Archived Theatre Reviews (page 5)

December 2005 - December 2006

THE SANTALAND DIARIES
Review by Norm Gross

At the Mosesian Theatre in the Arsenal Center for the Arts in Watertown, Mass. the New Repertory Theatre presents "The Santaland Diaries," by David Sedaris, as Adapted by Joe Mantello and Directed by Wesley Savick. As part of the Company's new "DownStage" series, this comic one-man play is being performed in the Center's smaller Black Box Theatre, starring John Kuntz. No stranger to this popular piece, Kuntz has also performed it, with equal gusto, at another Boston theatre six years ago. Written by Sedaris as a holiday monologue for National Public Radio in 1996, it gained even greater appeal as a staged presentation, and has become a seasonal favorite with many regional and nationwide companies ever since. An unemployed 33 year-old aspiring actor in New York City, answers a newspaper advertisement for a full time job portraying one of Santa Clause's elves, in Macy's Department Store, during the Christmas season. After waiting in a very long line, next to a dwarf, he fills out the many application forms (including the mandatory urine-drug test) and is hired. As his first assignment, he must thoroughly acquaint himself with the 20 page "Book of Instructions" defining the proper behavior of the store's elves. Next comes the guided tour of the store's "Santaland" and the issuance of his green and red elf's uniform (with its tall striped stockings, bright, tassled cap, and colorful, curled-up slippers.) Now in full costume, he's even given a new name. It's "Crumpet." Soon, he's also surprised to learn that the store has also hired many other different elves and dissimilar Santas! Some of them being quite pleasant (and even jolly), while still others were not quite so nice, but all very Caucasian! Which then causes an African-American lady to insist that the store hire a black Santa.! Thereafter, when this new Santa appears, he's met with complaints that he's not "black" enough. Soon the long days and nights, the daily parade of testy children, demanding parents, along with the quirky attitudes and bizarre work habits of his fellow elves begins to take its toll on him. He wants his name changed from "Crumpet" to " Blisters," and even begins to think of "Santa" as an anagram for "Satan." Finally, it all comes to a thoroughly chaotic conclusion on Christmas eve with the arrival of 23,000 last minute shoppers battling each other for their final gift purchases. John Kuntz is in top comedic form, from start-to-finish, as the show's grandly amusing solo performer. He has also written, and performs two brief comic play-lets, as "curtain warmers", the witty "12 Days" (before, during and after Christmas), and the equally amusing "Ronnie's Christmas Audition "(as an anxious holiday caroler). Now playing through December 31. (My Grade: 5)

WHAT THE DICKENS?
Review by Norm Gross

At their compact theatre in Cambridge, Mass. ImprovBoston is presenting "What the Dickens?," as part of its 6th annual holiday festivities. A new, original musical comedy with Book and Lyrics by TC Cheever (who also Directed) and Music by Adam Brooks (who, likewise, is the leader of the evening's fine lively on-stage four member band). The play's brightly whimsical major notion centers on combining Charles Dickens' classic "A Christmas Carol " with Charles Schulz's more recent, and now nearly as classic "A Charlie Brown Christmas." Reset in smalltown America, the now adult Charlie steps out on stage garbed in his usual yellow tunic bordered by its customary jagged black stripe. He is now the modern counterpart of Scrooge, Dickens' legendary holiday misanthrope, and spends all of his waking hours seeing to it that his real estate company is steadily progressing with their many ongoing foreclosures and evictions. As expected, on Christmas Eve, Charlie is awakened from his sleep when Lucy, the ghost of his former-- now deceased--partner, unexpectedly appears. She's totally enchained by the many, many nickels she had charged her friends, over the years, at her psychiatrist's consultation booth. Her song reminds him, "You've bitten so many hands that feed you, that now nobody needs you," and then cautions him to ignore the night's next three visiting Ghosts only at his peril. The first to arrive is the Ghost of Christmas Past. This Spirit brings to mind his youth and former little red-haired sweetheart. After her dear old dad had sold him his thriving business, Charlie had the old guy evicted. Of course, this forced his beloved to end their engagement. Next to visit Charlie is the very business-like, female Ghost of Christmas Present. She brings him to the poor, but love-filled home of Marcie and Peppermint Patty Crachit, two blissfully happy married lesbians. Marcie is Charlie's earnest hardworking, and still underpaid employee. Joining with Patty, they sing: "Like a couple of 'First Years' at Wellesley...with love and kisses, we're Mrs. and Mrs." Naturally their pride and joy is their nearly six feet tall, adopted and lame son, Tiny Tim. Charlie also learns that Tiny doesn't have very long to live. Prompted by a suggestion, elicited earlier from a member of the audience, we discover that he's dying from "food poisoning." Still later, Charlie finds them all partying at a festive holiday gathering with his former pals, Linus, Sally and Pig Pen. The last to visit Charlie that night is the Ghost of Christmas-to-Come as the spectre of his deceased pooch, Snoopy. He's informed that his long gone sweetheart is now a cheap lap dancer in a strip club and also that Linus and Sally, as well as Marcie, Peppermint Patty and Tiny Tim have all been evicted. With the night now ended, and with Christmas day dawning, Charlie wakes up singing: "I'm a new man! Now I'll change my ways and make every day a holiday." The large, young, and highly animated cast, while occasionally uneven, and sometimes ungainly and offkey, were for the most part in fine voice and form when singing and dancing vividly to Cheever's very often clever lyrics. Cliff Zawasky was properly gruff and hardnosed as Charlie Brown with zestfull assistance by Jacey Bokuniewicz as Marcie, Kathleen Brophy as Peppermint Patty, and Bobby Smith as Tiny Tim. Casey Williamson, Joy Begbie, and Maitland Lederer as the Ghosts of Christmases Past, Present, and Future all handled their roles well. Sara Faith Alterman as the little red haired sweetheart, Lindsey Strube as Lucy, Deana Tolliver as Sally, David Marino as Linus, Patrick French as Pig Pen and Will Luera as a concerned philanthropist were all also spiritedly effective. Now playing through December 29. (My Grade: 4)

THE ONION CELLAR
Review by Norm Gross

At the Zero Arrow Theatre in Cambridge, Mass. the American Repertory Theatre presents "The Onion Cellar", conceived by and starring the Dresden Dolls as adapted and directed by Marcus Stern. According to the show's program notes, it's based on a chapter from Gunter Grass's novel "The Tin Drum" (later also an acclaimed motion picture), where customers in a mysterious night club, cleanse each other of their feelings of guilt and sorrow by forcing themselves to really cry very heavily. The aforementioned "Dresden Dolls" are the musical twosome of Amanda Palmer (keyboards and vocals) and Brian Viglione (percussion and guitar). They're strikingly outfitted with chalk-white painted faces, marked by dark black and gray facial accents, and highly expressive costumes featuring Amanda in a short black dress, emphasized by tall striped stockings prominently hoisted into place by long garter belt straps, and Brian initially garbed with a top hat, black dress coat and with his bare chest exposed. As such, one might expect an evening of pre-Hitler German cabaret, however they are instead, of course, contemporary Punk Rockers. So, notwithstanding all appearances, there's no Kurt Weil and Bertolt Brecht songs and/or theatrics this night. Rather, there's a succession of awkwardly related vignettes somewhat fitfully connected to more than a half dozen extremely amplified songs by Amanda and Brian. Apparently, judging by the highly enthusiastic responses of the youthful members of the capacity audience, the louder the better! While Palmer is certainly a gifted pianist and a grandly commanding vocalist, and Viglione is a very well trained and an explosively dynamic percussionist, their ongoing, full-throttled, overly resonant duets rendered inaudible most of the lyrics that were being sung. Fortunately, Amanda's early musical plaint for a "coin operated boy," and later her resonant, but still audible, chanting to everyone to "sing for the animals, and sing for the teachers," and thereafter to continue singing for everything else, was certainly quite stirring. But later, Brian's nearly ten minute, seemingly self-indulgent, extended drum solo near the show's finale--although very well executed-- was definitely much too long and overwhelming. The brief dramatic segment concerning the nightclub's owner (who steadily drinks himself into an alcoholic stupor) and his lovely, young, estranged, and deceased daughter was certainly one of the evening's most interesting. She was quite compelling while she was sorrowfully musing over the many tears she shed and collected in the glass jar that she was holding. Regrettably, much less so were the seemingly pointless moments about the club's slightly retarded "onion-boy's" infatuation for a mute girl, who then (for unknown reasons) while costumed from head-to-toe as a brown bear, also became strangely involved with a nearby bartender. Even more ineffectual was yet another segment wherein two out-of-town suburbanites from Wisconsin, having come to Harvard University to visit a young student-relative, have mistakenly wandered into this same nightclub. While supposedly humorous, as they animatedly voiced their objections to the performers' "very bad" language, their antics certainly fell flat. However, the show's strongest dramatics were to be found by the appearance of the night-club's crimson-jacketed Master of Ceremonies. Tortured memories of his childhood in Peru, where he was relentlessly abused for crying at afternoon televised soap operas by his pitilessly cruel, domineering and macho-obsessed father, were the evening's best dramatic moments! While Remo Airaldi certainly shone as the highly violated M.C., Thomas Derrah and Karen MacDonald as the vexed out-of-towners, as well as Jeremy Geidt as the mostly silent and drunkenly conflicted nightclub owner (amongst the Company's and region's finest actors) saw their talents, for the most part, really squandered. However, it must be added that Derrah briefly appeared as a crazed business executive wrapped up in tape, and MacDonald similarly as the nightclub owner's bitter ex-wife made the most of these short and potent moments. Lastly, the splendid transformation by Christine Jones of this theatre's auditorium into a sleekly modern and resplendent nightclub ambience was certainly most noteworthy. Now playing through January 13. (My Grade: 3)

THE CHRISTMAS REVELS
Review by Norm Gross

In Cambridge, Mass. at Harvard University's Sanders Theatre now underway is the 36th annual production of "The Christmas Revels," in celebration of the Winter Solstice. Founded in Cambridge in 1971, this festive holiday presentation has steadily grown in popularity ever since, with similar productions now also being staged in the state of Washington and Washington, D.C., as well as in Oregon, California, Colorado, Texas, New Hampshire, and New York. Under the strong direction of Patrick Swanson this current production features 80 adult singers, dancers, and musicians complemented by 16 equally proficient young and talented pre-teenaged children. This year's presentation commemorates the Nordic/German yuletide traditions as celebrated, beginning in the 17th century throughout the Rhineland, and even in a bit of old Switzerland, too. With the theatre's grandly classic stage decorated in rustic fashion surrounded by large tall painted cutouts of Christmas trees, the lively two and a hours hour festivities unfold in a succession of 34 seasonally merry segments, including a brief intermission. Soon, the loveable fully white bearded Sankt Nikolaus (played by Richard Snee), and his elf-like attendant Ruprecht (played by Debra Wise), appear to reward all the good children. However, unlike today's jolly crimson-robed Santa, this early version of him is dressed instead in a dark green, flowing robe (of course, trimmed with white fur) and adorned by a tall blue Cardinal's headgear. "Open up your doors," he proclaims to all, "I am Sankt Nikolaus!" Soon the large, seated audience joins the cast, who are costumed on stage as quaint German villagers, singing "O Tannenbaum." Later, the assembled children join hands with a large chorus of adult singers and dancers to perform a traditional North German dance and then to sing an early 17th century drinking song. This is soon followed by two legends recited by male and female Harlequins linking Sankt Nikolaus to the ancient rituals of life's end and rebirth. It features Sankt's diminutive attendant as a puppeteer, along with a loudly clashing drummer and a brightly costumed Jester walking lithely across the stage on a tightrope. Then, a quintet of young boys dressed in holiday knickers, with a host of young girls wearing white caps and garbed in colorful skirts with white aprons, sing three delightful old children's songs. "Come little children...let's be joyful and lively...Jesus Christ is born today of Mary." David Coffin, an expert musician and master caroler, dressed in traditional finery, and one of the evening's major performers, leads the audience prior to the intermission, by directing them in singing "I am the Lord of the dance...and I'll lead you all in the dance," accompanied by the evening's resonant brass ensemble. Part Two again features David Coffin playing a recorder, as a septet of male dancers, wearing elks' horns, in semi-darkness and holding umbrellas, cavort round-and-round in a highly spirited "Horn Dance." Then, comes a trio of young ladies waving a few tubular-styled florets above their heads as a quartet of young men chant a resounding old Swiss yodeling song. As promised, the entire audience then joins the cast, with the backing of the aforementioned brass ensemble, in singing "Silent Night, Holy Night." Finally, the evening's most memorable moments are vividly undertaken, in the fashion of an old European folk play. A fully costumed Viking appears on stage to challenge a man and a young boy, brightly disguised, in costume, as a fierce dragon. After the "monster's" early success, Debra Wise, dressed up as the wild 'n wacky Doctor Frood (looking very much like Groucho Marx), steps forward and hilariously turns defeat into victory. This memorable gala then soon comes to its joyous conclusion with everyone coming together in singing the vibrant old "Sussex Mummers' Carol ": " God bless the Master, Mistress, and Children, too, of this house." This genuinely engaging annual treat, definitely recommended for the entire family, is now playing through December 30. (My Grade: 5)

EXCEPTIONS TO GRAVITY
Review by Norm Gross

The Lyric Stage Company of Boston's Holiday presentation is "Exceptions to Gravity," an 80 minute solo piece conceived and performed by Avner Eisenberg, who's also known as "Avner the Eccentric." From his early years in Atlanta, Georgia, his times as a puppeteer in Paris, to his seasons teaching physical comedy in California, Avner has steadily honed his skills as a great clown. He performs now in the tradition of the great silent comics of the past like Charlie Chaplin, Harry Langdon and Harpo Marx, and especially as a clown in the fashion of the great Emmet Kelly. His one man show was the hit of the 1984-85 Broadway season and his current one has toured extensively throughout the U.S.and abroad to much general acclaim. Winner of many national and international awards, Avner was recently inducted into the International Clown Hall of Fame. Performed silently from start to finish, he begins by sweeping the bare stage with a long handled broom. and struggles with a pack of cigarettes tumbling out onto the floor. With each attempt to retrieve them, they're followed by still more scattering, and then by equal complications from a similarly spilling box of matches. As his black-brimmed hat ends perched atop his broomstick, he also wrestles with his sweater which likewise becomes entangled first behind his back and then eventually beyond his reach, high up on his broomstick, too. A master juggler as well, he manipulates a group of baseball bats and soon has them rotating like the blades of an airplane's propeller. Still later he folds a standard sheet of paper into a vertical spear-shape and deftly balances it on his nose. Similarly astounding balances are then executed again on his nose, first with a feather and later with a long stemmed rose. Still later, he does it again, even with a fully opened newspaper page. He holds up a tall stack of paper drinking cups, dexterously bending them like a crowbar, and then nimbly twists them into the form of a snake. Then after amazing the large audience by balancing a six foot aluminum ladder on his nose, he then goes on to astound them by similarly standing a 12 foot metal ladder on his chin. He returns to comic shtick by making one of his arms seem to be steadily growing much shorter then the other, followed by a succession of skillful shifts of his soft black hat. Effortlessly, without the use of his hands, he propels his chapeau up onto his shoulder, and then by shifting his weight moves it up and onto his head. He then enlists members of the audience with some amusing call and response antics, using a small noisemaker in his mouth to initiate each comic turn. His grand finale, involving his feasting on a jumbo stack of large paper napkins, really has to be seen to be fully believed and appreciated. As expected, at the conclusion he was greeted by a resounding standing ovation. This grandly engaging and family-friendly entertainment is now playing through December 23. (My Grade: 5)

THE NUTCRACKER
Review by Norm Gross

At Boston's new Opera House the Boston Ballet presents "The Nutcracker," featuring Tchaikovsky's sublime Music and Mikko Nissinen's vivid choreography based on E.T.A. Hoffmann's classic story. This production marks the Company's 39th consecutive annual holiday presentation, with each year's offering being defined by new interpretations of this masterpiece on all levels. Set in Germany in the early 19th century, young Clara and her younger brother Fritz celebrate a splendidly festive Christmas party at their home with all of their relatives. Amongst the guests is a beloved old magician known to them as Uncle Drosselmeier. He amuses them all with his magic tricks (developed under the supervision of magic consultants Marco the Magi and David Bull.) He's also brought his lively mechanical dolls, as well as an unusual Christmas gift for Clara. It's a special Nutcracker fashioned as a toy soldier. After all their guests have left, Clara returns to the family's living room at midnight to play with her new toy. Startled by a host of cavorting mice, Drosselmeier suddenly appears to be of help. Working his magic, the Christmas tree suddenly grows to an enormous height and he transforms the Nutcracker into a handsome Prince. Then, while they're considering the plethora of mice, the Mouse King unexpectedly appears and challenges them with his mouse army. As a battle ensues between them with the Prince, leading his own regiment of toy soldiers, the Mouse King is slain and his rodent army flees. Now Drosselmeier can lead Clara and the Prince through a very snowy landscape to a large and colorful flying balloon. It lifts them upward and transports them all to the Palace of Sweets. There, they are pleasantly enthralled by wondrous dancers from all around the world. As the evening draws to an end Clara is again transported back to her home. Lovely Elizabeth Powell is quite captivating as young Clara, with fine mystical and animated steps by Boyko Dossev as Drosselmeier. Daniel Sarabia and Kathleen Breen Combes were appropriately expressive as his spirited mechanical dolls, Harlequin and Columbine. Much praise must also go to Bradley Schlagheck as the family's big pet dancing bear. As Clara and her friends then traverse through the snowscape and into an enchanted forest, they're greeted by the grand Larissa Ponomarenko and Nelson Madrigal as the majestically dancing Snow Queen and King. At the Palace of Sweets, they're then beguiled by a host of fascinating dancers from many different countries. Melissa Hough, Joel Prouty and Daniel Sarabia are quite impressive as exotic Spanish dancers, while the mysterious spirit of Arabia is deftly demonstrated by Melanie Atkins and Sabi Varga. Equally striking dancing by Megan Gray and Gabor Kapin throughout the Chinese exhibition and especially Raul Salamanca, as a supremely high vaulting Russian dancer, were also quite extraordinary! The resplendent Waltz of the Flowers was exquisitely executed by Heather Myers, with fine support by Brook Reynolds and Tempe Ostergren as her attending Flowers. Erica Cornejo as the Sugar Plum Fairy and Carlos Molina (seen earlier as the Nutcracker-Prince), now at the finale as the handsome Cavalier, dazzle the departing Clara with their splendidly performed Grand Pas De Deux. Helen Pond and Herbert Senn's many varied and sumptuous sets, David Walker and Charles Heightchew's many beautiful costumes, Alexander V. Nichol's creative lighting and the splendid full orchestra's accompaniment conducted by Jonathan McPhee, all came together to make this presentation one of Boston Ballet's most memorable! Now playing though December 30. (My Grade: 5)

A CHRISTMAS STORY
Review by Dede Tanzer

COMPLETELY HOLLYWOOD (Abridged)
Review by Norm Gross

The Merrimack Repertory Theatre in Lowell, Mass. presents the Reduced Shakespeare Company's production of "Completely Hollywood (abridged)," Written and Directed by Reed Martin and Austin Tichenor with additional material by Dominic Conti. These three are also the show's stars. Beginning in California in 1981, their company has produced the highly popular and very successful "Complete Works of William Shakespeare (abridged)," followed by "The Complete History of America (abridged)," "The Bible: The Complete Word of God (abridged)," "All The Great Books (abridged)," and "Western Civilization: The Complete Musical (abridged)." They have also created similarly reduced comedies for innumerable presentations on national and international radio and television. This time around Hollywood from its early silent days to its present explosively physical, raunchy, gory, and violent excesses is both systematically and hilariously skewered. In Act One the trio sets forth their Twelve Step Program (obviously patterned after the Alcoholics Anonymous prototype) on everything there is to know about Hollywood movies. It's all performed in the fast paced, slapstick, rock 'em and sock 'em style of the cinema's great comic farceurs from Charlie Chaplin and Buster Keaton to the Marx Brothers, Peter Sellers, and Mel Brooks. Laced with outrageous puns, ongoing ad-lib, silly props (both large and small), and very funny sight-gags. Amongst their twelve easy lessons are such potent recommendations as: Developing a great title for a new movie from past hits such as "Gandhi With The Wind," "A Fish Called Ruwanda," "Singin' In The Rainman," and/or "When Sally Met Dirty Harry." Remember to always cast your motion picture with beautiful and/or talented stars like Wynona Ryder and Eddie Murphy in "Dr. Doolittle Women." Of course at all times respect the cliche and never, never let facts get in the way of a good historical story. Also, long established principles must always be followed. Mysterious strangers, on horseback, always ride out from the American west. The bad guys always speak with a foreign accent and hide out in their underground lair. Kung Fu superstars can't speak English while all bizarre interplanetary creatures always do! A cough means that you're terminally ill. While silent movie villains can forever be found lurking on railroad tracks, always be mindful that "Life continues to be like a box of chocolates." Act Two's focus is on the actual making of a new movie entitled "The Man in White with No Name," although a sequel such as "Sister Act III," might also be a great possibility if it stars Whoopee Goldberg and Whitney Houston and is called "Kickin' the Habit." An even better choice might be a full scale and colorful musical, (set near an escape route through the Swiss Alps) in which we find out that the best weapon against the Nazis is a family of happily dancing village folk singers! Suggestions from the audience are then requested and readily accepted. Maybe the film should feature a "coming-of-age" theme or concern a tragic and heroic figure, both courageous and noble, like Jesus? Members of the audience, from the entire front row, are even brought up on stage to become "stars" in the new film, with unexpectedly amusing consequences. Perhaps the new movie's title is too limited and a more all inclusive one should be thought of instead. Amongst those under consideration are "Don't look now Miss Daisy, it happened one night, suddenly last summer, while it was all quiet on the Western front." The main stars' antics are complemented throughout by a steady supply of music and highly comic sound effects, zany costumes, hats, masks, beards, moustaches, along with deftly executed blackouts and equally effective lighting. At the finale the show's highly accomplished trio were grandly saluted with a roaring, well deserved, standing ovation by the large and very enthusiastic audience. Now playing through December 17. (My Grade: 5)

A Very Merry Unauthorized Children's Scientology Pageant
Review by Norm Gross

At Boston's Center for the Arts, Boston Theatre Works presents the regional premiere of "A Very Merry Unauthorized Children's Scientology Pageant," with Book, Music and Lyrics by Kyle Jarrow. A popular off-Broadway favorite, where it went on to become the 2004 Obie award-winning play, it also gained much approval and notoriety when it was staged recently in Los Angeles. A lighthearted spoof of the Church of Scientology, it's a one hour mock celebration of the life and times of its founder L. Ron Hubbard, presented in the fashion of a holiday observance. Performed entirely by a cast of eight perky youngsters--ranging in age from 8 to 15-- it features seventh grader Jacob Rosenbaum prominently cast in the leading role as Hubbard. It opens on a sparse stage setting centered by sparkling, illuminated snowflakes bordering drawn curtains which are parted to reveal a large, raised, golden "S", with two embossed and interlocking triangles. A succession of quirky songs, interlaced with deadpan commentary and lofty testimonials, recited by the juvenile cast, recount the founder's history. Added to this are a series of large and colorfully painted cardboard cutouts of buildings, boats, ocean waves and similar pieces acting as scenic elements defining the pageant's various place and time changes. As one, the children announce, "Today we celebrate the life of L. Ron Hubbard. Teacher, author, explorer, scientist, and founder of Scientology!... Born in Nebraska in 1911...the "L" stand for "Leader." Later, they tell us that it also stands for "Looking," or "Life," or "Love." Hubbard's college years then introduced him to science, which eventually lead him to writing many science-fiction novels. Thereafter, these were all turned into Sci-Fi motion pictures. Then, after his Naval service during World War II, the kids all salute him by chanting "Ron returned as a hero," followed by them declaring "I saw what I was looking for...the Science of the Mind, which came to be known as Dianetics." This is then reaffirmed by the youngsters singing, "Now the sun will shine, everything will be fine...Dianetics is the answer." Transformed into the religion of Scientology, Annie, a juvenile convert and aspiring actress, announces, "They give me answers, they tell me what to do, and they tell me I'm special." To this testimony the others begin to explain the Church's precepts about the "Analytical Mind" versus the "Reactive Mind." As Scientology grows and grows in popularity, it finally comes under the fierce scrutiny of the I.R.S. accusing it of brainwashing and profiteering. As expected, its ultra-famous adherents step forward to affirm its positive powers, with the kids portraying John Travolta, Kirstie Alley, and of course, Tom Cruise, amongst others. All of which finally points to the pageant's happy ending! First year high school student Laura Morell is quite effective as Annie; with splendid support by nine year old Gianna Beniers as a Reactive Mind and similarly youthful Sacha MacDonald as an Analytical Mind. Youngsters Kayleigh Cyr, Connor Doherty, Sophie Rich, and Matthew Scott Robertson, in a wide variety of different roles were also equally noteworthy. Similar commendations are also due for Jenna McFarland-Lord's amusingly childish scenic set-ups, the musical accompaniment by Jose Delgado, and especially for Jason Southerland's well focused direction. Although, curiously no mention is ever made of Hubbard's demise in 1986, or of his current successor, nor of the Church's eventual formal recognition as a nonprofit charitable organization in 1993. Otherwise, this low-keyed and gently whimsical spin on L. Ron Hubbard and his followers serves as a nicely festive alternative. Now playing through December 16. (My Grade: 4)

URBAN NUTCRACKER
Review by Norm Gross

At Boston's John Hancock Hall is BalletRox's 6th seasonal production of "Urban Nutcracker," conceived and choreographed by Anthony Williams and adapted from E.T.A. Hoffman's original source material by David Ira Rottenberg. As in the past, it is set in a contemporary city, presumably Boston, where Laurie Williams and her two young children, Clarice and Omar, ready their home for Christmas visitors. Amongst their guests are Drosselmeyer, a local magician, and his assistant Mini-Meyer. After entertaining everyone with his tricks Drosselmeyer gives Clarice a toy soldier-styled-nutcracker as a holiday gift. Later that evening, when everyone has gone and her family is asleep. Clarice returns to the festive living room. There, as she watches their Christmas tree suddenly grow to an enormous size, a host of feasting mice are joined by their King and are challenged in battle by her toy nutcracker. He's vigorously assisted by an army of lithely dancing lady soldiers. Although the mice are defeated, both the nutcracker and the mouse King are killed. However, Drosselmeyer magically restores the toy soldier back to life and transforms him into a handsome Prince. Then, Clarice accompanies the magician, his assistant, and the Prince to Fantasyland. There they're enthralled by wonderful dancers from all over the world. In a succession of tantalizing performances, dancers from Spain, Arabia, China, and elsewhere, entertain them. Later when all the evening's celebrations are ended, Clarice bids them farewell and happily returns home. While last year's production at the Strand Theatre in Boston's Dorchester neighborhood was certainly impressive, this time around some highly noteworthy changes and additions have been introduced. The production's opening urban prologue has been greatly enhanced by a dazzling dance duet between Isaac de los Reyes, a renowned Flamenco dancer, and Khalid Hill, a prominent former dancing cast member from Broadway's "Bring in 'Da Noise, Bring in 'Da Funk." Later, Liem Nguyen, an extraordinary break dancer, electrifies the capacity audience with his eye-popping flips, slides, summersaults and head spins. A large group of youngsters, known as "A Chosen Few," execute some exciting step dancing, with added moments by still others performing Doo Wop, Hip Hop, and even some tap dancing. When Clarice enters Fantasyland she's captivated by Japanese ballerina Mifa Ko as the Sugar Plum Fairy and Ramon Thielen, of the Dance Theatre of Harlem, as her cavalier, in an ardently executed Grand Pas De Deux. Isaac de los Reyes returns again for the commanding Spanish dance, followed by Amanda Bertone and Christine Sandorfi performing the intriguing Chinese-styled turns. Equally imposing were Maleek Washington's high leaps throughout the Russian episode, and especially Dean de Luna, accompanied by his eight female dancers, capering in-and-out of jumbo, colorful hoops. Caitlin Novero and Marlon Taylor Wiles as the Snow Queen and the Snow Prince, and still later Ms. Novero, again as the Dew Drop Fairy, accompanied by a fine ensemble of colorfully adorned "Flowers" were all equally notable. Much praise must also go to young Grace Jenkins as Clarice, and Dr. Michael Shannon and Yo-El Cassell as Drosselmeyer and Mini-Meyer. Laurie Willams, Sam Squires, Ilanga, and Shanna Haverly as Clarice's dancing mother, brother, grandfather, and aunt, were all quite effective. The brightly colorful sets and costumes designed by Rebecca Cross along with Nancy Goldstein's well defined lighting also added much to the production. The smooth blending of Tchaikovsky's majestic original music with Duke Ellington and his orchestra's rhythmically pulsating Jazz reinterpretations continued on, throughout the evening, as the triumphantly melodic core of this splendid presentation. Now playing through December 17. (My Grade: 5)

WINGS OF DESIRE
Review by Norm Gross

At the Loeb Drama Center in Cambridge, Mass. The American Repertory Theatre together with Toneelgroep Amsterdam presents their production of "Wings of Desire," as adapted for the Stage by Gideon Lester and Dirkje Houtman. Based on the identically-titled 1987 motion picture directed by Wim Wenders, it is being performed on a bare stage lined with a host of white light weight chairs, centered by a large white immobilized food service truck. Atop this same stationary snack bar, Damiel and Cassiel, two somber individuals dressed in black, are seated. In silence, they sit there as witnesses to the spirited ebb and flow of urban life below and all round them. We know they are celestial observers, unseen angels here on earth, to watch and listen. Marion, a lovely highly-skilled young woman, (a circus trapeze artist) amazes everyone as she spins in a commanding variety of sequences, suspended by an extra long harness attached from very high up. Homer, a poetess, muses at length about man's existence, while a small pre-pubescent boy whizzes around the stage on a skateboard. "Every street seems to be a no man's land," she opines. A large man, near death, wonders if "we've never seen a man die before," while yet another, (a suicidal young man), asks "What is it about peace that it can no longer inspire?" All the while, the suspended Marion keeps twirling and undulating with captivating versatility. Suddenly Robin Young, a local Boston radio reporter, seated at a desk with a microphone, reports the latest bulletins about the war in Iraq intermingled with lighter local news. Then two musicians wander in. First, Jesse Lenat plays a lively tune on the violin, and then with a guitar in hand sings a vibrant song in Spanish. It's later complemented by a similarly vivid melody sung in German. Soon, Hadewych Minis joins in, also on guitar. They come together in an emphatically amplified Rock 'n Roll duet that almost shakes the theatre's rafters! As Damiel and Cassiel watch this extraordinary panorama unfolding below them, Damiel becomes increasingly attracted to this multi-faceted display, intrigued by its ever contrasting mix of exhilaration and distress. The key to his evolving view is his growing feelings for the grandly rotating Marion. It soon becomes clear that he has fallen in love with her. His need to become human is now paramount. As he finally descends from his perch above the food cart, and changes from his dour black garment to more colorfully bright and earthly apparel, Marion's attraction to him is also revealed. He joins her, supported from above and entwined together, whirling in tandem in a joyously passionate embrace. The large eleven member cast perform their roles with verve and intensity. Bernard White is quite compelling as Damiel, with quietly strong support from Mark Rosenthal as Cassiel. Frieda Pittoors as the poetess, Fred Goessens as the dying man and Daniel Robert Pecci as the suicidal young man are also quite notable. As stated above, Mam Smith's extraordinary performance as the high flying trapeze artist was most definitely the evening's most memorable. Andre Joosten's spare setting and starkly dramatic lighting, comprised of a series of long ceiling to floor beams of highly limited vertical light, enhanced by very narrow streams of falling sand, was certainly most impressive. Similar praise is also due for Ola Mafaalani's well coordinated direction. This creatively conceived, spiritedly performed and provocatively staged presentation is now playing through December 17. (My Grade: 5)

THE BUBBLY BLACK GIRL SHEDS HER CHAMELEON SKIN
Review by Norm Gross

At the Roberts Studio Theatre in the Calderwood Pavilion at the Boston Center for the Arts, the SpeakEasy Stage Company presents "The Bubbly Black Girl Sheds Her Chameleon Skin," featuring Book, Music, and Lyrics by Kirsten Childs. Loosely based on Ms. Childs' life, this semi-autobiographical musical was originally staged Off-Broadway in 2000, where it went on to garner an Obie award, and a nomination for a "Drama Desk." This is its New England premiere. Beginning in the 1960's, the play traces the evolution of young, African-American Viveca "Bubbly" Stanton from her teen-age years living with her parents and brother in her middle class Los Angeles home, across three decades, as she follows her plan to go to New York to become a great dancer on Broadway. Her story unfolds in a succession of more than two dozen songs, (several of only variable effect), performed in recitative fashion. First, "Sweet Chitty Chatty" (sung to her same-named, white, "Shirley Temple"- type doll) suggests her early feelings of racial ambivalence, and later "I Am in Dance Class" describes the beginning of her formal training. This is still later followed by "The Skate," which shows her transition, in high school, to the period's highly popular Motown-styled dancing. Her experimentation with interracial dating is then explored in "Brave New World." Then, across the country to "Wonderland," "Who's That Bubbly Black Girl?", and drowning in "The Secretarial Pool" which serve to introduce Viveca to the pleasures, trials and disappointments she encounters in New York City. "Three Dance Classes" define her hopes to become a professional dancer, while "Come With Me" finds Viveca in the midst of a passionate, but short-lived romance. "Director Bob" finally brings her face-to-face with Bob Fosse, the famed choreographer, and a surprising response. The large eleven member cast is quite effective portraying a wide variety of different roles. Jaime Cepero as Viveca's brother; Trecia Reavis as a dance teacher; Anich D'Jae as a high school friend; and John King as Bob Fosse, amongst others, were all quite noteworthy. However, young, attractive, full-voiced Stephanie Umoh as the aspiring Viveca, on stage from start to finish for the play's full nonstop 90 minutes, was quite memorable! She was, in all respects, truly the star of the evening. The fine spirited, small onstage orchestra conducted by Jose Delgado; Eric Levenson's simple, but adaptable set designs; John R. Malinowski's vivid lighting; and Jacqui Parker's well centered direction were all also quite commendable. Now playing through December 9. (My Grade: 4)

RABBIT HOLE
Review by Norm Gross

At the Boston University Theatre, the Huntington Theatre Company presents "Rabbit Hole" by David Lindsay-Abair. A substantial success on Broadway earlier this same year, where it garnered three Tony Award nominations, including "Best Play." This is its local area premiere. A somber drama, with occasional touches of humor, centered on a married couple's struggles to come to terms with a devastating tragedy. Eight months earlier, Howie and Becca's four year old son Danny, who chased after his dog onto the street, was struck and killed by an oncoming car. The couple's grief unfolds in tandem with Becca's extended family members: her younger capricious sister Izzy; and Nat, her excessively prattling mother. Unmarried Izzy, now in the early stages of pregnancy, confidently prepares for and plans to have her baby, with an unbridled whimsical optimism, while Nat does her best, often with only ineffective consequences, to be as uplifting as possible. As Becca tries to contend with her all pervasive sense of loss, and her husband Howie attempts to focus on the best of previous experiences, the overwhelming calamity that has taken place persists in shaping everything. A vivid altercation between Becca and a female stranger at a nearby supermarket serves only to heighten her abrasive feelings of malaise, while Howie's ongoing insistence that Danny's dog be returned to their household, from his longtime sanctuary with Becca's mom, likewise proves to be less than satisfactory. Similarly, they also begin to think of some other possible courses of action. They wonder whether if trying to dispose of all of Danny's belongings, or maybe just by selling their house, they'd be rewarded with some sort of respite from their pain. Jason, the teenager who drove the auto that killed their little son, unexpectedly comes to visit Becca. His sudden appearance is in response to the "For Sale & Open House" sign posted in front of their home. Jason's heartfelt conversation with Becca is awkwardly touching and poignantly sincere. Later he mails her a copy of a report he has written as schoolwork, which he's dedicated to Danny's memory. The play takes its unusual title (initially incorrectly suggesting to many "Alice in Wonderland's" rabbit) from Jason's account. In his detailed description, he suggests the astrophysical theory of "rabbit hole type pockets" in the grand universe. These "holes" in the sky may actually pertain to replicas of ourselves, possibly leading better lives. Unfortunately, while this drama, over its two hour performance time, effectively explores Becca's and Howie's all encompassing sorrow, little if anything else occurs. There's much grieving, and much talk, and although it may also be true in real life, eventually there has to be some sort of resolution. By the end of this play however, Becca and Howie still seem to be just as bogged down by the misfortune that has overtaken them as ever. Very well played by Donna Bullock as Becca and Jordan Lage as Howie, with spirited support by Geneva Carr as the unconventionally whimsical younger sister Izzy; Maureen Anderman as Becca's often foolishly garrulous mom, Nat; and Troy Deutsch as the young and genuinely sympathetic Jason. High praise is most certainly due for James Noone's impressive trio of elaborately outfitted sets. The initial bright contemporary completely- organized kitchen, followed by the comfortable large living room, defined by its many well-stocked bookcases, and finally by the deceased child's sparsely furnished bedroom, which were all effectively rolled in and out of sight, framed by Dennis Parichy's dramatic lighting. Equal merit must also go to John Tillinger's strong direction. Now playing through December 3. (My Grade: 3.5)

STUFF HAPPENS
Review by Norm Gross

At The Boston Center for the Arts in the Plaza Black Box Theatre, the Zeitgeist Stage Company presents the New England premier of "Stuff Happens" by David Hare. A major success at its' London debut in 2004 with equal response in both its' American premiers in Los Angeles in 2005 as well as in New York earlier this same year. Described by the playwright in the program notes, as "a history play in the same way that Shakespeare' plays are history plays...how a supposedly stupid man, George W. Bush gets everything he wants - and a supposedly clever man, Tony Blair, ends up with nothing he wants." The plays title refers to Defense Secretary Donald Rumsfeld's glib response, in the early days of the war, that "Stuff Happens," when he was told about the wide spread looting that was under way in Iraq. On a bare stage, flanked on each opposing side by large projection screens, with a dozen office-style chairs and a couple of business-like tables, the fine 16-member cast portrays a wide scope of prominent, domestic and international officials. They range from George W. Bush, Condoleeza Rice, Tony Blair, Donald Rumsfeld, and Colin Powell to France's U.N. Delegate Dominique De Villepin and W.M.D. Investigator Hans Blix. The play's premise is that Bush and his inner circle had planned a preemptive war against Iraq from the start and waited only for an acceptable justification. Hare extensively interviewed innumerable government and military leaders, diplomats and reporters in preparation. His play is a blend of official published statements and fictionalized, "behind closed doors," discussions before, during and after the beginning of the war. Aside from President Bush, and his crafty use of the full power of his office, the drama's main players are Tony Blair and Secretary of State Colin Powell. Blair is depicted of highly principled but deftly duped and manipulated by the President while Powell comes across as tragically ambivalent and subservient, choosing not to act decisively to halt the rush to war. While in no way trying to mimic by voice or appearance, the personalities they portrayed, Harold Whitte as President Bush, Robert Bonotto as Tony Blair, Cheryl Singleton as Condoleeza Rice, Peter Brown as Donald Rumsfeld and most especially Steven M. Key as the conflicted Colin Powell were all quite impressive. Similar praise in also due for David J. Miller's strong direction and set design with its many pictorial projections depicting the play's many time and place changes. It's also quite significant that since the play's highly positive debut in London, Los Angeles and New York, that this production represents it's only other American presentation. Again the playwright is quoted as saying that he "was appalled and depressed and horrified by the resistance of the American Theatre to putting this play on..." This might also be due either to timidity, apathy or maybe just to too big a cast? Now being staged here in an on-going, extended engagement, due to popular appeal, through December 2. (My Grade: 5)

HOLES
Review by Norm Gross

The Wheelock Family Theatre in Boston presents its production of "Holes" by Louis Sachar. Based on his multi-award winning, similarly titled 1998 children's book (which was made into an equally popular motion picture in 2003). This staging is its professional New England premiere. Mistakenly accused of stealing an expensive pair of sneakers, young Stanley Yelnats (whose name is the same backwards or forwards) is sent to Camp Greenlake, a juvenile detention camp for delinquent boys, situated in the middle of the Texas desert. There, under the harsh sun-soaked supervision of their gruff guard, "Mr. Sir," the slippery camp counselor Mr. Pendanski, and the center's sinister, all-powerful female Warden, Stanley meets his fellow tent mates. Each has his own nickname: X-Ray, Armpit, Squid, Magnet, Zigzag and Zero. Soon, Stanley is likewise dubbed as "Caveman." Soon Stanley is drawn to his young homeless, illiterate and highly sensitive cell mate Zero. The Warden insists that the boys spend each day, sunrise-to-sunset, digging five by five holes in the area's dry lake bed. Though they're told that their continual digging is just a "character-building" exercise, when the Warden insists that she immediately be told if anyone discovers anything "interesting", they all begin to realize that there must be another actual reason. Stanley's predicament is contrasted to the on-stage story of Elya, his Latvian great-great grandfather, whose ongoing pig thefts a century before, incurred a gypsy's curse that still hangs over him, to this very day. When Stanley finds a small golden amulet in the hole he's just dug, inscribed with the letter "K.B." he knows that the trinket belonged to "Kissin' Kate Barlow," the region's legendary school teacher whose controversial, racially-mixed love long ago for a local onion farmer, resulted in his murder, and turned her into a notorious gun-slinging outlaw. Later, when his very troubled friend Zero runs off into the barren desert, Stanley chases after him. There, far off, at an unexpected water hole, Stanley and Zero discover the mysterious reason for the many long days that they all spent digging all those holes. Well played by the large 23 member cast, with compelling performances by Armando Carlo-Gonzales as Stanley, Dan Ruelbach as Zero, Marina Re as the Warden, Shelley Bolman as Mr. Pendanski and Neil Gustafson as Mr. Sir. Cy Brooks as X-Ray, Nicholas Carter as Magnet, Shaunday Johnson-Jones as Armpit, and David M. Kaim as Zigzag were also quite noteworthy. Similar praise is due also for the brief, but compelling appearances by Jeffery Dinan as Elya , Whitney Avalon as Kissin' Kate Barlow, Darius Omar Williams as the slain onion farmer, and Jane Staab as the supernaturally empowered gypsy. Danila Korogodsky's impressively raised, circular platform set-- defined by its many large and small, round and open cavities; Karen Perlow's highly effective lighting; and Susan Kosoff's very centered direction, were all extremely commendable. Now playing through November 26. (My Grade: 5)

JULIUS CAESAR
Review by Norm Gross

In Boston at the Mass. College of Art in their Tower Auditorium, the Shakespeare Now! Theatre Company presents "Julius Caesar" by William Shakespeare. As an ominous portent of dire things to come, a soothsayer warns Julius Caesar, the leader of ancient Rome, to beware of "the Ides of March" ( March 15 ). A cabal of his enemies, believing that Caesar has assumed too much power, now gathers to plot his assassination. However, to assure the success of their plans, they feel that the highly influential Marcus Brutus must be convinced to join them. In spite of his wife Portia's concern, Brutus agrees to take part in their conspiracy. Meanwhile Calphurnia, Caesar's wife, aware of the dreadful prophesy tries, to no avail, to dissuade her husband from going to the capital. There, in fulfillment of the seer's terrible prediction, the treacherous band, lead by Brutus, stabs Caesar to death. Later, in the Forum, Brutus sways the assembled citizens with his calculated reasons for his murderous actions. He also notes that Marc Antony, a popular administrator and friend of the slain leader, wishes likewise to speak to the crowd. In a passionate address, laced with a mixture of irony focused on Brutus and his associates and highlighted by his unstinting praise for Caesar, he turns all of Rome against the conspirators. This leads to the formation of a triumvirate, with Antony as their leader, making war against the traitors. As Antony's campaign steadily succeeds, Brutus begins to quarrel with Cassius, his main lieutenant, and then after learning that his wife Portia has committed suicide, similarly takes his own life. The fine eleven member cast handle their multiple and varied roles quite effectively with compelling performances, especially by Barry Abramowitz as Marcus Brutus, Lindsay Flathers as Portia, Gus Kelley as Cassius, Linda Lowy as Calphurnia, and Bruce Kaye in the title role. Unfortunately, the bitter sarcasm in Marc Antony's all important oration concerning his friend Caesar's murder, would definitely have been so much more effective had Jon Ferreira's delivery of that speech not been quite so strident. Jenna McFarland-Lord's imposing multi-columned set, with its elevated, marble-like platforms, and its central (first act) tall statue of Caesar, along with John Cuff's dramatic lighting, Crystal Gomes' colorfully admirable toga-like costumes, Rob Najarian's highly animated sword fights,and Daniel Gidron's strong Direction, were all equally impressive. Lastly, much praise is due to the Shakespeare Now! Theatre Company. Since its founding in 2000 by Producing Artistic Director Linda Lowy, their mission, as a professional repertory company, has been to present the Bard's works to the many young school students of Massachusetts and Southeastern New England. As in past years, this current, three week long presentation (more than a dozen late morning shows), was attended by more than 400 young pupils every day. Now playing through November 21. (My Grade 4.5)

THE PHYSICIAN OF HIS HONOR
Review by Norm Gross

At the Spingold Theater Center on the campus of Brandeis University in Waltham, Mass. the Brandeis Theater Company presents its production of "The Physician of His Honor" by Pedro Calderon De La Barca, with a new translation from the original Spanish by Dian Fox and Donald Hindley. This rarely performed "Drama de Honor" was written in Spain around 1630, and has always been surrounded by controversy. This was the response to its shocking depiction of the excesses of the male-dominated code of honor, which at that time strictly meant both a man's "reputation" and his "integrity." Set in 14th century Seville, sweet, young and lovely Dona Mencia is married to Nobleman Don Gutierre. At the drama's outset, we learn that she and Prince Enrique, the King's young and illegitimate half-brother, had a fleeting romantic attachment some time before. However, since her lower status would never permit their union, she was eventually wed to Don Gutierre. When a minor accident while riding on horseback briefly brings Enrique to Dona Mencia's home for some temporary aid, their attraction to each other is rekindled. A series of progressive misunderstandings follow when Enrique's lost dagger is found in his home by Don Gutierre. A subplot concerning the Don's earlier romantic entanglement with the attractive Dona Leonor, who feels she was dishonored when her then lover unexpectedly ended their relationship, also serves to further complicate the story. Later, a succession of unfortunate coincidences allows Don Gutierre to, unbeknownst, overhear Prince Enrique's explanation of his unfulfilled feelings for Dona Mencia to his half-brother, the King, resulting in the exile of Enrique. When further misinterpretations of Enrique's unforeseen departure prompt Dona Mencia to write a letter to him, and this same letter is then intercepted by her tempestuous husband, Don Gutierre's now raging sense of betrayal compels him to exact horrific and very bloody revenge against her. However, still later, when the King learns that Dona Mencia's excruciating "accidental" death was really planned and carried out under Don Gutierre's complete supervision, the King orders a surprising punishment for the roundly chastised Nobleman. The play's title refers to Gutierre's belief in himself as the true healer of the abuse to his standing amongst his fellows. It is being intensely performed by Robert Serrell as Don Gutierre and Rebecca Webber as Dona Mencia. Kara Manson as Prince Enrique, Lindsey McWhorter as Dona Leonor, Anthony Mark Stockard as the King, and Matthew Crider as an assertively prescient court jester were also quite commendable. Katheryn Monthei's impressive courtly setting, centered by a large rear, wide and high screen, upon which colorfully illustrated suggestions of interior and exterior place changes were projected, as well as Jennifer Leigh Adams' elegant period costumes, were equally imposing. Yoko Nakatani's engaging original music and of course Monica Vinao's and Eric Hill's combined and confident direction certainly assured this strong production's over all success! Now playing through November 19. (My Grade: 5)

CLOUD NINE
Review by Norm Gross

At the Cambridge Family YMCA Theatre in Cambridge, Mass. the Longwood Players present "Cloud Nine" by Caryl Churchill. Written in 1979, it was an immediate success in England where it was conceived, and has been performed many times, in both the U.S. and Great Britain, by professional and regional companies ever since. Its brusque and darkly humorous take on British conventions, both past and present, have always struck a responsive chord with contemporary audiences. Act One is set in the Victorian era, in Colonial-occupied Africa. The focus is on a British family residing there. As with all other aspects of this extraordinary play, the casting is quite unusual. Clive, the head of the family, is a Colonial Administrator. His wife Betty is played by a man; Edward, his pre-pubescent son, is played by a young woman; Victoria, his infant daughter, is represented by a stuffed doll; and Joshua, the family's black servant, is likewise played by a white man. The others include Maud, the mother-in-law to Clive; Ellen, his son Edward's Governess; Harry Bagley, a visiting explorer; and Mrs. Saunders, a young pretty neighboring widow. Obviously, the skewed roles suggest the hidden and/or repressed longings of the characters portrayed. For example, Joshua seemingly would have preferred being "white," if that were at all possible. Clive insists, as expected, on the family's rigid compliance with propriety. Therefore, he adamantly objects to his young son's attachments to dolls. He demands that his son be "manly" at all times. Likewise, when he's confronted by the Governess Ellen's lesbian affection for his wife Betty, he sees, despite her protests, that she marries the explorer Harry Bagley, even though he appears to be gay. Clive's sense of propriety also requires complete obedience from his wife Betty. Having also acquired the Colonial outlook, Joshua, their native butler, declares his approval of the burning of his parents' nearby village. Everything about their dysfunctional family life is precisely as Clive wishes it to be. "I am a father to the natives here, and a father to my family, also," he proudly proclaims. Act Two is set in London in 1979, although the characters remain only 25 years older. Betty is now middle-aged, and since he's never seen or mentioned, it's to be assumed that Clive has passed away. Edward and Victoria, their son and daughter, are now young adults. Unlike Act One, where male dominance was unquestioned, here in the late 20th century, women and homosexuals seemingly have become ascendant and predominant. Notwithstanding this, many heterosexual men still strenuously resist their steadily diminishing influence. As an example, despite his professed approval of "feminism," Martin (Victoria's husband) insists that he be in control. Lin, Victoria's lesbian best friend, exhorts her to leave him. The death of Lin's soldier brother in Northern Ireland, also raises the prospect of the demise of British colonialism. Cathy, (Lin's 5 year old daughter) in a progression of Act One's role reversals, is here also played by a man. The grand sweep of the play's dramatically opposite two acts, often to grandly comic effect, reflects the changing sexual attitudes and behavior of British society during its years of world pre-eminence and now in its current state of diminished importance. In both acts, the underlying theme suggests that we not allow others to define us, but rather to always remain true to ourselves. The splendid eight member cast shines brightly throughout. High marks are due for Josh Pritchard as Clive and also as the very young Cathy, and Christopher J. Hagberg as Betty, Clive's repressed wife initially, and later as her gay, adult son Edward. Mike Budwey is equally effective as both the black servant Joshua, and then as Edward's gay lover. Similar praise is likewise due for Tara Jean Conway first as the lesbian Governess and then as the lesbian best friend in the second act. Erin Scanlon, Adam Friedman, Danielle Bauman, and Gillian Mackay-Smith are also commendable portraying many equally diverse roles in both acts. John Randall's creative set, which swiftly and deftly changed from a British Colonial interior and exterior setting in Act One to the suggestion of contemporary England in Act Two, and Marc S. Miller's well controlled direction over all, were also both quite noteworthy. Now playing through November 18. (My Grade: 5)

SCREENPLAY
Review by Norm Gross

At the Boston Playwrights' Theatre the Nora Theatre Company presents its production of "Screenplay" by A.R. Gurney. Reasonably approved at its off-Broadway debut in 2005, this is its Boston premiere. It's being performed at raised lecterns, as a staged reading, in a rehearsal space of a controversial "new" screenplay by the fine seven member cast under Richard McElvain's lively direction. Virtually a scene-by-scene, line-by-line spoof of "Casablanca," the legendary 1942 motion picture melodrama that has long since achieved classic status. Now reset in the year 2015 and transferred from wartime Morocco to a surprisingly similar America. Under President Cheney's administration the Religious Right is now supreme. Fostered by the all pervasive demands of fighting terrorism, our borders have all been closed and flight to the freedom of Canada has become the hope of the frustrated citizens of the Blue States. That troubled World War II outpost is now situated in Buffalo, New York. "Rick's Place" is here renamed "Nick's Bar," and Bogart has been replaced by David DeBeck as Nick. Buffalo, it seems, because of its proximity to our northern neighbor, has become the eagerly anticipated escape route. As before, Nick's former sweetheart shows up at his bar with her new husband, planning their trip north, if only the necessary "Letters of Transit" can be found. Naturally, Nick finally finds these highly important papers for them. Of course, Abner Patch, the determinedly Evangelical, Deputy Secretary of Homeland Security ( a closeted gay), is hot on their trail. Ingrid Bergman's "Ilsa" is now Stephanie Clayman's "Sally," accompanied by her formerly Republican newscaster husband Walter, who's now dedicated to thwarting the government's attempts to muzzle him. With a hefty salute to Paul Henreid's "Victor" and Conrad Veidt's Nazi "Major Strasser," Peter Edmund Haydu is the resolute Walter with John Davin as the nasty pursuing Secretary Patch. Similarly, Claude Rains' "Captain Renault" is now also transformed to Michael Nurse as Buffalo Police Chief Charley Washington. Of special interest is the grandly voiced Dee Crawford as Myrna, replacing Nick's soulful pianist Dooley Wilson's "Play-It-Again-Sam." Here instead of Sam's version of the plaintive "As Time Goes By," it is transposed into Nick and Sally's favorite song "My Gal Sal." As in the original the plot really boils over, in Nick's Bar, when all the Blue citizens vocally challenge their adversaries. Rather than singing France's national anthem in French in protest to the German "Deutschland Uber Alles," now we have Bill Clinton's favorite campaign song "Don't Stop Thinking About Tomorrow" pitted against "Onward Christian Soldiers." Not forgetting Sydney Greenstreet or Peter Lorre, this time around John Porell steps into both of their places. Although this sort of parody usually pops up mainly on the small screen, rather than on the live stage, and while occasionally some of the pranks here are awkward and belabored, for the most part A.R. Gurney succeeds in most of his comic re-inventions. Obviously this was all written well before the recent Congressional election. Now playing through November 19. (My Grade: 4)

AFTER ASHLEY
Review by Norm Gross

At the Plaza Theatre in the Boston Center for the Arts Company One presents "After Ashley" by Gina Gionfriddo. A great success in 2004 at Louisville's Humana Festival of New American Plays, it was later well received Off-Broadway and at subsequent staging's in Washington and Cincinnati, as well. This is its Boston area premiere. At the play's start, we see 35 year old Ashley Hammond trying to comfort Justin, her 14 year old mono-afflicted son. A troubled, pot-smoking mother, who feels she married much too early, is discontented with Alden, her stiff and self-satisfied, news-reporter older husband, and is contemplating either divorce or some extra-marital sex. As expected, all of this uninhibited talk is quite upsetting to her son. Later, when her stuffy spouse returns, he informs them that he has altruistically hired a homeless drifter to be their new gardener. With Scene 2, which takes place three years later, we learn that Ashley was raped and murdered by this same indigent. We also discover that Justin's frantic attempts at calling for help, at the time of the tragedy, has earned him some notoriety as "the 9-1-1 kid." Similarly Alden, his dad, has written a best-selling book about his slain wife entitled, "After Ashley." His book paints his mate in a rosy, heart-warming, falsely idealized fashion. The overwhelming appeal of his book prompts David Gavin, a popular "Montel Williams" styled TV-Talk host, to foster Alden as the host of a new television series appropriately titled, "After Ashley." It's to be focused on similarly violent crimes, culminating in decisive punishment and an eventual and uplifting aftermath. All now seems to be in place for Alden's new fame and fortune based upon his late wife's tragic death. Meanwhile, all of this hoopla has served only to continually distress young Justin. At a local bar, he meets 19 year old Julie Bell, who's fascinated by him as a celebrity. As their relationship steadily evolves, with her support, Justin decides that to truly respect his mother's life, he must somehow find a way to expose his dad's self-aggrandizing deception. Passionately performed by Jonathan Orsini as Justin, Ed Hoopman as Alden, and Ana Nogueira as Julie. Naheem Garcia is properly unctuous as TV's David Gavin, with brief but still compelling portrayals by Kelly Lawman as Ashley and Lonnie McAdoo as a shady and quite salacious promoter, who helps Justin with his disruptive plans. Shawn LaCount's strong direction and Prav Menon-Johansson's simple, nearly bare setting, defined by a large ceiling-to-floor screen, upon which the play's occasional TV images are projected, are also certainly praiseworthy. This stimulating drama examines the ways in which the mass-media opportunistically manipulates the truth to thereby profit from the public's incessant thirst for sensationalism. This is then craftily justified by them as finally leading to some sort of socially positive outcome. The play provocatively explores this theme against the reality of genuine family crisis and instability. Of course, given the heavily concentrated controls surrounding all forms of media, and especially so concerning national television, Justin's final success might not be achieved quite so quickly and easily as is depicted here! Now playing through November 18. (My Grade: 4.5)

THE ICE BREAKER
Review by Norm Gross

At the Mosesian Theatre in the Arsenal Center for the Arts in Watertown, Mass. is the New Repertory Theatre's production of "The Ice Breaker" by David Rambo. As part of "The National New Play Network's" world premiere, it is being presented here in conjunction with like productions at Indianapolis's "Phoenix Theatre" and San Francisco's "Magic Theatre." Set primarily in the Arizona desert home of disgruntled and reclusive Dr. Lawrence Blanchard, who has been living there alone in self imposed exile for the past 12 years. Blanchard, a prominent expert on climatology, has withdrawn from his many academic responsibilities as a reaction to the negative responses and misrepresentations of his conclusions, regarding worldwide climate changes, by a vindictive, competing professional colleague. Sonia Milan, a young, attractive graduate student, suddenly appears at Blanchard's doorway offering him some surprising and unusual reasons for her coming there. Because of several very rebellious civil disturbances when she was just a teenager, she was sent to Antarctica as part of an "Outward Bound" program. There in the frozen drifts she discovered Dr. Blanchard's long lost journal. Fascinated by his findings, she became quite interested in pursuing a similar academic career. Now ten years later, after much trial and error, she has found her way to his undisclosed desert retreat. She has also brought with her the massive graduate thesis on climatology that she's been heavily working on. She is very anxious to have Dr. Blanchard evaluate it. It soon turns out that her university's academic advisor was the same contentious associate that had also discredited Dr. Blanchard's work, those long years before! In similar fashion, this same advisor has summarily cast major doubts on Sonia's research. Initially reserved, distrustful and distant, Sonia's highly animated eagerness and optimism ultimately begins to thaw Dr. Blanchard's restraint. As his cool attitude toward her gradually melts into warm interest, romance between the mature climatologist and his very intense young admirer soon blossoms. However, as expected, troubling complications begin to eventually develop. While most of Act One revolves around the compelling and intriguing explanations surrounding Blanchard's and Sonia's conclusions about global warming, unfortunately, little is added to this in Act Two, which mainly centers on a somewhat predictable December vs. May romantic relationship. However, it's all being extremely well acted by Will Lyman as Dr. Lawrence Blanchard and Amy Russ as Sonia Milan, as effectively guided by David Zoffoli's well concentrated direction. Alan Joslin's sun-swept rustic living room setting, coupled with some appropriate office space, and the set's overall expansive openness, vividly suggesting the striking sweep of the vast Arizona desert, all proved to certainly be quite impressive. Considering the great current concerns about world climatic conditions, more consideration and/or summing up of these issues would have been expected and most welcome. Now playing through November 19. (My Grade: 3.5)

9 PARTS OF DESIRE
Review by Norm Gross

The Lyric Stage Company of Boston presents its production of "9 Parts of Desire," a new one-person play by Heather Raffo. A first generation Iraqi-American, still with family ties in Iraq, Raffo spent 11 years interviewing Iraqi women as research for her play. After successful engagements in New York, Los Angeles, and Washington, this presentation is its New England premiere. It's being performed here by Lanna Joffrey on a sparsely set stage featuring just a long raised water trough off to one side, and a simple chair in the center, as its only props--with two large hanging neutral curtains to the rear, acting as a backdrop. Dressed in contemporary attire and utilizing the Abaya (the traditional black Iraqi robe) in a commanding variety of different ways, Ms. Joffrey skillfully portrays nine different Iraqi women. They range in age from the very young to the very elderly, and their heartbreaking stories, vivid observations, and stirring conclusions form the core of this compelling solo piece. Mulaya, a professional mourner, rises early each morning to throw the worn shoes of the dead into the nearby river, while Layal, a local artist, has hopes his art will help people to achieve transcendence, although he remains continually fearful of persistent terrorism, as he ruefully notes "Here the people don't even open their mouths for the Dentist." Amal, a Bedouin, solemnly announces "I see with my heart, not with my eyes," followed by Huda, an Iraqi exile living in London, who comments "Some think the U.S. is our dilemma, while I think it's just making up its own map." A young Iraqi girl complains that there's been no school for her since the Americans came, because her mother is fearful of her being kidnapped. Umm Ghada, a young woman completely draped in black, from head (with only her eyes exposed) to toe, tearfully laments, "400 people died at night. Why am I still alive?" A native doctor angrily remarks, "We used to have the best hospitals in the Middle East, now we're just the experiment," and an Iraqi-American who watches her elderly father (who's lived in the U.S. for 40 years) sobs uncontrollably as he sees his homeland being destroyed nightly on the TV newscasts. Even Nanna, a scruffy peddler, scrounging for her daily existence, adds "I saw all the looting, and nobody stopped me. Everything I have to sell you was stolen." Lanna Joffrey deftly moves from one characterization to another by swiftly rearranging her hair, either changing the drape or shape of her black robe, or occasionally dispensing with it entirely, and of course, changing or altering her vocal accent and/or range. Marshaled by the Sugan Theatre Company's Carmel O'Reilly's sensitive direction, and potently accented by Rob Cordella's well conceived and executed lighting, Ms. Joffrey's extraordinary performance grows steadily, character-by-character, into a genuine "tour de force." She offers us the attitudes, opinions, and reactions of the Iraqi people, as the war rages around them. Usually unreported, rarely heard, playwright Raffo's dramatization presents us with an opportunity to finally effectively hear what they want us to know. Now playing through November 18. (My Grade: 5)

NUT/CRACKED
Review by Norm Gross

At the Roberts Studio Theatre in the Calderwood Pavilion at the Boston Center for the Arts the Theater Offensive in association with Pearl Productions presents New York based David Parker & the Bang Group's "Nut/Cracked," a free-wheeling, non-narrative reinvention of Tchaikovsky's great Holiday classic. Created and performed by Choreographer David Parker and his ensemble, including a host of young students from the Boston Arts Academy, dancing to innovative and Jazz-inspired recordings by Duke Ellington, Glenn Miller, and the Raymond Scott Quintet. The evening also features additional Lyrics created and sung by Fred Waring and his Pennsylvanians as well as more traditionally accepted recorded music by the London Symphony, Royal Philharmonic and the Westminster Concert Bell Choir. The hour-long program consists of nearly two dozen vignettes based on the original "Nutcracker", vividly demonstrating a wide variety of styles based on many different dance traditions, often comic and unusual, always compelling and provocative! Amongst the most noteworthy were Zack Winokur dancing "en-pointe" to Raymond Scott's swinging music, Emily Tschiffely and Kate Digby executing their high leaps and spins to the great Jazz innovator Duke Ellington, and later Nic Petry and Amber Sloan cavorting whimsically on extended sheets of plastic "bubble-wrap" to the exploding "pops" that their foot movements caused. Equally notable was the ensemble's striking interlocking, from one to another of their many arms and legs, to form extraordinary and quite unusual angular shapes and patterns. Certainly the evening's most memorable moments came near the finale. Performed to the music associated with "the Grand Pas de Deux," David Parker, Jeffrey Kazin, Christina Aguirre, Amber Sloan, Kate Digby, and Emily Tschiffely elicited a roar of wild approval from the large audience as their upright and outstretched thumbs moved, smoothly and effortlessly from mouth-to-mouth, in a delightfully choreographed spoof of childish thumb-sucking entitled "Thumbs." Grandly engaging, and most definitely recommended, this highly creative presentation is now playing through November 11. (My Grade: 5)

HAMLET
Review by Norm Gross

At the Strand Theatre, in Boston's Dorchester neighborhood, the Actors' Shakespeare Project presents its new production of "Hamlet." Considered to be the Bard's greatest drama, young Prince Hamlet is confronted by the ghost of his murdered father, who accuses the new King Claudius, his brother, as his killer. Also angry at his mother, Queen Gertrude, for marrying his murderous Uncle, Hamlet, at the behest of his ghostly father, seeks full vengeance. Pretending to be mad, Hamlet enlists the aid of a group of traveling actors to perform a play at the royal court simulating the events surrounding his father's death, hoping thereby to expose his Uncle's guilt. Besides his aggressive scheming, Hamlet is also very troubled by the love he has for Ophelia, his young sensitive sweetheart. His concerted fixation on avenging his father's murder, ultimately leads to her nervous breakdown and tormented death. Hamlet's feverish plans also lead not only to the demise of Ophelia but also, as expected, of King Claudius. Queen Gertrude, together with Ophelia's father Polonius and her brother Laertes, as well. In similar fashion, they all come to violent ends. This compelling drama is being performed, in contemporary attire, to the capacity audience seated on the theatre's expansive and nearly bare stage. As the play's only props, there's just two very elevated metal scaffoldings, an extra tall ladder, a few chairs, and a largedraped table, which all work surprisingly well. Benjamin Evett, the Company's Founder and Artistic Director is, for the most part, vigorously effective and passionate in the title role. However, his extremely stormy involvement with Ophelia is overwhelmingly harsh and much too fiercely physical. Marianna Bassham, on the other hand, is quite affecting as Ophelia, his mentally distraught sweetheart. Johnny Lee Davenport and Marya Lowry are impressively impassioned as Claudius and Gertrude with equally fine performances by Robert Walsh as Polonius, Edward O'Blenis as Laertes and most certainly Ken Cheeseman as both Hamlet's spectral father and as a pensive gravedigger. Similar praise is also due for the large, accomplished supporting cast, as well as for Peter Bayne's intriguing incidental music, played on the theatre's grand organ. High marks must also go to Ted Hewlett's splendidly staged swordplay, together with the New Repertory Theatre's Rick Lombardo's direction and highly creative use of the theatre's stairways, balcony and box seats to thereby expand the play's action well beyond the confines of the stage. Lastly, also be advised that the play is being performed here at nearly three hours and forty minutes. Now playing an extended engagement through November 17. (My Grade: 4.5)

ALTAR BOYZ
Review by Norm Gross

At Boston's Colonial Theatre is the National Touring production of "Altar Boyz," featuring Music and Lyrics by Gary Adler and Michael Patrick Walker, with Book by Kevin Del Aguila. Winner of the 2005 Outer Critics Circle Award as Best Off-Broadway Musical and two New York Drama League Award Honors as both Outstanding Musical and Ensemble as well as receiving the 2006 Broadway.com Audience Award. A lively spoof of such groups as New Kids on the Block, Backstreet Boys, and N' Sync, albeit now with a decidedly rockin' Christian music focus. The spirited quintet of young Catholic 20 year olds are comprised of their charismatic leader Mathew; the somewhat prissy Mark; the mostly macho Luke; resonantly Latino Juan; and the animated Abraham, who is the group's surprising Jewish member. Presently appearing on their highly popular "Raise the Praise Tour," the show's virtually plot-less framework centers on an elevated, electrified enumerator, off to one side, which systematically counts the number of audience members whose souls still need to be saved, by what the Altar Boyz do and sing. Otherwise, the evening is a vibrantly energetic succession of more than a dozen new and solidly rocking tunes, most with highly involving and grandly comic overtones. Starting with "We are the Altar Boyz," (we're gonna alter your life), "Church Rulez," (stand up and sing a hymn to Heaven), the Rap-styled "Calling," (Christ, how'd you do that?), "The Miracle Song," (Jesus called me on my cell phone), "La Vida Eternal," (is waiting for you), and the resoundingly show-stopping "Epiphany," whereby Mark finally openly declares his life's direction to the audience's enthusiastically roaring approval. Christopher Gattelli's vividly energetic, supremely well coordinated and grandly performed Choreography, the emphatically rockin' on-stage Orchestra conducted by Michael Sobie, and of course Director Stafford Arima's concentrated guidance, effectively served the highly accomplished cast, consisting of Mathew Buckner as Mathew, Ryan J. Ratliff as Mark, Jesse JP Johnson as Luke, Jay Garcia as Juan, and Nick Blaemire as Abraham. This thoroughly captivating and uplifting presentation is definitely recommended for the entire family. Now playing through November 5. (My Grade: 5)

HAIRSPRAY: It's a party in a can...
Review by Dede Tanzer

The North Shore Music Theater's production of Hairspray is as much fun as any production I've ever seen. Okay, the original London production of Hair in 1969 may have had a tad more verve, but I assure you, it didn't have any more hair. After viewing this production I thought, "Wow, I never realized that hair was just as prominent in the early 60's as the late, just a little more tease in one."

As soon as the play starts the audience is hit with the color, texture and bigotry of the early 1960's by the colorful, authentic costumes designed by William Ivey Long. And, oh those dancing shoes. I'd like a couple pair of those for my wardrobe. They were totally fab.

By the time the opening number was over I had a new respect for a man who can do it all, Barry Ivan the director/choreographer of this upbeat, yet honest, portrayal of life in the early part of the decade. Having been a choreographer for over 30 years I am always wary of the director also taking on the choreographer role, too. Usually one or the other suffers from lack attention or knowledge or both. Not so in the case of Mr. Ivan. This man is so talented I considered asking him to father my children, even though they already like the father they have.

The lead, Tracy Turnblad, is uncannily played by the very talented, bright (graduated Cum Laude from the Conservatory) Bridie Carroll. Her brilliance and timing is closely matched by her cast mates Dick Decareau and Paul C. Vogt who play her parents, Wilbur and Edna Turnblad, who turn in a sweet, funny, touching rendition of "Timeless to me".

The entire cast was polished, talented, well trained and into it. With voices, danceability and enthusiasm spritzing out of every pore. They really do make you feel like there's a party going on. And to me, if I'm going to pay good money to see a show, bring on the fun!

This three week production of HAIRSPRAY at the North Shore Music Theater plays from Oct 24 - Nov. 19. If you never see this on Broadway you are not missing a thing-- except for the $150.00 seats and the $20.00 Snocaps!

(My Grade: 4.5)

MARITIUS
Review by Norm Gross

At the Boston University Theater the Huntington Theatre Company presents the world premiere of "Maritius," a new play by Theresa Rebeck. Set in a shabby philatelist office, managed by crusty old Phil, and also at the home of two estranged adult half-sisters, where a bitter family dispute has developed. Jackie, the younger sibling has discovered a leather-bound book of antique postage stamps in the remaining effects of their recently deceased mother. She's come to Phil's office to check out the value of two stamps which she believes might be very rare. However, Mary, her older step-sister, objects to Jackie's intentions insisting that the stamps belonged to her grandfather, and as such, because of their great sentimental worth, must not be sold. Nevertheless, in spite of Mary's opposition, Jackie has wrested the collection away from her. She is also quite resentful of Mary, who had left the family home many years before, leaving her younger half-sister alone to care for their cancer-riddled mother. As a result, Jackie now asserts that the proposed sale by her is fully justified and should raise enough money to cancel all of her debts. At the stamp center she then meets Dennis, a slick petty street hustler, who sees Jackie's possessions as an opportunity for a potentially lucrative scam. Later, he perks the interest of Sterling, a well dressed but gruff and unsavory British collector, in his scheme. However, by now, Jackie has discovered the truly extraordinary value of the stamps. In 1847, when they were first issued from the South African island of Mauritius, they were incorrectly imprinted with the words "Post Office" instead of their proper listing of "Post Paid." These rare and major errors are the reason for their extreme monetary worth. Then, as the big sale is about to take place between Jackie and Sterling, Mary suddenly arrives, together with Phil, to thwart Jackie's plans. Her unexpected intrusion generates troubling and highly provocative consequences for them all. Intensely acted by Marin Ireland as Jackie and Laura Latreille as Mary, with grandly strong and similar effectiveness by Michael Aronov as the highly opportunistic Dennis. James Gale is impressively forceful as the ethically questionable Sterling, with additionally fine support from Robert Dorfman as the crusty manager of the philatelic office. Eugene Lee's splendidly seedy business setting, together with Jackie's decidedly declasse living room, were both quite appropriate, under Rebecca Bayla Taichman's firm direction. While initially the play seemed to suggest some similarities with David Mamet's "American Buffalo," in which several ne'er do-wells plot the theft of a valuable rare coin, this play's highly volatile and emotional family strife ultimately sets it apart! It's also noteworthy that although several of the play's final "surprising" plot twists were somewhat expected, nevertheless the drama's vividly engaging and well developed characters and situations really still proved to be quite compelling! Now playing through November 12. (My Grade: 4.5)

AROUND THE WORLD IN 80 DAYS
Review by Norm Gross

At the Stoneham Theatre in Stoneham, Mass. is the area premiere of "Around the World in 80 Days" by Mark Brown. Based on Jules Verne's celebrated 19th century novel, it was adapted as a triumphantly award-winning motion picture in 1956, and then as a very well received TV mini-series in 1989. More recently it was once again produced as a completely new and quite popular Hollywood movie in 2004. Brown's stage adaptation made its debut at the UCF Shakespeare Festival in Orlando, Florida in 2000 and has since enjoyed many successful regional productions. Set in 1872, wealthy London based bachelor Phileas Fogg accepts a 20,000 (British Pounds) wager from his stodgy associates, at his local Men's Club. He asserts that assisted by Passepartout, his loyal French manservant, he will be able to travel from London, around the globe, returning back to London, in the time span of just 80 days. It's all performed on a primarily bare stage, centered by a large screen (upon which colorful scenes and images are projected), which is flanked on both sides by a series of big vertical and rectangular openings, each of which is illuminated to reveal the names of the various far flung foreign destinations, as Fogg arrives there. It's being deftly acted by only five actors, who by swiftly donning a variety of differing hats and tunics, abetted by likewise dissimilar hairpieces, moustaches, eyewear and dialects, portray more than 30 foreign characters, as Fogg crosses each of their paths. Adding extra complications to his journey, he's also being trailed by Detective Fix, a Scotland Yard investigator, who mistakenly believes that Fogg is a criminal responsible for a recent London bank robbery. He follows them from London to Suez and from there to Bombay and Calcutta. In India, Fogg and his valet rescue Aouda, a lovely young Indian Princess, from certain death at the hands of a large band of local murderous religious zealots. Their trans-world progress involves them in traveling by rail, steamship, cargo freighter, and even atop a jumbo elephant! All that should be said about the latter means of transportation is that it's very minimally, creatively, and adroitly realized on stage. Unexpected twists and turns in Hong Kong and Yokahama lead them finally to a dangerous and turbulent voyage across the Pacific Ocean to San Francisco. Crossing the American "Wild West" by train, after safely encountering attacking Apaches, they finally reach New York City. As expected, the last leg of their journey to London is also marked by major difficulties along with a surprising conclusion that elicited a grandly enthusiastic response from the audience. Steven Barkhimer is properly efficient and disciplined as the commanding Phileas Fogg with fine comic support by Christopher Brophy as Passepartout. Eve Kagan is demurely accommodating as the exotic and intriguing Aouda. Both also join Victor Warren as the pursuing Detective Fix and the multi-faceted Robert Saoud in personifying the wide ranging and very diverse characters that Fogg and his partners encounter. They include a London Bobby, an Egyptian Consul, a British Colonial officer in India, an elephant's Guide, and a Brahmin judge, to an earthy Hong Kong messenger, a Texas-styled cowboy Colonel, and a stuffy British aristocrat, amongst many others. Certainly Nathan Leigh's well chosen musical selections and most definitely Weylin Symes' very focused direction also contributed highly to the show's over all effectiveness. Now playing through November 5. (My Grade: 5)

P.S. As mentioned in the program's notes, while most still assume that the show's main character's name is Phineas, it is in fact Phileas, being spelled correctly with an " l. "

DON QUIXOTE
Review by Norm Gross

At Boston's Wang Theatre the Boston Ballet presents "Don Quixote," featuring Choreography by Rudolf Nureyev and Music by Ludwig Minkus (as adapted and arranged by John Lanchberry ). Now bearing little resemblance to Cervantes' original classic, the elderly, zealously idealistic "knight" and his valet Sancho Panza now just dream of rescuing the fair maiden Dulcinea, while in reality only crossing paths instead with two young Barcelona sweethearts. Basilio, the community's virile barber, hopes to wed sweet and lovely Kitri. However, her father Lorenzo is intent on his daughter marrying Gamache, a nobleman instead. When the two lovers run away to get married, Lorenzo and Gamache chase after them. Don Quixote and Sancho Panza follow them intending to aid the eloping couple. In the course of this merry chase, Basilio and Kitri become involved with a lusty band of gypsies, as the Don arrives prepared to save them all from a threatening nearby windmill. Exhausted from his ordeal, Don Quixote dreams of finding Dulcinea amongst the forest nymphs in their magical woodland. Later after awakening, he helps Basilio to fake his own demise, knowing that such a "tragedy" will force the grieving Lorenzo to bless the young lovers' union as a final sympathetic gesture to them. Yury Yanowsky was vigorously impressive with commanding steps and soaring leaps as Basilio together with lovely Lorna Feijoo, equally captivating with her dazzling pirouettes and her graceful and expressive body movements. The audience greeted their exquisite grand pas de deux with roaring approval. Viktor PLotnikov as Lorenzo and Jared Redick as Gamache likewise provided exuberant support. Equally noteworthy with grand vaults and vivid and/or delicate turns were Bradley Schlagheck as the King of the Gypsys, Karine Seneca as Queen of the Forest Nymphs, and Romi Beppu as the essence of Amour. Pavel Gurevich was properly stately and idealistically adventurous as Don Quixote with spiritedly amusing tumbles by Raul Salamanca as Sancho Panza. The large, well coordinated corps de ballet and striking ensembles robustly highlighted the production's decidedly Spanish character accented as it was by rhythmic castanets, twirling capes and waving fans. The splendid sets, ranging from the port of Barcelona, the Gypsy encampment (with its animatedly spinning windmill), the magical dream forest, and the final happy tavern scene were all deftly designed by Nicholas Georgiadis, who was also responsible for the many varied and beautiful costumes. Lastly, the full orchestra conducted by Jonathan McPhee was, as expected, vibrant, compelling and effectively resonant! Now playing through October 29. (My Grade: 5)

FIRST BLUSH
Review by Norm Gross

The Boston Playwrights' Theatre is now presenting the premiere of "First Blush" a new play by Amy Adler. This one act, 80 minute drama explores the interaction of a quartet of young contemporary adults. It begins with classmates Emma and her friend Gwen as they prepare for their graduation from college. Gwen suffers greatly from a lack of confidence due to her anxiety about being somewhat overweight. She feels very strongly that it's impeding her social life. Emma, young, attractive and self confident, on the other hand, feels no such drawbacks and easily connects with Paul, who's involved in a major research project. Soon they're living together in her dad's vacant apartment. Paul, a budding writer, is working on a study about monkeys. Their marriage prompts Emma's father (who's never seen) to fund a trip for Emma and Paul to Africa, to further his scholarly investigation. After returning, Paul's African journey has resulted in the writing and publication of his book, which has made him recognized as a successful author. However, this has also caused some irreconcilable differences with Emma. He had always felt that her dad continually wanted him to fail. Now apart, Emma begins to show some romantic interest in Paul's friend Ian, a highly confident stockbroker. As their relationship rises and falls, we also learn that Emma's friend Gwen has successfully lost the troublesome weight, albeit incurring some other physical difficulties, and is now quite sexually active. Emma's split with Ian then leads her to an unexpected meeting with Paul and a surprising discovery about her friend Gwen's latest romantic affair. Unfortunately, much of the interactions and corresponding motivations of this foursome are never really adequately developed. We need to know much more about their inner feelings than the playwright has provided. Too often, they and their problems are treated too abruptly, too superficially. Meghan Bradley and Katy Rubin are reasonably effective as Emma and Gwen, while Jared Craig seemed a bit too youthful as the very auspicious author Paul. However, Michael Peterson was the most assured member of the cast as Ian. Julia Noulin-Merat's simple set, consisting of two easy chairs, a small table, and a small elevated counter with barstools was very creatively and impressively adapted for the play's several important scene changes by the striking use of large rear sliding panels. Eve Muson's direction also kept the actors and the plot's action nicely moving forward. Now playing through October 22. (My Grade: 2)

RESPECT: A MUSICAL JOURNEY
Review by Norm Gross

At Boston's Stuart Street Playhouse is "Respect: A Musical Journey," conceived and written by Dorothy Marcic. Based on her similarly-titled book, "Respect: Women and Popular Music" where Dr. Marcic (a Vanderbilt University Professor) analyzed the wide scope of American popular songs throughout the 20th century as they related to and expressed the evolution of the American woman from dependence and subservience at the century's onset to a large measure of independence and empowerment by its final days. Originally presented in 1999 as a lecture series by Dr. Marcic, it was developed as a full scale musical theatrical production at the Cuillo Center for the Arts in West Palm Beach, Florida in 2004, where it became an overnight major success. As such, it has since been enthusiastically staged by many other regional companies. This presentation is its Boston debut. For just over two hours, including a brief intermission, a quartet of enormously talented female performers sing, dance and act out Dr. Marcic's history of the American woman during the 20th century. With Kathy St. George as both the show's narrator, while also singing and acting as Dr. Marcic, she frames the progress of womankind as reflected in her own family's life and times. It all begins on a stage defined by a multi-leveled set, complete with a central staircase, an upper walkway, and a proscenium-wide facade adorned with large graphic illustrations of the century's most famous women. Aimee Collier, Tiana Checchia and Kareema M. Castro, each as lovely to look at as they are to listen to, take complete command of the audience with a succession of rousing performances of nearly fifty songs, beginning with 1901's "She's Only a Bird in a Gilded Cage," they vibrantly continue on into the century's first quarter. Tunes such as "Can't Help Lovin' Dat Man of Mine," and "Won't You Come Home Bill Bailey," (dazzlingly performed by Aimee strutting with high twirling cane and tilted bowler hat) deftly establish the early and completely servile housewife, and is then followed by "Over There," which points to her supportive role on the home front during World War I. The peacetime that came after ushered in the 1920's, highlighted by Tiana's scintillating rendition of "I Wanna Be Loved By You (Boop Boop A Doo)," the tune most often associated with "Betty Boop," Hollywood's greatly popular cartoon movie vamp. Kareema's soulful chanting of Billie Holiday's classic "God Bless the Child," vividly brings on the anguish, struggle and despair of African-Americans throughout the century's first half. The trio then spiritedly duplicating the Andrews Sisters hit recording of "Boogie Woogie Bugle Boy" transport us to America's entry into World War II. "Tammy," and "Lollipop," introduce the postwar "Baby Boomers" who are later captivated by the first "Barbie Doll." "I Enjoy Being a Girl," Kathy's tender singing of "Que Sera Sera" and Tiana's show-stopping and heartbreaking version of "It Must Be Him," as she anxiously awaits her boyfriend's phone call, poignantly establish the growing importance and influence of the country's teenagers. As we approach the end of the century, Act two begins with the full cast singing "Sweet Talking Guy," as photographic portraits of Richard Nixon, O.J. Simpson and Michael Jackson, amongst such other personalities, are projected onto a centrally placed screen. "Ain't Gonna Let Nobody Turn Me Around" introduces Rosa Parks' defiance of Jim Crow segregation and the ultimate triumph of the Civil Rights Movement. The cast's vigorous performances of "These Boots Are Made for Walking", "I Am Woman", "I Will Survive", and of course, "R-E-S-P-E-C-T", along with a host of other similarly uplifting songs bring the large, approving audience to their feet at the show's roaring conclusion. However, notwithstanding this grand finale, it was somewhat surprising and a bit disconcerting that neither the Korean or Vietnam Wars were included nor was any reference made to "McCarthyism" and the really dreadful impact it had on so many actresses, politicians, and others, in the evening's otherwise effectively historical and splendidly musical panorama. Lastly, Mary Lynne Izzo's colorful costuming, the fine, highly rhythmic, on stage orchestra conducted by Catherine Stornetta and David Arisco's strong direction certainly did much to guarantee this show's great success! Now playing a limited engagement through November 26. (My Grade: 4.5)

THE WAITING ROOM
Review by Norm Gross

In the Laurie Theatre at the Spingold Theater Center on the Brandeis University Campus in Waltham, Mass. their Theater Company presents its new production of "The Waiting Room" by Lisa Loomer. Winner of the 1994 Chambers Award, this play has had successful engagements Off-Broadway, as well as with many regional companies throughout America. Three women from three very different time periods meet in a contemporary doctor's office. Victoria is a very tightly corseted young married woman from the 19th century. She's there because her overbearingly domineering husband Oliver has insisted that the emotional stress she's experiencing is causing her hysterical fits and are the result of her having too much education. He has ordered her to have her ovaries removed. "Forgiveness from Heaven" is a young 18th century Chinese wife who's suffering many physical problems because of her oh so very tiny, tightly bound, shrunken and decaying feet. While her husband "Blessing from Heaven" delightedly considers the putrid stench from his wife's feet to be a sublime aphrodisiac, as they waste away, she's rapidly suffering the distressing loss of all of her toes. Wanda, a feisty young modern single woman from New Jersey, is there to see the doctor because of serious problems with her third series of silicone breast implants. Unfortunately, to her great dismay she is soon informed that, because of her many artificial physical enhancements, she now has breast cancer. Into this striking group the playwright also adds Douglas, the contemporary physician this trio of disparate and desperate women have come to discuss their medical conditions with. While animatedly skeptical about alternative medicine, he does not hesitate to prescribe many of the new experimental drugs. Completing this compelling assembly are the doctor's agreeable golfing buddies Larry, a company-focused pharmaceutical official, and Ken, a ready to always oblige member of the FDA. Brenda, the doctor's officious nurse, also offers them some curious medical notions, which are easily available in her native Jamaica. This engagingly provocative play, with its occasional hints of humor succinctly interspersed, effectively provides us with the highly problematic (and often quite injurious) male to female definitions of what feminine "beauty" has been throughout the various centuries. Obviously framed by extraordinary cultural differences and bolstered by each woman's ability to survive in the shadow of both the harshly required societal imperatives of their times and the often questionable and uncertain medical care available to them. Hannah Wilson as Victoria, Naya Chang as "Forgiveness from Heaven," and Sara Oliva as Wanda, effectively portray the trio of diverse, troubled and time- separated women, with fine supporting performances by Brian Weaver as the attending doctor, and Sheldon Best and Beck Holden as his shallow golfing partners Larry and Ken; Jay J. Lee as the sexually aroused Eastern spouse, "Blessing from Heaven;" Joshua Davis as the all-possessive Victorian husband Oliver, and Ramona Alexander as the doctor's Carribean-inspired nurse are also quite commendable under Janet Morrison's firm direction. This stimulating and quite compelling exploration of female resilience is now playing through October 22. (My Grade: 5)

DOWNSTAGE
Review by Norm Gross

At the Mosesian Theatre in the Arsenal Center for the Arts in Watertown, Mass. is the New Repertory Theatre's inaugural production in their new "Downstage" series. This initial play in this schedule is "Thom Pain (based on nothing)" by Will Eno, and is being staged in the Center's smaller Black Box Theatre. An hour long monologue starring Diego Arciniegas, in a commanding solo performance, it first premiered at the Edinburgh Fringe Festival in Scotland in 2004 where it won several awards. Its New York debut then took place in 2005 when it was selected as a Pulitzer Prize finalist. This production represents its New England premiere. Described in the program notes as a "surreal meditation," this plot-less solo-piece centers on an average everyman who ruminates at length on his life, his early hopes, his later disappointments and yet by continuing to hold on to his essential optimism engages and connects with the audience. He refuses to discuss his name (obviously he is not the legendary patriot associated with the American Revolution). He describes his concern about people's indifference to his loneliness. He tells us of his strained interaction with the opposite sex as he animatedly tries to make some sense of his life. Venturing out into the audience trying to enlist some inconsequential rapport with a few of the people seated there, he returns to the stage to continue reflecting on his own persistent malaise and then ever so gradually begins to change to a more positive mind set. He asks those assembled "What does love mean?", without really expecting an answer. He describes himself as "the type of person you meet and never hear from again," reemphasizing his sense of separation. Occasionally jocular, mostly introspective, ultimately looking forward to improvement, he finally exhorts his spectators to "Be stable! Try to be someone better. Important things will happen. It is still great to be alive!" Intensely performed by Diego on a bare stage and effectively guided by Adrienne Hewlett's strongly concentrated direction, it was enthusiastically applauded by the standing capacity audience at the play's finale. Now playing through October 22. (My Grade: 5)

LITTLE SHOP OF HORRORS
Review by Norm Gross

At the Plaza Theatre in the Boston Center for the Arts the Animus Ensemble presents its new production of "Little Shop of Horrors," featuring Music by Alan Menken and Book and Lyrics by Howard Ashman. Based on the 1960 Grade "B" movie of the same title, it made its debut as a comic Off-Broadway musical spoof in 1982, where its resounding success (2,209 performances) paved the way for its production and release as an equally popular Hollywood movie in 1986. Set in Mr. Mushnik's floral shop located in New York's "Skid Row", where meek employee Seymour has hatched a strange new house plant. He names it Audrey II in honor of his fellow sales clerk Audrey, whom he loves from afar. Unfortunately, however, she ignores Seymour because of her heavy romantic involvement with Dr. Orin, a highly abusive dentist. Meanwhile Seymour discovers that his unusual shrub must be fed with human blood! When he tries to feed it with droplets from his own fingers, the plant demands human meat. In a devilish arrangement, Seymour agrees to feed it humans if Audrey II will be able to attract enough attention to make him rich and famous as its creator. As Mr. Mushnik's flower shop thrives, with Seymour gaining all the fame and fortune he'd hoped for, he realizes that the monstrous plant is also able to do away with anyone who stands in his way. Then, with Dr. Orin, amongst others, drastically removed, everything seems to be just right for salesgirl Audrey to finally really become Seymour's full fledged sweetheart. However, they quickly discover that Audrey II has turned into a ravenously uncontrollable monster, with very unforeseen consequences. Spiritedly performed by the fine eleven member cast with vividly well acted and sung portrayals by Christian Daniel Kiley as Seymour and especially by Erin Tchoukaleff as Audrey. Resonant comic support by Jim Jordan as mean Dr. Orin and Eric Ruben as Mr. Mushnik, the kindly owner of the flower shop, were also quite praiseworthy. The grandly amusing score features such lively songs as "Feed Me!" (Audrey II's voracious demand), "Skid Row" ("gotta get out of here"), "I Am A Dentist" (Dr. Orin's nasty and wildly funny introduction), "Suddenly Seymour" (when Audrey begins to notice him) and, of course, the engaging title tune. Heather Fry, Emilie Battle, and Sehri Wickliffe as a vibrant R&B singing trio are also quite noteworthy. Although Audrey II is