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A DELICATE BALANCE
Merrimack Repritory Theater presents a thought provoking rendition of Edward Albee's Pulitzer Prize winning play, A Delicate Balance. Albee, brings us to the living room of an upper class WASPY family in Richsuburb, USA. The thing about WASPy families is they don't talk about anything...directly. Oh yeah, they talk about their losses, their fears, their alcoholism during cocktail hour. What I found most interesting was that Albee was able to write a Pulitzer Prize winning play about nothing much at all. Yes, it's about how to keep a balance in this chaotic life, but I didn't feel it taught me much. It showed that the mother is the keeper of the balance, even when her daughter is going through a fourth divorce and her alcoholic sister has come to live and their best friends come to stay for an inane reason. But we all knew that. Life in a family is conducted by the mother, except in rare cases. This production at the Merrimack was performed by a stellar cast. Jennifer Harmon, as the sane, yet ditzy Agnes, set the bar high. Her co-star Jack Davidson held his own against the strength of Harmon's strong performance. The alcoholic sister was played very believably by Penny Fuller. The three lesser characters; Julia, Harry and Edna were passable. All in all it was a thought-provoking piece that this critic had to mull over for several days. Great art causes deep thought and this piece did that. A Delicate Baslance is playing at the Merrimack Repertory Theater in Lowell MA through the first week in April. For tickets and directions go to www.merrimackrep.org or call 978-654-4MRT. *** (Three Stars)
MISSIONARY POSITION
Do you have money to burn? Well, watch it burn. It might be more fun than sitting through this play. The play was advertised as, “What not to talk about on a first date, politics and religion,” which I thought was a genius PR ploy considering it had absolutely nothing about dating in it. The Missionary Position is a play about a political campaign with all the stereotypical characters: The finance man, played very well by Jeffrey Carpenter; the candidate's wife by Tami Dixon, who was brilliant and stole the show; a multi-talented Rebecca Harris as every house keeping lady in every Holiday Inn in the country; and Tony Bingham as a typical, bible toting, campaign worker. The characters were so shallow the audience knew what they were going to say before they opened their mouths. In this day and age to hear a campaign worker tell a pregnant house keeper that she needed to be saved and then have her react by getting upset is completely redundant. If a born again told me this I’d probably just laugh at him and give him my patented, “If God had wanted us all the same She would have made us all the same.” Keith Reddin wrote a script that reads as though it was written to entertain people whose education consists of what they’ve learned from studying the tabloids. I was surprised to see such bad theater at the Merrimack Repertory. I have never seen anything but sheer genius at this wonderful venue so I was quite taken aback to see a play about people who are so intellectually stunted they still think it’s a sin to swear but not a sin to besmirch a co-workers character. This play has nothing to do with the missionary position unless you happen to be a missionary. The acting was great, but the rest left a lot to be desired! You can get tickets by calling the box office: 978-654-4MRT or online at box_office@merrimackrep.org. ** (FAIR)
HENRY V
 "I fear thou doth protest too much," I chided my date when he saw the theater and saw only a basement with chairs around the outer edges. "This is Cambridge," I explained. "It will probably be a most ingenious treatment." We had just taken our seats for The Actors' Shakespeare Project (ASP) in the basement of The Garage in Cambridge. Yes, I realize how clever they were naming their company after the spider that killed Cleopatra, but that’s where the genius begins and ends. When the players took the stage, one in her camel hair, knit, dress with leather belt and matching boots another in a rumpled, military green, sweater over a pair of rumpled, gray corduroys, I thought, "This is either going to be an extremely eclectic version of Henry V or it's going to be pathetic. Henry the V is Shakespeare's recounting of the tale of the formerly wayward Prince Hal who grows up to become a well respected monarch. In this production, the 32 parts, are all played by five actors; Ken Cheeseman, Paula Langton, Doug Lockwood, Seth Powers and Molly Schreiber. My first clue that this production really was going smell rotten was when the first line was delivered from behind the insulated, taped lolly column at center stage. Couldn’t they have at least tried to make it look like a tree? That's what my kids would have done in our basement. They'd also buckle a belt around their heads as a crown just like the one worn by Ken Cheeseman as King Charles VI. So then I thought perhaps this was to be a farcical representation but, it was word for word (which the actors delivered fairly well while they were switching ski caps. That turned out not to be true either. The final convincer came when during the battle scene, the actors wielded yard sticks, drill bits, rubber piping and anything else they could find in this old, dirty basement to attack the lolly column in rhythmic cadence. William Shakespeare’s Henry V, directed by Normi Noel with costume design by Seth Bodie, set design by Skip Curtiss, lighting by Steven Rosen and blind prop master Elizabeth Locke should not be seen Downstairs at the Garage, 38 JFK St. Cambridge through February 3. The tickets for this fiasco can be purchased online at www.actorshakespeareproject.org or by calling 866-811-4111. Tickets are between $30.00-$42.00 with rush tickets $15.00 one hour before the show with valid ID. (Grade 0)
2 Pianos, 4 Hands
I have a pillow my grandma Lucy embroidered for me that says, "Life is like a piano. What you get out of it depends on how you play it." The proof of this statement is in the stellar performances of Richard Carsey and Tom Frey in the Merrimack Repertory Theater's production of 2 Pianos 4 Hands running through the end of January. 2 Pianos was written by two Canadian piano protégés who met during competitions and continued a friendship through years of practice and playing sometimes against each other but often together at two pianos. Along with tickling the ivories, Carsey and Frey tickled the audience with tacit realities of life's journey. 2 Pianos takes us through the younger years with parents standing over them as they practiced, practiced, practiced. Like most kids, they just wanted to go out and play. What made Red Dykstra and Richard Greenblatt (the play writes) study, rather than go out to play hockey with their friends? Their parents! And who is it yells at them when, as teenagers, they spend every free moment at the piano rather than having friends? Their parents! As the piece progresses Carsey and Frey take the audience on a journey through life's etudes (lessons). Starting where most students begin, with the queen of basic theory Lelia Fletcher, and ending with a presentation of Concerto in D minor by Bach that brought the audience to their feet, this piece is a must see…and hear. 2 Pianos 4 Hands is a lesson in life's scales. We have to work at them every day if we want to climb to the top. Carsey and Frey carry this piece as though it were their baby. They love it and live it and take the audience with them on a musical journey. 2 Pianos 4 Hands is at The Merrimack Repertory Theater till January 27. Take a trip from Mozart to Elton John with these two talented performers at the Merrimack Repertory Theater, 50 E. Merrimack St., Lowell. For tickets call 978-654-4678 or go to merrimackrep.org (My Grade: 4 Stars)
Les Misérables
If you were looking for God, I found him last night at the North Shore Music Theater. I heard the voices of angels, and saw brilliant lights. Although in this case the lights were brought to you by David Neville, who uses beams of light like streaks of paint that create this masterpiece. If your guessing that I thought this production was heavenly, you're right.
SWEENEY TODD Does revenge taste sweeter baked in a pie? This is the long-told tale of a vengeful man who, imprisoned wrongly, returns with revenge in his heart. Upon returning from prison, he finds the judge (who wrongly sentenced him to fifteen years in prison) has ravaged his wife and adopted his precious daughter Joanna. Along with his landlady, played perfectly by Judy Kaye, the judge will get (and be served in) his just dessert.
SHA-NA-NOT
I found out something I never knew last night at North Shore Music Theater. Everything old is not new again. Sha-na-na not only had nothing new, their old stuff was as dusty and creaky as Grandma's attic. The first time I saw Sha-na-na was in 1970 at the Boston Tea Party. They were full of life. Their music made it impossible to just sit and watch. My feet were moving before the first chorus. Last night, the only time I got to my feet was when the group had the audience stand so they could get us all moving. What did they have us groove to? The Hokey Pokey. Nuff said? Don't waste your time or your money going to see grandpa in a purple suit with a silver star sewn on his butt. I wouldn't even hire this group for a Bar Mitzvah because the kids would think they were totally lame. But if you still must see them you'll have to check your local paper because luckily they were only at the NSMT for one night. * (Poor)
Forever Plaid Last night I was treated to more fun than a barrel of monkeys. How much fun do monkey’s really have when you stuff them into a barrel? But that’s aside from the point. The North Shore Music Theater has once again provided an evening of smiles for all. "Forever Plaid" is the story of a fictional 1950’s boy band who are tragically struck down by a parochial school bus just before their big break. Thanks to God, and the folks at North Shore, they are resurrected just long enough to entertain us with their magnificent voices, spot on comedy and some wonderful reminiscing for those of us who remember Ed Sullivan down to the plate spinners. Forever Plaid features a book by Suart Ross and arrangements by James Raitt. And what a selection! There’s everything from Beatles to Belefonte and more…there’s Love is a many Splendored Thing, Perfidia, Three Coins in the Fountain. The cast, starring Chris Crouch as Sparky, J.D. Daw as Jinx, Adam Halpin as Frankie and Kevin Vortmann as Smudge, are every bit as talented as the original foursome I saw in New York a decade ago. Forever Plaid, directed and choreographed by Guy Stroman is at NSMT until Oct. 7, 2007. For tickets: www.nsmt.org or 978-232-7200. I can absolutely promise you Moments to Remember…(My Grade 4.5)
FIGARO
At the Loeb Drama Center in Cambridge, Mass. The American Repertory Theatre in association with Theatre de le Jeune Lune of Minneapolis present "Figaro," based on segments in several plays by Baumarchais and Mozart's classic opera "The Marriage of Figaro." Set in Paris in 1792 during the tumultuous aftermath of the French Revolution, the elderly haughty, demanding and quite ragged Count (now known only as "Mr.") Almaviva and his wily manservant Figaro have taken refuge in a nearly empty and disheveled mansion. With his Master hiding in a wardrobe cabinet, with bombs exploding regularly outdoors, Figaro does his utmost to protect Mr. Almaviva. The frazzled former aristocrat, finding it very difficult to accept the passing of the old ways, muses about his happier times many years before in Seville. Flashback sequences then begin to bring back felicitous moments in Mozart's sublime opera. In creatively innovative and clever fashion another set of performers appear on stage, sliding in from, under, and behind furniture, as younger alter egos of Figaro, his fiancee Susanna, Count Almaviva, his neglected wife Countess Rosina and Cherubino, a frisky young Page, who is smitten with her. They then begin to relive their glorious musical past lives in a succession of majestic and passionate arias and ensembles. Flanked by two very large video projection screens, (before one and to the side of the other, revealing outer city scenes and close up views of the cast), this splendid group of actors and singers bring back vivid memories of Figaro's marriage, the young lmaviva's sprightly and comic attempts at seducing Susanna, as well as the merry mix-ups involving the Countess and the youthful Cherubino. As with their earlier staging of "Don Juan Giovanni," this production was also conceived and developed by Steven Epp and Dominique Serrand, who play the elder Figaro and Almaviva. Once again, the elevated and projected English translations, of the Italian songs, have been adapted by Epp, with the facile and confidently focused Direction, as before, by Serrand. Bryan Boyce and Bradley Greenwald are highly spirited as the early and quite sonorous Figaro and Count Almaviva, with equally engaging and resonant renditions by Momoko Tanno as Susanna, Jennifer Baldwin Peden as the Countess. and Christina Baldwin as the lively Cherubino. Extra mention must also be afforded for the similarly strong singing by Dieter Bierbrauer, Bryan Janssen and Carrie Hennessey in fine smaller supporting roles. As in the previous presentation, the superb string quartet, off to the side, featuring Daniel Stepner and Julie Leven: violins, Laura Jeppesen: viola, and Guy Fishman: cello, were once more praiseworthy from start to finish. Now playing, as previously stated, in repertory with this same Company's production of "Don Juan Giovanni" through October 6. (My Grade : 5)
THE ENGLISH CHANNEL
At their C. Walsh Theatre, Suffolk University in Boston presents the world premiere of "The English Channel," a new play by Robert Brustein. Director, playwright, drama critic Brustein is the prestigious founder of the American Repertory Theatre and is now a Scholar in Residence at Suffolk University. His play's action takes place in 1593 where the young 29 year old Shakespeare is residing in a cramped room at the Mermaid Tavern. He spends most of his time busily writing sonnets due to the fact that all the theatres are shuttered because of the Plague. During the play's one act, 90 minute time span, the fledgling Bard is peripherally enmeshed with the Court machinations of his patron Henry (Hal) Wriothesley, Earl of Southampton (often thought to be the " fair youth" of the sonnets). The Earl is heavily involved in conspiracies against the Queen, for which he was eventually executed, although these intrigues actually occurred six years after the time of this play. However, Shakespeare's most frequent visitor is poet and playwright Christopher Marlowe, who introduces Will to Emilia Lanier, a poetess and the first female to publish professionally. She, too, is often considered to be the "Dark Lady" of Shakespeare's sonnets. Since Will laments the fact that he's able to visit his wife only once a year, he has no qualms about romancing and seducing Emilia, even though she too is married. As Marlowe repeatedly insists on accusing Shakespeare of plagiarism, he also does his best to overtake Wriothesley's patronage. Complications soon develop, however, when a handkerchief, given by Will to Emilia, is reported to have been lost by her. While her fate does not mirror Desdemona's later demise at the hands of Othello, nevertheless Shakespeare remains perpetually suspicious and unforgiving. Central throughout is his well known practice of adapting his plotlines from a myriad of other sources, often with Marlowe as inspiration. Finally, when the Bard learns that this great friend has been violently murdered during a dispute at a local tavern, the play closes with Marlowe's spectre visiting Shakespeare to continue counseling him about his future plays. The small four member cast do reasonably well with their assignments, albeit with fluctuating English accents. Sean Dugan as Marlowe and lovely Merritt Janson as Emilia were both impressive with a generally satisfactory portrayal by Gabriel Field as Shakespeare and somewhat lesser effectiveness by Alex Pollock as Wriothesley. Richard Chambers' small cluttered Elizabethan setting, Seth Bodie's fine period costumes, and Wesley Savick's well focused Direction were all quite noteworthy. The play's title is a symbolic reference to Marlowe's acting as the mentor of his potentially legendary friend. Now playing through September 15. This play will also be performed at the Vineyard Playhouse on Cape Cod, September 19 through 29. (My Grade: 4)
DON JUAN GIOVANNI
At the Loeb Drama Center in Cambridge, Mass., the American Repertory Theatre in association with Theatre de le Jeune Lune of Minneapolis presents "Don Juan Giovanni," based on the works of Moliere and Mozart from an original production by Steven Epp, Felicity Jones, Dominique Serrand, and Paul Walsh. Performed on a bare stage before a large mounted video projection screen, an accomplished ten member cast intermingles both Moliere's provocative views of Don Juan, the legendary libertine, with selected majestic arias by Mozart, from his grand opera Don Giovanni. Set in contemporary America, true to form, the much fabled, licentious Don, together with his vexed man-servant Sganarelle, is cruising throughout the countryside in an actual antique Plymouth auto, in search of new romantic escapades and also some sort of existentialist freedom. As the old car very, very slowly circles round and round the expansive stage (in Becket-like fashion), they arrive at an open-air drive-in movie theatre. On screen they see a "motion picture" starring their alter-egos: Don Giovanni and his assistant Leporello. Suddenly the real Giovanni appears on stage, simultaneously with his own visage on screen, in pursuit of the lovely Donna Anna, his unwilling next intended conquest. When her elderly father, "the Commendatore," rushes to her aid, he's killed in the ensuing melee and his anguished daughter solemnly pledges to avenge his death. Shortly thereafter, Don Juan and these others also encounter the great profligate's estranged wife, Elvire. She, too, is fixated on revenge and will later confront her carousing spouse with her pregnant state. To this extraordinary mixture is added the watchful Charlotte, a nearby bicycling observer, and Giovanni's latest lusty female conquest. Meanwhile, Peter, an anxious gas station's mechanic, and Charlotte's fiance, finds himself being constantly driven about or buffeted by the aforementioned operators of the old car. Sganarelle continues to be unable to convince his master to change his unbridled ways, as Donna Anna still remains aggrieved, and the ghost of her deceased "Commendatore" father appears as the spectral visitor at the play's spirited finale. Throughout Mozart's lofty arias and duets, sung in Italian, act as sublime highpoints to the evening, with fine English translations projected high above the large video screen. This impressive blending of interesting dialogue and magnificent music is effectively acted and superbly sung by the multi-talented cast. As stated, Steven Epp and Dominique Serrand not only developed this production, but Epp also vividly portrays Sganarelle and devised the splendid, projected English translations, while Serrand is also the show's assured Director as well as the searching, focused, and unrestrained Don Juan. Full voiced Bryan Boyce and Bradley Greenwald as Don Giovanni and Leporello, together with resounding Momoko Tanno as Donna Anna, Jennifer Baldwin Peden as Elvire, and Christina Baldwin as Charlotte were all consistently compelling! Equally sonorous and commanding, the highly animated Dieter Bierbrauer as the overwrought auto mechanic Peter, and Bryan Janssen as the phantom senior "Commendatore " were likewise quite imposing. Lastly, much praise is also due for the expert string quartet, off to the side, comprised of Daniel Stepner and Julie Leven: violins, Laura Jeppesen: viola, and Guy Fishman: cello. Now playing in repertory, with an analogous intertwining of "Figaro," based upon the words and music of Baumarchais and Mozart (soon be also reviewed here), through October 6. (My Grade: 5)
ROMEO AND JULIET
On the banks of the Charles River in Boston's Brighton neighborhood, at the outdoor stage in Christian Herter Park, the Publick Theatre presents its new production of "Romeo and Juliet " by William Shakespeare. Once again this classic tale, set in old Verona, of the young, tragic, star-crossed lovers unfolds against the tumultuous events surrounding their bitterly feuding Capulet and Montague families. After meeting at a masked ball at the Capulet home, the youthful sweethearts' forbidden love ignites and is then dimmed and threatened by a calamitous turn of events. When Tybalt, a tempestuous Capulet, slays Romeo's friend Mercutio. Romeo responds in kind by killing Tybalt. Then, when Romeo is banished from Verona as punishment, Juliet, with the help of good Friar Laurence, tries to fool her family by drinking an elixer creating the temporary appearance of her "death." However, unfortunately when Romeo inadvertently remains unaware of Juliet's impending awakening, he takes his own life when grief stricken at Juliet's "death" bed. Similarly, upon reviving, the despairing Juliet, upon discovering her deceased Romeo, joins her beloved in self-imposed death. Vigorously and animatedly portrayed by Adam Soule as Romeo with intense and spirited verve by sweet and youthful Angie Jepson as Juliet. Alejandro Simoes as Tybalt and Ben Lambert as Mercutio were effective likewise, with especially engaging performances by Owen Doyle as Friar Laurence, Steven Barkhimer as Capulet, Juliet's father, and M. Lynda Robinson as her sprightly and helpful nurse. Much praise is also due for Jane Hillier-Walkowiak's fine period costumes and Janie Howland's imposing wooden-structured set with its grand open archways and multi elevated turrets. Ted Hewlett's vividly choreographed swords play and Diego Arciniegas' effectively concentrated Direction were also quite commendable. Now playing in repertory with G. B. Shaw's "Misalliance," (reviewed here earlier) through September 16. (My Grade: 5)
THE THREE MUSKETEERS
The North Shore Music Theatre in Beverly, Mass. presents its new production of "The Three Musketeers," featuring Music by George Stiles, Lyrics by Paul Leigh, and Book by Peter Raby. Staged in San Jose, California in 2000 and this past year by the Chicago Shakespeare Theatre, this is the New England premiere of this musical adaptation of Alexandre Dumas' legendary mid-19th century French novel. Set in Paris in 1625, its top heavy plot faithfully follows the many complicated twists and turns of its classic source. Its main focus is, of course, on the adventures of young rustic D'Artagnan who leaves his country home hoping to join the King's Musketeers in Paris. Once there, he links up with Athos, Porthos, and Aramis, three inseparable friends, lusty and heroic swordsmen, who help him to qualify as a Musketeer. They start by guiding him in proving his courage in battle. Later, upon being romantically smitten after meeting Constance, the Queen's seamstress, D'Artagnan becomes embroiled with the mysterious and malevolent Milady de Winters, and must also confront the ominous Comte de Rochefort, major deputy to Cardinal Richelieu. This sinister and scheming Cardinal is locked in a power struggle which seeks to undermine the King. Still later, with the assistance of Planchet, a friendly and helpful peasant, D'Artagnan journeys to Britain to bring back diamonds that the French Queen has given to her lover, the English Duke of Buckingham. His success leads to Milady angrily plotting against both the Queen and D'Artagnan's sweetheart with dire consequences. With war to come between England and France, the conflicted Milady poisons Constance and ends her own life! Although greatly saddened by the demise of his sweetheart, and overtaken by surprise at the retirement of Athos, Porthos and Aramis, D'Artagnan gratefully accepts the honor of becoming a full-fledged Musketeer. Curiously, in this production, only minimal notice is given to the many malicious machinations of Cardinal Richelieu, with the plot's primary attention centered on the entanglements between D'Artagnan, the Comte de Rochefort and Milady de Winters. Handsome, full-voiced Aaron Tveit is quite imposing as the young, adventurous D'Artagnan with strong support by lovely, sweetly singing Jenny Fellner as his beloved Constance. Beautiful Kate Baldwin's strong, resonant portrayal of Milady, together with Jimmy Smagula, Kevyn Morrow and John Schiappa's vivid perfromances as Porthos, Aramis and Athos contributed much to the show's impact. Mike Bleyer as Rochefort, Steven Booth as Planchet, and Matt Stokes as the power-seeking Cardinal were also quite noteworthy fronting the large, young, enthusiastic, 24-member cast. While, of the show's nearly 20 songs, no one melody stands out as a majestically memorable love song, D'Artagnan and Constance's tender duets, "Doing Very Well Without You," and "Who Could Have Dreamed of You" were still quite appealing. D'Artagnan's rousing wish for " A Good Old Fashioned War," was the evening's most engaging anthem, with similar notice for Athos, Porthos and Aramis' spirited " Count Me In! " ( All for One and One for All.) Lez Brotherston's splendid period costumes and effective in-the-round staging were both very praiseworthy. Equal accolades for Dennis Callahan's spirited choreography, with extra commendations for the evening's vigorous and striking swords play. Of course, the large, full orchestra conducted by Dale Rieling and Francis Matthews' strong Direction also added heavily. Now playing through September 9. (My Grade: 4)
THE PARADE or APPROACHING THE END OF SUMMER
At the Provincetown Theater in Provincetown, Mass. the New Provincetown Players present their production of "The Parade or Approaching the End of a Summer" by Tennessee Williams. A short, recently-discovered unproduced one act, an autobiographical play written by the celebrated playwright in 1940, at age 26, when he was living in Provincetown. It was previously briefly performed in the Fall of 2006 as the major world premiere event of this town's first Tennessee Williams Festival. Expanded into a full-length play by Williams in 1962, and re titled "Something Cloudy, Something Clear," this longer, revised version was staged Off-Off Broadway in 1981. Here now we have this earlier abbreviated work by the then unknown young playwright. It's set on a bare stage with only a plain white backdrop and a flat wooden plank extending forward (acting as a wharf). This slight character study tenderly explores the troubled love-sick relationship between youthful Don, a fledgling writer, and Dick, an older (by seven years) pompous and disdainful dancer-to-be, of seemingly limited potential. After haughtily disparaging Don's poetry, his arrogant and scornful friend effusively welcomes his girlfriend Wanda and drifts off stage with her. Meanwhile, Miriam, a young Jewish summertime visitor, lauds Don's creativity and also assures him that she's "never been bothered by (his) being gay." She's decidedly upset by Don's intense attraction to his supercilious friend and cautions him "Don't go for water to an empty well." Believing firmly in Don's future, she offers to lend him enough money for him to go to New York. " I wish that I could love you, I wish that you could love me" is the young playwright's wistful observation. Although Don is quite dismayed by the many letters of rejection sent to him by publishers he's mailed his work to, the play closes with Miriam remaining confidently steadfast in her belief in his talent. As stated, based on actual people and events, that were the famed playwright's friends and confidantes during his early years in Cape Cod, Canadian dancer Kip Kiernan, with whom Williams did have a strained relationship, was the prototype of Dick, and real-life New Yorker Ethel Elkovsky was indeed one of the young Tennessee's earliest and most dependable supporters. Effectively Directed by Eric Powell Holm, it's being well performed by the small five member cast, with sincere portrayals by Ben Griessmeyer as the sensitive and conflicted Don, and Whitney Hudson as the dedicated and helpful Miriam. Earnest and generally adequate support was offered by Elliot Eustis as the contemptuous Dick, Elizabeth Stahlmann as his girlfriend Wanda, and Bob Seaver as an older officious postman. Now playing every Wednesday, in rotation with several other presentations, through September 5. For more information, about this company's remaining summer season, telephone: 508-487-9793 or 800-791-7487. (My Grade: 3)
BACCHUS
At Monument Square on the outdoor stage, in Anne Chamberlin Park in Concord, Mass., the Town Cow Theater Company presents its production of "Bacchus" by Jean Cocteau. Written in 1951 by this legendary French avant-garde poet, novelist, screenwriter, director and playwright, this presentation, open to the general public at no cost, represents its New England debut following its previous New York premiere in 1999. Translated and Directed by Thomas Caron, it's set in a German village in 1523, where a small group of prominent citizens have come together to choose this year's crowned head of the annual wine festival. Young, adult Christine, daughter of the region's Duke, and her teenaged brother Lothar, strongly recommend that Hans, the village's 29 year old idiot, be elected as the new fabled "Bacchus." After being so honored, Hans finds that his new position has given him total undisputed authority over the hamlet and all of its citizens, for one entire week. Thus empowered, it soon becomes evident that Hans was only pretending to be the local simpleton. Now fully in charge, he quickly initiates a multitude of new rules and regulations for the village. Amongst many other similar changes, all jailed prisoners must now be set free, payment of all petty tithes are now also to be canceled, and local merchants must not only reduce all of their prices but also allow any and all village thieves to keep whatever they have stolen. Furthermore, viewing Jesus Christ as the archetypical revolutionary, Hans decries the Church's pomp and ceremony which he asserts promotes public ignorance. As expected, all of these radical changes create an explosive backlash from the village leaders. Lead by the region's Provost and Bishop, with the assistance of an eminent visiting Cardinal (a Papal envoy), their machinations to change and redirect Hans, do not go quite as planned, and result in a series of unexpected consequences in their wake. While the major players in the Company's nine member cast do very well handling their assignments, there is some unevenness by a few of the actors, in the production's various minor roles. Jay Newlon is vividly effective as the freethinking Bacchus, with fine support by Myron Feld as the Duke and Caitlin Carrigan and Eric Sheehan as his highly involved daughter Christine and son Lothar. Although John Small was much too shrill as the local Provost, Tony Dangerfield as the village's Bishop and especially Director and Adaptor Thomas Caron, as the decidedly concerned Cardinal, was especially imposing. Jovanna L. Riollano's minimalist, but still effective, setting, together with Beca Gates' spare but adequate period costumes, served the production well. Now playing through August 26. (My Grade: 3.5)
MISS SAIGON
At the Company Theatre in Norwell, Mass. is their new production of "Miss Saigon," featuring Music by Claude-Michel Schonberg and Lyrics by Alain Boublil with English adaptation and additional material by Richard Maltby. Loosely based on Pucinni's classic opera "Madame Butterfly" reset in Vietnam in 1975 during the last tumultuous wartime days of the American presence there. A major success when it opened in London in 1989, it was equally acclaimed upon its Broadway debut in 1991. Since then, it has been popularly staged and enthusiastically greeted many times in many countries throughout the world. As in Pucinni's original source, its tragic story centers on the ill-fated love between a beautiful, young and sweet Asian female and a member of the American military. Chris, a handsome young Marine stationed in Saigon, meets and falls in love with Kim at the Dreamland Bar, a sleazy local nightclub, where she has been forced to work as a prostitute. After he returns to America without her, not knowing that she has given birth to their son, complications develop for her due to her involvement with the bar's ruthless and cynical manager (known to all as "the Engineer"), and a cruel and relentless Assistant Communist Officer. A few years later Chris returns to Vietnam with Ellen, his new American wife. After an intense and revelatory meeting with her, Kim selflessly and tragically chooses to pave the way for her young child's better life in America with Chris and Ellen. The large highly-accomplished 16+ member cast perform their demanding and multi-layered assignments with great flair and passion. Jennifer Schaffer as Kim and Michael Warner as Chris, both with full and strong voices, are equally compelling as the troubled sweethearts. John F. King is especially engaging and commanding as the duplicitous and unscrupulous "Engineer," with splendid vocally melodic and assured acting support by James A. Valentin as the confrontational Communist Commisar; Kendra Kachadoorian as the new wife Ellen; and Kenneth Harmon as Chris' helpful G.I. buddy John. Kira Cowan, early on as an especially acrobatic cast member, was also quite effective. The grandly impressive and expansive score soars majestically with such memorable songs as "The Heat Is On In Saigon," "The Movie In My Mind," " The Last Night Of The World," and "I'd Give My Life For You." John F. King's vividly animated and dynamic rendition of "The American Dream," a sardonic salute to rampant materialism, served as the show's most imposing, show-stopping number. Similarly noteworthy was Kenneth Harmon's resonant vocal record of Vietnam's countless and abandoned war orphans, sung by him before projected films of these children on a rear backdrop. High praise must also go to Zoe Bradford's many creatively designed scenic units, which were quickly and effortlessly moved on and off to efficiently establish the show's multitude of time and place changes, with extra mention for her well conceived depiction of the chaotic U.S. evacuation from 'Nam, including a dazzlingly gripping helicopter descent and take-off. Shirley Carney's multi-varied and colorful costumes, Sally Ashton Forrest's spirited choreography and Matt Guminski's dramatic lighting, were also most certainly commendable. Of course, the fine full orchestra conducted by Michael V. Joseph and Zoe Bradford and Jordie Saucerman's combined and well-centered Direction were also most certainly evident throughout! Now playing through August 19. (My Grade: 5)
MISALLIANCE
On the banks of the Charles River in Boston's Brighton neighborhood, at the outdoor stage in Christian Herter Park, is the Publick Theatre's production of "Misalliance" by George Bernard Shaw. Written in 1909, and first staged the following year, this classic comedy takes aim at British manners, morals, hypocrisy, capitalism, socialism, and the brashness of youth vs. the reserve of their elders. It then, with much charm and wit, adds a bevy of insightful and satirical observations about it all. At the country estate of British underwear magnate John Tarleton, he and his zesty young adult daughter Hypatia and his arrogant son Johnny, greet their guests, her stodgy and simplistic fiance Bentley (otherwise known as "Bunny"), and his pompous and prominent father Lord Summerhays, the former Governor of a colonial outpost. Although she's prepared to marry Bunny, mostly because it's expected of her, she longs to do more with her life than "to just grow old," and is hoping for something really extraordinary. Without warning, her expectations quite literally explode, with a roar and a bang, when a low-flying airplane suddenly crashes into their nearby greenhouse. Although shaken but thankfully uninjured, Joey, the handsome young pilot, (with a Latino accent), and Lina, his beautiful statuesque passenger, (with a decidedly Polish accent), now in like fashion join the guests. Hypatia's mother has now come to see what all the fuss is about. Lina is revealed to be wearing a colorful acrobat's costume when she removes her aviator's jumpsuit. The manly pilot and his lusty and very attractive gymnastic companion have now become the centers of attraction. As expected, Hypatia's fancy quickly shifts from Bunny to Joey, and everyone else is soon entranced by the fascinating, free thinking, and outspoken Slavic beauty. As Hypatia chases after Joey into the surrounding greenery, and the others leave briefly. Lina, a shabbily dressed commoner brandishing a pistol, stealthily enters the abandoned drawing room. He's come to settle a long festering grievance against businessman Tarleton. In a succession of comic and topsy-turvy turns, he's effectively disarmed and pacified, as Hypatia replaces Bunny in favor of Joey, while the rest continue to be intrigued by the lusty, free and unreserved Lina. Heather Wood is animatedly engaging as the spirited Hypatia, with vivid presence by Debera Ann Lund as the highly charismatic Lina. Much praise is also due for the rest of the cast: Owen Doyle as Mr. Tarleton; Alejandro Simoes as Joey; Stephen Libby as the foppish Bunny; Steven Barkhimer as the prestigious and stuffy Lord Summerhays; Adam Soule as Tarleton's testy son Johnny; and M. Lynda Robinson as Mrs. Tarleton, who's mainly responsible for mollifying Gabriel Kuttner as the radical, revenge-seeking intruder. It should be noted that Director Diego Arciniegas has also made many, with some occasionally striking, cuts in Shaw's provocative dialogue. This otherwise splendid production is now playing, (in repertory with "Romeo & Juliet," which will soon also be reviewed here) through September 9. (My Grade: 4)
42nd STREET
At the Robinson Theatre on the campus of the Waltham High School in Waltham, Mass. the Reagle Players present their production of "42nd Street," featuring Book by Michael Stewart and Mark Bramble with Music by Harry Warren and Lyrics by Al Dubin. Based on the highly popular 1933 backstage movie musical of the same title, it opened on Broadway to great acclaim and a lengthy engagement in 1980, followed by a highly successful national tour. This was later followed by the show's equally popular reception when it was also staged in London's West End in 1984. A definite favorite with this company's audiences, this marks its 4th triumphant presentation by the Reagle Players, echoing previous highly popular productions here in 1988, 1992, and 1998. Its classic storybook plot centers on stage-struck chorine Peggy Sawyer, from Allentown, Pa.,breaking into big time stardom when she's suddenly chosen to replace the major star of "Pretty Lady," (the show which is in rehearsal for a big Broadway opening). Peggy gets her fanciful big chance when Dorothy Brock, the original leading lady, accidentally breaks her ankle during the show's tryout in Philadelphia. "You're going out as a youngster," barks Julian Marsh, the show's harried producer, to Peggy, "but you've got to come back a star! " And, of course, so she does. Notwithstanding its simple-minded plot, the show's great popularity rests on Warren and Dubin's wonderful legendary songs from the original Warner Brothers' motion picture, including the addition of a host of this same team's big musical hits from several of their other popular films of the 30's. The majestic score includes "Shadow Waltz," "You're Getting to be a Habit With Me," "Dames," "We're in the Money!," "Lullaby of Broadway," "Shuffle Off to Buffalo," and the grand title tune, amongst many other similarly memorable melodies. To this is also added Gower Champion's brilliant original choreography, recreated here by Susan M. Chebookjian and Eileen Grace. Unfortunately, this was Gower's last show. Tragically,he died on the day the show opened on Broadway. The many colorful and resplendent costumes by Florida's "Costume World," the multitude of quick and eye-catching sets by Robin Wagner, the fine full orchestral accompaniment under Karen Gahagan and Jeffrey P. Leonard's guidance and Eileen Grace's effective Direction, all most certainly contributed toward making this show the great ongoing favorite that it continues to be. Lastly, the large, 17+, enthusiastic and accomplished cast is in top singing and dancing form throughout, with high praise for pretty, full voiced, spiritedly tap-dancing Jessica Greeley as Peggy Sawyer. Equally equipped John Antony as the frantic Producer Julian Marsh; Sue Ellen Estey as the evening's replaced star Dorothy Brock; with Russell Rhodes as Peggy's amorous and animated dancing costar Billy Lawlor; and Beth M. Martin as the show's accommodating assistant Maggie Jones were all similarly effective. This splendid family-friendly show is now playing through August 18. (My Grade: 5)
MR. MARMALADE
At Boston's Center for the Arts Plaza Theatre, Company One presents "Mr. Marmalade" by Noah Haidle. A recent Off-Broadway success, this is its Boston premiere. Young and neglected 4 year old Lucy lives in New Jersey with her single, mostly absent, working mother, who often comes home with an occasional man (who Lucy doesn't know). With an uncaring babysitter primarily in charge, Lucy has fashioned an imaginary social world to fill up the emptiness of her life. The prime player in her fantasies is Mr. Marmalade, an arrogant, abusive, foul-mouthed businessman, who visits her regularly with Bradley, his gay subservient valet. It quickly becomes apparent that this imagined "friend" is not a very nice person. Notwithstanding his neat business-like necktie and suit, and his fine professional briefcase, we soon become aware of his addiction to cocaine, and find that his splendid leather case is really stuffed with pornography. His manservant Bradley is also marked with many signs of his Master's physical mistreatment. Alternating between pleasantry and malice, Mr. Marmalade repeatedly veers from browbeating Lucy to placating her with fanciful promises of a happy future vacation together in Mexico. However, his hold on her is suddenly challenged by the arrival of Lucy's new 5 year old friend Larry. Vividly displaying both of his bandaged wrists to her, Larry proudly announces that he's "the youngest suicide-attempt, in the history of New Jersey." Similarly, we soon discover that Larry also has both a talking cactus and sunflower as his own set of imaginary pals. Laced with dark, humor-filled dialogue which engagingly reflects both Lucy's and Larry's profoundly dysfunctional home lives, under Shawn LaCount's well focused Direction, the strong 8 member cast couldn't be better. Rachael Hunt (age 22) is totally believable as 4 year old Lucy, with similarly accurate effectiveness by Greg Maraio (age 25) as her 5 year old friend Larry. The ever potent John Kuntz is quite persuasive as the essentially malevolent Mr. Marmalade, with compelling assistance by Daniel Berger-Jones as his downtrodden servant Bradley. Amanda Good Hennessey as both Lucy's absent mom and unconcerned babysitter, Danny Balel and Tory Bullock as Larry's friendly house-plants, and Mark Abby VanDerzee as boyfriends of both Mom and the babysitter were all in fine form throughout. This grandly provocative one act exploration of a young, sensitive child's fancifully bizarre escape from her very troubled real world is now playing through August 11. (My Grade: 5)
JESUS: THE GUANTANAMO YEARS
BLITHE SPIRIT
At Beatrice Herford's Vokes Theatre in Wayland, Mass. the Vokes Players present their new production of "Blithe Spirit" by Noel Coward. Written by him in 1941, at the height of the Nazis' nightly blitz air attacks against Great Britain, it has proved to be one of this great comic master's most popular and durable comedies. It was also produced as a highly successful British movie in 1945, starring Rex Harrison and Margaret Rutherford. Charles, a prominent writer, preparing to pen his next novel about the occult, plans as part of his research, to hold a seance in his home and has invited Madame Arcati, a local Medium and eccentric, to host this highly special event. Joined by his second wife Ruth and their friends Dr. and Mrs. Bradman, they're all prepared to be grandly amused by Mme. Arcati's 'Tom-Foolery.' After the seance has ended, and Arcati and the Bradmans have left, with no apparent 'other-worldly' evidence, except for her suggestion that some sort of spiritual contact from 'the other side' was imminent, to Charles' complete amazement, and unbeknownst to Ruth, his first wife Elvira reappears before him! She had died young, after only 5 years of marriage, and has now been deceased for 7 years. Since Elvira can only be seen and heard by the astonished and completely befuddled Charles, there's much delightfully constructed comic verbal confusion between Charles and wife #1 and his uncomprehending and totally baffled wife #2. When Elvira finally demonstrates her presence, by moving a vase and chucking its floral contents about the room, Ruth is now finally convinced of the actuality of her new ethereal and dedicated rival! As expected wonderfully crafted and grandly amusing and unexpected complications are added to this amusing mix. While the fine 7 member cast was a bit too overly staid initially, their mirth provoking effectiveness took charge, once Coward's comic complexities began to unfold. David Berti was properly surprised, troubled, confused and finally actively accommodating to the ghostly Elvira, with splendidly witty and spirited support by Melissa Sine as the trouble-making specter; and Pamela Mayne as his initially bewildered and eventually assertive and confrontational second wife Ruth. Robert Zawistowski and Anne Damon were suitably proper and correct as the visiting Bradmans, while Bethany Boles, as Charles and Ruth's ditsy and overly frenetic housemaid Edith, tried much too hard, especially in Act One, for very obvious and easy laughter. On the other hand, Elyse Cronyn as the genuinely odd and hilariously imposing Madame Arcati, was simply wonderful. Much praise is also due here for Eileen Bouvier's creative costuming, Stephen McGonigle's splendid drawing room set, Betsy Burr's dramatic and vivid lighting, Jack Wickwire's effectively pasty and ghostly makeup, accented by Jean Williams' striking hair design and certainly D. Schweppe's lively Direction were all equally noteworthy. Now playing through August 4. (My Grade: 4)
SIDE BY SIDE BY SONDHEIM
At the Mosesian Theatre in the Arsenal Center for the Arts in Watertown, Mass., the New Repertory Theatre has just presented its new and recently concluded production of "Side By Side By Sondheim," an evening of the words and music (and sometimes the verbiage) of the great Stephen Sondheim. Originally developed as a fundraising program for a theatre in Great Britain in 1976, it proved to be so popular that it was soon transferred to a major London showplace. There, it went on to great and long-lasting success and was eventually also mounted on Broadway to equal acclaim. Some of Sondheim's most memorable songs from such classic Broadway shows as "A Funny Thing Happened On The Way To The Forum," "Company," "Anyone Can Whistle," "Follies," "A Little Night Music," and "Pacific Overtures," are interwoven with the lyrics he also wrote for such monumental hits as Leonard Bernstein's "West Side Story," Jule Styne's "Gypsy," and Richard Rodgers' "Do I Hear A Waltz?, " amongst others. Also included are rare pieces written by him for motion pictures, television, and even a popular revue entitled "The Mad Show." Since this presentation was first devised in the mid-1970's, music from his "Assassins," "Sunday In The Park With George," "Passion," "Into The Woods," and, of course, "Sweeney Todd," having not yet been conceived, aren't included. A trio of the area's most gifted and grandly vocal performers: Leigh Barrett, Brendan McNab, and Maryann Zchau, accompanied by the spirited twin piano styling of Todd C. Gordon and Joshua Finstein, captivated the full audience with their engaging renditions of the aforementioned roster of compelling tunes. Leigh Barrett was especially impressive with her resounding treatments of "Another Hundred People," ( from 'Company'), "Losing My Mind" (from 'Follies'), and "A Boy Like That," ( from 'West Side Story'). Maryann Zchau was equally enthralling with her full voiced and passionate renditions of "Send In The Clowns," ( from 'A Little Night Music'), and "A Paree" and "I'm Still Here," (both from 'Follies '), as was Brendan McNab grandly singing "Beautiful Girls," and "Could I Leave You?" (also both from 'Follies') and in duet with Maryann "You Must Meet My Wife" (from 'A Little Night Music'), and "Barcelona" ( from 'Company'). Occasionally amusing incidental narration on stage, at a side lectern, obviously reworked and updated with many new and locally inspired theatrical references, was provided by Jonathan Colby, host of the popular WERS (Emerson College's radio station) weekly FM radio show, "Standing Room Only!" Rick Lombardo's well-centered Direction was manifest throughout. It should also be noted that a similarly well received revue entitled, "Putting It Together", was developed for Broadway in 1992 to feature much of Sondheim's remarkable more recent music. (My Grade: 5)
BEEHIVE--The 1960's Musical
Prather Entertainment Group presents "Beehive - The 60's Musical" at the Cutler Majestic Theatre (Emerson College) in Boston, Mass. Originally staged in a reduced version three years ago in Pennsylvania, it now makes its greatly expanded and grandly opulent debut here prior to moving on to Arizona before beginning an 8 month cross-country national tour. Created by Larry Gallagher, this two hour celebration of the legendary female vocalists and singing groups, of the early days of Rock-'n-Roll, centers on the songs and rhythmic styles of such fabled teams as "The Chiffons," "The Shirelles," and,of course,"The Supremes," as well as such formidable stars as Lesley Gore, Connie Francis, Aretha Franklin, and Tina Turner. Notice is also taken of the gals from England such as Petula Clark, Lulu, and Dusty Springfield. In a succession of amazingly fast-paced costume and multi-colorful beehive-tall wig changes, Teanna Berry, Patrice Covington, Elizabeth Gross (no relation), Courtney Washington, Alicia Campbell, Kate Feerick, Emily Cara Portune, and Jillian Nyhan Zygo virtually explode on stage in a nearly non-stop salute to the aforementioned artists. Act One highlights the great early best sellers of the decade such as Patrice recreating Shirley Ellis' extremely popular "The Name Game," and Alicia resonantly continuing on with Carole King's "One Fine Day" (recorded by the Chiffons.) Then, Emily and Jill bring us all right back, to those good old days, with expert simulations of "The Shirelles" doing their "Will You Still Love Me Tomorrow?" (also written by King); with everyone then joining in for a tribute to "The Supremes." The entire ensemble grandly assumes their sound, appearance, resplendent evening gowns and big, big, hair-styles, with rollicking, right-on versions of "Where Did Our Love Go?" and "I Hear A Symphony," amongst others. Brenda Lee's " Rockin' Around the Christmas Tree," and "I'm Sorry," followed by Lesley Gore's "You Don't Own Me," and "She's A Fool," and finally Connie Francis' "Where The Boys Are," resoundingly close out the evening's first part. Act Two begins with eye-popping visual and vocal reproductions of the famed Brits such as Petula Clark's "Downtown," Lulu's "To Sir With Love," and Dusty Springfield's "Wishin' And Hopin'." Similarly accurate and triumphant tributes to Tina Turner with "River Deep, Mountain High," and "Proud Mary;" Aretha Franklin's "Respect," and "A Natural Woman." Then, Emily bringing the capacity audience to a thunderous ovation with her extraordinary personification and recreation of Janice Joplin's "Try (just a little bit harder)," and "Me And Bobby McGee," close out this extraordinary evening. High commendations must also go for Jason P. Hayes' 45 glamorous, top-heavy wigs, John P. White's 40 dazzling evening gowns, and the spiritedly rocking six member, on-stage band conducted by keyboard player Beth Burrier. This solid salute, to the great female rockers of the 60's, is now playing an all too brief, very limited, (4 days only) engagement through July 28. (My Grade: 5)
A MIDSUMMER NIGHT'S DREAM
At the Parkman Bandstand on the green open-air Boston Common the Citi Performing Arts Center presents Commonwealth Shakespeare Company's new production of "A Midsummer Night's Dream" by William Shakespeare. This is the Company's 12th annual free presentation of a Shakespearean play, offered to the general public. Staged in contemporary times and dress, young sweethearts, Helena and Demetrius, and Lysander and Hermia, counter to their parents wishes, elope to a magical woodland ruled by the King and Queen of the fairies. There, Puck, the King's prankish servant, mischievously finds and enchants them all. As a practical joke, the foolish elf has now ensnared these young lovers in a topsy-turvy series of romantic reversals, with Lysander now fixated on Helena and Demetrius similarly smitten by Hermia. To further merrily confuse matters, Puck decides to have some fun with a group of grandly dimwitted tradesmen who are rehearsing a play in honor of the parents of the aforementioned young, enchanted lovers. Puck then transforms Bottom, the featured performer, amongst this foolish band of "thespians," with a jumbo donkey's head (!) as his very special joke. As expected, by the final curtain, all the confusions are cleared up, and all of the sweethearts are properly reunited. Bottom, now with his foolish and actual head once again upon his shoulders, under the nonsensical stewardship of Quince, the band's leading tradesman, is able to perform the play that he and his fellow laborers have so witlessly rehearsed. The large 20 member cast does well with the Bard's jocular play. Jason Bowen as Demetrius, Meghan Bradley as Hermia, Ed Hoopman as Lysander and Hannah Wilson as Helena perform their roles with much comic flair. However, both actresses tended to overdo comically vaulting onto the backs of their mismatched lovers. Antonio Edwards Suarez as Puck, garbed in a resplendent canary-yellow fairy costume, accented by bright crimson pantaloons, was a complete delight. Although their dimwitted play, at the final curtain, was a bit too long and belabored with too many overly slapstick styled antics, nevertheless Larry Coen as the musically sonorous Quince, and his fellow jesters still merit substantial praise. Fred Sullivan, Jr. as Bottom was especially effective as the lustily braying buffoon. Similar praise must also go to Johnny Lee Davenport as Oberon, the King of the Fairies. Beowulf Boritt's verdant, colorful balloon-accented set, Clint Ramos' bright, day-glo hued Fairy costumes, and Nancy Goldstein's dramatic lighting, all under Steven Maler's highly animated Direction were also equally noteworthy. Now playing through July 29. (My Grade: 3.5)
A MARVELOUS PARTY! THE NOEL COWARD CELEBRATION
At the Zero Arrow Theatre in Cambridge, Mass. the American Repertory Theatre presents "A Marvelous Party! The Noel Coward Celebration," an evening dedicated to the songs and wit of the master author, playwright, actor, composer, and screenwriter. Devised by Mark Anders, David Ira Goldstein, and Patricia Wilcox, it was originally produced by Chicago's Northlight Theatre where it was the recipient of the Selma Melvoin Playwriting Award. Now here set in the stellar night club ambience developed for last winter's A.R.T. presentation of "The Onion Cellar," Will LeBow, Karen MacDonald, Thomas Derrah, and Remo Airaldi, a quartet of the A.R.T.'s finest actors, sing the engaging songs and offer the scintillating observations of the legendary multi-faceted Noel Coward. This grandly accomplished cast obviously employed, to quote him, "the kind of spontaneity (he) likes, that comes with 5 weeks of rehearsal." The first part of the captivating 2+ hour program featured many of his brightest music hall type numbers, with the cast resonantly prompting "Don't put your daughter on the stage, Mrs. Worthington," and later, "Any little fish can swim" (but I can't do anything at all but just love you). Then, the always-impressive Karen MacDonald came forth to musically ask " Would you like to stick a pin in my balloon, daddy?" with her fellow performers later wondering "Has anyone seen our ship" (the H.M.S. 'Disgusting')? Soon thereafter, Will LeBow followed by saluting "The stately homes of England." Part 2 included many of Coward's best known and most memorable pieces. Karen again began by chanting the composer's trenchant "Mad about the boy" (will it ever cloy, this odd diversity of misery and joy)? Remo Airaldi, capped with a tall Carmen Miranda styled headgear, hilariously spoofing South American Terpsichore, with "Nina" (from Argentina) and Thomas Derrah fervently intoning the grandly intense, but rarely performed, "Matelot" (where you go, my love will follow), which Coward described as "one of the best songs I ever wrote." Of course, " If love were all, " " Mad dogs and Englishmen" (who go out in the midday sun)," Why do the wrong people travel" (and the right people stay at home), and "I'll follow my secret heart," were also on the evening's agenda. Splendid piano accompaniment was provided throughout by Will McGarrahan, (also a fine actor, in his own right), all under Scott Edmiston's active and wide ranging Direction, which deftly utilized the nightclub's many varied spaces moving from the central stage, adjoining stairway and side, mirrored recess, to lively activity amongst the audience, seated at their tables. Lastly, Karen Perlow's fine dramatic lighting and Carl Danielsen's spirited musical arrangements also added much to this splendid production. This highly entertaining, very aptly entitled, and most definitely recommended presentation, is now playing an extended engagement through August 5. (My Grade: 5)
The King and I
Last night I had the pleasure of seeing The Reagle Players1 production of "The King and I," directed by Robert J. Eagle. I enjoyed it every bit as much as I enjoyed seeing the movie when it first opened. Although he’s no Yul Brynner, David Scannell, who starred as the King of Siam, gave a fairly believable performance. By far the strongest performance was that of Sarah Pfisterer as Anna Leonowens, the school teacher who moves from London to Siam to teach the King’s thirty seven adorable, talented, funny children. This is a production I would not want any child to miss--or their parents for that matter. Kudos to director, Robert J. Eagle for sticking to the authenticity of Rogers and Hammerstein’s original book. Although I’m all for updating and revamping plays, The King and I is such a classic that to change it would be like trying to wipe that smirk off Mona Lisa’s face. I would be remiss if I didn’t mention the voices…oh the voices. I’ve never met vocal coach Paul S. Katz, but I’d like to shake his hand. By far the most perfect voices were those of Yuki Sugita and Marcus Calderon as Tuptim and Lun Tha. To not hear them sing I Have Dreamed is to go to Florence and not see the Pieta. To my amazement, every voice was perfect, every note, every beautiful song sung with a clarity that snapped the air. I came home humming and whistling a happy tune. For tickets to this production at the Robinson Theater in Waltham call 781-891-5600 or order online at www.reagleplayers.com. The show runs through July 21. (My Grade: 4.0)
Disney's High School Musical
Last night I sat through the North Shore Music Theatre's presentation of the popular Disney channel movie, High School Musical. By intermission, I could not decide which was more lackluster, the "Musak" or the choreography. But, when I reached the lobby, I noticed something amazing. It was a theater full of young kids who have probably never experienced a musical they could so fully relate to. And, I changed the way I viewed the whole production. Kids do not know that a choreographer is not supposed to just have dancers walk up and down. The grapevine step? But how many kids knew anything about that? So, I would say if you have a child between 6 and 14 they will-- like Molly Taylor from Ipswich-- think it’s "wicked good". The story is nothing new, the "brainiac" girl, meets jock guy and somehow their love manages to bring all the "cliques" in the school together as one. Quite the best part of the performance were the duets sung brilliantly by Addi McDaniel as Gabriella and David Nathan Perlow as Troy the captain of the basketball team and son of the coach. Barry Ivan directs and choreographs this production and--as I have mentioned many times when the choreographer is also the director-- unless you’re Tommy Tune, something has to suffer. In this case, it was the choreography. It was beyond predictable and if I see another jazz box---something that’s poked fun of by Sharpay, played by Kate Rockwell. I could not take it. Yet, Mr. Ivan grabbed for the standard move over and over and over again. Also strange was Sharpay’s twin brother who spends the entire production kissing his sister’s buttocks and practicing his gay handshake. The play was rampant with stereotypes, even to the point where the two African American students end up, of course, together. The coach doesn’t understand his son. The English teacher doesn’t understand the coach and so it goes. For me, it wouldn't be what I'd want my kids to think reality is about, but then Disney has never been about reality--only fantasy. High School Musical is an unrealistic slice of high school in the year 2007. But the kids in the audience know the story and the songs, neither of which have changed from the original movie. So, they stay intensely involved in this live production. High School Musical is playing at North Shore Music Theater in Beverly through July 29. I’d give this production (1 star), but when I polled the kids after it was unanimous that this play was a 5 and then some. What do parent’s know anyway?
GEORGE M COHAN TONIGHT!
The Stoneham Theatre in Stoneham, Mass. presents " George M. Cohan Tonight! " a one-man show starring Jon Peterson as the legendary song-and-dance man. Written, Arranged and Directed by Chip Deffaa, it was originally produced Off-Broadway in 2006 and has since been very well received in Worcester, Mass., Waterbury, Connecticut, and Rochester, New York, and will soon be staged in the Far East for Asian audiences. Peterson's dynamic non-stop 90 minute solo performance has garnered him the " Back Stage Bistro Award," a " Connecticut Critics' Circle Award, " as well as a N.Y. "Drama Desk" nomination. Although born and raised in London, he is totally effective as this All-American showman. Born in Providence, Rhode Island in 1878 (Cohan's birth date was listed as July 3), but forever after he always insisted that he had been born on "the 4th." In a free-wheeling, highly-detailed, and very anecdotal account of Cohan's life and career, Jon Peterson sings and expertly tap-dances his way through nearly 40 of the many grand old songs that were written and performed by this extraordinary Broadway star. The evening chronicles Cohan's meteoric rise as a teenager, who began writing songs and comedy sketches for his family's Vaudeville act, known as "the Four Cohans," (comprised of George, his mom and dad, and his sister Josie.) From there, he went on his own to his first big Broadway show "Little Johnny Jones" in 1904. It served to showcase his great original songs "Give My Regards To Broadway," and "The Yankee Doodle Boy." His two marriages are also spiritedly described, first to Ethel Levey in 1899 (ending in divorce), and later to his longtime second wife Agnes Mary Nolan, whom he wed in 1907. With Mary, the Cohan family grew to include two daughters and a son. From then throughout the 1920's, Cohan produced over three dozen hugely popular Broadway shows, featuring such memorable song standards, written and sung by him, as "Mary's A Grand Old Name," "H-A-R-R-I-G-A-N," "45 Minutes From Broadway," " Oh, You Beautiful Girl," " Life's A Funny Proposition," "You're A Grand Old Flag, " and the anthem of World War I, " Over There." In 1936, President Franklin D. Roosevelt presented him with the Congressional Gold Medal honoring his great patriotic songs during the First World War, and in 1942 James Cagney starred as George M. Cohan in Hollywood's Oscar-winning version of the great showman's life, entitled "Yankee Doodle Dandy." He died of cancer at age 64 in the Fall of 1942. Vibrantly accompanied by a small onstage ensemble Directed by Sterling Price-McKinney, Jon Peterson's vivid portrayal, involving his rousing, uplifting, energetic and engaging, acting, singing and dancing throughout the show, was most deserving of the capacity audience's thunderous standing approval at the evening's resounding conclusion. Now playing through July 1. (My Grade: 5)
MUCH ADO ABOUT NOTHING
On the Wellesley College campus in Wellesley, Mass. at the Ruth Nagel Jones Theatre, the Wellesley Summer Theatre Company presents its new production of "Much Ado About Nothing" by William Shakespeare, here transposed from 13th century Italy to the United States at the close of World War II. U.S. Naval Admiral Don Pedro, together with his illegitimate wheelchair-bound sister, Don John, arrive at the home of Leonato, a prosperous American. They're accompanied by Naval Captain Benedick and Claudio, an enlisted seaman, who immediately takes an amorous fancy to Hero, the lovely, young daughter of Leonato, their host. Then, to help this young seaman, the Admiral, posing as Claudio, woos Hero and thereby wins her father's consent for Claudio to marry his daughter. Don Pedro then acts swiftly to thwart his dastardly sister from causing some more serious trouble between these two sweethearts. Meanwhile, Captain Benedick, a confirmed bachelor, and Beatrice, the equally disaffected niece of Leonato, join together in disparaging the state of matrimony. Undeterred, the Admiral, aided by Claudio, his fiancee Hero, and her father, concoct a scheme to change Captain Benedick's mind about marrying Beatrice. At the same time, the nefarious Don John, with the help of his henchmen, Borachio and Conrade, plot to create more problems. Together, they arrange to make it appear as if Hero is cheating on Claudio, which causes the young seaman to denounce her. As expected, after a succession of comic revelations, Don John's malevolent intentions are exposed and all of the various sweethearts are happily united. As is now so often the case, with so many Shakespearean undertakings, loads of unusual liberties are frequently devised. Since this play's time and place have been shifted to post World War II America, not all of the choices, in this adaptation, seem to be right. The Bard's original conception focused on the comical foibles of European Nobility. Now, we have here a high-ranking Admiral promoting the romance between a lowly seaman and the daughter of a prominent (obviously wealthy) citizen, with the latter's immediate approval. Later, the local Sheriff arrests Borachio, the drunken assistant to Don John, after he begins bragging about his involvement with the Admiral's very wicked sibling. The Constable, along with his helpers, (all dressed up as undercover men in trench coats, and puffing away on drooping cigarettes) announce, what has just been revealed to them, in the contrived and unfunny "deez and doze" accents of dimwitted Hollywood mobsters. Correspondingly, with World War II now ended, the entire play, from start to finish, is heavily framed by the recorded songs of the Andrews Sisters, Bing Crosby, Harry James, Louis Jordan, Benny Goodman, and even Spike Jones, amongst others. While this often proved to be more of a distraction than an asset, at one contrasting point Hero walks into the audience over to a tall, floor-model, 40's- styled radio, and sings a tender, antique ballad entitled, "Sigh no more." Again, at still another time, Captain Benedick wistfully intones "the God of love that knows me," yet another grand inconsistent Elizabethan strain. The large nine member cast does well, with their various assignments, with fine performances by Marc Harpin as Admiral Don Pedro, Greg Raposa as seaman Claudio, Kelly Galvin as Hero, Harold S. Withee as her father, Derek Stone Nelson as Captain Benedick, Alicia Kahn as Beatrice, Melinda McGrew as the villainous Don John, and Dan Bolton as her intoxicated accomplice Borachio, all under Peter A. Carey's very active Direction. Ken Loewit's simple set, consisting of a trio of imposing arches flanking the central circular stage, along with Kit Arnold's lively, contemporary-styled, ballroom choreography, were all equally noteworthy. Now playing through June 30. (My Grade: 3)
AND NOW LADIES AND GENTLEMEN, MISS JUDY GARLAND
At Boston's Lyric Stage Theater, Backyard Productions presents "And Now Ladies and Gentlemen, Miss Judy Garland," a new one person show starring Kathy St. George. This 90 minute presentation (with no intermission) was Adapted and Directed by Tony McLean and is divided into two parts. At her hotel suite in London in 1964, Judy Garland began to tape record her thoughts, observations and memories about her long and much celebrated career. She was beginning to prepare for her future autobiography. Unfortunately, she died, unexpectedly, five years later in London on June 22, 1969 at the age of 47. No autobiography was ever finished or published. Amongst her recorded thoughts she considers several possible titles for her intended memoirs and finally settles for the one which now graces this show. The evening's first thirty minutes feature Kathy St. George recreating many of this great star's tape recorded musings. Born as Frances Gumm in Grand Rapids, Minnesota, she wistfully recollects her early years in vaudeville with her two older siblings, when their act was known as "The Gumm Sisters." She goes on to note that, "I've always been in love with the audience, since age two." A few of the topics she then considers are her swift rise to success, her many bouts with fatigue, as well as recurring problems with her fluctuating weight and the ongoing slanderous gossip about her private life. She recollects some of her husbands (both good and otherwise) and her beaming pride in her three wonderful children, and then bristles with righteous anger about all the business associates who she knowingly allowed to cheat her financially. To this she adds, "I was lonely and scared." She then remembers Hollywood's dark underside and bitterly notes the U.S. Government's moves to take possession of her home, in lieu of her unpaid back taxes. These are some of her many concerns during this first part. The show's remaining hour is then fully centered on Ms. St. George's extraordinary recreation of the look, mannerisms, dynamism, and sound of the legendary Judy. She struts her stuff, on a draped but otherwise virtually bare stage, framed by a rear ceiling-to-floor wall of electric lights, which at one majestic point spells out the great star's first name. Accompanied, with great dash and flair, by Tim Evans at the solo piano, nearly two dozen of Judy's celebrated repertoire are superbly performed. "Zing! Went the Strings of my Heart," "The Trolley Song," "Get Happy," "The Man Who Got Away," and---of course-- "Over the Rainbow" are just a few of the splendidly crafted and remarkably executed songs brought back to resonant life by the grandly accomplished Kathy St. George. This genuine and highly recommended tour de force is now playing through July 1. (My Grade: 5)
INDIAN INK
At the Plaza Theatre in the Boston Center for the Arts, Small World Big Sky Productions presents "Indian Ink" by Tom Stoppard. Based on the playwright's earlier radio play "In the Native State," it was later adapted by him for the stage and as such was first performed in London in 1995. It has since been also produced in New York. This is its Boston premiere. Set in India in 1930 and in England in the mid-1980's, the play's action shifts back and forth between these two different times and places. In the earlier period, Flora Crewe, an independent thinking, free spirited poetess, has come to India for her health. Suffering from tuberculosis, since her physician had recommended "a sea voyage and a warm climate," in her typically headstrong fashion, she has chosen to go to this most unusual and demanding destination. During this tumultuous period, marked by India's struggle for independence from British Colonial rule, Flora becomes acquainted with Nirad Das, an Indian fine artist. As he paints her portrait, many of his country's different cultural contrasts and conflicts are discussed. Among these issues, their different religions, their caste system, their attitudes towards women, and of course, their feelings about colonialism and the British, in general, are deftly explored. Shifting then to the more recent past, Eleanor Swan, the surviving younger sister of the now deceased Flora, is visited by Eldon Pike, an American biographer from Maryland, who's researching her somewhat well-regarded sister's life. She's also visited by Anish Das, the son of the late afore-mentioned artist. Anish is now a longtime, permanent British resident. Of uppermost interest to Eleanor, Eldon and Anish is whether Nirad-- besides his portrait of Flora--had done a nude painting of her, too. If this can be proven, it might also show that an intimate relationship between the two was very much underway. In this context, these disparate English, American and Indian characters vent their quite different views of today's India in contrast to its long history as a British colony. Well acted by the large 15 member cast, under Sarah Krohn's positive Direction, Janelle Mills as Flora, Bharat Bhushan as Nirad, Jean Sheikh as Eleanor, Chuck Schwager as Eldon, and Anurag Mishra as Anish are effectively provocative throughout. High marks are also due for Jeremy Barnett's fine multi-level set, Nicole Yvonne Moody's authentic, traditional costumes, and Nathan Leigh's well chosen incidental Indian music. While ultimately a bit overlong, nevertheless the play's engaging and multi-faceted ideas, perspectives and accounts of India's past and present remained continually fascinating and stimulating. Now playing through July 1. (My Grade: 4.5)
JUST SAY LOVE
In the Plaza Black Box Theatre at the Boston Center for the Arts Stagewrights Corp. presents "Just Say Love," a new play by David J. Mauriello. Set in Boston's South End neighborhood, Guy, a short gay lonely, self-employed vegetarian sits in a local park reading as he meets Doug, a tall straight muscular construction worker. Doug, living with his girlfriend Geeda, enthusiastically informs his new acquaintance that his mate is preparing to give birth soon to their baby. However, the casual encounter between Guy and Doug gradually develops into hesitant and awkward attraction. Guy's fascination with the ideas of Plato leads these two seeming opposites to a brisk discussion about "love" and the great thinker's notions about such strong emotions. Overly quizzical, Doug emphatically concludes that "there is no love... just a physical need." Later, when these two meet at Guy's apartment, Guy wonders if this was all just a big mistake. He's wordlessly answered when Doug begins by removing his T-shirt! Over time, after several lusty sexual encounters, Doug unexpectedly leaves Guy upon receiving news of the birth of his child. After a long, uncommunicative absence, Guy begins to wonder if he'll ever see Doug again. "Damn you...you macho slob," he bitterly notes. Finally, much time later, Doug telephones to inform him that he and Geeda have decided to name their baby "Charlie" instead of Maximilian. Some time thereafter, when Doug does return to Guy's apartment, Guy begins to vent his true feelings. He complains, "I do everything! You do nothing! There's no relationship! There's no strings!" Doug responds, "You want me because I'm straight!" Time passes and later at Christmas, after some holiday cheer together, Doug makes a decision about what he must do. While this short (75 minute) one act play methodically presents the progressive evolution of the developing affinity that these two diverse types come to feel for each other, only scant notice is given to Doug's connection to his girlfriend. Obviously, their relationship, not only regarding his concern about Geeda's pregnancy and the birth of their child, but also his continuing on to the baby's naming, attests to both the strength and durability of his feelings. A fuller exploration of Doug and Geeda's interaction is certainly missing and needed. David Miller's circular grassy set, with its park-type seats and prominently stationed street lamp, together with its elevated rear platform suggesting Guy's apartment, effectively served the play's time and place changes. High marks must also definitely go to Michael Lemieux as Guy and James Ryen as Doug, under David Rothauser's well centered Direction. Now playing through June 30. (My Grade: 3.5)
Kiki & Herb - Alive from Broadway
At the Wimberly Theatre in the Calderwood Pavilion at the Boston Center for the Arts, now on view is "Kiki & Herb - Alive from Broadway," created by and starring Justin Bond and Kenny Mellman. Their cabaret-styled act premiered Off-Broadway in 2003, and in the following year this twosome presented their "Farewell Concert" at Carnegie Hall. Then, ignoring their claim of retirement, they bounced back for their major on-Broadway debut, which was hailed by the New York Times as "one of the top ten Broadway shows of 2006," and garnered a Tony nomination for them. After initially meeting and performing together in San Francisco in the late 80's, they moved to New York and began to develop their popular show during the 90's, leading them to their current success. Sporting a grandly splendid chestnut-hued wig and dressed in a luxurious, floor-length gown, Bond assumes the persona of the "legendary" internationally celebrated chanteuse, Kiki DuRane. At her side, as her tuxedoed accompanist, Herb, sidekick Mellman sits ready to play and sing along at the imposing baby-grand piano. With her lined face glittering with make-up, for more than 90 minutes--sans an intermission-- Kiki, along with Herb, captivated the overflowing audience with songs ranging from Velvet Underground favorites to some borrowed from the likes of Eminem, Pat Benatar, Radio Head, Styx, and Joni Mitchell. These musical interludes were intermingled with a succession of flamboyant stories detailing their 50+ years together in show business. (Bond's age is actually 44, while Mellman is 38.) Their reveries even included some passing references to " He ain't heavy, he's my brother," and " Oh, Happy Day." Kiki's fanciful narrative followed the grand Dame from her birth during the Great Depression, to her early life in a Pennsylvania orphanage, where she met her partner Herb. "Who, (she noted) was a gay, retarded Jew, when it wasn't trendy." These details were accompanied by descriptions of her life's many ups-and-downs, including some noteworthy childhood abuse. To this she added, "If you weren't molested as a child, you must have been an ugly kid." The death of her young daughter Coco and the birth of her biracial baby ("A definite status symbol, now") were also eluded to. Even her early meeting with the legendary Maya Angelou, while both were engaged in burlesque shows, was also recalled. Much later found her vibrantly performing at Monte Carlo in the 60's and then on the Princess Cruises Line aboard the Love Boat in the 80's. Then, in a curious digression, framed by her barbed attitudes to both the "Religious Right" and the Catholic Church, she went on--at great length-- about her unexpected and mystical presence at the birth of Jesus, to the great delight of the surprised audience. As stated, she was vividly supported throughout vocally and at the keyboard (sometimes, a bit too overpowering) by Herb. While their highly specialized show is not geared for every sensibility, it was most certainly greeted by great roars of audience approval at their lively and resonant finale. Now playing through June 30. (My Grade: 4)
LOVE'S LABOURS LOST
In the basement of "The Garage" in Harvard Square, Cambridge, Mass. The Actors' Shakespeare Project presents their new production of "Love's Labours Lost" by William Shakespeare. The King of Navarre has vowed to avoid all pleasures and to not meet with any females for three years. As part of his solemn decision, he has also demanded the same abstinence from his three loyal Lords: Longaville, Dumaine, and Berowne. However, the arrival of the Princess of France with her attending ladies, Rosaline, Maria, and Katharine, creates a myriad of comic dilemmas, especially for the trio of aforementioned Lords. Additional amusing complications also begin to pop up with the involvements of Don Armado, a foolish Spaniard at Court and Moth, his very young Page, as well as Jacquenetta, an uneducated country maid, Costard, a rustic simpleton, Nathaniel, a self-centered Curate, and Holofernes, a pompous educator. Dull, an appropriately named Constable, and Boyet, the Princess' lively chaperone, also add much to the play's merriment! As expected, this fine presentation, under the assured Direction of Benjamin Evett (the Company's Founder and Artistic Director) is being staged with its own decidedly different and engaging focus, and the assured performances of its cast of only six, highly accomplished players, with each (except for Don Armado's very young attendant) assuming three of the play's 15 different roles. Accordingly, the Bard's highly amusing entanglements develop in a flurry, sometimes too overly hectic, of hat, wig, and various mustache changes by the cast members (garnered from a prominently placed tree-like rack at the back of the small stage )! Johnny Lee Davenport as Don Armado is supremely amusing, vividly enunciating his many exaggerated rolling, Spanish accented "r-r-r-r's," as well as his deft handling of the ploys of Boyet and Dull. Changing from blonde to brunette and then back to blonde, Marianne Bassham shines brightly throughout as the country bumpkin Costard, with effective portrayals of Dumaine and Rosaline, too. Similar praise must likewise go to Sarah Newhouse as the Princess of France, Lord Longaville and Jacquenetta, too. Michael Forden Walker as the demanding King, the self important Curate and the attending Lady Maria, and Jason Bowen as Berowne, the schoolteacher Holofernes, and Lady Katharine, were also equally praiseworthy. 12 year old Khalil Flemming was especially impressive as Moth, the Don's very loquacious and extraordinarily animated Page (at one point, rolling, bobbing up-and-down, and thrusting himself about on the stage's floor.) While, as previously noted, the many hectic and quite demanding role changes occasionally made for a bit of temporary puzzlement, otherwise the cast's grandly farcical flair registered as a definite win throughout! Now playing through June 24. (My Grade: 4)
"The Trial of One Short-Sighted Black Woman vs.
MammyLouise and Safreeta Mae"
At the Boston Center for the Arts' Plaza Theater the Roxbury Crossroads Theatre has just concluded its production of "The Trial of One Short Sighted Black Woman vs. MammyLouise and Safreeta Mae," by Karani M. Leslie, after a brief engagement. Set in a courtroom, Victoria Dryer, a successful African-American TV producer seeking justice, has begun legal proceedings against two longstanding stereotypes of Black American womanhood. The accused have been drawn from the standardized and hackneyed conceptions of Black women, as they are being depicted in a fictional motion picture set on an early 19th century southern plantation. MammyLouise is quite content that she's a slave, and is really very happy to do whatever is asked of her by her Master (whom she's devoted to and loves.) On the other hand, Safreeta Mae is an alluring and oversexed temptress who uses her wiles to entrap decent young white men. However, just like MammyLouise, she too loves and is anxious to serve her Master. In the course of the trial, a number of witnesses are called to testify. Producer Clyde Evans declares that he's only giving the public what they want and expect. He points to the lack of native African science, art, and literature. In rebuttal, the court offers a parade of contrary evidence pointing, among other aspects, to the legendary traditions of African wood sculpture, which played such a monumental role in the evolution of Modern Western Art. Next is Leroy, a former stand-up comedian, who, thanks to his subservience to the studio bigwigs, is now a film executive, only too willing to play their game. All they want from him is to make it look as if he's really concerned for his people. Turning to Victoria, the defense prompts her to admit that she prefers dating white boy friends, and is unfamiliar with the names of America's top African-American literary figures. MammyLouise is then quick to remind her that, just like Leroy, she too owes all of her good fortune to the great Civil Rights struggles of the recent past. Act Two brings slave-master Colonel Jessie Reems to the stand. He admits that he and MammyLouise loved each other, but that he had to beat her when she didn't help him to capture her runaway son. However, while Safreeta Mae was always good for breeding, he still had to consider her lusty behavior in respect to the sanctity of white females. Safreeta then confesses that Colonel Reems was her father, and that she made advances to him to help her sister. She even admits that her self imposed facial scar was evidence of her efforts to make him leave her alone. We also finally learn that, unlike the happy Hollywood version being offered, MammyLouise had actually poisoned her Master in retribution for the dismemberment of her captured runaway son. The trial concludes with summations by both the defense and the prosecution. The former declares the utmost importance for all not to disguise or cover up the truth about the horrors of slavery, while the latter suggests that to liberate the present and insure the future, we must finally come to admit our common past and become much better. Victoria thereby comes to a more rounded understanding of what has really defined her. Well acted by the fine eight member cast with passionate performances by Kortney Adams as Victoria, Anich D'Jae as Safreeta Mae, Valencia Hughes-Imani as MammyLouise, Christian De Jesus as both Leroy and the court's Bailiff, and Jeff Gill as both Clyde Evans and Colonel Reems. High marks are also due for the impassioned portrayals by Talaya Freeman as the Judge, Valerie Lee as the Prosecutor, and Marvelyn McFarlane as the Defense, all under Jacqui Parker's strong Direction. (My Grade: 5)
BILLY CONNOLLY LIVE
At the Loeb Drama Center in Cambridge, Mass. under the auspices of the American Repertory Theatre, "Billy Connolly Live" is now being presented for a very limited engagement. Scottish comedian Connolly is best known here for his frequent American TV Talk Show guest appearances, his many motion pictures here and abroad, co-starring with such film luminaries as Dame Judi Dench, Jim Carrey, Michelle Pfeiffer,and Tom Cruise, and his many solo concerts in the U.S. and U.K., as well as in Australia and New Zealand. An observational comedian, lacing his thoughts with earthy profanities, he had the capacity audience roaring its thunderous approval throughout Billy's 2 1/2 hour (with no intermission) performance. Soon after beginning, he cautioned the audience "not to expect punch lines," ( because he doesn't have any.) Continuing on with a widely diverse range of topics, some of these notions included such varied subjects as his bouts with Sleep Apnia, "a snoring disorder, " which like pre-menstrual problems also causes suffering on those not so afflicted. He similarly elaborated on "the aging process," which made him the target of many physicians probing his backside. To this he added that "a doctor cupping his genitals wasn't the worst thing that ever happened to him." To these ideas he also offered his wife's comment that "as a man, you don't actually know what being invaded really is." Later, his most provocative descriptions also included a lengthy discussion of his elderly father's very serious health problems. Not usually a subject one would expect to be treated lightly, Billy went on to elaborate on his dad's tenuous survival, after suffering seven strokes. Going on extensively, in recreating the old man's trumpet-like outbursts, (defining his inability to speak), Billy generated ongoing gales of laughter from the surprisingly accepting and enthusiastic audience. He finally brought his extended performance to its highly raucous conclusion with animatedly detailed descriptions of three separate encounters--each years apart--with his very messy involvements with several lady friends suffering from some very nasty stomach upsets. While it's quite obvious that Billy Connolly is most certainly a gifted, assured, highly aware, and audacious monologist, be also advised that some of his many amusing and entertaining observations may also include some definitely substantial turn-offs, too! Now playing through June 16. (My Grade: 4)
PRESENT LAUGHTER
Now at the Boston University Theatre is the Huntington Theatre Company's new production of "Present Laughter" by Noel Coward. First staged in 1939, this scintillating comedy, generally regarded as semi-autobiographical, has been revived many times and has been a favorite role not only for Coward, but also for such stars as Clifton Webb, Peter O'Toole, Albert Finney, Ian McKellen, and George C. Scott. Unfolding in three acts, it's set in the posh London apartment of successful actor Gary Essendine. Vain and self-centered, admitting to being 45 (but really at age 52), he's actively getting ready for an extended tour of Africa and is somewhat concerned about a possible impending midlife crisis. As he prepares for his big trip, he's confronted by a succession of seductive females, admirers, associates, and fawning hangers-on. They include young stage-struck 24 year old Daphne; scheming former bedmate Joanna; his estranged wife Liz (separated for 11 years), and his durable and dependable secretary Monica (at his beck and call for 17 years.) Garry is also faced by his business partner Henry, as well as Morris (a theatrical producer) who's having an affair with Henry's wife, Joanna. He's also visited by Daphne's aunt Lady Saltburn, a patroness, and a grandly kooky and genuinely off-the-wall, young aspiring playwright named Roland Maule. This ditsy writer goes on-and-on, to hilariously absurd lengths, to demonstrate his imagined creative talents to his host. In the final act, as Gary and his secretary are ready to leave for Africa, first Daphne and then Maule arrive anxious to join the great star on his trip. Further comic complications develop with the surprising appearances of Joanna and Liz. Everything then comes to a comic boil when Henry and Morris come to challenge Gary about Joanna, with delightfully amusing consequences! The large, nearly perfect cast is in top form from start to finish with multi-talented Victor Garber at full comedic pace as Essendine. Holley Fain as young Daphne, Pamela J. Gray as predatory Joanna, Lisa Banes as Gary's long-gone wife Liz, Sarah Hudnut as dependable secretary Monica, Marc Vietor as the tempestuous producer Morris, and Nancy E. Carroll, as Gary's shuffling and cigarette puffing maid, were all genuine comic winners. Brooks Ashmanskas as the wildly, over-the-top playwright Maule was especially noteworthy. High praise must also go to Alexander Dodge's elaborate and dazzling day room setting, with its splendid central ascending curved staircase, Mariann Verheyen's resplendent costumes, Drew Levy's engaging musical choices including some infectious recorded moments by Coward singing his "Living in a Changing World," and Nicholas Martin's strongly focused Direction. Lastly Garber, seated at a piano on stage, singing the author's "World Weary " at the onset of Act Two, and doing the same at the final curtain, singing his "I'll See You Again," really added just the right tone to this highly entertaining presentation. Now playing through June 17. (My Grade: 5)
CLOSER THAN EVER
Last night I went to the Metro Stage Company’s production of Closer Than Ever, directed by Jennifer Honen Galea. My friend and I arrived at the theater for the press preview at 7:30. We were the only ones there. It turns out that the show had been plagued with obstacles, the choreographer quit, one of the leads was sick with laryngitis, and most of the press could not be there on this particular night--yet despite all that, it was a very cute, well written piece. Richard Maltby Jr. and David Shire make wonderful music together. The revue features 24 original songs by this duo. The lyrics were poignant, funny and moving. The choreography was not any of those things. It’s a good thing the choreographer left-- she didn’t know what she was doing, anyway. The cast, which included Robert Case, Abigail Cordell, Will Larche, Paula Markowicz, Tracy Nygard, Mary O’Donnell and Aaron Velthouse, were in great voice. I especially enjoyed She Loves Me Not sung by Mr. Case, who has a voice that could make a snow woman melt. Also notable was Tracy Nygard’s rendition of You want to be my friend. I would not run to see it, but with ticket prices at $20.00 and $17.00, it would be a fine "date" show. It’s playing at the Metro Stage Company on June 8, 9, 14, 15, and 16 at 8:00 p.m., and on June 10 at 2:00 p.m. For tickets go online to www.metrostagecompany.com or call 617-524-5013. (My grade: 2.5)
SNAPPY DANCE THEATER
Currently at the Wimberly Theatre in the Calderwood Pavilion at the Boston Center for the Arts is the Snappy Dance Theater, a Boston-based modern dance company, which is now celebrating its tenth year. Composed of seven members (4 women and 3 men), they have toured nationally, as well as in France, Russia and Japan, to much acclaim. Performed on a bare stage, their 90 minute program unfolded in two parts, with a brief intermission, utilizing a witty and wide ranging combination of constant fluid movements inspired by athletics, gymnastics and a myriad of other related dance styles. Part One was comprised of five short segments. The first entitled, "Four Fourths," featured two males and two females perched up on each others backs--and then later, with one being held upside down by the others, followed by each being bodily thrust from one to the other, all to spirited viola and cello accompaniment. "Limning Twilight" opened with only two females hunched over like insects, with their loosely dangling arms and rubber-like leg movements eventually evolving into many combinations of interlocking arms and legs, all suggesting many different changing patterns. "Odd Egg Out" came next. Danced to the guitar of Carlos Paredes and then later to the sonorous strains of Ottorino Respighi, it featured a female and three males forming a human pyramid, then having her become the horizontal bar of a living letter "H," and finally seeing her riding offstage atop the backs of her male partners. "Au Lait," performed to Billie Holliday's classic recording of "Good Mornin' Heartache," amusingly featured an obviously annoyed housewife animatedly attempting to pry her husband's nose, at their breakfast table, from that morning's newspaper. "Lumen" concluded the program's first half with all of the company athletically dancing mostly in stark silhouette against very large, bold and strikingly changing background colors. Part Two featured only one piece, "String Beings," their full-length, world premiere presentation. Developed in collaboration with M.I.T. media specialist Jonathan Bachrach and the Boston Symphony Orchestra's first violinist Lucia Lin, it combines full, proscenium high and wide, live video projections allowing the entire company to interact with their lively and jumbo shadowy televised selves. These grandly inventive video images, ranging from energetic linear swirls and huge constantly changing abstract patterns turning into the cavorting shadows of the dancers, then surprisingly splitting into two. Then with the cast's lively upper halves drifting away from their lower dancing bodies, the now freed torsos actively began bobbing to and fro way up and above. Danced vividly, for this premiere's full 45 minutes, to the percussion laced music of Michael Rodach, the evening's finale featured the B.S.O.'s virtuoso playing her violin while being seated first upon a dancer's upright legs and then onto his shoulders! The highly accomplished cast: Andrea Blesso, Danielle DiVito, Bonnie Duncan, Rogerio Fernandes, Carey Foster, Tim Gallagher and Jeremy Towie richly deserved the capacity audience's standing and roaring approval, with Marsha Mason, the company's highly-gifted Founder and Artistic Director being especially noteworthy. She was prominently featured, performing on stage, in all of the program's initial pieces except for the beginning "Four Fourths." Now playing through June 10. (My Grade: 5)
PARADE
At the Roberts Studio Theatre in the Calderwood Pavilion at the Boston Center for the Arts, the SpeakEasy Stage Company presents its new production of "Parade," featuring Book by Alfred Uhry and Music and Lyrics by Jason Robert Brown. Saluted with a multitude of Award nominations, such as those of the Tony's, Drama Desk, and Outer Critics Circle. At the time of its Broadway debut in 1998, it also proved to be one of Lincoln Center's most ambitious and controversial undertakings, thanks to its serious and heavy subject matter. This presentation represents its Boston area professional premiere. Set in turn of the 20th century Georgia, its focus is on the notorious trial and conviction for murder of Leo Frank, and its aftermath. As the town parade in Marietta, Georgia, celebrating Confederate Memorial Day in the Spring of 1913, passes by the local pencil factory, 13 year-old Mary Phagan has come for her $1. 20 payment to the office of the owner Leo Frank. Although he was born in Texas, having been raised in New York City, as a prosperous educated Northern Jew, he was the object of obvious suspicion and prejudice. When Mary Phagan is found murdered later that day in the factory's basement, the area's ambitious District Attorney, having pieced together some very flimsy evidence and anxious for a speedy arrest and trial, quickly turns his attention to Leo Frank. As the bewildered factory owner is brought in handcuffs from his warm, middle class home to his cramped jail cell, he protests " I have never committed an illegal act in my life!" Later, in a virtual "Kangaroo-styled" court room proceeding, a succession of young factory employees, and assorted others, systematically implicate him as Mary's killer. Especially damaging was the factory custodian's declaration that Frank had tried to bribe him after admitting his guilt. (Many decades later, this rogue was finally revealed as the actual murderer.) "They were coached," shouts the anguished prisoner, to no avail as he's lead away. Unwilling to accept Frank's choice of a northern defense attorney, he'd been assigned a laid-back, inconsequential country lawyer, instead. Undeterred, after losing his bid for an appeal, Frank searches for answers in a multitude of legal texts. Lucille, his loving and passionately involved wife, (southern born and raised) unwilling to sit idly by as her husband is steadily moved to his ultimate death sentence, works relentlessly to expose the mountain of contrived evidence and false witnesses who have testified against her husband. After finally confronting the state's Governor, and demonstrating the wide range of questionable testimony in her husband's trial, he agrees to commute Leo Frank's sentence to life imprisonment. Tragically, the town's people, incited by the zealously anti-Semitic editor of a local newspaper, take matters into their own hands. At night, a mob breaks into Frank's prison cell and lynches him, bringing to a close this early, bitter and disgraceful piece of American history. The large 35+ member cast (not including the extensive ensemble) is impressive throughout. Full voiced and impassioned Brendan McNab and Bridge Beirne are totally compelling as Leo and Lucille Frank. Much praise is also due for the commanding performances by David Krinitt as the ambitiously duplicitous prosecutor; Timothy John Smith as an alcoholic news reporter who becomes quite involved; Gerard Slattery as Frank's irrelevant, court-appointed lawyer; Brett Cramp as the bigoted newspaper editor; Kerry A. Dowling as the young murdered Mary's mother; and Edward M. Barker as Leo Frank's major false "witness." Jason Robert Brown's stirring score composed of nearly 40 diverse songs in varied styles ranging from folk, ragtime, blues and even a cakewalk to tender ballads was especially effective. Paul Daigneault's well centered Direction, Eric Levenson's imposing multi-level set comprised of 4 central brick columns framing a host of rear projected scenic panoramas, Stacey Stephens' fine period costumes, David Connolly's spirited choreography and the splendid orchestra conducted by Jose Delgado, all came together very successfully in this genuinely riveting presentation. Now playing through June 16. (My Grade: 5)
NO MAN'S LAND
At the Loeb Drama Center in Cambridge, Mass. the American Repertory Theatre presents its production of "No Man's Land" by Harold Pinter. First staged at London's National Theatre to great acclaim in 1975, starring John Guilgud and Ralph Richardson, this same production was equally enthusiastically received on Broadway the following year. Guilgud and Richardson repeated their legendary roles on British television in 1976. It was again revived in London in 1992 (starring the playwright), and returned to Broadway in 1994 with Jason Robards and Tony nominee Christopher Plummer playing the leads. The high levels of performance and production in this new edition certainly makes it a worthy successor to these past versions. Hirst, a successful and elderly poet, has met Spooner, a down-on-his-luck writer, at a local Pub, and they've both come back to Hirst's large and impressive home. As they sit together drinking heavily in the imposing drawing room, the well dressed Hirst, who has long been burnt out, feels that all of his creativity is gone, while the shabby and disheveled Spooner tries to engage his host by extravagantly boasting about his poetry. The evening finally ends with Hirst literally dragging himself out of his drawing room in a drunken stupor, while Spooner is confronted by Hirst's surly and highly assertive servants, Foster and Briggs, who seem to be firmly in charge. Later, Spooner finds himself locked in that same room for the night. The next morning Hirst seems to have forgotten everything about the previous evening and, beginning to drink again, greets Spooner as an old Oxford acquaintance. Spooner, hoping to be hired as Hirst's clerk, actively |
At Jimmy Tingle's Off Broadway Theater in Davis Square, Somerville, Mass. is the U.S. premiere of "Jesus: The Guantanamo Years," created by and starring Abie Philbin Bowman. Fully bearded, with his shoulder
length locks of hair tied by a small thin band of thorns, and garbed in a bright orange prison jumpsuit, young Irish standup comedian Bowman takes center stage here in this very witty one man show. A surprise hit
last year at the famed Edinburgh Festival in Scotland, it was then followed by successful engagements in London's West End with similarly popular presentations in Ireland, in Dublin, Belfast and Galway. The
show's provocative premise finds Jesus held as a suspected "terrorist" at JFK Airport and then shipped off to the Guantanamo Prison in Cuba. As a hairy Middle-Easterner, who's had some connection with martyrdom, he was quickly identified as a definite foreign provocateur! Then, in his 75 minute solo turn, (his first onstage reappearance in nearly two millenia), he sounds off candidly about his incarceration, his warm, but still controversial relationship with his Dad, and his quizzical observations about a multitude of related matters. He ingenuously describes how he was first mistakenly believed, by his interrogators, to be a "magician," and then later, when they learned that his name was "Jesus," how they then came to assume that he must be a Mexican.. Then they also arrived at his admission that he is not now and has never been a Communist. Still later, he finds himself wondering about the vast amounts of unpaid Bible royalties still due to him. He further riffs amusingly about how much "no fun it was, being the only Jew imprisoned at Guantanamo,", how Mother Theresa took an amorous fancy to Gandhi, and how he was the only kid ever, who at his birth, broke his own
mother's hymen. Of course, all of these spirited recollections were loudly greeted by the full audience with large gales of approving laughter. Later, with still more portentous issues for him to consider,
he begins by noting that the Guantanamo internment camp is really run just like a maximum security prison for chickens by KFC, and then seriously asserts that the military commissions there mostly act like "kangaroo courts " concluding that conditions, over all, are woefully un-Christian! Bowman observes that "Many Christians have seen this show, and almost no one has objected to it as blasphemy." This highly
engaging and quite stimulating solo performance, which manages to not only playfully jest about religion, but to also raise some humor laced and ultimately probing and insightful ideas about Guantanamo, is now
playing through August 12. (My Grade: 5)