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Past reviews are archived - page 1 | page 2 | page 3 | page 4 | page 5 | page 6 | page 7
HELLO DOLLY!
Now at the Robinson Theater on the campus of Waltham High School in Waltham, Mass., the Reagle Players begin their 41st summer season with their new production of "Hello, Dolly!", based on Thornton Wilder's classic play (The Matchmaker). It features music and lyrics by Jerry Herman, with book by Michael Stewart. After its' acclaimed Broadway debut in 1964 it went on to equal success when produced as a major Hollywood motion picture in 1969, and has become a highly popular favorite nationally and internationally to this very day. Set at the turn of the 20th century in Yonkers, New York, and later in Manhattan, attractive, flamboyant, widow Dolly Gallagher Levi, (Rachel York) after arranging the betrothal of so many others, has now decided to see that crusty and wealthy local store owner Horace Vandergelder (Jamie Ross) proposes marriage to her. Complicating matters, is Vandergelder's intention to go to New York City to attend the big annual 14th Street parade and to also visit the millenary shop of the lovely widow Irene Molloy (Sarah Pfisterer) with his intention of possibly asking her to marry him. Additionally, complexities also develop when Vandergelder's two young and recently fired employees Cornelius (Rick Hilsabeck) and Barnaby (Sean McLaughlin) also decide to go to New York without their former employer's knowledge. When these two bumpkins end up in Irene Molloy's shop still hoping to be rehired by their old boss, and Vandergelder shows up, a wildly farcical scramble in and out of closets and under tables for these two, to avoid discovery ensues! Later, that same evening, with Dolly Gallagher Levi again firmly in charge, unknowingly all of these aforementioned principals converge at Manhattan's lavish "Harmonia Gardens Restaurant." As expected, Dolly is able to arrange the requisite happy ending for all of course, with Vandergelder's marriage to her especially accomplished. Grandly enlivened by Jerry Herman's memorable score featuring such splendid songs "It Takes A Woman" "Put On Your Sunday Clothes" Before The Parade Passes By" "It Only Takes A Moment" "So Long Dearie" and the classic title tune. Certainly with Gower Champion's original choreography recreated here by Susan M. Chebookjian, plus Oliver Smith's bright, original scenery, Freddy Wittop's colorful original costumes, the fine full orchestra conducted by Jeffrey P. Leonard and Worth Howe's strong direction, this excellent family treat is absolutely recommended! Now playing through June 27, 2009. (My grade: 5)
The Duck Variations/Sexual Perversity In Chicago
Now at the Zero Arrow Theater in Cambridge, Mass., The American Repertory Theatre presents, as another part of its David Mamet celebration, two early one-act plays by this celebrated playwright. "The Duck Variations," written in 1972 is a brief and telling character study of two elderly gents sitting together, outdoors, at a public park bench, as they both observe and comment on all of the ducks in the open pond before them. Two of the company's most accomplished actors Thomas Derrah as Emil Varec and Will LeBow as George S. Aronovitz, are in top form in this short Beckett-like exercise in an expeditious evolution of more than a dozen concise episodes, each set forth by a posted and printed announcement and introduced by a blackout, as these two offered their observations about the pond's wildlife. Their discussion ranges from the ducks' diseases, delusions, intelligence, flight, enemies, procreation, lifestyle, and domestication to the threats which man's encroachment from hunting to oil spills pose to their continued existence and/or survival. Underlying all of this banter and occasional levity are many obvious inklings of the loneliness and isolation that both Emil and George share. The program's other play "Sexual Perversity In Chicago", written in 1974, is a presentation of A.R.T's Institute for advanced theater training and, like the first play, is essentially a character study, but a much more elaborate one. With the theater space, here as earlier, set up as a nightclub defined by the audience seated at a multitude of small, lamp-illuminated tables, four college-aged youngsters, Dan (Scott Lyman), Bernard (Tim Eliot), Deborah (Suzannah Hoffman) and Joan (Laura Parker) go through the boy-meets-girl rituals with all of the many expected ups and downs. Of course, with playwright Mamet's predilection for raucous freak language this isn't your standard Ricky dates Judy while Jimmy and Betsy stand by roundelay! Utilizing not only the theatre's main stage but also the far side equipped as a cocktail bar, Dan and Deborah meet, fall in love, live together and ultimately break-up while Dan's older "Cooler," and much more disdainful buddy Bernard and Deborah's annoyed and similarly scorned friend Joan offer their much more "seasoned and wiser," but fundamentally shallow counsel. As with the evening's first half, this well-acted and mildly engaging piece effectively points to playwright's Mamet's great budding potential. Now playing through June 28, 2009. (My grade: 4.5)
ON THE VERGE (OR THE GEOGRAPHY OF YEARNING)
Now playing at The Central Square Theater in Cambridge, Mass., The Nora Theatre Company presents its production of "On The Verge (Or The Geography of Yearning)" by Eric Overmyer. Initially staged in 1986 in Baltimore, it has over the years enjoyed many regional presentations ever since. Allowing for its overly talky exposition, it is otherwise a fine provocative comic fantasy celebrating feminist fulfillment and empowerment. Beginning in 1888, three daring and quite adventuresome Victorian ladies set out on an ambitious worldwide trip into the future. Garbed from head to toe in full late 19th century dress, capped with pit helmets and armed only with backpacks and parasols, Mary (Deanna Dunmyer), Fanny (Alicia Kahn) and Alexandra (Anna Waldron) fearlessly set out to explore the world. Emboldened by the author's fanciful wordplay teeming with puns, quips and a bevy of elaborate and stimulating turns of phrases this intrepid trio elbow their way across uncharted continents. Clambering up ruggedly steep mountains, traversing treacherous swamps, challenging troublesome quagmires and chopping their way through the jungle's growth they remain ever stalwart and focused on the world to come. Along the way they meet the abominable snowman, an overfed cannibal, a quirky troll and an easygoing yeti, amongst others (all deftly played by Barlow Adamson). In Act two this bold threesome finally do reach their goal and it is 1955, defined by the "I like Ike" catch-phrase. Dwight D. Eisenhower is the President of the U.S.A and this bright new era is marked by strange and unusual artifacts ranging from household appliances, and mechanical gadgets to a wide array of elaborate baubles and playthings such as dolls, water-wings, hoops and various other such curious. This new situation, or course, is distinguished by a plethora of obtrusive commercialism and uninhibited music, on the one hand and on the other by groundbreaking new discoveries in the arts and sciences. Of course, these decisive ladies are witness to everything from Rock n' Roll and the Nobel Prize to night clubs, gambling casinos and Jacuzzis! Finally, with all three now wearing only contemporary outfits, Alexandra sums up by noting that "millions of new worlds are waiting to be discovered." Initially, as mentioned earlier, for much of the first act the author's penchant for elaborate word-games often overwhelm the play's action with its occasionally vexing profusion of esoteric quotations, allusions and intellectual energizers. However, once the dogged trio's goals are finally and firmly established, the playwright's playfulness become quiet engaging and fruitful. Now playing through June 21, 2009. (My Grade: 4)
YOU'RE A GOOD MAN CHARLIE BROWN
The Gloucester Stage in Gloucester, Mass. presents their new production of "You're A Good Man Charlie Brown." Based on the classic comic strip "Peanuts" by the late Charles M. Schulz, it features book, music and lyrics by Clark Gesner, with additional music and lyrics by Andrew Lippa, as well as additional dialogue by Michael Mayer. Of course, as expected, cartoonist Schulz's legendary group of under-age principals are represented very well by the adult performers on stage. The show's ever hapless, but supremely optimistic hero, Charlie Brown (Steven Gagliastro), stands at the ready to serve the whims of the always assertive Lucy Van Pelt (Mary Callanan). Young burgeoning musician Schroeder (Arlo Hill) tinkles confidently at his toy-like piano while Lucy's bemused brother Linus (David Krinitt) stands by, as the audacious Sally Brown (Katie Mulholland) testily adds her suggestions. Charlie's faithful Beagle "Snoopy" (David Sharrocks), either resting outdoors atop his doghouse or preparing to fancifully engage in a dreamlike World War I airborne "dogfight," is certainly a compelling presence from start-to-finish. The lively dozen + songs are quite delightful throughout, beginning with the show's title sung by the entire cast ("How Could Anything Go Wrong On A Day Like This?"). Linus musing about "My Blanket and Me" (maybe someday I'll outgrow it!), Lucy offering musical "Psychiatric" advice to Charlie with "The Doctor Is In" (You're Terribly Dull!) and Sally going to excess detailing her "New Philosophy," are amongst the evening's best moments. Snoopy doing flip-flops, somersaults and hand-stands, amongst other such manic moves, while melodically preparing for "Suppertime" is most certainly a show stopper. Deftly directed by Scott LaFeber, with sprightly with sprightly choreography by David Connolly and commendations also for Jenna McFarland Lord's cartoonish set pieces, Molly Trainer's bright costumes and the lively musical quintet accompinent directed by Michael Kreutz. Now playing through June 21, 2009. (My grade: 5)
THE CHILDREN'S HOUR
Now at The Boston Center for The Arts in their intimate Plaza Theatre, Our Place Theater Project presents "The Children's Hour" by Lillian Hellman. It caused a sensation upon its Broadway debut in 1934 and was even disqualified from Pulitzer Prize consideration, at that time, due to its taboo theme. Substantially altered when released as a major Hollywood movie in 1936, it was even given a new title, "These Three." A new motion picture was then made in 1961, this time remaining faithful to the play's original title and controversial theme. Two young friends, Martha (Emilie Battle) and Karen (Abigail Walter) have opened a private boarding school for adolescent girls. They are also aided by Martha's middle-aged aunt Lilly (Sharon Squires), an aging actress who teaches drama and public speaking. Among their students is young Mary Tilford (Emma Romasco), a troublesome bully who takes pleasure in dominating her classmates. When Mary is punished by Karen for telling falsehoods, she runs off to her grandmother's home, insisting to her that she's continually being unfairly punished by Karen and Martha. When the elderly matriarch (June Lewin) initially refuses to accept Mary's excuses, the youngster begins to desperately exaggerate. She even begins to suggest that Karen and Martha seem strangely attracted to each other, and have even been seen kissing one another by a fellow student! Now completely convinced, her grandmother begins altering other parents opinions of the school, and soon all of Martha and Karen's students are leaving their school. This unfortunate turn of events also begins to effect Karen's engagement to Dr. Joe Cardin (Thomas Martin), who's related to both Mary and her grandmother. Overly anxious not to be exposed, Mary blackmails her classmate Rosalie (Cheyenne Jones) into corroborating her lies by threatening to accuse Rosalie of stealing yet another classmate's missing bracelet. Later, when Martha, Karen and Dr. Joe Cardin file a suit in court against Mary's grandmother for slander, they ultimately lose with a calamitous and tragic outcome. Well-acted by the fine cast under the strong and astute direction of Jacqui Parker, this classic drama has consistently maintained its relevance throughout these many decades to the many disastrous consequences repeatedly created by deliberately malicious falsehoods! Now playing through June 13th, 2009. (My Grade: 5)
BEN'S TRUMPET
Now at Boston's Wheelock Family Theatre, Balletrox presents the world premiere of "Ben's Trumpet," a new Ballet based on the Caldecott Award winning children's book by Rachel Isadora. Set in the 1930's in Hew York City's Harlem neighborhood, pre-adolescent Ben (Rey Guity) sits on the fire escape landing outside his bedroom window. As the rocking hot jazz wafts through the summer evening's air, from the nearby "Zigzag Club," he longs to join in and cups his hands to form and play his imaginary trumpet. Thanks to the era's classic recordings, the pulsating rhythms of Louis Armstrong's Hot Five set the pace with early swing from Duke Ellington and Hot Lips Page followed by songs by the legendary Bessie Smith and the very young Mills Brothers. On his way home from school, the neighborhood quickly comes alive animatedly sparked by Ben's mom (Kimber Lynn Drake), dad (Gilbert White), and grandma (Doris J. Smith). When the hot sounds begin to shift into the "Zigzag Club" we soon hear the youthful Ella Fitzgerald and Chick Webb, then Billie Holiday and later the young Lionel Hampton, too. The club's Maître'd (Yo-El Cassell) and Chef (Kamau Hashim) break into lively moves, also. One day Ben finally meets one of the great musicians who play at the club every night and a gift from him opens up a whole new world of hope for the young boy. Still, an unusual aspect of the music choices selected for this presentation does also need to be considered. The evening's program notes do place Ben's discovery of the grandeur of Jazz within the time of the Harlem Renaissance. The great Jazz artists mentioned earlier did indeed come to prominence during that era. However, excerpts are also played here of the great Dizzy Gillespie's post World War II Big Band. These recordings, both instrumental and with the then vibrantly new style of singing, (which initially came to be known as "Be Bop") did served as the precursor of what was later called progressive Jazz. As such, important as these selections are, they nevertheless do represent a much later time frame. Also on the evening's schedule were "La Favorita" with music by Donizetti, centered by splendid dancing by Matt Anctil and Caroline Cohn, amongst others, and Prokofiev's delightful "Peter and The Wolf." Featuring the late Leonard Bernstein's captivating recorded narration and highlighted by the exuberant dancing, and most especially Rick Vigo as the Wolf! Now on view through June 7, 2009. (My Grade: 4)
MOTHER G
Now at the Boston Center for the Arts in their intimate Plaza Theatre, The Our Place Project presents "Mother G", a new play by Robert Johnson, as the initial presentation of the 9th Annual African American Theatre Festival. Set in 1963 in Boston's Dorchester neighborhood during the momentous days of the Civil Rights Movement, it's based on actual events and is a tribute to the playwright's own mother's courage and perseverance in exposing dishonesty and lechery in her beloved Baptist Church. Sweet unmarried 20 year old Hazel Washington (Marvelyn McFarlane), a leading member of the Church's choir, tearfully confesses that she is pregnant to "Mother G" (Latonya Gregg) a prominent Church spokesperson. Hazel recounts many of the events during her lengthy and clandestine relationship with the Church's charismatic Pastor James Mercy (Jason Cress) and how he now refuses to neither acknowledge nor accept responsibility for her plight. As proof of his perfidy Hazel is even able to show "Mother G" several love letter that the Reverend had sent to her. When "Mother G" confronts him, accompanied by a group of similarly concerned Church women, the smooth talking Minister stands firm refusing the change his attitude. Later when "Mother G" brings this issue before the Church's leader they too ultimately also refuse to acknowledge or punish Pastor Mercy's guilt. It's not until much later when the accused Reverend's former North Carolina Church informs the local house of worship of the Minister's previous fraudulent behavior that "Mother G's" charges are finally reviewed and responded to affirmatively by her Bishop. While this simple account of one prominent Church matriarch's confrontation with her Church's leadership is obviously framed by the then prevailing notions of male authority threatened by female assertiveness, it might have only been judged as a very predictable litany of her struggle and eventual triumph over male obstinacy. However, the story's progress is also enveloped by the majestic singing of the play's grandly voiced Gospel choir headed by the splendidly resonant sister Jackson (Linda Starks-Walker) "The Lord Will Make A Way", "Turn It Over to Jesus," "Oh Lord What Should I do", "When I Die, Hallelujah, I'll Fly Away", and "His Eye Is On The Sparrow," Amongst other such soulful chants, still resound joyfully long after the final curtain. Now playing through June 5, 2009.
MUCH ADO ABOUT NOTHING
Now at Hibernian Hall at The Roxbury Center for the Arts in Boston's Roxbury neighborhood, The Actor's Shakespeare Project presents their production of Shakespeare's "Much Ado About Nothing," staged cabaret-style in the center's large social hall, with the male performers as war veterans in either formal military attire or tuxedos, the females in contemporary cocktail dresses, and the audience seated arena-style at tables surrounding the centrally placed players. Prince Don Pedro (John Kuntz) returns after quelling an insurrection fomented by his illegitimate brother Don John (Doug Lockwood). Both Siblings have now also reconciled and are welcomed back by Governor Leonato (Johnny Lee Davenport). Bendick (Richard Snee), a confirmed bachelor, is quite dismissive of Beatrice, the Governor's niece, (Paula Plum) who likewise is also a confirmed bachelorette. Young, handsome Claudio (Sheldon Best) loves Governor Leonato's charming daughter Hero (Kami Rushell Smith), and with some assistance from Don Pedro begins to court her. Later for fun, Leonato, Don Pedro and Claudio play a trick on Benedick trying to make him believe that Beatrice has had an amorous change of mind towards him. Still later, at a masked ball, the treacherous Don John is able to sabotage Claudio's love for Hero by convincing him that she's been unfaithful. Ultimately with the help of a benevolent Friar (Michael Forden Waler) and the fortunate arrest of Don John's henchman by a foolish constable (Doug Lockwood) the scoundrel's perfidy is exposed. Claudio and Hero are reconciled and are wed with Benedick and Beatrice similarly realizing that they also really love each other. Amongst the evening's high points Margaret (Bobbie Steinbach), one of Hero's favorite attendants, celebrates by singing the Bard's "Sigh No More, Ladies" with a captivatingly infectious contemporary lilt. Deftly directed by Benjamin Evett, the company's founder and Artistic Director, with commendations also for Jason Ries' fine dramatic lighting and Giselle Ty's effective incidental musical accents. Now Playing through June 14, 2009. (My Grade: 5)
GREY GARDENS
The Lyric Stage Company of Boston presents its production of "Grey Gardens," featuring Book by Doug Wright, Music by Scott Frankel and Lyrics by Michael Korie. Based on the celebrated 1975 documentary motion picture by the famed Maysles Brothers and the recent equally lauded made-for-cable TV movie, this Tony Award winning musical first opened Off-Broadway in March 2006 and was then transferred to Broadway, where it ran for more than 300 performances, while also garnering a host of Drama Desk and Lucille Lortel Award nominations. At the show's center is the extraordinary relationship of two strange recluses (an elderly mother and her middle-aged daughter) who began their lives amidst all the trappings of great wealth and privilege and much later, in their declining years, find themselves living isolated in complete squalor and decay. In Act One, set in 1941, we discover Edith Ewing Bouvier Beale (known as "Big Edie") first cousin and aunt to former first Lady Jacqueline Kennedy Onassis, and her similarly named daughter (known as "Little Edie") living in their stately mansion; "Grey Gardens," in East Hampton, Long Island, N.Y. They are at the apex of the Empire State's High Society. "Little Edie" may even become engaged to handsome, young Joseph Patrick Kennedy, Jr. Two lively songs "The Girl Who Has Everything," and "Marry Well" set the tone for her, while "Goin' Places" does the same for the young, promising son of the Kennedy clan. Mother and daughter's "Two Peas In a Pod" establishes the deep care and need that both have for each other. Act Two takes place 32 years later in 1973. "Big Edie" and "Little Edie" are now living alone in their formerly imposing residence which has since fallen on extremely hard times. Crumbling walls, broken shutters, tattered drapes, garbage strewn everywhere with a multitude of unhealthy cats cavorting about in the midst of their pee and droppings, plus an attic full of unrestrained raccoons describes the Beale's current lifestyle. Their sordid ambience will eventually fall prey to the local Board of Health inspectors. "Little Edie", now bitter and suffering from some hair-loss, covers her balding head with an old scarf while dressed otherwise in odd bits of clothing. Her exuberant song: "The Revolutionary Costume for Today" initiates the second act's disorder. The show offers us no explanation for their dreadful decline, although there are hints about "Big Edie's" divorce from her husband "Major Bouvier," who appears briefly in the first act to counsel "Little Edie" by singing the aforementioned "Marry Well" to her. It's being extremely well acted and sung by the accomplished cast under Spiro Veloudos' strong direction. Leigh Barrett is especially effective in Act One as "Big Edie" and then in Act Two as the now more mature "Little Edie." Strong support is provided by lovely, full-voiced Aimee Doherty as the young little "Edie". After the intermission, Sarah de Lima shines as the sonorous and elderly "Big Edie." Kudos also are due for R. Patrick Ryan as the youthful Joseph Patrick Kennedy, Jr., and Dick Santos as "Major Bouvier", as well as the splendid small accompanying orchestra directed by Jonathon Goldberg. Now playing through June 6, 2009. (My grade: 5)
ROMANCE
Now at the Loeb Drama Center in Cambridge, Mass., The American Repertory Theater presents its new production of "Romance" by David Mamet. A recent off-Broadway success, this wildly boisterous farce now makes its local debut ready to direct its nonstop comic assaults on all of our most sacrosanct institutions and beliefs. To prepare the audience, a video-styled monitor in the lobby scrolls a very long list of groups to be offended, which at first look seems to suggest everyone entering the theater. It's set in a court room where a feisty Jewish Chiropractor (Remo Airaldi) is on trial because of an altercation he had with a Chiropodist (they are not the same.) As his Defense Attorney (Jim True-Frost) trades legal thrusts with the aggressively assertive Prosecutor (Thomas Derrah) we also learn that a high level meeting of Israeli and Arab leaders is to be convened nearby. Maybe a peace treaty between them might be a possibility? As the confrontation between the Prosecutor and Defense Attorney begins to reach the boiling point, the often inattentive Judge (Will LeBow), obviously troubled by some sort of seasonal allergies ("Did I take my pill?"), calls for a recess. During the break, the defendant's major dissatisfaction with his Defense Attorney results in a loud and very overloaded anti-Semitic outburst by the Protestant Defender---with an equally shrill response by the accused! ("An Episcopalian is nothing but a Catholic with a Volvo!") However, Act One concludes with these two combatants suddenly agreeing that they may have stumbled onto unexpected pathways to peace in the MidEast. Act Two now follows, after a brief intermission, with Mamet's full comedic impact. We find the Prosecutors own life is complicated by Bernard (Carl Foreman), his gay-thong wearing partner, who has a penchant for burning the dinner pot roast. The court room trial resumes with the judge returning in a completely disheveled state thanks to his many assaulting allergies. Now fully distracted from the case before him, he is overwhelmed both by his health needs, for so many pills, and his curious concerns as to whether he and Shakespeare may or may really not be Jewish. When Bernard unexpectedly shows up, the Court's proceedings are thrown into turmoil and significantly new and amusing facts about the Defendant are surprisingly revealed. As previously stated, the explosively humorous dialogue crackles with many pointed barbs aimed at offending or deflating all creeds and ethnic groups. The splendid cast is in grandly comic form from start to finish under Scott Zigler's highly spirited direction, while David Mamet's propensity for four letter epithets effectively resonates throughout. Now playing through June 7, 2009 (My grade: 5)
JERRY SPRINGER---THE OPERA
Now at the Roberts Studio Theater in the Calderwood Pavilion at The Boston Center for the Arts, The Speakeasy Stage Company presents the New England Premiere of "Jerry Springer–The Opera," featuring music by Richard Thomas, who also collaborated on the show's book and lyrics with Stewart Lee. A smash hit in London, where it won a host of Olivier Awards and where audiences also lined up there and throughout England for three years after its debut in 2003. It has been successfully staged here in the U.S. since then in Las Vegas, Chicago, Memphis, Des Moines, Cincinnati and Washington, DC. A brief two-night concert version was also presented at New York's Carnegie Hall in 2008, after a full-scale Broadway presentation was of Trash TV finally has come to Boston! Lest you doubt this show's title, it is indeed an opera, in two acts almost entirely sung as arias or duets by the large full voiced cast with only a brief and occasional moment spoken. It is almost certainly a vivid and assertive spoof of grand opera running the gamut of styled ranging from Bach and Handel to even William Blake, religious chants and Gospel, to R&B, jazz, country, rock and elevator music. It also features the most extensive non-stop parade of four-letter expletives to be heard outside of the last controversially decided high-school basketball game. Act One is "The Jerry Springer Show" with all of its' foul mouthed dysfunction, abusive hostility and violence impressively resonant! Big and clumsy Dwight (Luke Grooms) confessing to his flashy fiancee Peaches (Ariana Valdes) that he's been cheating on her with (Jared Troilo) a transvestite ( "A chick with a dick.") Meanwhile, weird Montel (Brian Richard Robinson) later arrives accompanied by his fiancée Andrea (Kerry Dowling) and their friend Baby Jane (Ariana Valdes again). He's only wearing a diaper and loudly singing that he loves doing what infants do in their diapers. Meanwhile, lap dancer Shawntel (Joelle Lurie) brawls with her momma (Amelia Broome), while her hillbilly spouse Chucky (Wesley Thomas) goes cruising for other lap dancers. Act one ends in a wild melee with gunshots and Jerry Springer (deftly portrayed by Michael Fennimore) being gravely shot. Act Two finds the wounded Jerry in hell meditating an inconclusive confrontation between the devil (Timothy John Smith) and God. Now, all of these personalities are portrayed by all of the same aforementioned players. With God singing "It Ain't Easy Being Me," and Satan tired of Hades and vying for a second chance, they're joined by Jesus, again just wearing a diaper. He's joined by Adam and Eve and all of the Angels. Here the highlight of this special "Jerry Springer Show" in purgatory is a full chorus line of white robed Ku Klux Klansmen tap dancing together in the best Busby Berkeley and/or June Taylor fashion. The large cast, whose singing ranges from splendid to merely adequate, meet the challenges of the demanding musical score reasonably well under Paul Daigneault, the company's producing artistic director's vigorous direction. Now playing through May 30, 2009. (My grade: 5)
STRANGERS ON A TRAIN
Now at the Stoneham Theatre in Stoneham, MA. is their production of "Strangers On A Train," by Craig Warner. Based on the novel by Patricia Highsmith, which was later redefined by Hollywood as Alfred Hitchcock's highly popular 1951 motion picture. Since this stage adaptation hues much more closely to writer Highsmith’s original novel, we can now see how significantly-altered Hitchcock's version was. Set around 1950, two passengers meet for the first time on a train bound for Texas. Guy Haines is a young promising architect. Charles Bruno, his new similarly-aged acquaintance, is unemployed and lives at home with his wealthy parents. As these two strangers sit together chatting with each other we learn that Guy is planning to separate from his wife after discovering that she had an affair with his best friend and is pregnant. We find that Charles' domineering father is in control of a substantial trust fund which has been established for him. He is very upset by the strict hold that his father has on what he insists is "his" money and is desperate to find some way to wrest it from the old man's grasp. He then suggests what he considers to be a fool proof solution to Guy. He will first kill Guy's unfaithful wife and then later, in return, Guy will also do away with Guy's oppressive father. Both he and Guy will then able to provide absolutely solid alibis for themselves. After initially thinking Charles' scheme to be facetious, their train ride ends with Guy wondering otherwise. Sometime later, Charles unexpectedly comes to Guy's home and announces that he has followed Guy's cheating wife into a lonely wooded area and strangled her to death. He then expects the horrified Guy to follow through and kill Charles' despicable father. Guy adamantly refuses to comply! In a concerted effort to break Guy's will, Charles threatens to mail a series of letters to Guy's friends and professional associates which will generate doubt about his innocence. Charles then relentlessly carries out his intimidating plan by sending one incriminating message at a time, and then waits to see what Guy's response will be. Now free of his late, deceitful wife, Guy has become romantically involved with lovely young Anne Faulkner and plans to marry her. When she receives one of Charles' damaging messages, and a private detective also begins assertively investigating the circumstances surrounding the murder of Guy's wife, the highly troubled architect finally makes his drastic decision. Well directed by Weylin Symes and intensely performed by Jonathon Popp as the beleaguered Guy Haines, and by Robert Serrell as the obviously psychotic Charles Bruno. Equally compelling support is also provided by Liz Hayes as Anne Faulkner and Brendan McNab as the suspicious private investigator. Dee Nelson's brief introduction as Charles' wealthy and highly officious mother also effectively adds incestuous overtones to his extraordinary behavior. Now playing through May 24, 2009 (My grade: 5)
THE LADY'S NOT FOR BURNING
Now at Beatrice Herford's Vokes Theater in Wayland, MA is their new production of "The Lady's Not For Burning" by Christopher Fry. Written and staged originally in London in 1949, where it enjoyed much success, it then opened the following year on Broadway where it also went on to garner the New York Drama Critics' Circle Award as Best Foreign Play of 1950-51. It was revived successfully on Broadway in 1983. Set in England in the 15th century, Thomas Mendip, a former soldier, world weary and dispirited, arrives in the home of the mayor of a small town. Declaring that he had killed one of the town's people, he demands to be punished by hanging! He's annoyed when no one there believes him. In the meantime, Jennet, a lovely young woman, is also brought before the Mayor and is accused of being a witch. Sentenced to death for turning townsmen into a dog, as expected, she strongly objects while also defiantly denying that she's guilty of witchcraft. Thomas then quickly points out the absurdity of the Mayor's refusing to hang someone who has confessed to murder, while simultaneously sending so beautiful, obviously innocent, and foolishly accused a young maiden to the gallows! Jennet is quite impressed by this gallant former warrior who has so eloquently come to her defense. As this double dilemma begins to develop, the Mayor, as well as his family and staff, are also preparing for an impending wedding between sweet country maiden Alizon and the Mayor's nephew, and since no time is left for him to immediately decide either Thomas or Jennet's fate, he agrees to allow these two to also participate in the pre-nuptial activities. Later, surprising complications erupt after Alizon decides to unexpectedly elope with the Mayor's clerk instead. When the old man, who Thomas claims to have killed, turns up alive and also proves to be the one Jennet suspected of having enchanted, the Mayor is happy to then set both of them free. While all of this was happening, Thomas was also beginning to fall deeply in love with Jennet, and to his great joy discovered that Jennet was also beginning to feel the same way toward him. Nicely played by the fine cast Chris Cardoni (who is also the play's Director) quite effective as Thomas Mendip; with compelling support by Melissa Sime as Jennet. Ms. Sime, together with Cardoni, also helped to develop the play's splendid period costumes while serving as the show's producer as well. Both she and Chris are certainly to be applauded for their accomplishments! Much praise also for Robert Zawistowski as the Mayor, Amy Courage as the eloping Alizon and Victor Shopov as her delighted clerk. Performed in verse, much like Shakespeare's lighter works, this deftly performed romantic comedy certainly did deserve the strong and exuberant response at the final curtain, by the capacity audience. Now playing through May 16th, 2009. (My grade: 5)
SPRING AWAKENING
Now at the Colonial Theatre in Boston is "Spring Awakening," the new musical adaptation of Frank Wedekind's highly controversial, ground breaking and rarely staged 1891 drama about the sexual stirrings of a group of provincial German adolescents. Featuring music by Duncan Sheik, with book and lyrics by Steven Sater, this new version hews closely to Wedekind's original. After its triumphant Broadway debut in 2006, it went on to garner eight Tony awards, ranging from book, Choreography and Direction to best musical, as well as Drama Critics' Circle, Drama Desk and Outer Critics' Circle Awards, too. The show's provocative story centers on three troubled teenagers as they begin to explore their own burgeoning self-awareness. Confronted by dilemmas including lust, rape, pregnancy culminating in bungled abortion and suicide, the large predominantly youthful, well voiced, and energetic cast handle their assignments vividly and passionately! Melchior has sought answers to his own vexing questions about his physicality by turning to texts about biology. Attempting to help his long-standing and quite perplexed friend Moritz also grapple with such issues, he offers to write down what he knows about sex, including some primitive illustrations. Fourteen year old Wendla turns to her mother for answers to her questions about child birth. "How did I become an Aunt?" she wonders. Her overly embarrassed mother, however, is so flustered she can only reply by describing it as the result of the extreme love of her parents. Dissatisfied, she asks the more well-informed Melchior. This ultimately results in him impregnating her, culminating in the aforementioned failed abortion. Meanwhile, Moritz begins to feel very indebted to his parents for their financial support of his schooling, coupled with his overwhelming sense of academic inadequacy. This, compounded by his growing awareness of his uncontrollable sexual urges, leads to him to end it all! As expected, parents and teachers then begin to focus on Melchior as the cause of all this dismay. The show's nearly 20 songs deftly advance the evening's compelling story with "Touch Me," The Word of Your Body," "The Dark I Know Well," "I Don't Do Sadness," and the poignant finale "Song of Purple Summer," being especially noteworthy. Kyle Riabko as Melchior, Blake Bashoff as Moritz and Christy Altomare as Wendla give equally strong performances emoting dramatically, vibrantly singing and vigorously dancing! Strikingly directed by Michael Mayer and robustly choreographed by Bill T. Jones it is also being effectively presented semi-arena style with a cordon of seated young audience members on each side of the stage, all in front of the fine small on-stage rocking orchestra directed by Jared Stein. Final praise is also due for Susan Hilferty's effectively accurate late 19th century provincial costumes. Now playing through May 24, 2009. (My grade: 5)
HUMBLE BOY
Now at The Boston Center for the Arts, in their intimate Plaza Theatre, The Publick Theatre presents the New England premiere of "Humble Boy," by Charlotte Jones. A major success after its debut in 2001 at London's Royal National Theatre at which time it earned several prestigious British Theatrical Awards, it was similarly greeted and lauded upon its American premiere at New York's Manhattan Theatre Club where it garnered a Drama Desk nomination at Best New Play of 2003-2004. Felix Humble, an astrophysicist, has returned from Cambridge University to his family's home in the English countryside. He's come to attend his father's funeral. His deceased parent had been a notable professor of biology as well as a dedicated, amateur bee-keeper. To his surprise, Felix discovers that his highly assertive mother, Flora, has been having an affair with George Pye, a gruff neighbor and the widower father of Rosie, a former girlfriend of Felix. Complications soon develop however when Felix's imperious mom turns over to him the urn containing his late dad's ashes. Also, as expected, in attendance at Flora Humble's lovely outdoor green terrace (nicely detailed by set designer: Dahlia Al-Habieli) is her simple, yet reserved and attentive gardener: Jim, as well as Flora's quietly timid houseguest Mercy Lott. The latter, in an awkwardly unexpected misstep, finds herself at the center of a grandly amusing mix-up concerning Felix's father's ashes! Playwright Jones also introduces a surprising Hamlet-like specter, near her play's final curtain to neatly tie-up the plot's various complexities which have arisen out of the highly strained relations between Felix and his mother. Assuredly acted by the fine small cast with strong portrayals by Tom O'Keefe as Felix and Stephanie Clayman as his decisive mother. Kudos also for Nancy E. Carroll as Flora's shy and submissive friend Mercy, Nigel Gore as her amorous but generally uncultivated neighbor George, Claire Warden as his daughter Rosie and Dafyd Rees as the family's quietly accommodating gardener. Deftly plotted by the authoress with a winning blend of dialogue alternately witty but also with serious undertones, confidently directed by Diego Arciniegas, the company's artistic manager. Now playing through May 2, 2009. (My grade: 5)
SUPER HEROINE MONOLOGUES
Now at the Boston Playwrights' Theatre, Phoenix Theatre Artists and Company One presents the world premiere of "Super Heroine Monologues" by Rick Park and John Kuntz. Subtitled "a parody of super proportions," it certainly is indeed that. Beginning in 1941, the evening's lengthy non-stop one act "one hour and forty five minutes" covers nearly all of the major comic book super heroines right up to the present time. Starting on the fanciful ancient Grecian styled Paradise Island, Queen Hippolyta (Maureen Adduci) agrees to send her beautiful and powerful daughter Diana (Shawna O'Brien) to earth as "Wonder Woman" to help save the democratic way of life from the evil threat facing the world because of the axis powers. Continuing on into the mid-fifties, refined Lois Lane (Amanda Good Hennessey) the smart and lovely reporter on "The Daily Planet" newspaper refusing to be fooled, even for one minute, by Superman's skimpy disguise (just a simple pair of eyeglasses) as the mild-mannered and neat fellow reporter, Clark Kent. Of course, she then sets her mind onto finding a way to get Superman to propose marriage to her. In this same zestful manner the show cavorts through the century's decades highlighting the nighttime's daring "Catwoman" (Elizabeth Brunette) and "Batgirl" (Melissa Baroni) who has grown tired of only being accepted as just Gotham City's police commissioner's daughter. Later, we even find Superman's distaff relative "Supergirl" (Jackie McCoy) equally "faster than a speeding bullet" and ever ready to defend Metropolis from the forces of crime! Still later "Storm" (Cheryl D. Singleton), although she's in complete control of the weather, regrets that she might rather have been even better if she'd had some kids to care for! It all finally wraps up with "Phoenix" (Christine Power) who's got mother problems and a surprisingly much older and maybe wiser "Wonder Woman" (whom we saw during the show's first few moments as Queen Hippolyta). It seems to me that if we actually do go back to the comic books, where these super beings first appeared, they have never, ever grown older. On the way through the years these super heroines also encountered "Superman" (Art Hennessey) in bright cape and tights with bulging muscles as well as other assorted heroes and villains (Terrence P. Haddad and Jordan Harrison). High marks must also go to Greg Maraio who was not only the show's Director but also designed the casts' accurate and highly colorful costumes. Now playing through April 26, 2009. (My grade: 5)
SPEECH AND DEBATE
The Lyric Stage Company of Boston currently presents the area premiere of "Speech & Debate" by Stephen Karam. Set in a contemporary Salem, Oregon high school, three unlikely teenagers convene in a class conference room. Solomon, an intense nerd, fashions himself as a budding journalist with a explosively newsworthy story ready for exposure. Diwata, pretty, feisty and exuberant, sees herself as a potential luminary in theatrical musicals. Howie, a recent senior, transferred to Salem High School from Portland, Oregon, hopes to pave the way for some kinds of gay-straight alliance. Diwata is vexed at not being chosen by her drama teacher to appear in school productions of "Once Upon a Mattress" and "The Crucible", while Solomon knows all about a potential scandal concerning Salem's Mayor and some teenagers. Howie, on the other hand, just wants to maintain his own sense of self-balance. Eventually, these three misfits form a speech and debate club as a means of promoting their individual concerns in spite of all the adult hypocrisy around them. In the process, Diwata is able to convince a local news reporter to come to a presentation there, related to their interests-- with unexpectedly amusing consequences. Somehow her efforts result in over-the-top amalgamations of Arthur Miller's "The Crucible" (a drama about the Salem Mass. witch trials) with Abe Lincoln's early years as a gay teenager. Into this bizarre confrontation is then added playwright Miller's young 17th century female witchcraft accuser with grandly comic results! In this context, Howie also joins in with an engagingly suggestive dance focused on "freedom." Under Jeremy Johnson's knowing direction the small splendidly accomplished cast are all in top form. Rachael Hunt is especially vivid and compelling as the highly enthusiastic but troubled Diwata. Alex Wyse is quite convincing as the zealous and yet insecure Solomon, with well defined support from Chris Connor as the light Howie. Maureen Keiller initially as Diwata's bothersome teacher, and later on as the group's visiting journalist is also quite effective. Now playing through April 25, 2009.
PICNIC
Now at the Stoneham Theatre in Stoneham, Mass. is their new production of "Picnic" by William Inge. First presented on Broadway in 1953, it went on to win both the New York Drama Critics' Circle Award as best play, as well as the Pulitzer Prize for drama that same year. It was later produced as a very successful Hollywood motion picture in 1955. Set during that same period, in a small, rustic town in Kansas, as the community prepares for their annual festive Labor Day picnic celebration. The play evolves in the open yard space between two adjoining rural homes on this portentous weekend. To one side lives Flo Owens, a middle-aged widow with two young daughters; rambunctious Millie a feisty, early teenager and her sister, 19 year old Madge, whom everyone agrees is "the prettiest girl in town." The neighbor is Helen Potts, well past her prime and never married, is wistfully referred to as "Mrs." because of her warm hospitality even to itinerant strangers. Flo would be delighted if her daughter Madge might eventually marry good looking Alan Seymour, son of the town's most prosperous family. However, Hal Carter, a former university pal of Alan's and now a long-time unemployed dropout and drifter, has recently breezed into the area and has been doing handy work for Mrs. Potts in exchange for a few days of room and board at her home. Handsome, muscular and devil-may-care, Hal is quick to boast about his life "on the road" and his romantic adventures to his old time college buddy. As expected, when Hal ultimately encounters pretty, young Madge, everyone's blissful hopes for their special holiday weekend are abruptly and unalterably overturned with profoundly life-changing consequences. Vividly performed by the splendid cast featuring Aidan Kane as the unfettered Hal Carter and Delilah Kistler as the sweet and innocent Madge Owens, with effective support from Dee Nelson as her concerned mother; Emily Graham-Handley as her young, exuberant sister; Lisa Foley as their neighbor Mrs. Potts; and Ben Sloane as the affluent and well-bred Alan Seymour. Especially noteworthy is Sarah Newhouse as Rosemary Sydney, an unmarried middle-aged school teacher who is a boarder in Flo Owens' home. In an especially poignant moment, she pours her heart out to her long-time steady boyfriend Howard Bevans (a prosperous local store keeper), played by Craig Mathers. Overwhelmed by feelings of loneliness, and despair, after they returned from the big picnic and kindled by her sense of unrequited affection for him, she unexpectedly and fervently begs him to marry her! Finally confronted by her anguished sobbing, he pleads for time to consider her desire promising to return with his answer the next morning. Assuredly directed by Caitlin Lowans, with commendations for Charlie Morgan's fine rustic set with its' two prominent multi-level wood-framed homes facing each other separated by an open yard space. Kudos also for Christopher Ostrom's effectively dramatic lighting and David Wilson's engaging choices of incidental music. While the drama's fervid denouement was virtually foretold from the play's onset, the sense of small town values and prohibitions were accurately established and carried forward persuasively. Now playing through April 19, 2009.
THE WRESTLING PATIENT
Now at the Robert's Studio Theater in the Calderwood Pavilion at the Boston Center for the Arts, the Speakeasy Stage Company, in collaboration with the Boston Playwrights' Theater and Forty Magnolia's Production, presents the world premiere of "The Wrestling Patient," a new play conceived and written by Kirk Lynn, Anne Gottlieb and Katie Pearl. It was selected as an outstanding new American play this past fall, in a competition sponsored by the National Endowment for the Arts and is now being staged here with Katie Pearl as director. It is inspired by the life and writings of Etty Hillesum, a promising 27 year old Dutch Jewish law student, living with her family in Amsterdam at the onset in 1941 of the Nazi conquest and occupation of her native Holland. In her own fashion, she began keeping a diary to help her cope with her troubling depression and the unfolding horrific social and governmental catastrophe that begin to engulf their world. Unlike the moving journals of teenage victim Anne Frank, Etty's log was not published in Holland until the year's spanning 1979-1981 and then finally here in the United States in 1983. The main thrust of Etty's chronicles centers on her resolve to aid her family and her fellow Jews during the desperate days of the Holocaust onslaught. Etty, her father Louis, mother Riva and brothers Jaap (the elder) and Mischa (the younger and a gifted pianist) were all ultimately murdered by the Nazi killers during 1943 and 1944. Etty's story begins with her meetings, early in 1941 with older analyst Julius Spier, also Jewish and a disciple of Carl Jung, who was the originator of psycho-chirology (which specialized in the psychological meaning inherent in palm prints). Their stormy relationship quickly developed into a passionate intensity! The play's unusual title stems from Spier's extraordinary use of physicality (such as wrestling) as the corner of his psychiatric therapy. The designation also serves as a potent metaphor for any struggles with her depression and the other terrible and overwhelming options now confronting her and her fellow Jews. During the play's 2.5 hours (including a brief intermission) Etty and her family travel from Amsterdam to notorious Nazi Westerbork transit camp in the Netherlands. After she joined the infamous Jewish Council, a Nazi dominated group which mainly served to facilitate deportation to the death camps, hoping thereby to somehow help her family and other endangered Jews, she came face-to-face with the ghastly choices she was forced to make as to who might stay (at least for awhile) and who might immediately go. In the end, Etty, her father, mother and brothers, as well as all those she tried so desperately to help were gassed at Auschwitz. Throughout the play, Etty is also counseled by a mysterious figment of her overwrought imagination. Acting like an omniscient "Greek chorus" this tall, arrogant, business man identifies himself only as "the Wrecking Ball." Initially personifying the Nazis, he later seems also to mirror Etty's troubled emotions. In the end he stridently sums up Etty and her kins' eventual destination by cautioning her that "all roads now lead to Poland." Fervently performed by the splendid cast, featuring Anne Gottlieb as Etty. As the Artistic Director of 40 Magnolia's productions, Ms. Gottlieb became the driving force to premiere Etty Hillesum's life and chronicles as this dramatically provocative and engrossing achievement. Her strong central performance is ardently buttressed by Will Lyman as Julius Spier, Marya Lowry and Joel Colodner as her mother and father, Daniel Berger-Jones and Tom Gottlieb (no relation to Anne) as Etty's brothers: Jaap and Mischa, Elyse Audrey Manning as a young concentration camp inmate helped by Etty and Will McGarrahan as the ominous "Wrecking Ball." High commendations must also go to Richard Chambers' stark multi-leveled, black, wooden-framed set, Benjamin Emerson's effective sound design and Franklin Meissner Jr. dramatically forceful lighting. Now playing through April 11, 2009.
THE PAIN AND THE ITCH
Now at the Boston Center for the Arts' Plaza Theater, Company One presents the Boston premiere of "The Pain & The Itch," a new play by Bruce Norris. First staged at Chicago's Steppenwolf Theater in 2004, where it became a hit, generated by some initial controversy. It later also achieved similar approval off-Broadway at New York's Playwright's Horizon. Husband Clay has agreed to take care of home and family, while wife Kelly works as a well-paid lawyer at a prominent law firm. As the play opens in the well furnished, contemporary, suburban living room, they have invited Mr. Hadid, a distraught immigrant African cab driver into their home. It's not until much later that we learn why he is so upset. In their patronizing fashion, they try to put him at ease. As he calmly observes his hosts throughout most of the play's action, we're never really certain of who or what he is. Clay and Kelly are preparing their family's Thanksgiving Day celebration for their daughter Kayla as well as for their new infant son, who Kelly holds firmly throughout in a fashionable designer pouch slung over her shoulder. They are joined for the holiday celebration by Clay's mother Carol, a former kindergarten teacher who's politically liberal and thinks of herself as being very socially tolerant. Clay's brother Cash, a plastic surgeon and his young, pretty girlfriend Kalina (a Russian émigré who's only been in the U.S. for 4 ½ years) have also been invited to the dinner party. As the festive preparations continue, many of the group's grievances and underlying tensions begin to be asserted. The long standing sibling rivalry between Clay and Cash, evident from early childhood repeatedly placated by their accommodating and ever-denying mom is now once again fully revealed. Cash's sweetheart Kalina, after some exuberant playfulness with the very young Kayla, blurts out her stormy Russian past including some specifics about her being raped as a child and her distaste for gypsies and Jews! We also quickly discover that little Kayla is afflicted with an unusual genital rash, and the Clay and Kelly are aware that some strange wild animal may be prowling about in their rafters, and might possible be responsible for Kayla's problem. Some half eaten avocados are cited as evidence. This of course suggests the reason for the play's unusual title. However, when the family's brand new, large flat screen TV now functions and unexpectedly reveals Clay's hidden obsession with pornography, doubts about the young child's affliction begin to grow. The staging controversy alluded to earlier was based upon the fact that an actual small child is present on stage throughout the full course of this strikingly adult presentation. However, it should also be noted that there are three different young children who regularly alternate from performance to performance, in their non-speaking appearances. As previously also stated the unidentified Mr. Hadid has quietly observed the conspicuous hypocrisy that really defines this typically tolerant and idyllic young, professional American household. The surprising reason for his attendance will also soon be revealed! Vividly performed by Joe Lanza as Clay, Amy Doherty as Kelly, Dennis Trainor Jr. as Cash, and Nancy E. Carroll as their indulgent mother. High marks also for Philana Mia as Kalina, Cedric Lilly as Hadid and certainly this time also for young Helen Steinman as Kayla. Under M. Devan O'Gara's assured direction this biting satire is now playing through April 4, 2009. (My grade: 5)
THE TWO MEN OF FLORENCE
Now at the Boston University Theater, the Huntington Theatre Company presents "The Two Men of Florence" by Richard N. Goodwin. Originally staged in England in 2003, (then titled, "The Hinge of the World") this new presentation marks its American premiere. Author Goodwin is best known as a major speech writer for Presidents John F. Kennedy and Lyndon B. Johnson, as well as serving similarly Bobby Kennedy and Eugene McCarthy during their presidential campaigns. The two men in Goodwin's play, set in the 17th century, are Galileo Galilei, the legendary "Father of Modern Science," and Pope Urban VIII, the former Cardinal Maffeo Barberini, with the epoch confrontation centering on Galileo's theory that the earth revolves around the sun rather than vice-versa. This, of course, completely challenged the long-held opposite view supported by the Catholic Church. Ultimately, when Urban fails to sway his friend Galileo to temper his controversial views in favor of the Church's contrary doctrine, Galileo then becomes of prime concern to the inquisition. This brings Maria Celeste, the great scientist and beloved daughter, who was not just a cloistered nun but also her father's laboratory assistant and his most dedicated advocate, to finally also die grief stricken. However, if Goodwin's play might have just focused on this great decisive collision between these two historic personalities it would most certainly have been much more provocative and compelling intellectually than it now it. Unfortunately, this is not the case. Instead, the author has crammed his play with more than a dozen+ subsidiary characters ranging from the Pope's wide coterie of subordinates, as well as various noblemen and even some political figures. Surprisingly, Maria Celeste, Galileo's daughter, represents the play's only woman! This big cast might have worked to the play's advantage had this large supporting ensemble had some engaging and/or stimulating observations to make to enlist the audience's involvement. Unfortunately, their comments would seem to drag on and on, seem mostly ponderous, more historic text than dramatic. Although the large casts' overall performances are reasonably accomplished, the play doesn't really detonate until the final calamitous show-down between Pope Urban VIII and Galileo. When this finally happens it does indeed engage us, but it does come too late. Jay O. Sanders as Galileo and Edward Herrmann as the Pope are strong vivid performances with equally impressive representations by Molly Schreiber as Maria Celeste, as well as Dermott Crowley, Peter Van Wagner, Diego Arciniegas and Joel Rainwater amongst others, as various Church dignitaries. Well directed by Edward Hall (son of great Britain's commanding "Sir Peter Hall") with special notice for Francis O'Connor's extraordinary, rotating planetarium-styled and flickering set, as well as his splendid period costumes and of course Simon Slater's strong incidental music. Now playing through April 5, 2009. (My grade: 2.5)
BLACKBIRD
Now at the Boston Center for the Arts' Calderwood Pavilion in the Robert Studio Theatre, the Speakeasy Stage Company presents its production of "Blackbird" by David Harrower. Sixteen years earlier, Ray entered into a tumultuous relationship with Una, culminating with sex together at a non-descript hotel. Notwithstanding the facts that Ray, at that time was 40 years old, a guest of Una's parents and especially that Una then was only 12 years old! As expected, Ray went to prison for four years. Una, now a woman in her late 20's, has not heard from or seen Ray since. Humiliated by the scandal, she often wondered about him. Now, so many years later, she recognizes his photo in a magazine and surprises him at his work place. She confronts her former "lover" in the dingy employee lounge of an unknown office building. Amidst the vast number of empty soda cans, torn candy and pastry wrappers and crumpled paper plates that litter the floor, these two finally meet again! For the next 90 (intermission-less) minutes, they passionately review and sum up their past. "Why didn't you try to show some self-restraint!" she insists. "Though you were so young, maybe you did really know how to entice me" counters Ray adding "they said in court that I had chosen you." Back and forth go the pro and con accusations. She even reminds Ray of his betrayal of his trusting parents. In a bristling mixture of repulsion and disgust surprisingly intermingled with hints of latent feelings of love and even mocking intimations of seduction, they try to come to some understanding about their extraordinary history together. Many such issues are exposed to no real agreement. Even questions about Ray's current status remain unanswered. What's his life like now? What kind of job does he have? Is he a person of some responsibility in this office? Or really just the building's janitor? Many such questions are raised with none resolved until this troubling drama's highly unsettling conclusion! Intensely performed with riveting ardor by Bates Wilder as Ray and Marianna Bassham as Una under David R. Gammons' compelling direction. This provocative winner of London's prestigious Olivia Award as the best new (2007) play with its unusual title, echoing the symbolism in the celebrated recording by the Beatles, is now playing through March 21, 2009. (My grade: 5)
EXITS AND ENTRANCES
Now at The Arsenal Center for the Arts in Watertown, Mass., at The Mosesian Theater, The New Repertory Theatre presents its production of "Exits and Entrances" by Athol Fugard. Written in 2004, this one act, 90 minute two man play explores the function of theatre, acting and its past and present impact on societal awareness in the last 50's and early 60's. Set backstage in South Africa, a young aspiring playwright meets again with an aging, long-established but now assuredly fading Afrikaans actor. Preparing for his finale, the culmination of his life-long career on stage, the elderly actor ruminates about his initial high hopes and his ultimate disillusionment. During their meeting, the old star performs lengthy excerpts from "Oedipus Rex," "Hamlet," and "The Prisoner," by Bridget Boland, which concerns the trial and torment of Catholic Cardinal Jozsef Mindszenty in Hungary, at the height of the cold war, by his communist jailors and prosecutors. The dejected elder recalls how he's been criticized by the new crop of drama critics for being "too old fashioned and too outdated." When the young playwright sees drama as an agent for public awareness leading to potential social action and betterment, the elder dismisses his notions as naive idealism! He cautions his young admirer saying "take my advice, write good drawing room comedies and make lots of money!" He sums up his long career thusly: "after 35 years of acting…I'm just an aging, old, gay ham." Undeterred, the youthful dramatist discusses his new play. It's about two black brothers from South Africa's slums. One brother is dark skinned, the other sibling's color is light. Beginning with optimism, in the end, their expectations are mangled by "the system." Notwithstanding the young man's confidence, the seasoned player remains steadfast: "write about white people, your own people!" Within the provocative study of the elder's bitter discouragement versus the beginning playwright's positiveness, the old actor's performances of the aforementioned soliloquies, especially Hamlet's melancholy "To Be or Not to Be" reflection gain a decidedly stirring edge. Very well acted by Will Lyman as the retiring actor and Ross MacDonald as the playwright under Chris Jorie's strong direction with additional praise for John Malinowski's effectively dramatic lighting. While the young playwright's background and ethos might have been more defined, otherwise this engaging contrast between these two remained consistently compelling throughout. Now playing through March 15, 2009. (My grade: 4)
A YEAR WITH FROG & TOAD
Now at the Stoneham Theatre in Stoneham, Mass., is their production of "A Year with Frog and Toad," a new musical play based on the celebrated books by Arnold Lobel. Conceived by Adrienne Lobel (the author's daughter) with theatrical script adapted by her husband Mark Linn-Baker, it was very well received at its Broadway debut in 2003. Featuring music by Robert Reale and lyrics by Willie Reale, the show's set-design by Audra Avery emphasizes much of Boston's well-know skyline utilizing a cartoon-like panorama ranging from the John Hancock and Prudential Towers to the well known Paul Revere statue and even Kenmore Square's landmark illuminated Citgo sign! The excellent five member cast is headed by Steven Barkhimer as Frog and Edward M. Barker as Toad, with splendid vocal and dance support provided by Mary Callanan, Phil Crumrine and Ceit McCaleb Zweil in a wide variety of animal-like roles such as birds, mice, squirrels, lizards, turtles and snails. Their bright, simple, contemporary, and colorful sky blue, lemon yellow and snow white cape, caps skirts and slacks, all designed by Joanna Murphy, effectively meet the plot's requirements. The show's frisky story-line follows Frog and Toad, and all of their assorted aforementioned friends from one winter, throughout all the following seasons, to the next winter. It accomplishes this by the evening's delightfully lively, nearly 20 tuneful songs "an ode to my friend Toad," "Ding-a-ling, It's Spring!" "I'm a Snail with Some Mail," "Cookies, Cookies (Let's have some more!)," "Eating with Others is Rude!" (It's Not Good Being Chewed) and (Bing, Bang, Boom! Gimme Some Room)" "I'm Comin' Out of My Shell!" are amongst the night's best. The vibrant small orchestra, directed by Mario Cruz , and Ilyse Robbins' high spirited choreography are most certainly noteworthy. This grand family-friendly treat is now playing through March 15, 2009 and is definitely recommended! (My grade: 5)
CAT ON A HOT TIN ROOF
Now at the Lyric Stage Company of Boston is their production of "Cat on a Hot Tin Roof" by Tennessee Williams. Winner of the 1955 Pulitzer Prize after its great success on Broadway that same year, this same vivid drama went on to become one of Hollywood's biggest box-office hits in 1958, albeit a decidedly weakened adaptation. Now in this current presentation we have the full impact of Tennessee’s original vision once again! Set in the bed-sitting room of a wealthy Mississippi family, as they prepare to celebrate the 65th birthday of "Big Daddy," the family's strong-willed patriarch. Notwithstanding his assurance that his illness is only "a spastic colon," his assembled kin understand that he is indeed dying of cancer. The "Cat" of the play's title refers to Maggie, the attractive, love-starved and childless wife of "Brick," the younger, favorite son. Bedridden, with his left injured leg in a cast, Maggie knows that Big Daddy's less favored son "Gooper," has come with his pregnant and contentious wife Mae, and their brood of "monster" kids, with big hopes centered on Big Daddy's demise. Maggie knows that their plan is to somehow cut Brick out of Big Daddy's will. Faced with a long-standing loveless and certainly sexless marriage, it becomes quickly evident that Brick's hostile indifference to his passionate wife is based on his still smoldering feelings for his deceased buddy Skipper. Bitterly upset over the loss of his best friend, he seeks solace in heavy drinking. However Maggie knows that she can win their contest with Gooper and his wife over Big Daddy's will, if she can somehow convince Brick to father a child with her. Extremely well-acted by the first rate cast with especially strong performances by Georgia Lyman as Maggie and Kelby Akin as Brick. Spiro Veloudo, the company's well known producing artistic director, is especially impressive as Big Daddy in this all too rare respite from his demanding managerial responsibilities. Much praise is also due for the fine support provided by Cheryl McMahon, as the family's "Big Mama," as well as Elisa MacDonald and Owen Doyle as Mae and Husband Gooper. Scott Edmiston's well focused direction, Janie E. Howland’s splendidly atmospheric set, Gail Astrid Buckley's excellent costumes, and Karen Perlow's potently dramatic lighting combine to make this the memorable presentation that it is! Now playing through March 14, 2009. (My grade: 5)
THE BEST LITTLE WHOREHOUSE IN TEXAS
The Whorehouse comes to Worcester with all its bawdy fun, over-zealous do-gooders and some amazing voices. Patrick Dorow opens the show with his smooth, melodious, perfectly pitched pipes and innocent charm as the narrator of this tale of the Chicken Ranch, they're selling much more than pullets out there. The most outstanding performances were delivered by Alisa Walker as Shy and Russell Garret as Melvin P. Thorpe, the over-zealous do-gooder, who puts Miss Mona and the girls out of business. But the great voices went on forever. Shannon Lee Jones as Mona and Dee Crawford as Jewel belt it out and deliver. But it is Merrill Peiffer as Doatsey Mae who brings a tear to the eye with her incredible, not-to-be missed voice. This production of Larry L. King and Peter Masterson's story of the 75-year-old brothel has some kinks to work out. All in all it was a delightful afternoon replete with ribs, chili and Texas Tea donated by Texas Roadhouse, 535 Lincoln St., Worcester and the friends of the Foothills Theatre Company. This Tony winning, production is playing at Foothills Theatre from March 14 to April 5. Tickets range in price from $32 to $38. Student seats are $19. Groups of 20 or more save $10 per ticket. Tickets may be purchased at the Box Office by calling 508-754-4018 or online at www.foothillstheatre.com. (My Grade: 3)
ENDGAME
Now at the Loeb Drama Center in Cambridge, Mass. the American Repertory Theatre presents its production of "Endgame," by Samuel Beckett. The company's program notes consider, in a fair amount of detail, some of the circumstances surrounding the deaths of Beckett's family members, including his father's demise when the playwright was 27 years old. Later, his mother, after suffering many years from Parkinson's disease, died in 1950, followed four years later by his brother, afflicted with lung cancer. However, in this series of personal tragedies, Beckett has assumed a curiously piquant attitude. Maybe, when the time comes, we too might do well to follow likewise. Back in 1984, when the A.R.T. rethought Beckett's strict staging directions and reset his play in a subway station after a nuclear exchange he tried unsuccessfully to halt the production. Now, under director Marcus Stern, the author's wishes have been painstakingly adhered to by set designer Andromache Chalfant. There, in a starkly spare, whitewashed and unadorned room sits the autocratic, chair-bound, Hamm. Obviously blind (wearing dark glasses) and helpless, his only mobility is provided by the small castors on the legs of his chair. When we first see him, he's covered by a small white shroud. Clov, his lame and overly helpful servant, limps over to remove the covering, like a clown in silent movies. Clov, on demand, brings his open ladder over to the room's two boarded-up windows. Up he climbs and down he slides, first to the window-left and then similarly to the window-right. All the while, as if in some bizarrely macabre comedy routine, the assertively domineering Hamm states his needs and barks his commands: "Give me my pain killer!" "My mother, my father, my dog…does their suffering equal mine?" "Let's make a raft to carry us away!" Eventually, he turns his attention to the two covered and partially submerged trash cans before him. On command, Clov removes the tin barrels' lids to reveal Nagg and Nell, Hamm's two elderly discarded parents! His mom and dad sum up their situation with their pithy observations. "Why this early?" "Nothing is funnier than unhappiness." Ultimately Hamm tells Clov: "You can bury me!" and his servant responds by saying "No, I won't," and sounds his alarm clock. "Did it wake the dead?" asks Hamm, to which Clov answers: "No!" Extremely well acted by a quartet of the A.R.T.'s best actors. Will LeBow as Hamm, Thomas Derrah as Clov and-- like Harpo Marx-bedecked in big white, fuzzy fright-wigs, Remo Airaldi and Karen MacDonald as Nagg and Nell. This grandly provocative and legendary classic is now playing through March 15, 2009. It should not be missed! (My grade: 5)
ANTIGONE
Now at Beatrice Herford's Vokes Theatre in Wayland, Mass., the Vokes players present their new production of "Antigone" by Jean Anouilh. Based on the classic Greek Tragedy written by Sophocles 2500 years ago, French playwright Anouilh saw there provocative themes which related to his own time and situation. In 1943, during the Nazi occupation of France, this great contemporary master reconsidered Sophocles' masterpiece in strikingly contemporary terms. It is adapted here by Lewis Galantiere. Once again, Antigone, the daughter of the cursed King Oedipus, finds herself facing the aftermath of the deaths of her two brothers, who were slain in combat against each other for control of Thebes. Now, with their uncle Creon as the new king, he has ordered that full funeral rites be given to the older brother and that his younger sibling be considered as a traitor with his corpse left to rot, unburied and unmourned. In direct defiance of the new king's orders, Antigone tries to bury her slain brother. As originally conceived by Sophocles, she was compelled to oppose her uncle's decree which was counter to the laws of the Gods. In all instances, divine lay back then was to be supreme. This time Anouilh crafts the clash of wills between Antigone and her uncle, not between human and divine law, but rather honor versus compromise. Their collision is defined by her idealism and the king's insistence on obedience to his laws. In a cat-and-mouse styled struggle, after Antigone has been arrested for attempting to bury her brother's body, Uncle Creon tries to spare his niece from a death sentence by asking her to help him devise an appropriate cover-up story. After much debate, pro and con, between these two, Antigone's overriding sense of duty to her slain brother holds firm. She refuses to allow his remains to become carrion for the birds of prey or the city's beasts and goes willingly to her own execution! Assuredly portrayed by the fine six member cast , with praise for youthful Kimberely Kurczy as the intensely dedicated Antigone. Solid approval must also go to R. Michael Wresinski as the self-justifying and politically concerned King Creon, with excellent support from Chris Cardoni and a modern-styled solo "Greek chorus," as well as Alma Prelec as Antigone's troubled younger sister; Even Bernstein as Antigone's forlorn and abandoned finance; and Pamela G. Mayne as the heroine's sympathetic nurse. Commendations are also due for James Barton's well focused direction and splendid spare and stark set and D. Schweppe's dramatically accented lighting. Now playing through March 14, 2009. (My grade: 5)
THE RANDOM CARUSO
Now at The Boston Center for the Arts' intimate plaza theater, Centa-stage presents its production of "The Random Caruso" by Andrew Clarke. The play is yet another sharp look at Hollywood's underside. Harvey, a self-centered, cantankerous, and popular movie star, is much in demand to be the leading actor in a major big motion picture. The film's producer needs Harvey in order to guarantee the financing for his production. Unfortunately, anxious and fundamentally self-serving Harvey wants to quit. Tom, his flustered right-hand assistant, in order to keep Harvey tied to the aforementioned film, sees Harvey's interest in Decca, a beautiful local waitress (and hopeful actress), as a positive opportunity. Although Harvey proves to be a disappointment when bedding with Decca, this seems to bode well for her future in movies, and also seems to provide some assurance for the big costume drama's producer. However, still being the vain, conceited and supremely affected movie-idol, while Harvey has completed some of the film's requirements, he may still decide to walk away. This quandary forces both Tom and Decca and, of course, the show's producer, to do what needs to be done to get Harvey to stay. Well played by the fine, small cast, especially Robert Pemberton as Harvey, Michael F. Walker as Tom, and Tracy Oliverio as Decca. John Forrell as the vainly arrogant producer is quite effective in his brief, but potent, appearance. While the playwright might have done more to define Tom, beyond the weak-willed lackey depicted here, otherwise this concise backroom look, behind the cameras, at Tinsel town's upper class, offers still another compelling glimpse at the real Hollywood. Assuredly directed by Joe Antoun, it is now playing through March 7, 2009. (My grade: 4)
SEUSSUCAL
New at Boston's Wheelock Family Theatre is their production of "Seussical," a musical based on the works of the celebrated Dr. Seuss. Co-conceived by Lynn Ahrens, Stephen Flaherty and Eric Idle, featuring book by Ahrens and Flaherty as well as music by Flaherty and lyrics by Ahrens. After its troubled pre-Broadway debut at Colonial Theater in Boston back in 2000, followed by its similarly brief and problematic exposure on Broadway at that time, it seemed that "Seussical" would simply disappear and end up quite forgotten. However, over the course of the ensuing decade, this show began to find its true audiences in the many regional, community, and smaller high-school productions that were to follow its big-time demise. It's now being heralded as one of America's most popular family-oriented musicals. Essentially an intermingling of "Horton Hears A Who" with the same whimsical elephant "Hatching an Egg", aided and supported by all the splendid members of the town of Whoville. Of course, front-and-center is "The Cat In The Hat" (Andrew Barbato), complete with his well-known striped, tall top hat. JoJo (Sirena Abalian), the town's youngest son, who just thinks too darn much, the sour kangaroo, (Gamalia Pharms) strolling with her tiny doll-baby housed in her attached pouch, the now friendly Grinch and Yertle the Turtle (each personified by Jane Staab) and the cavorting Wickersham Brothers (Brian Richard Robinson, Mark Linehan and De'Lon Grant) all join in to support Big Horton (Kamau M. Hashim) as he nests high atop the tow's tall tree, on the aforesaid egg. The evening's one harsh note sounds when Whoville's General Genghis Kahn Schmitz (Peter A. Carey) tries to militarily discipline JoJo with unexpected results. Romantic involvement meantime blossoms for Horton as Whoville's colorfully beautiful and highly resonant songbirds: Gertrude McFuzz (Jennifer Beth Glick) and Mayzie LaBird (Angela Williams) soundly serenade him first with Gertrude's saga of her "One Feather Tail" and later with how "Amayzing (is) Mayzie!" They're both sonorously supported by the community's vibrantly bright bird girls (Elizabeth Berg, Kerrin Elizabeth Clark and Claire Phillipe) tunefully frolicking, coiffed in their luminous orange, pink and green hairdo, while garbed in similarly glistening miniskirts. Enthusiastically performed by the large, splendid and youthful cast, amidst James H. Williston's grandly cartoonish and very smoothly rotating set and Marjorie Lusignan's lively props and all under Grace Napier's brisk direction. Kudos also for Melissa Miller's simple, but effective costumes, Laurel Stachowicz's exuberant choreography and the fine small orchestra's accompaniment conducted by Jonathon Goldberg. The fully delighted capacity audience (loaded with children of all ages, and parents, too) roared its thunderous approval as the spirited cast sang its finale to "Green Eggs & Ham!" Now playing through March 1, 2009. (My grade: 5)
THE NEW CENTURY
Now at the Calderwood Pavilion at the Boston Center for the Arts, The Speakeasy Stage Company presents the New England premiere of "The New Century," by Paul Rudnick, a quartet of comically related playlets with gay themes as their focus. Its production here comes after its success last year, when it was staged at Manhattan's Lincoln Center. The first offering, entitled "Pride and Joy" stars Paula Plum (one of this area's finest actresses) as a contemporary Jewish housewife determined to prove herself to be Long Island's most accepting and tolerant mother of all. She comes forth as the spokesperson for the "The Massapequa Chapter of Parents of Lesbians, Gays, Bisexuals, The Transgendered, The Questioning, The Curious, The Creatively Concerned and Others." She is, of course, fully qualified to speak for the group being the loving and open-minded mom of lesbian daughter Leslie; transsexual former son Ronnie, now (after surgical transformation) new daughter Veronica;, and her youngest , David, who is dedicated to leather-fetishism and the joy associated with bowel movements! She succinctly sums up her family by suggesting a film documentary about them entitled "Guess What's Coming To Dinner?" The second piece: "Mr. Charles, currently of Palm Beach" centers on an over-the-top, flamboyantly gay late, late night-time cable-TV talk-show host, who's ably assisted by his young, nubile and occasionally nude assistant, Shane. Garbed in his bright, flashy pastel hued pants-suit and capped by a luminously, wavy, blond coiffure, Mr. Charles defiantly and unapologetically asserts himself. As expected, when he speaks, he tells it all in "she-bonics!" The next playlet, "Crafty," concerns matronly Barbara Ellen Diggs, whose response to her gay son's untimely death to AIDS, is finding some small comfort in her knitting such unusual curios as doorbell and toaster-oven covers, as well as sock-styled puppets and highly colorful crocheted pullovers. She facetiously refers to herself as a "Muslin Terrorist." The concluding title segment brings all three of these aforementioned characters together in a zesty and freewheeling jocular summing up rife with hope and optimism. Under Paul Daigneault's brisk direction, the small, expert five member cast deftly handle their grandly comic assignments. As previously stated, Paula Plum is winningly effective as Long Island's most understanding and receptive mother, with an equally amusing performance by Robert Saoud as the overly embellished and self-affirming "Mr. Charles." Kerry A. Dowling as the ultimate competitive crafts lady, along with Bud Weber as Mr. Charles' accommodating assistant and Emilie Battle as an interested bystander all also capably add to the evening's merriment! Now playing through February 14, 2009.
ARTICULATION
At the Boston Playwrights Theatre, Company One has just concluded its presentation of "Articulation," a ninety minute, one-act performance piece utilizing five talented young Boston-based actors, who vent their ideas, attitudes and admonitions, in song, prose and poetry, about the city, people and places they live in and love. Developed by Company One after several years, during which a group of similarly talented and focused high school collaborator's banded together to tour throughout New England visiting public schools, local colleges and community organizations to bring them their messages of hope and inspiration. Now, as aforementioned, an ensemble of accomplished and professional players were then assembled to revise, enhance and spread their awareness to this new and much bigger audience. They then explore a set list comprising more than 20 topics ranging from freedom, race and affirmation ("we must move to our brave new world where no one will be left behind"), to then reconsider such specific urban problems as Boston's ever-controversial taxes and expenditures ("14 billion dollars pumped into the City's new (traffic) tunnel…that doesn't work!") Of course, religion ("dear God I can't start believing in you until you start believing in me."), Sexuality and brotherhood are also heavily engaged. A lovely middle-eastern melody (sung in the original Hebrew) is intermingled with the words of "Amazing Grace." Under the well-centered direction of Lois Roach, the splendid cast: Tory Bullock, Terri Deletetsky , Michael Cognata, Marvelyn McFarlane, and Danny Balel, together with DJ Reazon, (a highly accomplished "sound designer") who scratches and rubs his highly audible popping and slurring percussion-like accents from his two rotating turntables, mesh to captivate the capacity audience with their highly stimulating and provocative word-play. (My grade: 5)
CABARET
Now at the Mosesian Theater in the Arsenal Center for the Arts in Watertown, MA, the New Repertory Theatre presents "Cabaret," featuring music by John Kander, lyrics by Fred Ebb and book by Joe Masteroff. Based on Christopher Isherwood's autobiographical "Berlin Stories" and John Van Druten's popular play "I Am a Camera" (suggested by segments from Isherwood's original account), which became the source for the highly successful 1966 Broadway musical followed by the even more triumphant 1972 movie, a hard-edged New York stage revival in 1998 proved once again this musical's continuing popularity. Eschewing the ratty focus of the recent above mentioned, this new production centers instead on the artificial, chorus girls glitz of the show's earlier presentations. Set in the late 1920's and 30's, the plot depends on two unlikely love-affairs amidst the fake and rowdy "Joie de vivre" of Berlin's Kit Kat Club" in the shadow of Hitler's rise to power. Cliff Bradshaw, a bisexual, ex-patriot American writer (loosely patterned after author Sherwood), becomes romantically involved with British nightclub entertainer and free-spirited party girl Sally Bowles. Fraulein Schneider, the middle-aged landlady of the rooming house where Cliff and Sally share quarters, similarly becomes engaged to Herr Schultz, en elderly, local Jewish fruit and vegetable vendor. As these two relationships evolve to their comparably unhappy conclusions, the last gasps of pre-Nazi Germany are sung and danced within the strident blare and glare of "The Kit Kat Klub," all being marshaled by the labored effervescence of the Klub's top-hatted, tuxedoed and white-paint-faced, cavorting master-of-ceremonies and the cabaret's high-stepping female chorus line, scantily garbed in their black mini-outfits with their high, bartered dark hosiery (the height of pre-World War II naughtiness). David Krinitt is effectively idealistic as the gradually troubled Cliff, with a very strong and vibrant performance by lovely, fully-voiced Aimee Doherty as Sally. She's grandly resonant in her lively "Don't Tell Mama" vocal admonition and equally compelling in the show's final ruefully musical denouement. Cheryl McMahon as Fraulein Schneider and Paul D. Farwell as Herr Schultz are both quite appealing in their tender and hopeful duet about the potential bliss of their soon being "married." The ever-enticing John Kuntz as the garish M.C. is especially noteworthy singing and dancing to "Willkommen" (come to the Cabaret). The evening's mockingly sardonic introduction also featuring one of Kander and Debb's best scores including such memorable tunes as "the Money Song" (money makes the world go round), "Tomorrow Belongs to Me," and "What Would You Do?" With departing director Rick Lombaro's strong authority, Kelli Edwards vivid choreography, Peter Colao's bright, paneled setting and the highly spirited Germanic-styled Jazz by the elevated on stage orchestra conducted by Todd C. Gordon, this show certainly merited the full audience's loud, standing approval at the final curtain! Now playing an extended engagement through February 8, 2009. (My grade: 5)
BAD JAZZ
Bad Jazz was not bad. In fact Robert Farquhar, the playwright, gives some eye-opening messages, if you can hear them through the F word. Perhaps Farquhar has an obsession with the F word because his name starts with an F. Or maybe he doesn't get enough F-ing at home. If you can get past the f-ing distraction you will see a very intriguing production, brilliantly staged by Artistic Director David J. Miller. His keen use of space and timing make this fringe piece come to life. Bad Jazz is a play about life…life in the theater…which, as it turns out, is just the same as life in any other workplace. There is love, incompetence, insanity, relationships gone awry and puking. Mr. Farquhar does an admirable job of portraying the human condition. My favorite line was delivered perfectly by Kara Manson as Natasha, a talented, beautiful young actress who is looking for love and meaning in her life. Among the noise and chaos of her life as become, she suddenly and calmly says, "I wish I was a playwright, because then she would get to make up her own ending to her life." It got this writer wondering about the power to create our own lives for real, not just on paper. I believe I'd be abysmal at it. I was duly impressed with Michael Steven Costello as Gavin, a melodramatic, egotistic director who will stop at nothing to bring his vision of the play to life, including staging a real B.J. By far the most outstanding performance was delivered by Mac Young as Danny, the young actor whose naivety is brilliantly threaded through a maze of extremely adult complications. He always brought the audience back from the total chaos in his life to believing he's just the kid whose dog ate his homework. Bad Jazz is not for the faint of heart. The couple next to me left after the 35th F-bomb, about 15 minutes into the performance. Mr. Farquhar's brilliance could almost be missed for having to sift through the profanity used to punctuate the action. That said, it's a very thought provoking piece, one I'm still thinking about. It's always a good sign when theater leads a person to revaluate their life. Bad Jazz is playing at the Plaza Black Box Theatre at Boston Center for the Arts through February 21. Performances are Thursdays and Fridays at 8 PM, Saturdays at 4 & 8 PM and Sundays at 4. Tickets are $35, with discounted tickets for Seniors and Students at $25. The Thursday night performances are Pay-What-You-Can nights, $5 minimum. You can purchase your tickets at the Calderwood Pavilion box office at 527 Tremont St. or by calling 617-933-8600. You can also purchase on-line at BostonTheatreScene.com *** (3 out of 5 Stars)
THE SEAGULL
Now at the Loeb Drama Center in Cambridge, MA, the American Repertory Theatre presents its new production of "The Seagull" by Anton Chekhov. For the last half century or more it's become fashionable for many theatrical groups to reconsider many of the great dramatic classics of the past with a view that
perhaps makes them more relevant to contemporary audiences. Thus we've found some of Shakespeare's tragic heroes haunted by their specters or foes in a Manhattan skyscraper or a gay spa, Moliere's hypochondriac surrounded by lovely scantily dressed nurses in a modern medical setting or even Mozart's
Don reborn as a present day mafia lord! Now we have The Seagull, director Janos Szasz' striking reconsideration of Konstantin Chekhov's woefully distraught fledgling playwright. No longer set in a late 19th century country estate, and with the cast in jeans, mini skirts and sweatshirts, this time we find the play's young aspiring writer Konstantin in a large, weather-ravaged theatrical auditorium surrounded by several rows of leather-bound theatre seats, beneath a grand cracked ceiling emblazoned by large painted portraits of pre-Renaissance-like figures. The spacious floor features several big puddles, as obvious left overs from previous rainstorms. Even at one point late in the play, a huge downpour of rain floods the entire stage briefly drenching the entire assembled cast members! The young aforementioned writer Konstantin has tried to impress Nina, a local aspiring actress by writing and performing in an experimental play that he's
written in her honor. His mother Irina, a haughty, self-centered and demanding actress dismisses his efforts as nonsensical. "Is this supposed to be symbolic?" she sneers. Konstantin's relationship with his mother is
also complicated by her romantic involvement with Boris, a prominent visiting writer whom Konstantin resents. Soon thereafter, the disillusioned youth again tries unsuccessfully to gain favor with Nina by giving her a seagull that he has killed. Failing once more to sway her, he loses out again in a half-hearted attempt to shoot himself. Years later, Nina returns telling of her hapless involvement with Boris and of her doomed pregnancy. Once again, Konstantin falls short of enticing her and is overwhelmed by his bleak future. Gone now are Chekhov's carefully evolving dilemmas. Here refashioned and dismally crumbling place, the ever distraught Konstantin paces about mostly armed with his ready shotgun. When fixated on anyone
else, he focuses the beam of his small flashlight directly on them as they vent their grievances. When he feels especially conflicted, the hall is filled with a deafening burst of recorded heavy metal rock and roll music
and later when his spirit lifts, we're surrounded by the theme melody from "Loony Tune" cartoons including the voice of "Porky Pig". However, amidst all of this pretentious framework, standing tall and firm is the grandly potent eleven member cast! Mickey Solis is supremely effective conveying the depths of Konstantin's despair as Karen MacDonald, certainly one of the area's finest actresses scores once more as his vain and contemptuous mother. Molly Ward as Nina, Brian Dykstra as Boris, Remo Airaldi as the
area's caretaker and especially Thomas Derrah as an embittered doctor, amongst the rest of the supporting players, are all quite formidable!
Now playing through February 1, 2009.
A VIEW OF THE HARBOR
A view of the harbor? I think Mr. Dresser, our playwright, ought to get a good view of his play. In what world does an opulently wealthy, 29 year old beautiful girl start out an idealist, do-gooder, out to save the common worker from inhumane working conditions, end up a gold digger who sleeps with a disgusting, dirty, rude, drunk, octogenarian? Paige, the leading character played by a stunning Stephanie Fieger, tells the audience in the opening scene that, "In prep school, I had the only dad who didn't have a jet and never got kidnapped. But frankly, all I had to do was think of something and it was mine." Her main focus in life is working for the factory worker's right to a decent work environment for decent pay. That's how she meets sweet Nic, who is working in a factory, even though he is secretly the heir apparent to the company. But by page 73, Dresser wants the audience to believe that this sweet child, who spends her life saving the world (since she doesn't have to make money to live in it), in one weekend becomes a gold digger who will sleep with a smelly, filthy drunk in order to take over the entire company. By the end of the weekend, the playwright has Paige saying, "Bad working conditions are better than no working conditions." Give me a break! This play by the Merrimack Repertory Theater is well staged, well directed and keenly lit, but not believable. The audience sits through a believable performance by Anderson Matthews as Daniel Townsend, who supposedly steals the beautiful Paige away from his son (Paige's love) all in a weekend visit. I would be remiss if I didn't mention the quite believable performance by Andrea Cirie as Nic's sister, the spinster who has spent her life caring for their ailing father. Supposedly, Nic and Paige go to visit because the old man has had a stroke. Yet, the audience is to believe that somehow, in between calling her a stupid slut, pouring glasses of vodka and hobbling around, he takes Paige to bed and entrances her. Oh please! Please save your money. Save your money for the next MRT production. Some of the greatest shows this critic has seen over the past five years have been MRT productions. If you'd like to go, you can purchase tickets for A View of the Harbor at the Online Box Office at www.merrimackrep.org or by calling 978-654-7595. Tickets are $26-$56 and can also be purchased in person at 50 E. Merrimack St., Lowell. (My Grade: 1)
THE RECEPTIONIST
At the Lederer Center in the Dowling Theatre in Providence, RI, the Trinity Repertory Company presents the New England Premier of "The Receptionist" by Adam Bock. Set in the bright, angular, admission center of a strangely unidentified business organization, Beverly Wilkins, the group's receptionist sits, at her centrally located desk, busily answering all incoming telephone calls. She's good at the job and efficiently answers and/or directs all queries asked of her. During the lulls between the various phoned inquiries she muses about her heavy workload while having to repeatedly inform all callers that Edward Raymond, the group's main official, has not yet arrived. When pretty, perky Lorraine Taylor, Mr. Raymond's assistant, appears, Beverly's mood quickly improves. Their frisky small talk bubbles around Beverly's hobby of collecting interesting tea cups. As expected, unmarried Lorraine's many concerns about being too trusting with men that she's just met, becomes a vibrant topic. When Martin Dart arrives, a young handsome official from the group's central office, Lorraine sees him as a bright new dating possibility. Unfortunately, she soon learns that he's not only married, but also is the father of a four year old son. What had, up to this point in this brief one act play, seemed to be a short, frothy office comedy, abruptly changes with the arrival of Edward Raymond. We begin to realize, without any real or specific descriptions, the grim truth about this organization and its purpose. Well acted by Janice Duclos as Beverly, Angela Brazil as Lorraine, Timothy John Smith as Martin, and Timothy Crowe as Edward Raymond under the well centered direction of Curt Columbus. Although little was offered by playwright Bock to prepare us for his play's abrupt and quite unexpected shift in mood and tone, the capacity audience seemed ready to accept its forbidding conclusion! Now playing through January 11, 2009. (My Grade: 3)
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