Archived Theatre Reviews (page 3)

BOSTON DUCK TOURS
a review by Mark Snyder

Boston Duck Tours in a play review section? Has Snyder gone nuts? No, in a way, Boston Duck Tours is theatre. From the show-biz ConDUCKtors to the hilarious monologues from these drivers, this is theatre on the street. In fact, the people on the tour Duck, and the folks in the street interact with frequent well-practiced "quacks". The Boston Ducks are amphibious vehicles from World War II. When you first go on them (at the Prudential Center in Boston), you get to meet your ConDUCKtor (driver). Ours, Penny Wise of Savannah, Georgia ("My mom had quite a sense of humor", she told us regarding her name) was hilarious! The kids loved her schtick ("I learned that in Boston, traffic signs and signals aren't law, just suggestions") and her warmth. She let the little kids on board drive the Duck when we were floating on the Charles River ("love that dirty water"). The dry run included historic places like the State House, Freedom Trail, North End, Newbury Street, and Quincy Market. Her historical facts and trivia made all onboard (including yours truly) truly appreciate our great history in Boston. And when the Duck splashed into the Charles River, the excitement grows exponentially. Driving by M.I.T., famous bridges and dams, the Hatch Shell, and so much more, it is a relaxing educational ride. They bill the Boston Duck Tours as "the ride of your life" and I couldn't agree more! If you are coming to Boston and can only do one "tourist" event, do the Boston Duck Tours! It's like taking a trolley, a boatride and a history lesson for one low price. The total time spent in the Duck is 80 minutes- -and it FLIES by. Tours depart seven days a week every half hour. Tickets are $21 for adults; Seniors and students $18; Children 12 & under are $11. Call 1-617-723-DUCK for tickets. Also, check out Ride The Ducks in Branson, Missouri! For more information, go to their website at Boston Duck Tours

Swan Lake
Review by Norm Gross

At Boston's Wang Theatre, the Boston Ballet concludes its 40th season with "Swan Lake," choreographed and staged by the Company's Artistic Director Mikko Nissinen, based on the original 1895 classical concepts by Marius Petipa and Lev Ivanov, all gloriously enveloped by Tchaikovsky's sublime music. As the beloved story unfolds, melancholy Prince Siegried falls deeply in love with the lovely Odette, who has been transformed, with her attendant hand maidens, into a group of beautiful Swans by Von Rothbart, an evil sorcerer. Later, when Siegfried tries to break the nefarious Wizard's spell over her through the power of his love, Von Rothbart deceives him into believing that Odile, his acquiescent daughter, is actually the Queen Swan. When the wicked deceiver's trickery is revealed, Siegfried returns to the real Odette, destroys Von Rothbart, and dispels the enchantment by choosing to join her, by dying with her, in the embrace of their eternal love! Exquisitely danced by the elegantly graceful Corps of "Swans," with a dazzling performance by Larissa Ponomarenko as both the bewitched Odette and the counterfeit Odile, highlighted by her technically superb execution of the role's demanding 32 Fouette turns, which was totally deserving of the capacity audience's thunderous approval. Solid commendations also for Pavel Gurevich as the malevolent Von Rothbart and Yuri Yanowsky as the distraught Prince Siegfried, with high praise also for the grand vaults by Romi Beppu, Rie Ichikawa, Heather Myers, Mindaugas Bauzys, and Miao Zong in their spectacular accomplishment of the "Pas De Cinq." John Conklin's impressive woodland lake and court room settings together with his resplendent costumes and the splendid full orchestral accompaniment conducted by Jonathan McPhee, also contributed greatly to this production's overall impressiveness. This memorable concluding presentation is now playing through May 23. (My Grade: 5)

 

9-Ball
Review by Norm Gross

At Boston's Tremont Theatre, Club 9-Ball, LLC in association with the International Society presents "9 - Ball, " a new play by Art Devine. A recent success at the Cape Cod Repertory Theatre in Brewster, Mass., this is now its Boston-area premiere. Based on an actual situation that took place in Lynn, Mass., the drama is set at the height of the Vietnam War era and concerns Larry Doucette, a young draft-aged adult, desperately seeking some way to escape military service by avoiding induction into the Army. When he meets former high school classmate Richie Feinberg, a young, homeless, streetwise tough, with a police record, he proposes the incredible idea of switching birth certificates and swapping their identities. Richie would then be drafted as Larry and Larry would then continue on in civilian life as Richie. Unfortunately, after Richie leaves for his Army duty, Larry is imprisoned for one of Richie's criminal activities. While Richie finishes his Basic Training and prepares to serve as a Paratrooper, Larry discovers that his strong capabilities, with numbers and math, will quickly gain him many extra special benefits while he's in prison. In the process, his sense of self-worth begins to expand. Meanwhile, Richie's dependence on his fellow recruits, and the demands of their wartime situation necessitating all-encompassing cooperation, also causes him to begin to moderate his arrogance and to forego his belligerance. As their vastly different activities unfold, going back and forth from prison cell, army barracks, civilian bar, and combat zone, both men undergo major changes in demeanor, behavior, and attitude. The fine multi-faceted setting designed by Dan Joy, a varied complex including a neighborhood bar, complete with Juke Box, Pool Table, and 60s styled wall postings on one side of the stage, is flanked on the other by a wire fenced-off Barracks-type sector, with elevated bunk-beds and a stall shower including an exposed toilet bowl. Years later, when their incredible scams have run their course, and Larry and Richie finally return to their original lifestyles, this compelling drama concludes with its sharp, although somewhat expected, somber denouement. Very well acted by the fine young all-male cast, under the author's knowing direction, with passionately intense performances by Justyn Eldredge as Richie, Matthew Keefe as Larry, and John "Sib" Hashian, Daniel Kelley and David Wallace, amongst others, equally gripping in a wide ranging variety of differing roles. Now playing through May 22. (My Grade: 4)

 

KISS ME KATE
Review by Norm Gross

At the North Shore Music Theatre in Beverly, Mass. is their new production of "Kiss Me Kate," with Music and Lyrics by Cole Porter and Book by Samuel and Bella Spewack. A major success on Broadway when it first premiered back in 1948, it was released as an equally popular Hollywood motion picture in 1953, and has become firmly established as one of our most revered Musical Comedy treasures ever since. Set at a Baltimore Theatre in the late 40's on the opening night of a production of Shakespeare's "Taming of the Shrew," it centers on Fred and Lilli, the show's antagonistic Leading Man and Lady, who--although divorced-- are still very much in love. Their highstrung offstage quarrels strikingly resemble the onstage battles of the classic masterpiece's "Kate and Petruchio." Into this brimming stew, Fred has added Lois, a perky coquette, and Bill, her gambling-prone boy friend, as supporting performers in the play. Unfortunately, Bill has garnered some heavy gaming debts and, in desperation, has signed Fred's name to his IOU. As a result two "hoods," representing their gambling Boss, come to Fred's dressing room to persuasively collect his payment! The plot then skirts back and forth from Shakespeare's merry onstage high jinks to the contentiously offstage squabbling of both Fred and Lilli, with the two comically menacing hoodlums always nearby and, as expected, with the eventual happy ending fully in place by the final curtain. Featuring one of Cole Porter's finest musical scores, highlighted by such memorable numbers as: "Too Darn Hot!," "Why Can't You Behave?," "So In Love," "We Open in Venice," "Were Thine That Special Face," "From This Moment On," and "Where is the Life That Late I Led?," amongst many others, and of course including both thugs' riotously amusing salute to the Bard, "Brush Up Your Shakespeare," as the evening's crowning showstopper! Vigorously directed by Alan Coats, with a large fine young enthusiastic and spirited cast starring full-voiced and handsome George Dvorsky as Fred, and lovely blonde and grandly sonorous Rachel deBenedet as Lilli, with solid support from Deb Leamy as Lois, and Sean Palmer as Bill, with the most amusing David Coffee and David Dollase as the singing gangland twosome! Commendations also are due for the fine period sets, designed in-the-round by Tal Sanders, with additional praise for Martin Pakledinaz's colorful costumes, Lee Wilkin's bright choreography, and the splendid full orchestral accompaniment under Alan Coats' firm direction. Now playing through May 16. (My Grade:5)

 

 

KIMBERLY AKIMBO
Review by Norm Gross

At Boston's Playwrights' Theatre is Boston Theatre Works production of "Kimberly Akimbo," a new dark comedy by David Lindsay-Abaire. A substantial Off-Broadway success this past year, this production represents its New England premiere. Set in New Jersey, this raucously amusing piece centers on young female Kimberly Lavacco, a 16 year old, suffering from a rare disease which causes her body to age 4 1/2 times faster than it should. Her life expectancy is also age sixteen. She's living at home with yet another wildly dysfunctional family: Buddy, her boozing dad, who works at a local Gas Station; Pattie, her pregnant, hypochondriac diabetic mom, who has both hands fully bandaged, due to carpal tunnel syndrome and is convinced that she has terminal cancer; Aunt Debra, a homeless roustabout, who suddenly shows up, hoping to "crash " at the family's home for awhile; and Jeff, Kimberly's nerdy High School classmate, who shows some genuine romantic interest in her. Aunt Debra's unexpected arrival sparks her revelations about the family's never disclosed reasons for moving, several years past, from Secaucus to the more remote town of Pagoda, in the play's surprising and bizarrely whimsical second act. This eventually triggers an outlandish and craftily devilish check-laundering scam, devised by Aunt Debra, to supply her with lots of easy cash, for which Kimberly's unfortunate disease will play a central part. This causes the distressed teenager to make a fateful and momentous decision about herself and her family. Extremely well acted by adult Judy McIntyre, in the play's title role, who totally captures the essence, behavior, and believable attitudes of this highly troubled adolescent. Marc Carver as Buddy, Amy Barrie as Pattie, Elizabeth Anne Quincy as Aunt Debra, and especially Jacob Liberman as Jeff, the awkward boyfriend, all do very well in the supporting roles, under Jason Southerland's strongly focused direction. High marks also must go to Caleb Wertenbaker's highly inventive box-like scenic constructions, which quickly and very creatively, adapt into a wide variety of differing set pieces. Although the play's unexpected final resolution ultimately seemed somewhat contrived, the author's grand sense of comic dialogue and situation, coupled with the cast's fine performances, and the provocative notions, farcically suggested about life's complications and fragility, remain compelling throughout. (My Grade:4)

Curse of the Starving Class
Review by Norm Gross

At Chelsea Theatre Works in Chelsea, Mass. is Theatre Zone's new production of "Curse of the Starving Class" by Sam Shepard. This dark vision of a hopelessly dysfunctional American family made its successful New York debut in 1978, and later also enjoyed similar approval in London, with many subsequent revivals (professional and otherwise) thereafter. Set in the rural Southwest, the plot's unrelenting focus is on a severely impoverished rustic household composed of Weston, the overly abusive, alcoholic father; Ella, his frustrated and scheming wife; Wesley, their young angry and troubled adult son; and Emma, their fanciful and rebellious teenaged daughter. Things begin to erupt when the Matriarch, unbeknownst to her husband, conspires to sell their barren and unworkable farm, in concert with a disreputable Real Estate agent! She plans to use the cash for a travel fling in Paris, France. Meanwhile, without her knowledge, her drunken husband, in order to pay a multitude of longstanding debts, has already given their home's Deed to an opportunistic local Saloon owner, for an absurdly miniscule purchase price. Meanwhile, Emma, on the day of her first menstruation, dreams of someday working as an auto-mechanic, while her brother Wesley, in a fit of malicious spite, has urinated all over her school science project (a report on cooking chicken.) Angered, she runs amok riding astride a wild horse, and is arrested for shooting-up a local Bar, using the family's firearms! Still later, driven by hunger, Wesley slaughters the clan's last remaining lamb (although quite infested with maggots) for food. When the dissolute Patriarch finally sobers up and begins to comprehend their bizarre and extreme situation, he makes several drastic desperate and fateful decisions, which do not bode well for the other family members. Very well acted by the strong nine member cast, under Paul Melone's certain direction, with potently intense performances by Floyd Richardson as the shameless father, Danielle Fauteux Jaques as his plotting wife, Michael McKeogh as their distressed and willful son, and especially young, eighth grader Eliza Rose Fichter as their confused and perplexed younger daughter. Notwithstanding occasional brief touches of grim humor, the drama's unyieldingly dire nucleus predominates. Nevertheless, this bitter and provocative exploration of the last gasps of a completely burnt-out American family remains compelling drama throughout. Now playing through May 8. (My Grade: 4)

 

STARLIGHT EXPRESS
Review by Norm Gross

At Boston's Wang Theatre is a new touring production of "Starlight Express," with Music by Andrew Lloyd Webber, Lyrics by Richard Stilgoe and additional Lyrics by David Yazbek. Originally produced on the London stage in 1984 (where it remained for a triumphant 18 years), with similarly lengthy engagements in Germany (14 years) and even Las Vegas (4 years), this Tony award-winning spectacle also enjoyed an extensive run after opening on Broadway in 1987. At bedtime, a young boy (heard, but never seen on stage) imagines a series of racing competitions for his collection of toy trains. Although most of them represent other countries (England, Japan, Germany and Russia), his main focus is on the four Americans: a weary Steam Engine named "Rusty," a pretentious Diesel called "Greaseball," a state-of-the-arts technical whiz known as "Electra," and Rusty's tired old Steam Engine Dad "Poppa," all decked out in eye-catching metallic costumes, and all wearing rollerskates! The competitions are staged mostly for the affectionate approval of a group of sweet, similarly-attired, female side cars, but mainly for the favor of "Pearl," a lovely young observation car. The original London version had the large cast of skaters competing on a series of race tracks, ramps and bridges which encircled the audience, while the New York production involved the rivals speeding around a huge, hydraulic, twirling suspension bridge, that was raised and lowered to match the action below. Unfortunately, no such spectacular, high-tech elements are utilized in this substantially pared down and much less showy presentation. Instead, appropriate plastic eyeglasses are provided for each member of the audience, and then each of the competitive races are shown, as short 3-D movies on a large motion picture screen. Understandably, the contests are now a genuine disappointment. Happily, the show's musical score still resonates with such songs as "Starlight Sequence" (only "He" has the Power!), the evening's lively salute to "Rap" ("What time is it? It's Race time!"), the soulful " Poppa's Blues," the poignant " Next time you fall in love," the highly-animated ' break-dancing ' " Right Place, Right Time," and of course, Rusty's victorious finish celebrated as "the LIght at the end of the tunnel." Vigorously sung, acted and skated by the large, youthful, energetic and enthusiastic cast, performing their rolling stunts on a series of elevated scaffolds, with each side of the stage also paired by steeply curved erect ramps for them to vividly perform their many, grand, whirling somersaults! Lastly, extra notice is also due for Franklyn Warfield as Rusty, Drue Williams as Greaseball, Dustin Dubreuil as Electra, and Clarissa Grace as Pearl, (all in fine voice), and most especially for Dennis Legree as the highly resonant and spiritually compelling Poppa. Now playing through May 2. (My Grade:3)

 

BLACK POWER!
Review by Norm Gross

Up You Mighty Race Performing Arts Company in collaboration with New African Company presents "Black Power!" at the Boston Center for the Arts, the all inclusive title for six short plays from the 60s, part of the period's drama-oriented "Black Arts" movement, which was to serve as the literary adjunct to the drive then for "Black Power." The best of these playlets are three by Ben Cadwell. "Top Secret," in which the President's Cabinet urgently meets to confront the threat posed to the Nation by the excessively high Black birthrate, with Government-supported Birth-Control (by which Blacks can become more like Whites) finally being agreed upon as the "Solution." Also quite noteworthy are his "All White Caste," in which a post W.W.III Black-Free U.S.A. condemns a compassionate White writer to live amongst the poor in Harlem, and "Mission Accomplished," wherein a Bible-toting White Christian Missionary's attempts to convert an African Village is knowingly rejected by the proud native Queen. Of the three remaining works, the most provocative is Amiri Baraka's "Baptism," about Gay Identity as defined, controlled, and eventually overpowered by the hypocritical Religious establishment, with its final focus on a youthful, suffering, Christ-like figure; Ed Bullins' "Gentleman Caller," a spoof of a neurotic and conflicted, cross-dressing "blonde" sexpot; and Douglas Turner Ward's somewhat overly obvious "Brotherhood," which finds a very officious White married couple "enthusiastically" welcoming their Black neighbors to their home, while secretly harboring strongly racist artifacts, completes the evening's stimulating program. Forcefully directed by Vincent Ernest Siders, who also offers sensitive, poetical introductions and insights between each play, while also vividly acting as the President in "Top Secret!" Additional praise is also due the fine, expressive ensemble,with intense portrayals of many varied roles by Akiba Abaka, Keith Mascoll (especially effective as the highstrung "Blonde"), Karima Saida Moreland ( powerful as the Christ-like youth ), Born Bi-Kim and Paulo Branco, amongst others. This compelling sextet of rarely performed short plays from the early years of African American militancy is now playing through May 8. (My Grade: 4)

 

PIPPIN
Review by Norm Gross

In Boston at Emerson College's Cutler Majestic Theatre is their Stage and Musical Theatre Society's new production of "Pippin." With Music by Stephen Schwartz and Book by Roger O. Hirson (and uncredited co-librettist Bob Fosse), this multiple Tony award-winning musical play made its Broadway debut in 1972 and became a resounding success, logging in at an extraordinary 1,944 performances! It spawned many national touring companies along with equally successful engagements in Europe as well. Several more recent revivals were also staged during the 90's. Set around 780 AD, the high spirited plot centers on Pippin, the adolescent son of Charlemagne, Emperor of the Holy Roman Empire, and his quest for self-identity, fulfilment, and maturity. Spurred on by a Devilish spirit known as "the Leading Player," Pippin, like Candide filled with doubt, sets out to discover his true mission in life. Beginning and failing as a wartime Commander of his father's legions, he turns to the opposite sex. Once again disappointed as a "Lover," he ventures into the high-powered world of Government. Emerging as the Radical Champion for Revolutionary Change, the consequences, as expected, are disastrous. The tranquility of Family Life is then offered to him by a young, lovely widow with her small son, but to no avail. As a grand final gesture, he rejects the Leading Player's suggestion that he achieve lasting immortality by fiery martyrdom (?), choosing a surprising alternative instead. Extremely well sung and acted by the very large vibrant youthful, and generally excellent cast, with much praise for Rob Morrison in the title role, and Michael Joosten as the Leading Player. Strong, full-voiced support is also solidly provided by Jason Garvett as Charlemagne, Ariel Heller as Pippin's macho and quite dense stepbrother, BethAnn Bonner as his scheming stepmother, Darcie Champagne as the tempting and lovely widow, and most especially Marlena Yanetti as the confused hero's whimsically helpful old grandmother. Her joyfully triumphant salute to Old Age, "No Time At All" quite literally "stops-the-show" with similar pleasures from the show's many other sprightly songs such as "Corner of the Sky," "Glory," and "Spread a Little Sunshine," amongst others. Vigorously directed by Stephen Terrell, who together with Sabrina Jacob, developed the show's vividly animated choreography. Lastly, praise also for Harry Morgan's simple, but quickly and efficiently moveable scenic units, as well as the full orchestral accompaniment conducted by Scott Wheeler. This splendid, and genuinely entertaining presentation is now playing, an all too brief engagement, through April 24. (My Grade:5)

 

MOJO MICKYBO
Review by Norm Gross

At Boston's Center for the Arts is the Sugan Theatre Company's production of "Mojo Mickybo," a new drama by Irish playwright Owen McCafferty. Set in Belfast in the summer of 1970, as the troubles between Catholics and Protestants begins to simmer and eventually boil over, this stirring and compelling play follows the rise and fall of the friendship between two young boys, whose nicknames serve as the play's title. With only two actors on stage for eighty minutes (with no intermission), Billy Meleady as Mojo and Colin Hamell as Mickybo, not only fully realize the two title characters, but also deftly portray a succession of subsidiary roles ranging from confrontational childhood bullies, a cinema's cashier, their parents, and a bus driver, to spirited local floozies and assorted other colorful city types, without costume or makeup changes! Tess James' impressive set design of a simulated child's playground, complete with sandbox, and a hill-like ramp, before a large rear proscenium styled framed platform, flanked by massive columns (on either side) comprised of elevated, ladder-like handbars, for climbing, effectively act not only as the boys' recreational retreat, but also efficiently suggest many other sites such as their homes, a nearby movie theater, and even a favorite pub. The boys' childishly fanciful world of Cowboys and Comicbook SuperHeroes, and such welcoming, faraway destinations, as America and Australia, are brought into sharp focus for them after they go to see the popular Hollywood movie "Butch Cassidy and the Sunshine Kid!" But the bitter realities of the civil war that rages all around them, ultimately takes its toll on their friendship, as they grow into adolescence. Although most of the play's strong dialogue is spoken in highly animated and quite unfamiliar Belfast argot, a printed Glossary, provided in the PlayBill, along with Carmel O'Reilly's vigorous direction and the commanding performances, by both accomplished actors, served to adequately overcome any of the drama's unusual language. Now playing through April 24. (My Grade: 4)

 

LAST RITES
Review by Norm Gross

At the Boston Center for the Arts is the Theatre Offensive world premiere production, in association with Wildheart Press, of "Last Rites" by Letta Neely. Set in Boston's Mission Hill neighborhood, the drama's first act centers on Patrice (a former postal employee) dying from terminal breast cancer. Attended by Dutch, her understanding and helpful best friend, she wryly prepares for her own demise, sorting out her few belongings, and making decisions about the final disposition of these articles after she dies. She ruefully remembers happier times, in her youth, when she and Dutch were Basketball playing High School buddies, but is mainly consumed by feelings of anger, resentment and rejection towards Asha, her former streetwise, and drug savvy, lesbian sweetheart. Act two, the play's strongest segment, unfolds with Asha's abrasive and ultimatey poignant reconcilation with Patrice, but achieves its most emotionally potent apex with the appearance of Patrice's long estranged mother. A devoutly religious Jamaican emigree, she has sternly disapproved of her daughter's lifestyle, with its drugs, petty thievery, and sinful ways, and now prays with Patrice's soon approaching death, that her needed reforms will soon take hold. Vividly performed by Renita Martin as Patrice, with an intense and compelling portrayal by Michelle Dowd as her sad, troubled and hopeful mother. Fine support is also provided by Abria Smith as the flashy and quick-tempered Asha, and Naeemah A. White-Peppers as the supportive and accomodating Dutch. Well directed by Brian Freeman, with a fine atmospheric apartment setting by Mirta Tocci, mounted before a substantial, three-panel backdrop made up of enlarged, candid, basketball-centered photos of Patrice and Dutch. Laced with occasional touches of grim humor, this hard-edged graphically-expressive and strikingly unsentimental and unsparing drama continues to resonate, long after its conclusion. Now playing through April 24. (My Grade:5)

 

SNOW WHITE AND THE SEVEN DWARFS
Review by Norm Gross

At Boston's Wheelock Family Theatre is their new production of "Snow White and the Seven Dwarfs," an adaptation for the stage by Jessie Braham White, based on the classic fairy tale by the Brothers Grimm. With most of the story's legendary features again on view, there is of course: the malevolent Queen, hatefully jealous of her lovely, young, stepdaughter Princess Snow White and the enchanted mirror that readily identifies her, by name, as "the fairest in the land." Disguised as an old beggar woman, with the help of a wicked Witch, the nefarious Queen plans to kill Snow White by tricking her into eating a poisoned apple. As expected, Snow White escapes into the forest to safety in the hidden home of the seven dwarfs, and eventually to the final happy ending. The evil Step-Mother Queen is punished with permanent ugliness, and Snow White is united with her handsome Prince. Of course, comparisons with the popular Disney motion picture, by which this story is best known, do come to mind, especially so in the case of the dwarfs' significantly different names: Nudge, Blabber, Scratch, Squeaky, Quee, Shy, and Toot, and most definitely in the absence of a musical score. As with the lively songs associated with the Disney version, this type of presentation has always been greatly enhanced by the inclusion of joyful melodies..."The Wizard of Oz," "Peter Pan," and even the Wheelock Theatre's engagingly tuneful production of "Ann of Green Gables," some seasons ago, offer vivid comparisons! Nevertheless, this production still does have its strong points.Two spiritedly animated performances by Robin V. Allison as the villainous StepMother Queen and Robert Saoud as the outrageously devilish, assisting Witch, are especially noteworthy, along with much more restrained portrayals by Yahanna Faith as Snow White and Shelley Bolman as the Prince. Rich Archer's open and expansive woodland setting, easily adapting into a wide variety of different places, ranging from the Queen's throne room to the Dwarfs' forest home, and also the sprightly involvement of many young children as colorfully costumed forest animals, Pages, and Maids, effectively came together to good advantage. Naturally, the large audience composed mainly of parents with small children, all seemed to be thoroughly enjoying themselves. Now playing through May 2. (My Grade:4)

 

THE MERCY SEAT
Review by Norm Gross

At Boston's Lyric Stage is their production of "The Mercy Seat," a a recent Off-Broadway success written by Neil LaBute. Set in New York the day after the horrific attack on that great city, it focuses on Ben and Abby, who have been clandestine lovers for three years. He's married with two small children, and she's not only his senior by 12 years of age, but is also the C.E.O. at his workplace (in the World Trade Center). Obviously, neither was where they ordinarily should have been on that terrible past morning. As he sits, in numbed silence, with his cellphone repeatedly ringing, while watching scenes on TV of the nearby devastation, his mind is fixed, not on the unfolding national tragedy, but instead on the sudden opportunity that this calamity now makes possible! With eveyone now believing that he's one of the many thousands incinerated in the disaster, he realizes that he and his Mistress could leave undetected, assume new identities, in a new and far off location, and begin a whole new life there, together. As his cellphone continues ringing constantly, with him still refusing to answer it, he ardently tries to sway Abby about his genuinely wonderful plan. However, his bold scheme goads her into recalling the long bothersome issues that she holds, regarding their lengthy relationship. For their entire affair, he's never been able to face her directly, during their lovemaking, preferring oral sex and/or other non-frontal positions, instead. She wonders if their "love" is real, or is it just the kind of sexual activity that might be vigorously disapproved of at home? Why must she also turn away from the career she's worked so long and hard to foster, leaving behind the prominence and status that she now enjoys? His plan would also mean never seeing his loving children, ever again, with both he and Abby living together, forever thereafter, under a cloud. Will Ben now concur in altering his course and agree, by answering his cellphone to explaining everything to his wife, and finally asking her for a divorce? Staged to simulate an arena-styled setting, with some of the audience seated behind the actors, it's being vividly acted by Robert Pemberton as Ben and Paula Plum as Abby, under Eric C. Engel's highly focused direction. Although some aspects of Ben's final decision seemed a bit awkward and/or strained, nevertheless this fine two-person drama remains for the most part compelling and quite provocative! Now playing through April 17. (My Grade:4)

 

THE MAGIC FLUTE
Review by Norm Gross

At the Cutler Majestic Theatre in Boston, the New England Conservatory Opera Theater recently presented, in a weekend only production, "The Magic Flute," Mozart's classic opera which blends a fairytale story with concepts based in FreeMasonry. Prince Tamino with the help of a magical flute, and the assistance of Papageno, the local Birdcatcher, is sent by the duplicitous Queen of the Night to rescue Pamina, her "kidnapped" daughter, from the "evil" official Sarastro. However, they soon realize that Sarastro is in actuality the High Priest of the Temple of "Nature - Wisdom - and Reason." A succession of comic escapades eventually reveal the Queen's sinister plot against him, helping them to thwart her evil efforts to force her daughter to kill Sarastro. Prince Tamino is finally united with Pamina, and Papageno, discovers that a seemingly helpful "Hag," was really Papagena, his beautiful and sexy true love, in disguise! As expected, the Queen's dastardly plans are completely reversed by the forces of Good.! Delightfully sung and acted by the large, young, student cast, with solid commendations for Tenor Gregory Zavracky as the heroic Tamino; most definitely for Baritone Jamie Kotmair as the highly comic Papageno, and spirited Soprano Donna Baraket as the harridan turned beauty - Papagena. Much praise also for Soprano Maria Alu as the lovely and sonorous Pamina; Bass Steve Pence as the imposing and stately Sarastro; and most certainly for Soprano Zoie Lamb as the devilish Queen of the Night, her commanding rendition of the Queen's celebrated aria, demanding Sarastro's assassination, was genuinely impresssive! The full orchestra, conducted by John Greer, provided strong and spirited accompaniment, and additional praise is also due for Caleb Wertenbaker's simple, yet quite expansive and brightly colorful sets, as well as Andrew Poleszak's radiant and contemporary costumes. Lastly, this splendid presentation was most certainly deserving of the capacity audience's standing and demonstrative approval at the final curtain! (My Grade:5)

 

OTHELLO
Review by Norm Gross

At the Cutler Majestic Theatre in Boston, Mass. is the Minneapolis/St.Paul-based Guthrie Theatre touring production of William Shakespeare's "Othello." Set in Venice and Cyprus, this legendary tragedy centers on Othello, a Moor, the General in command of the Venetian army. Iago, his trusted subordinate, expecting a major promotion, is enraged when Othello selects Cassio, a fellow soldier, instead. Spurred on by his passionate resentment, he decides upon a course of vengeance. When Desdemona, the Moor's lovely young wife, accidently drops a special handkerchief given to her by him, Emilia, Iago's wife, finds it. Her disgruntled husband decides to use it to ensnare Othello in a web of lies about Desdemona's fidelity. Convincing Othello into believing that Cassio and Desdemona are adulterous lovers, Iago sets in motion the ruinous sequence of events that will tragically overwhelm them all! Compellingly portrayed by Lester Purry as the doomed Moor, with an ardently malevolent performance (snarling, agitated, gloating, and brimming with venom) by Bill McCallum as Iago, with vivid support by Cheyenne Casebier as the ill-fated Desdemona, and Virginia S. Burke as the unwitting Emilia. Vigorously directed by Joe Dowling with a fine, atmospheric Mediteranean-type set, complete with massive stone columns and large ceiling-to-floor moveable slatted doorways, together with striking Victorian-styled costumes, all designed by Patrick Clark. This robust, very involving, quite physical, and highly intense, traveling presentation is now playing through April 10. (My Grade:5)

 

THE SWEEPERS
Review by Norm Gross

At the Stoneham Theatre in Stoneham, Mass. is the area premiere of "The Sweepers," a new play by John C. Picardi. Commissioned by the National Italian American Foundation to foster positive representations of Italian-American life, it has had recent extended runs Off-Broadway, as well as in Albany, N.Y. Set in July and August 1945 in Boston's North End neighborhood, the plot revolves around three longtime community residents, and friends (the "sweepers" of the play's title). Dotty, who worries about her hospitalized, shell-shocked husband, as well as her distant son still serving in the war zone; Mary, who collects surplus scrap tin and discarded newspapers to aid the U.S. War Effort, while also anxiously awaiting news about her husband and son, who are both overseas fighting in the Pacific combat area; Bella, long ago deserted by her wastrel drunkard Irish husband, prepares for the wedding of Sonny (her live-at-home son). She's concerned about his forthcoming marriage to Karen, an affluent, Wellesley College educated, Italian-American whose assimilated family now lives in the suburbs; Sonny, a lawyer deferred from military service because of a heart murmur, who works for Karen's father's law firm, is conflicted by his mother's obsession that the newlyweds must establish their home near her, as contrasted by his fiancee's opposition to them living in Boston's North End neighborhood. With the dawning of the day after their wedding, their clashing expectations collide disasterously, cemented by a startling disclosure by Bella. Well directed by Robert Jay Cronin, with a very strong performance by Marina Re as Bella, with solid supporting portrayals by M. Lynda Robinson as Dotty, Sarah Newhouse as Mary, Brad Bass as Sonny, and Robyn Lee as Karen. Much praise is also due for Richard Chambers' highly effective red brick, multi-level, backyard tenement setting, complete with elevated wrought-iron fire-escape and outer courtyard. Unfortunately, although much of Act One plays like the highly fictionalized and stereotypical immigrant-focused "kitchen-sink" photoplays that Hollywood studios ground out regularly throughout World War II, and while Act Two is certainly much more dramatically engaging, nevertheless, Bella's dark secret confession still doesn't ring true, resonating more as the author's contrivance than it should. Now playing through April 18. (My Grade:3)

 

LOST CITY
Review by Norm Gross

"Lost City " is an innovative collaborative production, developed by the Company One Ensemble together with Conrad Bishop and Elizabeth Fuller (the guiding powers behind National Public Radio's popular Network series "Hitchhiking Off the Map"). It was recently presented by them at the Boston Center for the Arts. Eight Airline passengers, enroute to Boston (the play's "Lost City") find themselves stranded overnight in Rochester, N.Y.,due to a disrupted connecting flight. A cross-section of Americana, the travelers, thanks to boredom and their burgeoning exhaustion and frustration, begin to relate to one another. Angie, the discontented daughter of a Russian Ballet centered mother; Livia, a 31 year old unmarried African-American female, boldly planning for single-motherhood utilizing specialized invitro fertilization; Ezra, a young San Francisco Bank employee, (not yet completely "out of the closet") returning to New England in hopes of reconnecting with a former "associate," while trying to steer clear of William, an obvious and vocal homophobic; Viola, a mid 20's Chinese-American violinist, striving for a career in music; Henry, a furtive, reticent, oddball hoping to find buyers for his miniature and quite lacklustre paper sculptures; and Wilma, a proud Black matron from Chicago, anxious to help her imprisoned son, in whatever way possible, represent the variously distressed travelers. Kareem, a youthful and unsuccessfull playwright, also from Chicago, acts throughout as an over-all observer commenting on his fellow voyagers, palpably intending to use their stories for possible future inspiration. The fine cast, headed by Keith Mascoll as Kareem, with Summer L. Williams as Livia, Shawn LaCount as Ezra, Mark Abby VanDerzee as William, Naya Chang as Viola, Mason Sand as Henry, Michelle Baxter as Wilma, and Hilary Fabre as Angie serve this joint experimental presentation quite well, all under Victoria Marsh's well focused direction. Although not all of the participants' reflections, concerns or intentions resonate with equal intensity, interest, conviction or import, they're nevertheless still generally stimulating and compelling. (My Grade: 4)

 

YELLOW MAN
Review by Norm Gross

At the New Repertory Theatre in Newton, Mass. is the Boston area premiere of "Yellow Man" by Dael Orlandersmith. A major Off-Broadway success in 2002, and one of three finalists that year for the Pultzer Prize in Drama, it has since been favorably-produced throughout this country, most notably in Los Angeles, Washington, D.C., and San Francisco. Its focus is on the rarely-examined color-discrimination (dark-skinned Blacks vs. light-skinned "High Yellow" Blacks ) within the African-American community, a long-festering internal racism which began to take root at the close of the Civil War, and persists to this very day, with issues of class, status, racial legitimacy, and a suspected more favorable acceptance of the "Yellows" by Whites, being amongst the greatest areas of contention! Marshalled by the well-concentrated direction of Lois Roach, on a bare stage, with only two simple chairs as props. In a succession of compelling and interlocking monologues, two extraordinary, highly-accomplished actors, Adrienne D. Williams as Alma (fatherless, poor, and raised by her mother, instilled with feelings of her homeliness and unworthiness due to her being so big and so black), and Dorian Christian Baucum as Eugene, (the disapproved "yellow" son of an affluent Black father and a light-skinned mother) who has never been able to overcome his father's disappointment in him. Set in a small rural South Carolina town, Eugene and Alma's love blossoms, from early childhood and adolescence to young adulthood, with Eugene hoping to marry Alma, and maintain their simple country lifestyle. However, when Alma wins a scholarship to Hunter College and moves to New York City, her sense of self approval greatly expands, forcing Eugene to re-evaluate his own view of himself. Eventually, this propels him to finally confront his father's rejection, with devastating consequences! This engrossing, well written, highly involving, and vividly performed exploration of the many bristling and seldom considered aspects and ramifications of "Black vs. Black" intolerance is now playing through April 4. (My Grade:5)

 

Our Lady of 121st Street
Review by Norm Gross

The New England premiere of "Our Lady of 121st Street," ( a major success Off-Broadway last year ) by Stephen Adly Guirgis, was presented recently by the SpeakEasy Stage Company at the Boston Center for the Arts. Set in a Harlem Funeral Home, a vividly assorted cross-section of neighborhood residents (former school mates) have come to pay their last respects to their favorite teacher, Sister Rose. Unfortunately, when they assemble they discover to their great dismay, that the corpse of the beloved Nun has disappeared! When Detective Balthazar (deftly played by Ricardo Engermann) arrives to investigate, their hopes, fears, disappointments, and regrets begin to surface in warmly sensitive, picturesquely-graphic, vibrantly expressive, and most often grandly amusing fashion. Bristlng with strong, explosive, four-letter streetwise epithets, their triumphs and defeats always resonate frankly and honestly. And what a decidedly varied assembly they are: the well-dressed lawyer (Jim Spencer) and his reticent companion (Rodney Raftery), who arrange that their secret life-style not be revealed; the divorced ne'er-do-well (brilliantly played by Vincent E. Siders) returning from Los Angeles, unexpectedly confronted by his disapproving and bitter ex-wife (compellingly handled by Jacqui Parker); the loud, foul-mouthed slattern, (Elaine Theodore) ready to bed-down with anybody; the cynical, wheelchair-bound Priest (Ray McDavitt); Sister Rose's pretty, asthmatic niece (Jennifer Young), who remembers their abusive childhoods; the middle-aged drudge (Luis Negron), who has devoted his life to caring for his dimwitted younger brother (Paulo Branco); and most decidedly, the young, prim and highly awkward outsider (Stacy Fischer) attending purely out of curiosity. Very well acted by this genuinely effective ensemble, under Paul Melone's well-focused direction, this winning and highly engaging character-study consistently continues to ring true, even after the startling revelation about the missing cadaver. (My Grade:5)

 

VAN GOGH IN JAPAN
Review by Norm Gross

At Boston's Playwrights' Theatre, the Nora Theatre Company presents the world premiere of "Van Gogh in Japan" by R.L.Lane. Presented in ten scenes (each listed as the title of one of the legendary artist's major paintings, together with designations of time and place) all performed in two acts with a brief intermission. Covering his most productive period, the last five tumultuous years in the great painter's life, beginning with his arrival in Paris from Holland in February 1886, and concentrating on his longtime personal and financial dependency on his devoted brother Theo, coupled wih his feelings of overiding futility. The first act also plumbs Vincent's tenuous involvement with Lisette (a local prostitute and occasional model for some of his paintings) who rejects his marriage proposal...(the wish of that "failure with wooden teeth!" ) and his volatile encounters with other notable artists such as Emile Bernard and Edgar Degas. It culminates with his departure in 1888 for his idealized "Japan," based on notions derived from previous copies he had fashioned from Japanese woodcuts. He had come to see, in his mind's eye, the remote, rural, colorful and picturesque landscapes of Southern France, as a new beginning, as his own special, exotic, and faraway "paradise." Act two begins ten months later in Arles, with his bloody self mutilation, obviously driven by his rampant despair and disillusionment. His turbulent association with fellow artist Paul Gaugin, the creation of such masterworks as his "Starry Night" and "Cypresses." and his death (after painting his famed "Wheatfield with Crows") by self-inflicted gunshot, brings his vivid life to its distressingly well-known conclusion. It ends with a hopeful epilogue featuring Gaugin thoughtfully reminiscing about Van Gogh as he ponders his forthcoming departure to his own Far-Eastern "paradise." Although little that was not already known about this great artist's life and times is offered here, nevertheless the author's assured direction, the passionate nine member cast, headed by the intelligent performances of Seth Kanor as Van Gogh (appearing physically very much like him), Joe Pacheco as his concerned brother Theo, the fine subdued portrait by Mara Sidmore as Lisette, and the spirited (although often unnecessarily shrill) portrayals by Robert Bonotto as Degas and Scott Severance as Gaugin, continually maintain the audience's involvement and interest throughout! Now playing through March 28. (My Grade:4)

 

The Gigolo Confessions of Baile Breag
Review by Norm Gross

At the Boston Center for the Arts, the Sugan Theatre Company presents the world premiere of "The Gigolo Confessions of Baile Breag" by Ronan Noone, the final work in his "Baile" trilogy. Just as in this instance, all three plays " The Lepers of Baile Baste," (the town of rain), "The Blowin of Baile Gall," (the town of foreigners), and now "The Gigolo Confessions of Baile Breag," (the town of lies), made their debuts in Boston. We meet long time, off-and-on lovers, Paddy and Rosie, once again bitterly quarreling about their relationship. Their rancor has been sparked by the death of William, who was the main attraction of Paddy's thriving "gigilo" trade! Having coralled a large dependable list of the town's neglected and most anxious wives, ready for William's romantic services, it seemed certain that fast-talking Paddy's profits would always be assured! Unfortunately, things began to wind down, initially due to William's developing attraction to one of their "customers," and then later, even more tragically, because of William's unexpected demise. However, while Paddy and William were still fully consumed by and prospering from their "gigolo" business, Paddy and Rosie broke up. Heavily involved in caring for her elderly and highly delusional father, and entangled in a brief romantic dalliance with a local physician, Rosie has decided to return to, and reassert her love for Paddy. As their virulent reunion progresses, all of her anger, resentment, and disappointment with Paddy wells up, and are vocally hurled at him, interspersed with mixed moments of touching Irish song and poetry. Throughout their ongoing discord, the ghost of William appears, not only in his own form, but also as his representing others, such as her now deceased father, to also participate in the couple's acrimonious reconciliation. Vividly portrayed by Billy Meleady as Paddy, Judith McIntyre as Rosie, and Miguel Cervantes as William, under Carmel O'Reilly's firm direction, although many of the motivations driving their tumultuous relationship are neither clear nor fully explored, nevertheless this final, compelling piece, is still a very worthy addition to the author's notable Celtic trilogy. Now playing through February 28. (My Grade:4)

 

JIMMY TINGLE'S OFF BROADWAY "Flanagan's Wake"
Review by Norm Gross

At Jimmy Tingle's "Off Broadway," in Somerville, Mass., Charles Productions presents the area premiere of "Flanagan's Wake," the long running, interactive fun-fest which began in Chicago in 1994, and has since been warmly received in Cleveland, Detroit, Minneapolis, Saint Paul, Milwaukee, Pittsburgh, Rochester and Philadelphia, amongst other major cities...and now makes its Greater Boston debut. Well stuctured, and partly improvised with lots of audience participation, the evening revolves boisterously around a wake held in the Town Hall of the fictional village of Grapplin, County Sligo, Ireland. Featuring a cast of seven actors and a pianist, who have come to the wake to "mourn" the departed, but primarily really just to hear the reading of his will. Often eliciting suggestions from the overflowing, enthusiastic audience, the young highly- spirited cast repeatedly expands their well prepared and proven framework by introducing, on-the-spot, improvised anecdotes and stories interspersed with impromptu ribald songs, which continually test their extemporaneous skills! From Father Fitzgerald's discussions about the little known "Book of Kevin" (the long missing and secret fifth Gospel? ), Fiona Finn, the decades-long fiancee of the deceased, who continuously and tearfully flings herself atop Flanagan's crate-like coffin (emblazoned with the notification of "this side up"), and Flanagan's crotchety, addled old mother, who regularly offers snarls, grunts and similar comments about those assembled, that are all totally unintelligible, the evening cascades on with a myriad of often riotous, verbal and musical moments. As expected, not all of their pranks do succeed, as in a rather contrived minglng of Snoop-Dog and the American Grammy Awards with Irish Banshees (?), that definitely falls short...but, informing us that "the road to Mary Kelly's house is really a ditch!" or finding a way to use turkey-calling ( as prompted by the audience) as the focus of an Irish ballad, more often than not, really do connect! Steve Turner as Father Fitzgerald, Kathleen Brophy as Fiona Finn, Chuck Karvelas (the show's Executive Producer) as the loquacious Town Mayor, and Bob Karish as the incomprehensible Mother Flanagan, are especially notable, amongst the talented cast, under Mark Czoske's strong direction. Although not all of the cast's Irish brogues ring true, most of the comic inspirations do. Now playing an ongoing, open-ended engagement. (My Grade:4)

 

THE SPITFIRE GRILL
Review by Norm Gross

The Lyric Stage Company of Boston presents the New England premiere of "The Spitfire Grill", with Music and Book by James Valcq and Lyrics and Book by Fred Alley. Based on the award-winning, similarly-titled 1996 motion picture, it has enjoyed much approval with regional theatres since its success Off-Broadway, after being adapted as a musical play. Set in 1999, in Gilead, Wisconsin (a small, isolated, rural town), the plot centers on young, female Percy, who comes to this tiny hamlet after being paroled from prison. There, she is warily hired by elderly Hannah, the testy and moderately handicapped owner of the community's only diner, where she helps preparing meals with Shelby (a middle-aged,brow-beaten, housewife ). As these three eventually begin to interact with each other, they learn of Hannah's longstanding and unsuccessful efforts to sell her restaurant and to retire. They then decide to help her to achieve her goal, by offering the diner, using a $100 application fee as the prize to the best judged written entry in a nationwide letter-writing contest. As the mail pours in by the thousands, many changes have also taken place, to the inhabitants of Gilead, thanks mainly to Percy. Sheriff Sutter, Percy's young handsome parole officer, begins to show some romantic interest in her, Shelby begins to assert herself in response to the demands of Caleb, her overly, autocratic husband, and Hannah's life is decidedly altered, for the better, by a new and significantly changed awareness. However, when the reasons for Percy's imprisonment come to light, some uncertainty begins to cloud her future. Tenderly sung and vividly acted by the accomplished seven member cast, with solid approval for pretty and positive Elisabeth Hayes as Percy, Bobbie Steinbach as the irascible Hannah, and especially Maryann Zchau (an actress of wide-ranging versatility) as the much transformed Shelby, with nicely sensitive support from Christopher Chew as Sheriff Sutter, Derek Stearns as Shelby's domineering mate, and Cheryl McMahon as the town's grandly amusing gossip, amongst others. Assuredly directed by Spiro Veloudos, with a fine interior diner-styled setting, flanked by a deftly suggested background of bleak woods and barren trees, designed by Brynna Bloomfield. Lastly, much commendation is also due for the show's tender and expert blend of Folk, Pop, and Country-Western influences in the production's touching and expressive musical score! Now playing through March 13. (My Grade:5)

 

DIRTY DAY
Review by Norm Gross

At Boston's Actors' Workshop is a new production of "Dirty Day " by Brian McGrail. Staged in Pasadena, California in 1996, and more recently Off-Broadway in New York City, this presentation represents the play's New England premiere. Set in South Boston, the play was inspired by the Gangland aura and events culminating in the crime-laced murder of the author's father in 1985. As in the playwright's own background, "McGrath's Tavern " had been owned and operated by the McGrath family for many years, and now after the recent mob killing of the owner, his son, college trained Bobby,Jr. has decided to continue managing this well-known neighborhood Bar, primarily to uncover the reasons for his dad's violent death, thereby achieving some measure of closure, for himself. Kevin, a longtime childhood friend, who is employed as a "Bouncer" in a nearby Bar, has accidently killed Jacky, the youngest son of Tommy Shea,Sr., the local Crime Boss, and now seeks Bobby's help in disposing of the corpse. As young Bobby gets more involved in assisting his pal, he soon becomes entangled in a web of illicit money schemes, widening deceits, and burgeoning betrayals. These elaborate money deals not only bind him to his buddy Kevin, but also begin to tie him to Tommy,Jr., the Crime Lord's eldest son, who has devised a myriad of double-dealing lures, intended to entice Bobby into joining his father's criminal activities. As the young Barkeep then gradually begins to discover the nature of the Sheas' linkage to his father's death, and the real reasons behind Tommy,Jr's. "friendly " overtures, he devises his own plan for vengeance, with devastating consequences! Tightly directed by the playwright, with fine, visceral and intense performances by Joseph McEachern as Bobby, Chris Fencer as Kevin, and Tom Kazmouski as Tommy,Jr. with somewhat, obviously expected revelations provided by Rick Winterson, as the loose-tongued Barfly, who sparks the play's dire and inexorable conclusion. This taut exploration of the author's own tragic background, as unfortunately defined by Boston's criminal fringe, highlighted by many of its most despicable aspects, is now playing through March 12. (My Grade: 4)

 

FRESH FRUITS GREATEST PITS
Review by Norm Gross

At Boston's Tremont Theater, The International Society presents " Fresh Fruit's Greatest Pits," a pointedly gay musical comedy revue written, choreographed, produced and creatively and colorfully costumed by the Show's five member cast: Peter Gaioni, Walter Hildner, Glen Klein, Eric Martellini, and Rodney VanDerwarker. Featuring 17 grandly outrageous and generally hilarious parodies of well-known tunes drawn from Broadway, Hollywood and the Pop World, interspersed with several very amusing spoofs of typical TV-style, Late Night type, "Not Sold in Stores," Hard-Sell, commercials, projected onto a large, centrally-hung motion picture screen. Initially, the festivities begin with the quintet dressed in full, colorful, evening gowns, sporting (a la Carmen Miranda) elevated headwear composed of assorted fresh produce (bananas, grapes, oranges, pears, etc.). "Goin' to the Chapel" is sung here as "Goin' to the Catskills" (to get our daughters married), "Be Our Guest" from Disney's "Beauty and the Beast " is re-fashioned as "Wear a Dress" ( you'll feel like a Princess), "Osama" (the Afghana Psycho, who killed his Mama), Gilbert & Sullivan reworked as " 3 Little Gays at School" (dancing just like Britney Spears), their jovial salute to the Dali Lama, "Hello Dali" ("start the chant fellas, but don't step on that ant, fellas"),and even their parody of Mel Brooks' "Springtime for Hitler" , featuring the cast fully costumed as flower pots (!), singing "Spring for the Right Wing...in Washington" (winter for women and gays, but now school children will be able to pray). An obvious, small, double-branched, garden twig, being promoted as the All-Purpose "Super Stick" (available by mail order only from Gyppo), a new improved undergarment, better than "Depends," ("cuz Life ain't so hot, when you're missing the pot"), and commonplace drinking water, now bottled and offered to everyone as "Aqua-G!" are just a few examples of the Company's highly amusing video-styled take-offs! Performed on the theater's stage, radiantly draped (in vivid crimson), this rollicking, non-stop, occasionally inspired, sometimes contrived, but more often than not, frequently very amusing revue, is now playing through February 21. (My Grade: 4.5)

 

CONSPIRACY OF MEMORY
Review by Norm Gross

At Boston Playwrights' Theatre, Boston Theatre Works presents the world premiere of "Conspirancy of Memory " by Steven Bogart. Dr. Ivan Jacob, a Jewish Holocaust survivor, relocated to America since the end of World War II, looks forward with his family to the approaching Bar Mitzvah of his young grandson. Unfortunately, Ivan nearing age 80, is also suffering the early onset of Alzheimer's disease. His disorder is also beginning to stir long repressed memories of his horrific past. He has become convinced that Franz Haus, the head of the firm that employs his daughter,(the mother of his grandson) was in fact a sadistic Nazi Doctor. This idea impels him to relentlessly stalk and survey this accused war criminal. Alarmed and questioning the reliability of her father's senses, Ivan's daughter seeks help from a Holocaust investigative agency. Avram Levy, the group's aggressive Jewish representative, once heavily immersed in Ivan's case, and spurred on by the advancing nature of the elder's Azheimer memory-related problems, forces him to confront some disquieting and startling aspects about himself during the Holocaust. As Avram succeeds in making Ivan face these disturbing conditions in his own past, the drama begins to suggest answers to questions that Ivan's family must resolve, not only about Alzheimer's disease, but also regarding conflicted attitudes and judgements they hold towards him as a Holocaust survivor. Regretably, after posing this compelling dilemma, and giving us an inkling of his family's ability to cope with Ivan's troubled past and present, the author then neither confirms nor denies Ivan's accusations against Franz Haus! Although intensely acted by Leonard Auclair as Ivan, and Ken Baltin as Avram, with a somewhat unvarying performance by Sharon Mason as the concerned daughter, and highlighted by overpowering projections, and striking lighting on all four sides of the auditorium, depicting graphic scenes of the Concentration Camps and their victims, as designed by Caleb Wertenbaker, ....nevertheless, the play, while raising many provocative issues about Alzheimer's disease and the Holocaust, ultimately leaves too much of genuine relevance and importance unexplored and unresolved! Now playing through February 22. (My Grade:3)

 

THE LAST FIVE YEARS
Review by Norm Gross

At the Boston Center for the Arts is the SpeakEasy Stage Company's premiere production of "The Last 5 Years," a musical play written and composed by Jason Robert Brown. Originally staged in Chicago in 2001, and still later in New York, it went on to win Off-Broadway's "Drama Desk" awards for Music and Lyrics in 2002. Closely based initially on the author's own failed marriage, its Manhattan debut was delayed by legal action, initiated by his ex-wife, necessitating some major changes making the plot much less autobiographical. The story is told musically, in its entirety, (90 minutes, without an intermission) sung alternately by its two characters, Jamie and Catherine, in 14 songs. He sings about their relationship, from its beginning to its end, while she responds by singing about her participation, starting with their break-up, completely in reverse! Jamie, an aspiring Jewish writer, falls in love with, and marries Christian Catherine, a fledgling actress. As his career flourishes, her efforts flounder. To complicate matters, his success leads him into extramarital involvements, a troublesome combination, that ultimately dissolves their marriage. As stated above, the Author-Composer's songs tell their whole story. Commencing with her plaint about their separation, "Still Hurting," and continuing with his initial attraction to his beautiful "Shiksa Goddess," to their romance's crest, "The Next Ten Minutes," (when they exchanged rings), leading subsequently to the touching "If I Didn't Believe In You," and the vexing "I Can Do Better Than That!" and finally culminating with the painful "Goodbye Until Tomorrow." Vividly sung by Tally Sessions as Jamie and Becca Ayers as Catherine, both with strong full voices, as marshalled by Eric Engel's sure and focused direction, with tender musical accompaniment by a fine small piano, violin and cello ensemble conducted by Paul Katz. Also quite noteworthy is the play's striking circular setting, with its compelling revolving central platform designed by Susan Zeeman Rogers. Although there's no one particular melody that really stands apart from the rest of the score, the music's overall impact is still quite commanding, nevertheless! Now playing through February 29. (My Grade:4)

 

INHERIT THE WIND
Review by Norm Gross

At Boston's Wheelock Family Theatre is their new production of "Inherit the Wind" by Jerome Lawrence and Robert E. Lee. First staged on Broadway to much approval in 1955, it was later successfully produced as a major Hollywood motion picture in 1960, and again in 1999 as a premiere made-for-television movie. Based on the celebrated 1925 "Monkey Trial" in Dayton,Tennessee, the play closely follows the major events of this legendary case, while making a few significant modifications, alterations and changes, for dramatic purposes, without compromising the basic facts of this historic event. John Scopes (here called Bert Cates), a public school teacher, challenged his State's law, prohibiting the teaching of "Evolution," by instructing his students in Darwin's Theory. He was arrested and then tried, with William Jennings Bryan, three-time Presidential candidate, (here known as Matthew Harrison Brady ), speaking for the Prosecution, and the great trial lawyer Clarence Darrow (now identified as Henry Drummond) representing the Defense. The trial came to National prominence, at that time, mainly because of the newspaper accounts by famed journalist H.L.Mencken (here called E.K.Hornbeck). While Act One unfolds in a slow and rather overly folksy fashion, centering primarily on Jury selection, and some of the preliminary legal maneuvers and contentions between Brady and Drummond, the drama's best and most potent moments arise in Act Two. With Brady relentlessy trumpeting the inviolable facts of the Bible, Drummond using irony, cunning, and carefully developed and measured logic, is able not only to disarm his rival, but also to deflate his pompous sense of self righteousness, with compelling yet somber and mixed consequences. As expected, although the townspeople, stirred by the fiery sermons of their Fundamentalist Clergymen, insured that Cates would be found Guilty, Drummond's brilliant interweaving of Reason and Humor to illuminate the Allegorical aspects inherent in the Bible, do achieve the moral highground for himand Cates. Neil Gustafson as Drummond, and Dan Dowling as Brady, give fine, intense performances in the play's central roles, heading the large, nearly 40 member cast, with solid support from Shelley Bolman as the defendant, with equally praiseworthy acting by Karen Q. Clark as his conflicted sweetheart, torn by her love for Cates, and her loyalty to her Bible-thumping Father Reverend Brown (well played by Ed Peed ),with commendation also for Mark S. Cartier as Hornbeck. Susan Kosoff's strong direction and Janie E. Howland's impressive courtroom setting, complete with gently rotating ceiling fans, add just the right touch to this strongly presented re-examination of the never ending strugglebetween those championing Intellectual Freedom and the limiting demands of those favoring Thought Control. Now playing through February 22. (My Grade:4)

 

THE DAZZLE
Review by Norm Gross

At the Stoneham Theatre in Stoneham, Mass. is the area premiere of their new production of "The Dazzle " by Richard Greenberg. Suggested by the lives of the Collyer brothers, the author admits (in the program notes) to "knowing almost nothing" about them, and just using their notoriety "to jumpstart his imagination." These famous siblings, Homer and Langley, became front page news back in 1947 when an anonymous phone call alerted the authorities to come to their bizarre boarded-up, Harlem mansion in New York City, where amidst massive mountains of collected junk, they discovered the long dead, decaying corpses of the two famed, reclusive brothers. As stated, Greenberg has used these basic facts to fashion this award-winning, two act, fictional study of their descent into alienation and withdrawal. Act One, set at the beginning of the 20th Century, finds the Collyers still active in wordly pursuits. Dressed in fine tuxedos, they play host to wealthy heiress Milly Ashmore, who has taken a romantic fancy to Langley, a man she feels is a talented and promising pianist. Homer, trained in Admiralty Law, now devotes himself to protecting his fragile brother, and hopes that Langley's marriage to Milly will serve to restore them financially. Unfortunately, however, their wedding will never be, as Langley is gradually becoming distanced from reality. Act Two, 30 years later, finds them living as hermits in their once ornate and now squalid estate, barricaded in piles of trash from their now deteriorating and crime-ridden neighborhood. Langley's fixation on minutiae (an ordinary, plain thread, or a singular pine needle) defines his complete withdrawal from actuality, while Homer's obsessive guardianship of his frail kin, has also been equally devastating. The unexpected return of Milly, now homeless and fallen on hard times, into their abode, adds a surprising twist to their outlandish lifestyle, leading still later to a somber and disquieting revelation. Bill Mootos as Homer, Neil Casey as Langley, and Anne Gottlieb as Milly, all give intense and compelling performances under Weylin Symes' confident direction, with special mention for Gianni Downs' impressively cluttered Victorian setting. Although the Collyers' fixation on surrounding themselves within towering walls of refuse, is never fully clarified. Nevertheless, there is still much to commend in this otherwise provocative examination of despair, withdrawal and isolation. Now playing through February 8. (My Grade:4)

 

LA CALISTO
Review by Norm Gross

At the Cutler Majestic Theatre in Boston, the New England Conservatory Opera Theatre has presented, for an all too brief weekend-only engagement, its new production of "La Calisto," by Franceso Cavalli. Long after its original premiere in 1651, this charming, much neglected, 17th century work was rediscovered, newly adapted, and reintroduced to the contemporary musical world, at the Glyndbourne Festival in 1970, by Baroque Specialist Raymond Leppard. Since then it has generated much ongoing interest, and has enjoyed substantial subsequent approval. Set in the celestial Arcadian domain, Calisto, a chaste nymphet, is torn between her love for the Huntress Diana and Jove, the supreme imperial ruler. Jove, disguised as Diana, unbeknownst to her, attempts to decieve Calisto into falling in love with him, but to further complicate everything, the real Diana appears. Still greater entanglements and confusions develop when it's revealed that Diana actually loves Endymion, a simple shepherd, and Linfea, a crafty nymph, together with Pan, the God of the shepherds, intend to create more disruptions. Disorder continues to build when Jove's wife Juno decides that Calisto represents a threat to her marriage, and casts a magic spell over her rival. Later, finally realizing that doing whatever she will, Jove will still always be fickle, Juno lifts her enchantment from Calisto, with Diana then able also to achieve her true love. Vividly acted, and (with only a few, occasional, minor exceptions) grandly sung by the large, young, enthusiastic student cast, high praise is due for Sopranos Maria Alu in the title role, Jamie Van Eyck as Diana, and Katherine Blumenthal as Juno, with special mention for Baritone Jermaine Hill as Jove, and most especially for the superb Counter Tenor Jason Abrams as Endimione. Strongly and assuredly directed by Marc Astafan. Caleb Wertenbaker's simple, effective, and sublimely ethereal setting, Andrew Poleszak's handsome celestial costumes, and most definitely Guest Conductor: Christopher Larkin's confident and commanding guidance of the full orchestra, add the final full measure to this delightful, well mounted, presentation! (My Grade: 4)

 

A MIDSUMMER NIGHT'S DREAM
Review by Norm Gross

At the Loeb Drama Center in Cambridge. Mass. is the American Repertory Theatre's new production of Shakespeare's "A Midsummer Night's Dream." A quartet of ill-fated sweethearts have fled to a magical forest governed by the Fairies' King and Queen. Although Hermia is in love with Lysander and their friend Demetrius loves Helena, they've all had to run away because Theseus, the Governor of Athens, has ordered Hermia to wed Demetrius instead. There in this enchanted woodland, Puck, the Fairy King's messenger-boy, jinxes them all by confusing and realigning their romantic attachments, with calamitous results. Nearby, in this same bewitched place, Bottom, a foolish laborer, and a group of his equally dimwitted worker-friends, have gathered to rehearse a play to pay homage to Theseus. However, as a grandly mischievious prank, Puck decides to transform Bottom by changing his human head into that of a donkey, with wildly comic consequences! As expected, by the play's conclusion, all of the magical conversions have been repaired, the four sweethearts are properly reacquainted, and Bottom now posturing again with his original head, is able to perform the play as intended, with his fellow bumpkins. However, in this most unusual and decidedly dissimilar interpretation of Shakespeare's usually comic-fantasy, Director Martha Clarke has placed a fascinatingly different and somber spin on it all. Here, the Bard's verdant forest is now a dark and treeless landscape, reminiscent of Samuel Becket's analogous terraine, where his two hapless vagabonds await their mysterious appointment. The four befuddled sweethearts are now also quite visibly annoyed with and contrary to each other, as Puck slips in and out of several forbidding large onstage trench-like burrows, to further stir up additional mayhem. As the confusion continues to build, thanks to a very elaborate complex of ropes, cables and pulleys, four highly animated and inventive female fairies glide, somersault, soar, (frontwards, backwards, up and down) high above the play's action, delightfully suggesting obviously whimsical, unspoken physical attitudes towards the variously perplexed players below. These represent the production's most memorable moments. Vividly portrayed, although occasionally much too shrilly, by Michi Barall as Hermia, Tug Coker as Lysander, Katherine Powell as Helena, and Daniel Talbott as Demetrius, with fine compelling support by John Campion and Karen MacDonald as both the commanding Theseus and his indignant wife, as well as also effectively portraying the lively King and Queen of the Fairies! Lastly, I must add some well deserved praise for the triumphantly comic performance by Thomas Derrah, one of the region's finest and most versatile actors, as the uproariously bewitched, donkey-like Bottom, with a grandly farcical portrayal by Remo Airaldi as one of his most absurd cohorts. This strange, imaginative, extraordinary, and occasionally bewildering and/or disquieting, yet still continually provocative, presentation is now playing through February 28. (My Grade:4)

 

FULL GALLOP
Review by Norm Gross

At the Boston Playwrights' Theatre is the Nora Theatre Company's production of "Full Gallop," by Mark Hampton and Mary Louise Wilson. A one-woman play about Diana Vreeland, set in her Park Avenue apartment in August 1971, where after serving nine years as the legendary Editor-in-Chief of Vogue Magazine, she finds herself out of a job. However, her reputation as the Fashion World's "High Priestess" guarantees that she won't be unemployed for very long. In fact, soon thereafter, she would be hired by New York's Metropolitan Museum, as head of their prestigious Costume Institute. Nevertheless, the play's action covers only the day of her dismissal from Vogue. Known for her fascination with the color red, her famous apartment is resplendently decorated-- ablaze in all things Scarlet...tables, chairs, lounges, drapes, and whatever else, all brightly gleaming in varying shades of red! Equally well known, for her own stark appearance, she is strikingly dressed in black turtleneck sweater and slacks, topped by straight jet-black hair and facial makeup accented by cheekbones streaked with roug.! As she prepares for a dinner party in her home that same evening, she chats enthusiastically with the audience about her life and experiences, reminiscing about Berlin, before World War II, her early happy years in Paris, and her arrival in America at the outbreak of the War. Laced with bubbling commentary about the many celebrities, both famous and infamous, such as Audrey Hepburn, Coco Channel, and Helena Rubenstein, to Valenciaga and even Adolph Hitler, that she's come in contact with during her fabulous lifetime. Ever ready with a deft quip about each of them, she is quick to remember her observation, from a distance, at a pre-war Opera,about the Dictator's absurdly foolish moustache. Vividly portrayed by Annette Miller, who is once again being assuredly directed by Daniel Gidron (repeating their triumphant collaboration, in last year's highly acclaimed production of "Golda's Balcony "), all grandly enhanced by Brynna Bloomfield's vibrantly colorful setting (as described above), and Gail Astrid Buckley's similarly noted Costume Design. This finely crafted, well staged, and vigorously acted, character study of one of Fashion's most revered and celebrated Icons, is now playing through February 1. (My Grade:5)

 

CIRQUE ELOIZE presents NOMADE
Review by Norm Gross

"CIRQUE ELOIZE presents NOMADE" is now at Boston's Wilbur Theatre, a combination of a wide variety of extraordinary Circus feats accented by singing, dancing, lively orchestral accompaniment and an overall unifying theme that ties it all together. This vibrant Canadian Company, founded 10 years ago, has enjoyed much success during this past decade, with acclaimed presentations throughout the U.S. and triumphant touring productions going from France, England, Greece, and Austria to Japan and the Far East. Performed on stage in two acts, divided by a brief intermission, for two hours, this 15 member group of commanding athletically gifted young men and women, enthralled the capacity audience with a succession of remarkable and awe-inspiring examples of their spectacular physical skills and daring! Framed by a bride (in white wedding gown) and her groom preparing for their rural-style nuptials, the Company executed a striking series of acrobatic stunts ranging from vaulting, tumbling, balancing, juggling, and clowning, utilizing everything from a high, swinging trapeze, ropes and straps, a teetering seesaw board, grandly elevated poles, large rapidly circling hoops, wooden chairs piled high, one upon another, and a huge rolling globe, to handstands, headstands, and even nimble, multi-directional unicycling (up, down, frontwards, backwards, and around and around )! Besides these noteworthy acrobatics, the evening was also spiced with grand compelling and comic moments, such as two inventive jesters artfully struggling to don the same short coat as they concluded by playing each others accordian and guitar, as strapped in reverse, onto each others back, and a memorable contortionist who kept bending her torso and manipulating her arms, legs, and feet, into every imaginable pretzel-like position! With captivating music provided by a spirited, onstage, Gypsy-styled band (clarinet, violin, and accordion), enhanced by the Company's members joining them throughout, in many varied French, Italian, and other such songs! Under Daniele Finzi Pasca's well focused direction, the evening comes to a genuinely noteworthy finale with the countryside Wedding Party capped by two acrobats, male and female, performing exceedingly arduous moves on a highrise pole, amidst a substantial downpouring of onstage rain, all to the roaring, standing approval, of the enthusiastically applauding, spellbound audience! Now playing through January 25. (My Grade:5)

 

AFTER MRS. ROCHESTER
Review by Norm Gross

At Wellesley College's Alumnae Hall in the Ruth Nagel Jones Theatre in Wellesley, Mass. is the Wellesley Summer Theatre's new production of "After Mrs. Rochester," by Polly Teale. A recent success in London, this absorbing, multi-dimensional drama is based on the life of Jean Rhys, the celebrated author of "Wide Sargasso Sea," the acclaimed 1966 prequel to Charlotte Bronte's classic 19th century novel, "Jane Eyre." Like the unhinged and sequestered wife of Mr. Rochester, the host of Bronte's brooding tale, Rhys was also a Creole, born and raised in the West Indies, who was likewise sent to England as a young woman. There, she gradually began to founder as a despairing and rootless immigrant. In the legendary novel, Rochester responds to his wife's madness by locking her up in the attic of his large, remote mansion. Upon reading Bronte's masterful work, Jean Rhys' interest was greatly spurred by her empathy for this kindred, misunderstood and abused, imaginary fellow Creole. The play's vividly overlapping and compelling story-line, laced as it is with many flashbacks and shifts in time and place, centers on three actresses. The main performer represents Rhys from pubescence to mid-maturity, while the second portrays her as elderly, observing and commenting on her younger self's tumultuous past. The last player is presented as Bronte's fractured and mistreated fictional character. After being sent, as a youngster, to England by her harsh and domineering mother, Jean Rhys progresses from employment as a floundering and inadequate chorus girl to marriage to a suave and deceptive felon. Their union dissolved, she eventually travels to Paris where she then becomes romantically involved with Ford Madox Ford, a prominent, middle-aged British novelist. Once again ultimately confonted with rejection, she suffers many succeeding trials with instability and depression, as mirrored by the terse observations of her elder self and the attendant and unbridled despair of her fabricated alter-ego. Intensely portrayed by Alicia Kahn as the younger and Lisa Foley as the elder Jean Rhys, with a striking performance by Melina McGrew as Rochester's tortured wife. Plaudits also for the large, effective supporting cast headed by Stephen Cooper as Ford Madox Ford and Charlotte Peed as Jean's tyrannical mother, all potently directed by Nora Hussey. Ken Loewit's sparse and creative set, efficiently utilizing an otherwise nearly bare stage, with an interesting assemblage of wooden crates and trunks to effectively suggest the play's many different locations, as well as Andrew Poleszak's fine period costumes, also deserve much commendation! This engrossing, stimulating and passionately acted drama is now playing through January 24. (My Grade:5)

 

THE THREE PENNY OPERA
Review by Norm Gross

At the New Repertory Theatre in Newton, Mass. is their new production of "The Three Penny Opera." A dramatic play with music, featuring Book and Lyrics (in German) by Bertolt Brecht and Music by Kurt Weill, which was originally staged in Berlin in 1928. Like "The Beggar's Opera," the 18th century English play by John Gay upon which this version is based, it offers us a dark and bitter perspective on Bourgeois values. Originally set in Victorian England, it chronicles the escapades of MacHeath, a notorious outlaw and charismatic Champion of London's Underworld, who has married, without Parental consent, Polly, the daughter of Mr. Peachum, the leader (with his wife) of the community's Criminals, Prostitutes and Beggars! Through a series of betrayals, initially by his in-laws and later by others, especially by Pirate Jenny, a maltreated whore, MacHeath finds himself jailed and sentenced to be hung. A last minute reprieve by the King, offers him his final vindication. Originally staged unsuccessfully on Broadway in 1933, it was triumphantly revived Off-Broadway in 1954, thanks to a new and vibrant English translation (Book and Lyrics) by Marc Blitzstein, and it is this later version, that has been the primary reason for the play's ongoing popularity, ever since. Here now, we are presented with a disconcerting new and harsher translation, featuring Dialogue by Robert MacDonald and Lyrics by Jeremy Sams. "Mack the Knife," the show's main song, is now retitled and sung as "The Flick Knife Song," revealing MacHeath as a viscous scoundrel, who garotes and slashes his prey, (as if to somehow infer that describing him as a ruthless shark was really somewhat much nicer), with similarly jarring changes to the song about "Pirate Jenny," "the Army Song," (here renamed "the Cannon Song ") and "Solomon's Song " changed, for whatever reason, to "Socrates' Song," all decidedly less engaging and certainly less memorable than Blitzstein's efforts! Similarly, according to the Company's advance notices, the show's original setting has also been changed to "London of the near future," and notwithstanding occasional sounds of overhead, flying helicopters, and incidental references to computer chips and other such contemporary miscellany, Frances Nelson McSherry's vividly striking costumes, still do suggest Victorian England. Although well played by Todd Alan Johnson as MacHeath, with strong acting and singing by Susan Molloy as Polly, Paul D. Farwell and Nancy E. Carroll as Mr. and Mrs. Peachum, and Leigh Barrett as Pirate Jenny, marshalled by Rick Lombardo's intense direction, the theatre's small stage seemed overly crowded, with the large cast presented as too stationary throughout most of the First Act, while much greater verve and mobility were evident in the more active and fluid Second Act, framed by Peter Colao's fine atmospheric and seedy warehouse setting. Now playing through February 8. (My Grade: 3)

 

BAD DATES
Review by Norm Gross

Boston's Huntington Theatre Company is now presenting "Bad Dates," a new one-person play by Theresa Rebeck. A major Off-Broadway success last year, this production represents its Boston premiere. Set in Manhattan, the play's action centers on Haley, a divorcee, living together with her 13 year old daughter in their New York apartment. Chatting effortlessly, directly with the audience for 90 minutes, Haley talks freely and animatedly about her life, her expectations, her successes and disappointments. Beginning as a waitress in a local restaurant, she has progressed to become its manager, and is now planning to restart her social life. Humorously choosing from the many, many fashionable shoes she owns and loves, while deciding what clothing she'll wear, she gradually begins to describe her return to the dating "Merry-go-round!" The play's title tells us much about the results. In a vivid series of delightful descriptions, she tells us about her various meetings. Starting with the date who complained endlessly about his colon and his cholesterol, (aggravated by the breakup with the girl he really loved), as well as the Columbia University Professor of Law (arranged for her by her mom) who turned out to be gay, and even the Buddhist transcendentalist who connects with everything in life, including the insect world, (whom she jokingly refers to as "the Bug Guy"). Julie White, the star for whom the play was actually written, and its sole performer, is absolutely superb! She is grand, compelling and completely genuine throughout, under John Benjamin Hickey's assured direction. Regrettably, Haley's lighthearted escapades at the finale, take a decidedly somber and dark turn, in sharp contrast to everything that's gone on up to that point, bringing this otherwise captivating and joyful character study to a distressingly weak and obviously highly contrived conclusion. Now playing through February 1. (My Grade:3.8)

 

PRIVATE LIVES
Review by Norm Gross

At Boston's Lyric Stage is their new production of "Private Lives," Noel Coward's classsic 1930 comedy of marital mayhem. Winner of the 2002 Tony Award as the year's best revival, this legendary seventy+ year old romp has been a perennial audience pleaser since its original London and New York stagings with, at that time, the author and Gertrude Lawrence as its stars, together with a very young Laurence Olivier as a supporting player. It has been repeatedly performed both professionally and otherwise throughout the succeeding decades, until the much anticipated 1983 Broadway production starring Elizabeth Taylor and Richard Burton and the more recent prizewinning New York renewal featuring Alan Rickman and Lindsay Duncan. Set in three acts, the play focuses on Elyot and Amanda, formerly wed Mayfair-styled sophisticates, who after 5 years of divorce have remarried and--as the plot unfolds-- initially in contiguous suites in a posh hotel in Southern France, find themselves honeymooning, each with his or her new spouse, in adjoining hotel rooms. After discovering, to their total annoyance, their "new," all too familiar neighbors, comic sparks fly! Their old rejected love suddenly reasserts itself, to the complete dismay of their new mates, and surprising complications humorously develop for them all. Grandly performed with much comic flair by Paula Plum as Amanda and Michael Hammond as Elyot, deft support is provided for them by wimpering Amy B. Corral and stuffy Barlow Adamson as their appalled and abandoned newlyweds. With high marks for Scott Edmiston's spirited direction, lively and highly colorful Art-Deco styled sets designed by Janie E, Howland, and the bright period costumes fashioned by Gail Astrid Buckley, this splendidly engaging frolic scores on all levels! Now playing through January 31. (My Grade:5)

 

FAR AWAY
Review by Norm Gross

At the Boston Center for the Arts, the Zeitgeist Stage Company presents its production of "Far Away," a new play by Caryl Churchill. Originally staged in London in 2000 and in New York in 2002, this production marks the play's New England premiere. A compact, one act drama ( 55 minutes, with no intermission), it presents us with an apocalyptic view of a World that ironically may not be too far away. We first see Joan (the drama's main character) as a juvenile, visiting her Aunt's home unable to sleep at night, because of screaming in the backyard. Although her Aunt insists that the noise is simply an owl hooting, Joan knows that it is actually her Uncle violently assaulting others. Next we see Joan as a young adult, working in a bizarre millinery factory, with Todd her co-worker, quietly discussing the establishment's job opportunities, as the horrific purpose for their work is brutally revealed. Later, at her Aunt's home once again, we see all three: Joan, Todd, and her Aunt, as fully involved combatants in total world wide war, where everyone and everything is considered suspect and potentially hostile! Not only menacing foreign countries that are able to manipulate air currents, weather patterns, and the course of waterways to serve their adverse goals, but also friends...men, women,boys, girls and even small children, who may really be collaborating with the "enemy." Equally ominous likewise, is the imminent threat posed by animals, domesticated or not,...cats, mallards, deers,elephants and especially crocodiles who have now gone rampantly amuck! Although Paul Rorie seemed a bit too dispassionate as Todd, the other cast members, Nicole Brathwaite and Naeemah A. White-Peppers as the juvenile and the adult Joan were quite strong, with fine support from Renee Miller as the Aunt, under David J. Miller's well focused direction. Although written some time before the terrible events of 9/11, our world has undergone so many disquieting, if not indeed alarming, changes since then, that this short, succinct, play's forbidding warnings now resonate still more potently than ever! Now playing through January 24. (My Grade:4)

 

URINETOWN-The Musical
Review by Norm Gross

At Boston's Colonial Theatre is the national touring production of "Urinetown - the Musical," with Music and Lyrics by Mark Hollman and Book and Lyrics by Greg Kotis. Last year's surprise hit on Broadway, this highly unconventional show went on to big popular and critical approval earning the 2002 Tony Awards for Best Music, Lyrics, Book and Direction. Obviously influenced by the legendary pre-Hitler, anti-establishment Germanic epic plays (with music) of Kurt Weill and Bertolt Brecht, such as "the ThreePenny Opera," this show likewise centers on a controversial and socially conscious theme. The show's extraordinary title tells us much. Caldwell B. Cladwell, a tyranical money-hungry Corporate FatCat, who because of a crushing longtime drought, now completely controls all of the region's urban water supply, and with the help of dishonest politicians, has banned the ownership and/or use of any and all private toilets, thereby is now able to force the entire victimized citizenry to pay as much as he decides, to use his public restrooms. Furthermore,with the assistance of the area's corrupt Police Force, anyone resorting to the "bushes" to relieve themselves is sent to Urinetown, a forbidding destination from which there is no return. With Police Officer Lockstock as the show's omnipresent Narrator, this same constable continuously explains the story's progress to "Little Sally," a juvenile street urchin who comes to represent the often querulous audience.To their general amusement, Lockstock goes on to analyze, amplify and justify the play's many twists and turns. The plot then finds Cladwell's lovely, young and ethical daughter Hope, meeting and fallng in love with Bobby, Leader of the People's Popular Rebellion against Cladwell's despotic rule. The plot then begins to boil over when Hope becomes a hostage to the Rebels, and Bobby goes to Cladwell's "Urine Good Company's" Corporate headquarters to meet with and challenge her Dad's authority. Not simply an amusing polemic on Business Greed, the show is also a brilliantly witty spoof on many of Broadway's most celebrated Musical successes! "Annie," "Fiddler on the Roof," "West Side Story," "Big River," and "Les Miserables," are just a few of the evening's most engagingly staged parodies. Vividly performed by the highly energetic cast, with striking performances by Tom Hewitt as Lockstock, Meghan Strange as "Little Sally," Charlie Pollock as Bobby, and Christiane Noll as Hope, with additional praise for Ron Holgate as the comically nefarious Cladwell and especially for Beth McVey as a conflicted Security Cashier, all vividly singing in grand, full voices. John Rando's vigorous direction and Scott Pask's stark and somber metallic elevated balcony and stairway set add greatly to this multi-dimensional, highly captivating and quite memorable diversion! Now playing through January 18. (My Grade:5)

 

THE CHRISTMAS REVELS
Review by Norm Gross

In Sanders Theatre at Harvard University's Memorial Hall in Cambridge,Mass. is the 33rd annual presentation of "The Christmas Revels." This year's program is focused on Scotland's lusty celebration of the Winter Solstice, wih all of the large cast's males properly garbed in fine traditional Scottish tams and kilts, with their Ladies dressed in customary rural style caps, and long dresses. Beginning with "Auld Lang Syne," vividly played by the 6 member Cambridge Symphonic Brass Ensemble, the evening continues on with lively renditions by "The Laird's Consort," (fiddles, pipes, harpsichord, recorder and accordion), the 33 strong, full-voiced, male and female "Auld Reekie Singers," the vigorous four piece "Great Highland Pipes and Drums," the 14 animatedly cavorting "Pinewoods Morris Men," the large "Revels Bairns" group of 16 frisky, playful, singing children, and of course, the agile, high stepping, 11 men and women of "Highland Dance Boston!" Traditional children's songs and games (odes to rhymes, nonsense and candy), sprightly Highland reels, tender recitations of verse by Robert Burns, charming melodies chanted in quaint old Gaelic, robust Scottish step dancing,(much like its Irish counterpart), and as expected, several effervescent Yuletide "Audience Sing-Alongs." Especially noteworthy was the grand festive singing by soloists Jayne Tankersley and Ruth Canonico; Judy Erickson's energetic solo dancing, and particularly David Coffin's witty and musically defined directions and explanations, readying the audience for their participation. Not the least of the evening's ongoing pleasures was the spry, heavily clanking "Papa Stour Sword Dance," with the Pinewoods Morris Men finally locking their sabres together to form a Star; the enactment of "Galoshins," the Scottish version of a Mummers' Play, in which the legendary hero vanquishes the invading Roman Knight; and later, the joyful finale with everyone singing the Company's longstanding concluding Carol, "God bless the Master of this house with happiness..." This grand yearly Holiday Gala (now being performed by similar companies nationwide, from California and Texas to Washington, D.C. and New York City) is a truly jubilant seasonal treat for young and old alike, and is one of the year's most eagerly anticipated pleasures, most deservedly so! Now playing through December 30. (My Grade: 5)

 

My Life With the Kringle Kult
Review by Norm Gross

Boston Theatre Works presents the world premiere of "My Life With the Kringle Kult," at the Boston Center for the Arts, a Holiday fantasy-farce, written by and starring John Kuntz, and directed by Dani Snyder. Set in Kringletown, Santa Clause, the community's leader, is never seen, forever remaining concealed behind his closed office door. He's helped by Twinkle Kringle, a perky female elf, whose first assignment is to explain everything to us about Kringletown, in a rather lengthy and verbose introduction. Santa's requirements are relayed to his elfin subordinates by Karl Kringle, his primary assistant. Hard work, dedication and strict adherence to Kringletown's wholesome code of conduct will eventually bring his helpers to their ultimate reward, a transcendent "infinite embrace with Santa." All is well until the arrival of Baroness Tinsel Von Shatzdoodle, in reality the masquerading undercover investigating newspaper reporter Page Turner, who's there to write a sensational expose laying bare all of Santa's mysterious secrets! By convincing Karl to turn against his jolly rotund Boss, the Baroness, in reality seeks to overthrow Santa, and then to assume complete control of Kringletown! Twinkle, upset by this dire change of events, turns for help to "Linty," her supreme source of comfort, a jumbo, silent,suspended ball, composed of a multitude of strands of collected belly-lint. Unfortunately, the big fluffy orb isn't of much help! For the next ninety non-stop minutes, this farce then spins frenziedly in a myriad of conflicted directions (most of which are more contrived and labored than genuinely amusing). It careens from a series of frenetic chases and tumbles, to some daffy dream episodes and then to a series of slapstick-inspired, cream-pies, pushed-in-their-faces, which finally-- thanks to so much repetition-- undermine their comedic purpose. It all finally ends with a spoof of Hollywood-styled, Aliens-from-Outer Space, Sci-Fi movies. While the first 30 minutes of this production seemed to promise an imaginative, Holiday-focused fantasy, thereafter everything became so hastily considered, and in such need of a firm, but missing, unifying plot motif to tie everything together, that the overall result was more disconcerting and exhausting, than entertaining. However, much commendation is still due for the small, totally committed and hard working cast: Author-John Kuntz as Karl, Rick Park, generally effective as the towering (costumed in Drag, complete with Blonde female wig,dressed in gaudy evening gown) Baroness and scheming, power hungry news reporter, and most especially for Laura Napoli as the cheerful and earnest Twinkle. This frantic, overlong, and meandering Holiday farce might yet succeed if reworked into a substantially shorter version framed by a much more coherent and disciplined comedic story-line. Now playing through December 28. (My Grade: 1.8)

 

MESHUGGAH-NUNS!
Review by Norm Gross

At Boston's Lyric Stage is their production (an area premiere) of "Meshuggah -Nuns!" once again featuring Book, Music and Lyrics by Dan Goggin. This fifth outing of the singing and dancing Sisters of the Mount St. Helen's Convent are now ocean-bound onboard a "Faiths of All Nations" cruise, together with a touring company performing "Fiddler on the Roof." Unfortunately, the latter's cast have all become seasick except for Howard, their leading actor, who's playing "Tevye." Naturally, to save the day, the ship's Captain recommends that the two unlikely competitors merge to perform an original, ecumenical revue. With little in common except their similar absorpton with "Guilt," the result is two plotless acts with a mixed bag of new songs that, except for their titles, only occasionally mirror the legendary Jerry Bock-Sheldon Harnick musical score. Buttressed by an overly extensive parade of corn-fed "humor", such as Klezmer melodies misconstrued as 'Cleanser Music!' or the kid playing "The Jewish Husband," in the Holiday play, requesting 'a speaking role' or the Dairy Sponsor of the Faith-Friendly Talent Show being known as "Cheeses of Nazareth," and the Ma-Jong Club meeting at "Temple Beth Myerson", representing a few examples of the show's abundant reliance on overly-ripe comedy! "Contrition," "Say It In Yiddish" (where a Habit becomes a "Shmattah" [a tattered rag]), " If I Were a Catholic " ( where the convert finally experiences the pleasures of Ham for dinner!), "Three Shayna Maidels " (just like the Andrews Sisters), and "Matzoh Man," with the Nuns outfitted and singing in the style of "The Village People," doing their hit song, "Macho Man!", are some of the more successful numbers with the rest often being more labored than genuinely amusing. The fine, spirited cast Frank Gayton as Howard, Delina Christie as Reverend Mother, Maureen Keiller as Sister Hubert, Maryann Zschau as Sister Robert Anne, and especially the captivating Sarah Corey as the jovial puppeteering Sister Amnesia, do their best with the tired jokes and the heavy-handed and uneven score, under Carolyn Droscoski's knowing direction. Whatever novelty or originality these cavorting Nuns may have initially exhibited when "Nunsense" first premiered years ago, has long since been exhausted by over-exposure and repetition! I think it's time for Composer and Playwright Dan Goggin to try something completely fresh. Now playing through December 27. (My Grade: 2)

 

MONTICEL
Review by Norm Gross

At Boston Playwrights' Theatre is their production of "Monticel'" a new play by Russell Lees set in 1800 at Monticello, Thomas Jefferson's stately mansion in Virginia, soon after that year's crisis-ridden Presidential election. The voters' decision has left Jefferson and Aaron Burr deadlocked, and the House of Representatives, which must select the winner, seemingly also at a standstill. Francis Williams, an assertive member of the opposing poltical party, has come hoping to convince Jefferson to withdraw from the contest, while James Callender, an opportunistic journalist, has also arrived expecting some recompense for his many efforts supporting Jefferson. Against this turbulent political millieu, an intense personal struggle begins to develop between Jefferson, Sally Hemings, his preferred slave, (with whom he has fathered a child), and her brother, James. The latter, educated and freed by Jefferson five years earlier, has returned to insist on emancipation for his sister. Although he's found life as a free man in Philadelphia difficult and disappointing, he's nevertheless surprised at his sister's reluctance towards his overtures. She seems content with her elevated status, and her assurance that Jefferson will free their son, when the boy reaches manhood. Decisively rebuffed by Jefferson, James turns for assistance to Patsy Randolph, the Master's married daughter, who zealously resents her father's emotional attachment to Sally. Their ardent and combined efforts result only in betrayal and a harsh and bitter resolution, defined by a rarely explored and disquieting perspective of one of our nation's most revered icons! Charles Weinstein as Francis Williams and Steven Barkhimer as James Callender are equally vivid in the play's straight-forward, backroom political epsodes, with a solid and measured portrayal by Sharifa Johnson Atkins as the gentle and reserved Sally Hemings. Although, unfortunately, Nigel Gore seemed much too restrained as Jefferson, Birgit Huppuch was quite appropriately vixenish as Jefferson's bristling daughter, with an extremely commanding and compelling central performance by Vincent Siders as the passionately conflicted James Hemings, under Wesley Savick's very strong direction. Finally, Richard Chambers' striking set, a massive American flag, serving as a wide backdrop extending onto the floor of the stage, flanked to the right by three tall, stone-like columns, (one of which is broken), with an extra-large, framed and semi-transparent architectural rendering of Monticello, behind which the main characters often voiced their deepest interior thoughts, impressively established the story's grandly historical time-period! This well written, passionately performed, and provocatively involving drama is now playing through December 21. (My Grade: 4)

 

THE NUTCRACKER
Review by Norm Gross

At Boston's Wang Theatre is the Boston Ballet's annual presentation of Tchaikovsky's "the Nutcracker," based on E.T.A. Hoffman's 1816 fairy tale. Set in the mid-19th century, a Magician at an elegant Family Christmas party gives sweet young Clara, an enchanted Nutcracker-toy as her yuletide present. Later, while the entire household is fast asleep, she returns to the party room to play with her gift and is witness to a battle between her Holiday plaything and an army of Mice. Upon vanquishing the legion of rodents, her Christmas trinket is transformed into a handsome young Prince, who then takes her in an airborne balloon to the magical "Palace of Sweets." There, they are both delightfully entertained by a succession of unusual and exotic dancers, from many far-away places. Lorna Feijoo and Yury Yanowsky, majestically turning and pirouetting, as the Sugar Plum Fairy and her Cavalier; Romi Beppu and Nelson Madrigal as highly animated, dancing Arabians, and Alexandra Kochis and Raul Salamanca as similarly cavorting Chinese, with Joel Prouty very compelling as the vigorous leader of a group of wildly athletic Russians, were all quite eye-filling! Larissa Ponomarenko and Nelson Madrigal, again as the sublime Snow Queen and King and especially Sarah Lamb as the beautifully sensual Dew Drop Fairy, were equally compelling! The sprightly choreography, for the story-establishing Act I, is by Daniel Pelzig, while the more fanciful dance segments in Act II, were devised by Mikko Nissinen. High praise also for Christopher Budzynski as the handsome Nutcracker, Allisyn Hsieh as the enthralled, young Clara, Robert Moore as the mysterious Wizard, and Luke Luzicka as the King of the Mice, were all also very striking. Last, and certainly especially noteworthy, is Helen Pond and Herbert Senn's multiple, ever changing and exquisite settings, and David Walker and Charles Heightchew's resplendent costumes. Once more, this grand Holiday treat is now playing again, for the complete pleasure of young and old, through December 30. (My Grade:5)

 

SNOW IN JUNE
Review by Norm Gross

At