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HOW SHAKESPEARE WON THE WEST
Currently at the Boston University Theatre, the Huntington Theatre Company presents the world premiere of "How Shakespeare Won The West" by Richard Nelson. Beginning in New York City and then going across America and the west during 1848 and 1849, Thomas Jefferson Calhoun (Will LeBow), owner of Manhattan's foundering Bard Tavern, his wife Alice (Mary Beth Fisher), a former actress, and their daughter Susan (Sarah Nealis), an enthusiastic neophyte, become intrigued by stories of the great theatrical zeal, especially for Shakespeare's plays, to be found amongst the prospective out on the great western American frontier. Based on historical fact, Calhoun's family are joined by aspiring Ohio actor Buck Buchanan (Eric Lochtefeld), Hank Daley, (Chris Henry Coffey) an unemployed actor and black-listed adulterer, Kate (Susannah Schulman) his actress wife, Edward Oldfield and his sister Ruth (Jeremiah Kissel and Kelly Hutchinson), (also jobless performers posturing as English thespians) and John Gough and George Demerest (Joe Tapper and Jon DeVries) older actors similarly "cooling their heels". Thus, this ragtag assortment of inactive ventures forth with comic overtones, across the open plains, toward the great "Wild West". Their trek into the unknown finds them sometimes quarreling amongst themselves (vexed by various ailments and amorous rivalries) and the unexpectedly faced with vivid encounters with hostile "Indians". No longer comic, they are challenged by moral considerations framed by racial and religious bigotry. Then, as various group members disperse, Buck finds himself embraced by "God-Fearing" believers with excessive and calamitous consequences! In the meantime, the others encounter P.T. Barnum (Ron Campbell as each) and soon thereafter Buffalo Bill, and then an amiable country lawyer named Abe, who loves to chat with them about "the theatre". Still later, they also meet and perform part of "King Lear" to a fascinated "Indian Chieftain", despite his obvious lack of comprehension. Throughout, the players describe their different stories in folksy fashion culminating in the expected futile conclusion of their exploits, when the playwright then rebounds into a surprising happy ending. With such a succession of plot twists and turns the full measure of the play's message becomes somewhat fragmented. Nevertheless, the accomplished cast, well marshaled by director Jonathan Moscone, consistently succeeds in holding the audience's attention and interest. Similar kudos for Antje Ellermann's rustic wood-beamed set, Laurie Churba Kohn's appropriate period costumes and Japhy Weidman's effective lighting. Now playing through October 5, 2008. (MY GRADE: 3.5)
EURYDICE
Now at the Arsenal Center For The Arts Charles Mosesian Theater in Watertown, MA, The New Repertory Theatre presents its production of "Eurydice" by Sarah Ruhl. Originally produced by Madison (Wisconsin) Repertory Theatre in 2003 and then by Berkeley and Yale Repertory Theatre's in 2004, it was later staged Off Broadway at New York's Second Stage Theatre in 2007. This presentation marks the play's Boston area debut. Based on the Ancient Greek myth about the renowned musician Orpheus and his beloved mate Eurydice, who upon wandering off after her wedding to Orpheus dies after being bitten by a snake. Searching in the Underworld for his lost love, he convinces the Furies to allow her return with him to earth, but only on the condition that Orpheus not look back as she follows behind him. However when he does gaze to be sure of her presence, she was then lost to him again to the Underworld forever. Then, Orpheus trying to rescue her by crossing to the Underworld via the River Styx, all proves to be futile. A favorite motif for many popular stage, film and musical presentations, ranging from Monteverdi's 17th century opera "L'Orfeo", to such play's and films as Tennessee William's "Orpheus Descending" (also known as "The Fugitive Kind"), Jean Cocteu's "Orpheus" and Marcel Camus' "Black Orpheus" and the much more recent "Orpheus and Euridice" by Ricky Ian Gordon at N.Y.C.'s Lincoln Center. Like these past versions, Ms. Ruhl gives this ancient tale a decidedly contemporary spin. Set on a flat, angular azure platform before a similarly cerulean backdrop, with a host suspended globular spheres above them, Orpheus creates a melody for his swim-suited sweetheart Eurydice and ties a wedding ring on her finger. Although her dad is present and composes a nuptial letter in her honor, being "dead", Eurydice can neither see nor hear him. After she's wed to Orpheus, wearing a bright crimson gown, a mysterious male visitor dressed in white formalwear, appears and hands her the message that her father had written to her. Upon reading it she's propelled into the stratosphere and then descends, luggage in hand by elevator, drenched in river water, to the accepting Underworld. There, she's welcomed by the "Furies", now appearing as three very shrill, pre-adolescent little "stone girls" costumed like peppermint candy striped rag dolls, complete with orange, green and pink wigs. Now at last, Eurydice can see, hear and reunite with her dead father; but what of the forlorn Orpheus? Will his composing a symphony for 12 instruments, in praise of his lost lover, succeed in bringing her back to him? At nearly 2 hours of performance time with no intermission, this overly lengthy One Act Play, with it's many more unusual twists and turns continues on and on. After Eurydice's dead dad uses a ball of twine to suggest a room-like enclosure in this vast blue expanse, for his newly arrived daughter, Orpheus calls on his cell phone wanting to know "what city" he in. Once again, the former mysterious male visitor re-appears now whizzing about on stage riding on a large tricycle. Now, garbed in a red baseball cap with sneakers to match, he is the Lord of the Underworld! "Rooms are not allowed here" he announces "And neither are fathers." While Orpheus trudges on searching for Eurydice while chanting her sublime qualities he plods on ("singing your name at the gates of hell over and over) to which the discordant, childish "stones" reply "dead people should be seen and not heard." As Eurydices father then dismantles her string "room", everyone's fully aware that more complications yet to come, including the pre-known conclusion. Well played under Rick Lombardo's confident direction with commendations for Zillah Glory in the title role, Brian Bielawski as Orpheus, Ken Baltin as the father and Brian Quint as both the mysterious visitor and Underworld lord. Special and extra praise is also due for the trio of raucous and brat-like "stone" children, Whitney Sandford, Abby Spare and Rebecca Stevens, as well as for Janie E. Howland's highly imaginative native atmospheric setting, Deb Sullivan's creative lighting and Frances Nelson McSherry's fine costumes. Now playing through October 5, 2008. (MY GRADE: 3)
SHOW BOAT
Now at the North Shore Music Theatre in Beverly, MA is their new production of "Show Boat", featuring music by Jerome Kern and book and lyrics by Oscar Hammerstein II. This great American classic first opened on Broadway in 1927 to a tumultuous and ecstatic response. Based on Edna Ferber's same titled novel, it's classic format joining songs and choreography together to advance the show's compelling story, revolutionized the Broadway Musical. It was not by chance then that this same Oscar Hammerstein was to later, in 1943 connect with Richard Rodgers and create "Oklahoma" and all of their subsequent musical masterpieces. Show Boat's provocative plot centers on the lives and romantic involvements aboard "The Cotton Blossom", a Mississippi Showboat, beginning in the late 19th century and continuing on culminating in the mid 1920's. When Magnolia, the sweet, young daughter of "Cap'n Andy", the ship's impresario and his wife Parthy, falls in love with Gaylord Ravenal, a dashing and handsome but totally irresponsible gambler, the plot is set for their stormy marriage. After leaving the Showboat to live in Chicago and the birth of their lovely daughter Kim, Gaylord abandons his family because of his uncontrollable gambling. Forced to fend for themselves, Magnolia's dormant talent is revealed as she begins to evolve into prominence as a great vocalist. As the year's pass and young Kim matures, her show business acumen also propels her to similar stardom! The play's final moments focus on the down-and-out Ravenal's ultimate reunion with Magnolia and Kim. Along with this major story line a significant sub-plot concerning the travails of Julie LaVerne, the Showboat's former leading lady (a mix of black and white ancestry) is also established. The racist laws in the late 19th century making her marriage to her white husband actor Steve Baker illegal, add still another heart-rending aspect to this legendary musical. As said, Kern and Hammerstein's magnificent score enhances the story throughout. Magnolia and Gaylord's majestic duets "Only Make Believe", "You Are Love", and "Why Do I Love You?" amongst others, are genuinely sublime and sonorous. Teri Dale Hansen as Magnolia and Ron Bohmer as Gaylord really do sing them very well. Beautiful and grandly resonant Terry Burrell as the tragic Julie LaVerne, brings verve and poignancy to her spirited renditions of "Can't Help Lovin' Dat Man" and "(He's Just My) Bill". Of course, the evening's high point occurs early on with Phillip Boykin's superb portrayal of "Joe", the world-weary African American dock worker. His singing "Old Man River" is genuinely stirring! Much praise is also due for Sharon Wilkins as "Queenie", the Showboat's lively black "house maid" singing "Queenie's Bally Hoo" as well as Melinda Cowan and Jim Walton as two Showboat hoofers, with her initially singing "Life Upon The Wicked Stage" and then later both giving their all to "Goodbye My Lady Love". Kudos also for Glen Casale's assured direction (in-the-round), Ron Gibbs vivid choreography (especially the lively Charleston-like segments, near the show's finale) the splendid period costumes by Forence Klotz, and the vibrant orchestral accompaniment conducted by Brian Cimmet. This first rate presentation is now playing through October 12, 2008. (MY GRADE: 5)
WE WON'T PAY, WE WON'T PAY!
Now at the new Central Square Theater in Cambridge, MA the Nora Theatre Company presents it's production of "We Won't Pay! We Won't Pay!" by Dario Fo (1997 Nobel Prize winner for literature). This free-wheeling political farce was first staged in Fo's native Italy in 1974 as a protest against the country's raging inflation and was later produced here by the American Repertory Theatre in 1999, then as now with English translation by Ron Jenkins. As Italian's suffer intolerable price increases, especially of life's basic needs, housewives gather at a local supermarket to protest the ever exploding cost of food. When their complaints turn into a riot, their chants of "We won't pay! We won't pay!" became a reality as they en masse empty the store of all of it's groceries! As the city's police then begin a house to house search for the stolen foodstuffs, the plot centers on the over-the-top schemes of two housewives. Antonia, hoping to hide her thievery from her "law and order" husband Giovanni, conceals her stolen goods under her overcoat while convincing her friend Margherita to do the same. With both claiming to be pregnant, problems bubble over when we learn that Margherita is unable to become pregnant. Later, notions of a "hysterical pregnancy" are offered as a possibility. Absurdly comic confusions then start to pile up, while Antonia and her friend are off concocting new ploys Giovanni and Luigi (Margherita's perplexed husband) discover that the only victuals Antonia has put into the pantry are pet food, specifically bird seed and some frozen rabbits' heads. Their combined hunger forces them to experiment, as they both find that bird seed soup (especially if prepared "al-dente") can be "quite tasty", with similar approval for cooked rabbit head. Still later, the spill from a hidden pouch of pickle juice under Margherita's coat is thought to indicate that she has "broken her water." Comic disorder about her hospitalization erupts. As she stalls and then protests that "we have no reservation", her spouse counter with "we make the babies, are we then supposed to make reservations, too?". Besides this, a friendly, sympathetic cop who willingly forgoes a thorough house search, thereafter is supplanted by a strict law enforcement trooper; both in their own ways contribute to even more nonsensical disorder. Add to this wild mix this same trooper then becoming convinced that he's gone "blind" when an unpaid electric bill turns the lights off in the house that he's searching through and is combined with the two harried husbands attempting to hide two jumbo sacks of coffee they've found that were lost from a passing express truck. They plan to hide their newly acquired coffee beans in the empty casket provided to them by an accommodating undertaker. As one can see, the grandly improbable plot is overly overstuffed with details and contrivances. The small, hardworking cast do their best to accommodate the show's frenetic and demanding assignments. Stephanie Clayman and Elise Audrey Manning are both brightly hectic as Antonia and Margherita, with fine frenzied support by Scott H. Severance as the overwhelmed Giovanni. However, Robert Najarian as Luigi seemed occasionally less suited to his zany requirements, as did Antonio Ocampo-Guzman bobbing back and forth as either the sympathetic cop or the strict law enforcement trooper (somewhat enhanced by a fake moustache and a big three cornered black hat) or as the undertaker, amongst others. Brynna Bloomfield's appropriately drab and humble kitchen setting and Gail Astrid Buckley's varied workmen's, law enforcement and/or funeral costumes all proved to be satisfactory with like approval for director Daniel Gidron. It's also quite noteworthy that the evening ends with the entire cast, singing together in Italian, the World War Two Anthem of Italy's anti-fascists.Now playing through September 28, 2008. (My Grade: 3.5)
A CHORUS LINE
At Boston's Opera House currently is the new National Touring Company of "A Chorus Line", in the wake of the show's highly successful recent revival on Broadway. After its triumphant Manhattan debut in 1975, it went on to win nine Tony Awards and the Pulitzer Prize, plus a host of similar tributes. When the original production finally closed in 1990--after nearly 7,000 performances-- it was hailed at that time as Broadway's longest running success. It was also produced as a major Hollywood motion picture in 1985. Originally conceived, choreographed and directed by Michael Bennet, this new edition now has choreography re-staged by Baayork Lee and is directed by Bob Avian, the show's original co-choreographer with book by James Kirkwood and Nicholas Dante, music by Marvin Hamlisch and lyrics by Edward Kleban. Its elementary premise of young male and female dancers hoping to be chosen as members of the chorus line of a forthcoming Broadway show still evokes strong audience interest and enthusiasm, as those auditioning expose their life stories and innermost fears and expectation in dance and song. Their compelling reminiscences are alternately sad or amusing and continually engaging. Especially memorable are the ensemble, at the outset, chanting their expectant anthem "I Hope I Get It." Soon thereafter, Sheila, Bebe and Maggie, Emily Fletcher, Pilar Millhollen and Hollie Howard, a trio of winsome wanna-be's also express their early yearnings to become ballerinas by singing "At The Ballet" ("Everyone is beautiful at the ballet.") Then, the very young male dancer, who became increasingly troubled after finally realizing that he was gay, and later the similarly youthful Latino whose father finally referred to him as a "son" after discovering him performing in "drag" at "The Jewel Box Review." Certainly petite (flat-chested) Val (Natalie Elise Hall) is right on target with the extremely amusing ode subtitled "Dance:Ten; Looks: Three," ("T--s and A-s Can Change Your Life!") While she might have begun more gradually, finally reaching full resonance closer to the songs finale, nevertheless the tune's amusing observations are still quite a delight. Surely the evening's most poignant moments come when the show's no nonsense director is confronted by Cassie (Nikki Snelson), his former love. After their break-up and her heartbreak and disappointment in L.A., he's surprised to see her back in New York trying out for a position in the chorus. "You're Better Than That" he chides her. While her singing and dancing the touching "Music And The Mirror" number which describes her discouragement was clearly affecting, her general stage presence should have been much more commanding. The ensemble chanting "What I Did For Love" is the show's moving salute to all the eager rookies who try and don't succeed, and then try and try again, without regret. It's then followed of course, by the entire company grandly costumed, with the men in glittering golden top hats and formal evening attire and their lively female partners similarly and just as brilliantly outfitted. High kicking, strutting and exuberantly dancing and singing their joyful show-biz greeting to that night's "One" ("Singular Sensation"). Before a tall and stage-wide wall of mirrors, they bring the evening to it's memorably triumphant conclusion! Now playing through October 5, 2008. (My Grade: 4)
THE BOYS OF WINTER
Now at the Boston Playwrights' Theatre is their premiere presentation of "The Boys Of Winter" by Barry Brodsky, Dean B. Kaner and Eric Small. Set in a small town in Minnesota in 1966, the play's focus is on the recollections of "Big Al", a returning veteran and Vietnam War survivor. As Al and his friends Doug and "Bean" approach the end of their senior high school year, their thoughts are centered on two major issues: winning their schools' Hockey Championship and then their possible military service. As the school's star hockey player, Doug is very concerned about his school work. His poor grades may sideline him from the "big game!" While Cathy, his girlfriend, does her best to help him study for his big test, and the school's coach also tries his best to intercede on Doug's behalf with his teacher. Although Doug does initially fail his school test, overriding concern about the "game" prompts a successful retest for him. As expected, he goes on to help win the hockey game. Meanwhile, his best friend Bean joins the Marines after he's caught stealing a car and is promised leniency by agreeing to serve in the military. In spite of his mother's concerns, and enticed by an Army recruiter's promises, and his father's patriotic fervor, Doug also enlists with his buddy Al. Doug and Bean are both killed while serving in Vietnam. Years later, Al, having outlasted his two buddies, rebounds from rehab to rehab; confused, unmarried, he battles an ongoing struggle with "survivors guilt." Sometime later, he has a chance meeting with Doug's former girlfriend Cathy. Now long married and the mother of her own children, she ruefully regrets that "I should've done more to dissuade Doug." Before Doug enlisted, she had even tried at that time to entice him into going to Canada. Now, Al remains wondering "why did their names end up on a wall…and not mine?" As the evening's program notes, this tragically recurrent saga is now repeating itself just forty years later. The fine six member cast does well with their many roles. John Grenier-Ferris is especially compelling as the evening's over-all narrator, as well as effectively rebounding as Doug's coach, his zealous dad and as the returning, war disillusioned "Big Al", amongst others. Similar praise is also due for Michael Jorgensen as Doug, Zachary J. Winston as Bean, John Oxenford as Young Al, Elizabeth Rimar as young Cathy and Sarah Carlin as both Doug's mom as well as the mature Cathy. Commendation also for Bridget Kathleen O'Leary's well centered direction. While much more might have been done with the virtually bare, minimalist set (a black curtain as a backdrop and a few random pieces of furniture), nevertheless, the play's trenchant Waste-Of-War message resounds loudly and potently. Now playing through September 21, 2008! (My Grade: 4.5)
THE DEVIL'S MUSIC: THE LIFE AND BLUES OF BESSIE SMITH
Now at the Cape Playhouse in Dennis, MA is "The Devil's Music: The Life and Blues of Bessie Smith" by Angelo Parra. A grand 2000 Off-Broadway hit, it's the scintillating one woman review of the career and life experiences of the legendary "Empress Of The Blues", who continues to be revered to this day as the undisputably greatest African American diva of the 20's and 30's. Her much celebrated recordings, chronicling the harsh realities of black life, love, deception, abandonment, betrayal and ultimate defiance, resilience, perseverance and success, still resonate with her countless, ongoing devotees. Born into grinding poverty in the late 19th century, "in a sh-tty", one room shack in Chatanooga, Tennessee, she was one of seven very hungry children. "Papa died 'afore I knowed him." Dancing for pennies on street corners, she recalls "I was a fat, chubby colored child singin' bout love". With the great Ma Rainey, "The Mother Of The Blues" as her inspiration, Bessie advanced to barnstorming across the south triumphantly singing the great songs of hope and despair, the songs of her people. Married at a very young age to a man named "Love" she soon chanted "Death took him away...early." Suffering from recurrent headaches, she turned to hard drink, and a boisterously, lusty lifestyle. She soon met, fell in love with and married Jack Gee, a night watchman. At it's best, their relationship was a very stormy one. "Have you ever loved a man who was no good?" Then, variable approaches to recording companies finally brought her to a major contract with Columbia Records and a succession of potent successes. Her initial triumph with the African American community soon began to elicit enthusiasm with many whites as well. "There'll be a hot time in the old town tonight", "I wanna be somebody's baby doll", "I need a little sugar in my bowl" (I need a little hot dog for my roll!)" and other such tunes like "Downhearted Blues", began to justify her title as the Blues "Empress." Although her challenging schedule (5-6 shows a day, 7 days a week) would seem to have been a deterrent, she adopted a lively little baby. She loved "Jack Jr." so much that she felt able to really care for him, with the assistance of her sister while she was away "on the road". However, even though she was "making more money than any other colored entertainer", strife between her on again and off again husband finally found him taking legal action against her. Newspaper gossip reports described her as "stayin' up all night, smokin' reefers, cheating with other men" and most especially her scandalous "carnal knowledge of other women", led to the court's removing her child from her to an orphanage. Now she was truly able to give her vibrant voice to "The Devil's Music" ("Devil said "Bessie, can I have this dance?" "I said shaw 'nuff, daddy!"). Similar chants followed, such as "I Ain't Got Nobody" and "T'aint Nobody's Bizness If I Do!" ("If I Should Take A Notion, To Jump Into The Ocean"). However, as the 20's evolved into the 30's and the public's interest in "the Blues" began to wane, Bessie turned to the new "Swing Music". Having performed in the past with masters like Louis "Satchmo" Armstrong, she now was featured on records even with Benny Goodman, singing tunes such as "After You've Gone". She had even been featured as the star of a short movie based on the W. C. Handy classic "St. Louis Blues." The star's joyous shouting and stomping rendition of it on stage, accompanied by roaring tenor saxophonist Anthony Nelson, together with Jim Hankins on bass, and swinging Scott Trent on piano, brought the sitting audience to their feet with loud approval during the evenings highest moment! Unfortunately, Bessie's short, vigorous life ended in a bitterly tragic auto accident in Mississippi in 1937. Stately, statuesque Miche Braden is first rate, looking like, emoting and vividly singing and acting as Bessie. Bravos also for Yoshi Tanokura's splendid crimson-draped set and Joe Brancato's well centered direction. Now playing through September 13, 2008. (My Grade: 5)
HAY FEVER
At the Charles River in Boston's Brighton district in Christian Herter Park, the open air Publick Theatre presents their new production of Noel Coward's lively 1925 comedy "Hay Fever." Set in England, at the country estate of the Bliss family--the home of David Bliss, a successful novelist, and his wife Judith, a former actress. They live there with their two children, nineteen year old daughter Sorrel, and their similarly young son Simon, a budding artist. In selecting the family's name, the playwright immediately establishes his comic sense of irony as they are anything but a blissful family! Without consulting one another, each has invited a weekend guest. David has invited Jackie Coryton, a young, impressionable chorine, and Sorrel's invited Richard Greatham, a very stuffy but seasoned diplomat. Once again, the latter's name suggests Coward's wry sense of humor. Athletic Sandy Tyrell has come as Judith's enthusiastic devotee, and middle-aged socialite Myra Arundel seems to have designs on youthful Simon. Later, after dinner, the Bliss family and their guests become enmeshed in a bevy of lively and witty entanglements and amorous mix-ups. Is Judith really considering eloping with Richard? Is David beginning to eye Myra? Are Sorrel and Sandy and Simon and Jackie truly "coupling" or are they just toying with their weekend company? The next morning, after an awkward breakfast, the guests quickly and discreetly make their escape as they are "blissfully" ignored by the Bliss family. Well acted by the splendid cast, although Hannah Wilson as Jackie might have been a bit too animated for comic effect. Dafydd Rees as David, Lynn Guerra as Sorrel, Ross MacDonald as Simon, Robert Serrell as Sandy and Joel Colodner as Richard all were fine in their droll assignments. However, while both Debra Lund and Cheryl Turski as Judith and Myra did well with their comic roles, each seemed to be much younger than the middle aged types they were supposed to be. Dahlia Al-Habieli's striking multi -doorway, wooden paneled set, Rafael Jaen's pleasant period costumes, Caleb Magoon's vivid lighting, John Doerschuk's lively 20's era recorded musical choices, and especially Diego Arcinega's knowing direction all served Noel Coward's bright conceptions nicely. Now playing in alternately repertory with Anton Chekhov's "The Seagull" through September 14, 2008. (My Grade: 4)
MY FAIR LADY
Now at the Ogunquit Playhouse in Ogunquit, Maine is their new production of "My Fair Lady". Adapted from George Bernard Shaws "Pygmalion" it features book and lyrics by Alan Jay Lerner and lyrics by Frederick Loewe. Its triumphant debut on Broadway in 1956 grabbed a host of Tony Awards, including Best Musical, Actor and Director. Produced as a major Hollywood motion picture in 1964, it was once again greeted by enormous popular and critical acclaim and similar approval with a multitude of Oscars as Best Film, Actor and Director, amongst many others. Having never lost its appeal, it has enjoyed many national and international productions and ongoing revivals ever since. This current presentation could most certainly measure up to this show's legendary past levels of achievement. Very faithful in song and story to Shaw's original, with linguistic authority Professor Henry Higgins betting a friend that by coaching Eliza Doolittle, a lowly, cockney flower-seller from speaking in the rough and tumble, slang-defined ways of her past, he can transform her into being generally accepted as a cultivated "lady." The key to this conversion of course, lies in teaching her how to speak a refined English. This, he achieves, after months and months of arduous effort, with great success; But also by so doing, he makes Eliza feel like a misfit. Now no longer comfortable with her former humble surroundings, she feels similarly ill-suited to her new status. Higgins' seeming indifference to her malaise, and Eliza's winning response, effectively culminate happily to everyone's complete delight! The splendid cast perform their roles with verve and gusto. Jefferson Mays, (best remembered for his extraordinary award winning turn in 2004 in "I Am My Own Wife") is properly, all-knowing, gruff and disdainful as Henry Higgins. Gail Bennett, an exquisite soprano--as lovely to look at as to listen to-- is nearly flawless as Eliza Doolittle. Similar praise must also go to Conrad John Schuck as Higgin's accommodating partner Colonel Pickering; Nancy Dussault as Higgins' concerned mother; Will Ray, a first-rate baritone, as Freddy Eynsford-Hill (Eliza's presumptively awkward suitor) and Tim Jerome as Alfred P. Doolittle, Eliza's raucously boisterous, alcoholic father. "I Could Have Dance All Night", "On The Street Where You Live", "I've Grown Accustomed To Her Face", "The Rain In Spain", "With A Little Bit Of Luck", "Wouldn't It Be Loverly", And "Get Me To The Church On Time!" highlight the magnificent score which resonates so true in its Shayian spirit. Scenic designer Kenneth Foy's many fine backdrops, most especially the one serving as Higgins' study, with its vast and highly detailed bookcase and elaborate, full-scale winding staircase, certainly merits commendation as does Gregory Poplyk's resplendent and eye-popping costumes, especially noteworthy in the show's highly colorful "ascot raceway" sequence. Likewise, approval for the excellent orchestral accompaniment conducted by Catherine Stornetta, the lively choreography by Jennifer Werner and most definitely Shaun Kerrison's well defined direction, all of which contribute mightily into making this the grand entertainment that it is! Now playing through September 6, 2008. (My Grade: 5)
THE SEAGULL
On the banks of the Charles River in Boston's Brighton neighborhood, at the outdoor stage in Christian Herter Park, the Publick Theatre presents its new production of "The Seagull" by Anton Chekhov. Denounced when first staged in 1895, it was quickly re-evaluated and raised to its ongoing eminent status. Young Constatine Treplieff, a novice playwright is staying with his mother, Irina Arkadina, (a famous, haughty, and quite self-centered actress), at her brother Peter Sorin's country estate. While she is involved in a romantic affair with Boris Trigorin, a well-known writer, Constantine (who resents his mother's lover) yearns for Nina, a lovely young neighbor, who aspires to be an actress. To impress her, Constantine writes a "symbolist" play for her to star in. As expected, when his mother Irina debunks his work as meaningless, he downheartedly disposes of it. Still trying to impress Nina, the following day Constantine brings her a seagull that he's shot as a present. To his dismay, Trigorin comes forward to announce that he will write a story for her about a young girl who, like her dead seagull, also faces an early demise. Totally discouraged, Constantine tries to shoot himself, but only grazes his head. Sometime later, after all of Peter Sorin's guests have left, Irina returns with Constantine. She has come to tend to her ailing brother. When Nina unexpectedly returns with news of a failed pregnancy and rejection by Trigorin, Constantine offers her his love. When she dismisses his appeal and leaves, Constantine finally makes his tragic decision. Well acted by Tyler Reilly as Constantine with compelling support by Hannah Wilson as Nina and Robert Serrell as Trigorin. Although Susanne Nitter might have been more histrionic and imperious as the vain-glorious Irina Arkadina towards her troubled son, she was much more effective in her trysts with Trigorin. Assuredly directed by Diego Arciniegas, it is especially noteworthy that production also features the premiere of his new English translation from the original Russian. While certainly more fluid than the usually more reserved British interpretations, it should be also noted that Diego's occasional use of some overly strong, current expletives seemed somewhat jarring in the context of late 19th century Russia. High marks should also go to Dahlia Al-Habieli's simple but effective multi-entrance and use of the stage's lushly green ambience as well as for Rafael Jaen's fine basic period costumes. Now playing in alternating repertory with Noel Coward's "Hay Fever" through September 7, 2008. (My grade: 4)
DOUBT: A PARABLE
Currently at Gloucester Stage in Gloucester, MA is their production of "Doubt: A Parable", John Patrick Shanley's acclaimed 2005 Pulitzer Prize, Tony and Drama Desk Award-Winning morality play. Set in 1964 at a Catholic Parochial school in the Bronx, the plays' focus is on the suspicions of the school's stern principal, the highly authoritarian, middle aged Sister Aloysius. She questions the special interest that Father Brendan Flynn, (the school's young, amiable and compassionate Parish Priest) has taken in one of his pupils. That said student is just 12 years old, possibly gay, and the schools' sole African American. This has raised the strict headmistress' concerns. Sister James, the Institution's eight grade teacher has informed her that "Father Flynn took the boy to the rectory and the boy looked frightened and had alcohol on his breath when he returned to class." Shaken by Sister Aloysius' assumptions, Father Flynn, who also mentors the school children on physical education, counters her distrust by explaining about the young "black boys'" unapproved "sipping of sacramental wine". "What happened in the Rectory?" she demands. "Warmth, friendliness and understanding are the expressions of my involvement" he responds. This exchange sets the stage for the dramas' main conflict. Later, when Sister Aloysius summons the young African American boy's mother for a conference, she's told by the boy's parent that "the boy's dad beats him regularly, because of the way he is." Hoping that the strict taskmaster will ultimately relent, she suggests "sometimes things aren't black and white", with "sometimes they are" offered as the unbending Nun's answer. As the naive and troubled Sister James becomes increasingly torn by her alternating notions about Father Flynn, so too is the audiences uncertainty about Sister Aloysius' conclusions. As the plays title says, the contentious issues remain unresolved, mired finally in doubt! Extremely well acted by the accomplished four member cast, with high praise for Nancy E. Carroll's strong, riveting performance as Sister Aloysius and Lewis D. Wheeler's engaging and confrontational portrayal of the accused Father Flynn. Similar commendations for Melissa Baroni as the perplexed Sister James, and Kortney Adams as the young student's mother. Extra applause for Eric C. Engel's well defined direction, Jenna McFarland Lord's dark, multi-level, sharp edged set and Molly Trainer's effectively religious costumes. Now playing through August 24, 2008. (My Grade: 5)
WHAT THE HELL ARE YOU DOING IN THE WAITING ROOM FOR HEAVEN?
At the New Central Square Theatre in Cambridge, MA, Deborah Henson-Conant, the well known and justifiably celebrated "hip-harpist" is now appearing in her one woman show "What The Hell Are You Doing In The Waiting Room For Heaven?" Mounted ostensibly not simply as a solo performance by this first rate musician, but rather as a 90 minute theatrical piece with book, music and lyrics by her, it comes off surprisingly as somewhat of a "mixed bag". Outfitted in a gold accented white mini-dress, swathed in see-through, net like gauze abetted by bright, high cowboy styled boots topped off by a coiffure of lengthy hair braids laced with equally long, shiny gold ribbons, she presents herself as casting coach "Aubrey Giles" preparing the capacity audience (assembled at the heavenly gates) to succeed auditioning as the new celestial choir. This then acts as the frame for Deborah to sing and play, harnessed much like a guitarist, her custom designed mini-harp for the dozen tunes she has composed. She, accordingly, then also enlists the audience in a succession of lively sing along numbers. As stated, Deborah is not only a superb musician, but also an equally gifted vocalist. Notwithstanding the uneven quality of the many songs she's written, the large assembly really seemed to enjoy joining along! The melodies range from Jazz, Rock, Folk, Gospel and Blues to traditional theatrical and show biz styling. Amongst the evenings best moments were "Hallelujah Blues" ("When Elvis Got To The Throne Of Heaven"), "It's Illogical"( "Why is a dimple good and a pimple bad…Why do you seek enlightenment and run from fear?") and with Deborah dropping to one knee like Al Jolson, "Nothing Can Be Something" (Add a little beat and something for your feet!) Especially noteworthy was Deborah, surprisingly and vividly swinging at an electric keyboard and vibrantly scat-singing to "You're Waiting In The Wings" (If I'm Not The Best, Do I Matter At All?) And certainly finishing with the big production number (If We Make It Big…Big…Big! They've Gotta Let Us In!), buttressed on stage by a bemused quintet of recruited members of the audience. While as I've said the evening's repertoire is just really of varying quality, Deborah's very accomplished musicianship (both playing and singing) together with her strong stage presence combined to captivate the audience from start to finish. Now playing through August 12, 2008. (My Grade: 3.5)
NO, NO, NANETTE
On the campus of the Waltham High School in Waltham, MA The Reagle Players, celebrating their 40th Season, present their new production of "No, No, Nanette." It is known as the quintessential song and dance show of the "roaring twenties" (it's reportedly the most popular Broadway musical of that era). It made its debut on "The Great White Way" in 1925 after successful tryouts in Detroit, Chicago and London. While its antique book by Otto Harbach and Frank Mandel seems woefully dated by today's standards, it's zestful music by Vincent Youmans-- with its snappy lyrics by Irving Caesar and Otto Harbach-- plus, Eileen Grace's lively choreography continue to generate its ongoing appeal. The show's highly successful revival in 1971, featured a lavish new production directed by Hollywood's famed Busby Berkely, who was later superceded by the equally notable Burt Shevelove. Movie versions of this show were made in 1930 and also in 1940. Hollywood beckoned again a decade later, this time with a new title, a highly revised book, the same music and a very popular star. "Tea for Two" starring Doris Day became a popular hit in 1950. During a summer weekend in 1925, millionaire Bible publisher Jimmy Smith and his wife Sue are guardians of the young, soon to be adult Nanette. Buoyed by a strong sense of philanthropy, Jimmy has extended financial support to a few of the lovely young ladies he has met on his business trips. Of course, since Jimmy's business is making and selling Bibles, no "hanky panky" is involved. With his generosity to beautiful Flora from Boston, sweet Betty from Philadelphia and pretty Winnie from Washington, D.C., these innocent gifts to this trio of lovelies lead to a series of comic complications. Tom, the boyfriend of Jimmy and Sue's ward Nanette, thinks that Jimmy is not as innocent as he claims to be. Lucille, the wife of Jimmy's best friend Billy (a notorious philanderer) is sure that Jimmy is really busy providing new girlfriends for her husband! Sue, of course, thinks that Lucille's suspicions are correct. When all of the aforementioned friends and acquaintances, including Jimmy and Sue's ward Nanette and their saucy housemaid Pauline meet at the Smiths' "Chickadee Cottage" in Atlantic City, all of their confusions are revealed and are swiftly and happily explained and comically resolved! In spite of the elaborate, cumbersome and overly wordy, old fashioned plot, this show's strength and durability rests on its lively song and dance sequences. While much of act one bogs down because of all of the book's weighty and highly contrived exposition, several of the shows best numbers - "Call of the Sea", "I want to be happy" and the show's title tune vividly performed by a stage full of spiritedly animated singing and dancing chorus girls and boys bring the first act to a lively conclusion. Act two, replete with the rest of the show's best numbers such as "Tea for Two", "You can dance with any girl", "Take a little one step" and "Peach on the Beach" emblazoned by all those aforementioned bubbly chorines, armed with many highly colorful jumbo beach balls, really brighten the second act, and bring the show to it's happily energetic conclusion! The Reagle Player's ever reliable Harold "Jerry" Walker as Jimmy; Mary Jane Houdina as his tap-dancing and pirouetting wife Sue; lovely Jessica Greeley as Nanette; Jason Michael Butler as her fiance Tom; and Russel Rhodes as Jimmy's dancing and womanizing friend Billy, all do very well with their various resonant musical assignments. Especially noteworthy is Broadway's foremost Donna McKechnie as Sue's lively, attractive and highly sonorous friend Lucille, with similar praise for the company's grandly praiseworthy choice of Jeanette A. McCarthy (the actual present time Mayor of Waltham) to play the role of Pauline, the show's capricious housemaid. High marks also for director Robert J. Eagle, the company's founder and artistic director, as well as for the splendid full orchestra conducted by Jeffrey P. Leonard, Dan Rodriguez and Rick Scalise. Now playing through August 16, 2008. ( My Grade: 4)
JIMMY TINGLE FOR PRESIDENT
Now at The Mosesian Theater in the Arsenal Center For The Arts in Watertown, MA is "Jimmy Tingle For President", a one man comedy show by the famed New England born and nationally known comedian. For nearly two hours (including a brief intermission) Jimmy delivers a mock campaign speech for the U.S. Presidency, during which he expounds on his plans and goals for the nation. Most of the evening he hits his comic targets, with only a few misfires. His observations on current events, attitudes and possibilities, make up the bulk of his amusing comments. Unlike most of the present time crop of the nation's best known comedians, Jimmy's routines are not centered on scatological involvements, language or body parts. Running on his record as a professional entertainer, ("I've been a comedian for 25 years") his campaign is based upon "Humor for Humanity". As expected, his remarks are focused on many of the same issues as those of the two nationally recognized Presidential candidates. Among his answers to the energy and global warming crisis he suggests wind power generated by cars, initially powered by foreign oil, but programmed eventually to be pushed free of such dependence. As to the positive side of the Arctic's melting ice caps, he sees the good that might come from seeing polar bears cavorting in Walden Pond! He also recognizes the advantages to be gained from joggers pulling passengers in Rickshaws. Under the Tingle Administration's Educational Proposals, Jimmy would see to it that tutors would read lofty books to potential parents during procreation so that their offspring will be very knowledgeable even before they are born! He also sees no reason why Congress, which has it's own free health program yet insists that the public must pay their own way, can't, as a public service, switch programs with that same general public. As for taxes, why not tax sex, violence and telling lies on TV, also? As to problems associated with immigrants, he notes that "people sneaking into this country to work is just like someone breaking into your house so they can clean it!" Other pithy topics for this wide ranging humorist to tackle include amusing possible ways for opposing groups to come together, some unusual methods of birth control for Catholics and other such minded religionists, paths to forgiveness for enhancement-performing drug using sports figures, as well as for commercial sponsors promoting prescription drugs including their super long listings of negative side effects, as well as the many obvious shortcomings to be found regularly, day to day, in airport security. These topics, amongst a host of others, kept the near capacity audience roundly amused from start to finish. Jimmy will continue campaigning until August 9, 2008. (My Grade: 4)
AS YOU LIKE IT
At the Parkman Bandstand on the Boston Common, the Commonwealth Shakespeare Company presents "As You Like It" by William Shakespeare. This is the company's twelfth annual presentation of the works of the Bard done every summertime, and at no admission cost to the general public. Staged against the Hub's open air and sublime greenery, this timeless comedy's vernal setting is composed of a stage-wide circle of tall trees which, when necessary, occasionally part at their center to accommodate time and place changes. The lively plot revolves around complications caused when the elder and lawful ruler Duke Senior has been driven from his dominion by his younger brother Frederick. Similarly, Duke Senior's lovely young daughter Rosalind, who's in love with handsome and youthful Orlando (son of one of her father's most loyal supporters) feels that she too (now disguised as a boy) with her cousin Celia and her Jester Touchstone, must all also flee to the nearby forest Arden. Likewise, Orlando, because of animosity with his brother Oliver, feels that he too must escape to this same forest with his faithful servant Adam. There, he joins the banished Duke and his entourage. Then, still disguised as a boy and acting as a shepherd with other shepherds, Rosalind encounters the unsuspecting Orlando. Later, in a chance meeting, Orlando is able, unexpectedly, to save his sleeping brother Oliver's life from marauding animals. Wounded by this incident, Orlando sends the now thankful Oliver to inform Rosalind and Celia. The change in Oliver arouses feelings of love for him in Celia! Meanwhile, Duke Frederick, searching the forest for his estranged brother Duke Senior, comes upon a wise, elderly hermit who convinces him to end his enmity towards his exiled brother. Now at last, with everyone reconciled, Rosalind (finally revealed as a beautiful young female) marries Orlando as does Celia to Oliver, Touchstone to his country "wench" girlfriend at the same time, and also a very helpful shepherd and shepherdess, too. The large, nearly 20 member cast handle their roles well, with praise for Frederick Weller as Orlando, Johnny Lee Davenport as Duke Senior, Noah Tuleja as Duke Frederick and Larry Coen as Touchstone. As the Jester, he was particularly effective reciting the poetic qualities of his mistress: "If a hart do lack a hind, let him seek out Rosalind, if the cat will after kind, so, be sure, will Rosalind." Of course, one of the Bard's best loved observations on humankind is also found in this same play, when Fred Sullivan Jr. as Jaques, one of the banished Duke's attending Lords, delivers the celebrated ode beginning with "All the world's a stage… and one man in his time plays many parts, his acts being seven ages." Although at the play's outset, Marin Ireland and Ali Marsh as Rosalind and Celia were a bit too overly shrill and giddy, trying for much too easy laughter, as the evening progressed they were both able to adjust their performances to better effect. Much praise also for Steven Maler's confident direction and Scott Bradley's aforementioned set design. Lastly commendations for J. Hagenbuckle and Peter McMurray's lively original music played by Samson Kohanski (guitar), Greg Ferris (percussion), Becca Zaretzsky (accordian), as well as Faith Imafidon and Marie Polizzano as well. Now playing in Boston through August 3, 2008 and then at Forest Park in Springfield MA from August 8-10 2008. (My Grade: 4)
ASSASSINS
Now at the Boston Center for the Arts, Company One presents it's production of "Assassins," featuring music and lyrics by Stephen Sondheim with book by John Weidman. Initially staged Off-Broadway in 1991 for only a very limited engagement, it was greeted by a grandly mixed response then due to it's highly unusual (veering towards grim) focus. Set against a simulated fairgrounds background, composed of a series of upright carnival-styled booths, the accounts of more than a dozen assailants who have tried and failed or succeeded to kill a series of U.S. Presidents are related either as vivid dramatic recollections or sung as a variety of musical numbers. Their lively songs range stylistically from folk music, waltzes and spirituals, to marches and anthems. A strolling balladeer provides connecting strains to the stories and songs of this strange assortment of misguided and/or deranged rogues. Especially memorable, of course, is John Wilkes Booth, our first major assassin, son of a distinguished acting family whose claim to fame rests solely upon his successful murder of President Abraham Lincoln; ("Why'd you do it, Johnny?…Some say you killed the country because of bad reviews!") Amongst other notable murderous fanatics Charles Guiteau stands out. A religious zealot, "the diety" ordered him to kill President Garfield in 1881. He was tried, found guilty, and hung soon after ("I am going to the Lordy, glory hallelujah!"). Lynette "Squeaky" Fromme, an eccentric and foolish member of Charles Mansons' devilish "Family", and later Sara Jane Moore, who both at different times tried unsuccessfully to murder President Gerald Ford, join the rest of the shows' collection of misguided cranks in chanting Sondheim's "There's Another National Anthem" ("For those who never win."). The large 18 member cast is uniformly excellent with a number of resonantly well voiced leading players. Nik Walker as the shows' ambulatory Balladeer, David DaCosta as John Wilkes Booth, Jeff Mahoney as Charles Guiteau and McCaela Donovan and Elizabeth Rimar as "Squeeky" Fromme and Sara Jane Moore were all resoundingly effective both acting and singing their varied roles. Others most worthy of mention include Ed Hoopman as Leon Czolgosz who murdered President McKinley in 1901, and Mason Sand (wearing a Santa Claus suit) as Samuel Byck who failed to eliminate President Nixon in 1974. Commendations are certainly due as well for Shawn LaCount's strong, well centered direction, Anthony R. Phelps' simple but effective set and the deftly played musical score performed by the fine accompanying quintet conducted by pianist Jose Delgado. This highly recommended presentation is now playing through August 9, 2008. (My Grade: 5)
BORN YESTERDAY
At Beatrice Herford's Vokes Theatre in Wayland, MA, The Vokes Players present their new production of "Born Yesterday" by Garson Kanin. A major comedic success on Broadway when it made it's debut in 1946, it catapulted its three leading performers: Judy Holliday, Paul Douglas and Gary Merrill to immediate Hollywood stardom. Ms. Holliday, who was the only one of this trio to recreate her Broadway role on film, went on to win an Oscar after the movies' release in 1950. It was remade by Hollywood again in 1993 with much less fanfare. Set in post World War II Washington, D.C., it's comic Pygmalion-like plot centers on boorish Harry Brock, a billionaire junkyard tycoon whose come to the nation's capital with his pretty, young, ditsy mistress Billie Dawn. Harry is there to use his wealth to curry political favor for himself. He has also decided that to be sure that unsophisticated Billie won't become a social liability to him, she should get some educational enlightenment, and hires reporter Paul Verrall to "smarten her up." As expected, after several months of tutoring Billie is now conversant about "The Bill of Rights", Tom Paine and many of the pillars of western civilization that have served as the foundation for our democracy. Much romantic attraction between student and teacher has also become quite evident! Naturally, now savvy about democratic values vs. political corruption, Billie turns the tables on Harry with great comic bravado at the plays' finale. Originally portrayed as the quintessential dumb blonde on Broadway and then in motion pictures by Judy Holliday in the late 40's, and again by Melanie Griffith in the early 90's, it was assured that lovely, curvaceous and brunette Aimee Doherty as Billie, would have to put her own vividly amusing and personal stamp on the role. This she has most certainly done. Tom Large (both physically and verbally) is appropriately loud and loutish as the brutish, wealthy junkyard magnate, with fine support from David Wood as the illuminating reporter. Robert Zawistowski as a subservient "on the take" senator and David Berti as Harry Brock's morally conflicted and ultimately uplifted lawyer were equally effective. While a somewhat overly and unnecessarily lengthy "gin rummy" card game, played on stage near the conclusion of act one in silence between Billie and Brock should have served to illustrate Billie's potential and Brock's inadequacy, instead it seems to have mainly acted only to slow the first act's momentum. Not withstanding this, the capacity audience otherwise really showed its enthusiastic approval throughout! Now playing through August 2, 2008. (My Grade: 4)
KEROUC'S LAST CALL
At the Boston Playwright's Theatre the Image Theatre presents the Boston premier of "Kerouac's Last Call" by Patrick Fenton. This play's world premiere was originally staged by this same company in Lowell, MA (Jack Kerouac's hometown) in February, 2008. Set in 1964 in Northport, NY, it's based on taped recordings of Kerouac's reminiscences at a going away party for him at a friend's home, the night before he moved to Florida with his mother. His wide ranging musings unfold with his beginnings as a writer in spite of his father's cautionary warnings to "get a real job," followed by his chiding to "name one famous writer who ever came out of Lowell, MA". However, inspired by such luminaries as Sherwood Anderson, Tom Wolf and John Steinbeck and bolstered by his mother's support, he was able to commence. Then, after his family moved from New England to Queens, New York, Kerouac's legendary cross country travels with is similarly motivated writer-friend Neal Cassady began. High amongst the many unexpected moments during his travels was his surprisingly mixed reactions to an L.S.D. focused house party at the home of author Ken Kesey ("One Flew Over The Cukoo's Nest") replete with his negative responses to the many fervent recitations there from the writings of Mao! Still later, a succession of spirited telephone conversations follow with young, pretty Jan, who Jack initially refuses to accept as his estranged daughter. Nevertheless, he finally agrees when she informs him that she, too, is writing a novel. He's wistfully troubled on finding out that his friend Neal Cassady never had enough confidence to try to publish anything that he wrote, complicated by the many great memories they enjoyed on the road together. Then, after his companion's death, Jack's life, too, was conflicted by night-long drunken binges compounded by many bar fights, unfortunately followed by Jack's early death. Well played by the splendid five member cast, with an especially engaging portrayal by Jerry Bisantz in the title role. High praise also should go to Jenney Dale as Jack's daughter Jan, Steve O'Connor as Jack's travel-buddy Neal Cassady, as well as Jack Dacey and Lida McGirr as Jack's dad and mother. Kudos, likewise, for Ann Garvin's well paced direction. Fortunately, Wellington Breve's interesting rear-slide projections enlivened the show's otherwise simple but drab set. This engaging character profile is now playing through July 26, 2008. (My Grade: 4)
BYE BYE BIRDIE
Do not pass go. Do not go to jail. Go directly to the North Shore Music Theater to see this five star production of Bye Bye Birdie, a musical by Michael steward, Charles Strouse and Lee Adams. Birdie is a musical satire on American life in Sweet Apple, OH in 1960. It's a play about love, parents, teenagers and an Elvis-esque Conrad Birdie who has been drafted, much to the despair of millions of teenagers all over the world. It's when Rose Alvarez, the secretary/love interest of Birdie's manager, Albert Peterson, comes up with a brilliant PR ploy of having Birdie kiss the women of America goodbye with one symbolic kiss given to superfan Kim Macafee of Sweet Apple, Ohio that the zaniest begins. The play, with it's sing-able score, has never lost it's magic for me, from the first time I saw it on Broadway with Chita to the movie with Rita, but I have never seen a better portrayal of Rosie than the one performed last night by multi-talented Bianca Marroquin. Her dance performance alone could bring her a Tony and brought down the house last night at The Music Theater. Kudos to James Patterson as Albert and Mary-Pat Green as Albert's over-possessive mother, Mae. And I would be remiss if I didn't mention the mega-talent behind the clever choreography and direction by Michael Lichtefeld. What a talent! What a cast! What a night out! And it can all be had for the cost of $40.00 to $77.00 by calling 978-232-7200 or going online www.nsmt.org or in person at 62 Dunham Rd. in Beverly (just a couple blocks off rte. 128). If you hunger for a night out that's uplifting, joyful and irresistibly scrumptious, this production of Birdie is by far the best I've seen since Chita and Rita. I give this production something I've never given another…5 Stars. (My Grade: 5)
ANNIE
As part of their ongoing 40th anniversary season at the Robinson Theater on the campus of the Waltham High School in Waltham, the Reagle Players present their new production of "Annie". Based on the longstanding newspaper comic strip created in the 1930's by Harold Gray, this multi-awardwinning musical features music by Charles Strouse, lyrics by Martin Charnin and Book by Thomas Meehan. Unlike its' suspense and adventure centered source, the plot of this multi-award winning show owes more to the story lines by Charles Dickens than it does to the daily action filled exploits drawn by cartoonist Harold Gray. Since this show's triumphant Broadway opening in 1977, it has been staged by touring professional and/or community companies (here and abroad) practically ever since, and was even produced as a major Hollywood movie in 1982. It was later also presented as a prime made-for-television motion picture in 1999. It is set in Depression era 1933, in a run down orphanage for young girls managed by nasty, alcoholic, tyrannical Miss Hannigan. At the plot's center is 11 year old Annie, who has been re-captured after a failed escape attempt. Her all prevailing hope is to someday be reunited with her long-lost parents. Billionaire Oliver "Daddy" Warbucks plans to have an orphan spend the Christmas Holiday with him and with this in mind sends his lovely secretary to the local orphanage, where she selects Annie. All goes well until Miss Hannigan, prompted by her nefarious brother "Rooster" and his dimwitted floozy girlfriend "Lily" try to pose as Annie's missing parents. They hope to swindle Warbucks out of some big reward money with, as obviously expected, drastic consequences! Solid praise for young, full voiced Isabelle Miller in the title role; grandly comic support from TV's Sally Struthers as the raucously tipsy, resonant and uproariously disagreeable Miss Hannigan. Similar commendations for Terry Runnels as Oliver Warbucks and most certainly for sweetly voiced Sarah Pfisterer as his helpful secretary. Bob Fitch (who's also this show's assured director) and Beverly Ward as the scheming and sleazy "Rooster" and "Lily", and especially the nearly dozen highly spirited pre-adolescent singing and dancing orphanage girls are all most definitely praiseworthy! Very young Lauren Weintraub, as little "Molly", was quite outstanding not only singing resoundingly but also was genuinely memorable both tap dancing and also even somersaulting! Lastly, local TV newscaster Scott Wahle does nicely in his brief appearance as President Franklin Roosevelt, who comes to help "Daddy Warbucks" at Christmas time. The melodious score including "It's a Hard Knock Life", "Maybe", "NYC", "Easy Street", "You're Never Fully Dressed Without A Smile" and of course "Tomorrow" (the confidently, hopeful, depression-era anthem) were all enthusiastically appreciated by the full audience. Kudos also for Mary Jane Houdina's vivid choreography (based on Peter Gennaro's original conceptions), Matt Rudman's multi-diverse scenic designs and especially the full orchestra under the co-musical direction of Dan Rodriguez and Jeffrey P. Leonard. Now playing through July 19, 2008. (My Grade: 5)
ACCORDING TO TIP
At the Mosesian Theater in the Arsenal Center for the Arts in Watertown, MA, the New Repertory Theater presents the world premier of "According to Tip" by Dick Flavin. Alone on stage for nearly two hours (including a brief intermission) is Tony and Emmy- award winner Ken Howard (who is best known for his roles in TV's "The White Shadow", "The Thorn Birds" and "The West Wing" amongst his many other stage and film credits) Topped off by the large snow white crown of hair that had become Tip O'Neil's identifying standard, complete with rumpled business suit, buttoned white shirt and necktie, Howard's re-creation of the legendary politico won a round of enthusiastic applause from the capacity crowd. The evening is comprised of a folksy procession of earthy and generally warm and witty reminiscences by Tip about his life and times, laced with a host of lively Irish songs. Seated at his home/office, or standing at either his lectern or responding to reporters on a radio microphone. Behind him is mounted a stage-wide top to bottom panorama of jumbo, linear caricatures flanked on the left side by the Massachusetts State House, and to the far right by the U.S. Capital. Sandwiched between these two legislative centers are the large cartoon faces of JFK, LBJ, Richard Nixon, Gerald Ford, Jimmy Carter and Ronald Reagan…obviously vividly defining the range of Tip's career. Beginning in his pre-World War I days on the streets of his suburban hometown neighborhood, he tells us of his early youthful gambits in North Cambridge. "When I was fourteen years old I got into Harvard University as part of the caretaking grounds crew. Later on, I returned when they gave me an honorary degree." As expected, he continues on at length about his initial forays into local politics. His early failure in 1935 to win a seat on the Cambridge City Council, and much later (after some success in his hometown) his rise in 1948 to Speaker of the Massachusetts State House. Then still later, when the young John F. Kennedy relinquished his congressional seat to try for the U.S. Senate, Tip ran for and won Kennedy's vacant post. While being a fervent supporter of JFK for President, Tip found himself to be often at odds with the younger Bobby Kennedy. Nevertheless, after JFK's tragic demise, Tip fully supported Bobby's try for the U.S. Presidency, which once again was thwarted by its deadly conclusion. Years later, when the Speaker of the U.S. House of Representatives was lost in an airplane crash, Tip found himself to be next in line to become his successor. As he steadily rose up the ladder of political power and prestige his encounters with the many U.S. President's caricatured on the big panorama behind him are robustly and warmly explored. While the center of Tip's observations remain steadily throughout centered on his political career, unfortunately, only occasional mention is given to his much-neglected home life. His marriage in 1941 to his beloved wife Millie, and the trials and tribulations of their five children-- culminating in the early death from drugs and alcoholism of their son, Michael. All too brief attention is also given to Tip's ultimate retirement to Cape Cod, compounded by his beloved wife's unexplained medical condition. As directed by Rick Lombardo (the company’s producing artistic director), Ken Howard gives a lively, well-rounded solo performance as this grand, old icon of local and national political prominence. Extra notice should also go to Janie E. Howland's engaging, cartoon-enhanced set and also to Todd C. Gordon's many lively, Irish song choices. Now playing through July 13, 2008.
WHEN IT'S HOT, IT'S COLE! A COLE PORTER CABARET
At the Zero Arrow Theatre in Cambridge, MA, The American Repertory Theatre Presents, "When It's Hot It's Cole! A Cole Porter Cabaret." Thanks to the splendid reception to last summers' presentation of the A.R.T.'s similarly-mounted tribute to the songs and wit of the great Noel Coward, they've attempted to do the same this summer for the legendary Cole Porter. Once again, the same quartet comprised of some of the company's most accomplished and prestigious actors- - Remo Airaldi, Thomas Derrah, Will Lebow and Karen MacDonald-- have returned to similarly and musically celebrate this iconic American composer/lyricist. This time, an impressive recent A.R.T. Institute graduate Angela Nahigian has also been added to the group, conceived and directed by Scott Zigler with Peter Bayne, who was likewise responsible for the show's musical arrangements. The evening consists of thirty of Porter's songs, performed by the above mentioned quintet, with on-stage piano accompaniment by Miranda Loud. While it obviously seemed that what worked so well last year saluting Noel Coward would prove to be similarly effective this year honoring Cole Porter, unfortunately such has not been the case. Much of the zest and sparkle so evident by this ensemble in 2007 seems to be generally lacking now. As soloists, their vocal limitations were repeatedly and prominently in evidence. Occasionally, some of the necessary verve and passion that the evening's songs required could be heard, as in Derrah's engaging rendition of "Begin The Beguine" ("Let the love, that was once an fire, remain an ember"), still later in MacDonald's trenchant renditions of both "Down In The Depths (On The Nineteenth Floor)" and Porter's ironically grave observation about mob violence "Miss Otis Regrets (She's Unable To Lunch Today, Madame)" and then in Airaldi's humor-laden "Tale Of The Oyster" ("He found his home awfully wet, and wanted to travel with the upper set.") Will Lebow, besides his great skill as an actor, briefly replaced Miranda Loud at the piano and deftly played and sang "All Of Me" ("I'd love to take complete control of you, even the heart and soul of you") from Cole's great Broadway and Hollywood success "Silk Stockings". Regrettably however, Miss Nahigian did not fare as well in either her lack luster rendition of "Easy to Love" or her strained and disappointing version of "Love for Sale" ("Love that's fresh and unspoiled, Love that's only slightly soiled"). As a whole, the company did much better with their ensemble renditions of Cole's witty and clever repetitive songs such as "Let's Do It, Let's Fall In Love" ("Birds do it, Even educated fleas do it"), and the title tune from Cole's ever-popular hit show, "Anything Goes" (authors who knew better words, use only four letter words now.) "Brush up your Shakespeare" from "Kiss Me Kate" ("If she says your behavior is heinous, kick her in the coriolanus"), and most especially in "Let's Not Talk About Love", a most scintillating multi-rhyming tune penned by Cole for one of rubber-tongued Danny Kaye's earliest, pre-Hollywood Broadway successes ("Let's have a big discussion on...Timidity, Stupidity, Solidity, Rigidity, Manhattan and Vincinity" etc.) It's also noteworthy that as last year's salute to Noel Coward included the great British wit's lyrical transformation of Cole's lively aforementioned "Let's Do It," this time around this show likewise features a here-to-fore unknown clever reworking of Cole's "You're The Top" by the surprising Irving Berlin, with his new and revised allusions to "Venus" and "King Kong's Penis." As previously stated, while performing the few above noted tunes the cast displayed the requisite style, dash and liveliness that should be integral to Cole Porter's words and music; Otherwise unhappily, most of the many other tunes (more than two-thirds of the evening) proved to fall quite short of expectations! Now playing through July 20, 2008. ( My grade: 2.5)
ESSENTIAL SELF DEFENSE
Currently at the Boston Center for the Arts intimate "Plaza Black Box Theatre", the Gurnet Theatre Project presents the Boston premiere of "Essential Self-Defense" by Adam Rapp. A grandly bizarre and deliciously comic take on post 9/11 angst driven America, it's set in "Bloggs", a typical Midwestern American town where the standard boy meets girl story is turned upside down with stimulating and diverting consequences. Yul Carroll,a burly anarchist loner, lives in a cramped, rat-infested basement apartment just a stones' throw away from a sewage treatment plant. Focused on the Nations all pervasive corporate marketing, which controls the media and utilizes ever present violent content to create and maintain an anesthetized population, he spends most of his free time studying a jumbo book entitled "375,413 Ways To Make A Bomb", while also hoarding many cases of eggs for undisclosed strange and mysterious reasons. Having taken a job at a self-defense class-- outfitted in a head-to-toe balloon-like suit--he serves there as a human punching bag. As such, he meets young attractive children's book editor Sadie Day, who while vigorously pummeling him, knocks one of his teeth out. Attracted to him as a protector, their romance begins to blossom at a local karaoke bar, which encourages their patrons to sing only their own original songs. With full throttle, loudly rocking guitar and drum duo on stage, Sorrel Haze, the towns' curvaceous librarian-- chanting a cascade of four-letter adjectives-- acts as the club's part-time emcee. There, Yul and Sadie also encounter Isaak Glinka, Sorrel's musically and poetically singing Russian-emigre husband, as well as Klieg, the community's violent, raw-meat chopping butcher. As news reports on local radio continuously broadcast details about a multitude of Blogg's junior high school pupils who have been mysteriously disappearing, it becomes evident that the townsfolk have come to think of Yul as their prime suspect! Add to this curious mix a fist to fist, shoulder to shoulder bout between Klieg and Yul. Later, a serene fantasy of Yul and Sadie, gliding about on stage on roller skates, some humorous lyrics intoned by either Sorrel, Isaak, Yul or Sadie, and finally a not quite unexpected denouement that suggests why Yul was stashing away all of those eggs, and the result is winningly provocative and quite amusing. It's being well acted by Adam Garcia as Yul and Chelsea Cipolla as Sadie with lusty support especially by Rachael Hunt as Sorrel, Foster Johns as her husband Isaak and Brett Marks as Kleig. Although their musical efforts loudly overwhelmed most of the evening's karaoke lyrics, otherwise Colin Summers on guitar and Timothy Hoover on drums provided a fine rocking ambience for the play's karaoke sequences. High praise must also go to Brian C. Fahey's assured direction and also for his fine, economic, minimalist set design. Now playing through June 28, 2008, call (617) 933-8600 for tickets and any other related information. ****½ Stars
JOSEPH & THE TECHNICOLOR DREAMCOAT
Currently at the Robinson Theatre on the campus of the Waltham High School in Waltham, MA, The Reagle Players begin their 40th Anniversary season with their new production of "Joseph and the Amazing Technicolor Dream Coat". Featuring music by Andrew Lloyd Webber and lyrics by Tim Rice, its' story line is based on the Old Testament tale of betrayal and redemption. Joseph, the favorite son the patriarch Jacob, is sold into slavery by his jealous brothers and eventually overcomes his misfortune to become a powerful minister in the Egyptian Court. Later, he then forgives those same brothers who inflicted such a grievous wrong on him. As now staged here, it is a highly engaging and lavishly mounted presentation in which music, story and performance are welded together to combine as a triumphantly joyous entertainment! The grandly eye-popping set design by Peter Colao is imposing not only for its' impressive opulence but also for the creativity and humor with which it is able to accommodate its' many different locales. The many varied costumes by Gayle Sullivan and Mark Thompson are in all respects sumptuously diverse, splendid and very colorful. David Wilson's vivid lighting, the fine full-orchestral accompaniment guided by conductor Dan Rodriguez and the fluid choreography (based on the shows' original moves) by the productions effective director Susan M. Chebookjian keep everything rolling along nicely! Above all else, the large cast is uniformly excellent. Handsome, charismatic and full-voiced Eric Kunze-- in the title role-exudes charm, verve and grand stage presence. Special praise must also go to Jeffrey Max, who brings down the house with his explosively comic portrayal as the Elvis Presley-like Egyptian Pharaoh, and of course to beautiful, nineteen year old statuesque B.C. basketball star, "American Idol" alum, and resonantly sonorous recording artist, Ayla Brown, as the show's ever-present singing narrator. Also very noteworthy are the vibrant singing and rhythmic movements, on-stage, of the fifty member (pre-adolescent) children's choir whose voices and activity are used throughout to solidly advance the show. This elaborately staged, winningly amusing and musically uplifting family entertainment, a highly recommended treat for both young and old, is now playing a limited engagement through June 21, 2008. ****½ (Excellent)
THE PRODUCERS
Is Mel Brooks a genius, or what? Who else could write a funny musical about Nazis and their foolish leader? This 12 time Tony winning play (the most in the history of the Tony awards) is now playing at North Shore Music Theater in Beverly. This production stars Scott Davidson as the down-and-out producer Max Bialystock and Jim Stanek, as Max's neurotic accountant Leo Bloom. But by far the star of this production is Amy Bodnar as Ulla, the Swedish bombshell who figures (pun intended) beautifully into the plot. Bodnar is not only beautiful but wow, what talent. Kudos also to Patrick Wetzel as Franz Liebkind, the pigeon-collecting, helmet- wearing psycho who pens what Bialystock and Bloom decide is the one, worst script they have ever read. This play is sure to bomb...but does it? To find out you will have to goose step over to NSMT in Beverly. This critic was duly impressed with the choreography, brilliantly staged by Bill Burns, who is also this play's director. Mr. Burns combines the perfect touch of Hora and Hip Hop to keep every number original, exciting and smile provoking. This production is not for the children though. NSMT suggests a 16 and up audience for this sometimes risqué production. It's not Caligula, but there are lots of off- color jokes, sex and oodles of legs and breasts. The Producers kicks off what is a most exciting season for NSMT including; Contact, The 24th Annual Putnam County Spelling Bee, Show Boat, Bye Bye Birdie and 42nd Street. "The Producers" is running through June 1. For tickets call 978-232-7200 or e-mail www.nsmt.org.
A DELICATE BALANCE
Merrimack Repritory Theater presents a thought provoking rendition of Edward Albee's Pulitzer Prize winning play, A Delicate Balance. Albee, brings us to the living room of an upper class WASPY family in Richsuburb, USA. The thing about WASPy families is they don't talk about anything...directly. Oh yeah, they talk about their losses, their fears, their alcoholism during cocktail hour. What I found most interesting was that Albee was able to write a Pulitzer Prize winning play about nothing much at all. Yes, it's about how to keep a balance in this chaotic life, but I didn't feel it taught me much. It showed that the mother is the keeper of the balance, even when her daughter is going through a fourth divorce and her alcoholic sister has come to live and their best friends come to stay for an inane reason. But we all knew that. Life in a family is conducted by the mother, except in rare cases. This production at the Merrimack was performed by a stellar cast. Jennifer Harmon, as the sane, yet ditzy Agnes, set the bar high. Her co-star Jack Davidson held his own against the strength of Harmon's strong performance. The alcoholic sister was played very believably by Penny Fuller. The three lesser characters; Julia, Harry and Edna were passable. All in all it was a thought-provoking piece that this critic had to mull over for several days. Great art causes deep thought and this piece did that. A Delicate Baslance is playing at the Merrimack Repertory Theater in Lowell MA through the first week in April. For tickets and directions go to www.merrimackrep.org or call 978-654-4MRT. *** (Three Stars)
MISSIONARY POSITION
Do you have money to burn? Well, watch it burn. It might be more fun than sitting through this play. The play was advertised as, "What not to talk about on a first date, politics and religion,"which I thought was a genius PR ploy considering it had absolutely nothing about dating in it. The Missionary Position is a play about a political campaign with all the stereotypical characters: The finance man, played very well by Jeffrey Carpenter; the candidate's wife by Tami Dixon, who was brilliant and stole the show; a multi-talented Rebecca Harris as every house keeping lady in every Holiday Inn in the country; and Tony Bingham as a typical, bible toting, campaign worker. The characters were so shallow the audience knew what they were going to say before they opened their mouths. In this day and age to hear a campaign worker tell a pregnant house keeper that she needed to be saved and then have her react by getting upset is completely redundant. If a born again told me this I’d probably just laugh at him and give him my patented, “If God had wanted us all the same She would have made us all the same.” Keith Reddin wrote a script that reads as though it was written to entertain people whose education consists of what they’ve learned from studying the tabloids. I was surprised to see such bad theater at the Merrimack Repertory. I have never seen anything but sheer genius at this wonderful venue so I was quite taken aback to see a play about people who are so intellectually stunted they still think it’s a sin to swear but not a sin to besmirch a co-workers character. This play has nothing to do with the missionary position unless you happen to be a missionary. The acting was great, but the rest left a lot to be desired! You can get tickets by calling the box office: 978-654-4MRT or online at box_office@merrimackrep.org. ** (FAIR)
HENRY V
 "I fear thou doth protest too much," I chided my date when he saw the theater and saw only a basement with chairs around the outer edges. "This is Cambridge," I explained. "It will probably be a most ingenious treatment." We had just taken our seats for The Actors' Shakespeare Project (ASP) in the basement of The Garage in Cambridge. Yes, I realize how clever they were naming their company after the spider that killed Cleopatra, but that’s where the genius begins and ends. When the players took the stage, one in her camel hair, knit, dress with leather belt and matching boots another in a rumpled, military green, sweater over a pair of rumpled, gray corduroys, I thought, "This is either going to be an extremely eclectic version of Henry V or it's going to be pathetic. Henry the V is Shakespeare's recounting of the tale of the formerly wayward Prince Hal who grows up to become a well respected monarch. In this production, the 32 parts, are all played by five actors; Ken Cheeseman, Paula Langton, Doug Lockwood, Seth Powers and Molly Schreiber. My first clue that this production really was going smell rotten was when the first line was delivered from behind the insulated, taped lolly column at center stage. Couldn’t they have at least tried to make it look like a tree? That's what my kids would have done in our basement. They'd also buckle a belt around their heads as a crown just like the one worn by Ken Cheeseman as King Charles VI. So then I thought perhaps this was to be a farcical representation but, it was word for word (which the actors delivered fairly well while they were switching ski caps. That turned out not to be true either. The final convincer came when during the battle scene, the actors wielded yard sticks, drill bits, rubber piping and anything else they could find in this old, dirty basement to attack the lolly column in rhythmic cadence. William Shakespeare's Henry V, directed by Normi Noel with costume design by Seth Bodie, set design by Skip Curtiss, lighting by Steven Rosen and blind prop master Elizabeth Locke should not be seen Downstairs at the Garage, 38 JFK St. Cambridge through February 3. The tickets for this fiasco can be purchased online at www.actorshakespeareproject.org or by calling 866-811-4111. Tickets are between $30.00-$42.00 with rush tickets $15.00 one hour before the show with valid ID. (Grade 0)
2 Pianos, 4 Hands
I have a pillow my grandma Lucy embroidered for me that says, "Life is like a piano. What you get out of it depends on how you play it." The proof of this statement is in the stellar performances of Richard Carsey and Tom Frey in the Merrimack Repertory Theater's production of 2 Pianos 4 Hands running through the end of January. 2 Pianos was written by two Canadian piano protégés who met during competitions and continued a friendship through years of practice and playing sometimes against each other but often together at two pianos. Along with tickling the ivories, Carsey and Frey tickled the audience with tacit realities of life's journey. 2 Pianos takes us through the younger years with parents standing over them as they practiced, practiced, practiced. Like most kids, they just wanted to go out and play. What made Red Dykstra and Richard Greenblatt (the play writes) study, rather than go out to play hockey with their friends? Their parents! And who is it yells at them when, as teenagers, they spend every free moment at the piano rather than having friends? Their parents! As the piece progresses Carsey and Frey take the audience on a journey through life's etudes (lessons). Starting where most students begin, with the queen of basic theory Lelia Fletcher, and ending with a presentation of Concerto in D minor by Bach that brought the audience to their feet, this piece is a must see…and hear. 2 Pianos 4 Hands is a lesson in life's scales. We have to work at them every day if we want to climb to the top. Carsey and Frey carry this piece as though it were their baby. They love it and live it and take the audience with them on a musical journey. 2 Pianos 4 Hands is at The Merrimack Repertory Theater till January 27. Take a trip from Mozart to Elton John with these two talented performers at the Merrimack Repertory Theater, 50 E. Merrimack St., Lowell. For tickets call 978-654-4678 or go to merrimackrep.org (My Grade: 4 Stars)
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