mania and politics of world powers and family domination. Here, she faces the challenges of dealing with an unfaithful husband, a manipulative mother-in-law, the senseless inhumanity of man at war, and the strange, seductive power that each possesses. Through her journey, Eleanor strips away the grandeur and the public face of war, and those who manipulate that machine, and shows, instead, the back story, the human frailty that actually drives world events. She humanizes the inhumane, and reduces it to its most basic components. She reveals the personal quirks and idiosyncrasies of the great and near great, and casts a light on the personal toll of being a public figure, that the public sometimes thinks it owns.

Norment does all this with humor, passion and vulnerability, that make the view into the lives of these very public figures a true journey of little-known human struggles. Stephen Temperley's direction keeps the action smooth, uncomplicated, and focused on the message, as does the simple, yet elegant, set design. The use of lighting shifts and occasional sound effects to set the tone and to punctuate the changing emotions of Eleanor's pilgrimage are also nicely played. For an evening of drama, humor and humanity, Eleanor's journey is well worth the trip.


Les Miserables Special School Edition by Donna Bailey-Thompson

The tension of social unrest – generations of injustice that led to France proclaiming a Second Republic – and the individuals caught up in its life-changing drama, are knocking the socks off audiences as performed at a professional level by dedicated amateur actors ranging in age from five to eighteen. In this abridged version of the blockbuster musical, Les Miserables, the integrity of Victor Hugo’s classic novel is honored and in many respects intensified by the awe-inspiring performances of 47 young people.

Based upon the high quality of Exit 7 Players’ productions, the professionalism of their Les Mis should not be surprising, but, it is. To inspire such outstanding performances is a testament to Director/Choreographer Jenn Bauduccio’s skill and the cast’s trust in her guidance..

Exit 7's Les Miserables Special School Edition is an outstanding theatrical experience. As the dying Fantine, Monica Giordano’s solo is heartbreaking. Other emotional peaks are attained by Michelle Waslick, age 9 (Gavroche); Tray K. Sanders, age 13 (Enjalras); Sarah Banning, age 15 (Eponine) whose "On My Own" breaks more hearts. The amoral Thenardiers – Lisa Rizza, about to become a college freshman and Colby Herchel with three years acting experience – offer lively, humorous nastiness. Star-crossed lovers Cosette (Katie Stiefel) and Sam Plotkin (Marius, age 16) pour out their longing for one another.

The determination of Jean Valjean (Gavin Mackie, high school senior) to become an honest man and the doggedness of the sadistic law enforcer Javert (Michael Piels who enrolls in NYU this coming semester) to destroy Valjean, infuse their scenes, singly and together, with raw energy. Their duets stir and alarm.

Musical Director Devon Louise Bakum has infected the young cast with a desire to excel. The songs are not easy to sing, yet the chorus and soloists deliver with ease and conviction. The costumers – Bauduccio, Mary Hernandez, Sherri Montagna, Lori Rodriguez, Cheryl Chant – incorporated authenticity into their creations. The imaginative minimal sets are the handiwork of master carpenters Paul Hamel and Tom Marshall Jr.

Unsung are the parents and families of the cast who juggled their other responsibilities to support their cast member’s ambitions. Before the auditions, Exit 7 spent years planning and negotiating. And now, Bravo!