Archived Reviews (Continued)

STONE COLD DEAD, SERIOUS
Review by Norm Gross

At the Loeb Drama Center in Cambridge, Mass. is the American Repertory
Theatre's production of " Stone Cold Dead, Serious," a world premiere,
by Adam Rapp. Set in present day Chicago, its focus is on the
Ledbetters, yet another devastated American family mired in dysfunction
and despair. Cliff, the father, sits sedated and incontinent on the
parlor couch ever watching TV because of an on-the-job injury. Linda,
the mother, works overtime as a waitress and pins her hopes for
something better on help from the "Saints". Shaylee and Wynne are
their teenaged daughter and son. Shaylee, a suicidal high school drop-out,
supports her drug habit by prostitution, while Wynne, a
computer game-playing whiz, and a finalist in a big-time TV computer
game contest, plans to go to New York to compete in a nationally
televised $ 1,000,000 real life-and-death sword battle for the prize!
Wynne's mute E-Mail girlfriend Sharice, another contest finalist, will
join him in New York to try to help him win the big money. Wynne is
confident that his triumph will solve all of his family's problems.
Surprisingly, the bloody TV confrontation is only overheard (as a Howard
Cosell-type play-by-play description ) as Wynne's family watches it on
TV. The outcome is quite astonishing and equally unsettling! Strongly
directed by Marcus Stern. The acting, by the small cast, is uniformly
excellent, with extra plaudits for Matthew Stadelmann as Wynne, Guy Boyd
as the Father, and Elizabeth Reaser as both blonde sister Shaylee and
brunette girlfriend Sharice. Although the drama relentlessly suggests
a bleak finale, the denouement is decidedly not and seems curiously
out-of-step with everything that has preceded it! Now playing through
March 12. (My Grade: 3 1/2)

FEFU AND HER FRIENDS
Review by Norm Gross

In the Leverett Old Library Theatre at Harvard University in Cambridge,
Mass. is the Industrial Theatre's production of " Fefu and Her Friends,"
playwright Maria Irene Fornes' 1977 exploration of feminist behavior,
attitudes and reaction to each other, their male counterparts and
society, in general. Set in the New England country home of Fefu, a well
educated, worldly and elegant matron, who has invited seven female
friends to her residence to reminisce with her about their long-past college
days together. Paula and Cecilia, former gay lovers, are still
friends. Emma jokes about genitalia and the awkwardness most females
feel about such a topic, Sue and Christina engage Fefu in a discussion
of the " manly " subject of plumbing, resulting in a playful watery
melee (dousing each other with their drinks ), forcing all to
retire, to dry themselves off!! Julia, the play's main character, has
been handicapped by a mysterious spinal nerve injury, and is confined to
a wheelchair. Later, when she's seen walking, unassisted, her illness is
suspected to be psychosomatic, culminating in a highly perplexing and
unexpected turn of events! Well acted by the all female cast, headed by
Ava Geffen as Fefu, Kristin Baker as Emma, and Irene Daly as Julia, with
commendation for Christopher Scully's assured direction. Not only a
provocative examination of feminist ideas and conduct, but also a
stikingly unusual presentation, in terms of its staging.
Following the playwright's instructions, midway, as the play's
action unfolds, the small audience is divided into quarters, taken out
of the main theatre's space, and rotated in this same building, through
four minor performance areas, representing Fefu's lounge, kitchen,
bedroom and cellar, where the actresses simultaneously enact four
distinct scenes,separately, four times, for each separate group...making
for a highly unusual and occasionally awkward dramatic interlude, which
might prove to be quite unwieldy, if confronted by a really large
audience! Now playing through February 16. (My Grade: 3 1/2)

BAILEGANGAIRE
Review by Norm Gross

At the Boston Center for the Arts is the Sugan Theatre Company's
production of "Bailegangaire", ( the town
without laughter ) by Tom Murphy. Written in 1985, it was a great success
in the author's native Ireland, and this presentation marks its New
England premiere. Set in rural Ireland, the plot concerns Mommo, an
elderly and addled grandmother, living with Mary, her middle-aged
unmarried grandaughter. Mommo, bedridden and fixated on her bygone days,
recurrently begins to recount the major details of the community's
legendary and long-ago laughing competition, without ever relating the
contest's results! Mary, suspecting the old lady's story has an unhappy
ending, continually tries to coax the old matriarch into revealing the
outcome of her ongoing tale, without success. When Dolly, Mary's
younger married sister drops in for a visit, the muddled Granny's
ongoing and endlessly inconclusive colloquy acts as a catalyst to the
smoldering rivalries between the two siblings. Mary, the more educated
sister had, some time before, left their country home to become a
professional nurse, and feeling strangely unfulfilled, has returned to
care for her aged and infirm grandparent. Dolly, with children and
mired in a loveless marriage, has long been bitterly resentful of her
older sister's escape to a much better life. In a surprising turn, the
old woman's rambling commentary begins to change, leading them to a more
hopeful and greater understanding of each other. The small cast,
especially Nancy E. Carroll as Mommo, Natalie Rose Liberace as Mary, and
Judith McIntyre as Dolly, are all superb and equally intense under
Carmel O'Reilly's strong and controlled direction. A striking, very well
written, passionately enacted and genuinely memorable drama, now playing
through February 23. (My Grade: 5)

THE WILD PARTY
Review by Norm Gross

At the Boston Center for the Arts is the SpeakEasy Stage Company's
production of "The Wild Party", a new musical play with music
and lyrics by Michael John LaChiusa, based on the epic 1928 poem by
Joseph Moncure March. Set in Manhattan in the summer of 1928, the play opens
as Queenie, a brash, blonde chorus girl and Burrs, her rough and domineering
vaudevillian boyfriend, throw an evening party for their friends. A
wide ranging assortment of New York-types, their guests include Jackie,
an indolent and outrageously indulgent playboy; Eddie, an
African-American prize fighter with Mae, his white wife; Nadine, her
14 year old sister; Madelein, a Burlesque stripper; and Sally, her gay
drugged and stupefied girlfriend; Gold and Goldberg, two small-time
Jewish producers, hoping for a chance on Broadway; the D'Armanos, a gay
black singing and piano-playing duo, specializing in sophisticated
songs; Dolores, an over-the-hill Broadway prima donna; Kate, Queenie's best
girlfriend and a popular, highly stylish and elegant African-American
entertainer with her white boyfriend. As the evening swirls on with its
excess of bathtub booze,
and gay and straight sex ( with multiple changing partners), the
pervading disillusionment, emptiness, isolation, and desperation of the
partygoers becomes increasingly evident. Surprising, as it is,
considering the evening's bi-racial preponderance, the party is also
frequently accented by graphic episodes of blatantly overt and offensive
racism ( played out, either in blackface or by a manipulated
"mammy-type " hand puppet )! The large and accomplished cast features
stand-out performances by Bridget Beirne as Queenie, James Jackson, Jr.
and Brian Robinson as the D'Armanos, and especially Maureen Keillier as
Dolores and Merle Perkins as Kate. Vigorously directed by Andrew
Volkoff, with spirited 20's style choreography by Laurel Stachowicz and
excellent orchestral accompaniment, conducted by Paul S. Katz, this
compelling and provocative musical exploration of the licentious and
troubled underside of the " Roaring Twenties," is fully deserving of the
audience's standing ovation at its conclusion! Now playing through
February 23. (My Grade: 5)

PROOF
Review by Norm Gross

At Boston's Wilbur Theatre is the National Touring Production of
"Proof," by David Auburn, a multi-award winning drama ( 2001 Pulitzer,
Tony, N.Y. Drama Critics, and many others ).Set in Chicago, the play
concerns Catherine, a young single woman just turning 25, whose
renowned Father ( a celebrated mathematician, long afflicted with mental
illness ) has just died. Chronically depressed, due to the many years
she has spent caring for him, she must now cope with Claire, her
alienated older married sister, who's come from New York to help with
the funeral arrangements. Hal, a former student of their Father,
discovers a monumental mathematical " proof " among his late mentor's
papers. His finding further strains the sisters' tenuous affinity, and
casts a potential shadow over the romantic attraction developing between
he and Catherine. Catherine, conflicted by notions of her own
instability, ( possibly inherited? ) is then compelled to make some
major decisions between Hal's growing ardor and Claire's suggestions
that she move (so that she might be close by) to New York. Stirringly
acted by the superb four member cast, with many plaudits for Chelsea Altman
as Catherine, Tasha Lawrence as Claire, Stephen Kunken as Hal, and
Robert Foxworth as the Father. Assuredly directed by Daniel Sullivan.
Much praise must also be given for John Lee Beatty's wonderfully
atmospheric back porch setting. This very well written, powerfully
enacted, provocative and strikingly staged presentation, is fully
deserving of all of the awards bestowed on it. Now playing through
February 17. (My Grade: 5)

TUCK EVERLASTING
Review by Norm Gross

At Wheelock Family Theatre on the campus of Wheelock College in Boston
is their production of "Tuck Everlasting," a musical play based on the
popular children's novel by Natalie Babbit. Featuring book, music and
lyrics by Harold Bakken, it premiered at this same theatre a decade
ago, and proved to be one of their most popular and successful
presentations. Set in typical small town America in 1880, the plot
centers on the Tuck family and their juvenile acquaintance, ten year old
Winnie Foster. After wandering from her home into a nearby wooded
area, young Winnie stumbles onto a magical, bubbling spring, and the
Tucks ( Mother, Father and their two teen-aged sons ).
After drinking from its enchanted waters a century before, the Tucks
have remained at their same ages ever since, never aging. After disclosing
their special condition to Winnie, they're
hopeful that she might also join them in eternal youth, by
likewise sipping from their charmed well. To complicate matters,
however, a mysterious stranger discovers their secret and schemes to
profit financially by taking control of their mystical fountain, with
tumultuous consequences. His accidental demise, and some all important
choices by Winnie and the Tucks, lead to a hopeful and life affirming
conclusion! The large, young and accomplished cast is first rate, with
solid commendation for youthful Andrea C. Ross as Winnie. Thanks to her
assured stage presence, excellent singng voice and highly effective
acting, she shines in the important central role. Fine support is found
from Robin V. Allison as Mother Tuck, Brian Nash as her "younger" son
and Robert Saoud as the mysterious outsider. High praise also for the
splendid eight piece musical ensemble conducted by Jonathan Goldberg; Tim
Jozwick's effectively simple, small-town settings; and Jane Staab's
confident direction. The composer's many songs adequately move the
play's action forward, but most are much too wordy and sometimes even
unwieldy, with " All Mine," sung by Winnie, upon discovering the Tucks'
beguiling secret, being the show's only genuinely memorable tune. Now
playing through February 24. (My Grade:4)

OVER IT
Review by Norm Gross

At the Huntington Theatre's Rehearsal Hall in Boston is Next Stage's
production of " Over It," a new play by Marc Ardito. Set in present-day
Manhattan, the plot revolves around a quintet of young, adult New
Yorkers. Tuck and Matt are heavily into Stock Market transactions and
share the same office. The former is glib and full of bravado, masking a
dark and malevolent underside; while his associate is more reflective,
still saddened in the aftermath of a failed romance. Billy, a petty
Stock Exchange messenger,is deeply in debt to his drug connection, and
has a tenuous live-in relationship with Annie. They are in the process
of splitting up! Helen, the play's central character, an unsuccessful
playwright, is financially uncertain and is being strongly encouraged
by Tuck to engage in Stock Market trading, with turbulent results! As
her luck rises and falls, she is forced to make some major decisions
about her future, with provocatively surprising consequences. Well acted
by the excellent five member cast, with special commendation for Helen
McElwain as Helen, Trey Burvant as Tuck and Eric Anderson as Billy.
Although some of the plot development occasonally seems a bit awkward,
nevertheless the author's sense of dialogue is constantly sharp, and
continually crackles and resounds with a fine contemporary edge! Under
Justin Waldman's sure direction, this microcosm of young and uncertain
urbanites, steadily involves us and maintains our concern and interest.
Now playing through February 10. (My Grade: 4)

THE SHAWL
Review by Norm Gross

At Boston's Center for the Arts is the Basement on the Hill Stage's
production of " The Shawl." An early one act play by David Mamet, the
plot concerns John, a charlatan, posing as a psychic,engaged in an
elaborate scheme to cheat a wealthy young woman out of her inheritance.
At a later time, he tries to impress Charles, his young gay lover, with
highly detailed and intricate explanations of the ways by which he is
able to deceive his patroness into believing in his " supernatural "
powers ( a mixture of well designed questions, keen observations and
carefully phrased replies). John knows that their success hinges on an
extended period of time, necessary to fully gain his prey's complete
trust, but his young inexperienced and highly impatient accomplice
demands otherwise! To placate Charles, and gain quicker access to the
young victim's fortune, John arranges a hasty " seance " to contact her
deceased mother with unexpected and startling consequences. Although
strongly acted by Will Cabell as John and Dassia Posner as the duped
young woman; Paul Barrett was somewhat weak and
unconvincing as John's precipitate and demanding young accomplice! Ably
directed by Lilia Levitina ( the company's founder and guiding artistic
force) with effective and stirring incidental recorded music ( to
heighten the play's dramatic turns ) arranged by Emily Romm, this well
crafted, intriguing and compelling presentation is now playing through
February 2. (My Grade: 4)

TARTUFFE
Review by Norm Gross

At the New Repertory Theatre in Newton Highlands, Mass. is their new
production of " Tartuffe," Moliere's provocatively witty assault
on 17th century religious hypocrisy. By draping himself in a mantle of
super piety, Tartuffe, a penniless mountebank, has wormed his way into
the confidence of the aristocrat Orgon. Through a series of devious
schemes, he has hoodwinked his gullible patron. Not only has Orgon forced
his daughter to become betrothed to this sanctimonious fraud, but he has
also, willingly, agreed to sign over all of his property, to this same
artful deceiver! Ultimately, the tables are quite literally overturned
( with Orgon hiding under one, while eavesdropping ) and Tartuffe's
cunning and chicanery are exposed by the entrapment arranged by Orgon's
wife Elmire. The large cast is uniformly and uproariously excellent
under Rick Lombardo's confident direction. High praise for Michael
Poisson as Orgon, Rachel Harker as Elmire, Marianna Bassham as their
comically, beleagured daughter, and most definitely, Richard McElvain in
the title role...all grand farceurs!! Special notice also for Richard
Wllbur's supremely clever translation from the original French ( into
comic rhyming, English couplets ), and most especially for scenic
designer Kristin Loeffler's skilfull transformation of this
contemporary auditorium into an artful recreation of a 17th century
period-theatre, complete with simulated ( and electrified ) candle-like
footlights, overhead, hanging chandeliers, and even with fully costumed
King Louis XIV and his Queen, sitting to one side, as observers! A
memorable, well staged, and delightfully entertaining presentation of a
great comic masterpiece! Now playing through February 10. (My Grade: 5)

HEARTBREAK HOUSE
Review by Norm Gross

At the Boston University Theatre is the Huntington Theatre Company's new
production of George Bernard Shaw's " Heartbreak House. " Set on the eve
of World War I, at the stately English country residence of a retired
and eccentric elderly British sea Captan, the plot centers on young
Miss Ellie Dunn, invited as a weekend guest by the aforesaid Captain's
elder daughter Hesione. Also present, amongst others, as weekend
visitors are Hesione's husband, Hector; her younger sister Lady
Underwood; Ellie's impoverished Father Mazzini Dunn; and his employer
Boss Mangan, a wealthy, ruthless and middle-aged business magnate.
Ostensibly, an Edwardian comedy of manners, Shaw intended it also as an
allegorical commentary on the war which would herald fundamental
changes to come in Europe. Learning of Ellie's decision to marry Boss
Mangan, as the means for lifting herself (and her father) from
poverty, Hesione intervenes, and turns Ellie, instead, towards a
completely different and quite surprising alternative! Well acted by Mia
Barron as Ellie, Amy Van Nostrand as Hesione, Edward James Hyland as
Boss Mangan, and most certainly, J. P. Linton as the presiding and
aberrant sea Captain. High marks must also go to Darko Tresnjak's solid
direction and Alexander Dodge's elegantly elaborate ( interior and
exterior ) mansion settings! Shaw's brilliantly witty commentary on war,
business ethics, marriage, and English Society, sparkle throughout,
climaxing with the guests bemused indifference to the approaching great
armed conflict! Now playing through February 3. (My Grade: 5)

THE MIRACLE WORKER
Review by Norm Gross

At Boston's Lyric Stage is their new production of "The Miracle Worker"
by William Gibson. A major Broadway success in 1959, it was later made
into a multi-award winning motion picture in 1962. Set in rural Alabama
in the 1880's, it tells the story of 12 year old Helen Keller.
Deaf, blind and mute due to an infantile illness, she was considered
unteachable (even retarded) by her anguished family. As a last
resort, her parents send for Annie Sullivan, a teacher from the Boston
area's Perkins School for the Blind. Annie, initially considered too
young and much too outspoken, finally wins their confidence, but then
objects to the Keller's overly indulgent and completely unrestrained
attitude towards Helen's household behavior. Allowed to run wild,
Helen's demeanor is more like that of an uncontrollable house pet, than
that of a normal young child! By separating Helen from her family, and
removing her to a small nearby little-used storage facility,
(equipped for liveabilty) Annie begins the laborious and highly
physical and extremely demanding process of teaching and disciplining
Helen. Gradually Helen's personal hygiene and table manners improve but
Annie's supreme struggle and ultimate success centers on her dogged
efforts to make Helen relate the sign language, which Annie traces out
in her hand, to actual objects and concepts! Julie Jirousek as Annie and
especially sixth grader Eliza Rose Fichter as Helen, are
superb--physically, emotionally and dramatically, with strong
assistance from the large supporting cast headed by Bill Humphreys and
Sarah Newhouse as Helen's father and mother. Under Courtney O'Conner's
well focused direction, this intensely moving and highly inspirational
drama moves steadily forward to Helen's climactic and triumphant
connecting of Annie's finger movements to language and ideas! Now
playing through February 2. (My Grade: 5)

MISS PRICE
Review by Norm Gross

At the Boston Playwrights' Theatre is the world premiere of
"Miss Price," a new one-person play by John Kuntz. Set in a small New England
town's library, the play evolves as a series of brief early morning
episodes preliminary to the institution's official daily opening to
the public. The sole performer is middle-aged librarian Eleanor
Shields, as she interacts with a number of others (none of whom is
seen or heard, except by her). The play's primary focus is on her
relationship to her new assistant: Miss Price (a Californian, who's come
East, leaving behind a soured Lesbian affair ). Ms. Shields, a pent-up
amalgam of stiff day-to-day routine and latent anxiety, begins each day
by unlocking a mighty, invisible door, triple-dipping a new morning tea
bag ( into a cup of hot water ), sharpening her pencils, stamping all of
the overnight returned books, and then starting the day ( while still,
quite alone ) with a full throated scream! At first resentful of her new
subordinate, she gradually becomes much more open and somewhat less
repressed, thanks to her involvement with the younger woman. We learn
about the elder's only boyfriend ( who, long ago, committed suicide ),
and her aged, handicapped and demanding Mother, whom Ms. Shields lives
with ( and with whom, she repeatedly speaks to, on the telephone ). Her
Mother's demise (later in the play ) leaves Ms. Shields both
relieved and shaken! When Miss Price ultimately decides to return to
California, the elder librarian is genuinely sorry! Strikingly performed
by Paula Plum, one of this area's most gifted and versatile actresses,
this affectionate, (albeit, rather slim and predictable ) character
study is steadily infused with much authority, tenderness, humor and
vitality, all underscored by Eric Engel's firm direction! Now
playing through January 26. (My Grade: 4)

THE CLEARING
Review by Norm Gross

At the Wellesley College campus in Ruth Nagel Jones Theatre in Wellesley, Mass.
is the Wellesley Summer Theatre's production of " The Clearing " by
Helen Edmundson. Set in 17th century Ireland, at a time when the British
governing authorities initiated a series of draconian laws aimed at the
Irish population. These measures involved seizure of Irish land and
property and the deportation and resettlement of the Irish to distant,
foreign shores. The plot concerns Robert Preston, an Englishman, and owner of
an Irish manor who has lived there with his Irish wife, Madeleine, for
many years. When their Irish servant girl is taken away for deportation,
he must choose between his wife's efforts to rescue her or to
collaborate with the British--against his wife--in a last-ditch and
agonizing attempt to save his estate from confiscation and himself from
banishment! Derek Stone Nelson and Alicia Kahn are impressively
stirring and impassioned as Preston and his wife, Madeleine, with strong
assistance from the first-rate supporting cast. Special notice also for
Stephen Cooper as a harsh and unrelenting British official and Bern Budd
as Preston's understanding and helpful Irish neighbor.High praise is
likewise deserving for the simple yet highly effective set designed by
Ken Loewit and Wiz White (an assemblage of raised, stone-like slabs,
enhanced by a series of changing and extremely meaningful, rear-screen,
shadow-like projections ) which quickly and deftly establish a
multiplicity of varied locations, from garden and mansion to courtroom
and seaside harbor. Commendation also for Nora Hussey's assured
direction ( including her fine choice of tenderly soulful
Irish music to underscore each plot development ). A well written,
fervently enacted, provocative, and effectively staged drama, focusing
on the sorrow, pain and anguish during a dark and infamous period in
Anglo-Irish history. Now playing through January 26.(My Grade: 5)

AMERICAN NOTES
Review by Norm Gross

At the Boston Center for the Arts is the Coyote Theatre's production of
"American Notes" by Len Jenkin. Played without intermission, this 95
minute, one-act crossection of America's lonely and disaffected
nightpeople is set in the late, late evening, in an average,
Middle-American Motel, a neighborhood restaurant, and a small-time,
roadside travelling sideshow. Pauline, a pretty young female night
clerk, spends the wee hours at the motel's " check-in " counter chatting
with Mr. Faber, a forlorn and dejected businessman. Karen, a former
model, waits alone in her motel bedroom, for her exploitative boyfriend
and ponders her empty existence. A middle-aged lady-academic
(referred to as "the Professor" ), expostulates on her ongoing
encounters with the many extraterrestrials she calls "the Shadow
People." Pitchman, an itinerant carnival " barker," entices
prospective customers to pay for a peek at his " Egyptian Crocodile,"
(which is really an American alligator that may actually be more dead
than alive ), with the help of " Chuckles," a mute and homeless
simpleton, who's eager to be of assistance. Well acted by the fine ten
member cast, Tanya Anderson as Pauline, Barlow Adamson as Faber, Siobhan
Brown as Karen and Forrest Walter as " Chuckles," are
especially compelling under Jeffrey Mousseau's assured direction.
Although no really new or unexpected insights into the lives and minds
of America's aiienated and rootless are to be found here, this well-
mounted episodic slice-of-life, still succeeds in arousing us to the
many dimensions of society's unfulfilled and disquieted underside. Now
playing through January 26. (My Grade: 4)

SHEL SHOCKED
Review by Norm Gross

At the Market Theatre in Cambridge, Mass. is " Shel Shocked," the
second evening of short plays by Shel Silverstein, performed in
repertory. Presented under the overall title of "Shel's Shorts,"
this second group of seven playlets (once again without intermission) is as
entertaining and provocative as the earlier edition (which was
titled " Signs of Trouble "). Although all are again both highly comic
and quite insightful, for me the most rewarding were, " Dreamers," where
two plumbers wrangle ( as they repair a bathroom sink ) about the real
meaning of their dreams, which have both a gay and an incestuous focus;
"Hangnail," in which a young woman is self-absorbed with her own minor
discomfort, to the complete disregard of all else. Whether she's
trapped in a stalled elevator, going somewhere by subway or taxi, or in a
theatre watching a movie, attending a funeral, or even having
sex, her petty malaise towers above everything else; and, " A
Bloomingdale's Shopping Bag," wherein a husband upbraids his wife, with
amusing overtones, about her penchant for searching for discarded
" valuables ' in trash containers, with surprising results. The splendid
cast of Laura Latreille, John Kuntz, Stephanie Clayman, Neil A. Casey,
Marin Ireland and Robert Pemberton, once again enact a multiplicity of
varied roles with intensity and enthusiasm, under Larry Coen's strong
direction, with special notice also for Caleb Wertenbaker's highly
creative, multi-dimensional, brick-like setting, with its many fold-out
compartments, which quickly and quite effectively suggest the many
different surroundings of each succeding skit. Now playing through
January 26. (My Grade: 5)

SIGNS OF TROUBLE
Review by Norm Gross

At the Market Theatre in Cambridge, Mass. is their production of
"Signs of Trouble," the first of two groups of short plays by Shel Silverstein
to be performed in repertory, under the general title of "Shel's
Shorts". A series of nine comic playlets (presented without an
intermission), " Signs of Trouble" does indeed involve its harried
and frustrated characters' reactions to the world as defined by a wide
variety of printed, inscribed, or pictorially determined postings. The
counter-top sign reads: " No Skronking," but the Coffee Shop's busy
waitress won't explain what that strange word means to the increasingly
perplexed and steadily annoyed customer. " Do Not Feed
the Animals," the next skit, tempts a querulous female park visitor to poke
her finger into a small, prohibited opening with startling consequences! Although
all of the remaining shorts are certainly tantalizing, the best are
" Click," which involves a macabrely provocative game of pistol-toting
"Russian Roulette," between a highly combative husband and wife; " Gone
to Take a Sh*t", which shows what can happen, when a young uninhibited
non-conformist female patron forces a prim and proper lady store-clerk
to utter a vulgar and overly suppressed four letter word; and
"Garbage Bags", which amusingly goes to great lengths, describing
everyday household garbage in delightfully comic and poetically rhyming
terms! Laura Latreille, John Kuntz, Stephanie Clayman, Neil A. Casey,
Marin Ireland, and Robert Pemberton are all first rate in this
stimulating and quite entertaining assemblage by the very perceptive
author. Well directed by Wesley Savick, it's now playing, in repertory,
through January 27. (My Grade: 5)

Late Nite Catechism
Review by Norm Gross

At Boston's Shubert Theatre is the return engagement of " Late Nite
Catechism," the highly popular one-woman comic play starring Maripat
Donovan, who ( together with Vicki Quade ) is the show's creator and
co-author. The evening's merriment focuses on a nostalgic return to
those long-past childhood days spent in Catholic elementary and
secondary schools, with warm memories of the strict no-nonsense Nuns,
who taught their students with the authority of a Marine Sergeant
initiating recruits in Boot-Camp! Replete from head to toe in her long
black habit, topped by hood and white starched collar, Donovan, known
only as " Sister," to the audience ( which has now been
transformed into her adult class ) begins to teach, regailing them with
explanations of the Saints, how Joseph first came to meet the Virgin
Mary, and how Jesus behaved as a pre-adolescent. As her ongoing banter
with the audience (interrupted only by a 15 minute intermission )
progresses, " Sister " even steps off the stage to enforce the
"school's regulations against munching chewing-gum, whispering while
Sister is talking , leaving the classroom without her permission and
even applauding"!! Enlisting youngsters from the assembly to distribute
prizes ( for correct answers ) even to those,unfortunately, seated up in
the balcony. The fortunate recipients receive laminated holy cards
and/or 2 inch erect Saintly figurines. When, near the final curtain,
members of the audience are encouraged to ask " Sister " some serious
questions concerning the Catholic Church's views on such matters as
birth control or women Priests, her responses continue
to be delightfully amusing and well reasoned. This show has, deservedly,
enjoyed great success not only here in Boston and New York, but also
nationally and in Australia, as well! It is a genuinely warm and
engaging entertainment for all ( no matter what their religious
preferences might be). Now playing through January 6. (My Grade: 5)

The Christmas Revels
by Norm Gross

At Sanders Theatre on the campus of Harvard University in Cambridge,
Mass. is the 31st annual edition of " The Christmas Revels." Based on
the yuletide festivities initiated in Tudor England, this current
presentation is once again set ( Act I ) in the court of Henry VIII,
followed ( in Act II ) by merriment in the royal retinue of his
daughter, Elizabeth I, with Will Kemp, comic actor in Shakespeare's
legendary theatrical company, and famed cavorting Morris dancer, acting
as Master of Ceremonies. Offering a host of spirited madrigals, beautiful
hymns, and classic rounds, backed by the first rate 27-member Hampton
Court Chorus, the 6 member Nonesuch Consort, ( lute, viola, recorder, &
percussion ), all led by the multi-talented David Coffin, abetted by the
splendid 6 member Cambridge Symphonic Brass Ensemble ( trumpet,
trombone, tuba, timpani, etc. ). Featuring several differing early
variations of " Greensleeves," early changing
versions of " The 12 Days of Christmas," and a number of lively
audience " sing-alongs!" A spirited series of young children's songs and
games, highlighted by an animated sword dance and a joyously sung
Wassail Song, culminating in a buoyant performance of " St. George and
the Dragon," ( enacted as a Medieval Mummers Play ). Briskly directed by
Patrick Swanson, with special notice for Heidi Anne Hermiller's
excellent period costumes and the large and admirable cast with much
commendation, especially for Ken Baltin as Will Kemp, Walter Locke as
Henry VIII, and most definitely Jennifer Bliss as Elizabeth I. A
genuinely creative and hugely entertaining Holiday treat for the entire
family, it is highly recommended! Now playing through December 30.
My Grade ( 0-5 ): 5

THE XMAS FILES
Review by Norm Gross

At Boston's Center for the Arts is CentaStage's production of "The Xmas Files," an evening of six short comic plays with a Holiday focus, written by six different authors. "Ho-Ho-Ho," by Josh White is set at a local bar on Christmas eve, and humorously centers on a young bartender (dressed in a Santa suit ), squabbling with a former buddy, about girlfriends they've both shared and lost. " Interview With a Virgin," written by and starring Jan Davidson (performed in two segments) is a highly amusing decidely, irreverent take, with the Virgin Mary, first in the Manger,surveying a potential babysitter, offering a bevy of offbeat observations on the Last Supper and Good Friday! "Oh, Henry," by Dean O'Donnell, framed as a wacky TV commercial for a married couple, who, even though their house has burned down, will still enjoy a Merry Christmas thanks to their having purchased some highly unusual insurance. "Fruitcakes are Coming to Town," by George Sauer, explores a very amusing telephone call between a customer and the Company's representative, concerning sending a mail-order Holiday Fruitcake to a distant relative, complete with multiple complications, and a humorous surprise ending. "Christmas Breaks," by Patrick Gabridge, gives us a topsy-turvy view of lovers breaking up and then coming together in unexpectedly laughable ways! And, finally,"The Shepherds Play," by Russell Lees, although much, much too long, is about the lengendary herdsmen, on that starry night, as they farcically wrangle ( in comical, rhyming, poetic couplets ), about the nature of their prize baby sheep, once again, with unexpected and venerating conclusions. Very well performed by Brian Abascal, Jan Davidson, Helen McElwain, Richard LaFrance, Nathaniel McIntyre and Dennis Paton in a wide variety of diverse roles, all surely directed by Curt Miller. Now playing through December 22. (My Grade: 4)

CITY PREACHER
Review by Norm Gross

At Boston's Center for the Arts is the ACT Roxbury Consortium's production of " City Preacher," a new play by Ed Bullins. Although first staged in 1984 in San Francisco, this presentation marks the East Coast premiere of the play in its newly revised version. Set in the early '30s, primarily in New York's Harlem. it's loosely based on the formative years of Adam Clayton Powell, Jr. ,the highly controversial, charasmatic and very outspoken N.Y. minister, who served in the U.S.Congress for nearly 25 years. Known here as Aaron Jackson Price, Jr., he's the only son of a prominent N.Y. Baptist minister. Born into great affluence and high status in the African-American community, the drama examines his early free-wheeling life-style. Beginning abroad on the Spanish Riviera and later in Harlem, he revels in " Wine, Women and Song," and is determined not to follow in his father's footsteps! How a later period of great familial distress causes him to accept his calling as a major spiritual leader, working in the forefront for social justice for his people, is at the play's center. Unfortunately, the play's first act is much too obvious, diffuse and repetitive in exploring Price's licentious behavior as a callous womanizer, with only minimal attention to the many social problems in the community arising from " the Great Depression". Act Two, however, is much more dramatically focused, with young Price finally embracing his role as Minister and Political Leader! Jim Spencer as Price, Jacqui Parker as Beth ( his older and more conscientious sister ), and Kami Leigh Agard as his primary and more socially aware girlfriend, all give strong performances. with adequate backing from the large supporting cast. Also, considering the play's time frame, more careful attention should be paid to the drama's incidental music, which consists of fine recorded Duke Ellington music of the early '30s, but occasionally--regretably-- suddenly shifts into a much too contemporary mode! Now playing through December 15. (My Grade: 3)

SOUTH PACIFIC
Review by Norm Gross

At the Colonial Theatre (now celebrating its 100th anniversary as Boston's longest continually operating playhouse) is the new National Touring Company's production of " South Pacific." This multi-award winning classic ( including the Pulitzer Prize ) with music by Richard Rodgers and lyrics by Oscar Hammerstein II, is based on James Michener's like-titled novel. It triumphed on Broadway back in 1949 and was later produced as a major theatrical movie in 1958. The story, set at the height of World War II, on a U.S. military-occupied Pacific island, concerns two similarly troubled love affairs--primarily between Nellie Forbush ( a young, spirited, southern American nurse ) and Emile de Becque ( a mysterious and mature, French born, plantation owner ); and Marine Lt. Joseph Cable and Liat, a young female Tonkinese native. Each relationship becomes clouded and unsure because of both the nurse's and the Marine's upbringings and prejudicial attitudes. Nellie's uncertain feelings for Emile (a widower, who was married to an Islander, and is now left as the sole parent of two racially-mixed, small children ) and Lt. Cable, who, likewise is unable to marry the dark-skinned sweetheart, whom he so deeply loves! Strongly portrayed and well sung by Erin Dilly as Nellie, Michael Nouri as Emile and Lewis Cleale as Lt. Cable with an exquisite native-like dance turn by Kisha Howard as Liat. High praise is also due Armelia McQueen as Liat's mother, " Bloody Mary"( the Island's soulfully expressive blackmarket Chieftainess ). Featuring one of Rodgers and Hammerstein's greatest scores, including, " Some Enchanted Evening," " Bali Hai"," This Nearly was Mine," "Happy Talk," and the early and landmark piece on racial discrimination," You've Got to be Carefully Taught!" Briskly directed by Scott Faris, this fine production is also very well served by Derek McLane's highly picturesque and colorful scenic Island backdrops and settings. Now playing through December 16. (My Grade: 5)

THE NUTCRACKER
Review by Norm Gross

At Boston's Wang Theatre is the Boston Ballet's current production of "The Nutcracker," by Peter Ilyich Tchaikovsky. First presented in 1965, it has since become their grandly anticipated holiday presentation--a genuine yuletide tradition! All of the classic fairy-tale elements are once again on view. Young Clara sleeps in her parents' living room, as the family's brightly decorated Christmas tree grows to stupendous heights. Drosselmeyer ( the visiting wizard ) casts a spell and changes Clara's miniature toy nutcracker into a tall, young, handsome Prince, who leads a battalion of toy soldiers to victory against an army of household mice, and then takes her, airborne in a colorful balloon, to the wonderful Palace of Sweets. Young Olivia Hartzell and Reagan Messer are both splendid as Clara and the magically transformed Nutcracker. At the enchanted Palace they are enthralled by a dazzling procession of wondrous performers, most especially a vigorously whirling troupe of Russian folk-dancers, strikingly led by Joel Prouty; the delightful Dew Drop Fairy exquisitely danced by Karla Kovatch; culminating with the regally impressive duo of Adriana Suarez and Paul Thrussell as the Sugar Plum Fairy and her Cavalier. Helen Pond and Herbert Senn's exquisitely lavish sets establish just the right ambience, from warm homey living room, and snow-filled forest, to colorfully elaborate magic Palace. Extra praise for the choreographic team led by Daniel Pelzig ( which, this year, begins with many of the performers entering the stage from amongst the audience ). All of this is memorably enhanced by David Walker's elegant period costumes. This is a splendid holiday treat for the entire family, and it's now playing through December 30. (My Grade: 5)

OTHELLO
Review by Norm Gross

At the Loeb Drama Center in Cambridge, Mass. is the American Repertory Theatre's production of Shakespeare's " Othello." Set in Venice and Cyprus, the play's dire sequence of events centers on Othello, the Moorish commander of the Venetian military forces and his tragic entrapment by the evil schemes of Iago, his trusted assistant.Passed over for promotion, Iago, incensed, seeks vengeance by causing the Moor to believe that Desdemona, his new and beautiful young wife, has been unfaithful. By also implicating Casio ( chosen over him, by Othello, for promotion ) as Desdemona's adulterous lover, Iago seeks total retribution against all, whom he thinks have wronged him! Othello and his young bride are then both doomed, by his aroused and raging sense of betrayal. Forcefully enacted by John Douglas Thompson, in the title role, with strong dramatic assistance from Thomas Derrah as the despicable Iago, and Benjamin Evett as the maliciously accused Cassio. Unfortunately, Mirjana Jokovic, as Desdemona, was often much too restrained, and occasionally, somewhat indistinct. Effectively staged by Riccardo Hernandez, using a striking backdrop of lengthy, panelled mirrors which dramatically exposed the actors from a wide variety of divergent perspectives, under Yuri Yeremin's assured direction...Samrat Chakrabarti's fine, original, incidental music, also did much to underscore this impressive production's distinctive, Mediterranean setting. Now playing, in repertory, through January 17. (My Grade: 4)

FIGHTING OVER BEVERLEY
Review by Norm Gross

At their playhouse in Reading, Mass. is the Quannapowitt Players' production of " Fighting Over Beverley," a recent drama with comic undertones by Israel Horovitz. Set in Gloucester, Mass., mid-winter in the 1980's, the play's central character is Beverley, a middle-aged housewife who came as a war-bride to New England at the end of World War II ( from her native Great Britain ). At that time, she had broken-off her engagement to a British R.A.F. pilot to marry an American G.I., decorated war-hero, instead. The play opens 45 years later and concerns Archie, this same cast-off British former beau, who has never been married, and still carries a romantic "torch," with smoldering memories, of his war-time sweetheart. Hoping to rekindle their long-lost relationship, Archie has come to America, with the intention of winning her back! Beverley's long-time husband, Zelly, after realizing the real reason for their guest's visit, is faced with the actual possibility that after all of these passing years his wife may leave him to return to her homeland with her former lover. Also, added to this predicament, is the unexpected arrival of Cecily, Beverley and Zelly's adult daughter, a much divorced, high-powered, Hollywood talent-broker visiting her folks from California. As this strained dilemma unfolds, Cecily decides to assist in her mother's final determination. In the process, they are all compelled to face the many loveless, unfulfilled, and unsatisfactory aspects of their lives, with unforseen, surprising, and ultimately hopeful consequences! Extremely well acted by Kathryn Holland as Beverley, Glen Doyle as Archie, Robert Siegel as Zelly, and Sharon Mason as Cecily...under Ron Wackowski's assured direction, this is a well staged ( in-the-round ), well acted and decidely, thought-provoking human drama...now playing through December 8. (My Grade: 5)

ROSE
Review by Norm Gross

At the New Repertory Theatre in Newton, Mass. is their production of "Rose," a new one-woman play by Martin Sherman. A major success in London in 1999, and later in New York, this marks its New England premiere. Broadway veteran actress Lucille Patton is the play's title character. As she sits, unadorned at center stage on a simple wooden bench, this 80 year old Jewish grandmother, observing " shivah," (Judaism's ritual mourning of the deceased ) she reminisces about her long and tumultuous life. A life, that in reality is essentially a microcosm of the 20th century and the persecution, survival and resilience of the Jewish people! Beginning in the years just after World War I, and moving from a small Ukranian community to the horrors of the Warsaw Ghetto, ( the deaths of her first husband and young daughter ), and eventual liberation, she journeys from post-war displacement camps to renewed hope aboard the defiantly, unauthorized refugee transport-ship " Exodus," ( bound for the then British-controlled country of Palestine ), culminating in her marriage to a Jewish-American sailor, followed by a new and better life, in Atlantic City, New Jersey, U.S.A.! There, with her new husband, they work together renting beach chairs to tourists, while raising their baby son Abner. Years later, after the death of second husband, and the migration of her adult son to Israel, Rose--thanks to a series of unexpected circumstances ( including another husband )-- becomes the manager and ultimately the owner of a small hotel in Miami. Well acted by Ms. Patton in a reasonable Central European accent, with a tender and dramatically modulated mix of humor, sadness, and quiet strength...all well focused by Adam Zahler's confident direction...this is an absorbing and stimulating review of a Grand Matriarch's stormy, varied and noteworthy history, now playing in Newton through December 16, and then at the Orpheum Theatre in Foxborough, Mass. from January 18 through 27, 2002. (My Grade: 5)

STOMP
Review by Norm Gross

At Boston's Wilbur Theatre is the return engagement of " Stomp," the multi-award winning and highly innovative exploration of percussion and rhythm. Beginning in England as street performance in the late '80s, through the collaborations of the show's creators/directors Luke Cresswell and Steve McNicholas, their dynamic brain-child evolved during the '90s into a much-travelled, much-awarded international phenomenon. Featuring eight extraordinary performers ( three women and five men ) using a highly coordinated combination of comedy, movement and most especially drumming, for ninety intermission-less minutes, they enthrall the audience with a breathtaking succession of extremely varied and continuously creative and involving syncopated segments, each different and each noteworthy! Employing a remarkable assemblage of common, everyday items ranging from floor brooms, dust pans, plastic tubes, small match boxes, and even basketballs; to plumber's rubber plungers, Zippo cigarette lighters, daily newspapers, garbage can covers, portable stainless steel sinks and massive, five-foot high, empty, metal oil drums, strapped to their feet...their performance is a non-stop wonder! Fluidly and expressively choreographed throughout, the vibrant and talented performers also use an especially effective combination of finger-snapping and hand-clapping to directly involve the audience ( from time to time ) in the show's spirited and rhythmic progress, with thunderous delight and loud and joyous capacity approval! Now playing through December 16. (My Grade: 5)

RESURRECTION
Opera Review by Norm Gross

At Boston's Shubert Theatre is the Boston Lyric Opera's production of "Resurrection," a new opera with music by Tod Machover and libretto by Laura Harrington, with additional material by Braham Murray. Based on Tolstoy's last novel, it was commissioned by, and premiered, in 1999 at the Houston Grand Opera, and this presentation marks its Northeast premiere. Set in Czarist Russia, at the turn of the 20th century, the plot centers on Prince Nekhlyudov, a disquieted young Nobleman, who's called to serve as a juror at a trial involving several lower-class defendants charged with robbery and murder. The Prince recognizes one of the accused, as a lovely, young and innocent girl Katusha ( an orphan who, long ago, had lived on his Aunt's estate ), who ten years earlier, he had seduced and abandoned! Unbeknownst to him, the child, he had then fathered, died soon thereafter...and Katusha subsequently turned to prostitution! Although Katusha is actually innocent of the charges, she's sentenced to 8 years in Siberia, due entirely to a procedural error. Guilt stricken and obsessed with righting the wrong he had committed against her, Nekhlyudov divests himself of all his property and follows her to the barren and frozen penal colony. There, he hopes, via legal appeals, to free her, marry her, and thus to achieve spiritual redemption! Ardently sung by the large and splendidly voiced 27 member cast. Baritone Carleton Chambers was strong and impressive as the anguished Prince and Mezzo-Soprano Christine Abraham was touching and passionately resonant as the beleaguered Katusha. Tod Machover's music, an intriguing blend of traditional and contemporary electronically enhanced strains, was strikingly compelling throughout. Much praise should also go to the brilliantly colorful and dramatically fluid sets ( a series of diagonally sliding panels combined with a high wall-like, portalled, semi - transparent screen ), designed by Erhard Rom, which deftly, promptly and flawlessly effected the production's many and varied shifts in time and place. A memorably sung, vividly staged and affectingly composed presentation, now playing through November 20. (My Grade: 5)

WALKER
Review by Norm Gross

At the Boston Playwright's Theatre is their production of " Walker," a new play by Derek Walcott. He is a Nobel Prize winning poet and playwright, and this same theatre's founder. Originally conceived in 1993 as an opera with original music by T.J.Anderson, " Walker " is now here re-envisioned as a dramatic play ( with interludes of poetical fantasy ), with completely new music by Galt MacDermot ( best known as composer of the great Broadway and Hollywood success, " Hair " ). Set in 1830 in David Walker's Boston home, on the day before his death, the plot is based on the true story of this legendary freed and well-educated former slave, who in 1829 personally printed and distributed ( in large quantities ) his 76 page pamphlet, exhorting America's slaves to rise up and overthrow and kill their oppressive White slavemasters! Clandestinely circulated amongst America's slaves, throughout the South, it resulted in a price being placed upon his head, and his subsequent mysterious death. As depicted here, living at his home with his stately wife Eliza ( also, a freed, former slave ), he's poisoned and killed by yet another freed slave, a visiting Carribean seaman ( emboldened by offers of a large reward). Well directed by Wesley Savick and passionately enacted by Jonathan Earl Peck in the title role, with strong assistance from golden-voiced Merle Perkins as his anxious wife, and J.Bernard Calloway as the assassin, this finely crafted drama also includes a stirring 4-member female chorus who, throughout the play's action, fancifully sing and dance MacDermot's plaintive music. This well written and well staged,dramatic and imaginative play, is both gripping and provocative. Walker's revolutionary tract, published 30 years before the Civil War, and more than a century before the emergence of Martin Luther King,Jr. and Malcolm X, marks an essential piece of American history and represents a life and story fully deserving of this strong, splendid and inspirational retelling! Now playing through November 18. (My Grade: 5)

THE LONESOME WEST
Review by Norm Gross

At the Boston Center for the Arts is the Sugan Company's production of "The Lonesome West," by Martin McDonagh. The final part of the author's celebrated " Leenane Trilogy," ( which includes the preceding,multi-award winning: " Beauty Queen of Leenane," and " A Skull in Connemara " ), this play, likewise, was a major success in Galway, London and New York, ( where it was nominated for 4 Tony awards, including " Best Play," in 1999 ). Set in a remote Irish village, the plot concerns two young minimally-educated adult unmarried brothers, Coleman and Valene, living together, in their family's long-time homestead. We soon discover that in a fit of rage Coleman had shot and killed their elderly Father. With his brother's complicity, on the guarantee that all of their parent's property would be transferred to him, Valene declared his brother's innocence to the community, announcing that their dad's death was completely accidental. Thereafter, Coleman, living now as a tenant, spends his days bickering and physically challenging his willful and highly penurious brother. Father Welsh, the village's young and ineffectual priest, depressed and decidely alcoholic due to his inability to provide any real moral or spiritual guidance to his parishioners, and aware of the brothers' crime and grim pact, tries to act as a mediator, between the continually combative siblings. Father Welsh then forces their warring relationship to undergo a surprising change in the wake of an unexpected and shocking turn of events! Extremely well acted by Colin Hamell as Coleman, Billy Meleady as Valene, and Barlow Adamson as Father Welsh, this stirring production, under Carmel O'Reilly's assured direction, provides us, with yet, another highly impressive, dramatic gem from Ireland! Now playing through November 24. (My Grade: 5)

REBECCA OF SUNNYBROOK FARM
Review by Norm Gross

At Wheelock Family Theatre in Boston, Mass. is their production of "Rebecca of Sunnybrook Farm," as adapted by Marisha Chamberlain in 1993 from Kate Douglas Wiggin's popular turn-of-the-century novel and play. It was made into a major motion picture in 1917, starring Mary Pickford and two decades later, with Shirley Temple, in 1938 (the latter involving a totally new and different plot ). However, the story, as here presented, adheres closely to its original source. Set at the turn of the 20th century, in rural Maine, the narrative concerns young, Rebecca, a pre-adolescent girl, who has left her large and impoverished family at Sunnybrook Farm, to come to the small town of Riverboro, to live wth her two old-maid aunts, Jane and Miranda. A highly imaginative and creative child, Rebecca plans to get an education and eventually help her family, to pay off their mortgage. The play's slight and highly predictable plot explores Rebecca's initial difficulties and ultimate success at school, with her teacher and fellow students. The play's major focus is on her strained and troubled relationship, with her stern and disapproving elder Aunt Miranda. Bolstered by her kinder and more sympathetic, younger Aunt Jane, Rebecca, as expected, succeeds, by the final curtain, in all respects. Unfortunately, although very well acted by young Polly Furth as Rebecca, with excellent assistance from Jane Staab as Aunt Miranda and Jacqui Parker as Aunt Jane, their story has little, if any, dramatic conflict or tension. The young heroine's troubles, at home and at school, are much too understated and sluggishly set forth...and then, too easily, quickly and neatly resolved! Besides the fine acting, as already noted, the excellent set, designed by Kitty Lovell...an impressive , Colonial-style country home, with a nicely, represented outer facade, opening up to reveal a completely furnished living room, and elevated second story bedroom...is one of the show's main strong points! In the recent past, this same company staged " Anne of Green Gables," a similar play, with a noticeably similar young heroine, beset with very similar problems, sparked by many more story-line twists and turns, and enlivened by a succession of delightful songs and spirited dances (!)...this former production demonstrates what is sorely lacking in this, current endeavor! Now playing through November 25. (My Grade: 1.5)

BETTY'S SUMMER VACATION
Review by Norm Gross

At Boston University's Huntington Theatre is their production of "Betty's Summer Vacation" by Christopher Durang. This New England premiere is once again being directed by Nicholas Martin, who won an Obie award for his direction of this same play Off-Broadway, back in 1999. Set at a seaside resort ( apparently, somewhere near New York ), the plot revolves around Betty ( a single, young, adult, white-collar, working girl ), who with her friend Trudy, has rented a summer cottage. There, they must share their vacation residence with a bizarre assortment of dissimilar occupants. Mrs. Siezmagraff, the house's scatterbrained and totally daffy landlady, ( who turns out to be Trudy's estranged [!] Mother ); Keith, a whimpering recluse, who's suspected of being a serial-killer, with a collection in his room of many human body-parts ( including something, very special, in a hat-box); Buck, a six foot tall, sophomoric, sexually obsessed jock; Mr. Vanislaw, a raincoat wearing " flasher"; and a trio of mysterious voices trapped in the ceiling! Added to this outlandish entourage is a severed penis, stashed and frozen, in the freezer section of the house's refrigerator, replete with regular references to Lorena Bobbit and the Menendez brothers! Author Durang spreads a non-stop flow of rather, heavy-handed barbs at America's obsession with scandals and sensationalist TV, culminating in a mock, courtroom trial, conducted by Landlady Siezmagraff, acting simultaneously, as Judge, prosecutor and defendant! " SCTV's" Andrea Martin is superb as Mrs. Siezmagraff, with fine, comic assistance, from the small cast, especially Jessica Stone as Betty, and Nat DeWolf as Keith. However,this over-the-top farce is somewhat overlong, and becomes rather repetitive towards its outrageous conclusion, thanks to the playwright's overblown and, much too obvious, and zealous, view of American pop-culture! Now playing through November 25. (My Grade: 3)

RICKY JAY AND HIS 52 ASSISTANTS
Review by Norm Gross

At the Market Theatre in Harvard Square, Cambridge, Mass. is the Northeast premiere of " Ricky Jay and his 52 Assistants," a one-man show, starring the aforementioned personality. Ricky Jay, a renowned sleight-of-hand artist, is the star of the evening, and his 52 accomplices are actually the various components of the playing cards he uses throughout the show to baffle and dazzle his audience. Standing at a standard sized, green felt covered card table, in a small cozy library-like setting, replete with books, small figurines, and assorted other memorabilia, Ricky regales his audience with non-stop stories, anecdotes and historical observations about legendary card-sharks, pool hall hustlers, Riverboat gamblers, notorious cheats, conjurers, magicians, sideshow barkers, and a host of sly and crafty conmen. At the same time, he's flawlessly performing a succession of astounding card tricks! These stunts and games range from card control (manipulation followed by first dealing from the top of the deck and then, without anticipation, dealing from the bottom ), to demonstrations on how to stack picture cards and/or a quartet of aces. Later in the evening, he astounds the audience with jocular displays of the 3 ball shell game followed by an exhibtion of how to propel the cards, as if they were darts, to pierce the center and even the tough exterior, of a half-cut, open watermelon! Knowingly directed by the noteworthy David Mamet, this fascinating, riveting and crowd-pleasing exposition of superb dexterity, illusion and artifice is now on view through November 24. (My Grade: 5)

MISS SAIGON
Review by Norm Gross

At the North Shore Music Theatrre in Beverly, Mass. is their new production of " Miss Saigon," featuring music by Claude-Michel Schonberg with lyrics by Richard Maltby Jr. and Alain Boublil. This loosely-based adaptation of Puccini's " Madame Butterfly," reset in 1975-78 war-torn Vietnam, was a major award-winning success in London in 1989 and later in New York in 1991. The plot concerns Chris, a young American G.I., and his love-affair with Kim, a sweet, young bar-girl in Saigon. Chris must then return to America, without Kim, due to the stormy and hurried American troop withdrawal, (dramatically represented by an actual, on-stage, helicopter lift-up)! Years later, when he comes back, ( having been married in America ) and learns that Kim gave birth to and is raising their son, she realizes that their love cannot be. She must then choose her tragic course. Intertwined within their troubled story, are the activities of the sleazy and cynical manager of the bar, where Chris first met Kim. Known as " the Engineer," he's a ruthless schemer, who repeatedly tries to manipulate Kim, to serve his own agenda. Brian Noonan and Rona Figueroa are first-rate, singing and enacting Chris and Kim's tumultuous romance, with extra plaudits for Kevin Gray as the Engineer.His dazzling rendition of " The American Dream," a brilliantly ferocious, musical description of American materialism laced with unbridled excess, is the evening's major show-stopper! High marks,also, for the show's mournfully beautiful score which includes such moving songs as " The Last Night of the World," and " I'd Give My Life for You." Strongly directed ( in-the-round ) and stirringly choreographed by Barry Ivan, this is a memorably striking presentation , on all counts! Now playing through November 18. (My Grade: 5)

The Band Wagon
Review by Norm Gross

At Pickman Concert Hall, Longy School of Music, in Cambridge, Mass. is the Theatre in Process production of " The Band Wagon." This legendary musical-comedy revue, by George S. Kaufman and Howard Dietz with music by Arthur Schwartz, premiered on Broadway in June, 1931 and proved to be the last performance of Fred and Adele Astaire as a duo. A major success in its time, this staged concert-styled production, marks this classic show's first revival in 70 years! Artistic Directors Benjamin Sears and Bradford Conner, ( the show's stars ), spent many months searching nationwide, collecting and piecing together the revue's various parts, to finally formulate this full-fledged production. Assisted by a first-rate cast of 13, highly-accomplished acting and singing professionals, this presentation, comprised of 8 comic skits, 13 songs, and 2 dance pieces, ( performed musically, sans choreography ), offers us an extraordinary and provocative look- back at Broadway's formative days. The comedic sketches, ranging from the new and overriding influence of sports in academia, to the inanity of the " Old South's" life-style, and the era's popular drawing-room murder mysteries, resound, today, as mostly dated curios, illustrating how much comedy has changed, during these many, many decades. The show's musical interludes, however, have weathered the years very well, especially so with the genuinely memorable " Dancing in the Dark," " New Sun in the Sky," and " I Love Louis. Besides the aforementioned Conner and Sears, many plaudits should also go to Soprano Valerie Anastasio, Tenor Brent Reno, Mezzo Soprano Merle Perkins and most definitely for the splendid piano accompaniment provided by Margaret Ulmer. This highly praiseworthy presentation deserves our full support, and will be performed, once again, on Sunday, November 4. (My Grade: 4)

FROM DISTANT SHORES
Ballet Review by Norm Gross

At Boston's Wang Theatre is the Boston Ballet's production of "From Distant Shores," the umbrella title of a trio of dissimilar European inspired works. The first, " Ginastera," choreographed and staged by Holland's Rudi van Dantzig to Alberto Ginastera's contemporary and atonal, " String Quartet No. 2, Op. 26," comprised of 5 distinct movements, pulses with impressively vibrant and complex solo leaps. It features fine, expressive ensemble dancing by the large and accomplished company. Added notice for the splendidly silken 3rd movement pas de deux by Karla Kovatch and Nick Mishoe...their quality, supremely complemented by the melodious string musicianship of Michael Rosenbloom, Christine Vitale, Jean Haig and Ronald Lowry. "Jardi Tancat",(" Ringed Garden" ), the second work, ( a Boston premiere ), choreographed by Spain's Nacho Duato to soulful recorded Catalonian folk songs, memorably sung by Maria del Mar Bonet, features six, peasant-garbed, barefooted dancers moving expressively and poignantly against a nearly bare set, centered by a curving, rustic, sprig-like fence. It was enthusiastically greeted by standing audience approval at its conclusion! " Celts," the evening's final work, choreographed by Lila York, to the joyously infectious recorded Irish music of " The Chieftains," and "Celtic Thunder," ( amongst others ), again involves 5 separate movements. Fervently danced by a sextet of fluid males and females, ( moving from classically inspired forms to more spirited jigs and reels ) with standout performances by Paul Thrussell and Jennifer Gelfand. It was, likewise, hailed by thunderous audience approval. Now playing through November 4. (My Grade: 5)

THE LARAMIE PROJECT
Review by Norm Gross

At Boston's Tremont Theatre is the Boston Theatre Works production of "The Laramie Project, a New England premiere . Created by Moises Kaufman, together with his N.Y.-based "Tectonics Theater" company, it is a staged docudrama, which examines (from every possible vantage point), a small Wyoming community's reactions to the brutal 1998 murder in their midst of Matthew Shepard, a young, gay, college student. Driven to the outskirts of town, (late one evening ) by two, young acquaintances, Matthew was lashed to a rustic fence, savagely beaten, and left to die there. Discovered by a bicyclist 18 hours later, he languished in a nearby hospital before he finally died. This horrific murder shocked and aroused the nation. Kaufman's company, during the following year, visited Laramie and conducted over 200 interviews, with the town's residents ( gay, straight, educated, uneducated, young, old, those who knew the victim, and those who didn't). The play culled from these voluminous commentaries, (nearly three hours, including two brief intermissions), is a razor-sharp and provocative exploration of the townspeople's reactions to this barbaric hate crime and its ensuing backlash, ranging from intolerance and rejection, to understanding and hope. The small eight member cast, brilliantly ( and with striking fluidity ) personify more than sixty different people, ( in their own words ), using only a change of headress or jacket, to effect each superbly crafted change! Forrest Walter, Laura Napoli and Tom Lawlor, ( amongst the others ) were especially noteworthy! Forcefully co-directed by Nancy Curran Willis and Jason Southerland, this powerfully involving presentation, also scores with Scenic Designer: Ruth Neeman's sweeping and extremely effective, multi rear-screen, color-slide, photo projections, illustrating a multitude of Laramie sites. Now playing through November 11. (My Grade: 5)

ANOTHER PART OF THE FOREST
Review by Norm Gross

On the campus of Massachusetts Bay Community College in Wellesley, Mass. is the Lyric West Theatre Company's production of "Another Part of the Forest," by Lillian Hellman, written as a precursor to her great earlier (1939) dramatic success," The Little Foxes." This retrospective examination of a newly wealthy and highly avaricious Southern family, during the post Civil War era, explores their corrupt rise, via sordid and dishonest business machinations, is laced with familial schemes and deceptions! A great success on Broadway in 1946, and later produced as a major motion picture in 1948, it's set in a small Alabama town in the summer of 1880, and concerns the unprincipled ambition and immorality of the Hubbards. Marcus, the patriarch, who gained his wealth during the Civl War as a blockade runner and a price-gouger ( on desperately needed salt ), is pitted against the counter plots of Benjamin, his divisive eldest son; Regina, his young, beautiful and cunning daughter; Oscar, his wastrel youngest son, and Lavinia, his addled and suppressed wife. Benjamin's efforts at wresting control of the family's wealth away from his all powerful father is at the core of this searing study of a family grounded in unbridled greed and treachery. Compellingly performed by Ed Peed as Marcus, Robert Bonotto as Benjamin, and Adriana Gnap as Regina, with strong assistance from the large and excellent supporting cast, under Ron Ritchell's sure direction. This is a well mounted and incisive indictment of a monumentally villainous family! Now playing through October 28. (My Grade: 5)

MACBETH
Review by Norm Gross

At Harvard University's Leverett Old Library Theatre in Cambridge, Mass.
is the Industrial Theatre's production of " Macbeth," by William
Shakespeare. Originally set in Ancient Scotland, and here played in
modern dress, Macbeth, an ambitious Thane, is spurred on by the
pronouncements of three unearthly witches. With the help of his
Machiavelian wife, he carries out a series of assassinations, designed
to fulfill the prophecies of this evil trio, ( that he's destined to
become the new King )! His murderous course, however, leads not only to
his assuming the throne, but eventually, also to the demise of his
scheming spouse, and still later, to his own destruction. Well played by
the small, professional cast, forcefully focused by Kevin LaVelle, in
the title role, he's ably assisted by Stephanie Steinbach, as his
tormented wife. Although, initially she's a bit too shrill, as their
expanding tragedy unfolds, her performance evolves dramatically, and
becomes especially compelling, during the famed, concluding sleepwalking
episode, which leads finally to her death! Firmly directed by Shelley
Hager, against Michael Bonomi's interesting set, ( a raised, stone-like,
multi-levelled platform, stationed before four large, erect, imposing,
grey, rectangular pillars ).Of necessity, however, I must also add some
of my misgivings. Costumer Heather McNamara's choice of present-day
American military, Army uniforms, is supremely perplexing ( especially,
since Scotland and their class system is continually referred to,
throughout)! Likewise, having the three witches, properly garbed,
initially in their long black hooded shrouds, and then having them
double again,in these same, ebony cloaks as handmaids, court
messengers, and later as hired assassins, ( without any attempt at a
costume change ) is both ill-conceived and ultimately confusing, in this
otherwise fine production! Now playing through October 20. (My Grade: 3)

END OF THE WORLD PARTY
Review by Norm Gross

At Boston's Center for the Arts is the SpeakEasy Stage Company's
production of " End of the World Party," a new play by Chuck
Ranberg. Set on Fire Island, New York's well-known vacation resort, the
plot revolves around a half-dozen gay men, who share a summer house
together on the weekends. As in similar plays, these
assembled friends represent a cross-section or microcosm of life:
Roger, an aging and uneasy model; Will, a promiscuous hypochondriac;
Nick, a heavy user of drugs, who's playing with the feelngs of " Chip,"
( his young and handsome new acquaintance ); Travis, an intense teacher,
grieving over the death of his former lover, to AIDS; Phil, a young and
naive newcomer from the Midwest; and Hunter, the group's droll and
highly focused guru. Pondering their lifestyles, and sharing their hopes
and disappointments ( often, about finding permanent mates ),binds them
all together. The play takes its title from the group's final and
troubled summer celebration. Extremely well acted by the fine cast,
with special notice for Christopher Hagberg as Hunter, Juan Luis Acevedo
as Travis, and Will McGarrahan as Will. Although this play does bear
some heavy similarity to Terrence McNally's " Love! Valour!
Compassion!," it is nevertheless, quite involving, very well written,
( brimming with witty and incisive dialogue ) and is very solidly
performed under Eric Engel's firm direction. Now playing through October
27. (My Grade: 4)

ZORBA THE GREEK
Review by Norm Gross

At the North Shore Music Theatre in Beverly, Mass. is their production of " Zorba," a musical play with book by Joseph Stein, music by John Kander and lyrics by Fred Ebb, which made its Broadway debut back in 1968. Based on the similarly titled novel by Nikos Kazantzakis and the critically acclaimed 1964 motion picture, it is set in Piraeus, Greece and on the island of Crete. Nikos, an American teacher, having inherited a mine in Crete, has come to Greece to accept his legacy. While waiting to board a vessel bound for Crete, he encounters Zorba, a village elder, who while quite knowledgeable about mining, is best known for his brimming zest for life! While on Crete, after hiring Zorba to assist him, Nikos also becomes romantically involved with a beautiful, young widow, who has been ostracized by the villagers. Zorba, full of earthy wisdom, always ready to sing and dance, soon also finds romance with a lonely and elderly French courtesan, living on the island. As Nikos is then tested by the community's violence against his sweetheart and Zorba learns that his faded inamorata is dying, his life-affirming attitude becomes a pillar of strength for them both! Strongly acted and sung by Ron Holgate in the title role with fine support from Anita Gillette's tender and touching performance, as his languishing sweetheart, they are well enhanced by Franc D'Ambrosio's sensitive portrayal as Nikos. Solidly directed, in-the-round, by Richard Sabellico. Danny Buraczeski's vibrant, folk-tinged choreography, serves this engaging, ethnic-inspired presentation's uplifting message, quite well indeed! Now playing through October 21. (My Grade: 5)

BURN THE FLOOR
Review by Norm Gross

At Boston's Wang Center is the return engagement of " Burn the Floor." Featuring 32 extraordinary ballroom dancers (male and female), representing a virtual United Nations of electrifying talent (Australia, Ireland, Japan, England, Italy and Denmark ), to name just a few, these young and vibrant performers steadily build upon a succession of highly dverse and memorable rhythmic sequences, each defined by the music, costumes and dances of a particular style and era. Backed by solid recreations of such rousing musical numbers as Richard Rogers' "Carousel Waltz," Glen Miller's " In the Mood," the Andrews Sisters' "Boogie Woogie Bugle Boy," Lovland's " Papillon," Louis Prima's " Jump, Jive 'n Wail," and Benny Goodman's pulsating " Sing, Sing, Sing!" amongst many others, these spectacular couples practically ignite the stage with their boundless energy and brilliant precision and virtuosity! Amongst the evening's many highpoints, is an impressive salute to the music of Irving Berlin ( " Top Hat," " Cheek to Cheek," " the Continental," etc. ) as represented in the many movies of Astaire and Rogers, here sublimely revived by the style and grace of more than a dozen tuxedoed and gowned dancing couples. Likewise, their passionate Latin-inspired steps to the rhythms of Duke Ellington's " Caravan," and Lecuona's " Malaguena," is another of the evening's many grand highlights! Substantial praise is also due for fine vocalist Genevieve Davis, Jason Gilkison's striking choreography, and John Van Gastel's varied, colorful and dazzling costumes! This splendid panorama is fully deserving of the audience's lengthy and explosive standing ovation at the final curtain. Now playing through October 7. (My Grade: 5)

THREE TALL WOMEN
Review by Norm Gross

At Boston's Center for the Arts is the Zeitgeist Stage Company's production of " Three Tall Women," by Edward Albee. This award-winning play ( N.Y. Drama Critics Circle and Pulitzer Prize ) is essentially an autobiographical re-examination of Albee's own adoptive mother, and how her long and unsatisfactory life resulted in their stormy relationship and his enforced and lengthy estrangement! Set in 1994, in a courtly bedroom, a wealthy elderly matron is attended by her womanly middle-aged aide, as she is being questioned about her finances by a young female lawyer. A tall, bigoted and very domineering woman, the old lady reminisces about her long and unhappy life. All the details of her cold marriage, for wealth, to a man, much shorter than her; her sister's troubling alcoholism; her unending suspicions about her many " thieving" servants, and her bitter alienation from her adopted,wastrel son, are all extensively recounted by her! Act two begins as the aged dowager ( represented by a life-like mannequin ) lies comatose in bed, dying from a stroke. The three women seen in act one, now appear as three visions, of herself, as she was at ages: 26, 52, and 92! At 26, her life was only coquetry and innocent sexuality; at 52, her short, philandering husband, finally died, leaving her independent and wealthy; and then, still later, she was forced to denounce her good-for-nothing son! At age 92, she finally ends up living embittered and alone. Her prodigal son, then unexpectedly returns, at her bedside! Jan Peterson is superb as the elderly matron with excellent support from Jones Miller as her lawyer and Miki Joseph as her aide, under David J. Miller's strong direction. This is a well written, forcefully performed, provocative and involving exploration of a tumultuous and disquieting life...now playing through October 13. (My Grade: 5)

THE WAVERLY GALLERY
Review by Norm Gross

At the New Repertory Theatre in Newton, Mass. is their production of "The Waverly Gallery," by Kenneth Lonergan. A recent, major success in New York, this heartfelt and autobiographical drama, ( with comic undertones ), is set in New York City, and takes place between 1989 and 1991. Based on the author's own 80 year old grandmother Gladys, and her ongoing mental and physical decline from Alzheimer's Disease, the play's focus is on the ramifications of her illness on her family. A lawyer, who had long ago turned to operating her own small, neighborhood art gallery in Greenwich Village--garrulous and concerned in her prime--Gladys was a political beacon in the community. Now, the play shows her continuing diminishment, as it involves Daniel, her grandson, (who lives next door ), his mother Ellen (her daughter ), and Howard (his Father and Gladys' son-in-law ). The family tries valiantly to cope with the old lady's increasing helplessness, with a mixture of brash humor and compassionate resignation. Their dilemma is then compounded, when Gladys' long-time landlord decides to make her vacate her beloved art gallery, several months hence! Surely directed by Rick Lombardo, Joan Kendall is extremely convincing as the increasingly addled Gladys, with especially fine dramatic support from Bobbie Steinbach as Ellen, Ken Baltin as Howard, and Joe Smith as Daniel, ( who's also the play's narrator ). Joseph Pew's spare and colorless gallery setting, with its subdued suggestions of paintings on view, also contributes much! A touching, simply staged, and strongly enacted exploration of a family's emotional struggle and commitment in providing aid and comfort to a loved one, in the throes of a devastating illness, now playing through October 21. My Grade ( 0-5 ): 5

SUNDAY IN THE PARK WITH GEORGE
Review by Norm Gross

At Boston's Lyric Stage Company is their production of " Sunday in the Park With George." Featuring music and lyrics by Stephen Sondheim and book by James Lapine, this engagement marks this award-winning ( 1985 Pulitzer Prize and N.Y. Drama Circle ) musical play's professional area premiere. It is based on the creation of the 1886 painted masterpiece " A Sunday Afternoon on the Island of La Grande Jatte" by Georges Seurat, the legendary French Pointillist Artist. Act one explores the painter's exclusionary compulsion, as he focuses on his ongoing weekly painted draughts at the above mentioned island setting. " Dot," his neglected mistress, is the model for the central ( umbrella-toting ) figure, in his celebrated masterpiece.Pregnant, with his baby, and continuously disregarded by him, as he becomes increasingly fixated on his work, she finally marries another and eventually migrates to America. Act two takes place in 1984, at an American Art Museum, and centers on Seurat's supposed artist-grandson and 90+ year old daughter. The contemporary artist, involved in the design of illuminated, electronic and mobile constructions, is perplexed and restricted by the overwhelming demands of modern life. Seeking an answer, he returns to the famed island setting of his Grandfather's " chef-d'oeuvre," and is reassured by the spirit of " Dot," his long deceased forebearer! Christopher Chew as Seurat and his grandson, and Maryann Zschau as " Dot," and her elderly daughter, are superb in acting and, most definitely, in singing Sondheim's brilliant and demanding music and lyrics. High marks also for the large, well voiced, supporting cast, ( who personify the many people represented in the renowned 19th century scene ). Janie Howland's impressive and exact set recreation of the famed painting, also merits the highest praise! An excellent production, on all counts, it should not be missed, now playing through October 20. (My Grade: 5)

A MIDSUMMER NIGHT'S DREAM
Review by Norm Gross

At Boston's Wang Center For The Performing Arts is the Boston Ballet's production of " A Midsummer Night's Dream." Based on Shakespeare's comic fantasy and spiritedly-choreographed and staged by Bruce Wells to Mendelssohn's sublime music, it offers us a consummate evening of melodious and breathtaking fluid movement. Dressed in Edward Baker's resplendant period costumes and performed amidst Lewis Folden's exquisite woodland setting, Paul Thrussell is marvelous as the impish Puck, messenger to Oberon ( the fairies' King ). He grandly soars and spins while administering his enchanted love-inducing juices to the quartet of mismatched lovers who have escaped to this magic forest. This foursome are majestically danced by Pollyana Ribeiro as Helena, April Ball as Hermia, Viktor Plotnikov as Lysander, and Jose Martin as Dimitrius. Extra mention also, for Zack Grubbs as the cavorting tradesman ( and actor-to-be ) Bottom, who Puck has also magically transformed into a foolish donkey! All of this is charmingly enhanced by the many sprightly children ( students of the Ballet's school ) on stage, as a bevy of wee fairies, buttressed by the glorious singing of the New England Conservatory Children's Chorus. " Suite Saint - Saens," ( comprised of four delightful segments: " Caprice Valse," " Serenade," " Minuet," and " Redouble "), choreographed by Gerald Arpino ( of Chicago's Joffrey Ballet ) for 20 dancers, and set to the music of Camille Saint-Saens, begins the evening with a fine display of tender couplings, lifts, vaults and splendid ensemble precision... with special mention for the graceful exactitude of Jennifer Gelfand, amongst the many others. Two very different presentations, but both eyefilling, imposing and memorable! Now playing through September 30. (My Grade: 5)

LAUNDRY AND BOURBON / LONE STAR
Reviews by Norm Gross

At Boston's Bates Art Center is the Stanley B Theatre's production of "Laundry & Bourbon " and " Lone Star," two short, one act dramas by James McLure. Set in the mid '70s in a small, rural Texas town, at the desert's edge, on an extremely hot summer day, the first playlet " Laundry, etc." takes place on the backporch of the home of Elizabeth, a young housewife, and centers on her, as she sits and folds some just laundered clothing. Pregnant with her first child, she's visited by Hattie, an earthy, married girlfriend and later by yet another, Amy Lee, a young, vain and pretentious housewife-friend. Their talk is mostly about Elizabeth's unemployed, confused and troubled husband Roy ( whom she hasn't seen for two days ). A returned Vietnam veteran, his ongoing malaise, and Elizbeth's attempts to help and support him, are the main focus of their attention. A touching exploration of everyday life's problems and frustrations, it's extremely well acted by Tori Davis as Elizabeth, with fine support from Rebecca Mobley as Hattie and Katherine Ball Bassick as Amy Lee. " Lone Star " is set in an alley behind a similarly named local bar, in this same Texas town, and concerns Roy, the previously described, perplexed and conflicted husband. Forcefully portrayed by Bruce Robert Serafin, he voices his highs and lows and ultimate lack of purpose to Ray, his younger, dimwitted brother, (strikingly enacted by Tom Lawlor ) as he repeatedly downs successive bottles of beer. He rails at the disappointments and restlessness that have continually plagued him since his return to civilian life. These are two compelling and very well written and mounted views of a husband and wife's troubled marriage and their ongoing disquiet. Now playing through September 30. (My Grade: 5)

THE DEAD
Review by Norm Gross

At Boston's Huntington Theatre is the National touring production of "The Dead." A recent Broadway and Tony award-winning musical play based on James Joyce's renowned short story. Adapted and directed by Richard Nelson, it features music by Shaun Davey, ( who also collaborated with Nelson on the lyrics ). Set in Dubln, Ireland, near the turn of the 20th century, the simple, yet compelling plot revolves around the annual Christmas party at the home of the elderly Morkan sisters, ( Julia and Kate ). Assisted by their niece Mary Jane, ( all being music teachers ), the festivities naturally evolve into a tender evening of conversation, song and dance. Attended by family members and friends, their middle-aged nephew Gabriel Conroy, ( sensitively played by Sean Cullen), accompanied by his lovely wife Gretta ( well played by Kate Kearney-Patch ), acts as the play's narrator and central figure. After the dozen or so assembled guests have enjoyed their Holiday dinner, they chat and warmly toast each other, begin to bicker and eventually start to sing and dance. First individually and later, as a group. They intone touching ballads such as " Killarney's Lakes," stirringly patriotic anthems like " Parnell's Plight," a spirited Music Hall ditty as " Naughty Girls," and even " D'Arcy's Aria," an operatic piece...which form the core of their celebration. The gathering turns from Nationalistic pronouncements and petty banter to compassionate moments at the bedside of the elderly and gravely ill Aunt Julia (nicely portrayed by Alice Cannon ). The play concludes later, as the narrator Gabriel learns of his wife's unrequited love for a long-deceased, young boyfriend, necessitating him to face his own inadequacies and closes with his hauntingly poignant singing of " The Living and the Dead." An earnest, warmly affectionate and extremely well mounted presentation, which remains consistently true to its original source. Now playing through October 14. (My Grade: 5)

COOKIN' AT THE COOKERY
Review by Norm Gross

At the Merrimack Repertory Theatre in Lowell, Mass. is their production of " Cookin' at the Cookery," a new musical play written and directed by Marion J. Caffey. After being well received throughout the South, this marks the show's Northeastern premiere. Subtitled " The Music and Times of Alberta Hunter," it tells the story of this legendary Blues singer from her early childhood in Memphis and her tenuous teenage beginning there as a cabaret singer, to her eventual triumphs performing in Chicago and New York during the 1920's, '30s and '40s, including success on the Broadway stage, as well as major appearances in Europe. During the '50s, while away entertaining American combat G.I.s in Korea, she was grief stricken upon receiving news of her mother's death back home. Soon, thereafter, she decided to leave the Jazz world, to begin a new career as a Nurse! Mandatory retirement was demanded of her at age 70, after more than two decades of service, ( although, unbeknownst to her supervisors, she was actually 82 )! Still wanting to work,in 1977 she was enticed to return to singing as the headliner at "The Cookery," a prominent New York Jazz club. She sang there regularly, to great audience approval, until her death at age 89. Her story unfolds, through a series of well paced vignettes, performed,entirely, by the play's two ( and only ) extraordinary stars. Tony Award-winning Ann Duquesnay, as the fully mature and much acclaimed luminary, receives dazzling support from her grandly versatile and multi-talented co-star; Debra Walton as the vivid personification of the great singer during childhood, adolescence and early womanhood. Accompanied on stage by a fine Jazz quartet, singing nearly two dozen of the star's legendary songs from " St. Louis Blues " to her popular signature tune " My Castle's Rockin'," while also enacting a multitude of varied roles representing nearly everyone who helped her to reach stardom. From Bert Williams, Night Club promoters and Eubie Blake to even Louis Armstrong, both performers are absolutely wonderful! This is a winning entertainment that should not be missed! Now playing through October 6. (My Grade: 5)

Johan Padan & the Discovery of the Americas
Review by Norm Gross

At the Loeb Drama Center in Cambridge, Mass. is the American Repertory Theatre's production of " Johan Padan & the Discovery of the Americas." A lengthy one-man play ( two hours with intermission ) written by Dario Fo and translated and well directed by Ron Jenkins, it stars the always remarkable and consistently brilliant Thomas Derrah, in a tour de force solo performance! Sparsely clothed in T-shirt and jeans, Derrah, as an average seaman on Columbus's legendary voyage of discovery, takes the audience ( in highly animated, conversational style ) from the shipwrecked hero's initial success on reaching land ( using pigs as buoys ), and then being rescued by Native Indians, to later being enslaved by others, and then, still later, miraculously being freed and hailed by them, as a holy-man, and maker of miracles. All the while, he's also discovering the pleasures of cooking and eating turkeys and iguanas, learning how to train wild horses and finally teaching himself and his native followers, how to make and ignite fireworks! Altough generally interesting, entertaining and mildly amusing, it resonates, mostly as just a contemporary retread of " Robinson Crusoe " ( with little really new or provocative to add to our knowledge of Europe's history of exploitation and brutality). Not until the play's last half-hour, when the hero attempts to teach his tribesmen how to become Christians, to save them from enslavement by the Spaniards, does the evening finally take on a sharp edge, with its comical exploration of religious hypocrisy. Played on a bare stage, Derrah's extraordinary performance is nicely enhanced, by a series of colorfully painted, pictorial and sequential, rear-screen projections ( created especially for his play ) by the author. Now playing through September 16. (My Grade: 3.5)

LETTERS FROM 'NAM
Review by Norm Gross

At the North Shore Music Theatre in Beverly, Mass. is the world premiere of a new musical play, " Letters from 'Nam." Featuring music, book, and lyrics by Paris Barclay, it was adapted from the best-selling book ,"Dear America: Letters Home from Vietnam," and is based on the actual correspondence from combat GI's to their mothers, wives and girlfriends. Exploring the day-to-day activities, frustrations and longings of six battle-weary soldiers, it offers us a compelling view into their hearts and minds. Although much of the music has an insistent and sometimes overly repetitive '60s and early '70s stamp to it, several of the major songs, including " Mud & Blood & Water", " ( Mother's ) Lament", ' I'm a Daddy!" ( celebrating that day's good news in the mail ), " There will still be Christmas", (even without gifts or Santa,) and the provocative " I Don't Understand This War," are genuinely memorable and involving. The small seven member cast is uniformly excellent, (both acting and singing ) with high praise for David Burnham as a dedicated helicopter pilot, Rodney Hicks as a troubled and questioning medic, and Levi Kreis as a fully committed career soldier. Maureen McGovern is superb, grandly singing and enacting the show's multiple and varied female roles. Well directed by Ben Levit, it's been strikingly staged by Heesoo Kim, (including actual on-stage rain, jungle-trenches and a harrowingly suspended and convincing caged American prisoner-of-war ). Special notice also for the first-rate musical accompaniment provided by the fine, small, orchestra conducted by Keith Thompson. Although, somewhat overlong, at nearly 3 hours, (including intermission), nevertheless, this heroic and stimulating musical play is fully deserving of the audience's rousing and sustained standing ovation at the show's finale! Now playing through September 23. (My Grade: 4)

The Winter's Tale
Review by Norm Gross

On the banks of Boston's Charles River in Christian Herter Park, is the open-air Publick Theatre's production of Shakespeare's " The Winter's Tale." King Leontes, seething with suspicion, accuses his wife Queen Hermione, of having a romantic involvement with his visiting guest King Polixenes. Denouncing her for adultery, she is imprisoned! Pregnant, she soon gives birth to a baby girl. Although, the Oracle of Delphi proclaims Hermione innocent and faithful to Leontes, he refuses to accept the Deity's judgement and orders the baby to be killed. Act Two, (sixteen years later ), finds the baby still alive, and now, (having been secretly taken to a neighboring country and raised there by a kindly shepherd ), is revealed as the lovely young maiden, Perdita. The passing years have also taken a heavy toll on Leontes lonely and grieving he has begun to reconsider his past decisions. As romance blossoms between Perdita and her newly found sweetheart Florizel, (whom, we discover to be the son of Polixenes ), Leontes soon comes to realize that he was wrong and unjust! Diego Arciniegas, as Leontes, (who's also this fine production's effective director ), is initially, formidible, commanding and unrelenting, and later sensitive and remorseful regarding the calamitous chain of events that he has caused. With fine support from the large 18 member cast. Extra commendation, is also due to Susanne Nitter as Hermione, Stacy Fischer as Perdita, and Nathaniel McIntyre as Florizel. A compelling production of one of the Bard's lesser performed plays, it is nevertheless, one of his most provocative, commencing as it does, from harsh and misguided jealousy, laced with tragic consequences, to concluding with regeneration and forgiveness, framed by romantic fulfillment and optimism! Now playing through September 16. (My Grade: 5)

Marat-Sade
Review by Norm Gross

At Boston's Center for the Arts is the Bridge Theatre Company's new production of " Marat-Sade." This legendary play by Peter Weiss caused a sensation at its Berlin premiere in 1964, as it did later in London, Stockholm and New York. The play's actual title, " The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis de Sade," virtually spells out this fabled drama's plot. An epic mixture of theatrical styles ranging from " Commedia dell' Arte " to Bertolt Brecht's pre-World War II union of verse, music and speech (directed at the audience ), the drama's action evolves as a play enacted within a play. The murder in 1793 of Marat, a major figure in the French Revolution, by Charlotte Corday, a denizen of Charenton, is re-enacted in 1808 by the patients of this same insane asylum. Both acts, under the supervision of de Sade, ( imprisoned because of his notorious novels celebrating pleasure derived from cruelty and pain ) take place in the institution's bath and massage areas, where Marat, plagued by a skin disease, is housed, day and night, in a bathtub. de Sade directs his inmate-actors while conducting a rambling and impressively philosophical debate with Marat about Society's great social and political issues: radicalism and revolution versus individualism, skepticism and personal freedom. The large cast, well directed by Todd Hearon, features strong performances by Bill Doscher as de Sade, Jeffery Jones as Marat, Anastasia Barnes as Corday, and Melissa Allen as a clown-like narrator. Adam Roberts' striking, original musical score is very well served by actor-musicians Ozzie Carnan, Jr., Ann Carpenter, Erin Bell, and Jacob Strautmann. This is a provocative, compelling and well staged presentation of this extraordinary, complex and memorable masterwork! Now playing through September 1. (My Grade: 5)

CORPUS CHRISTI
Review by Norm Gross

At Boston's Center for the Arts is the Center Stage Theatre's producton of " Corpus Christi," a new play by Terrence McNally. This contemporary retelling of the life of Jesus, from a totally gay perspective, (denounced as
blasphemous ), caused a firestorm of controversy when it made its New York debut in 1998, with similar reactions when produced, later, in Great Britain. Set in modern day Corpus Christi, Texas...and following most of the events in his life, Jesus (here named Joshua), as a teenager, attends Pontius Pilate High School, falls short at sports, shows no interest in dating females, and eventually becomes romantically involved with
a classmate named: Judas! Presented as a metaphor for society's historically abusive mistreatment of homosexuals, the play's recurrent theme is that mankind pays only selective lip service to Christ's message. When put to the test, just those, who are officially " approved," are judged worthy of Jesus' love and respect!
Strongly directed by Ron Godfrey and extremely well acted by an all male cast, high commendation is due to Reid Morgan as Joshua, Adam Rosencrance as Judas, and Mitchell George as John, amongst the many others. Surrounded by his gay apostles, ( who portray a wide variety of dissimilar characters ), Joshua's officiation at a same-sex marriage, between two of his disciples, ultimately leads to his betrayal, by his former lover:
Judas, and his crucifixion by homophobic zealots...a victim of bigotry masquerading as religious dedication. Now playing through August 12. (My Grade: 5)

ANYTHING GOES
Review by Norm Gross

The Reagle Players Production of " Anything Goes," with book by Guy Bolton, P. G. Wodehouse, Howard Lindsay, and Russel Crouse, and music and lyrics by Cole Porter is well directed by Robert Eagle and Eileen Grace ( who is also the choreographer ). This show was originally presented on Broadway in 1934, became one of Porter's greatest successes, and launched the career of Ethel Merman! Set on a luxurious ocean-liner bound from New
York to London, the dated and silly plot revolves around Reno Sweeny, a notorious N.Y. nightclub performer and her handsome friend Billy Crocker (a stowaway). Billy is hiding on board, scheming to end the forthcoming marriage between the beautiful young debutante Hope Harcourrt and a rich, stuffy British aristocrat! By so doing, with the help of Moonface Martin, a daffy mobster, ( Public Enemy # 13 ), disguised as a clergyman, and Bonnie, Moonface's fast talking, hip-swinging girlfriend, Billy expects to win Hope, for himself. Triumphantly revived on Broadway in 1962 and again in 1989, the show's continuing success is due mainly to Cole Porter's superb score and the production's grand, spirited and captivating tap-dancing ensembles. High praise, most definitely for Karen Murphy as Reno, Chris Warren Murry as Billy, Martina Vidmar as Bonnie, John O'Creagh as the
comic Moonface and the show's many, lovely high-stepping chorines! " You're the Top," " It's Delovely," " Blow, Gabriel, Blow!," " I Get a Kick Out of You!," and the title song , are just a few of the worthy reasons to see this legendary show! Now playing through August 11at Waltham High School in Waltham, MA. (My Grade : 4)

THE PIRATES OF PENZANCE
Review by Norm Gross

On the banks of Boston's Charles River, in Christian Herter Park, is the open-air Publick Theatre's production of Gilbert and Sullivan's "The Pirates of Penzance." This classic comic operetta, first presented in London in 1879, has continued to captivate audiences world wide ever since. Young Frederick has been apprenticed to a band of pirates, and now, as he is about to reach aduilthood, at age 21, plans to leave them. Reassured by his newly found sweetheart Mabel, (daughter of the region's Major-General ), Frederick decides to enlist the local police to take the pirates into custody! However, his plans are comically reversed, when he discovers that he was born on February 29, a leap year. Since now, he won't accurately reach the age of 21, for many years to come, he must still, as a matter of honor, remain apprenticed to the pirates! The many, resulting, topsy-turvy situations threaten, not only to disrupt his romance with Mabel, but also embolden the pirates to challenge the police, with grandly humorous consequences! The large 21 member cast is first rate ( acting and singing ) all, in fine comic form. Special notice for Brent Reno as Frederick, Khori Dastoor as Mabel and most especially Bob Jolly as her Father, the Major-General. Jolly's supremely rapid and fluid vocalization of " I am the very model of a modern Major-General!!" ( one of Gilbert and Sullivan's most beloved " patter " songs ) is one of the show's many delightful highlights. Other grand musical moments should include Mabel sweetly singing: " Poor Wandering One," and the humorous rendering by the bumbling police of " When a Felon's not Engaged". Featuring a fine and amusing word-emblazoned set by Janie E. Howland. Jessica Kubzansky provides strong direction, with splendid, small orchestral accompaniment, conducted by Jonathon Goldberg. This is a delightful summertime treat, recommended for the entire family. Now playing through August 12. (My Grade : 5)

TWELFTH NIGHT
Review by Norm Gross

At the open-air Parkman Bandstand on the Boston Common is the Commonwealth Shakespeare Company's new production of "Twelfth Night." Shipwrecked twin brother ( Sebastian ) and sister ( Viola ), each thinking the other lost at sea, find themselves ashore and apart in a strange tropical land. Viola, masquerading as a man, seeks service as an attendant in the local Duke's court, and soon discovers him(her)self amusingly and romantically involved with the Duke's beautiful neighbor Olivia, and her raucous cronies Sir Toby Belch and his dipsy friend Sir Andrew Aguecheek, ( good-time, drinking buddies )! As a sub-plot, assisted by Olivia's maid, Sir Toby and Aguecheek decide to play a wild hoax on Olivia's pompous and puritanical steward Malvolio, who has steadfastly attempted to thwart their revelries. The resulting consequences are wonderfully uproarius! Throughout, Olivia's jester Feste acts as a captivating and comic singing narrator. As the play progresses, the mistaken identities and deceptions continue to multiply until, finally, both twin brother and sister are reunited and all the misunderstandings are revealed and set right. Played with grand comic flair, in modern dress, high praise is due for the large, superb cast. Many plaudits for Cheryl Gaysunas as Viola; Richard McElvain as the beer-swilling, Biker-clad Sir Toby; John Kuntz as his foolish cohort Aguecheek; Will Lebow as the hip, Jazz-oriented singing jester; and most definitely Thomas Derrah as the absurdly ludicrous Malvolio! Special notice for Steven Maler's sure direction and Alexander Dodge's delightfully colorful tropical beach-like setting. This splendid sixth annual free, ( open to all ), summertime Shakespearean production, is now playing through August 5. (My Grade: 5)

LOVE'S FIRE
Review by Norm Gross

At Boston's Center for the Arts is Company One's production of "Love's Fire," a series of six short playlets, each written by a well-known playwright and each inspired by one of Shakespeare's sonnets. "Terminating " by Tony Kushner takes its spin from Sonnet # 75, which among other ideas, equates one's lover "as food to life." Here a gay man's weight gain prompts him to return to his former Lesbian psychoanalyst, with only limited comical consequences. Ntozake Shange's "Hydraulics, etc.,etc.," based on Sonnet # 128's "thou (as) my music," is a languid melange of soulful Jazz as the musical backdrop for two young lovers, who are never really able to connect. " 140 " by Marsha Norman ( based on the similarly numbered Sonnet ) sets its focus on a Masquerade Ball in which the masked participants are perpetually and confusedly entangled in a web of deceptions. The bland portrayals of an Artist and his Model in " Painting You," by William Finn (inspired by Sonnet # 102's " wild music burthens" ), fails disappointedly, to genuinely ignite the author's rhymes. John Guare's "The General of Hot Desire," humoro