Archived Theatre Reviews (page 4)

A CHRISTMAS CAROL
Review by Norm Gross

In their inaugural season at the new Arsenal Center for the Arts in Watertown, Mass. is the New Repertory Theatre's production of Charles Dickens' "A Christmas Carol." This splendid dramatization of the legendary classic begins with a lively 15 minutes of caroling by the large assembled and fully costumed cast, alongside the joyful singing of the cooperating Watertown Children's Theatre. In the sleek lobby of the new Mosesian Theatre, after the capacity audience settles down into their seats in the playhouse, the transformation of miserable old penny-pinching, skinflint Ebenezer Scrooge to caring human being evolves amidst the warm ambience of mid-19th century England. His metamorphosis takes place in his bedroom during a fully charged Christmas eve when the ghost of Marley, his chained and pained former business partner, appears before him to make way for Ebenezer's other spectral visitors. Ilyse Robbins, dressed in white as the ghost of Christmas past, arriving on a gigantic swing, makes way later that evening for Steven Barkheimer as Christmas present to be rolled out (center stage) on a throne festooned with a large and colorful melange of fruit. Both reveal to him the grievous errors of his youth and the ongoing travails created now by his current behavior. However, even more imposing is the dark and forbidding ten foot towering ghost of Christmas future, ( obviously an ebony draped and elevated construction, with moveable forearm and threatening voice) which unveils the bleak days yet to come, that await him if he does not change his ways. Vividly performed by the large cast, with strong performances by Paul D. Farwell as Scrooge, Brett Cramp as Cratchit, his overworked and hard-pressed employee, full-voiced Leigh Barrett as Mrs. Cratchit, young Claire Dickson as their handicapped son "Tiny Tim," Terrence O'Malley as Scrooge's hopeful nephew Fred, and Peter Edmund Haydu as the moaning ghost of Marley. Much applause also for the many lovely old English carols sung by the cast members throughout the performance, accompanied on stage by various other fellow actors playing violin, flute, accordion, tambourine, and upright piano. Peter Calao's striking wood-framed and rear brick-walled set, Christine Alger and Frances Nelson McSherry's fine period costumes, and Rick Lombardo's effectively focused direction were all equally impressive. Now playing through December 24. (My Grade:5)

RED ELM
Review by Norm Gross

At the Boston Playwrights' Theatre is their production of "Red Elm," a world premiere by Dan Hunter. In the family's Iowa farm house, crusty old Jack Butler, hampered by failing eyesight and advancing old age, has brought Linda, his confidential secretary, to help him sort out his personal papers. Sympathetically attended to by his long caring wife Margaret, he is very concerned about locating his last will and testament. He's also not very restrained in voicing his discontent with his adult son Ezra, who lives in a nearby trailer park. Ezra's unexpected appearance resparks the long smoldering hostility between them, especially when Jack learns that Ezra plans to marry Linda. His anger intensifies when Ezra reveals how he hopes to use some revenue from the family farm to engage in new business ventures. When Jack heatedly answers that the farm will stay unaltered, and that he intends to disown Ezra, his enraged son retaliates by forcing his strongminded father to face some dark hidden secrets about his deceased, other son. While, reportedly Ezra's brother Bobby had died an honorable hero's death while serving his country in the military during the Vietnam War, Ezra's confrontation with his stern father about the true nature of Bobby's demise, brings them both to their intense final understanding, with distressing consequences. Although the drama's resolution proved to be rather predictable, the fine four member cast performed this otherwise well written and engaging play vividly. William Young's strong, assertive portrayal of Jack with compelling supporting performances by Mark Peckham as Ezra, Julie Jirousek as Linda, and Ann Marie Shea as Jack's concerned wife Margaret, were all quite commendable. Plaudits should also go to Susan Zeeman Rogers' for her fine farm house setting, framed by solid outlined cutouts depicting massive hovering trees, as well as Karl Michaelis' strong and focused direction. Now playing through December 18. (My Grade: 4)

THE NUTCRACKER
Review by Norm Gross

Vividly resettled in its new quarters at Boston's splendidly restored Opera House is the Boston Ballet's 38th annual presentation of "The Nutcracker," based on Hoffman's classic fairy tale and featuring Tchaikovsky's magnificent music and Mikko Nissinen's grandiose choreography. This sumptuous production is framed by Helen Pond and Herbert Senn's multiple and lavish sets and David Walker and Charles Heightchew's elegant period costumes. In 19th century Germany, on Christmas eve at the Silberhaus home, Herr Drosselmeier (a visiting wizard) is invited to the family's festive holiday party. He's brought with him an enchanted Christmas gift for Clara, the family's young daughter. That night when the rest of the house is fast asleep, Clara returns to play with Drosselmeier's present, a magical nutcracker. As she frolics with her new toy, an army of household mice led by their imposing King mouse, takes charge of the Silberhaus' spacious living room. Suddenly, as the brightly sparkling family Christmas tree grows to a colossal height, Clara's new plaything marshals a battalion of toy soldiers to challenge the large group of mice and their imperial leader. After slaying the mouse King and routing his legion of rodent followers, the toy nutcracker is miraculously transformed into a handsome Prince-charming. Drosselmeier then transports young Clara and her courtly Prince in a high flying air-balloon to the mystical Palace of Sweets. There, as honored guests, they are entertained by a succession of superbly facile dancers. Karine Seneca and Yury Yanowsky as exotic Arabians, Dalay Parrondo and Raul Salamanca as delightfully spinning Chinese, Heather Myers, Jaime Diaz, and Sabi Varga as Flamenco-styled Spaniards, and especially Joel Prouty, assisted by Daniel Cooper and Gabor Kapin as exuberant high vaulting Russians were particularly noteworthy! Romi Beppu and Nelson Madrigal as the majestic Snow Queen and King, Lia Cirio as the rapturous Dew Drop, and Larissa Ponomarenko as the sublime Sugar Plum Fairy were all supremely worthy of the capacity audience's thunderous applause, as was Bradley Schlagheck earlier in the evening as a cavorting bear. Viktor Plotnikov as the mysterious Drosselmeier, Misa Kuranaga as the sweet youthful Clara, and Roman Rykine as her commanding Nutcracker/Cavalier were equally impressive. Lastly, high praise is also warranted for the lively, full orchestral accompaniment conducted by Jonathan McPhee. This grand spectacle is now playing through December 30. (My Grade: 5) *****EXCELLENT

A CHRISTMAS STORY
Review by Norm Gross

At the Stoneham Theatre in Stoneham, Mass. is their production of "A Christmas Story " by Philip Grecian. Adapted from the popular 1983 motion picture, which was in turn based on the warm, nostalgic book of reminiscences entitled "In God We Trust, All Others Pay Cash, " by Jean Shepherd, the well known radio and television monologist. Set in small town Indiana during the 1940's, as in the earlier movie and book, the story follows the whimsical efforts of eleven year old Ralphie to sway his parents into buying him the ultimate Christmas gift. He passionately hopes for a "A Genuine Red Ryder Carbine Action Lightning Loader, with Compass, Range Model, Bee bee Air Rifle." However, when his parents' only repeated response is "No! You'll only shoot your eye out," bespectacled Ralphie must then try even harder to convince them that the much desired play shotgun will not become a danger to him. Soon, a succession of clipped newspaper advertisements, as well as many notes and photos of the toy, begin appearing not only in the family's mail box, but also strategically placed throughout the house. During the next few weeks, leading up to Christmas morning, the play also deals with Ralphie's interactions, with his friends, at school, his dad's comic winning prize, (a bizarre floor lamp, designed as a lengthy standing female leg), awarded to him in a local contest, and the family's amusing outings for holiday shopping at the nearby department and butcher stores. As expected, by the play's happy ending, young Ralphie does indeed receive his much hoped for Christmas gift. However, unfortunately the original movie's gentle charm, now more often than not, is presented on stage in loud, overly-exaggerated and much too frenetic fashion! This is especially evident in the story's two best known comic incidents. They are, first when Ralphie's young friend, in response to a chum's challenge, gets his tongue stuck onto the schoolyard's frozen flagpole, and still later, when the family's cooked Christmas turkey dinner, set out on the back porch to cool, is stolen away by neighborhood dogs. Both events were treated much too swiftly and awkwardly, greatly lessening their comic impact. Well acted by the large 12 member cast, especially so by Shelley Bolman as the adult Ralph, who was the play's effective, onstage narrator and omniscient observer, and Ari Shaps as youthful Ralphie, his eleven year old personification. Dale Place and Meagan Hawkes as Ralphie's father and mother, as well as young Danny Marchant as the school's bully were also noteworthy. Jenna McFarland's cartoon-type set, with its revolving door-like panels, which quickly transformed the play's action from indoor to outdoor and even to classroom settings, was also quite commendable. Now playing through December 23. (My Grade: 3.5)

BIG RIVER
Review by Norm Gross

At the Turtle Lane Playhouse in Newton, Mass. is their new production of "Big River," featuring Book by William Hauptman and Music and Lyrics by Roger Miller. Adapted from Mark Twain's "The Adventures of Huckleberry Finn", it premiered in 1984 at the American Repertory Theatre in Cambridge, Mass. and still later that year at the LaJolla Playhouse in San Diego, California before making its New York debut in 1985. On Broadway it went on to win a host of Tony Awards including Best Musical. Set along the Mississippi River Valley in the late 1840's, the plot centers on the escapades of rural teenager Huckleberry Finn and Jim, a runaway slave, as both set out on a raft on the river, seeking their own pathways to independence. Huckleberry has escaped from the clutches of his crude, greedy, and abusive father, while Jim is seeking freedom from slavery in the "North." As they make their way along the waterway, they experience a wide variety of bold and uproarious mishaps due in large part to their encounter and coerced involvement with two itinerant, wily, scheming and notorious con men, known as "Duke" and "King." The show's lively and engaging musical score served to introduce country-western singer and composer Roger Miller to Broadway audiences. His compelling score included such winning tunes as "I'm Waiting for the Light to Shine, " (far beyond horizons I've seen), "I, Huckleberry, Me" (nothin' ever than exactly what I am), " When the Sun Comes Down in the South," (the moon comes up in the East), "Free at Last " (it's the sweetest taste) and, of course, the striking signature song, "Muddy Water" (your mysteries are deep and wide) all vividly sung and acted by Adam Shenk as Huck and Joshua Heggie as Jim. They were grandly abetted by the lively characterizations of Blake Siskavich as Duke and Robert Jacobs as both King and still earlier also as Huck's drunken and mistreating "Paw." High praise is likewise due for the large 23 member cast with special commendation for Jonathan Popp as Tom Sawyer, Huck's longtime boyhood buddy. John MacKenzie's creative rustic woodland set, which quickly and easily transformed from the riverway to a multiple assortment of rural locations, and Bruce J. Williams' lively choreography, under Elaina Vrattos' focused direction, were all quite commendable. The fine full orchestra conducted by Markus Hauck was equally noteworthy. This splendid music and dance reworking of Mark Twain's enduring classic story is now playing through December 30. (My Grade: 5)

KISS OF THE SPIDER WOMAN
Review by Norm Gross

At the Roberts Studio Theatre in the Boston Center for the Arts' Calderwood Pavilion is the SpeakEasy Stage Company's new production of "Kiss of the Spider Woman," featuring Music by John Kander and Lyrics by Fred Ebb and Book by Terrence McNally, adapted from Manuel Puig's 1976 novel, which was later produced as an acclaimed award-winning motion picture in 1984. After its debut as a musical in London in 1992, and extensive revisions, it was remounted on Broadway the following year, where it went on to win a host of Tony Awards including Best Musical, as well as Best Actor and Best Actress. Set in a fascist South American jail, where two disparate prisoners are thrown together as cell mates. Molina, a gay self-deprecating hair dresser, who's been incarcerated for supposedly compromising the morals of a juvenile, and Valentin, a homophobic dedicated Marxist revolutionary, who have become antagonistic partners. As time progresses, Molina tries to comfort Valentin, as both are repeatedly brutalized by the sadistic prison guards. As a child, Molina spent much of his youth at a local movie house, and has held vivid memories ever since of "Aurora," the sultry female who was the star of scores of "B" movies throughout the 1940's. He animatedly recalls her many flashy film roles, and is able to recreate them, for his and Valentin's benefit, especially so for her elaborately gaudy musical roles. As their time together drags on Valentin's bitter view of Molina gradually changes and they soon become lovers, with grimly tragic consequences. John King grandly sings and passionately portrays Molina, with a strong, compelling performance by Brendan McNab as Valentin, with equally commanding support by the large 18 member cast. Similarly noteworthy also were Sean McGuirk as the duplicitous Prison Warden, Veronica Kuehn as Marta, Valentin's waiting forlorn and still-hopeful true love, and most especially Christine A. Maglione as the tantalizing, multi-lavishly costumed, singing and dancing, Aurora! As Molina's imaginary "Spider Woman," whose kiss always revealed her as an "Angel of Death" ("Sooner or later she'll offer such bliss, she'll win you with her kiss"). The show's impressive score includes such stirring songs as "Where You Are," ("If you find that you've landed in jail, a little fantasy won't fail"), "The Morphine Tango, " defining the physically abused Valentin's brief hospitalization, and most certainly the prisoners' ever burning assurance that ("Someday we'll be Free. If not tomorrow, then..."), "The Day After That" ("and if not, then the day after that"), Seth Bodie's dazzling many faceted costumes, the highly spirited, full 12 member orchestra, directed by Paul S. Katz, Eric Levenson's formidably-forbidding circular prison cell setting, David Connolly's strikingly animated choreography, and most definitely Paul Daigneault's potent direction, (with much of the cast's performances effectively extending out into the theatre's aisles, amongst the audience) were all absolutely praiseworthy! Now, in this much more intimate theatre, this splendid production is even more engaging, gripping, and ultimately more memorable than the previous larger, nationally touring version, which appeared in downtown Boston more than a decade ago. Now playing through December 3. (My Grade: 5)

FIFTY MILLION FRENCHMEN
Review by Norm Gross

At Pickman Concert Hall in the Longy School of Music in Cambridge, Mass. "American Classics" presented one recent weekend its new concert-styled revival of "50 Million Frenchmen," featuring Music and Lyrics by Cole Porter and Book by Herbert Fields. Porter's first hit show on Broadway, which premiered there in 1929, followed soon after his earlier, much less successful show, "See America First," of which one critic, at that time, wrote "See...( it )...last!" Wealthy young expatriate Peter Forbes, living in Paris, wants to make sure when he marries, that he will be loved by his fiancee, for himself alone and not just for his money.His plan to achieve this prompts him to bet his best friend Michael that he'll be engaged to Looloo Carroll, a sweet and lovely tourist within a month's time. Posing as a poor common place tour guide, he proceeds to woo her by showing her all of "the City of Lights" legendary famous landmarks. As with so many of these very early American musicals, the simple dated, and usually threadbare plot served mainly as a frame only upon which to hang the show's all important songs. And here again, Porter's grand music stands the test of time, as performed by the impressive cast of 14 highly accomplished, professional singer-actors. From the Bar at the Ritz, the Cafe de la Paix, the Place de l'Opera, and the lounge at the Hotel Claridge, to the Longchamps Race Track, Porter's scintillating style and wit bubbles prominently, from start to finish. When Peter unknowingly tears up the race's winning ticket, his colossal mistake spins the plot forward to its heavily contrived happy ending. Beginning with "You Do Something to Me," (The show's best known tune), sung melodiously by Peter and Looloo, and continuing on with such lesser known gems as "You've Got That Thing" (that makes birds forget to sing), "Where Would You Get Your Coat?" (if the dear little Sables told their husbands fables), "Why couldn't I be Whistler's Mother" (or any other woman of note, instead of just "The Queen of Terre Haute"). Every human or dumb thing has some thing "Why Shouldn't I Have You?," and of course the delightful cult favorite, "Tale of the Oyster " ( I've had a taste of Society and Society has had a taste of me), which curiously enough was cut from the show's original score and is now here restored. Brent Reno and Kate de Lima resonate grandly together as Peter and his sweetheart Looloo with fine help from Benjamin Sears (who with Bradford Connor is amongst the Company's Producing Directors) as Peter's best friend Michael and especially Leigh Barrett as Violet Hidegarde, a flamboyant American tourist. We must also strongly commend the highly sonorous Ms. Barrett, who on very short notice was called upon to resoundingly replace another cast member, who was unable to perform due to a serious last minute illness. Also most noteworthy were Mary Ann Lanier and La'Tarsha Long performing as "The American Sister Act," vividly belting out "The Boyfriend Back Home" duet. The show's solid piano accompaniment was expertly played on stage by Margaret Ulmer. "American Classics," a Boston-area production team dedicated to unearthing, restoring, and performing the early and/or long neglected musical works of America's finest composers, has served us all very well once again, with this splendid revival! (My Grade: 5)

THE SISTERS ROSENSWEIG
Review by Norm Gross

At the Boston University Theatre the Huntington Theatre Company presents its new production of "The Sisters Rosensweig" by Wendy Wasserstein. Originally staged and enthusiastically welcomed at Lincoln Center in Manhattan in 1992, it was transferred to Broadway soon thereafter in early 1993, which later was followed by a major national tour. Set in late Summer 1991 in London in the grandly well appointed living room of Sara Goode, twice-married and divorced Jewish-American ex-patriot, who is currently the Director of the European branch of the Hong Kong Shanghai Bank. The eldest of three, her two sisters have come to celebrate her 54th birthday. Her siblings are gorgeous Teitelbaum, a middle class married housewife from Newton, Mass. (who hosts a popular, local radio talk show) and her youngest unmarried sister Pfeni Rosensweig, a world-traveling journalist, who has just returned from an assignment in Bombay. As these three amiably recollect warm memories of their recently deceased mother, their differences are soon exposed. Sara sees herself as being totally emancipated and assimilated into the general culture. Now very much a part of London's "smart set," she has turned away from her faith and her ethnic roots. The second sister, Gorgeous, takes pride in her middle class American upbringing and is religiously observant. It being the start of the weekend, she insists on traditionally observing the onset of the Sabbath by lighting candles and reciting the appropriate Hebrew prayers. After she has retired to her guest quarters, Sara insists that the candles be immediately extinguished. Pfeni, besides returning from Asia to honor Sara's birthday, hopes that she will finally marry her longtime friend Geoffrey Duncan, a well known bi-sexual Theatrical Director, who has just come to visit. Also present are Sara's friend Nicholas Pym, a supposedly racist, upper class British snob; Geoffrey's friend Mervyn Kant, a visiting Jewish furrier from New York; and Sara's teenage daughter Tess, and her boyfriend Tom Valiunus, an idealistic, neighboring, Lithuanian adolescent. As a surprising romantic involvement develops between Sara and Mervyn, and Gorgeous unexpectedly reveals some troubling aspects about her family, Pfeni finally discloses her deep longings to Geoffrey. In so doing, the three sisters not only come to recognize their vulnerabilities but also experience some transcendent and provocative insights about each other and themselves, as well. Maureen Anderman as Sara, Deborah Offner as Gorgeous, and Mimi Lieber as Pfeni are compelling as the three sisters, with fine support by T. Scott Cunningham as Geoffrey, Amelia Alvarez as Tess, James McMenahim as her friend Tom, and Richard Snee as Nicholas Pym. Jeremiah Kissel's deft portrayal of Mervyn Kant was especially impressive. David Korins' bright, opulent sitting room set and Nicholas Martin's strong direction were equally noteworthy. Now playing through December 4. ( My Grade: 5)

A MIDSUMMER'S NIGHT DREAM
Review by Norm Gross

At Tower Auditorium in the Massachusetts College of Art in Boston is the Shakespeare Now! Theatre Company's new production of "A Midsummer's Night Dream." Defying their parents' wishes, Helena and Demetrius,Lysander and Hermia, who love each other, have run off to an enchanted forest, where the King and Queen of the fairies rule. There, they are transformed by the magical pranks of Puck, the forest King's errand boy. His antics entangle the quartet of young sweethearts in a succession of foolishly opposing romances. Still not content with these absurd capers, Puck turns to a band of grandly witless tradesmen, who are rehearsing a comic play to honor the parents of the four bewitched lovers, in this same woodland. Attracted by Bottom, the main actor in this band of thespian buffoons, Puck considers it to be grand fun to alter him with a donkey's head. Of course, by the play's finale, all the confusing misconceptions and mismatches are readjusted to everyone's satisfaction, with all of the scrambled sweethearts properly reunited. Eric Hamel as Lysander, Gus Kelley as Demetrius and Joy Lamberton as Helena are all effectively bewildered with an especially rambunctious portrayal by Erin Scanlon, who emphasized her comic chagrin by catapulting herself into the waiting arms of her amazed cohorts. Risher Reddick is properly amusing as the enchanted and befuddled Bottom, as is Rocky Graziano as the boisterously mirthful Puck. While Linda Lowy, (the Company's Founding Artistic Director), Matthew Shawlin, Jemma Tory, and Angela Sperazza, were moderately successful as the band of dimwitted craftsmen, Gerard Slattery, as their leader, was too often trying too hard for easy laughter, and registering unnecessarily as overly assertive and shrill! Jenna McFarland's highly stylized woodland set, with its full moon and interlocking silhouetted scrim trees, as well as composer Dewey Dellay's evocative musical interlude and Julia Miller's spirited choreography, all came together to make this one of this Company's best productions ever. Dedicated to making Shakespeare's plays accessible to the area's primary and secondary school children, the large full capacity juvenile audience was demonstrably enthusiastic from start to finish. Now playing through November 22. (My Grade: 4.5)

WOMEN ON THE VERGE OF HRT
Review by Norm Gross

At the Boston Center for the Arts the Sugan Theatre Company presents its production of "Women On The Verge Of HRT," by Irish playwright Marie Jones. Written in 1995 and well received in London and New York, this is the play's New England premiere. The abbreviation in the play's title refers to "Hormone Replacement Therapy." Anna and Vera, two middle-aged women from Belfast, have gone South to Donegal, for a weekend at a hotel owned by Anna's heart-throb Ireland's biggest singing pop star,Daniel O'Donnell. As expected Act One, set in their cozy hotel room, is taken up with their gripes about menopause, with their constant complaints concerning "hot flashes" and extended tearful episodes being overshadowed by their dismay over the lack of sexual interest in them because they're no longer "young." Anna, although still married, feels very neglected, while Vera , who's divorced, bitterly and repeatedly rails against her 55 year old ex-husband, who is now married to a 25 year old "Bimbo." Curiously, too much of the pace of this first act is also slackened by Anna sitting on her hotel bed, with her back to the audience, swaying to and fro, watching Daniel O'Donnell singing his latest typical love song, unnecessarily from start to finish, on television. Since Anna's feisty companion Vera is the angrier and more vocal of these two, her needs for romantic interest and involvement are uppermost in her freewheeling outbursts to Anna. They're later joined by Fergal, the hotel's officious male waiter, whose warm, friendly attitude helps them to calm some of their angst. Act Two shifts to the seashore outside of the hotel, later that evening, where Anna and Vera again unexpectedly meet with Fergal, who's now off-duty and relaxing on the beach. As the three sit there musing about their earlier chats, they're startled by the presence of a restless wailing Banshee (a female spirit, prominent in Irish folklore.) With her loud moaning, the unsettling specter summons forth apparitions of Vera's smug ex-husband, and still later his young vapid wife, as well as Anna's angry and bored husband, who vigorously asserts and defends their attitudes and resentments to them, with provocative consequences. During both acts a succession of nondescript musical numbers by Neil Martin, (arranged and performed by keyboard player Jeffrey Goldberg on stage) are sung by the various cast members to mixed effect. The best of these are "I'll be the one who'll make love under the sun," and "It's the Banshee saying Listen to Me." Carmel O'Reilly (the Company's Artistic Director) is quite effective as Anna, with a very strong performance by Judith McIntyre as the highly vexed and frustrated Vera. Derry Woodhouse as Fergal, the accommodating waiter, is especially memorable for his quick, deft, and winning transformations (with only the sparest of costume changes and/or additions) as all of the various spectral appearances. Although somewhat overlong, this often engaging and thought provoking exploration of mid-life feminine discontent, would certainly be strengthened by some careful and judicious editing! Now playing through November 20. (My Grade:3.5)

LORD OF THE FLIES
Review by Norm Gross

The Wheelock Family Theatre in Boston inaugurates its 25th anniversary season with its new production of "Lord of the Flies," adapted for the stage by Nigel Williamson, based on William Golding's classic 1954 novel. A group of upper class young British boys, drawn from a wide variety of prestigious schools, have been dispatched on a plane by their wealthy parents, to save them from an imminent nuclear attack. When their aircraft is shot down by an un-designated enemy, the eleven boys, ranging in age from pre-puberty to adolescence, find themselves alone on a desolate tropical island. Initially the notion of organized democratic rule is proposed and teenaged Ralph is elected as their leader. Using a conch shell as a trumpet to call for help, problems starting a fire in hopes of a signaling a possible rescue ship at sea, and the search for wild animals to be slaughtered for food, leads to quarrels and the eventual separation into conflicting tribes. While Ralph remains as head of the guardians of fire, teenage rebel Jack selects himself as the chief of the hunters. Soon the two bands find themselves standing against each other as rivals, with "us" versus "them" as their impetus. As their competition greatly expands, their strategies also become increasingly more and more violent. While all of the boys initially are seen wearing the elite uniforms of their differing schools, Piggy, who is short, stout, myopic, and obviously lower class because he's wearing no such uniform, is immediately branded as an outsider. As the gang mentality, especially that of the hunters, becomes ever stronger, their attacks lead to desperate and even more tragic consequences. It's being passionately and very animatedly performed, under Susan Kosoff's potent direction, by its large talented and dedicated cast of young performers. Special praise must certainly go to Jacob Liberman as Ralph, Andrew Barbato as Jack and especially to Jacob Brandt as Piggy. The group's early and constant hazing of him with their harassment reaching its peak with the loss of his eyeglasses, was most certainly compelling and very distressing. Danila Korogodsky's brilliant set design: a series of bright, angular, curved sloping ramps leading to a stretch of black sand at their base, all suggestive of the rambling, sandy dunes of a desert island, was most effective. This provocative exploration of the dark side that lurks submerged in all of us, as relevant today, (maybe even more so) than when first published more than two decades ago, stands as one of the Wheelock Family Theatre's most ambitious and successful productions and as a fitting start to their 25th season! Now playing through November 20. (My Grade: 5)

THE FULL MONTY
Review by Norm Gross

After suffering a disastrous fire last July, which nearly brought down their final curtain, the North Shore Music Theatre in Beverly, Mass. is now almost fully restored (with only a few minor glitches to be completed) better and brighter than ever. Their splendid return to their home base is marked by their new production (in-the-round, as always) of "The Full Monty." Featuring Music and Lyrics by David Yazbek and Book by Terrence McNally, it's based on the popular 1996 British motion picture of the same title. Retooled in 2000 and mounted as a successful Broadway musical, with its focus changed from the original film's unemployed Yorkshire Mill workers, this new Americanized version is reset in Buffalo, New York, with the city's steel plant closed and its labor force idle. The show's main character Jerry shares custody of his young son Nathan with his ex-wife Pam. Unfortunately, because he's out of work and behind in his child-support payments, he may lose his rights to see Nathan. Together with Dave, his overweight best friend, Jerry comes up with a challenging idea to make lots of money. If he, and all of his macho buddies were to put together a male striptease show at the local nightclub, he's sure that the city's women would want to see such an exhibition, and would certainly buy up all the show's tickets, especially if the men promised them "the Full Monty." The show's title is British slang referring to total male frontal nudity. Together with shy and depressed Malcolm, (who lives with his invalid mother) , "Horse," a 50 year old African-American co-worker, (who may need a hip replacement), and their former plant manager Harold, who'll try to teach the guys new dance steps, they begin training at their old abandoned factory, where Malcolm works part-time as a security guard. Of course, complications develop with the nightclub's demand for a big money advance guarantee, and a police raid which breaks up their rehearsal, followed by the death and funeral of Malcolm's mother. To make things even worse, Dave has decided not to participate in the show, and Jerry begins to have his own similar misgivings. Notwithstanding this, all of these difficulties are effectively resolved by the time the big show, with its highly anticipated finale on view, performed briefly, before the closing blackout. The uneven musical score features a few noteworthy songs including the group's dancing practice movements to "Michael Jordan's Ball," the spiritually uplifting "You Walk With Me," chanted during the Mother's funeral, " Jeanette's show Biz Number," sung by the guy's hefty and happy piano accompanist, and most definitely, " Let It Go!" at the show's rousing end! Darren Ritchie as Jerry, Craig Bennett as his overweight friend Dave, and George Dvorsky as Harold, are all effective in the show's leading roles, with high marks for Merle Louise as Jeanette, the group's animated piano player, and especially for Milton Craig Neally as " Horse," who in spite of his supposedly bad hip. animatedly stops the show with his vigorous dancing to the surprisingly stereotypical "Big Black Man" number. Commendations must also go to the spirited full orchestra conducted by Dale Rieling and Barry Ivan's effective choreography and direction. Now Playing through November 20. (My Grade: 4)

TRUE WEST
Review by Norm Gross

In its new playhouse at the Mosesian Theatre in the Arsenal Center for the Arts in Watertown, Mass., the New Repertory Theatre continues its inaugural season there with its new production of "True West" by Sam Shepard. Since its celebrated debut in 1980, it has been repeatedly staged by large and small, professional and non-professional, theatrical companies nationwide, virtually ever since. Performed to critical acclaim by members of Chicago's famed Steppenwolf Theatre for Public Television in 1983, its recent Broadway revival in 2000 was also equally triumphant. Its explosive plot centers on the longstanding rivalry between two brothers. Austin, the younger, is house-sitting for his mother (who's away on a trip to Alaska) in her neat and tidy Southern California home. Ivy League trained, married with children and working as a screenwriter, the play opens as he types away on a proposed new film script, awaiting the arrival of an interested Hollywood producer. Instead, he's surprised by the unexpected appearance of Lee, his older brutish brother. Their longstanding rivalry is immediately evident. Lee, an unemployed drifter and petty thief, brags about his ability to survive in the desert and is contemptuous of his younger brother's lifestyle. Jealous of Austin's obvious success, as soon as he becomes aware of Austin's pending meeting with a movie mogul, Lee boasts that he can absolutely write a truer story of the Old West than his younger sibling. To Austin's bitter amazement, Lee then brusquely meets with the visiting bigwig and cons him into accepting his impromptu storyline instead of the one proposed by Austin. This unexpected reversal results in a furious turnaround by Austin. Smarting from his kin's treacherous one-upmanship, Austin turns to surpassing his older brother by outdoing him at successful and extensive thievery, in their mother's neighborhood! His long festering resentments now finally and fully exposed, Austin then challenges Lee in a desperate, no-holds-barred, extremely violent, and nearly fatal confrontation, with surprising consequences. Intensely performed by Todd Alan Johnson as Lee and John Kuntz as Austin (two of this region's finest actors), with first rate support from Stephen Epstein as the visiting executive, and M. Lynda Robinson as the mother of the contentious brothers, under Robert Walsh's strong and well centered direction. Similar praise is also due for Janie E. Howland's bright, modest, (and ultimately physically upset and trashed) ranch-house setting. The New Repertory Theatre once again maintains its impressive status, in its imposing new quarters, with this first-rate production! Now playing through November 20. (My Grade: 5)

A NUMBER
Review by Norm Gross

The Lyric Stage Company of Boston presents the area premiere of "A Number," the great London and New York success by Caryl Churchill. The play begins with middle-aged Salter discussing with his adult son Bernard, the how and why of his son's existence. He explains to him that after his wife and original son Bernard were killed in an auto crash, because he so desperately wanted that same son back, he took extreme measures to have him returned by cloning. In the process, however, this new Bernard has also learned that he is only one of many other such "Bernards," that Salter has had cloned. The elder, being quite disciplined and feeling to be above reproach, is very careful to limit what he chooses to reveal to his "son." Nevertheless, it turns out that his initial disappointment required him to seek an even "better" copy. While this second "son" proved to be much more acceptable, Salter insists that the many, many other reproductions that followed were either unintentional or unauthorized. As expected , Bernard ("A") is quite unnerved by this knowledge and now suffers from nightmares, while Bernard ("B") harbors equally dreadful notions about his other "self." When Salter finally meets yet another "son," whom he's had no previous relationship with, (and who's known as Michael rather than as Bernard), although finding him to be friendly enough, he sees him also as being rather undistinguished, very ordinary, quite shallow and superficial. By creating and then meeting with these "sons, " Salter is confronted by many vexing questions posed because of his meddling with the meaning of Life. He learns that, while looking exactly alike, his "sons" were still able to maintain their own special individuality, uniqueness and humanity. Marshaled by Spiro Veloudos's assured direction, it is extremely well acted by Steve McConnell as Salter, with very compelling portrayals of all three Clones by Lewis D. Wheeler, bringing effective shifts in style, manner, bearing, voice and body language to accommodate each new personality. While playwright Churchill's intense, brilliantly conceived and written, compact, one act drama is only 65 minutes long, its many, multi-layered, provocative meanings reverberate not only after the final curtain but long, long after, as well! Now playing through November 19. (My Grade: 5)

IF YOU EVER LEAVE ME, I'M GOING WITH YOU
Review by Norm Gross

At the Leventhal-Sidman Jewish Community Center in Newton, Mass. the Jewish Theatre of New England has presented, for just one recent weekend-only, "If You Ever Leave Me...I'm Going With You" written by and starring the well known married comedy duo Renee Taylor and Joseph Bologna. Presently touring nationally, their current show comes now to the Greater Boston area after successful engagements in New York, Atlantic City, Miami, Chicago and Los Angeles. It consists of a series of warm and humorous recollections, along with excerpts and brief vignettes drawn from their many stage, film, and television shows. For nearly two hours, without an intermission, with only two chairs on a virtually bare stage before a large movie screen, and with simply "His and Her" costume racks on either side of them, they regaled the capacity audience with their nonstop performance. Beginning with her first "home-cooked meal" for him, featuring Chef Boyardee's tastefully canned spaghetti, and then, back in 1965, Renee's speech explaining "why?" to their assembled guests, just in case Joe didn't show up on their wedding day (as he insisted might just happen.). They progressed to how they first learned to argue with each other, with each of them finally ending up as the winner. Still later on, they animatedly continued by discussing the terms of their probable divorce (that never came to be) and then on to gentle anecdotes about her elderly, eccentric. and highly amusing Jewish mother, and his feisty, funny and equally eccentric Italian relatives. Intermingled with their reminiscences and comic skits, they had also planned to show some brief moments, from their many movie and TV appearances, on the jumbo screen behind them. Unfortunately, while trying to show some of these film clips, ongoing technical problems with their sound and projection equipment served to frequently mar and/or impede their otherwise grandly nostalgic and quite often entertaining presentation! (My Grade: 4.5)

CAROL MULRONEY
Review by Norm Gross

At the Boston Center for the Arts' Calderwood Pavilion the Huntington Theatre Company presents the world premiere of "Carol Mulroney" by Stephen Belber. Very early on the play's title character, an attractive young woman in her early 30's, is very unhappy and very depressed. Her effusive father, Hutton Mulroney, is the C.E.O. of a company specializing in facial products. While Carol's husband Lesley expects to soon be promoted as the company's new Vice President, Hutton has different plans. He expects Ken, an African American, and the firm's best salesman, not only to accept the advancement, but assuming that Carol and Lesley will divorce, he hopes that Ken and his daughter will then marry. Carol is very disappointed in Lesley. Rather than the free spirit she thought him to be when they first wed, he's now all consumed by his expected company promotion. Carol seeks solace from her disillusionment and despondency by retreating to the flat rooftop of her home, where alone and surrounded by the night sky and all of its twinkling stars, she feels some peace. Hoping to prove that he has still not lost his creative spark, Lesley also intends to grow potatoes and harvest honey from a beehive on that same roof. Unbeknownst to him however, Carol is also aware of his monthly adulterous trysts with her best friend Joan, a freewheeling local artist. Because Carol has decided not to have any children, Joan also hopes that Lesley will divorce Carol and have the family he wants by marrying her! Into this mix is also added Carol's discovery about her mother's suicide while Carol was just a young child, obviously the result of Hutton's unsympathetic and all-consuming business-centered attitude. Meanwhile, Ken also hopes to convince Carol to leave Lesley and marry him. Unfortunately, much of the cumulative effects of these various plot complications are substantially subverted and/or weakened by Hutton's very early revelation that his daughter has died, either having fallen or jumped off her favorite rooftop. Although we never learn whether her death was either accidental or suicidal, regrettably this all too unfortunate and untimely disclosure effectively proves to really undercut the drama's momentum and direction. Well acted by Ana Reeder in the title role, with strong performances by Tim Ransom as Lesley, Larry Pine as Hutton, Reuben Jackson as Ken, and Johanna Day as Joan. Rachel Hauck's fine rooftop setting and Lisa Peterson's focused direction both served the production very well. Now playing through November 20. (My Grade: 3)

Dracula
Review by Norm Gross

At the Stoneham Theatre in Stoneham, Mass. is their new production of "Dracula," as adapted by Weylin Symes, the Theatre's Artistic Director, based on the 1897 novel by Bram Stoker. Both as a major success on the Broadway stage in 1927, and the legendary 1931 motion picture that followed, it launched the career of Hungarian star Bela Lugosi, whose original performance has defined the role ever since. While this new version hews very closely to Stoker's original conception, this time around the legendary Count is not the suave, tuxedo-dressed Vampire, as portrayed by Lugosi. Rather here, with his hair covered by a jet-like headdress, and cloaked in a long, black robe, he is instead simply the original novel's night-stalking, chalk-faced, bloodthirsty, ghoul. Handsome realtor Jonathan Harker leaves his lovely young wife Mina, and Lucy, her equally sweet visiting cousin, back at their home in London. He must journey to Transylvania to meet with Count Dracula, who intends to move to London. Once there, Jonathan refuses to heed warnings from an Innkeeper about the danger that Dracula represents, and while at the Count's castle, accidentally pricks his thumb. Dracula, attracted by his guest's bloody finger, makes Jonathan his first victim! By biting his prey on their necks and draining their blood, Dracula is able to turn them into his "Undead" followers. They become his eternal helpers, always ready to assist him in his quest for the blood of new victims. After arriving in London, the Count secretly visits Jonathan's home at night and successfully attacks Lucy. Terrified by the assault on Lucy, and distressed by her husband's disappearance, Mina turns to Dr. Seward, Lucy's fiance, for help. He then seeks the assistance of Professor Van Helsing, a well known and highly respected Dutch authority on Vampires. Together they are then able to rescue the missing Jonathan Harker, who leads them to Dracula's London lair. Their surprising, very vigorous encounter and struggle with their evil adversary does not quite end as expected. Well played by the small six member cast, with effective performances by Diego Arciniegas in the title role, as well as Richard McElvain as Van Helsing, Nathaniel McIntyre as Jonathan, Joy Lamberton as Mina, Owen Doyle as Dr. Seward, and Angie Jepson as Lucy. Suan Zeeman Rogers' highly atmospheric and very adaptable set: a series of dark gray, macabre-decorated, elevated and portable walls, which were easily moved and rearranged to quickly serve as a wide variety of different locations, all in front of a large backdrop of tall, barren, silhouetted trees, was certainly most praiseworthy. Likewise Ben Emerson's fine choices of eerie sound effects, from baying wolves to rustling noises and mysterious sounding chimes, was equally compelling. While regrettably much of the erotic and/or sexual undertones, that are usually associated with his female victims' attraction to Dracula, are absent in this substantially reduced version of this classic horror tale, it is quite commendable in all other respects, Now playing through November 6. (My Grade: 4.5)

TUESDAYS WITH MORRIE
Review by Norm Gross

At Boston's Colonial Theatre is the national touring production of "Tuesdays With Morrie " by Mitch Albom and Jeffrey Hatcher. Based on Albom's best-selling book, which came about as a result of his many weekly visits with Morrie Schwartz, his former sociology teacher at Brandeis University in Waltham, Mass. Sixteen years after graduating from Brandeis, Mitch-- a prominent sports columnist-- became aware of his former teacher's affliction with Amyotrophic Lateral Sclerosis, a debilitating disease involving a gradually and totally withering away of the body's functions (a/k/a"Lou Gehrig's Disease"). In the years prior to his death in 1995, Morrie had become the focus of two nationally prominent television interviews, as well as a highly acclaimed, Emmy award-winning TV movie in 1999, and of course, the aforementioned book together with this dramatization based on all of the foregoing. His celebrity resulted from his ongoing positive life- affirming outlook, in spite of the terribly destructive physical aspects of his disease. "I'm dying, Mitch, and I can live with that," he tells his former student. Initially intending to make only a single appearance at his old sick teacher's home, Mitch encouraged by the enriching values he has derived from that visit with Morrie, decides to return for yet another time. Conflicted by the frenzied and ever increasing demands of his high powered job, he finds enlightenment and solace from these long talks with Morrie. As his visits continue, the harried sportswriter agrees to come to see his dying mentor every Tuesday until the very end. Inspired by Morrie's trenchant observations (" How does one prepare to die? First you must learn how to live."), with his comforting advisor's cooperation, Mitch begins to make taped recordings of their weekly conversations, knowing that they will soon tragically come to an end. As Morrie comes to look forward to the regular visits of his former pupil, Mitch likewise finds new meaning and optimism in his life and work. Sensitively portrayed by TV's Harold Gould as Morrie, with effective support from Dominic Fumusa as Mitch, as marshalled by Michael Montel's strong direction, with many kudos also for Michael Anania's warm, comfortable living room setting. Unfortunately, the performance was often disrupted by persistent and very annoying sound problems ranging from really explosive booms, to loud, swishing and crackling noises. Notwithstanding these frequent disturbances and interruptions, the audience, often heard sniffling and/or quietly sobbing, greeted the performers with a thunderous standing ovation at the play's finale. Now playing through October 30. (My Grade: 4.5)

THE KEENING
Review by Norm Gross

At its new Zero Arrow Theatre in Cambridge, Mass. the American Repertory Theatre presents, in its English language premiere, "The Keening," a new play by Colombian playwright Humberto Dorado, with English translation by Joe Broderick and Ryan McKittrick. Performed solo for nearly two hours (without an intermission) as a middle-aged woman, a "planidera" (a hired mourner or keener), is busy scrubbing down the room where she's employed, as she ruminates about her life, and that of others like herself, in the grim reality of today's Colombia. Her native land is torn by the struggles between leftist guerillas, right-wing paramilitary forces and an ever corrupt government, controlled by the all pervasive drug cartels. Married at age 16 to a surgeon more than three times her age, she remembers their married years together, the birth of their two sons, and her husband's untimely death. Uncertain of her future, she tries various types of employment, eventually returning to the town where she grew up and eventually there to her position as a "keener." With an air of fear and sadness hanging over the town, her sons grow to adulthood with her being ever more anxious about them. She is especially uneasy about her eldest son, as he leaves home to make his way in the world. She's vexed years later, when he returns briefly to visit, offering no explanations about his life away, while bearing many gifts for her. As she readies herself for her next most somber funereal observance, she finally summons up enough fortitude to recall all the details of the recent horrific massacre of the town's 26 leading males by paramilitaries, framed by a startling disclosure. Passionately performed by Marissa Chibas on a stark, nearly bare stage, with just a metal table, two chairs, an operational water faucet with a pail, a large rear full-size mirror, and an inset, elevated rotating fan as the drama's only props. Under Nicolas Montero's intense direction, this compelling revelation of Colombia's ongoing personal tragedies, familial turmoil, and national suffering, as reflected in the experiences and recollections of one simple woman, resonates long after the final standing ovation, and even more so days thereafter. Now playing through November 12. (My Grade (0-5 ): 5)

CINDERELLA
Review by Norm Gross

At Boston's Wang Theatre is the Boston Ballet's new production of "Cinderella," with Sergei Prokofiev's sublime music and James Kudelka's highly witty and quite inventive choreography. Initially created for and staged by the National Ballet of Canada, this presentation represents its U.S. premiere. The legendary fairy tale centers on the young lovely Cinderella, kept as a housemaid by her abusive step-mother and step-sisters, who is magically transformed and transported by a fairy Godmother to the Kingdom's grand ball that evening. There she and the reigning Prince meet and fall in love. Unfortunately, she must hastily depart, as her magic charm wears off at the stroke of midnight, leaving only one of her slippers behind. Of course, the Prince's long anxious search for the shoe's owner results in his finding and then wedding the lovely Cinderella. Delightfully costumed in contemporary dress, Cinderella's frumpy step-mother is first seen bedecked in a housecoat, complete with a cigarette dangling from her mouth, and a whiskey bottle in her hand. She is then joined by her equally foolish daughters...one boorish, the other myopic, wearing heavy spectacles. After they've all left for the ball, leaving Cinderella behind, her transformation takes place with she and her fairy Godmother, assisted by a dozen, tuxedo-wearing, pumpkin-headed, valets popping up and down, surrounded by a bevy of dancing garden blossoms, petals and assorted green plants. She then arrives at the Ball from high above, descending in a jumbo, radiantly illuminated pumpkin, wearing a lustrously shimmering gown. Later, after her hurried departure, the distraught Prince's worldwide search for her, amusingly includes not only a beautiful crimson costumed Spanish Flamenco dancer, but also Dutch maidens prancing in wooden clogs, and a kimono-clad Geisha, as well as a fast moving skier, and an exotic Arabian siren! Larissa Ponomarenko as Cinderella and Roman Rykine as her Prince Charming were quite compelling in a series of spectacular pas de deux, as well as an equally impressive succession of solos. Dancing majestically on one toe with her other foot bare, Ms. Ponomarenko most certainly deserved, not only the thunderous ovation for this sublime accomplishment, but also for her several other stunning solos! The same might likewise be said of Rykine's grand leaps, high vaults, and extraordinary turns. Special notice is also due for Jennifer Glaze as the slovenly step-mother, and Melanie Atkins and Melissa Hough as her absurd daughters, with special mention for Ms. Hough's hilariously awkward dancing, as she tried to impress the Prince. The bright, colorful, circular sets and brilliantly gleaming costumes designed by David Boechler and the superb full orchestral accompaniment conducted by Jonathan McPhee were also most praiseworthy. This impressively danced, and genuinely amusing reinvention of this classic ballet scores highly in all respects. It is most definitely recommended for young and old alike! Now playing through October 23. (My Grade: 5)

THE RED LION
Review by Norm Gross

At Boston University's Playwrights' Theatre is "The Red Lion," a new play by Ryan Bradley Smith, soon to be entered as a contender for the Kennedy Center American College Theater Festival Michael Kanin Playwriting Award. Set on the eve and day of Easter Sunday in the rural British midlands, the plot's focus is on Mike's pub, "the Golfers' Arms," the long time convivial meeting place for the townsfolk. As news begins to circulate about Mike, the bar owner's decision to retire and sell his popular local watering spot, alarm and discontent spread quickly throughout the community. Unable to find a buyer, he thinks he may have to sell the pub to some sort of national corporate business chain, which would then tear it down and replace it with something much more commercial. The people's dissatisfaction is mirrored in the concern of middle-aged John, a local bus driver, his loving wife Emma, and George, their 32 year old unmarried son, who lives with them. Equally vexed is the pub's loyal barmaid Clare. When Ben, an assertive business facilitator, comes along to help Mike with his retirement plans, romantic interest soon develops between Clare and him. Meanwhile, George, a longtime employee at the local bank, also begins to show some interest in the possibility of his purchasing the pub. Filled with uncertainty, while secretly hoping to form a lasting romantic relationship with Clare, he comes to his fateful decision. Extended out, in two acts (plus an intermission) for nearly two hours, the play's slight plot-line offers little dramatic conflict or crises, and is unfortunately framed by much predictability. Slowly paced under Lenny Leibowitz's languid direction, the small cast is also hampered by fluctuating British accents and uneven performances. Kate Ociepka as Clare, Matthew Peterson as Ben, and Leslie Harrell Dillen as Emma are reasonably effective with lesser portrayals by Robert Bonotto as Mike and Floyd Richardson as John. Richard Montague as Jared, the pub's friendly dimwitted stock boy, and Daniel Owen Dungan as George, although certainly earnest, fall short and are quite unconvincing. While, as previously listed, the play takes place on Easter, George (who also reads to elderly, lonely widows at a local retirement home) appears twice on stage costumed in a bunny's outfit, little dramatic or comedic purpose is ever given for this, although obviously anticipated by the audience. Similarly, the unexplained meaning of the play's title, although also quite predictable early on, is not revealed until the drama's final moments. Now playing through October 23. (My Grade: 1)

THE BOY FRIEND
Review by Norm Gross

At Boston's Shubert Theatre is the Goodspeed Production of "The Boy Friend," featuring Book, Music and Lyrics by Sandy Wilson. A huge hit beginning in London in 1953, it went on to similar success on Broadway later in 1954. A popular British film version starring Twiggy was also released in 1971. On stage it served to introduce young Julie Andrews to American audiences and paved the way for her triumphant role as Eliza Doolittle in 1956 in "My Fair Lady," and the international super-stardom that would quickly follow. This delightful recreation of the popular musicals of the 1920's, is set in 1926 at a fancy finishing school for young ladies in the South of France. With preparations underway for the school's big costume ball that evening and having no escort, young heiress Polly Brown announces that costumed as Pierette, she will attend the dance that evening with her secret (invented) boyfriend, dressed as Pierot. She has done so, having been cautioned by her millionaire father, to be wary of fortune hunting charlatans. Later that day, when her father arrives, he recognizes Madame Dubonnet, the school's headmistress, as a former sweetheart. Also, that same afternoon when Polly meets young Tony, employed by the school as their messenger boy, instant love blossoms between them, and he agrees to attend the ball in costume that evening, posing as her secret boy friend. However, what Polly doesn't know is that Tony is actually the son of Lord and Lady Brockhurst. He's working as a courier at the school, having quit his studies at Oxford University, without his parents' approval. When his pompous mother and father unexpectedly appear and recognize the messenger boy to be their missing son, he runs off without explaining his reasons to Polly. As his parents seek police assistance in finding their run-away son, Polly is left suspecting that he may actually be a thief. Naturally, act two finds Polly and Tony finally happily reunited at the evening's costume ball, after she learns the truth about his real lineage. As expected, love likewise blooms between Polly's father and Madame Dubonnet. Fortunately, under Julie Andrews assured direction, this deft reworking of 1920's attitudes, behavior, and popular music and dance styles, is treated in straightforward, unforced. and generally light-hearted fashion, refraining from any unnecessary farcical exaggerations, to achieve all too easy laughter! The result is a feather-light, charming, nostalgia-laced show that hits all the right notes. The large attractive and highly spirited cast is great fun with winning performances by Jessica Grove as Polly, Sean Palmer as Tony, Paul Carlin as Polly's dad, and Nancy Hess as the school's headmistress, turned sweetheart. The lively, authentic sounding 20's score shines pleasantly throughout with such sparkling melodies as Tony and Polly's sweet duet."Could Be Happy With You," Madame Dubonnet's "Fancy Forgetting," the attractive young female cast's salute to the South of France,"It's Nicer in Nice," and of course the snappy title tune! Tony Walton and Rachel Navarro's authentic and colorful period costumes, and most certainly Tony Walton's bright cartoon-like sets (ranging from drawing room, to beachfront and masquerade ball) were all also quite engaging. John Deluca's very animated choreography, especially in the lively "Won't You Tango With Me?" dance number, as strikingly performed by Rick Faugno and Andrea Chamberlain and most certainly shown in the young ensemble's dancing to "The Riviera " (shake your heels, you know how it feels") was likewise enthusiastically effective throughout. This very entertaining return to the look, feel and sound of the bubbly 1920's, is now playing through October 23. (My Grade: 5)

PULP
Review by Norm Gross

At the Boston Center for the Arts, Boston Theatre Works presents the East Coast premiere of "Pulp," a new one act play, featuring Book and Lyrics by Patricia Kane with Music by Amy Warren and Andre Pluess. Based on the steamy, inexpensive paperback novels of the 1950's with strong overtones of the similarly popular motion picture romances which starred the likes of Barbara Stanwyck and Joan Crawford. Well received at its recent premiere in Chicago, it reportedly will soon also make its way to an Off-Broadway run. While any suggestion of lesbianism back in the 50's was mostly implied, and rewarded by heartbreak, here set again in 1956, the main character Terry, a free-wheeling Butch, a former WAC, has left the military in Alabama for big city Chicago. There she makes her way to the city's popular lesbian bar, known as "the Well." Her first words upon entering the place are "I'm a lesbian, and I don't care who knows it!" Terry then quickly becomes enmeshed in an intense romantic contest with seductive Bing, the club's highly attractive chief waitress, as both then vie for the attentions of Vivian, the strong willed owner of the Well, who's just returned from Paris. Their rivalry grows hotter against a less interesting sub plot involving Winny, an expert sharpshooter who's assaulted when she enters a target-shooting contest, by her male competitors, for impersonating her brother. She is also the focus of the ardent longings of Pepper, the club's young bartender. With spirited musical direction by Josh Finstein, their romantic ups and downs are framed by a mostly lackluster series of songs, the best of which are "I'm Gonna Do What I Please", vividly sung by the sultry Bing, and the show's torch-like finale, "You Were The Love I Never Knew," passionately sung by the fervently resonant Vivian! Maureen Keiller is strong and quite effective as the play's center of romantic complication and Whitney Cohen as the competitive and lusty Bing are the evening's best and most compelling performers with somewhat less satisfying portrayals by Dayle Ballantine as Terry, Lindsay Flathers as Winny, and Stephanie Carlson as Pepper. Zeynep Bakkal's interesting, arena-styled cafe setting, with the audience seated at more than 20 small, intimate tables, and Jason Southerland's well centered direction, were equally and especially praiseworthy. This uneven homage to the popular pulp novels of yesteryear is now playing through October 15. (My Grade: 3)

THEATER DISTRICT
Review by Norm Gross

In the Roberts Studio Theatre in the Calderwood Pavilion at the Boston Center for the Arts is the SpeakEasy Stage Company's production of "Theater District" by Richard Kramer. Well received at recent engagements in Los Angeles and Chicago, this current presentation marks its East Coast premiere. Set in an apartment in Manhattan's theatrical neighborhood, the plot concerns 15 year old Wesley, who has come to live with his divorced father Kenny and his partner George, a former actor, who now manages his own restaurant in the aforementioned vicinity. As expected, Wesley is grappling with the problems of puberty and issues raised by his closest friend Theo, who's just informed him that he's gay. With little concern or help from his overly-busy lawyer father, Wesley turns to George who does his best to respond sympathetically. The teenager torn even further by his mother Lola, (a tightly wound book editor) and her new husband, who question Wesley's decision to live with her ex-husband and his friend George. A gay-bashing incident at school then prompts Wesley to question George about the nature and root causes of his sexual orientation. He pointedly asks him, "Is it a choice?" George's responses are thoughtful, insightful and provocative. Well acted by TV's Bill Brochtrup (of "NYPD Blue" fame) as George, with effective performances by Edward Tournier as Wesley, Melinda Lopez as his mother Lola, and Jaime Cepero III as his young friend Theo. Neil A. Casey as George's longtime friend and now anxious head restaurant waiter, and Barlow Adamson as Lola's new husband, likewise do reasonably well in minor roles. While Liam Torres is acceptable as George's intimate Kenny; unfortunately, he's much less convincing as Wesley's alternatingly concerned and unresponsive dad. Jenna McFarland's modern apartment setting succeeded quite nicely with its multiple bright and colorful platforms, (at varied levels) together with its stairway and elevated balcony, with much praise also for Erin Turner's engaging off-to-the-side-window multi-media slide and movie projections which deftly served to illuminate many of Wesley's interests and attitudes. Similar plaudits should also go to Wes Savick's assured direction. Now playing through October 29. (My Grade: 4)

HAIRSPRAY
Review by Norm Gross

At Boston's new Opera House is the nationally touring edition of "Hairspray", featuring Music by Marc Shaiman, Book by Mark O'Donnell and Thomas Meehan, and Lyrics by Scott Wittman and Marc Shaiman, based on John Waters' popular 1988 movie of the same name. After its debut in Seattle in June 2002, it opened on Broadway later that same summer and went on to win eight Tony awards including "Best Musical." Set in the early 1960's in Baltimore, Maryland, the frolicsome plot closely follows its motion picture predecessor. When hefty, teenager Tracy Turnblad enters and wins the dance contest on the popular "Corny Collins Rock 'n Roll TV show," she proves that chubby girls can make all the right moves, too. However, complications develop for Tracy when, after she becomes a regular on the show, the program's scheming Producer Velma Von Tussle sees Tracy's popularity as a threat to her teenager daughter Amber's chances for "Beauty Queen" stardom. With the help of her young timid friend Penny, Tracy then decides to visit a popular African-American record shop in Baltimore's black neighborhood, hoping thereby to learn first hand the most up to date dance styles. There in the shop, with everyone dancing, Penny becomes romantically attracted to Seaweed, the highly rhythmic son of proprietress "Motormouth Maybelle," who is also the producer of Corny Collins' once-a-month "Negro Day" on television. When Tracy then tries to really integrate Corny's lily white TV show, Velma sees that she lands in jail as a troublemaker, instead. Also mixed into this zesty stew are Tracy's heavily ample, and decidedly supportive Mom Edna, as well as Link Larkin, a budding rock singer on Corny's TV program, who's shown some romantic interest in Tracy. As expected, all ends well when, once out of jail, Tracy's efforts at integrating Corny's show succeed, and both Link and Seaweed ask Tracy and Penny to go "steady." Keala Settle is delightful as the animated and highly resonant Tracy, with equally engaging performances by J.P.Dougherty (in drag) as her Big Momma Edna, Caissie Levy as the overly cautious Penny, Susan Henley as the manipulating Velma, along with Tara Macri as her daughter Amber, Aaron Tveit as Link, Paul McQuillan as Corny, and most especially the scintillating Alan Mingo Jr. as the rhythmic dynamo Seaweed, with similar kudos for Charlotte Crossley as his soulfully resonant mom, "Motormouth Maybelle." High marks also for the colorful, eye-popping, and greatly varied moveable scenic panels, which deftly establish the show's many place and time changes, designed by David Rockwell. The show's vivid score is marked by such toe-tapping songs as Tracy's initial wake-up "Good Morning Baltimore," her mom and dad (Jim J. Bullock of TV's "Too Close For Comfort'') show-stopping duet "You're Timeless To Me," and the evening's grand finale "You Can't Stop The Beat." Replete with big hairdos and radiant costuming, this breezy and thoroughly entertaining show, with its infectious score, large and talented young cast, and witty and winning assault on bigotry, is now playing through October 16. (My Grade: 5)

KING LEAR
Review by Norm Gross

At the Boston University College of Fine Arts' Studio 102 is the Actors' Shakespeare Project's new production of William Shakespeare's "King Lear." Set in ancient Britain, as the elderly monarch begins to sink into senility, he plans to reward his three daughters Cordelia, Goneril, and Regan with a division of his domain apportioned for each. However, he must first determine the size of each piece according to each daughter's affirmation of her love for him. Unexpectedly, Cordelia's blunt truthfulness infuriates him, resulting in her exile, with the King giving his gifts equally only to Goneril and Regan. Now, without his kingdom, he grows increasingly mentally unstable. Meanwhile, the Earl of Gloucester, much like King Lear, also loved his two sons dearly, and similarly plans to divide his estate amongst both of his children. Edmund, his illegitimate son, then vies with his lawful brother Edgar, involving a series of schemes related to their father's bequest. As these various intrigues multiply and are played out, they eventually connect not only to Gloucester's sons but also to Lear's daughters! King Lear, ultimately is then found to be bedraggled, rootless, and demented. As a storm rages about him, wandering aimlessly as a virtual outcast, with his lively and concerned jester's help, he begins to fathom the reality of his sorry condition as well as the ongoing fidelity of his daughters. Brilliantly performed by the masterful, eighty year old Alvin Epstein in the title role, with vivid portrayals by Sarah Newhouse as Cordelia, Jennie Israel as Goneril, and Paula Langton as Regan. Benjamin Evett, the Company's Founder and Artistic Director, is quite compelling as Edmund, with strong support from Doug Lockwood as Edgar. Commendations are also due for Colin Lane as Gloucester and especially for Ken Cheeseman as Lear's highly animated Fool. Well produced by David R. Gammons, utilizing Studio 102's sparsely furnished, expansive, arena-styled, theatre space, composed of an impressive, cross-beamed ceiling, an imposing fireplace, flanked by two massive columns ( which regrettably obstructed the view ), and a large casement window alongside a grand stately staircase. Curiously, the stage area's large floor was completely covered by a vast, wall-to-wall layer of tiny, pebble-like, rubberized particles, giving the whole setting a strikingly unusual appearance. While Patrick Swanson's strong direction was certainly commendable, unfortunately the high-pitched droning and squeals, together with the often overly-loud and obtrusive banging and scraping of, out-of-sight, metal trash barrels to emphasize various dramatic events on stage, frequently proved to be more annoying than not. Finally, after so many great performances as a leading actor with the American Repertory Theatre in Cambridge, followed by his acclaimed return recently to the Broadway stage, it is definitely noteworthy to once again see the consummate Alvin Epstein performing once more in Boston. Now playing through October 23. (My Grade: 4.5)

N (Bonaparte)
Review by Norm Gross

At the Boston Center for the Arts is the Pilgrim Theatre Research and Performance Collaborative's production of "N ( Bonaparte )" by Laura Harrington, a world premiere. Set in the late 19th century on the barren island of Saint Helena, where Napoleon has been exiled to end his remaining years after his crushing defeat at Waterloo. As this drama unfolds, this desolate isle, teeming with rodents and vermin of every type, becomes the stage for "the little Corporal" from Corsica, who nearly became the Emperor of Europe, to ruminate on his life, his past successes and failures, his friends and foes, and his bleak future. He's supervised by the island's stern and unfeeling British Governor Sir Hudson Lowe, who rigidly enforces the rules of his confinement. With only his manservant Montholon present to attend to his incidental needs, and the occasional visits by the attentive Irish Dr. O'Meara to look after his health, Napoleon is left only with his over-stimulated mind, as his constant companion. His vivid imagination ushers in the ghost of his vibrant wife Josephine, and still later has him engage the strong spirit of Joan of Arc. Ever undaunted, bristling with self-confidence, and not complacent, he refuses to see himself as broken and/or bereft of importance. He knows that his significance has not diminished and that it will never fade! The ten member cast is uniformly strong, with an intense central performance by Kermit Dunkelberg as the self-probing Napoleon, with well defined portrayals by Belle Linda Halpern as Josephine, and Jenn Pina as the animated and assertive Joan of Arc. Michael Harrington is suitably austere as Sir Hudson Lowe, with Dev Luthra properly officious as Napoleon's valet Montholon, as is Christopher Crowley as Dr.O'Meara. Especially impressive also were Allison Linker, Benjamin Lu, and Adam Miller, who serve as the lively personifications of the many rats who have become Napoleon's ever present room-mates. High commendation also for the fine simple, yet highly atmospheric tent-like setting designed by Susan Zeeman Rogers, Joshua Randall's dramatically effective lighting, and Kim Mancuso's strong direction. Brimming from start to finish with Playwright Harrington's compelling dialogue which keeps us focused on Napoleon's ever always cogent and provocative notions about the nature and limits of power and the fundamental promise to him, that the future holds. His manifest ethos is summed up by a quotation by Chateaubriand, listed at the outset of the play's printed program notes: "Alive he failed to gain the world. Dead, he owns it. " Now playing through October 8. (My Grade: 5)

ROMEO AND JULIET
Review by Norm Gross

In its new playhouse at the Mosesian Theatre in the Arsenal Center for the Arts in Watertown, Mass., the New Repertory Theatre begins its inaugural season there with its production of "Romeo and Juliet" by William Shakespeare. Set in Verona, this legendary drama centers on the two feuding families, the Montagues and the Capulets, and the tragic love between their children, Romeo (the youthful son of the Montagues) and Juliet (the sweet, young daughter of the Capulets). The chance meeting of these two classic sweethearts, immediately blossoms into an intense romance, when the uninvited and disguised Romeo attends a masked ball at the Capulet home. However the deep enmity between their two families will not permit their love to endure. When Romeo's best friend Mercutio is slain by Tybalt, a volatile member of the Capulets, Romeo overwhelmed by grief and anger, in turn slays Tybalt. When he is then banished from Verona, as punishment for his crime, Juliet eager to join Romeo in exile, seeks advice from the good Friar Laurence. Unfortunately, the Friar's scheme for Juliet to drink a special elixir that will fool her family into believing that she has died, goes wrong when misinformation brings Romeo back to his seemingly deceased beloved. Overcome with despair, his anguished self-inflicted demise causes the then- reviving Juliet to also join him with her own self-induced death. Still later, over the bodies of their youthful dead offspring, the two enemy families finally agree to end their bitter antagonism. Stirringly acted by the fine, large and accomplished cast with strong performances by Lucas Hall as the passionate Romeo and Jennifer LaFleur as the spirited Juliet. Much praise is also deserved for the strikingly executed dueling and vigorous swords play between the contentious Joe Plummer as Mercutio and the equally aggressive Ted Hewlett as Tybalt. Hewlett was the decidedly assured choreographer of this vivid battle to the death. Similar plaudits must also go to Diego Arciniegas as the concerned Friar Laurence, Bobbie Steinbach as Juliet's humorous and officious nurse, and Mark Killian as a comic watchman. Rick Lombard's strong direction, as well as John Howell Hood's impressive Mediteranean-styled, multi-columned, stone-like setting--of course with a balcony-- were likewise noteworthy. Finally, commendations are also due for Frances Nelson McSherry's creatively interesting combination of period and contemporary costume design. Now playing through October 9. (My Grade: 5 )

THE REAL THING
Review by Norm Gross

At the Boston University Theatre, the Huntington Theatre Company presents its new production of "The Real Thing" by Tom Stoppard, a popular and critical success at London's West End and on Broadway in the early 1980's. Set at that time in London, this witty and highly engaging intellectual observation of marriage and infidelity explores the ways in which the true meaning of "love" is finally realized by Henry, a major British playwright. His journey to his full understanding revolves around his interactions with his wife Charlotte, as well as those with actor and actress Max and Annie, who are also husband and wife. As the curtain rises, we discover the adulterous Max and Charlotte deeply enmeshed in counter accusations about their relationship. However, we soon learn that we are witnessing just a scene from Henry's newest play entitled "The House of Cards." It also becomes quickly evident that playwright Henry and actress Annie are actually having an adulterous affair. Naturally, this eventually leads them each to divorce Charlotte and Max. Still later, their marital bliss is rigorously tested when Annie begins to vigorously support Brodie, a young, militant, radical,and inexperienced playwright. Unfortunately however, while Brodie's literary goals burn with a passion for social improvement, Henry soon comes to judge this young neophyte's writing skills to be quite poor. Considering his own past infidelity, this revelation then prompts him to begin to actively question his wife Annie's strong interest and corresponding intentions regarding Brodie. In spite of her repeated assertions of her ongoing and undiminished love and faithfulness to him, and only her concern for the intellectual and social promise she sees in Brodie's writing, Henry remains uncertain. His doubts force him to actively re-examine his own failings and shortcomings. Still conflicted, with wife Annie present, Henry's ultimate confrontation with Brodie finally does pave the way for him to a fuller, more defined appreciation of his wife and a better understanding of the meaning of love and devotion. Of course, playwright Stoppard's scintillating way with witty dialogue and very bright and clever situations and insights are repeatedly available from beginning to end in this stimulating and provocative comedy. Rufus Collins and Kate Nowlin are especially winning as Henry and Annie, although the occasionally fluctuating British accents of Matthew Boston and Meg Gibson as Max and Charlotte and Adam Saunders as the briefly seen Brodie were readily apparent. Kris Stone's sleek and imposing modern, skylight accented London apartment setting, framed by ascending and descending panels, and Daniel Baker's deft choice of popular recorded 80's Rock 'n Roll tunes to introduce each scene. were equally impressive, as was Evan Yionoulis' assured direction. Now playing through October 9. (My Grade: 4)

CAMELOT
Review by Norm Gross

At Boston's Shubert Theatre is the North Shore Music Theatre's new production of "Camelot" with Book and Lyrics by Alan Jay Lerner and Music by Frederick Loewe. Thanks to their great success with "My Fair Lady," just a few years before, this new show by the celebrated composing team was very highly anticipated. After a somewhat mixed critical response upon its Broadway debut in 1960, it went on to a successful and lengthy run, garnering many Tony awards, followed by a well received London production, as well as several popular national tours. A major Hollywood motion picture version was released in 1967, likewise earning many Oscars, and went on to become one of the 1960's top Box Office hits. Based on T.H. White's novel "' The Once and Future King," the whimsical first act centers on King Arthur's courtship and marriage to the fair Guenevere and his attempts to bring about peace and serenity to his Kingdom by the formation of his famed "Knights of the Round Table." Complications develop with the arrival of the handsome young French Nobleman Lancelot, who soon after joining King Arthur's legendary Circle, falls deeply in love with Queen Guenevere. As their clandestine romance blossoms, new and unforeseen problems for Arthur usher in the much more somber second act. The King's malevolent illegitimate son Mordred suddenly returns, and with the help of his extraordinary Aunt Morgan Le Fey (A Sorceress) schemes to wrest the Throne away from King Arthur. As Lancelot and Guenevere then leave for the safety of France, on a hopeful note, the now much wiser Arthur is forced to go to war to save his Kingdom. Grandly sung and acted by full voiced Joseph Dellger as Arthur; lovely Nili Bassman as Guenevere; virile Maxim Alvarez De Toledo as Lancelot; Josh Grisetti brings the proper level of venom to his performance as Mordred; with fine support from David Coffee as Arthur's capricious friend Pellinor. Special notice is likewise due for Adam Wylie as the elaborately ominous, towering and grotesquely puppet-shaped Morgan Le Fey. High praise must also go for the sumptuous and very adaptable circular set designed by Jerome Martin and J. David Brimmer, as well as Pamela Scofield's colorful period costumes. The splendid score featuring such memorable songs as "If Ever I Would Leave You," "How to Handle a Woman," "C'est Moi " and the spirited title song, were all well accompanied by the fine full orchestra directed by Bill Stanley. Patricia Wilcox's lively choreography and the strongly focused direction by Gabriel Barre were also equally noteworthy. Lastly, the North Shore Music Theatre, which suffered a highly disastrous fire last July, will soon be fully restored, making way for the return to their home base in Beverly, Mass. for their next production in November. " Camelot " is now playing through October 9. (My Grade: 5)

LET'S PUT ON A SHOW featuring Mickey and Jan Rooney
Review by Norm Gross

At the Regent Theatre in Arlington, Mass. the legendary Mickey Rooney appeared on stage in an all too brief performance entitled, "Let's Put On A Show!" The production's title was obviously derived from the popular catch-phrase which sparked so many of the song and dance segments in the bevy of movie musicals that Mickey appeared in as co-star with Judy Garland during the late 1930's and early 1940's. In this heavily nostalgia laden show, the now elderly, diminutive and much celebrated performer captivated the capacity audience with songs, jokes, reminiscences, and observations about his eight decades-long career. After charming his listeners solo for nearly 35 minutes, with anecdotes about his many (8!) marriages, with wife Ava Gardner being especially prominent, he was joined onstage by Jan Chamberlain Rooney, his longtime, attractive wife for the past 31 years. A fine robust vocalist and entertainer in her own right, she then went on to perfectly complement her famous husband. With Mickey being assisted by an ankle-high TelePrompTer and a succession of large projected rear screen excerpts from his many movie, television, and theatrical roles, these two (sans intermission) continued on with lively songs and banter about Mickey's long career in Show Business, as well as their wedded bliss together, for almost one hour and fifty minutes! Highlighting his initial appearances onstage, as an infant with his vaudevillian parents, to his Hollywood beginnings as the pre-adolescent star of the "Mickey Maguire" shorts in the late 1920's and early 1930's, and still later as Shakespeare's "Puck" in the original filming of "A Midsummer Night's Dream," he went on to replace Shirley Temple as box-office champ, as America's favorite teenager, portraying "Andy Hardy" on the Big Screen throughout the 1940's and 50's! Also included were such other great successes as "Boys Town," "Babes in Arms," and "National Velvet," as well as more recent movie triumphs like "The Black Stallion" and" Pete's Dragon." Moments from his Emmy award-winning role in the TV play "Bill," as well as his historic video reunion with Judy Garland, in the 1960's, were likewise presented. Accompanied by a fine onstage trio featuring Mickey's longtime Musical Director and pianist Sam Kriger, assisted by David Landoni on bass, and Art Cabral on drums, although somewhat gruff-voiced nowadays, Mickey and Jan delighted the audience with spirited renditions of such grand song hits as "You Made Me Love You," " Where Or When," and "Smile," with Mickey even doing a witty imitation of Maurice Chevalier singing "I Remember It Well." This splendid evening concluded with comedian Jimmy Tingle coming onstage to recite from, and to present to Mickey, a Proclamation from the Massachusetts Legislature saluting him on the occasion of his 85th birthday, along with a contingent of local Army Veterans paying tribute to his Army service during World War II, which had earned Mickey a Bronze Star. As expected, the evening ended with a thunderous, standing ovation for him and his lovely,and talented wife Jan. (My Grade: 5)

PAL JOEY
Review by Norm Gross

At the Stoneham Theatre in Stoneham, Mass. is their new production of "Pal Joey," featuring Music by Richard Rodgers, Lyrics by Lorenz Hart, and Book by John O'Hara (based on his popular series of "New Yorker" magazine pieces.). Although its portrait of a sleazy, small-time entertainer, who uses his womanizing skills to advance his career, was a breakthrough paving the way for more realistic, hard-edged, and unsentimental storylines in musical theatre, its Broadway debut in 1940 received only a mixed critical and audience response. It wasn't until its major revival on Broadway in 1952 that established it as a prime Tony Award-winning success. It is now best remembered for launching the Hollywood career of Gene Kelly, the show's original star. Set in the 1930's in a cheap night club on the south side of Chicago, M.C. Joey Evans turns his back on showgirl Gladys Bumps and sweet young neophyte Linda English, when wealthy socialite Vera Simpson decides to enlist him as her paramour. As their involvement grows she also sets him up as the head of his own glitzy "Chez Joey" night club. Complications develop when he shows some renewed romantic interest in Linda, and the stew finally erupts when Joey's disreputable agent Ludlow Lowell, with the help of Gladys, tries unsuccessfully to blackmail Vera. Happily, it features one of Rodgers and Hart's wittiest and most scintillating scores (it was their last show together before Hart's demise lead the way for Rodgers' grand alliance with Oscar Hammerstein II.) Unfortunately, while handsome Brad Bass sings and dances reasonably well, as Joey he's a bit too nice and pleasant to really be convincing as the show's shoddy and conniving main character. Likewise, Ceit McCaleb is also not quite harsh enough as the tough Gladys. However, Leigh Barrett brings her grand singing voice and strong stage presence to the all-important role of Vera, with effective support by Robyn Elisabeth Lee as the earnest Linda and Scott Marshall as the opportunistic and scheming Ludlow. Positive notice should also go to the show's amusing, flowery costumed, chorus line, and most certainly to Kerry A. Dowling as Melba, the local newspaper's full throated and highly cynical gossip columnist. Her hilarious rendition of "Zip!," a deft, strip-teasing, salute to a bevy of popular celebrities of the day, (especially Burlesque Queens Gypsy Rose Lee, Margie Hart, and Lilli St. Cyr) was a resounding showstopper! While a glossary of notable 1930's personalities was listed amongst the show's program notes, it was also obvious that most of the evening's very clever--but highly dated-- references went unrecognized by the audience. Although Cristina Todesco's intimate night club setting adapted nicely to the plot's various time and place changes, the small on-stage orchestra, directed by keyboardist Jose Delgado, was often hampered by the uncertainty of trumpeter Sheldon Ross. Notwithstanding this, the show's many memorable songs such as: the aforementioned "Zip," as well as "The Flower Garden of My Heart," "Plant You Now, Dig You Later," and the uplifting "I Could Write a Book" (about the way you look) along with such other devilishly amusing ditties as "In Our Little Den" (of iniquity) and Vera's amusingly uncensored, "Bewitched, Bothered, and Bewildered" (horizontally, he's at his very best) still resonated brightly. Unfortunately, under Weylin Symes and Caitlin Lowans' direction, Act One was often paced much too sluggishly. However, Act Two then proved to be substantially brisker, and as such much more effective. Now playing through October 2. (My Grade: 3.5)

RIVERDANCE
Review by Norm Gross

At the Boston Wang Theatre is the return engagement of "Riverdance." This spectacular production was first staged in Dublin, Ireland in 1995 by Producer Moya Doherty and Composer Bill Whelan. This current presentation reportedly represents their sixth visit to Boston since their initial engagement here in 1997. It features an imposing ensemble of more than 30 brilliant Irish step-dancers, with Padraic Moyles and Melissa Convery as the Company's extraordinary leading dancers. As before, the production is divided into two acts. Eschewing traditional past folk music-styled performances, this time around they've chosen bright modern costuming, with flashing, multi-colored strobe-lighting, a grand amplified sound system and a contemporary appearance framed by a host of large, centrally positioned, rear-screen photo projections including vivid, colorful, jumbo illuminations of the sun, moon, and the heavens. As well as delicate pastoral scenes, historic Slavic-type towers, and present-day urban structures. Act one centers on the Company's splendidly storied Celtic past framed by such lively and memorable segments describing happenings such as "The Harvest," "Thunderstorm" and the highly-animated "' Firedance." Act Two, equally impressive, concentrated on the various different cultures which in one way or another have either been influenced by or have affected Irish dance. Particularly outstanding here was the Moscow Folk Ballet dancing "The Russian Dervish," the beautiful Flamenco soloist Nuria Brisa, dancing expressively to the strains of "Andalucia;" the rhythmically defined African-American tap-dancers Aaron Tolson and Walter "Sundance" Freeman competing with their vigorous and versatile Irish partners; and most definitely the evening's magnificent Baritone soloist Michael Samuels, singing the Spiritual-like "Heal Their Hearts" ("when will our Freedom come?"). The spirited accompanying Irish band, directed by Julian Kelly, composed of strings, pipes, whistles, reeds and percussion, was skillfully highlighted by such fine soloists as Fiddler Niamh Ni Charra, Saxaphonist Robert Geraghty, and Drummer Stephen Holloway. This outstanding, multi-dimensional spectacle (an entertainment treat for the entire family is now on view through September 25. (My Grade: 5)

THE EDUCATED
Review by Norm Gross

At the Boston Playwrights' Theatre is the A&P+D Productions' world premiere of "The Educated", by Donna Sorbello. The plot centers on two Middle Eastern graduate students, enrolled in an unnamed southern American university, who met some time before as classmates. Sandahar, still harboring some feelings of dismay over a broken college romance which had ended a few years previously, has found much success since, easily meeting and seducing a number of unmarried and attractive American females. Accordingly, he has come to appreciate many aspects of the American way. Haji, a devoutly religious Moslem, bristles with resentment against Western corruption and exploitation, with the U.S. high on his list. Sandahar comes often to Haji's apartment to help him with his studies. Both have suffered from the extreme authoritarian conditions in their unidentified homelands. Haji's father, a former member of their King's council, was tried and executed on trumped-up accusations. As expected, he hates his country's government, and now puts his faith and trust only in Allah. While Sandahar's father, on the other hand, lived and died in poverty and his son miraculously was somehow able to rise above it. He has also just learned that his youngest sister back home has also been jailed. During their regular tutorial meetings, Haji continually rails against the corrosive effect the American lifestyle is exacting on his friend. Sandahar, of course, responds by objecting to Haji's overbearing self-righteousness and his persistent and intrusive criticisms and negative judgements. In an attempt to mellow Haji's dedicated and narrow fundamentalism, he entices his rigidly puritanical friend to join him at a local "striptease" club, and later arranges for Kitty, the show's exotic star to spend the night with Haji.As expected, Haji remains steadfast in his beliefs declaring, "Allah keeps me properly focused." The unexpected return of Sandahar's former sweetheart Sonia, resurrects his still smoldering feelings for her along now with his conflicting attitudes towards his new life here in the U.S. versus his early, dormant ties to his family, homeland, and Islam. Torn by these two very different value systems, his revived romance with Sonia begins to suffer. Regretfully protesting, "I'm sorry your God has no place for me!". Sonia once again leaves hoping that their separation will somehow be beneficial. Sandahar is then forced to decide on what future course he must take. Unfortunately, very early on, Sandahar's ultimate choice is quite predictable and many other aspects of his troubled relationship with Haji also seem either strained or contrived. For example, Haji's repeated declarations against pre-marital sex and the proper role in life for womankind demonstrate that he could never be so easily lured into either attending a sex-oriented nightclub performance, nor permit such a female to consort with him in his bed and home. Well played by Amar Srivastava as Sandahar, Alan White as Haji, Susan Gross (no relation to me) as Sonia, and Jennifer Madden as Kitty, under Kevin Mark Kline's brisk direction. Performed against Michael Clark Wonson's nondescript set, a virtually bare stage, (except for a few random pieces of furniture, and two bed-cots) Jamieson Alcorn's striking choice of recorded, strong and genuine Middle Eastern music proved to be especially effective! Now playing through September 25. (My Grade: 2.5)

Carmen
Review by Norm Gross

At the Loeb Drama Center in Cambridge, Mass., the American Repertory Theatre in association with Theatre de la Jeune Lune of Minneapolis presents their production of "Carmen" by Georges Bizet. This substantially pared-down version of the celebrated opera was first presented successfully by The Company at its Minnesota home base in 2003. Now, it's being staged minus a large, full-scale concert orchestra and chorus, with just a small cast of fine singer-actors, aided by an equally minimal--yet still quite resonant-- band of singers. Bizet's majestic musical score is vibrantly accompanied by two highly sonorous pianists. Set in the early 19th century in Seville, Spain, its steamy plot revolves around the beautiful and lusty Gypsy Carmen and her passionate involvements with Don Jose, a Corporal in the Army stationed nearby, and Escamillo, a very popular bullfighter. When Carmen is jailed for fighting at the local tobacco factory, where she's employed, Don Jose, having fallen deeply in love with her, helps her to escape. As his need for her intensifies, she persuades him to desert the military and join her with a band of Gypsy outlaws headquartered in the neighboring mountains. By so doing, Don Jose has not only turned away from his honor as a soldier, but also from Micaela, the sweetheart back home, that his mother had hoped he would one day marry. Having been warned early on that Carmen would soon tire of him and then move on to another lover, after several months have passed, she declares that her love for him is ended, and that she now adores Escamillo. Later, after returning from attending to his dying mother, Don Jose pleads for reconciliation, to no avail, with Carmen. Their confrontation ends violently and tragically. Grandly sung by mezzo-soprano Christina Baldwin as Carmen, and (in a role usually sung by a tenor) baritone Bradley Greenwald as Don Jose, with strong assistance by baritone Bill Murray as Escamillo and soprano Jennifer Baldwin Peden as Micaela, with the vivid duo piano accompaniment being provided by Kathy Kraulik and Music Director Barbara Brooks. While the drab and barren, cement-block back wall setting, designed by Director: Dominique Serrand, adapted reasonably well to the opera's various locales, with the exception of Carmen's handsomely imposing, full-length gown, worn by her at the evening's somber finale, Sonya Berlovitz's lackluster costuming proved to be surprisingly disappointing. Now playing through October 8. (My Grade: 4 5)

THE STORY
Review by Norm Gross

At the Boston Center for the Arts is the Zeitgeist Stage Company's production of "The Story," a new play by Tracey Scott Wilson. A recent success Off-Broadway in a collaborative staging by the Long Wharf and Public Theatres, this is its Boston-area premiere. Wilson's play was inspired by recent headline-generating journalistic scandals at both the Washington Post and the New York Times. At "the Post", a young African-American female reporter's account of an eight year old's drug addiction, which was awarded the Pulitzer Prize, was then found to be completely fictional and was still later somewhat mirrored at "the Times" where a similar journalist's well-received reports were judged to be heavily bolstered by plagiarism. In both instances, minority status and acceptance in the predominantly white workplace was seen to provide the impetus for their reckless and deceitful conduct. Young attractive African-American Yvonne, a new reporter for a major unidentified Boston newspaper, with the help of Jeff (her white boyfriend and an editor at the paper), has been assigned as a reporter to the paper's "Outlook" department. Her function there is covering "soft" human-interest stories for the black community. Longing for greater journalistic standing, she looks for a chance for a "hard-news" scoop that will propel her career. Pat, the seasoned African-American female editor of the paper's "Outlook" section, together with Neil, her hardworking black assistant, are acutely aware of Yvonne's extreme aspirations. Later, when Yvonne interviews young Latisha, a highly educated black teenager, she stumbles onto the big journalistic opportunity that she had been hoping for! Latisha admits to being the gunman, as a member of the juvenile gang, that was responsible for the murder of a young white male teacher, who had strayed into a black neighborhood with his wife, late one evening. Amidst the swirl of racial politics, sparked by Pat's repeated confrontations with her, and Neil's competitive attempts to learn the identity and whereabouts of Yvonne's missing and unnamed teenaged informant, she discovers that Latisha's "confession" was a complete falsehood initiated simply as a juvenile ploy for notoriety. Unfortunately, as Yvonne's career boosting strategy begins to unravel, many of the provocative and unsettling insights into the racial maneuverings at the newspaper that have been explored, are unexpectedly short-circuited by the play's abrupt finale, leaving many of these intense issues hanging! The excellent nine member cast is uniformly effective with strong performances especially by Nydia Calon as Yvonne, Michelle Dowd as Pat, Gabriel Field as Jeff, Keedar Whittle as Neil, and teenager Chantel Nicole Bibb as Latisha, under David J. Miller's taut direction. Miller was also responsible for the efficient, minimalist, office-styled setting, which utilized the theatre's compact arena-styled stage-space very well. Now playing through September 24. (My Grade: 4)

ARCADIA
Review by Norm Gross

On the banks of Boston's Charles River in Christian Herter Park is the open air Publick Theatre's production of the London and Broadway success "Arcadia" by Tom Stoppard. Its fascinating premise explores a myriad of ideas ranging from Quantum Physics and Landscape Gardening (both classical and modern) to romanticism and the varied ways of seduction. Set in a fine old English country estate, the plot revolves around two couples: one present day and the other, two centuries before (both residing in this same mansion.) The contemporary pair are scholars who have discovered several long lost manuscripts in the house, which spur them each to speculate on the life and times of the great classical poet, Lord Byron. Hannah is a novelist and Bernard is a professor with literary aspirations, and Byron has now become their very special interest. Stoppard then cleverly shifts the play's action back and forth, scene-by-scene, from the early 19th century to the present, so that the audience is not only privy to the contemporary examination and theories about all of the aforementioned interactions, (some accurate, others totally misguided) but also to the actual communication and events as they really occurred, in this same drawing room, two hundred years before! The 19th century twosome are represented by young, adult and rakish Septimus, who's been hired to tutor Thomasina, a precocious female teenager, and it's by their interaction that the long distant past and the present come together in provocative and wonderfully whimsical fashion. Susanne Nitter and Nigel Gore as the present day duo and Lewis Wheeler and Ellen Adair as the pair from the past perform their roles with grand style. Splendid support is also provided by Joy Lamberton and Eric Hamel as contemporary and Owen Doyle and Caroline Lawton as past tense, (both literary and otherwise) participants. Well directed by Diego Arciniegas, the company's Artistic leader, who together with C. Russ Fletcher, was also responsible for the spacious, imposing and adaptable multi-columned setting. This delightfully ingenious and stimulating, well staged, deftly performed, and quite amusing exploration of long past attitudes bumping up against present day speculations, is now playing in repertory through September 4. (My Grade: 5)

ABYSSINIA
Review by Norm Gross

At Boston's Shubert Theatre is the North Shore Music Theatre's production of "Abyssinia, " featuring Music by Ted Kociolek, Lyrics by James Racheff, with Book also by Kociolek and Racheff based on the novel "Marked by Fire" by Joyce Carol Thomas. First staged in-the-round in 1995 at the Company's home base in Beverly, Mass., it's now being presented proscenium-style in Boston due to a recent disastrous fire at their North Shore theatre. This show has also had other productions, all well received, at Connecticut's Goodspeed Opera House, Washington D.C.'s Arena Stage, the Cleveland Playhouse, and the Lyric Stage in Dallas, Texas as well. Set in the early 20th century in rural Stillwater, Oklahoma, the plot involves the residents of a tight-knit African-American village with the trials and revitalization of young, Abyssinia Jackson, the effervescent full-voiced darling of the community, (who's also endowed with healing powers), as the story's focus. Tested by a life-altering calamity, her faith, curative powers, and belief in people, are stilled because of her overwhelming despair. Guided by Mother Vera, the group's beloved, wise, and compassionate, matriarch-like elder, Abyssinia is ultimately able to regain her hopeful outlook and belief in humanity. Her challenge is framed by a musical score of nearly 20 songs, ranging from Ragtime, early Jazz and Blues, and typical Broadway influenced melodies, to stirring, soulful Gospel type responses. The most striking of these include the cast's vividly sung and choreographed "Ragtime Promenade," the heroine's heart-wrenching "Abby's Lament," ('God, why did you leave me?'), the Community's collective concern for their "Ten Little Children," and Abyssinia's final renewal with "I Have Seen the Wind." The large rhythmic and resonant ensemble is uniformly fine with many plaudits for young, lovely, Shannon Antalan in the title role, and BJ Crosby as the worldly-wise and understanding Mother Vera, with effective support, amongst many others, by Uzo Aduba, as the Village's sonorous, disturbed, and highly misanthropic, 'Trembling Sally." High marks for Beowulf Boritt's starkly impressive rustic woodland setting, with equal praise for Pamela Scofield's attractive period costumes, and the splendid orchestral accompaniment directed by Michael O'Flaherty. Although Act One was somewhat overly protracted in establishing Abyssinia's dilemma, Act Two, under Stafford Arima's efficient direction, proved to be much stronger, and although expected, quite uplifting! Now playing through September 11. (My Grade: 4.5)

THE SOUND OF MUSIC
Review by Norm Gross

At the Robinson Theatre on the Waltham, MA High School Campus is the Reagle Players production of "The Sound of Music" with Music by Richard Rodgers, Lyrics by Oscar Hammerstein II and Book by Howard Lindsay and Russell Crouse. After its acclaimed Broadway opening in 1959, it went on to become the second longest running Broadway musical of the 1950's. Later, the 1965 big budget, multi-award-winning Hollywood movie version, also went on to become one of the all time highest earning movies in the U.S. with similar box office sales worldwide. Sadly, it was also the last musical play composed by the much celebrated union of Rodgers and Hammerstein. Oscar Hammerstein II died nine months after this popular show's initial debut. Set in Austria in the late 30's and based on the life and times of the famed folk-singing von Trapp family, its engaging story centers on Maria, a free-spirited postulant Nun in a Salzburg convent, who's hired by widower Captain von Trapp to be the Governess for his seven children. While her zestful and unconventional behavior does lead to some clashes with the stern Captain, ultimately her sunny disposition wins him over and the two fall in love and marry. The advent of the Nazis, and the approach of World War II, force the entire von Trapp family to flee from the clutches of the Nazis, over the Alps to freedom and safety in Switzerland. This show is being very well staged with a host of impressive sets, including a stately two-level drawing room, featuring elaborate twin curving staircases, together with a bright outer patio, as well as imposing woodland and mountainous backdrops, and a reverential and solemn Abbey. Television's handsome John Davidson, (still very much in fine voice) as strict Captain von Trapp, heads the large spirited cast, under Frank Roberts' solid direction, with much approval for lovely, full-voiced Sarah Pfisterer as Maria, Jenny Lynn Stewart as the sonoriously commanding Mother Abbess, and especially the lively seven von Trapp children led by Molly O'Neal as their vividly resonant singing eldest. Of course the grand score, briskly played by the full orchestra conducted by Paul S. Katz and Dan Rodriguez, featuring such eminent melodies as "My Favorite Things," "Do-Re-Mi," " The Lonely Goatherd,""Climb Every Mountain," and the sublime title tune, still stand as one of Rodgers and Hammerstein's finest, most popular, and enduring accomplishments! Now playing through August 20. (My Grade: 5)

THE COMEDY OF ERRORS
Review by Norm Gross

On the banks of Boston's Charles River in Christian Herter Park is the open air Publick Theatre's production of "The Comedy of Errors," Shakespeare's classic comedy of confused identities. Antipholus and his valet Dromio have left their home in Syracuse to search for their twin brothers, who were shipwrecked in a storm at sea. They've come to far off Ephesus to look for them there. The lost Antipholus, now married to Adriana, still served by his manservant Dromio (who's also a twin), are all living in Ephesus. Amusing complications then begin to quickly bubble over when Adriana, her sister Luciana, and her handmaiden Nell mistake these new Syracuse look-alike strangers for their Ephesian twins. After a wild and wooly succession of comical misunderstandings, including a bit of misplaced money, and the contrary whereabouts of a significant necklace which is generating much concern for some angry creditors, the Syracusans are finally sorted out from the Ephesians. As expected, all of these various twins, along with everyone else that their mistaken whereabouts have either embarrassed, flustered, or upset, live happily ever after! It's being performed with much gusto by the splendid cast under Diego Arciniego's spirited and well focused direction. High marks must also go to Lewis Wheeler (of Syracuse) and Bill Mootos (of Ephesus) as each one named Antipholus, as well as Steven Libby (of Ephesus) and Harry LaCoste (of Syracuse) as the two Dromios. Fortunately, they all do look somewhat alike. Extra mention is also due for Carolyn Lawton's zestful portrayal of Adriana, with fine comic turns by Joy Lamberton as Luciana, Rydia Q. Vielehr as a capricious courtesan, and Susan Nitter as a plucky Abess. The fine adaptable multi-columned and awning bedecked set designed by C.Russ Fletcher and Director Arciniegas was also highly commendable. Now playing in repertory through September 10. (My Grade: 5)

SLANGUAGE
Review by Norm Gross

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