ON THE ROAD: Berkshires Summer Vacation 2024 or, what to do in 5 straight days at 90+ degrees

by Shera Cohen

Each day predicted rainfall was over 60% with strong winds, thunderstorms, lasting for hours, even potential hail. Not that I’m complaining that none of this did occur, although it might have given a bit of reprieve from the heat. But then, I had no choice but to manipulate my plans and try to be spontaneous – yes, an oxymoron. 

The following were the “go to” and “stay home” programs on my “How I Spent [part of] My Summer Vacation” agenda.

"Mornix"

Jacob’s Pillow, Becket www.jacobspillow.org – I won’t pretend to be a connoisseur of dance.
Yet it’s a pleasure to learn about art genres that are not my bailiwick, while explaining to readers that, perhaps like them, I know what I like and no more. One professional, international dance company takes the Ted Shawn Stage for a week. Good to know: the barn-like theatre has AC. In many cases, young girls fill the seats; wannabee dancers. It’s obvious that they love the programs.

Since the horrible fire of a few years ago which destroyed the Pillow’s second stage, JP’s summer program is atypical, yet it works. The Pillow utilizes its Outside Stage more often than ever to showcase numerous smaller dance companies or individual artists proving their talents for one-shot gigs. What an excellent opportunity for many who might not have had on a stage, let alone the prestigious JP stage.

Switzerland’s Ballet du Grand Theatre de Geneve has been prominent throughout Europe for over 60-years. The term “ballet” seemed to be a misnomer, as the three pieces were not indicative of my expectations. “Noetic” created full-company modern dance tableau images. “Faun,” developed a growing love story between a male and female faun. Not that the Each dancer’s nuance from head to toe transformed themselves into two lovely animals. The final piece, “Strong,” was the epitome of a 40-minute flawless program of mesmerizing, synchronized movements; a nonstop performance that required incredible strength, focus, and stamina.

Argentina-based Social Tango Project combined equal parts: dance, live music, still images, and video documentary. This genre of dance brings tango to the concert stage in a way that audiences have not seen before. The dancers had been primarily based in Argentina. The essence of the South American culture is at the core of “the project”. 

Fragile Beauty Exhibit

Clark Art Institute, Williamstown – www.clarkart.edu/museum From various readings, I believe that Clark is considered one of the finest museums in the country. I am thrilled that this large, multi-faceted building which is home to the “A List of Artists” of the past two centuries is here in MA, and a “must” on my Berkshires vacation calendar. Only by coincidence on my part, did we visit Clark on opening day of the Edgar Degas exhibit (through 10/6/24). This artist’s name is synonymous, along with that of others, with Impressionism.

The large billboard signs depicting Degas throughout the Berkshires are, however, a bit of a misnomer. I was mistaken that Clark had mounted a Degas exhibit of many of the artist’s genres; these were works on paper only, such as sketches and essentially first drafts.

The star of Clark’s 150th Anniversary of the First Impressionist Exhibition (through 10/14/24) is Guillaume Lethiere. Who? This man, whose skills to my untrained artistic eye, are equal to those whose names we all recognize. At least one-half of the Clark Center’s lower level is devoted to Lethiere as well as his followers in the same era; late-18th/early 19th centuries. 

Usually, I pace myself too quickly when viewing galleries. I do not give the artist his due. Yet, Lethiere’s images and accompanying stories alongside grabbed me, in a sense, as if he would say, “Hey, 21st century woman, I realize that my name isn’t Cassatt, Renoir, or Manet, but I’m damn good. Just take a look.”

Shakespeare & Company, Lenox – www.shakespeare.org If you like, or even love, the Bard, this is a must. If you like (primarily) contemporary theatre, S&Co. is still a must. “A Body of Water” is a contemporary play about a senior couple and a young woman who invades their privacy. The Roman Theatre is a snug alcove adjacent to one of the property’s buildings. The site is intimate, sound is flawless, yet mosquitos are aplenty. Spray and/or a bug bracelet will pretty much cure that problem. See review.

Back home, South Lee – Scrabble. We play a mean game. Suggestions: bring a game or book, watch HBO, or all 3. 

Great Barrington Public Theater, Great Barrington - www.GreatBarringtonPublicTheater.org GBPT is a relatively new group, located on the campus of Simon’s Rock.  I couldn’t have written a better review of “Survival of the Unfit,” a drama/comedy than that of In the Spotlight’s reviewer. One important suggestion: this is a college campus with many buildings, we spent a half-hour to find the theatre. SIGNAGE please. 

Mass MoCa, Williamstown – www.massmoca.org While looking forward to the Plastic Bag avant guard exhibit we couldn’t fit in the time; this unique static show is featured hand-in-hand with a movie specific for the exhibit. Just because I missed it, doesn’t mean you have to. 

Emanuel Ax

Tanglewood, Lenox – www.bso.org/tanglewood The coolest day in July, at 78 degrees, was ideal for a trip to the best-known attraction in the Berkshires. Many don’t realize that Saturday mornings offer music on the pristine acreage of Tanglewood. All rehearsals are open, whether sitting in the shed or on the lawn, for the BSO musicians to prep for Sunday afternoon’s concert. In most cases, the schedule is performed in its entirety with a few notes to artists from conductor Andris Nelsons. Those onstage are dressed in casual summer wear, as is the audience.

The program’s highlight was pure excellence to listen to pianist Emanuel Ax play Beethoven’s  Piano Concerto No. 3 in C. minor. Opus 37. Not being familiar with the music, my focus was on Ax, who always appears to be one of the unassuming geniuses of this era.

Richard Strauss’ sprach Zirathustra, a very long, powerful symphonic poem for full orchestra seemed to reach the sound panels of the shed to ricochet throughout the tent. This could be wrong, but quick research on my part implies that composer Gustov Holst borrowed some sections of Zirathustra for his own The Planets. Even later still John Williams used several portions of this same music. I was convinced that I was listening to Star Wars. I googled to check if all this borrowing was legal and kosher. Yes. 

Back home – More Scrabble. By this point it was nearly 100 degrees; even too hot to walk to the pool.

Don Quixote at TurnPark

TurnPark, West Stockbridge – www.turnpark.com Not so long ago, I visited TurnPark the year it opened. There wasn’t much to see, except huge, whimsical sculptures of Einstein and Don Quixote. Both still reside on the boulders and shrubbery of the large expanses of land. The owners are a Ukrainian family from who traveled through Russia, Europe, and finally the U.S. to pick the exact location they wanted for their sculpture showcase. By chance, TurnPark’s address is Moscow Road. New this summer is “Lost and Found,” a series of homes for gnomes; sweet, charming, and small. Hikers would be especially interested in this art venue.

Back home – Scrabble, yet again. 

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However, yet to come as my Berkshires Vaca continues are the following. 

The Mount, Lenox – www.edithwharton.org The ongoing, amazing, huge sculptures throughout the  acre of Edith Wharton’s home. Plus, a summer of weekly or bi-weekly author talks. I’ll be there at least twice. 

"Boeing" photo by David Dasheill

Barrington Stage Company, Pittsfield – www.barringtonstageco.org Earlier in the summer, I had seen the marvelously entertaining “La Cage aux Folles”. See review here. Next up will be Boeing, Boeing starring 3 of my favorite actors in the Berkshires.

Berkshire Museum, Pittsfield – www.berkshiremuseum.org On my docket for next week is to see three new exhibits: The Wild Indoors paintings, Black Woman as Muse photography, and Imaging Women in the Space age multi-media program. For a relatively small museum, it’s packed with a lot. 

Berkshire Theatre Group, Stockbridge & Pittsfield – www.berkshiretheatregroup.org The week prior to my vaca, I spent 2.5 hours laughing at “Mel Brooks’ Young Frankenstein”. See review at inthespotlightinc.org. It seems to me that BTG has put a lot of effort in mounting its best season in many years; I want to attend everything! A good mix, more musicals, small plays, and casts of thousands, or less.

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: Tanglewood, "Tanglewood Music Center Orchestra Concerts"

Tanglewood, Lenox, MA

www.bso.org/tanglewood

July 8 & 15, 2024

by Michael J. Moran

Na'Zir McFadden

Each summer over a hundred young musicians starting their careers, from across and beyond the United States, gather for eight weeks at Tanglewood, where, tutored by Boston Symphony Orchestra members and visiting artists, they soon begin to sound as if they’ve been playing together for years. The first two concerts by 2024’s TMCO strongly affirmed the value of this training model.    

TMC conducting fellows Finnish-British Ross Jamie Collins and American Na’Zir McFadden
shared leadership duties at these concerts with BSO Music Director Andris Nelsons (July 8, in the Koussevitzky Music Shed) and BSO guest conductor Dima Slobodeniouk (July 15, in Ozawa Hall)). Collins opened the first concert with a thrilling account of Antonin Dvorak’s exuberant 1892 “Carnival” Overture. McFadden followed with a dramatic reading of African-British composer Samuel Coleridge-Taylor’s dynamic 1898 Ballade in A minor.

Nelsons closed the program with a powerful rendition of Dmitri Shostakovich’s 1937 fifth symphony, whose immediate success restored the composer to the good graces of Soviet authorities after harsh official criticism of his popular opera “Lady Macbeth of Mtsensk.” A haunting “Moderato” opening was followed by a sarcastically humorous “Allegretto,” a deeply moving “Largo,” and a potent mix of jubilation and doubt in the “Allegro non troppo” finale.   

  

Ross Jamie Collins

Ross began the second concert with a perceptive take on African-American composer Julia Perry’s 1952 “Study for Orchestra,” sharply characterizing the frequent mood shifts in this brief, mercurial piece. McFadden led a sweeping performance of a symphonic suite that Leonard Bernstein extracted from his score for the 1954 film “On the Waterfront,” which displayed a jazzier sensibility than most of his Broadway and classical works.    

Slobodeniouk, a regular BSO guest with Finnish-Russian roots, concluded the program with two rarities by Igor Stravinsky. Twenty-three members of the TMCO’s woodwind and brass sections expressed the austere sonorities of the 10-minute “Symphonies of Wind Instruments,” written in 1920 and revised in 1947, with piercing clarity. The full TMCO found more warmth and drama in Stravinsky’s 1945 “Symphony in Three Movements,” which includes music he had written for several abandoned film projects while living in Los Angeles during that period.  

Upcoming TMCO concerts in Ozawa Hall at 8pm will pair TMC conducting fellows with BSO guest conductors Alan Gilbert (August 5) and Hannu Lintu (August 19).

REVIEW: Jacob’s Pillow, "MOMIX"

Jacob’s Pillow, Becket, MA

www.jacobspillow.org

through July 28, 2024

by Josephine Sarnelli

MOMIX identifies itself as “a company of dancer-illusionists.” The genre of entertainment it offers might best be described as a dance derivative, where the underlying value is based in the dance art form but is actually much more complex. The sixteen performance pieces demonstrate the troupe’s proficiency in theatrics, acrobatics, athleticism, inventiveness and humor.

Founder and choreographer Mose Pendleton formed MOMIX in 1981 as an offshoot of Pilobolus, which he had previously co-founded and performed with. A master in the use of dance props, he incorporates items as diverse as pool noodles, a table, strings of light and rolls of banner paper, as well as complicated constructions. Each choreographic work is a creative and exhaustive exploration of the potential for one such prop.

Both the costuming and lighting were an integral part of the visual effects. Using the stage as a canvas, Pendelton often relied on negative space to create his illusions. As an accomplished photographer, he crafted scenes for the audience to immerse themselves into to enjoy a burst of childlike imagination.

Photo by Jamie Krause

The opening and finale were high energy performances by the entire troupe. “Solar Flares” utilized props resembling painted pool noodles danced to the tribal music of “Mr. Mahalo Head” by Brent Lewis. The company worked well together to synchronize movements. In the closing piece “If You Need Some Body” each dancer partnered a life size rag doll that was humorously tossed about with frenetic movements.  The dancers all looked genuinely happy as they danced and responded to the audience’s laughter.

Seah Hogan performed two noteworthy solos, “Queen of Diamonds” and “Aqua Flora.”  In both she demonstrated her incredible ability to spin, first while suspended from the ceiling with bungee cords and in the second act wearing a prop that appeared to be strings of pearls.  She received recognition from the audience during the program and again during the standing ovation given to the entire ensemble.

A unique visual effect was offered during “Echoes of Narcissus” in which the soloist laid on a full-length mirror. At first it created a sensual illusion of two dancers, but the image turned into kaleidoscopic motions of arms and legs. The simplicity of the prop highlighted Pendelton’s ability to look at the world through different eyes.

In “Marigolds” the ruffled costume metamorphosized from flower petals surrounding the dancers’ faces to full length gowns. As with the other performance pieces, dancing was merely a vehicle for developing an illusion.  While lovely, the dancing was secondary to the choreographer and audience.

The magic of MOMIX was the continual flow of routines, each offering a distinguishing feature. The dancers were all very talented and deserving of the standing ovation. But Pendelton as choreographer-illusionist is the true genius behind this incredible ensemble.

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: Tanglewood , "Serge Koussevitzky Day"

Tanglewood, Lenox, MA

www.bso.org/tanglewood

July 26, 2024

by Michael J. Moran

Three events today celebrated the 150th anniversary of Koussevitzky’s birth in Russia and the 100th anniversary of his arrival in Boston as Music Director of the Boston Symphony Orchestra. By 15 years later he had also founded the Tanglewood Music Festival and the Tanglewood Music Center.

First came an insightful conversation before a packed house in the Linde Center’s Studio E, with music scholar Harlow Robinson, NPR radio host Tom Godell, and Koussevitzky biographer Victor Yuzefovich, who turned 600 boxes of scattered memorabilia into the Library of Congress’s Serge Koussevitzky archive. Clips of Koussevitzky speaking and excerpts from his BSO recordings conveyed his charismatic personality, his transformative effect on the BSO, and his championship of new music, especially by American composers. Russian-born Yuzefovich, while assisted by Boston-based translator Olga Birioukova, quipped that he speaks better English than Koussevitzky ever did.

Koussevitzky’s legacy as a double bass virtuoso before he became a conductor was showcased at the evening’s “Prelude” concert in Ozawa Hall, where BSO double bassists Carl Anderson and Benjamin Levy demonstrated the unwieldy instrument’s versatility in Giovanni Bottesini’s lively “Gran Duetto No. 3.” Levy joined BSO violinist Bonnie Bewick for a rollicking “Three Forks of Cheat,” based on a West Virgina fiddle tune. With BSO colleagues Danny Kim, viola, and Mickey Katz, cello, they revelled in Bewick’s arrangement of Bottesini’s “Tarantella” for double bass and string trio. The trio’s sprightly take on Erno Dohnanyi’s “Serenade” opened the concert.

The evening’s main event in the Music Shed highlighted its namesake’s small but notable output as a composer with Koussevitzky’s rarely heard 1903 concerto for double bass and orchestra. BSO principal double bass Edwin Barker and his colleagues under their Music Director Andris Nelsons played the 20-minute Tchaikovsky-influenced showpiece with technical polish and Romantic bravado. The concert opener, an evocative account of Steven Mackey’s colorful 2013 “Urban Ocean,” which Mackey introduced as depicting the mysterious interaction of the sea with humanity, recalled Koussevitzky’s legendary support for American composers.  

The program closed with lesser-known pieces by two Koussevitzky contemporaries whose music he especially favored. Jean Sibelius drew on Finnish mythology for his 1902 “The Origin of Fire,” for baritone, men’s chorus, and orchestra. Alexander Scriabin based his version of the story on Greek mythology in his 1910 “Prometheus, Poem of Fire,” for piano, chorus, and orchestra, which Koussevitzky premiered in Moscow, with the composer at the piano. Will Liverman was a forceful soloist in Sibelius, and Yefim Bronfman, seductive at the keyboard in Scriabin. Nelsons, the BSO, and the Tanglewood Festival Chorus, prepared by their conductor, James Burton, offered sumptuous backing in both these fascinating scores.

More background information is available at the BSO’s Koussevitzky 150th anniversary website: https://www.bso.org/exhibits/koussevitzky-150th-anniversary

 

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: Sevenars Music Festival, "Opening Family & Friends Concert"

The Academy, Worthington, MA

www.sevenars.org

July 14, 2024

by Michael J. Moran

Davis James, 1947-2025

The opening concert of this beloved summer festival’s 56th season was dedicated “in loving tribute to David Frank James,” who died two months ago. Husband of the late Robelyn Schrade-James (after whose parents and their five children, all having first names that start with R, the festival is named), David was a frequent Sevenars pianist. Today’s program honored his memory and celebrated his legacy.

After a brief, heartfelt eulogy, David’s daughter, pianist Lynelle James, played a charming “Two Little Birds,” by Frank Hutchens, which David, a fellow New Zealander, had brought to Carnegie Hall in his debut there. Family friend and regular Sevenars guest pianist Clifton J. (Jerry) Noble then introduced and premiered an affecting “Elegy for David” that he wrote for this occasion, based on the letters of David’s name and performed with noble gravitas.

Host and pianist Rorianne Schrade next offered a jubilant “Etude-Tableau” in E-flat Major, Op. 33/7, a rare work of pure joy by Sergei Rachmaninoff, which she first heard David play. After echoing his sister’s earlier sentiments, David’s son Christopher, primarily a cellist, nonetheless delivered a rip-roaring solo piano rendition of Franz Liszt’s “Mephisto Waltz No. 1,” a concert favorite of his father.

Lynelle then joined her aunt Rorianne (sitting in for the originally scheduled David) in a vividly expressive reading of Johannes Brahms’s two-piano arrangement of his “Variations on a Theme by Haydn.”

 

Noble next partnered Rorianne in an exuberantly jazzy take on George Gershwin’s “Rhapsody in Blue” in its original two-piano version in this 100th anniversary year of its debut. Lynelle rejoined Rorianne for a colorfully virtuosic "Jupiter" from Gustav Holst’s orchestral suite “The Planets” in a seldom-heard arrangement by the composer for two pianos during this 150th anniversary year of his birth.

 

The program’s closing surprise was inspired by Rorianne’s memory of her late mother, Rolande Young-Schrade, lamenting how hard it was to gather her musical family in one room. So after Rorianne began playing her own arrangement of the lively “Dargason” from Holst’s “St. Paul’s Suite,” other members of the extended Schrade-James family entered one by one to join her, from Lynelle and Noble to Rorianne’s husband Jeff and Lynelle’s toddler son Robie, as she held him and shook his rattle. It was magical, and David would have loved it.

Remaining Sevenars concerts, next presenting renowned local violist-violinist Ron Gorevic, are scheduled for Sundays July 21-August 18 at 4 pm.

REVIEW: Boston Pops Orchestra, "Broadway Today! Broadway’s Modern Masters"

Boston Pops Orchestra, Tanglewood, Lenox, MA

www.bso.org/tanglewood

July 6, 2024

by Michael J. Moran

Joan Tower

One special joy of Tanglewood is the free short “Prelude” concerts which precede many weekend evening concerts. Tonight’s “Prelude” in the Linde Center’s bright and airy Studio E featured chamber music by three composers, played by 15 fellows of the Tanglewood Music Center. Spry-looking, 88-year-old Joan Tower cheerfully announced, “I’m still alive!,” in introducing her effervescent 15-minute 2020 string quintet “Purple Rain.”

Next came George Walker’s colorful two-movement 1999 woodwind quintet “Wind Set.” The program closed with the young Beethoven’s energetic 1796 quintet for piano and winds. All three pieces received polished and invigorating performances.

The main event was a semi-staged concert in the Koussevitzky Music Shed of highlights from 11 Broadway musicals of the 21st century, written by nine composers and/or lyricists, played in sumptuous arrangements by the full Boston Pops Orchestra under Keith Lockhart, and sung by six current Broadway stars. The shows, their creators, and the singers included many Tony Award recipients.  

An opening suite from Adam Guettel’s “The Light in the Piazza” featured a plush overture, Scarlett Strallen’s ravishing take on the stirring title song, and Victoria Clark’s poignant recreation of her Tony-winning role in the heartrending “Fable.” Bryce Pinkham revisited his starring title performance in Steven Lutvak and Robert L. Freedman’s “A Gentleman’s Guide to Love and Murder” with a winsome “Foolish to Think” and a hilarious “Poison in My Pocket.”

Mandy Gonzalez, Darius de Haas, and Joshua Henry were all impressive in excerpts from David Yazbek’s “The Band’s Visit.” Pinkham sang a powerful “You Will Be Found” from Benj Pasek and Justin Paul’s “Dear Evan Hansen.” A Latin-flavored orchestral “In the Club” from Lin-Manuel Miranda’s “In the Heights” preceded Henry, Strallen, and Pinkham in three piercing selections from Jason Robert Brown’s “Parade.”

Photo by Hilary Scott

Gonzalez was as sensational in “Our Lady of the Underground” from Anais Mitchell’s “Hadestown” as de Haas was mesmerizing in “Memory Song” from Michael R. Jackson’s “A Strange Loop.” Clark movingly reprised her Tony-winning title role in two songs from Jeanine Tesori and David Lindsay-Abaire’s “Kimberly Akimbo.”

She completed her evening star turn as King George III in Miranda’s blockbuster “Hamilton,” turning the chorus of “You’ll Be Back” into a riotous crowd singalong; Henry was a forceful Aaron Burr in “The Room Where It Happened.” The full cast ended on a hopeful note with a rousing “Wait ‘til You See What’s Next” from Brown’s “Prince of Broadway.”

Subtle direction by the evening’s creator, Broadway star and frequent Pops collaborator Jason Danieley, and music supervision by Georgia Stitt further enhanced this memorable musical event.

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: Jacob’s Pillow, The Royal Ballet

Jacob’s Pillow, Becket, MA

www.jacobspillow.org 

through July 7, 2024

by Josephine Sarnelli

The debut of the 93-year-old United Kingdom’s Royal Ballet at Jacob’s Pillow offers an opportunity to enjoy a performance of both classical and modern ballet of unchallenged magnitude.  For most in attendance, it is a once-in-a-lifetime event to see this internationally acclaimed troupe.  Jacob’s Pillow’s leadership must be commended for finding sponsorship to make this the company’s sole stop in the United States!     

The Ted Shawn Theatre, with its orchestra pit, allowed for live music by a string quartet and pianist for three of the nine pieces. The backstage doors were opened after intermission to further enhance the unique experience of dance on the Pillow stage.

If there is a word to describe the success of this performance, it is “chemistry.”   Observing the connection between the performers and the audience and among the dancers is a significant part of attending live dance.  The Royal Ballet has not only mastered the art of dance, but also these relationships in solos, duets and groups.  From the kiss by Lukas Brændsrød on the hand of Sarah Lamb in Balanchine’s “Diamonds” to the dropping of the rose by Giselle after saving the life of her lover, there was a feeling of intimacy in these performances.

Photo by Christopher Duggan

One of the highlights of the evening was the choreography by Kenneth MacMillan of the “bedroom” pas de deux from “Manon.”  Anna Rose O’Sullivan and Marcelino Sambé dance superbly with effortless overhead lifts, but it is the passion that they expressed through their dance that is most memorable.  Their magnetism made the embraces and kisses seem so genuine.

An excerpt of Franz Schubert’s “Death and the Maiden” was performed flawlessly by the string quartet for the performance by four male dancers entitled “For Four.”  The transitions were executed with precision; the athleticism and grace of the dancers was impressive.  Of note was the audience’s recognition of Daichi Ikarashi’s powerful performance, which included multiple grand jetés exploding across the stage.

For Isadora Duncan fans, the program included a solo dance choreographed in her novel and improvisational style.  It was danced to five Johannes Brahms waltzes that were beautifully performed by piano soloist Kate Shipway.

A lighthearted pas de deux from “Carousel” preceded the finale.  “Figures in a Landscape,” a world premiere choreographed by Wayne McGregor, had a futuristic texture with dissonant music and blinding lights. Without transition, the music abruptly changed to a more subdued score.  Unlike the other program selections, this piece lacked sincere connectivity among the dancers or with the audience.  Although technically well executed, the performance was a disappointing conclusion to an otherwise outstanding evening.

Unfortunately, the audience was not given an opportunity to applaud the entire dance troupe or musicians after the finale.  Had they been called back, they certainly would have received a well-deserved standing ovation, having lived up to their name of royal.

REVIEW: Berkshire Choral International, "Vaughan Williams"

UMass Amherst Fine Arts Center, MA

www.berkshirechoral.org

June 29, 2024

by Michael J. Moran

Joe Miller

Joe Miller, Professor of Conducting & Director of Choral Studies at Cincinnati College-Conservatory of Music, led the 130-member BCI chorus, baritone Emmett O’Hanlon, soprano Laura Strickling, and a freelance ensemble of area professional musicians in two masterpieces by English composer Ralph Vaughan Williams for an evening of choral-orchestral magic.   

Since 1982, BCI has gathered experienced amateur singers from across the USA during the summer for weeklong intensive rehearsals in various American and international venues, culminating in a public performance at the end of the week. While still based in the Berkshires, this was their only local concert in 2024.

 

The program opened with “Five Mystical Songs,” which Vaughan Williams wrote in 1911 for the Worcester Three Choirs Festival and based on four poems by George Herbert (two songs set different verses of the same poem). O’Hanlon’s supple baritone suited the music’s radiant beauty. The chorus was hauntingly expressive in the wordless final bars of the cycle’s sublime centerpiece, “Love Bade Me Welcome,” and ardently ringing in the jubilant closing “Antiphon.” Miller and the orchestra offered sumptuous support throughout.

Then came a thrilling account of the composer’s first symphony, which he called “A Sea Symphony,” because the texts in all four movements are selections from Walt Whitman’s “Leaves of Grass” which compare a sea voyage to the human journey through life. Written between 1903 and 1909, the hour-long piece was first played at the Leeds Festival in 1910.

The first movement, “A Song for All Seas, All Ships,” was urgently dramatic, and the chorus, O’Hanlon, and Strickling all sang their solo passages with heroic heft. O’Hanlon was mesmerizing in the quiet second movement, “On the Beach at Night, Alone.” The chorus (without soloists) was virtuosic and nimble in the explosive third movement, “The Waves.” The finale, “The Explorers,” alternated exhilaration with yearning and closed quietly on the lines “O farther, farther, farther sail!” Miller kept the huge ensemble of musicians in sonorous balance.  

The warm and spacious acoustic of the Fine Arts Center’s Tillis Performance Hall showcased the clear enunciation and carefully modulated phrasing of the singers along with the impassioned playing of the instrumentalists. Full texts were provided in the digital program.

This concert was a glorious feast for the ears of all choral music lovers.

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: Jacob’s Pillow, “Les Ballets Trockadero de Monte Carlo”

Jacob’s Pillow, Becket, MA

www.jacobspillow.org

through June 30, 2024

by C. L. Blacke

 

World famous Les Ballets Trockadero de Monte Carlo opens the Pillow’s 2024 festival with a hilarious romp through classic ballets, bringing sheer delight and raucous laughter to audiences in their first appearance at the Ted Shawn Theater since 2010.

 

Celebrating 50-years of subversive and comic dance, the Trocks (as they’re lovingly called) were formed in 1974 in the wake of the Stonewall Uprising in New York City. Since its inception, the all-male repertory company has been providing a stage to male dancers of all shapes, sizes, races, classes, gender identities, and sexual orientations. No longer is classical ballet reserved only for the traditional, the aesthetic, or the elite.

 

The program opens with Swan Lake, Act II. True to its demanding choreography with all its precision and rigor, the Trocks’ version also brings their special brand of slapstick. Odette, performed by Colette Adae, tantalizes en pointe, perfecting a (sometimes exhausting) flutter of arms, barrage of bourrées and multi-partnered lifts despite being chased across the stage by the grimacing and overly dramatic Yuri Smirnov as Von Rothbart.

 

But it’s the corps de ballet that steals the performance. One dancer in particular, Anya Marx, whose upstaging antics play directly to the audience, provokes hoots of joy from the rafters.

 

As the lights dim after intermission, the Balanchine satire Go for Barocca showcases a complex weaving of dancers in simple black skirts, an intricate tangle of arms, and the sassy facial expressions of Holly Dey-Abroad.

 

Photo by Christopher Duggan

However, the program’s comedy isn’t just limited to the personas, wigs, and choreography. It encompasses missed musical cues, misplaced spotlights, and trick costumes as well. Perhaps one of the most famous solos in classical ballet (and in the Trockadero repertoire), The Dying Swan flaunts Olga Supphozova's panache, who dies a horrifying, tragic (and rather prolonged) death in a pile of molting feathers that is worthy of any Shakespearean actor.

 

And if the Trocks’ professional dancing skills ever come into question, the Paquita finale leaves no room for debate. From effortless grand jetés and fishtail lifts to a dizzying array of chaine turns and fouettés, their technical strengths are evident, especially in Varvara Laptopova’s graceful performance that rivals any traditional prima ballerina.

 

These men are more than just drag queen divas dressed in tutus. They proudly embody diversity, inclusion, and access to the ballet world (right down to the ballerina wearing glasses onstage); and the audience demands more.