REVIEW: Barrington Stage Company, "Happy 30th Anniversary and Boeing, Boeing"

Barrington Stage Company, Pittsfield, MA

www.barringtonstageco.org 

runs through August 3, 2024

by Shera Cohen

Life got in the way, and I offer sincere apologies to Barrington Stage Company (BSC) and to In the Spotlight’s readers for the lateness of this article/review of the amazing production of “Boeing, Boeing”.

I’d seen the movie decades ago, and disliked its slapstick shenanigans; it starred Jerry Lewis, of course. However, I had never seen “Boeing” as a play, not to mention produced by BSC, starring two of my favorite actors in the Berkshires and beyond.

Photo by David Dasheill

I have deemed myself co-president of the Mark H. Dold Fan Club. The actor is a master at drama and equally superb at comedy.

Debra Jo Rupp’s forte is getting the driest of laughs, milking optimum humor with every vocal nuance, facial expression, and even the minutia of opening a door.  

The plot is simple: bachelor in Paris juggles his romantic liaisons with the comings and goings of three airline hostesses (it’s the 1960’s). Neither lady knows about the other. What a surprise! Yet, simple it is not, as the script calls for tight, split-second timing by director Julianne Boyd, cast, and crew. Welcome back, if even for a moment, Ms. Boyd; retired founder of BSC.

Ol’ friend Robert (Dold) surprises Bernard (Christopher Innvar) with a visit. Thus begins an excellent example of the epitome of French farce at its most uproarious. I looked the term up for accuracy. What French farce is not is slapstick or broad humor solely for audience laughs. Moliere set the tone centuries ago. No wonder Moliere is one of my favorites. 

Some key elements of farce are physical acrobatics and clowning. Literally from the moment that nerd-like Robert enters the flat, the action begins. But Dold’s character isn’t just a man who acts geeky in the midst of the norm. Each character has his/her distinctness in a 60’s era that could have settled for stereotypes. It is Dold’s adeptness at playing the sympathetic dweeb in the midst of running around from room to room with doors opening, closing, opening again, that anchors the play.

A personal note: It was my pleasure to attend BSC’s plays in its premier year. The location was a high school in Great Barrington, MA. I believe that the stage was a rather messy basement level music room. I felt that this new theatre had potential, but launching a troupe at without the right venue, not to mention the all-important funding challenge would be tough.

Flash forward 30 years and my ego was sky-high when en route to the current home of BSC. But in the midst of miles and miles of open fields to find the location, we became lost. My philosophy is that reviewers must arrive on time, not leave early, and compose themselves.

Anyway, staff at BSC literally held the curtain for me. Me? I think I might have been the only reviewer at the time, or for that particular play. BSC has been gracious since Day 1, continuing to present quality theatre in the Berkshires. 

Three decades! Congratulations!

REVIEW: Shakespeare & Company: So, you don’t like Shakespeare…or you think you don’t like Shakespeare

REVIEW: Shakespeare & Company, “The Comedy of Errors”

Shakespeare & Company, Lenox, MA

www.shakespeare.org

through August 18, 2024

by Shera Cohen

So, you don’t like Shakespeare…or you think you don’t like Shakespeare

Photo by Katie McKellick

Every decade or so, I write an article focused on my annual visits to Shakespeare & Company, Lenox, MA (S&Co). At the same time, each year, I make a point that my Plus 1 guest is a person who falls into either of the categories of this article’s title.

My mission is to convert Bard naysayers to Team Will Cheerleaders. Okay, that’s a big challenge. At the very least, I hope to help others appreciate the stories of 500-years-ago and realize that perhaps there are lots of things about attending live performances that can be enjoyable.

“The Comedy of Errors,” running July 13-August 18 at S&Co, as the venues “big play” of the season, is an ideal piece of theatre for novices for a variety of reasons. 

1) This is, as the title states, a comedy; far easier to understand than the dramas or history plays. If some of the language is difficult, the actors’ movements onstage (a lot of running around) fill in the blanks. You don’t need to understand every word. You won’t, and that’s okay. A suggestion would be to ask any of the many kids in the audience. They “get it”!

2. The time period is Coney Island in the early 1900’s. Oh, not in the 1500’s somewhere in Italy? Would Shakespeare approve of S&Co taking such liberties with his work? I think so. In fact, I believe that he would be the first to applaud the creativity of a different era and location that never existed in his own lifetime.

Photo by Katie McKellick

3. S&Co takes its productions very seriously, but no one says that you can’t laugh hysterically as well. Its directors, set and costume designers, and vocal coaches are all pros, many of whom are experts on the Bard.

S&Co has replicated the original Globe Theatre in England on an open-air stage, mounting the play on its outdoor amphitheater. The story takes place on flat wooden flooring in the center base surrounded by seating for approximately 200. There is nearly always a full house.

4. Adjectives that describe “Errors” are fun & fast, colorful & crazed, loud & louder. Be assured that every Bard play at S&Co has music; “Errors’” is honky-tonk and jazz. Actors wear a lot of day-glow yellow and motley attire. The lighting is a mix of electronics with nature when the sun gradually dims on the 7pm show.

5. The plots of Shakespeare’s comedies are, for the most part, similar: mistaken identity, usually twins mistaken for each other. In the case of “Errors,” there are two sets of twins; double the laughter, double the gymnastics, and double the pratfalls.

Experience “The Comedy of Errors”. You might not be a convert, but you will have fun. 

REVIEW: Great Barrington Public Theater, "Night At The Speakeasy"

Great Barrington Public Theater, Great Barrington, MA

www.GreatBarringtonPublicTheater.org

through August 11, 2024

by Suzanne Wells

Great Barrington Public Theater wraps up their summer season with the immersive production of “Night At The Speakeasy.” Directed by Wendy Welch, this swell show features a series of cabaret songs interspersed with historical dialogue that captures the essence of the Roaring Twenties, including the dancing, the lingo, and the freedom to express oneself.

Photo by Katherine Humes

Juliana von Haubrich and Matthew Adelson spare no detail in creating a smoke-filled,
underground gin joint. To enter, one walks down a darkened stairwell, lined with foliage and garden statues, to a red door. Presenting a password grants admittance to a dimly lit, smoke-filled bar where the stage is filled with clothed tables and chairs for the audience, who are encouraged to dress for the occasion, so don’t forget a feather boa or fedora. Art, along with an old-fashioned telephone, hang along the walls, and a myriad of chandeliers adorn the ceiling.  A cozy corner with velvet-lined chairs and a cigarette creates a lovely selfie-station. The stage, located where the audience would normally sit, consists of a velvet-lined chaise lounge and an upright piano. The intimate setting allows the audience to socialize while enjoying the entertainment.

Speaking of entertainment, Janelle Farias Sando’s performance is the “bee’s knees”! Her basic black costumes with glittering accessories are sexy and evocative.  Singing a variety of romantic, comical, and soulful jazz songs allows Ms. Sando to show off her dynamic vocal range and comedic style.  Kicking off the show with a performance of “Let’s Be Bad,” she maneuvers her way across the room, acknowledging each table, before taking the stage. And her risqué rendition of “Paris Makes Me Horny”, might make one miss their landline.

Accompanied by Hudson Orfe, a master tickler of the ivories, he also contributes to the vocals and an occasional joke.  Together, the duo create a memorable experience.

The only thing missing from “Night At The Speakeasy” is a police raid and paddy wagon. Otherwise, it is an entertaining evening filled with laughter, libations, and liberties — one might even say it is the “cat’s pajamas"!

REVIEW: Williamstown Theater Festival, "Pamela Palmer"

Williamstown Theater Festival, Williamstown, MA.

www.wtfestival.org

through August 10, 2024

by Jarice Hanson

 

Photo by Arden Dickson

The name of David Ives’ newest play at the Williamstown Theater Festival is an enigma. “Pamela Palmer” is the title, and while the name tells the audience nothing about the play, the title is perfect. 

 

The character named Pamela Palmer is seemingly perfect. She’s blonde, beautiful, happily married to a man “in the money industry,” and has a strong spiritual life. Her problem is that something seems wrong with this perfect life, and that makes her anxious. To help her figure out why she feels impending doom, she hires a private eye. She doesn’t expect to be attracted to him, but as the story unfolds in this 85-minute one-act, the perfect life is upended with surprise turns for Pamela, her husband, the private eye, and Pamela’s lower middle-class mother from Akron.

 

David Ives’ writing is heavy on dialogue and often peppered with genuinely funny lines, but the mood of the piece is a spoof on the noir detective theme. Billed as an “existential romance,” the overarching message is that perfection is an illusion and conspicuous consumption can destroy lives.  

 

What makes the piece work well is the extraordinary collaboration of Ives and Director Walter Bobbie. The two have a long history of collaborating on projects and the harmony they’ve developed shows in this work. Bobbie’s direction in the intimate Centerstage Theater is elegant.

 

Added to their exploration of such broadly conceived ideas about God, happiness, and anxiety, is a very talented cast that walks the fine line between reality and fiction.

 

Tina Benko plays Pamela, drawing on traditions of noir and the “beautiful blond” essential to a good detective story. Clark Gregg as the private investigator is seething, sexy, and earthy as gumshoes are. In the role of the erudite husband is Max Gordon Moore who plays the part with a British accent and mannerisms reminiscent of David Niven. Becky Ann Baker portrays Pamela’s cancer-surviving, lower middle-class mother. The actress fills the stage with her presence and provides a key to unlocking Pamela’s past. These actors handle the playwright's dialog masterfully. In one rapid, talky scene between Benko and Moore, the two actually seem to produce electricity. It’s an amazing scene and aptly shows the genius lurking behind the dialog, direction, and actors’ abilities.

 

This is a play that leaves audience members scratching their heads at the end. There's lots to ponder. It is not neatly wrapped up, but rather, continues the enigmatic metaphor. For those who enjoy this type of ambiguity, "Pamela Palmer" will please. However, as Williamstown’s big production of the summer, it may leave viewers wanting more.

REVIEW: Chester Theatre Company, “Will Sacrifice”

Chester Theatre Company, Chester, MA

https://chestertheatre.org

through August 4, 2024

by C. L. Blacke

In the wake of 9/11, Manhattanites created a mass exodus to lands beyond the metropolis, buying up property that would become a haven from the grief and trauma that surrounded them in the city.

Bridget, the 50-something-year old main character, in “Will Sacrifice” played by Catherine Lloyd Burns, is no different. Disillusioned by her corporate job, her writer’s block, and her marriage, she takes the first steps towards creating a new life for herself in the Catskills.

Photo by Andrew Greto

Enter Mr. Sunshine (Greg Stuhr). Working on his third divorce, the real estate agent becomes Bridget’s sounding board, whipping post, and confidant as she learns to navigate the ins and outs of first-time home buying (within her cash budget) and her true feelings for her out-of-work-actor husband, Nigel (Ken Cheeseman). She feels weighed down by his depression and pessimism and longs for a space to call her own where she can write poetry again.

The chemistry between Equity actors Burns and Cheeseman, with their back-and-forth bickering and quiet moments of tenderness, carries the play. Burns, who has starred in TV, film, and theater, as well as the author of three published books, transitions seamlessly between a shove on the shoulder, a gentle touch of the hand, and a well of tears in her eyes. Cheeseman, with numerous roles in regional theater, off-Broadway productions, and film, emotes the vulnerability and cantankerousness of growing old with all of its complex nuances. He particularly shines in his final scenes as Nigel navigates the onset of dementia.

Whether depicting the cramped NYC apartment, real estate office, or little blue house in the Catskills, Travis George’s scenic design features an entire set made of cardboard boxes. With just a spin of two flatbeds, the set captures not only the claustrophobic anxiety of NYC living, but also the impermanence of life and the way one can box up both their hopes and fears against the threat of failure.

This world premiere of “Will Sacrifice”, written by Julie McKee and directed by Keria Naughton (a 2019 nominee for Best Direction of a Play by the Berkshire Critics Association), is funny, tragic, and relatable on every level (especially for the over-50 crowd). It explores loss of self, loss of dreams, loss of health, and loss of loved ones. But it also shows that loss is merely another form of change, and with change comes renewed hope and dreams.

Review: Great Barrington Public Theater, "Survival of the Unfit"

Great Barrington Public Theater, Great Barrington, MA

www.GreatBarringtonPublicTheater.org

July 6 - July 21, 2024

by Suzanne Wells

“Survival of the Unfit,” penned by Oren Safdie and directed by Matthew Penn, is not your typical “boy meets girl, falls in love, and lives happily ever after” story. The play shatters the mold of conventional romance with a comedic glimpse into a seemingly flawless, yet deeply flawed family dynamic.

Setting the stage, Samuel has invited his new girlfriend, Mallory, to dine with his parents. The parents, who appear to see only the flaws in their son, are convinced there must be something wrong with the girl. While his father, John, is more than willing to accept her shortcomings, his mother, Shirley, is ruthless in her scrutiny.

Carolyn Hennesy’s depiction of Shirley is outstanding as she embodies the role of critical, over-protective mother. The catalyst for unearthing all Mallory’s secrets, Hennesy’s relentless probing ignites a series of revelations that spiral into a dramatic unmasking of her own concealed indiscretions.

Vincent Randazzo portrays Samuel, a middle-aged, balding, man crushed by his parents’ low expectations. Randazzo captures the essence of a son beleaguered by criticism, both overt and insidious. His nuanced performance subtly hints at an evolving tension. 

In contrast, Sarah Keyes as Mallory, is a beautiful, educated woman from a wealthy family exuding confidence and a subtle dramatic flair. Keyes’ dynamic interpretation keeps the audience captivated, as they ponder what draws her to Samuel.

Daniel Gerroll, as John, is the epitome of dry humor, his timely asides accentuating the underlying imperfections of a long-married couple. His delivery is impeccable with each jest and costume change adding a layer of levity to the unfolding drama.

Scenic design by Juliana von Haubrich creates a middle-class abode that balances lived-in warmth with meticulous order. The walls are lined with impressionist paintings, and family photos. Books, sculptures, and drink cart create a lived-in feel while maintaining an air of everything-in-its-place perfection.

“Survival of the Unfit” is a comedic exploration of the human condition delving into the complexities of insecurity, self-doubt, and fear, which when acknowledged and accepted, become the threads that weave a tapestry of human connection and forge enduring bonds.

Review: Berkshire Theatre Group, “Mel Brooks’ Young Frankenstein”

Berkshire Theatre Group, Pittsfield, MA

www.berkshiretheatregroup.org

through July 21, 2024

by Shera Cohen

“Funny” is one of the best adjectives to describe the talents of Mel Brooks. To be accurate, “raunchy funny” is à propos for “Mel Brooks’ Young Frankenstein” (“YF”) at Colonial Theatre.

The musical is essentially the mirror image of the movie version (1974) starring Gene Wilder. For those who have not yet seen the movie or video in any shape or form on various  electronic devises, then experiencing it live is almost better; sans Wilder, Madeline Kahn, Marty Feldman, et al.

Photo by David Dashiell & Caelan Carlough

Apparently, the original Frankenstein had some family members who begat offspring and one of these is Dr. Frederick Frankenstein; pronounced “Frank-en-stEEn”. Like his predecessor, Fred is a scientist whose specialty is study of the brain. For first-hand knowledge on the original Frankenstein, he must travel to Transylvania. Along the way, he meets a sexy assistant, a hunchback servant, and a seemingly prim housekeeper. The plot concerns the creation of another monster in the la-BOR-a-tory.  

The true stars of BTG’s production are the people who the audience does not see: the professionals on lighting, sound, scenic, and projection as well as director Gerry McIntyre who has assembled a wonderfully creative team with imagination and a sense for sheer fun.

Segments of the “Frankenstein” silent movie begin the entertainment. Soon coupled with lightning effects and thunderous sounds, the musical within the movie begins with screen credits, as if it was an actual 1910 cinema on the stage. The macabre echoes continue into the theatre’s lobby and entry.

“Clever” is the word to explain the video projections in each scene, especially those outdoors. Sepia stills or moving video backdrops help to accentuate each segment. Yes, there are the usual walls, bookcases, and stairs. Special to “YF” are the dark scrims, netting, and shadows, making everything on stage look bigger and spookier.

Unexpected from a comedy filled with ridiculous characters, each actor’s voice is near-flawless. All leads can boast Broadway credits. The accompanying 5-piece band sounds much bigger.

Nothing in “YF” is serious. Even the love stories have no dramatic or lovely songs. Instead, the most hilarious tunes (each sung by female soloists) are: “Roll in the Hay,” “He Was My Boyfriend,” and “Deep Love”.

There’s not a lot of dancing. Yet, McIntyre, who doubles as choreographer, lets his full cast have a ball “Puttin’ on The Ritz”. Is this scene important to the story? No. In fact, it’s rather inane. However, watching a reformed monster tap dance is a showstopper.

At this performance, the audience was a bit atypical from those who populate summer musicals. The group was younger. Had they heard of the 2000-year-old man? Or seen “Blazing Saddles”? Or like to laugh on a smoldering hot Saturday in a beautiful, air-conditioned theatre in Pittsfield? At any rate, there they were in droves. 

Note: Not recommended for young children.

Review: Goodspeed, “South Pacific”

Goodspeed Musicals, East Haddam, CT

www.goodspeed.org

through August 11, 2024

by Shera Cohen

Opening on Broadway in 1949, “South Pacific” won a slew of Tony Awards. Set toward the end of WWII, composer and lyricist Rodgers & Hammerstein placed their micro-story into the behemoth history of the war in the Pacific.

The musical is lauded for its balanced measure of love, joy, and happiness; with a sobering mood of bigotry, hatred, and death in wartime.

The best of “South Pacific” is the music, particularly the ballads. It would take a cast and crew of first timers to mess that up. Not to worry, Goodspeed’s orchestra led by Adam Souza, and nearly all singers make this musical special some 75-years after its premiere.

The plot is simple: two love stories along with the intrigue of a spy mission, and its repercussions to the couples.

Danielle Wade, Nurse Nellie Forbush, plays spunky well with her southern twang and body
movements. Her first scene with her potential lover, shows her with arms crossed tightly. Later on, when she’s “In Love with a Wonderful Guy,” she’s jumping and doing cartwheels. The audience realizes some of her transformation, but it’s not convincing. Perhaps if Wade was charged with one dramatic solo, the audience would care for both the character and actress more. 

Omar Lopez-Cepero, Emile de Becque, her handsome counterpart with French accent and swarthy frame, looks and sounds like opera star Jonas Kaufman. Even if Nellie has her doubts, the audience loves him. Thank goodness that this amazingly talented baritone is given the opportunity to showcase two of the most lush and romantic blockbuster solos from a musical: “Some Enchanted Evening” and “This Nearly Was Mine”. The actor’s  stance and speech are understated, giving even more power and depth to his songs.

Other important roles are those portrayed by Cameron Loyal (the stoic Lt. Cable) and Keven Quillon (the affable Billis). Joan Almedilla, in the pivotal role of Bloody Mary, punctuates her dialogue with sass, yet sings her signature piece, “Bali Ha’i” as a haunting whisper.

Speaking of the Island Bali Ha’i, the image is back, center, and ever-present on stage. Lighting design makes minor visual effects. Once on the island, the setting becomes a curtain-like multi-colored drop representing a floral forest. The attempt at an island paradise doesn’t work. Too busy. It overpowers the placement of the characters so much that the second pair of lovers are nearly obliterated. Lighting and light-colored costumes might fix the problem. 

Photo by Diane Sobolewski

As in nearly all musicals are the big-dance numbers. “South Pacific” is not lacking: “There’s Nothing Like a Dame,” “Bloody Mary,” and “I’m Gonna’ Wash that Man Right Outta’ My Hair’’. Choreographer Parker Esse makes all three segments fun.

It is sad that much of the plot’s mood tackles the subject of prejudice and ignorance, especially involving the two couples. That theme may have changed a bit in past decades? Director Chay Yew does not beat the characters or the audience up on the subject, although discrimination is ever-present.

And the audience? Too often, those seated immediately give standing ovations as if required. If a S.O. is appropriate, then rise. Anyone who attends theatre knows that cast members take bows in descending order – smallest roles first, leading up to the stars. This does not mean that those in lesser roles are not skilled and/or deserving of praise.

Bravo to Goodspeed’s discerning audience, clapping politely, yet showing true appreciation at the entrance of Ms. Almedilla (Bloody Mary) and again for Mr. Lopez-Cepero (Emile). 

REVIEW: Chester Theatre Company, “The Thin Place”

Chester Theatre Company, Chester, MA

https://chestertheatre.org

through June 30, 2024

by C. L. Blacke

Photo by Andrew Greto

Chester Theatre Company’s 2024 season opener, “The Thin Place,”, written by Obie Award winner Lucas Hnath, weaves a complex tapestry of psychological and supernatural elements. The minimalist stage design—a stark setting of two chairs, small table, and a single red light bulb against black walls—creates an intimate atmosphere ripe for the unfolding of a ghost story that blurs the line between reality and illusion.

Immediately breaking the fourth wall, Hilda, embodied by Tara Franklin with a childlike naivety and openness to belief, holds a haunting conversation with the audience about the bond she once held with her grandmother. Their relationship had been marked by an attempt at psychic communication that was met with disapproval and labeled as “demonic” by Hilda’s mother. Soon after, tragedy befell the grandmother (who remains nameless throughout) and a sudden mystery surrounding Hilda’s mother adds another layer of intrigue and unanswered questions.

As Hilda grapples with familial loss, she explains how she found solace in Linda, the cheeky (and foul-mouthed) medium to the thin place, portrayed by Diane Prusha. Linda becomes a friend and a replacement for the maternal figures Hilda has lost and offers comfort through supposed communications with the deceased grandmother. 

The story itself is told in a retrospective style with little action happening in the present time. Instead, characters come to life to deliver their dialogue at the appropriate intervals. And though the greater part of the play unfolds slowly, “The Thin Place” intensifies as conflicts arise during a dinner party. Linda and friends Sylvia and Jerry (played by Equity actors Syliva McKown and Jordan Bellow, respectively) argue about the morality of telling lies vs. the truth.

Director Gabrielle Farrah, former Directing Fellow at Playwrights Horizons and Producing Fellow at Clubbed Thumb, employs a splattering of classic horror conventions as the play progresses that heightens the suspense. Likewise, technical elements, such as disturbing lighting techniques and jarring sound effects, are also used to strike sudden bouts of fear.

The climax more than fulfills the play’s initial promise of a chilling atmosphere, and a feeling of unease sticks with the audience long after they have clutched the edge of their seats for the last time.

REVIEW: Shakespeare and Company, “A Body of Water”

Shakespeare and Company, Lenox, MA

www.shakespeare.org

through July 21, 2024

by Jarice Hanson

 

As the Berkshire theater season begins, Shakespeare & Company (S&Co.) has opened its outdoor Roman Garden Theatre with a new twist on a script by the noted playwright, Lee Blessing. “A Body of Water” was originally produced in 2005 and was immediately compared to Ionescu’s “The Chairs” – an existential treatise on loneliness and alienation.

 

Photo by Ken Yotsukura

In this updated version of “A Body of Water,” two middle-aged people, Moss and Avis, awake in an unfamiliar house that is surrounded by water. The veranda of the house indicates comfort and the satisfaction of all creature needs, but something is wrong.  Moss and Avis don’t seem to know each other. Or do they?  As they seek to understand their identities and try to uncover the truth about their relationship, the water around the house ebbs and flows—changing all of the time, as does their sense of what is real and what is not.

 

The couple tries to find clues to their own identities and how they got to the house, when a young woman named Wren appears. Who is she? Why does she know them, and why is she so secretive? The play is described as a “comedic thriller” which is a pretty good description, that also leaves its audience with plenty of questions to ponder.

 

The couple are played by Bella Merlin (Avis) and Kevin O’Rourke (Moss), whose chemistry grows as they learn more about each other. As characters, both Merlin and O’Rourke are the real deal—they are natural, but complex; they speak like real people, but project their voices in this outdoor theatre, like the skilled actors they are. 

 

The young woman who stirs the pot of this pot-boiler is played by Caroline Calkins, a veteran of 10-years with S&Co. who looks to be the right age to be Moss and Avis’ daughter, adding to the unfolding mystery. Calkins is bubbly and energetic. She infuses the developing dynamics and drives the pace of this puzzle while charming each of the actors, and the audience.

 

This complex script would be hard to follow if it were not in the hands of a skilled director, James Warwick. His sense of playful mystery allows the humor to shine, while the undercurrent (pardon the water pun) is full of threat and secrecy. Warwick successfully directed the 2012 production of Blessing’s “A Walk in the Woods” at S&Co. a couple of years ago, and it is clear that he understands the layers of depth Blessing writes.

 

“A Body of Water” gives the audience plenty to think and talk about. The story is not neatly wrapped up, but that’s not important. The point of this play is to question who we are at various stages of our lives, and accept what we can, while never having all the answers. In this reflective production, audiences will have much to think about. 

Review: Barrington Stage Company, “La Cage aux Folles”

Barrington Stage Company, Pittsfield, MA

www.barringtonstageco.org

June 11-July 6, 2024

by Shera Cohen

Father’s Day was the perfect date to see “La Cage aux Folles”. The heart of “La Cage” is love, sacrifice, and trust; all qualities of the best of dads.

Yes, it’s glitzy, bold, funny, and charming. BSC has, again, created an exceptional season opener musical in their 30th year.

Central characters Georges and Albin, long-time married, are still in love with each other and with life. The characters are self-described near-opposites – one gay and the other a drag-queen. To their world on a cabaret stage in Saint-Tropez, France, they are the epitome of family. To outsiders, not the case. This musical’s question might be, “Who set the rules”?

Photo by Jeremy Daniel

Tom Story (Georges) and Alex Michaels (Albin aka ZaZa) give equally balanced
performances; Story emphasizes his acting talents with vocals secondary (“Look Over There”), and Michaels the reverse. Although Michaels exceedingly dramatic skills punctuate his songs with either pizazz or heartbreak. The latter, likely featured on the list of Top 10 Emotionally Powered Songs, is “I Am What I Am”. 

Central to the plot is Georges’ son Jean Michel (an accident that happened 20+ years ago) and his engagement to a girl. Yes, a girl. The actors in this straight family have little to do, which is probably why each (except mom) is rather stiff. 

Perhaps equal in emphasis, importance, and stage-time are Les Cagelles; the shocking, motley, and hysterically dressed and quaffed 10 drag-queen dancers/singers featured in the cabaret show within the play. Choreographer Paul McGill is obviously having fun, which is delightfully imparted to the audience, at the same time never forgetting precision. 

Kudos to costumer Rodrigo Munoz Benjamin Weigel, make-up artist Kyle Krueger, and the backstage, quick-changing dressers.

The audience cheers and laughs through the cabaret numbers, yet a suggestion would be some snips and tugs to save 10-15 minutes. Leave them wanting more. That said, some individual scenes are “must saves”; the acrobatics of the solo dancer in the elevated birdcage, and the macho grunts of the Village People.

One sign of a talented director is that no one notices the direction. Mike Donahue has done his homework and sets his large cast exactly where and when everyone should be.

The same theory essentially holds true for the orchestra of eight. The audience is oblivious to its professionalism.

“La Cage” clocks in at over two and a half hours (includes intermission). Yet, at no point did the production drag (pardon the pun). Success can be giving the audience what they want, or don’t know what they want until they see it.

Composer/lyricist Jerry Herman, of “Mame” and “Hello, Dolly” fame, in many ways replicates his own formula, lead-character exuberance, and plot. 

BSC’s opening show audience held back nothing. The matinee patrons whooped & hollered, laughed & shouted accolades throughout the performance. No shock that the musical’s end received an instant full house standing ovation. 

Review: Great Barrington Public Theater, "Dog People"

Great Barrington Public Theater, Great Barrington, MA 

www.greatbarringtonpublictheater.org

June 7 - 16, 2024

by Suzanne Wells

Photo by Kat Hume

Great Barrington Public Theater unleashed its summer season with a barking success,
premiering “Dog People,” written by the talented Leigh Strimbeck and directed by Judy Braha. This play is a tail-wagging triumph that will have audience members rolling over with laughter and begging for more.

“Dog People” is a comedic romp through the park that explores the complex dynamics between pets and their people. John Musall’s scenic design transforms the stage into a dog lover’s dream; an urban park that’s the ultimate sniffing ground for four-legged friends.

 

The story follows the lives of two dogs, Betty and Atilla, and their humans, Jessie and Avery. Sheila Bandyopadhyay and Chris Tucci deliver paw-formances that are both fetching and fur-tastic.

As Betty, a young, hyper, and somewhat neurotic goldendoodle, Bandyopadhyay captures the essence of puppy love, energy and curiosity, as she grows to becoming a well-rounded cuddler. Bandyopadhyay’s portrayal of Jessie, an overly disciplined individual, is equally compelling as she navigates the rough terrain of vulnerability and honesty.

Chris Tucci, in a dual role as Avery and Atilla, is simply “paw-some”. Avery’s sentimental and nurturing nature shines as he learns that life, much like a game of fetch, sometimes gives permit a second throw. Atilla, the misunderstood, easygoing, and lovable mutt, discovers that a little self-assertion mixed with kindness can transform a solitary existence to a pack life. Tucci’s performance is so spot-on, one might suspect he had a tail in a past life.

For humans who ever found themselves wondering what an alter-ego canine companion is thinking, this is a must-see play. “Dog People” is a story that reminds us that, whether on two legs or four, we all yearn for connection, understanding, and unconditional love. Plus, it’s a howling good time!

Review: Goodspeed, "A Complicated Woman"

Goodspeed, Terris Theatre, East Haddam, CT

www.goodspeed.org

through June 2, 2024

by Suzanne Wells

“A Complicated Woman” is a moving story of the life of John Kenley presenting at the Terris Theatre. “Complicated” is the perfect adjective to describe this musical. This show will open the eyes of theatregoers to the social stigmas of the mid-20th century, the overwhelming isolation of being “different,” and the beautiful bonds that can be formed with “acceptance.”

The play is based on pioneering legend John Kenley, born bi-gender, he is known for managing the Ohio summer stock premiers of the biggest Broadway shows from the 1900's, as well as his alternate life as Jean. Nora Bridgid Monahan is inspiring in the role of John; an ambitious, successful producer, as well as Jean, a fun-loving, sexual woman who desires a loving family. 

Nina May, portrayed by L Morgan Lee, represents everything Jean desires. A liberal, free-thinking, trans-gender woman who finds love and a family. Lee’s singing of “In the Light of Day” and “When I Chose You”, accompanied by Christian Brailsford as Oscar, Arewa’ Basit as Diamond, and Zachary A. Myers as Muhlaysia, is mesmerizing. 

Klea Blackhurst plays Myrtle “decidedly” well. Myrtle is the opposite of Nina Mae, representing the conservative mindset.  She presumes to be responsible for much of John’s success as long as he complies with the bible-belt’s social conditioning.   

Music and lyrics by Jonathan Brielle preverbally make toes tap and when combined with the vocals of L. Morgan Lee, become almost spiritual like a gospel choir. Set designs, by Tobin Ost, consist of an arch which transforms from bedrooms to offices to restaurants; and a billboard one can easily envision along a highway that transforms into a panoramic series of advertisements seen on the streets of New York.

The Terris Theatre is a small venue within a glammed-up industrial building. The lobby is a mixture of painted cement blocks and duct work with chandeliers, bistro tables and upholstered sofas. Within the theatre, half the view is of the stage, and the other half of the wings. While intimate, the stadium seating ensures that the audience will have a clear view and may even feel in the thick of the action.

From the location to the performance, nothing is uncomplicated in this poignant tale of diversity and inclusion.

Review: Playhouse on Park, “Toni Stone”

Playhouse on Park, West Hartford, CT

www.playhouseonpark.org

through June 16, 2024

by Shera Cohen

Temptation was to skip a play about baseball, albeit a potentially interesting subject matter of a woman, a black woman, in the 1930’s – 50’s, in a man’s world of the great American pastime. “Toni Stone” is testament to cease prejudging.

Toni Stone, the first woman player on an American major-level professional baseball team -- a regular for the Indianapolis Clowns in the Negro American League -- is the central character, who stands onstage from the opening scene caressing her baseball to the last scene a few decades later, trading in her apron for a return to baseball. Not to worry; this is not a spoiler.

Photo by Meredith Longo

Constance Sadie Thompson portrays Toni as a plucky young gal who knows early-on that baseball will be her life-time career. More than that, it will be her self-described mission to prove to the world and to herself that she is the best. Thompson, a non-Equity actor, creates Toni as a spitfire who is full of bravado; yet in many cases is scared and sensitive. 

Thompson is a young actress who seemingly, easily, carries the play’s weight on her shoulders. She is literally in the center of the stage and dialog throughout the 2.5 hours; a herculean role.

A suggestion to Director Jamil A.C. Mangan might want to cut several scenes and trim others. While almost reading like a beautiful poem to baseball, the opening five minutes introduce the play to its audience at such a slow pace that the actors are burdened with a stagnant start to launch action. The play is in its infancy, written in 2019, so there is time edit if needed.

The story is a biography of Toni Stone. The majority of the other cast members, all black males, become the ballplayers of the team; also cast in double and triple roles. The director distinguishes each player as a singular person, not merely one among many.

Branden Alvion as Millie, the woman of the night, gives the audience a personification of drama and commentary on men of that era, when congregated, can be cruel to women. Millie and Toni become friends; each at diverse ends of the definition of female. Their story is heartfelt and lovely, primarily because of Alvion’s talent.

Costumes are period baseball uniforms, primarily 1940’s. Even when actors portray roles that are not in the world of baseball, the costumes never change, yet all is clear to the audience.

At two points, “Toni Stone” pumps up the action with music and dance; quite fun at first. Later on, choreographer Maurice Clark gradually turns the baseball players/dancers 180 degrees; a joyful movement segueing into slaves’ lament in the fields of the America. The play becomes dark and raw; no longer fun and “games”.

This venue (POP) has a reputation of producing atypical, new, and/or relatively unknown plays. “Toni Stone” is among them. Those who don’t care much for baseball might become fans of POP and Toni’s near homerun.

Review: The Bushnell, “Beetlejuice”

The Bushnell, Hartford, CT

www.bushnell.org

May 28-June 2, 2024

by Jarice Hanson

If you think the stage production of “Beetlejuice” will be faithful to the popular film, keep an open mind and throw yourself into a fun-filled performance at The Bushnell. There are similarities between the film and the musical—enough to please the full house, many of whom were obviously fans of the original film, but seeing the story unfold on stage is a special treat. The story may be a bit silly and a bit of fluff, but the very talented cast of this touring production and their team put on a show that is entertaining, and just plain fun. Visually, there are more than a few moments that have a “Wow!” factor.

Justin Collette in the lead role is fabulously funny and knows how to work with a live audience to involve them in the performance. He charms and repulses the audience with his antics. Collette is a master of working with his voice. He can growl one minute, and shift to a full-chested belt the next.

 

Photo by Matthew Murphy

Playing the role of the young Lydia, Isabella Esler gives her music a beautiful voice and
impressive range. While her bio indicates that she is making her professional debut in this company, it also states that she “recently graduated high school.” Much of this show rests on her shoulders, and if this production is any indication of her ability to work on the professional stage, she has a bright future.

 

While the six principal performers have excellent voices and wonderful stage presence, the large ensemble of 20 performers work energetically in a wide variety of singing, dancing, and comic roles. 

Director Alex Timbers, Choreographer Connor Gallagher, and Scenic Designer David Korins have teamed up to keep the action flowing. Different parts of the stage seem to transform within seconds, an homage to the play’s filmic origin. William Ivey Long’s brilliant costumes set characters apart from the colorful, sometimes off-perspective backdrops.

The music and lyrics by Eddie Perfect (yes, that is his name) are delightful and whimsical, but unfortunately the Bushnell’s sound system can be tricky.  Collette easily overcomes the problem by careful articulation of words and lyrics, but some lyrics and lines by other performers are muffled or lost. 

“Beetlejuice” is not one of those plays that gives those in attendance a lot to think about, but it does raise spirits, draw the audience into a special world of make believe, and allows everyone to just relax and enjoy a good story. There were many children in the audience so perhaps it’s no longer necessary to sound this “warning” but there are words, gestures, and a few lines that might give a parent pause before bringing the very young to the theater for "Beetlejuice".  At the same time, there are many more moments of magic and folly that will entertain children of all ages.

 

REVIEWS: Opera House Players, "Kinky Boots"

Opera House Players, Enfield, CT

www.operahouseplayers.org

May 3, 2024 - May 19, 2024

by Shera Cohen

“Kinky Boots” echoes many musicals of through the decades; the lite ones with no hidden layers to tax the brains of audience members. Sometimes, a little bit of that is needed. “Boots” is contemporary fun.

The plot is essentially a version of the tried ‘n true: let’s put a play on in the barn, where the town rallies to mount a musical despite all sorts of problems. Instead, picture a rundown shoe factory, backlogs of footwear, the recently deceased owner, and the son who must reluctantly come to the rescue. The “barn story” always ends as a rollicking success. It’s not a spoiler to say that the “shoe story’s” ending is the same, with its criteria of success being the creation of bright, red, shinny, high-heeled boots; aka Kinky Boots.

Kudos to the actors wearing these boots; a tough bit of choreography. No one fell, except for the one actor who is supposed to hit the floor.

Cyndi Lauper, known for her many years on billboard charts, is the talent behind “Kinky Boots,” having written the music and lyrics. The musical won Tony Awards and has been kicking up its heels ever since.

The cast or 25 and band of 5 keep the music front and center with the script in the background. While “Boots” is not an opera-like musical as are many today,  it is not ladened down with dialog either. This factor offers those in key roles at least one solo, and sometimes part of a duet.

OHP must be applauded for selecting some of the best voices in the Valley. Yet, this is not a
surprise with Producer Moonyean Field and Director Sharon FitzHenry at the helm. These community theatre veterans know their crafts and the skills of talent onstage and backstage.

There is the problem of the too many set changes. Community theatre productions should not stray from the story, nor the staging indicated by the playwright. Yet, there could be some ways to tighten up the lags. That’s just a suggestion for next weekend’s shows.

Lead Michael King (the erstwhile factory owner) is “everyman”. Sometimes, it’s more difficult to portray “a regular guy” than the star. The audience has fewer expectations. However, King shines as a singer. It is through the lyrics that he shows his acting  prowess.

Cecil Carter (drag queen Lola) puts his label on the show that goes beyond the play’s text. Cecil struts his stuff and sings dramatic pieces with power and angst.

“Boots” presents a balance of three big, choreographed numbers at the start, end of Act I, and the musical’s end. The motley group of shoemaker actors are joyous on stage. Between Eddie Zitka (dance) and community theatre stalwart Bill Martin, “Boots” keep moving from start to finish.

Review: The Bushnell, "Wicked"

The Bushnell, Hartford, CT

www.bushnell.org

through May 12, 2024

by Suzanne Wells

"Wicked" is a playfully, mischievous musical presentation at the Bushnell in Hartford, Connecticut. 

Photo by Joan Marcus

Through a dizzying myriad of themes, including nature versus nurture, the harm of classism, the detriment of excluding those who are different, and the power of hope, kindness, and love, "Wicked" retells the story of "The Wonderful Wizard of Oz". Beginning with the death of the Wicked Witch of the West, and in keeping with all funeral celebrations, curiosity brings about the story of the bemoaned Witch's life, her hopes and dreams, her hardships, her friendships, her enemies, and her romances, as told by her best friend, Glinda.

Glinda, played by Celia Hottenstein, is a popular, perky, effervescent character who “seems” to get everything she wants in life. Hottenstein’s comedic timing and vocal range enhances the character's outrageous audaciousness and truly shines in her rendition of “Popular.”

Olivia Valli’s dramatization of Elphaba a/k/a The Wicked Witch of the West, as an in-your-face, termagant forced into being the scapegoat despite her good intentions is the perfect counterpoint to Glinda’s flighty vivaciousness. Valli’s renditions of “Defying Gravity” and “No Good Deed” are breathtaking for both the artist and the audience.

The brusque, productive manner of Kathy Fitzgerald of Madame Morrible; and Tom McGowan's creation of the charming Wizard, are spectacular as the anti-heroes. Boise Holmes’ portrayal of Doctor Dillamond is emotionally moving.

As for the atmosphere, it’s definitely not Kansas. The scenery is a medley of vibrant colors making up poppy fields and the yellow brick road. The Emerald City is dazzlingly vibrant enhanced by the contrast of metallic gears framing the stage.  A variety of dancing from simple box steps to complicated ribbon and acrobatic routines add to the enchantment. The costumes, a mixture of wigs, colors, and textures, complete the bizarre elements of Oz, thus creating a world where everyone is different, and ultimately the same.

"Wicked" offers a multitude of sights, sounds, and emotions; one might have to see it more than once, to take it all in.  

Review: Goodspeed Musicals, “The Mystery of Edwin Drood”

Goodspeed Opera House, Haddam, CT

www.goodspeed.org

through June 2, 2024

by R.E. Smith

Bouyant, playful, high-spirited and a little bit naughty, “The Mystery of Edwin Drood” is the type of musical that is becoming increasingly rare: one that doesn’t take itself too seriously or try to earnestly deliver a deep moral lesson. In fact, it revels in the idea that Dicken’s never actually finished the namesake novel, leaving the audience to decide the ending, setting the show on a foundation of chaotic energy. 

Rupert Homes won multiple Tonys for the original Broadway production including Best Musical, Best Book of a Musical and Best Original Score. Before you reach for the Google, this IS the same Rupert Homes who wrote and performed the 1980’s hit “The Pina Colda Song”. But his musical background is quite varied and, being British by birth, he took inspiration from Dicken’s London and 1800’s music halls.

Photo by Diane Sobolewski

Interesting to note is that the most successful songs are not actually connected to the “mystery” part of the script but rather the English pantomime tradition of the framing device. “There You Are”, “Off to the Races,” “An English Music Hall” and “The Writing On the Wall” have the peculiar effect of being so genre-familiar that the audience wants to sing along, even if they don’t know the words.

All this opens the book up to a much lighter tone than the Dickens’s source material. Holmes has said that “the musical is to the novel what “Kiss Me Kate” is to the “Taming of the Shrew”. Exaggerated melodrama, double entendres, split personalities, hiss-abale villains, and broad stereotypes (gleefully acknowledged) abound.

A few characters are crafted to be audience favorites and the performers at Goodpseed do not disappoint. Liz McCartney as Princess Puffer, David Beach as Durdles, and Jamie LaVerdiere as Bazzard each have smaller, but memorable roles, with cracker-jack comedic timing and crowd-pleasing numbers. Lenny Wolpe as “the Chairman” is on-stage more than any other, serving as ringmaster, narrator and “stand-in”, and his energy is deceptively consistent throughout. He makes an immediate connection.

The costume design by Hunter Kaczorowski is vibrant and fun, Ann Beyersdorfer’s scenic design is at once modern, but nicely referencing the music hall setting. 

More than usual the cast is given the opportunity to connect with the audience and break the fourth wall. Often and repeatedly. Like a theatrical nesting doll, we’re watching actors, playing actors, playing characters in a mystery, set inside a music hall, staged at an Opera House.

All this makes for comedic hard work, but the entire cast makes it look effortless. The only unsolvable mystery with this show would be if someone was seen leaving the Opera House without a smile on their face!

Review: Majestic Theater, "The Play That Goes Wrong"

Majestic Theater, West Springfield, MA

www.majestictheater.com

through June 2, 2024

by Lisa Covi

Laughter billowed from the Majestic Theater for a solid 2 hours during the performance of “The Play That Goes Wrong.” Described as a cross between Monty Python and Sherlock Holmes, this play within a play depicts a community production of “The Murder at Haversham Manor.” 

Photo by Kait Rankins

The farce begins before the lights go down as two "crew members" place/misplace props and
make last minute repairs to the mantle, grandfather clock, and lighting. As these preparations extend, the audience starts to realize that the game's afoot. Chris Bean (Jack Grigoli), the character who plays the director and stars as Inspector Carter, provides a brief introduction to the play. As each character takes the stage, they valiantly perform though the mistakes of the actors, production, and literal collapse of the elaborate set.

The Majestic's cast includes actors familiar and new to their theater. These polished performers not only have the talent for timing and physical comedy – no small feat that includes scaling a bookshelf to a loft action-area, but also the chemistry with other players that allow audience members to believe  that those on stage are community members struggling to keep the play going.

Two examples are Mariko Iwasa's Annie, a gifted mime who projects earnestness as both a tech and understudy; and Shaun O'Keefe's Robert, who scrambles about the set convincingly while accusing and denying his character's role in the murder investigation.

The design of the set is ingenious to fail so consistency and convincingly without truly injuring the actors.

“The Play that Goes Wrong” gets it right for diverting and entertaining. Even if absurdist comedy is not your cup of tea, those seated in the theater will immediately become caught up in the visual surprises, performative flourishes, or plot twists that ensue. There are a few blind spots for the patrons -- on the left and right sides of the stage that obscure some key action areas, so the best seats are in the middle. This kind of production is particularly suited to multiple viewings as the staging and special effects are a delight to behold. Be prepared to giggle, hoot, and guffaw in the best aspects of live theater.

Review: Hartford Stage, “All My Sons”

Hartford Stage, Hartford, CT

www.hartfordstage.org

through May 5, 2024

by Shera Cohen

My Plus 1 for “All My Sons” at Hartford Stage told me, “I prefer to attend dramatic plays [to any other genre]”. Arthur Miller’s classic “All My Sons” is about as dramatic any piece of theatre can be.

Entering the theatre takes patrons directly onto the set; stepping through grass with tree stumps in view next to a large house. Staging creates the home of the Keller family in the 1940’s/50’s. Just about everything seems right as houses and backyards go, yet a small torn-down tree, situated front and center, works as a foreboding sign important to the plot.

Joe and Kate Keller (Michael Gaston and Marsha Mason, respectively) are in their early 60’s, have lived in this “anywhere” town for decades. They know their neighbors. The neighbors think they know the Kellers. Yet the play is packed with a giant secret, at first shrouded in light-hearted, off-the-cuff banter, developing slowing into emotional, and even physical chaos.

Although the Keller’s elder son, Larry, had died in WWII three year ago, he is ever-present, just as the tree, planted in his memory. Younger son, Chris (Ben Katz) is left with the scars of his brother, parents, girlfriend, as well as the lives others left behind.

Family issues are at the forefront: loyalty, loathing, varying degrees of truth and lies, mystery, most importantly denials . There are many questions for an audience member to  take home. The overall question is “When do morals supersede extremely difficult situations?”

Photo by T. Charles Erickson

Gaston takes the lead as the erstwhile patriarch of the family. From the start, Gaston portrays a tortured man with an exterior of bravado, which the audience immediately observes. The actor’s facial expressions, voice, and stance are accentuated as the story progresses.

Marsha Mason, a well-known actress usually in light roles on television and movies, musters her metal as Kate Keller, portraying the epitome of denial regarding her son’s death. The audience can feel her pain.

Fiona Robberson and Reece Dos Santos, portray sister and brother Ann and George. Their roles are smaller than others, yet their characters are pivotal. There is never hesitation that the conflicts in the plot effect each character’s future.

Melia Bensussen, HS Artistic Director takes on double duty as “AMS” director, keeping the pace smooth and rapid, especially in Act II, when onstage  conflicts are at peak level. No more mystery and inuendo. It’s Bensussen’s job to permit Arther Miller’s characters to peel off the layers of deceit. And it’s the audience’s job to see how the artistic staff and superior actors manage to do this.