Archived Theatre Reviews (page 4)

A CHRISTMAS CAROL
Review by Norm Gross

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

RED ELM
Review by Norm Gross

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

THE NUTCRACKER
Review by Norm Gross

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

A CHRISTMAS STORY
Review by Norm Gross

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

BIG RIVER
Review by Norm Gross

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

KISS OF THE SPIDER WOMAN
Review by Norm Gross

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

FIFTY MILLION FRENCHMEN
Review by Norm Gross

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

THE SISTERS ROSENSWEIG
Review by Norm Gross

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

A MIDSUMMER'S NIGHT DREAM
Review by Norm Gross

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

WOMEN ON THE VERGE OF HRT
Review by Norm Gross

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

LORD OF THE FLIES
Review by Norm Gross

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

THE FULL MONTY
Review by Norm Gross

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

TRUE WEST
Review by Norm Gross

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

A NUMBER
Review by Norm Gross

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

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

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

CAROL MULRONEY
Review by Norm Gross

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

Dracula
Review by Norm Gross

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

TUESDAYS WITH MORRIE
Review by Norm Gross

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

THE KEENING
Review by Norm Gross

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

CINDERELLA
Review by Norm Gross

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

THE RED LION
Review by Norm Gross

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

THE BOY FRIEND
Review by Norm Gross

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

PULP
Review by Norm Gross

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

THEATER DISTRICT
Review by Norm Gross

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

HAIRSPRAY
Review by Norm Gross

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

KING LEAR
Review by Norm Gross

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

N (Bonaparte)
Review by Norm Gross

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

ROMEO AND JULIET
Review by Norm Gross

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

THE REAL THING
Review by Norm Gross

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

CAMELOT
Review by Norm Gross

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

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

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

PAL JOEY
Review by Norm Gross

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

RIVERDANCE
Review by Norm Gross

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

THE EDUCATED
Review by Norm Gross

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

Carmen
Review by Norm Gross

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

THE STORY
Review by Norm Gross

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

ARCADIA
Review by Norm Gross

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

ABYSSINIA
Review by Norm Gross

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

THE SOUND OF MUSIC
Review by Norm Gross

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

THE COMEDY OF ERRORS
Review by Norm Gross

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

SLANGUAGE
Review by Norm Gross

At the Boston Center for the Arts Company One presents "Slanguage," a 90 minute program performed by Universes, a New York based group exploring their city's various neighborhoods and multi-cultural diversity. They do so by utilizing combinations of Hip-Hop, Salsa, Rap, Soul, Gospel, Blues, and other related musical styles along with Def-type poetry and rhythmically charged movement and dance. Staged as a simulated ride on an uptown Subway train, Gamal Chasten, Mildred Ruiz, Stephen Sapp, Denise De La Cruz and Ninja begin their exhilarating journey with vibrantly syncopated drumming together with hand clapping and foot stomping, as they voice their pride in verses framed by allusions ranging from Langston Hughes to Garcia Lorca. As their scintillating excursion progresses, this talented quintet assumes many different poses, effortlessly turning from gang member or church-goer, to kung-fu master and/or expert neighborhood storyteller! Amongst the evening's high points was the earthy description of the rivalry between two street gangs: "the Willy Bobos" versus "the Willy Diddys," in the format of a Dr. Seuss parable offered as a striking observation by the impressively resonant Mildred Ruiz. Still other memorable moments included Gamal Chasten, amongst others, exultant over the grand prowess of Bruce Lee (" sometimes with too much Ying, other times without enough Yang!") or the majestic Muhammad Ali, who could always "float like butterfly and sting like a bee," and then Ninja in a glowing turn as a prison poet. Still other gripping moments included the Latino secondary school student,who was unable to pass in his Spanish class, or with the ensemble chanting "words that hang in the air like second hand smoke," they asked the enrapt audience if they were now able to see "the quiet one in the back of the classroom, who they had previously rendered invisible? " Energetically performed by this extraordinary team and deftly directed and developed by Jo Bonney, this pulsating and insightful examination of New York's many different local centers, fluctuating from highs to lows in song, dance and rhyme, shining throughout with challenging ideas, attitudes, and aspirations, is now playing through August 13. (My Grade: 5)

THE LEARNED LADIES
Review by Norm Gross

At Beatrice Herford's Vokes Theatre in Wayland, Mass. the Vokes Players present their new production of Moliere's "The Learned Ladies" (Les Femmes Savantes). This classic satire, with its focus squarely on the foolishly affected wives of the 17th century French Bourgeosie, is amongst this great Master's most rarely performed plays. Philaminte, the shrewish wife of middle aged rich and henpecked Chrysale, together with her eldest daughter Armande and Belise (Philaminte's sister) are totally enthralled by Trissotin, a fatuous "poet" who has become the Toast of Paris. However Philaminte's younger daughter Henriette has been able to recognize Trissotin as the self-serving and shallow fraud that he really is! Unfortunately, although Henriette loves Clitandre, her young upstanding, sincere and handsome suitor, Philaminte has absolutely decided, for the good of the family, she must marry Trissotin instead. After the many droll and expected plot twists, Trissotin's mercenary and greed inspired designs on Chrysale's fortune are revealed to be the true motivations behind his intended betrothal to Henriette. Naturally, his exposure paves the way for the happy ending for Henriette and Clitandre. Under John Barrett's confident direction, who also designed the elaborate and imposing drawing room set, the fine small cast deftly performed their various roles. Deanna S. Swan was properly dogged, and demanding as the assertive and witlessly beguiled Philaminte, with fine comic support from the equally mislead Belise and Armande, well portrayed by Mikki Lipsey and Melissa Sine. Dan Kelly was also quite amusing as the scheming, pompous and comically superficial Trissotin. His flamboyant and ludicrous attempts to outshine the absurd literary pretensions of Vadius) facetiously played by Andy Moore) the family's vacuous advisor on intellectual matters, stands as one of the evening's best segments! James Ewell Brown as the brow-beaten husband Chrysale, Kimberly Schaeffer as his perceptive younger daughter Henriette and Evan Bernstein as Clitandre, her earnest sweetheart were all quite commendable. Lastly, much praise is also due for Elisabeth Tustian's bright and colorful period costumes. Now playing through August 6. (My Grade: 5)

HAMLET
Review by Norm Gross

Now offering their tenth annual season of complimentary open-air performances at the Parade Grounds on Boston Common, the Wang Center presents the Commonwealth Shakespeare Company's new production of "Hamlet." Set in Elsinore, Denmark, with the cast dressed in contemporary clothing, young Prince Hamlet is confronted by the spectre of his slain father, the former King. Declaring his widow Gertrude and her new husband Claudius (his brother) as his assassins, the imperial ghost urges his son to avenge him. Hamlet then sets out to devise a variety of ways to achieve justice for his murdered father. His major strategy centers on having two of his friends act in a short play he has concocted highly suggestive of his uncle and mother's criminal deed! His machinations then inevitably lead not only to the exposure and demise of Gertrude and Claudius, but also to his own death as well as to that of his young, troubled sweetheart Ophelia. Intensely portrayed by Jeffrey Donovan in the title role, initially as an awkward young schoolboy, but later progressively more earnest and aggressive in his pursuit of retribution. For example, the famous "To be or not to be" soliloquy begins with Hamlet haltingly questioning the meaning of life, as he uncertainly begins to write down his classic musings, while fumbling with his notebook he then gradually starts to achieve more and more confidence, strength, and certainty. Jeremy Kissel is imposing as the young Prince's ghostly father, garbed military style in white, stained with blood, while elevated on stilts. He's also later quite compelling as a gravedigger. Karen MacDonald (one of the area's finest actresses) is impressive as Gertrude, Hamlet's mother, with an assured performance by Will Lyman as her duplicitous husband Claudius. Especially noteworthy also is lovely Georgia Hatzis as the despondent Ophelia. Her anguished death scene, slogging aimlessly in a shallow wading pool in front of the drama's main set, is quite convincing and gripping. Regrettably, Sam Weisman as Polonius, was too stiff and overly static, as her officious parent. Under Steven Maler's strong direction, the large. energetic cast was quite effective throughout. Unfortunately, the elevated metallic crimson and steel grey set, defined by a large cross-like central post sustaining an upper horizontal walkway, designed by Leiko Fuseya, was much too cold and austere. Now playing through August 7. (My Grade: 4)

CAROUSEL
Stage Review by Norm Gross

At the Robinson Theatre on the Waltham High School campus in Waltham, Mass., the Reagle Players present their new production of "Carousel," with Music by Richard Rodgers and Book and Lyrics by Oscar Hammerstein II. This legendary musical play, based on Ferenc Molnar's fantasy "Liliom," transposed its original European setting to the New England seacoast in the late 19th century. A monumental, award-winning success upon its Broadway debut in 1945, together with its predecessor "Oklahoma" (which premiered two years before), it has achieved near mythical status, having been performed ever since both professionally and otherwise, nationwide and internationally, nearly non-stop, in one fashion or another, in the six decades since its initial appearance. It was also produced as a major Hollywood film in 1956, and its star Shirley Jones, is now here, appearing in this new production. Billy Bigelow, a handsome, devil-may-care barker at a local carnival, falls in love with and marries sweet young Julie Jordan, a local mill employee. After he's fired from his job by the jealous, middle-aged Mrs .Mullin, (the amusement park's owner), upon learning from his wife Julie about his impending fatherhood, Billy finds himself desperately in need of money. Still later, after his death as a result of a botched robbery attempt, Billy's Heavenly advisor is persuaded to allow him to return to earth for one brief moment only. There unseen by his now adolescent daughter, he must perform one lasting good deed to benefit her. His story is framed by one of Rodgers and Hammerstein's most sublime musical scores, highlighted by such transcendent melodies as "June Is Bustin' Out All Over", " If I Loved You," Billy's show-stopping ode to fatherhood "Soliloquy," along with "When the Children Are Asleep," "What's the Use of Wonderin'?" and the uplifting "You'll Never Walk Alone." Superbly performed by the large, first rate cast headed by Nat Chandler as Billy, Sarah Pfisterer as Julie, Kristen Watson as Julie's best friend Carrie, and Cheryl McMahon as Mrs Mullin, all in strong resonant voices. Additional solid support marked by commanding vocal and stage presence is provided by the aforementioned Shirley Jones as Julie's helpful Aunt Nettie. High praise is also due for Agnes de Mille's original landmark choreography, recreated for this production by Gemze De Lappe. The conflicted teenage years of Billy's daughter are here memorably defined in a lengthy ballet sequence strikingly danced by Kitty Skillman Hilsabeck as the troubled adolescent. David Loveless' bright period costumes, and Matt Rudman's impressive, multiple sets ranging from a colorful carnival, complete with a full-sized, revolving Carousel, and then a farmhouse and barn, to an ocean cove and even the Heavenly Gateway, amongst still other such imposing mountings, are all deserving of much approbation! Similar approval is due for the fine full orchestral accompaniment conducted by Jeffrey P. Leonard. One of this Company's best productions, deftly directed by Robert J. Eagle, the group's Producer and Artistic Director, it is most definitely recommended for the entire family! Now playing through July 23.

PIPPIN
Review by Norm Gross

At the Turtle Lane Playhouse in Newton, Mass. is their new production of "Pippin", featuring Music and Lyrics by Stephen Schwartz, with Book by Roger O. Hirson. It made its Broadway debut in 1972 and was enthusiastically received thanks primarily to the legendary Bob Fosse, the show's original choreographer and director, who is also considered to be the production's most significant and uncredited co-librettist. After an extensive run on the Great White Way it also went on to win a number of Tony Awards and then continued on in several successful national tours. Subsequent productions in London, initially in 1973 followed by a 1981 presentation for television, and more recent revivals in the 90's in both New York and London attest to its ongoing popularity. Set in 780 A.D., its fanciful plot follows the adventures of Candide-like Pippin, the older son of Charlemagne, the crowned head of the Holy Roman Empire, as he sets out to discover his purpose in life, assisted by a mischievous narrator known as "the Leading Player." Dissuaded from a military career, thanks to witnessing his father's brutality against his wartime enemies, Pippin seeks advice from his spirited grandmother who musically counsels him that life is short and so must be savored with lots of carefree and lusty experience. Still uninspired, Pippin returns to his father's court and slays him and assumes the Throne. However, governing is not quite as easy as Pippin had thought and so, in true fairy tale fashion, he magically restores his father back to life and restarts his search to learn life's meaning. At first, he suspects Catherine, a wealthy attractive and affectionate widow, with a small young son, who shows decidedly romantic interest in him. He questions her notions of a much too simple answer to his quest, with her solution being nicely achieved by having a happy home, filled with love and a caring family. However, Pippin finally decides to reconsider the obvious lessons he has learned from his many exploits and comes to his lasting conclusion. Fortunately this small, spare production, under James Tallach's mixed direction, has some significant strengths and also some genuinely major weaknesses. Set and Lighting Designer Jeff Gardiner's simple, focused, crimson-curtained setting, centered by the Emperor's throne, which is deftly adapted to courtly, battleground, bedroom, or forest locations (utilizing additional nicely painted woodland backdrops, as needed) works well and efficiently throughout. Likewise, the fine musical accompaniment under Wayne Ward's direction is also noteworthy. However, while the large, young, enthusiastic cast is generally spirited and engaging with several winning performances by all of the principle supporting players, regrettably both Russell Peck in the title role and most especially Shanna McEachern as "the Leading Player" fall short. While Peck was often too awkward and, in both singing and acting, unconvincing as the play's philosophically troubled center, primarily Ms. McEachern, in the highly important role as the production's impish and mischievous Narrator, although possessing a pleasant singing voice, was otherwise much too bland and un commanding. Although this part has usually been portrayed by a male (Ben Vereen was the originator on Broadway), it's totally conceivable that a strong animated female actress could bring the necessary comic life and zest to this role that's so much missing here. Happily, Mary O'Donnell, as Pippin's feisty grandmother, advising him that "it's time to start living" by singing the show-stopping admonition emphasizing that there's, "No Time At All," while Linda Goetz as Pippin's crafty and scheming Queen-Stepmother does equally well, claiming to be "just another ordinary housewife and mother." She too brings a rise to the audience singing "Spread a Little Sunshine", in defense of the royalty of her doltish son (Pippin's half brother), vividly played by Jordan Greeley. Lastly, commendations are also due for Robert Jacobs' strong performance as Charlemagne. Now playing through August 14. (My Grade: 3)

8 Track...The Sounds of the 70's
Review by Norm Gross for PMPNetwork.com

At the Stoneham Theatre in Stoneham, Mass.is "8-Track...The Sounds of the 70's," a celebration of the great popular music that captivated America during that tumultuous decade. Starring a quartet of attractive, facile, sleekly animated, vibrant, and highly resonant performers. Conceived and directed by Rick Seeber, this lively presentation made its debut in Milwaukee in 2001, and has been well received since in such diverse places as Detroit, St.Paul, Denver, and Hermosa Beach, California. In a nearly two hour program over 50 easily- recognized melodies are performed in a succession of smooth, highly rhythmic, and deftly executed songs by this genuinely talented foursome: Teddey Brown, Liana Young, Nick Rocklin and Tonya Phillips (who also devised the show's really rousing, dexterous and quite polished choreography). Amongst the evening's most memorable moments are: Liana's compelling rendition of Helen Reddy's spirited feminist anthem, "I Am Woman"; Teddey's zestful reprise of Tony Orlando & Dawn's response to the Iran-Hostage crisis, "Tie a Yellow Ribbon ('Round the Old Oak Tree)"; Nick's vivid salute to many teenage fans by singing Barry Manilow's "I Write the Songs'", and of course, Tonya's passionate evocation of Aretha Franklin's soulful "Until You Come Back to Me." Initially dressed in colorful jerseys and bright jeans, after a brief intermission this gifted team returned impressively bedecked in glistening white attire. As a group they went on to sing and dance to a series of captivating and very sonorous medleys including Van McCoy's "Do the Hustle", K.C. & the Sunshine Band's "Shake Your Booty," Sister Sledge's "We Are Family," and the Village People's uplifting salute to the "Y.M.C.A." Like similar show's such as "Ain't Misbehavin' " (a tribute to the music of Fats Waller), "Smokey Joe's Cafe" (honoring the songs of Lieber and Stoller) or "The All Night Strut" (hailing the tunes of the 30's and 40's), this presentation likewise enfolds the audience in an evening of warm, toe-tapping, hand-clapping, and totally melodious nostalgia! This grandly entertaining offering, which is definitely recommended for the entire family, is now playing through July 24. (My Grade: 5)

FROGZ
Review by Norm Gross

At Zero Arrow Theatre in Cambridge, Mass. the American Repertory Theatre presents Imago Theatre's "Frogz," a series of swiftly-paced vignettes employing a quintet of dexterous performers who, in a variety of clever attires, with no dialogue and only creative lighting and interesting music as their framework, assume the guises and attitudes of ordinary and extraordinary animals, objects and situations in unusual and highly clever ways. Based on the teachings of Jacques Le Coq, the famed French mime and educator, husband and wife Carol Triffle and Jerry Mouawad founded their inventive movement, mask and costume oriented ensemble in 1979. Since their inception, this acclaimed and multi-award winning company had begun touring nationally and then internationally, and recently completed a highly successful Broadway engagement. For almost two hours, their program consists of eleven engaging segments. The first entitled "Frogz," obviously features a trio of green, pop-eyed, amphibians initially crouched and staring motionlessly at the audience, then suddenly wriggling, hopping and finally balancing atop one another to form a three tiered tower. This is followed by illuminated, red-eyed "Alligators and Lizards" who crawl across the stage in the dark, slithering, rolling, and even up-and-over-ending, to then unexpectedly approach the startled audience. Later, an enormous "Paper Bag" rattles on its side, tilting, and still tilting again, then tips over and then thrusts itself over and up and down culminating with a still hidden but quite resonant "meeow-w-w-w.!" Other memorable moments include jumbo and miniature accordions twisting, turning, bumping into each other, and then nearly falling onto the seated, front row spectators. Later, light blue and glowing large "Strings" assume a variety of unique configurations on the unlit stage, and an ensuing gigantic, black "Larva " performs extraordinary acrobatics. Amongst the evening's most notable sights is a quartet of huge "Penguins" who waddle into view and begin to animatedly joust with each other in a grandly amusing game of musical-chairs. The five very gifted and accomplished performers: Rex Jantze, Jonathan Godsey, Leah James Abel, Kyle Delamarter and Danielle Vermette deserved every bit of the roaring, standing ovation that greeted them at the show's conclusion! Vividly directed by the Company's originators, with impressive lighting designed by Jeff Forbes and original and lively music by Katie Griesar. This splendid entertainment (a spectacle appropriate for both young and old) is now playing through July 10. (My Grade: 5)

AMERIKA...or the Disappearance"
Review by Norm Gross

At the Loeb Drama Center in Harvard Square, Cambridge, Mass. the American Repertory Theatre, in association with Theatre de la Jeune Lune of Minneapolis, presents "Amerika..or the Disappearance" by Gideon Lester (A.R.T.'s Associate Artistic Director) after the story by Franz Kafka. This early incomplete novel by the legendary Czech writer (published posthumously), centers on the bizarre, turn of the 20th century adventures of seventeen year old Karl Rossmann, who had been forced to immigrate from Europe to the United States by his parents, because of an illicit affair with their maid. Since Kafka had never been to this country in his brief life, it's obvious that his "Amerika" is from start to finish an eccentric fantasy. Influenced by the works of Charles Dickens and Benjamin Franklin, Karl, the play's young awkward teenage ' hero,' similarly meets a succession of very outlandish characters in his journeys in the new world. Amongst them are Uncle Jacob (no relation to him), a stern and demanding shipping magnate, and Klara, his aggressively flirtatious daughter. Later, he encounters Robinson, an Irishman, and Delamarche, his French cohort, a pair of wayfaring laborers, who eventually turn out to be malevolent schemers, and soon thereafter, the equally malicious personnel, at a very strange hotel, where Karl is hired as an elevator operator. There he has yet another short, intense relationship with Therese, a passionate domestic. His adventures culminate when Brunelda, an extraordinarily portly soprano, directs him to the mysterious and threatening "Grand Theatre of Oklahoma," where Karl Rossmann's fate is left as an enigma. Unlike the sojourners, in the many novels by Dickens, there's no happy, well adjusted resolution here. After nearly three long hours (including a brief intermission) of young Karl's ongoing debasement, humiliation, rejection and abuse, there's no other genuinely contrary thread to heighten our view of all of Rossmann's extraordinary experiences. Each episode is somewhat complete unto itself, and just leads to the next happening in a sometimes strained and/or unrelated fashion. The large cast vigorously and skillfully perform their many different roles, ranging from austere and hard-hearted personalities to wildly unrestrained and highly comical ones. Especially notable are Nathan Keepers as the hapless and ultimately hopeless Karl, with striking portrayals by Will LeBow as Uncle Jacob, Deborah Knox as Klara, Thomas Derrah as Robinson, Steven Epp as Delamarche, Katori Hall as Therese and Christine Teeters as Brunelda. Sarah Agnew is also quite compelling as the plot's occasional narrator. The evening's most notable feature is the splendid set composed of moveable, multi shaped and sized compartments, framed by dark metallic elevated structures designed by Dominique Serrand, who also is the play's Director. Serrand is likewise credited with the production's many highly creative and memorable video projections. These varied images, fluctuating from streets, buildings and natural settings as well as onto the actors and actresses (moving back and forth from their actuality to their animated photographic representations) are cast on a wide variety of onstage surfaces. Sonya Berlovitz's bright and fanciful costumes (especially the hotel elevator staff's brilliant lemon-yellow uniforms) are also certainly noteworthy, as is the fine incidental music which includes elements of Folk, and Country Western strains as well as "the Star Spangled Banner" sung completely in German. Now playing through July 10. (My Grade: 3.5)

TAKE ME OUT
Review by Norm Gross

At the Roberts Studio Theatre in the Calderwood Pavilion at the Boston Center for the Arts, the SpeakEasy Stage Company and Boston Theatre Works, in association with Broadway in Boston, present their new production of "Take Me Out" by Richard Greenberg, which scored a major triumph on Broadway as the Tony Award winning Best Play of 2003. This presentation is its Boston premiere. Darren Lemming, son of a white father and a black mother, is the charismatic All-Star center fielder for the Empires, the celebrated championship baseball team. He makes the newspapers' front-pages and sports history when he reveals his homosexuality at a news conference. Handsome, proud, intelligent and quite vain, Lemming did so in response to a challenge from a friend, who didn't realize what Darren's disclosure would be, nor the big reaction that it would cause. Featuring full-frontal locker room nudity, as well as active onstage showering, sexual tension and anxiety are immediately manifest amongst the all male cast of athletes. The situation boils over when the Empires hire Shane Mungitt, a highly accomplished relief pitcher. Obviously patterned on the notorious outbursts of John Rocker, redneck Mungitt causes the expected firestorm, at his media-driven introduction to the press, when he admits that it's easier to hang out "with Gooks, and Spics, and Coons, than it is taking a shower with a Faggot." The resulting strife between Lemming and Mungitt then becomes the heart of this drama. After Mungitt's suspension, in response to his offensive remarks, followed by his eventual reinstatement, due to the Empire's losing streak, the stormy confrontations between him and Lemming are halted by a tragic and transforming on-field incident. Their story unfolds as narrated by Lemming's trusted team-mate Kippy Sunderstrom with especially compelling commentary by Mason Marzac, the All-Star's gay, self-deprecating business manager. Heretofore, he has shown no interest of any sort in the national pastime, but now drawn in by his associate's explosive situation, Marzac soon becomes increasingly involved with the game and begins to comprehend the mystical hold it has on the nation. In a series of provocative and discerning monologues he describes his growing love of baseball, heralding it as a hallmark of Democracy. Potently directed by Paul Daigneault, with strong performances by the splendid cast, with solid praise for Ricardo Walker as Darren Lemming, Christopher Brophy as Shane Mungitt, Nathaniel McIntyre as Kippy Sunderstrom, and especially Neil A. Casey as the passionately contemplative Mason Marzac. Eric Levenson's deftly adaptable locker room and shower set, which also quickly served as the playing field, Gail Astrid Buckley's bright and accurate baseball uniforms, and John R. Malinowski's well considered lighting, all added much to this genuinely commanding production. Now playing an extended engagement through July 2. (My Grade: 5)

THAT CHAMPIONSHIP SEASON
Review by Norm Gross

At the Boston Center for the Arts, the Stanley B. Theatre Company presents its new production of "That Championship Season" by Jason Miller. After its debut in 1972 at New York's Public Theatre it was moved onto Broadway winning both the Pulitzer Prize and the Tony Award for Best Play. In 1982, it was also produced as a major Hollywood motion picture and was resurrected again in 1999 when it was once more developed as a made-for-TV movie. Set in the early 70's in Pennsylvania, in the home of the retired former coach of the town's high school basketball program. Twenty years before he had lead the school's basketball team to the top, and now the leading members of that same team have come together at his home for a reunion. As they wistfully reminisce about "the good old days," it soon becomes clear, after much imbibing has loosened their inhibitions, that the passing decades have exacted their anguishing toll! As George, the town's scheming Mayor, prepares to run for reelection, he learns some surprising facts about Phil, his trusted, long-ago teammate. A respected educator and long married husband and father of five children, Phil has been involved in a clandestine extra-marital affair with George's wife. This news is an especially bitter revelation to George since he had been very instrumental in helping Phil to avert bankruptcy. On the other hand, he's also surprised that his friend James, principal of the town's junior high school, also plans to enter politics and may soon become his political rival. Lastly Tom, similarly a formidable athlete back in that winning year, is now a dissolute drunk living in California. Moreover, the coach steeped, as always with bigotry, had himself suffered disgrace for assaulting and breaking the jaw of a contending African-American student athlete. Vividly played by the fine cast with strong performances by Jeff Gill as the close-minded Coach, Bruce Robert Serafin (the Company's Founder and Artistic Director) as the crafty politician George, Gary Galone as the betraying Phil, Jim Muzzi as the opportunistic James, and Dann Anthony Maurno as the besotted Tom, all under Jeannie Marie Brown's confident Direction. Additional commendations must likewise go for the fine home-basement setting, designed by Jon Savage, framed by an extra large, wall-mounted, ceiling-to-floor photo of the former high school champions at the time of their great triumph. While much of this drama's original impact has been lessened by the many other similar plays that have since appeared exploring former friendships that have gone awry and past accomplishments which have turned sour, all acting as indicators of the failed American dream, nevertheless the fine ensemble performances and the playwright's still compelling and well recognized observations still do reverberate! Now playing through June 26. (My Grade: 4)

LAUGHING WILD
Review by Norm Gross

At the Calderwood Pavilion at the Boston Center for the Arts, the Huntington Theatre Company presents "Laughing Wild " by Christopher Durang. It premiered Off-Broadway in 1987 and although it received only a mixed and querulous critical reception at that time because of its unusual observations and eccentric point of view, it reportedly has now achieved some sort of cult status, including a brief but very well received recent revival in New York and some success in many other regional productions. Intensely performed by Debra Monk, described only as "Woman," and the playwright, Christopher Durang as "Man," his play unfolds in two acts, presented as three related episodes. Act One is performed by them as two separate "comic" monologues, and Act Two as a combination of their intermingled dreams. Woman, recently institutionalized, and now seemingly on the verge of an emotional collapse, talks directly to the audience often laughing wildly, stream-of conscious style, on a wide variety of subjects ranging from God's silence even towards the Holocaust, to her annoyance with Manhattan cabbies and her worries about acid rain and global warming. She further asserts that her favorite book is "Bleak House." Man also speaks to the assembled. Having just participated in a class on "positive thinking", he's now earnestly striving to assume an uplifting attitude in spite of the obstructing odds presented by the frenetic challenge of life around him. Each monologue centers on the extraordinary encounter of these two strangers in a local Manhattan supermarket. Their confusion at the store's canned Tuna display results in her exasperatedly striking him with a can of the fish. The Second Act's convergence of dreams finds Man dressed in elaborate regal costuming and referred to by Woman as "the Holy Infant of Prague." Her skewered view of him is here defined by her, as she assumes the role of hostess of "the Sally Jesse Raphael TV Show," having just assassinated the show's former emcee. They then banter back and forth pondering on such notions as the Church's ongoing and unending homophobia, and Man's hopes for a vigorous punishment for Woman's attack against him in the supermarket. Unfortunately, since most of the play's topical references are mired in themes related to the 1980's, (TV's long-forgotten "Sally Jesse Raphael Show" being just one of many other such examples), accordingly, much of the evening's relevance is quite strained and very outdated! The play's title refers to a quotation from playwright Samuel Becket:"Laughing Wild in the midst of Severest Woe," which tells us much about Durang's intent. While the capacity audience also roared repeatedly with laughter at each outlandish observation, especially by Woman, it remained impossible to ignore the fact that both players were profoundly distressed and disconnected with the excesses and tumult of contemporary urban life. It then should follow that their so-called "humor" seemed most often like a cry for help rather than a genuinely comic reflection! Now playing through June 26. (My Grade: 3)

CRAZY FOR YOU
Review by Norm Gross

On the Walham High School Campus in Waltham, Mass. in the Robinson Theatre is the Reagle Players' production of "Crazy For You." Back in 1992, utilizing nearly twenty of George and Ira Gershwin's legendary songs from the thirties, such as "Shall We Dance? ", "But Not For Me," " Embraceable You," "Nice Work If You Can Get It," "Stairway To Paradise," and "I Got Rhythm," Ken Ludwig and Mike Ockrent fashioned this new musical comedy. Set in the thirties, the plot centers on Bobby Child, a Depression-era stage-struck Manhattan playboy, who's sent by his wealthy bank manager mother to foreclose on a regional theater, way out west in small town Dead Rock, Nevada. However, after arriving there, he falls head-over-heels in love with Polly Baker, the Playhouse's pretty, young, single, proprietress and to win her affections, he convinces her that they can save the theatre from foreclosure by putting on a big show. He wins her confidence by a clever and highly amusing impersonation. Bobby dons a tuxedo, fake moustache and beard, to assume the identity of Bela Zangler, a Florenz Ziegfeld styled impresario, acting as a guarantor for the show's success. Everything then seems to be proceeding perfectly for Bobby, until quite suddenly and unexpectedly the real Zangler shows up in Dead Rock. Kirby Ward as Bobby, who also directed the show, fresh from his performing the same leading role in the show's London engagement, and his wife Beverly Ward as Polly, who similarly won plaudits as his feisty partner in a recent performance at the Kennedy Center in Washington, D.C., are both memorable, singing and dancing in grand style. Cheryl McMahon as Bobby's assertive mother, Joan Hess as his forsaken former fiancee, and Daren Kelly as a contentious, nearby saloon owner, as well as the large supporting cast of spirited dancing chorus girls and assorted, cavorting Country-Western bumpkins, are all vividly sonorous and rhythmically dexterous! The splashy, colorful costumes designed by William Ivey Long, and the many varied Broadway-styled sets, ranging from vibrant Times Square to desert bounded, ram-shackled Dead Rock and its Theatre and local Western Saloon as fashioned by Robin Wagner, were equally imposing with much praise also for the fine full orchestral accompaniment conducted by Jeffrey P. Leonard. Lastly, Eileen Grace's superior recreation of Susan Stroman's creatively vivid original Broadway choreography was likewise impressive. This engaging summertime entertainment, recommended for the entire family, is now playing through June 25. (My Grade: 5)

BORIS GOUDENOW
Review by Norm Gross

At the Cutler Majestic Theatre at Emerson College in Boston, Mass., the Boston Early Music Festival presents its world premiere production of the opera "Boris Goudenow," with Music and Libretto by 18th century composer Johann Mattheson. Written 295 years ago, and believed to be lost and discovered in World War II, this fully staged presentation represents its world premiere. Strikingly different from the same titled opera by Mussorgsky, this Baroque version involves the same historic events surrounding the legendary Russian ruler. Sung primarily in German with occasional Italian passages (all with projected and elevated English subtitles), this time Boris Goudenow uses his wiles rather than assassinations to spur his ascent to the Tsardom. Amidst this lively tale of political intrigues is also presented a series of engaging and spirited romantic affairs involving Irina, sister of the crafty Boris, who's locked in a loveless marriage to the elderly, ailing Tsar; Olga, a Russian Princess, and Boris' daughter Axinia. As their romantic complications evolve, Fedro, a nobleman attracted to Irina; as well as Gavust, a foreign Prince; and Ivan, yet another nobleman, vie for the affections of their assorted ladyloves. Meanwhile, as these delightful entanglements multiply, Josennah, a scheming foreign Prince also conspires for the Crown, but his plans are thwarted when in the Tsar's defense, he is routed (but not slain) in a vigorously staged duel, replete with vivid swords play. As expected, Goudenow finally does assume the throne after the demise of the aged and very ill Tsar. Resonantly sung by lovely soprano Ellen Hargis as Irina, and also sopranos Nell Snaidas as Olga and Catherine Webster as Axinia. Commanding bass Vadim Kravets in the title role is well supported by full voiced bass baritone Marek Rzepka as Fedro; tenor Julian Podger as the conniving Josennah; bass baritone Olivier Laquerre as the dying Tsar; tenor Aaron Sheehan as Ivan; and especially tenor William Hite as Goudenow's grandly loutish and supremely boorish and amusing servant, Bogda. The many varied and elaborate set designs by David Cockayne, the colorful and splendid costumes by Anna Watkins, the brisk and highly animated choreography by Lucy Graham and the excellent musical direction by Paul O'Dette and Stephen Stubbs all come together to make this a successful and genuinely memorable presentation. Now playing through June 19 in Boston, and also at the Tanglewood Summer Music Festival in Lenox, Mass.on June 24 and 25. (My Grade: 5)

At the Ruth Nagel Jones Theatre on the Wellesley College Campus in Wellesley, Mass., the Wellesley Summer Theatre Company is presenting the professional Boston debut of "Pride's Crossing" by Tina Howe performed in repertory with the world premiere of "Pride and Prejudice", as adapted and directed by Andrea Kennedy. "Pride's Crossing, " winner of the 1998 New York Drama Critics Award for Best Play is set in the play's Boston-area suburb. It traces the stormy life choices of highborn Mabel Tidings Bigelow, skirting back and forth from her at age 90+, then hampered by arthritis, onto her reminiscences to when as a young woman back in the 1920's, she had rigorously trained as a professional swimmer. Then assertively against the wishes of her authoritarian blue-blood mother in 1928, she went on to become the first female to swim the English Channel. Her story then continues following her at various periods of her life exploring her highly mannered upbringing, contrasting her courage as a champion athlete in defying her family's well defined sense of propriety, with her weak-kneed turning away from the great love of her life. At the time of her major athletic accomplishment, when her resolve was tested by an intense love affair that her family and social peers frowned upon, she timidly rejected the marriage proposal of David Bloom, a handsome
British Jew, who had been her coach, having also swum the English Channel the year before. She then returned to New England and went on to marry a family approved ineffectual and alcoholic socialite, with the expected unhappiness that would follow. Her memories of David Bloom would then continue to haunt her as her life's unfulfilled and long-lasting regret.  "Pride and Prejudice, " based on the classic 1813 novel by Jane Austen, centers on young single Elisabeth Bennet and her four unwed sisters. Because their father married beneath his social station, their lower class mother's marital hopes for them to wed wealth and status, are constantly being challenged. Primarily, high spirited and very forthright, Elisabeth takes an immediate dislike and open hostility to Mr. Darcy, an early suitor. His reputation marks him as not only the community's richest and most eligible bachelor, but seemingly also as the area's most overbearing and self-centered snob. Through a rather lengthy (nearly three hours!) topsy-turvy courtship, Elisabeth eventually comes to realize her complete misjudgment of Mr. Darcy. Utilizing much of Austen's vividly descriptive passages and her highly spirited dialogue, this staged approach to this legendary comedy of manners (especially so in Act One) sparkles with charm and wit. However, during the overly-long second act, when Elisabeth's youngest sister elopes with a suitor considered by many to be a disreputable opportunist, Darcy's concern, understanding, and compassionate help, not only win Elisabeth's gratitude and respect, but also her deep trust and love. This over extended resolution would benefit greatly from some judicious and extensive editing! Alicia Kahn, one of this area's finest and most accomplished actresses, is compelling in each play as both Mabel Tidings Bigelow and Elisabeth Bennet. Much praise is likewise due for Charlotte Peed as both Mabel's controlling and demanding 1920's mother and Elisabeth's  fluttery and scheming 19th century momma. In "Pride's Crossing, "John Davin as the father, Richard LaFrance as David Bloom, and Melina McGrew as a granddaughter are all quite commendable under Nora Hussey's strong direction. In "Pride and Prejudice" similar praise is also due for Derek Stone Nelson as Mr. Darcy, and Ed Peed as the highly bemused father of Elisabeth's many unmarried sisters as deftly portrayed by Kelly Galvin, Claire Davis, Angie Jepson, and Melina McGrew. Now playing, as stated before, in repertory..."Pride's Crossing" through June 18.  (My Grade: 5) and " Pride and Prejudice " through June 25.  (My Grade: 3)

FALSETTOS
Review by Norm Gross

At the Boston University Theatre, the Huntington Theatre Company presents its new production of "Falsettos", featuring Music and Lyrics by William Finn and Book by James Lapine and Finn. This co-mingling of two earlier pieces by this composing team began Off-Broadway as "March of the Falsettos" in 1981. Its enthusiastic response was followed by a sequel entitled "Falsettoland" in 1990, which went on to win Tony Awards for Best Book and Score. Both plays were later combined into one offering re-titled, "Falsettos" and finally opened on Broadway in 1992, where it was again a Tony Award winner. Its compelling plot concerns Marvin, a middle aged Jewish father, who leaves his wife Trina and his young son Jason to begin a new relationship with his gay lover, Whizzer. In a highly unusual turn of events, his spouse Trina then becomes romantically attracted to Marvin's psychiatrist: Mendel, and they get married. Surprisingly, Marvin and Trina's child Jason then evolves into the conflicted and concerned catalyst that holds all of these extraordinary and disparate "family" members together. Naturally, while maintaining his strong attachments to his mother, he also comes to accept his dad's changed lifestyle and new partner, and by similarly finding ways to adjust to Mendel, his mom's new husband. Act Two, set two years later, finds them all challenged by learning that Whizzer has AIDS. As Jason prepares for his Bar Mitzvah (the religious ceremony celebrating a 13 year old Jewish boy's rite of passage) he becomes increasingly more and more distressed and insecure not only about his forthcoming sacramental calling but also towards all of the assorted dissimilar members of his "family" circle. These troubling concerns are ultimately resolved with Jason's thoughtful and compassionate decision about the manner in which his Bar Mitzvah is to be conducted. Resonantly sung in its entirety, as defined by nearly 40 songs highlighted by "I'm Breaking Down", Trina's early show-stopping plaint to her unexpected new circumstance; Mendel's "Marriage Proposal"; Whizzer's sardonic "The Games I Play"; Jason's stirring salute to "The Miracle of Judaism"; and Marvin and Whizzer's trenchant finale "What Would I Do ( If I Never Knew You)?" Although Geoffrey Nauffts as Marvin began rather ineffectually, he grew consistently stronger as the evening progressed. However Linda Mugleston as Trina and especially young seventh grader Jacob Brandt as Jason shone brightly throughout in their two vivid performances. Strong commendations also for Romaine Fruge as Whizzer, Steve Routman as Mendel, and Anne L. Nathan and Kate Baldwin as two humorous neighboring lesbians. Deftly directed by Daniel Goldstein, with a striking crimson set framed by multiple moveable panels and large, witty Freudian pictorials, designed by David Korins and vibrant musical accompaniment by a splendid quartet (piano, synthesizer, reeds, & percussion), directed by Michael Friedman. Now playing through June 26. (My Grade: 5)

FAME--THE MUSICAL
Review by Norm Gross

At the North Shore Music Theatre in Beverly, Mass. is their new production of "Fame - the Musical, " based on the popular 1982 motion picture that later spun out into a highly successful television series. This musical version featuring Book by Jose Ferandez, Lyrics by Jacques Levy and Music by Steve Margoshes, has become a highly successful regional presentation throughout the nation, and is still drawing enthusiastic audiences in London, where it has been performed for the last decade. The plot traces the intertwining ambitions and romantic complications of the last students to graduate from New York City's original and noteworthy High School of the Performing Arts, during that institution's final year, before it was transformed in 1984 into the Laguardia High School, (situated in the shadow of Lincoln Center.) Teenager Serena is very attracted to young Nick, who's so fixated on his ambitions to become a "serious" actor, that he has little if any time or interest in acknowledging her romantic concerns. Ballet aspirant Iris is greatly helped by Tyrone, a highly spirited tap dancer, who's also adept as a fine singer. Unfortunately, his limited literacy and his many difficulties with improving his reading scores have caused major problems for him in the school. Schlomo, encouraged by his father (a celebrated classical violinist) to follow a similar path, is fascinated by the world of pop music and even more so by Carmen, a talented Latino beauty. However, their relationship is likewise compromised by her early involvement with drugs and the lure of quick and easy fame and fortune. Although few of the show's tunes are genuinely memorable, "Think of Meryl Streep," sung by Serena, as a tribute to her long standing inspiration, "Dancin' On The Sidewalk," a lively showcase for Tyrone's dancing and singing expertise and "These Are My Children," the poignant hopes voiced by Miss Ester Sherman (Tyrone's reading teacher) are certainly noteworthy. The show's original popular title song, written by Dean Pitchford and Michael Gore, is performed only once, midway during Act One. Well directed, in the round, with vivid choreography also by Richard Stafford, the large cast of young and attractive singers and dancers were enthusiastically received by the capacity audience. Jonathan Groff and Jenna Gavigan as Nick and Serena and Dennis Moench and Lynnette Marrero as Schlomo and Carmen were equally accomplished and resonant, with Eric Anthony impressive as Tyrone with fine dancing accompaniment by Kathleen Nanni as Iris, as well as a strong presence by Inga Ballard as the concerned Miss Ester Sherman. Special mention is also due for trumpeter Warren Freeman, drummer Ambere Rogers, and once again Dennis Moench, doubling on piano and violin, as an occasional and captivating Jazz trio. Although the briefly developed and troubled alliance between Carmen and Schlomo would be improved by more extensive elaboration, otherwise the spirited interplay between the other young, gifted, performers were all generally interesting and involving. Now playing through June 19. (My Grade: 4)

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THE MOUSETRAP
Review by Norm Gross

At the Stoneham Theatre in Stoneham, Mass. is their new production of "The Mousetrap" by Agatha Christie. This legendary "who-done-it" made its debut in London in 1952, and has been performed there since, crowning it as the "the world's longest running play." Set in the 1940's at Monkswell Manor, an imposing country estate 30 miles from London which has now been converted into a residence for paying guests, managed by a young married couple, Mollie and Giles Ralston, who have only been wed for one year. All the ingredients for a classic murder mystery begin to quickly register when the Manor's temporary residents come together. As a blinding and heavy snowstorm rages outside, Christopher Wren, a mercurial young architect, obviously influenced by his famous namesake; Major Metcalf, an elderly, stodgy retired military officer; Mrs. Boyle, a typically overbearing British matron; Miss Casewell, also British, in her early middle age, who claims to be an ex-patriot writer, now living in France; and Signor Paravicini, an Italian gentleman, stalled close-by in the snow, thanks to his malfunctioning automobile; gather together, meeting each other there for the very first time. As news of a nearby murder victim resonates from the parlor's radio, Detective Sergeant Trotter unexpectedly appears, having come on skis from the local police station, to warn them that some of them are also in danger of becoming murder victims. We soon learn that the aforesaid homicide was related to the long past mistreatment of a trio of young orphan-children by one or more of the boarders, with the killer seeking revenge. Identified only as someone wearing a light felt hat, a dark heavy overcoat, and a neutral scarf, much like most of the outer garments worn by those assembled there, the culprit is also described as being overheard to be softly whispering the popular children's song "Three Blind Mice." After the group's discovery that the Manor's sole telephone is no longer functioning, (either because of the storm, or else due to the actions of the lurking criminal), the lights suddenly go out, and in the dark the killer strikes again, murdering his next victim. Act Two finds the police detective methodically confronting each of the suspects with his accumulated evidence culminating with the play's much heralded ingenious exposure. Well played by Lisa Morse and Robert Antonelli as the Manor's young proprietors, with spirited portrayals by Lewis Wheeler as the Detective, Tasso Feldman as the erratic young architect, Whitney Cohen as the oblique Miss Casewell, Dafydd Rees as the stuffy old soldier, and Richard Snee as the courtly Paravicini, with extra special praise for Paula Plum as the overly assertive Mrs. Boyle, as deftly directed by Adam Zahler. Jenna McFarland's stately old English drawing room setting and Rachel Padula-Shufelt's appropriate British-40's-styled costuming contributed nicely to the play's appeal. It should also be noted that the evening's much touted "surprise" revelation, although somewhat expected, mirrored a very similar disclosure in a 1931 Hollywood movie thriller entitled "The Bat Whispers." Nonetheless, the audience's enthusiastic response to the conclusion more than suggests that they all were, indeed, very surprised! Now playing through June 19. (My Grade: 4)

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Forget Herostratus!
Review by Norm Gross

At the Theatre Cooperative in Somerville, Mass. is their production of "Forget Herostratus!" by Grigory Gorin, adapted and directed by Vladimir Zelevinsky. Soviet playwright Gorin, who died in 2000, faced innumerable obstacles presented by the Russian government to thwart him during his lifetime in staging much of his work. Nevertheless, ever resourceful and resilient, his satirical plays inevitably attracted large audiences, especially so after "Perestroika!" Set in Ancient Greece in 356 B.C., Herostratus, a young unmarried, 28 year old free citizen of the city of Ephesus, deliberately set fire to his city's imposing Temple of Artemis, completely destroying it. This magnificent towering shrine to the Greek Goddess Diana, was considered much like the Egyptian pyramids, to be one of the Seven Wonders of the Ancient World. Herostatus, a wily and crafty opportunist, has decided to commit this extraordinary major crime to ensure his rise from total obscurity, first to widespread notoriety and fortune and ultimately to long-lasting fame. Of course, he knows that his name will forever be associated with the razing of the great temple, but he wants much more than that. He schemes to immediately achieve far-ranging admiration, approval and status. By bribing his jailer, with many gold drachmas, he believes his written memoirs (detailing and explaining the reasons for his monumental criminal act) will not only reach a very large audience, but will also help to reinforce their concurrence. Later, his strategy also includes involving Clementina, the lovely young wife of Tissaphernes, the Governor of Ephesus, in his plans. Being curious to understand his motivations when she visits Herostratus in his prison cell, he makes a surprising proposal to her. He'll guarantee that her name also will forever be linked to his in all the chronicles to come related to his historic demolition of the hallowed edifice. To do so, he will fervently utter her name as his last dying words, at the time of his expected execution. As his price, he demands that she become his lover. As the rumors about the Governor's wife's infidelity become widespread, Tissaphernes comes to the still-imprisoned Herostratus to probe the truth of the damaging gossip. During their intense discussions, he realizes that now Herostratus not only desires to have his death sentence canceled, but he also seeks Tissaphernes' help in achieving high political authority. News of this spurs Cleon, the city's Chief Jurist, to prevent Herostratus from reaching such a goal. Well played by the splendid eight member cast with strong performances by Dan Cozzens as Herostratus and Susan Gross (no relation to me) as Clementina, with solid support from Peter Brown as Tissaphernes, Paul Shaffer as the jailer, Dan Liston as the concerned Chief Justice, and Kortney Adams as an ever present observing and counseling Chorus, amongst others. Commendations also for Doc Madison's simple but quite adequate rock and scattered stone pillars setting and Tracy Campbell's modest and effective toga costuming. Although the author's all too sudden and seemingly pat conclusion prompts the notion that a more interesting and/or creative outcome would certainly have been much better. Nonetheless, playwright Gorin's over all provocative observations say much to us about the nature of fame, celebrity and popular esteem, and the ways in which it can be initiated, manipulated, and controlled. One has only to consider contemporary malefactors such as Lee Harvey Oswald, John Hinckley, and Mark David Chapman or such vapid and innocuous "talents" as Paris Hilton and Pamela Anderson, as proof of his central theme! Now playing through June 11. (My Grade: 4)

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BARRYMORE
Review by Norm Gross

At the Devenaughn Theatre in Boston is the Faskarsnopra production of "Barrymore" by William Luce. Well received at its original debut on Broadway in 1997, this new production comes to us here after its earlier presentation this year in Durham, New Hampshire. Set in the Spring of 1942 in a bare Manhattan rehearsal studio where John Barrymore, the best known member of America's most famous and most highly regarded theatrical family, has come to prepare for his return to the stage after an absence of many years appearing in Hollywood films. With the assistance of a prompter, he hopes to return to the New York theatre scene by performing in Shakespeare's "Richard III," one of his earliest and greatest triumphs--twenty years before on Broadway. Unfortunately, these past decades have seen him dissipate his formidable talents. Cursed by alcoholism and four failed marriages, his career is now at its lowest ebb. Known as "The Great Profile," and once regarded as America's finest actor--and now deemed an unreliable drunkard-- his years of dissolution have reduced him to portraying foolish parodies of himself, in second class low budget Hollywood movies. As he tries repeatedly, and often unsuccessfully, to remember Shakespeare's words, he muses about his early years when he worked at a local newspaper as a political cartoonist. He thinks back wistfully about the many professional rivalries with Lionel and Ethel his equally famous thespian brother and sister, as well as with still lingering resentment towards Maurice, their brutish, debauchee father, who had initially set his family onto its notable theatrical course. Confusing passages from "Othello" and "Hamlet" with those from "Richard III," he gradually begins to see himself as the social and professional wreckage that he has become. "I've lived a hell of a life for a man who's been dead for fifteen years", he says regretfully. The program notes inform us that the play takes place one month before this great actor's death (at age 60). Passionately performed by Chuck Galle in the title role with spirited assistance from Guy R. Noyes as his prompter under the well defined direction of Michael J. Curtiss, this spare but intense and compelling presentation is now playing through June 12. (My Grade:5)

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SHOUTING THEATRE IN A CROWDED FIRE
Review by Norm Gross

At the Boston Playwrights Theatre is the world premiere of "Shouting Theatre in a Crowded Fire," a new play written and directed by Wesley Savick. It's being performed on a bare, totally unadorned stage, with only a few ordinary chairs as props, by six young actors with the author/director seated in the second row of the audience at a desk outfitted with a microphone and a table lamp. This one act, plot-less, 80 minute offering is divided into a number of segments which trace the author's development of his social and political awareness, enhanced by his use of many recurrent quotations from the writings of the noted educator, historian, and political activist Howard Zinn. Throughout, Savick emphasizes the role that art has played in promoting change for the better. As examples, he cites Clifford Odets' celebrated play "Waiting for Lefty," which became a clarion call during the Depression in the 1930's for America's workers to Unionize, and 20 years later, Arthur Miller's "The Crucible," which focused on the threat posed to the nation by McCarthyism, as framed within the context of the 17th century's notorious Salem witch trials. As the hour progressed, Savick chatted back and forth and also guided the actors on stage, warning them that yesteryear's artistic calls for change are at best inadequate to the requirements of today's new dilemmas. Obviously with the war in Iraq in mind, he exhorted the actors, as well as the audience, not only to produce original and challenging theatrical works, but to also initiate and engage in vigorous political activities to bring about new and promising solutions. "History is full of instances, however small, where people have come together to bring about change." and " Even the smallest act performed by many people can transform the world.", were amongst Zinn's admonitions, as quoted by either the actors on stage or the playwright in the audience. Unfortunately, while the actors, during their 80 minutes playing time, spent most of their overly zealous energies either shouting and even screaming at each other and the audience, apparently to emphasize their dedication, most of their more moderate and quieter exchanges, as described above, seemed disappointingly overly simplistic and not especially profound nor provocative. Ultimately, by the evening's close, the author and the actors, Joe Jellie, Molly Kimmerling, Hannah Ladouceur, Maria LeBlanc, Nael Nacer, and Alex Pollack, although most certainly sincere and well intentioned, offered us really very little to either challenge or motivate us to concerted action! Now playing through June 5. (My Grade: 1)

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The Homecoming
Review by Norm Gross

At the Merrimack Repertory Theatre in Lowell, Mass. is their new production of "The Homecoming" by Harold Pinter. A source of consternation, contradiction, bafflement, disbelief, and argument since its Royal Shakespeare Company debut in 1965, it has continued to be one of Pinter's most hotly debated plays. In a shabby, unkempt house in North London, Max a bitter elderly widower and retired former butcher, lives with his two unmarried, adult sons Lenny (a dapper, smooth talking, petty gambler, and small time pimp) and Joey (his younger, slow witted brother, who, although obviously unlikely to ever succeed, hopes to one day become a champion prize fighter). Living with them is Max's younger, ineffectual brother Sam, who works as a chauffeur. Act One, primarily taken up with exposition, explores the intense and explosive hostility that each one harbors to all of the others, with Max as their thoroughly contentious, abusive, and repugnant patriarch. The return of Max's eldest son Teddy, with Ruth, his English-born, working-class wife, (whom they've never met before) becomes the play's enigmatic Second Act focus. Teddy, a PhD., now living with his wife and their three small children in the United States, is a professor teaching at a prestigious southwestern American university.(Ruth describes the U.S. as "a land of sand and rocks with many, many, different insects"). In his dad's and brothers' negative and resoundingly contrary fashion, Teddy is considered to be the family's prodigal son. As their disputes and resentments are explosively revealed, they make an astonishing proposal to Teddy's wife Ruth. They ask her to remain and live with them as their surrogate mother, and help to support them by working as a part time prostitute. Hers' and Teddy's extraordinary response has become the play's much debated, inscrutable and ongoing puzzle. Extremely well acted by the first rate six member cast with compelling performances by Allyn Burrows as Teddy, Mark Zeisler as Lenny, Kyle Fabel as Joey, and Dennis Robertson as Sam, with especially powerful portrayals by Judith Lightfoot Clarke as the shrewdly self-serving Ruth, and most definitely Philip Pleasants as the vicious and assertively antagonistic Max. Impressively directed by Charles Tower with high commendation also for Bill Clarke's ramshackle and disheveled living room set, defined by its central severely broken open partition, and its dark, musty-looking, crusted and peeling walls. This well mounted, potently acted and highly ambiguous drama ( layered with many differing and provocative interpretations and possible meanings) is now playing through June 5. (My Grade: 5)

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Shakespeare in Hollywood
Review by Norm Gross

The Lyric Stage Company of Boston is now presenting its production of "Shakespeare in Hollywood," a new comedy by Ken Ludwig. Commissioned by the Royal Shakespeare Company, it had its world premiere in Washington, D.C. in 2003. In 1934, the Warner Brothers Studio produced a multi star-studded motion picture version of "A Midsummer Night's Dream," with famed European stage director Max Reinhardt (a recent refugee from the rise of Hitler) hired as the project's director. As refashioned by playwright Ludwig, Jack L. Warner, the studio's head, is cajoled into producing the movie at the ongoing insistence of Lydia Lansing, his buxom, flamboyant dumb blonde mistress, who sees it as a prestigious boost to her career as an "actress." The farcical plot takes flight when both juvenile Mickey Rooney (as Puck) and Victor Jory (cast as Oberon) are unable to appear. The very youthful Rooney had actually been sidetracked by a skiing accident. By a fanciful and fortunate coincidence, the real Oberon and Puck, having lost their way from the Bard's magical woodland, have instead ended up in the Warner Brothers' recreation of it. Naturally, they're both then cast, as we might have guessed, to portray themselves. There Oberon soon falls in love with the movie's lovely young leading lady, Olivia Darnell (loosely based on the real star: Olivia de Haviland, who made her debut in this film). The real Puck, on the other hand, fascinated by the glitz of Hollywood, begins to take himself seriously as a big-time movie star. The motion picture's other stellar performers: tough-guy James Cagney as "Bottom," handsome crooner Dick Powell as "Lysander," and comedian Joe E. Brown as "Flute," ( ridiculously outfitted with golden braids and a jumbo bosom) figure prominently, as the movie making confusions continue, under Reinhardt's constantly frustrated direction! Into this wild-'n-wooly mix, playwright Ludwig adds Will Hays, the notorious and all powerful head censor of Hollywood's Depression-era's "Production Code" administration, and Louella Parsons, the equally formidable and feared (Hearst Newspaper chain) syndicated gossip columnist. The evening's most raucously winning moments involve Cupid's legendary enchanted flower which, when dabbed into the eyes of the plot's widely varied players, turns each and everyone of them into a zany succession of foolishly mismatched "lovers." This turn of events reaches its zenith with the much feared Will Hays falling madly in love with his own mirrored reflection! As expected, of course the real Oberon and Puck do return, to their Shakespearean literary source, when Mickey Rooney and Victor Jory finally show up to perform their originally assigned roles. High praise for the show's large and strong cast of accomplished farceurs with noteworthy performances by the imposing Christopher Chew as Oberon, given to regularly and quite amusingly misquoting the Bard; Ilyse Robbins as the mischievously exuberant Puck, and Caroline deLima as Lydia Lansing, the studio head's assertive bimbo girl friend. Grand comic support was likewise provided by Elisabeth Hayes as Olivia, Ken Baltin as the continuously thwarted and exasperated Max Reinhardt, Robert Saoud as the overly anxious Jack L.Warner, and most especially Peter Carey as the totally hilarious and willfully prohibiting Will Hays. Commendations are also due for Janie E. Howland's spare yet quite efficient Hollywood Studio setting, Gail Astrid Buckley's fine Shakespearean-styled costumes, and Matt O'Hare's well chosen selections of 30's "Swing" recordings for the show's incidental music. Now playing through June 4. (My Grade: 5)

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JULIUS CAESAR
Review by Norm Gross

At the YMCA Family Theatre in Cambridge, Mass. the Actors' Shakespeare Project presents its new production of "Julius Caesar" by William Shakespeare. A group of conspirators lead by Cassius convince Brutus that Caesar has gained so much power that he has become a threat to the state. They insist that the only way to stop him is by assassination. Ignoring a Soothsayer's warnings about coming to the Capitol on the "Ides of March," Caesar is attacked and killed by the plotters, with Brutus as their leader. Later at his funeral, after Brutus has explained the necessity to end Caesar's burgeoning rise to excessive power, Mark Antony, in a speech heavy with irony, inflames the people of Rome against Caesar's assassins. Allied with Caesar's nephew, Mark Antony forms an army to wrest control from the schemers. When their defeat becomes certain, first Cassius and then later Brutus choose death. Performed on a bare stage, draped in black, with a central ornate crimson throne as its sole focus, the 14 member cast, dressed in contemporary work clothes, portray a host of different roles. Accompanied by recurring drum beats, the cabal meet, conspire, quarrel, regroup, and finally face their defeat throughout with highly unrestrained, and supremely un modulated zeal. Although the cast is able to deftly handle their many differing assignments, ranging from various schemers, politicians, wives and soldiers, to the rank and file of Roman citizenry, ultimately their generally and unnecessarily immoderate and overwhelmingly resonant emotion eventually becomes intrusive and counterproductive. Robert Walsh as Brutus and Benjamin Evett as Cassius, allowing for my previously stated reservations, are both acceptably persuasive, with fine support by Greg Steres as the bloodied and later ghostly Caesar, and especially Dorian Christian Baucum as a somewhat constrained and thoughtful Mark Antony. Mayra Lowry, Bobbie Steinbach, and Jennie Israel, amongst others, handle their many different assignments quite well. Also curiously, Owen Doyle, as the cautioning Soothsayer, is surprisingly outfitted and made up to look like Shakespeare. As implied, Robert Scanlan's direction would have been more compelling with greater restraint from the actors.Now playing through June 5. (My Grade: 3)

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DESIRE UNDER THE ELMS
Review by Norm Gross

At the Loeb Drama Center in Cambridge, Mass. the American Repertory Theatre presents its new production of "Desire Under The Elms" by Eugene O'Neill. Obviously influenced by classic Greek tragedy, this legendary drama was first produced on Broadway in 1924, amidst a storm of controversy, and has been rarely staged since due to its stark somber themes. Elderly widower Ephraim Cabot, now in his mid 70's, returns to his bleak gravel and rock bound farm after two months absence, with Abbie his new 35 year old bride. There he learns that his two older sons have sold their "rights" to the farm to Eben, their younger half-brother, and have left to prospect for gold in California. Eben is consumed by rage toward his stern father, and is motivated by the notion that his deceased mother, who was worked to death by Ephraim--her hardbitten husband--must now be considered the farm's true owner. As such, he now sees the property as his rightful legacy. As he becomes accustomed to Abbie, his initial suspicion and mistrust of her gradually turns first to lust and then to vigorously amorous passion. Their love results in the birth of their child. However Ephraim, believing that he is the baby's father declares, that upon his demise, Abbie and "his" son will inherit the house and land. Seeing this turn of events as Abbie's scheme to swindle the farm's ownership away from him, Eben's love for her turns to bristlng hate. Desperate to prove him wrong, Abbie decides on a dreadful and heart-wrenching recourse. Fervently acted by Raymond J. Barry as the unrelentingly hard hearted Ephraim, with intense performances by Mickey Solis as the zealous Eben and most especially by Amelia Campbell as the lustily driven Abbie, under the firm, controlled direction of Janos Szasz. Riccardo Hernandez' spare, pebble-strewn setting, defined by its elevated and forwardly tilted, worn, clapboard-framed farmhouse, properly established the play's cheerless ambience, however David Remedios' repetitive and drone-like percussion-accented sound-design proved to be most often rather vexing. This compelling drama, exploring O'Neill's harsh and forbidding view of family strife, with land ownership as the center of their tragic conflict and distress, is now playing through June 12. (My Grade: 4)

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INTO THE WOODS
Review by Norm Gross

At the New Repertory Theatre in Newton, Mass. is their new production of "Into the Woods" with Music and Lyrics by Stephen Sondheim and Book by James Lapine. An award-inning success after its Broadway debut in 1987, it won Tony, N.Y. Drama Circle and Drama Desk awards as well as later the Olivier award for its 1990 London production. Act One follows the well known exploits of a host of legendary fairytale characters: Cinderella, Little Red Riding Hood, Jack and the Beanstalk, Rapunzel, the Baker and his Wife, and of course, the obligatory scheming Witch. As expected, finding her lost slipper finally unites Cinderella with her Prince Charming, Jack foils the Giant atop the Beanstalk, Red Riding Hood outwits the Wolf, Rapunzel's hair fulfills its golden purpose, the ugly Witch is transformed into her lovely former self, and the Baker and his Wife do finally have a baby as their reward for helping to bring all of these fabled characters to their happy conclusions. Act Two continues their stories now with an added and much darker, and more provocative aftermath. Amongst other consequences, matrimony for Cinderella and Rapunzel is not quite as blissful as they expected, and the Giant has come down from his elevated lair to not only seek revenge against Jack but to also threaten all of the others with his extreme intentions. Fortunately their plight does finally result in a more hopeful way. The large accomplished cast, all with strong, vibrant, and resonant voices, perform their roles vividly. Aimee Doherty is a lovely, sonorous Cinderella; Veronica J. Kuehn is captivating and perky as Red Riding Hood; Todd Alan Johnson is both delightful and quite amusing as Cinderella's querulous Prince and also as Red Riding Hood's menacing Wolf; Hayley Thompson-King and Andrew Giordano are equally fine as Rapunzel and her Prince; Evan Harrington and Leigh Barrett shine as the Baker and his Wife; and Miguel Cervantes is imposing as the ever resourceful Jack. Guided by Rick Lombardo's highly focused direction, Peter Colao's scenic trio of jumbo open storybooks deftly establishes the show's fanciful setting along with Nancy Leary's engaging costumes. The cast's splendid singing voices are similarly enhanced by the fine small orchestra conducted by Steven Bergman. Noteworthy amongst Sondheim's stirring score are the show's striking title tune and "Any Moment," "Children Will Listen," "It Takes Two," and the amusing Princely duet "Agony." This stimulating and innovative twist on childhood's best loved tales is now playing through June 19. (My Grade: 5)

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THE SUNSHINE BOYS
Review by Norm Gross

At the Stoneham Theatre in Stoneham, Mass. is Troupe America's production of "The Sunshine Boys" by Neil Simon. A major success on Broadway in 1972, it was later produced as an award winning motion picture in 1975. Al Lewis and Willie Clark were a headlining comedy duo for 43 years during the Golden Age of American Vaudeville. However, as times changed, their partnership finally ended on very acrimonious conditions, and the play begins with their bitter breakup, now having continued on for eleven years. They have had no contact with each other since then. Clark, a cranky widower, lives alone in a faded New York hotel room, spending much of his time in his pajamas, perusing the death notices in the weekly "Variety" showbiz newspaper. Lewis, also a widower, lives comfortably with his married daughter and grandchildren in suburban New Jersey. While Lewis' days are now comparatively serene, Clark's routine is consumed with animatedly cantankerous objections to his forced inactivity. Unable to find work (mainly due to his advanced age), he resents Lewis primarily for his partner's many eccentricities, which he found both annoying and threatening, but largely for his decision to retire which effectively ended both of their careers. However, everything dramatically changes for these two when a major television network decides to develop a prime time special heralding the evolution of American comedy. Among their plans they intend to have Lewis and Clark once again perform their famous, legendary "Doctor's Office" sketch, as part of the show. Their farcical routine, which is fully performed at the opening of Act Two, is based primarily on the similar "Dr. Kronkheit" sketch long associated with the actual famed "Smith & Dale" vaudeville team of long ago. Unfortunately, it falls upon Clark's patient and long supportive nephew, Ben Silverman (a professional theatrical agent), to reunite the bitterly divided former partners, and convince them to perform together again for this last time. Ben's constantly frustrated efforts finally do result in their performance on the TV Special, followed later by a surprisingly tender and poignant denouement. Vividly played by Dick Van Patten (of TV fame) as Al Lewis, John Davin as the combative Willie Clark, and James Van Patten (the star's son) as Ben Silverman, assisted by a regretably uneven supporting ensemble, but fortunately bolstered by the fine performances of Monica Heuser and Illeana Kirven as farcical and bonafide nurses. Well staged by Production Manager Melissa Daroff, it's also effectively framed by a splendidly crammed hotel room setting, which is overly crowded with fascinating showbiz memorabilia designed by Gary Decker. This deftly written, genuinely comic exploration of old age, animosity overcome, and ultimate renewal, is now playing through May 22. (My Grade:4.5)

LOOKING FOR NORMAL
Review by Norm Gross

At the intimate Abbott Memorial Theater in Waltham, Mass. is the Hovey Players production of "Looking for Normal," a new play by Jane Anderson. It premiered in Los Angeles in 2001 and was presented as an HBO Cable-TV motion picture (re-titled "Normal") in 2003. This staging marks its Boston premiere. Set in a small, average mid-western town, Roy stuns his wife (for 25 years) by announcing that he sees himself as a woman trapped in a man's body, and has decided to undergo a sex-change operation. Unproductive marriage counseling with their church's befuddled pastor, outraged, contemptuous rebellion from Wayne, their 22 year old eldest son (barnstorming far and wide with a local rock band), and bemused acceptance from Patty Ann, their feisty young teenaged daughter follows with Roy's sobbing wife Irma demanding that he "Get out of their house!" After his transformation becomes a reality, gradually with many months of soul searching, and trenchant discussions, Irma comes to realize that she still loves "him," no matter the gender change, and they both then try to establish a new relationship built on understanding and acceptance. Meanwhile, Roy's elderly parents, who still live at a far distance in the rural farmhouse, where Roy spent his childhood, remain largely uninvolved in their son's stormy situation. At various other times the playwright surprisingly introduces a succession of flashbacks to the 1920's during which time Roy's flamboyant grandmother (fashionably outfitted in jacket, blouse, and slacks) recounts how she abandoned her family back then, to travel widely and live a sexually liberated and freewheeling lifestyle. Near the play's conclusion also, in a poignant moment of final farewell, Roy returns as a daughter, to visit his dying uncomprehending Alzheimer- distressed father. Passionately acted by the fine, intense nine member cast with potent performances by both John Tierney as Roy, and Kate Tonner as Irma, with especially compelling portrayals by Steve Travierso as their son Wayne and Daria da Silveira as Patty Ann, their young daughter, with Renee Tyzbir, noteworthy as Roy's freethinking grandmother, all under Michelle M. Aguillon's well focused direction. Unfortunately, as conceived by the playwright, the few flashback's to Roy's unfettered "Jazz-Age" grandmother's uninhibited lifestyle seemed awkwardly established and insufficiently connected to either Roy's father, who back at that time was very young when he was forsaken, or to the major and disruptive family turmoil that Roy's dramatic and far reaching decision caused. In all other respects, this is a well staged, vividly acted, and highly involving family drama. Now playing through May 21. (My Grade: 4)

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TOOTH AND CLAW
Review by Norm Gross

At the Boston Center for the Arts the Zeitgeist Stage Company presents its production of "Tooth and Claw," a new play by Michael Holliger. The play's title is taken from a poem by Tennyson. First presented in Philadelphia in 2003, it was also staged successfully off-Broadway last year and this presentation represents its Boston premiere. Set in the Galapagos Islands and based on actual events in the 1990's, Dr. Schuyler Baines, a young prominent female environmentalist, newly appointed as Director of the Island's "Darwin Research Station," has just arrived to help prevent the potential extinction of the area's endangered giant tortoises. These huge animals are threatened not only by the island's wild goats, who are directly competing with them over the rapidly depleting natural food supply, but also primarily from the Isle's fishermen. These aggressive local rivals must now depend for their own survival on their illegal over-fishing of the region's abundant sea-cucumbers . Thought to enhance sexual prowess, a huge demand in Japan has developed for their export. Unfortunately, although a highly qualified specialist, Dr. Schuyler doesn't speak Spanish, (although she's trying to learn a bit ), knows little about the Islands, its people, or their customs, and is ill-prepared to compromise or try to even relate effectively with them. Determined to protect the jeopardized tortoises at all costs, she enrages the fishermen by exerting political pressure to outlaw their illicit harvesting. They react very violently by confronting the Research Station and placing it under full siege. The play's central issues of the necessary balance between human needs and environmental imperatives is then adroitly explored by the playwright. The many differing aspects of "survival of the fittest" are deftly introduced. Dr. Schuyler is quite aware that Carlos Zaval, her accomplished gay Latino subordinate, had been bypassed as Director, although he was obviously more in step with the Islanders' attitudes, culture and needs than she was. Ana, her very pregnant native secretary, repeatedly nettles her with provocative questions and/or observations that compel Schuyler to rethink and justify her insistence of the rights of the turtles over those of the fishermen. Malcolm Geary, the area's elderly, long time scholar and philosopher, regularly pontificates on the many sides of ecology and concludes by revealing that he had much more than just a casual relationship with Schuyler's eminent, deceased mother. Lisa Morse is effectively commanding as Dr. Schuyler Baines, with solid support from the accomplished ten member cast (many of whom not only effectively personify the region's vehement aggrieved fishermen, but also soulfully chant poignant folk songs, while accompanying themselves on guitars). Luis Negron as Carlos Zavala, Ed Peed as Malcolm Geary, and Nydia Calon as the secretary, all offer strong performances. David J. Miller's well paced direction and his simple, yet quite efficient scenic design (a colorful, map-like floor with several well placed, illuminated stone enclosures housing the special turtles) was equally imposing. Now playing through May 21. (My Grade: 5)

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THE SLEEPING BEAUTY
Review by Norm Gross

At Boston's Wang Theatre, the Boston Ballet, now celebrating its 41st season, presents "The Sleeping Beauty," featuring Tchaikovsky's sublime music, with Marius Petipa's original choreography, in a new production based on the Royal Ballet's 1946 interpretation, with additional choreography by Sir Frederick Ashton. At the time of her Christening, a hex was put upon Princess Aurora by Carabosse, a malicious Fairy. At Aurora's 16th birthday, while still being courted by a quartet of foreign Princes, her finger is pricked by a jinxed spindle causing her to fall into a century long slumber, to be awakened thereafter by a Prince's kiss. Exquisitely danced by Lorna Feijoo as Princess Aurora and Nelson Madrigal, as the Prince whose kiss finally breaks the spell that has held her for so long. The evening is highlighted by a succession of imposing pirouettes and commanding Pas de Deux, culminating in a dazzling series of extraordinary embraces as the Prince repeatedly sweeps his inverted sweetheart off her feet, to the loud roaring approval of the capacity audience. Much praise is also due for Patricia Barker, (an auspicious visiting dancer from the Pacific North Ballet) deftly portraying Princess Aurora's Protectoress, the Lilac Fairy and Jennifer Glaze as the malevolent Carabosse. Commendations must also go to Heather Myers and Mateo Klemmayer as the Garden Fairy and her attendant Knight; Rie Ichikawa and Christopher Budzynski as the Songbird Fairy and her Gallant; and Melanie Atkins and Jared Redick as the Golden Vine fairy and her Cavalier, amongst many others. Patricia Ruanne's impressive staging, the majestic palatial and woodland settings and splendid Imperial costumes designed by David Walker, Mikki Kunttu's vivid lighting and the stirring full orchestral accompaniment conducted by Jonathan McPhee, are all most deserving of the highest approval. This genuinely memorable production, (one of the Boston Ballet's best ever), is now playing through May 15. (My Grade: 5)

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THE SLEEPING BEAUTY
Review by Norm Gross

At Boston's Wang Theatre, the Boston Ballet, now celebrating its 41st season, presents "The Sleeping Beauty," featuring Tchaikovsky's sublime music, with Marius Petipa's original choreography, in a new production based on the Royal Ballet's 1946 interpretation, with additional choreography by Sir Frederick Ashton. At the time of her Christening, a hex was put upon Princess Aurora by Carabosse, a malicious Fairy. At Aurora's 16th birthday, while still being courted by a quartet of foreign Princes, her finger is pricked by a jinxed spindle causing her to fall into a century long slumber, to be awakened thereafter by a Prince's kiss. Exquisitely danced by Lorna Feijoo as Princess Aurora and Nelson Madrigal, as the Prince whose kiss finally breaks the spell that has held her for so long. The evening is highlighted by a succession of imposing pirouettes and commanding Pas de Deux, culminating in a dazzling series of extraordinary embraces as the Prince repeatedly sweeps his inverted sweetheart off her feet, to the loud roaring approval of the capacity audience. Much praise is also due for Patricia Barker, (an auspicious visiting dancer from the Pacific North Ballet) deftly portraying Princess Aurora's Protectoress, the Lilac Fairy and Jennifer Glaze as the malevolent Carabosse. Commendations must also go to Heather Myers and Mateo Klemmayer as the Garden Fairy and her attendant Knight; Rie Ichikawa and Christopher Budzynski as the Songbird Fairy and her Gallant; and Melanie Atkins and Jared Redick as the Golden Vine fairy and her Cavalier, amongst many others. Patricia Ruanne's impressive staging, the majestic palatial and woodland settings and splendid Imperial costumes designed by David Walker, Mikki Kunttu's vivid lighting and the stirring full orchestral accompaniment conducted by Jonathan McPhee, are all most deserving of the highest approval. This genuinely memorable production, (one of the Boston Ballet's best ever), is now playing through May 15. (My Grade: 5)

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Thoroughly Modern Millie
Review by Norm Gross

At the North Shore Music Theatre in Beverly, Mass., now celebrating its fiftieth anniversary, is their new production of "Thoroughly Modern Millie," featuring Book by Richard Morris and Dick Scanlan with new Music by Jeanine Tesori and new Lyrics by Dick Scanlan. Based on a similarly-titled 1967 Hollywood movie, it was later redeveloped and expanded for the stage and opened on Broadway in April 2002 to mixed reviews. However, it has since enjoyed much audience approval both on the Great White Way as well as on a recently completed national tour. Set in Manhattan in 1922, the plot (a spoof of old-time melodramas) centers on lovely young Millie, arriving in the big city from Kansas intent on a modern hairdo, the latest fashionable wardrobe, and marrying a rich and eligible bachelor. After gaining employment as a secretary and a room at a local hotel (catering to unmarred females), she strikes up a friendship with another newcomer, sweet innocent Miss Dorothy.The plot then thickens when it's revealed that Mrs. Meers, the hotel's stereotypical owner, is really an ex-con posing as a Chinese matron. Her establishment is actually a "front" for her activities kidnapping attractive youthful female orphans, for shipment to the white slavery racket in Hong Kong. Millie's efforts to win Trevor Graydon, her rich unmarried boss, come up short when Trevor falls for her best friend Miss Dorothy, instead. Further complications arise when Millie's chance acquaintance with handsome and unemployed Jimmy, begins to blossom, compounding her hopes to marry rich. The whole plan finally boils over when Mrs. Meers' two immigrant Chinese henchmen attempt, unsuccessfully, to kidnap Miss Dorothy. Everything then becomes even more complex for Millie and Jimmy when they are invited to a "Speak Easy"-styled party at the penthouse of Muzzy Van Hossmere, the super rich cream of New York's Cafe Society! As expected, eventually Jimmy is revealed to be much wealthier than originally believed, Mrs. Meers' sinister schemes are finally exposed, and Miss Dorothy and Trevor and Millie and Jimmy live happily ever after. Amongst the evening's best numbers are the show's title song, as well as "Jimmy," "Forget About the Boy" and "What Do I Need With Love?" Of note also is Trevor and Miss Dorothy's highly satirical emoting (with hilarious new lyrics) of Victor Herbert's "I'm Falling in Love with Someone, " "The Speed Test" sung with new, non-stop rapid rhymes by Millie's fellow office secretaries to the music of Gilbert & Sullivan, still funnier new words sung at Muzzy's party to a "Jazz Age" version of " The Nutcracker Suite," and most especially both immigrant henchmen (hoping to raise enough cash to bring over their mother from China) singing Al Jolson's "Mammy" in fluent Chinese, replete with highly amusing subtitles fully projected onto several suspended movie screens. Much praise is due for pretty, animated, and resonant Milena Govich in the title role with spirited support by Ryan Silverman as Jimmy and Beth McVey boisterously triumphant as Mrs. Meers. With additionally winning portrayals, all in full voices, by Amanda Serkasevich as Miss Dorothy, Richard Roland as Trevor, Terry Burrrell as Muzzy, and especially Telly Leung and David Rhee as the two henchmen. Deftly directed and choreographed in-the-round by Barry Ivan, with fine period costumes designed by Vincent Scassellati, and brisk orchestral accompaniment conducted by Dale Rieling. This entertaining musical romp is now playing through May 15. (My Grade: 5)

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CULTURE CLASH IN AMERICCA
Review by Norm Gross

At the Boston Center for the Arts' Calderwood Pavilion in the Wimberly Theatre, the Huntington Theatre Company presents "Culture Clash in AmeriCCa," an evening of comic sketches and humorous observations created, written and performed by Richard Montoya, Ric Salinas and Herbert Siguenza, who are collectively known as "Culture Clash." For the past 20 years this Los Angeles based Latino/Chicano comedy trio has been regaling audiences nationwide from New York's Lincoln Center and Washington, D.C.'s Kennedy Center and countless repertory theatres and college stages. Most recently, their amusing skits and sharp commentaries have been developed from extensive interviews with local residents in each new area they play in. In preparation for their Boston appearances, they came there several times last year and spoke to a large cross section of Bostonians exploring everything from the Red Sox' "Curse of the Bambino" ( now past tense), race relations, Beacon Hill tourism, the Catholic Church's ongoing scandals ranging from Church closings and gay marriage, to the still persistent Priestly child abuse crisis. Amongst some of the evening's most trenchant moments were a delicatessen owner (obviously Jewish) animatedly arguing with a Moslem cabdriver, or the threesome analyzing the differences in "Salsa" dance styles between one Latino group and another, with Cubans being much too laid back, while Dominicans are just too strenuous and Puerto Ricans being demonstrably proud for having lots and lots of attitude. As expected, unlike the aforementioned Hispanics, when on the dance floor, blacks just try to be "cool." Other memorable segments included the burgeoning difficulties encountered by a lesbian in South Boston; a former hooker now acting as a health care worker specializing in assisting transsexuals suffering from AIDS; a black teenager enrolled in the "Metco" program, being refused admission to his school's all white suburban prom; and two middle class liberal housewives berating President Bush by announcing that the only Bush they want to look at is their own. In each instance, every dialect, accent and nuance by the players was flawless! The evening's most compelling piece concerned a young local adult coming to visit the elderly priest, lying on his death-bed, who had sexually abused him many years before, when he was just a child. Then, as these two prayed together, the stricken cleric plaintively pleads for forgiveness from his still wounded victim. For ninety non-stop minutes, this trio of highly gifted zanies captivated the capacity audience with their extraordinary versatility memorably encompassing our localities and our country's wide ranging multi-ethnic, racial, sexual, and philosophical diversity with commanding, incisive and grandly telling and amusing effectiveness. Now playing through May 8. (My Grade: 5)

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Chevalier- Maurice & Me
Review by Norm Gross

At Emerson College's Cutler Majestic Theatre in Boston, Mass, is the world premiere of "Chevalier- Maurice & Me," a new one-man play, written and directed by Marna J. Petersen, in collaboration with the show's star Tony Sandler. He's best known for performing in night clubs, TV, and on recordings for 20 years with his former partner Ralph Young, as the highly popular "Sandler and Young" singing duo. In this new venture, separated into two acts with intermission, in low key, amiable, and very relaxed fashion, Sandler outlines the famed continental entertainer's stormy life story. Although, like Sandler he too was born a Belgian, he's best known as one of France's most legendary showmen. Both acts are divided into time periods exploring Chevalier's story in song, detail and anecdote. As expected, Sandler starts by chronicling Chevalier's earliest years from his birth in 1888 in a small poverty-stricken suburban Parisian village, to his rough and tumble beginnings at the outset of the 20th Century barnstorming in local music halls, which lead him to his professional association with "Mistinguett," the Folies Bergere's most popular and beloved star. It all came together and bolstered his rise to fame and fortune. Throughout the evening each segment is sprinkled with humorous quips and gentle, whimsical, old-fashioned jokes, highlighted by the songs, (deftly sung in French and English) which are associated with this great star's career. "Ma Pomme" (my apple, my love), and "Valentina" (such a dainty, young coquette, and years later so plump and over abundant), are the tunes most representative of these early years. As his fame quickly spread throughout Europe it eventually propelled him across the Atlantic to New York and then to Los Angeles. As the handsome, debonair, singing leading man in a succession of highly popular musical comedies, he soon became a major box-office attraction. Jeanette MacDonald, Claudette Colbert, and Ann Sothern were amongst his many well-known leading ladies. (Every little breeze seems to whisper..) "Louise," "You Brought a New Kind of Love to Me," and "My Ideal" became his biggest hits at this time. His need to see his family again after so many years away, brought him back to France in the late 30's and the unexpected anguish that would haunt him during World War II, and for so many years after. Act Two begins with his successful efforts to repudiate accusations that he had entertained German troops, which he denied as being false Nazi wartime propaganda. Still later, he was greeted triumphantly upon his return to the U.S. in the mid 1950's. Now, no longer young, in his mid sixties, portraying elderly character roles, he once again appeared in a number of popular American movies. Amongst the most notable of these were his performances in Cole Porter's "Can-Can," singing such well loved songs as "C'est Magnifique", as well as " I Love Paris," and most definitely Lerner and Loewe's "Gigi" featuring his memorable rendition of "Thank Heaven for Little Girls," which will always be associated with him. Amongst his lovely co-stars at this time were Leslie Caron, Audrey Hepburn, Shirley Maclaine, and Sophia Loren. He continued thereafter, very much in demand, in motion pictures, TV, and on stage until his death in 1972 at age 84. Sandler jauntily evokes Chevalier's charm and engaging manner throughout replete with tuxedo, tilted straw hat, and even top hat, briskly accompanied by a fine, highly rhythmic onstage quintet conducted by pianist/leader Evan Mazunik and featuring Belgium's leading accordianist, Ludo Marien. While Chevalier's controversies during World War II were adequately addressed, including his denunciation as a collaborator at the war's end by members of the French Resistance, surprisingly no mention of any sort was made of his difficulties during the early 50's while attempting to return to the U.S., which was then in the midst of the "McArthyism-styled" Communist investigations. Having signed the "Stockholm Peace Appeal", an anti-nuclear petition, judged then as Communist inspired, Chevalier was repeatedly denied admission to this country, but as before, he was finally able to successfully challenge the pro-Red accusations leveled against him and return to Hollywood. This proved to be a serious deficiency in this otherwise engaging, comprehensive, informative, good natured and tuneful evening. Now playing through May 1. (My Grade: 4)

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THE NEW MOON
Review by Norm Gross

At Boston University's Tsai Performance Center The New England Light Opera has presented, in a brief, now concluded, weekend concert-styled offering, "The New Moon," with Music by Sigmund Romberg, and Book by Oscar Hammerstein II, Frank Mandel and Lawrence Schwab. After a troubled pre-Broadway tryout and some extensive out of town overhauling, this legendary romantic musical play opened triumphantly on the Great White Way on September 19, 1928. It then was followed by a subsequent production in London and countless revivals ever since. It was also produced as a motion picture starring Grace Moore and Lawrence Tibbets in 1930 and once again in 1940 featuring Jeanette MacDonald and Nelson Eddy. Set in 1792 in New Orleans, Robert, a nobleman, is on-the-run, wrongly accused of being an accessory to a murder in the French Court. He's masquerading as a bonded servant at a large estate, and while there falls deeply in love with Marianne, the daughter of the Lord of the Manor. He has also been trailed there by Ribaud, a by-the-book dedicated French security officer, who soon exposes Robert and arrests him. He plans to bring Robert back to Paris to stand trial by escorting him there on "The New Moon," a large, seagoing ship commanded by Captain Duval, a pompous ninny who also harbors romantic expectations towards Marianne. Hard-pressed, she likewise decides to also accompany Robert, Ribaud, and Duval on their sailing back to France. However, soon after they journey out to sea, Robert's many anti-Monarchist friends, posing as pirates, thwart Ribaud and Duval, and rescue him and Marianne. Inspired by their introduction to American freedom, they all then sail to the Isle of Pines intent on establishing a democratic government there. The play concludes with news of the successful French Revolution and Robert's complete exoneration together with his happy ending with Marianne. The show's grand score includes such majestic musical classics as: "Softly As In A Morning Sunrise," " One Kiss," "Lover Come Back To Me," and the robust and stirring marching song "Stout Hearted Men", amongst many others. Resonantly sung and portrayed by the large cast and chorus, with strong and sonorous performances by Soprano Mala Bhattachary as Marianne; Baritone John Whittlesey as Robert; Baritone Paul Shafer as Ribaud; along with solid support from Tenor Ruben Muresan as one of Robert's accomplices; Baritone Brian Ballard as Captain Duval;and Mezzo-Soprano Vanessa Schukis as the assertive wife of one of the "pirates." Vividly directed by Peter A. Carey, with strong orchestral accompaniment conducted by Mark Morgan and pleasant, occasional choreography by Ilyse Robbins Mohr. At the final curtain, the entire company was most deservedly saluted by a loud standing ovation from the capacity audience! (My Grade: 5)

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MY PRICE POINT
Review by Norm Gross

At the Boston Center for the Arts' Plaza Theatre is the Theater Offensive's presentation of "My Price Point " a one-man play written by and starring Mike Albo and co-written by Virginia Heffernan ( TV critic for the New York Times ). An Off-Broadway hit last season, this marks its Boston area premiere. The play's title refers to the fashion world's description of consumer costs.This engaging ninety minute solo show is composed of a succession of agile and often quite humorous vignettes about society's compulsive obsessions with fads, trends, and demographics, all layered with technology. Brimming with winning and generally hilarious jabs at innocuous celebrities, rapacious real estate rental agents, wonder cure-all drugs prescribed via television commercials, and our increasing dependence on cell-phones, with only an occasional misfire. Albo hits his target more often than not. Amongst the evening's brightest moments were his boisterous send-up of the supremely vacuous Paris Hilton, replete with blonde hair extension (accented by Albo's dark brown moustache and beard), outfitted in only hot-pink bra and panties, as she vapidly chirps onto her cell-phone with Am-a-a-a-nda, her dearest confidante, as well as the tempestuous and vain Jennifer Lopez (JLo), as glibly promoted by Tony Testa, her unctuous assistant. Still later, his most striking piece centers on what he refers to as our personal "Stalker," which he calls "The Underminer," (the friend who consistently lifts your spirits up only to then be able to put you down with a devastating insult.) The latter is also the title and central subject of performer, poet, and writer Albo's latest novel. The show's major segment is titled "Trend Dance" and is defined by flickering lights from above bathing his every movement as he vividly and quite rapidly names nearly every fad, passing vogue, and technological advance, either visual or auditory, which has been developed during the past generation with stunning effectiveness. He then wraps up this memorable show-stopper by displaying a succession of bigger to then smaller and ever more smaller and smaller cell-phones, listing each by its brand name, as he animatedly progresses. Besides these above stated talents, surprisingly Albo is also a master at assuming both Yoga positions and intricate and unusual body contortions, too. A graceful dancer, as well, he concludes his fanciful, non-stop, 90 minute performance clothed only his underwear, drenched by a shower of water, in a dazzling take-off of Jennifer Beals' rhythmic turns in the movie "Flashdance." With only a fleeting lag or misstep, this otherwise impressively commanding showcase is now playing through May 1. (My Grade: 5)

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LIVING OUT
Review by Norm Gross

Boston's Lyric Stage Company presents the New England premiere of "Living Out," a new play by Lisa Loomer. Well received when it was initially staged in Los Angeles in January 2003, it was similarly approved when it was also presented Off Broadway in September, that same year. Other presentations are now also scheduled for Minneapolis , Seattle, and Kansas City. Set in the affluent white west side of Los Angeles, Ana Hernandez, an illegal Salvadoran immigrant, seeks employment as a Nanny, from new parents Nancy and Richard Robin (successful, liberal minded attorneys). Ana lives with Bobby, her construction worker husband and their 6 year old child in the city's poorer East Side. Their other 11 year old was left behind, with a relative in El Salvador, awaiting such time when his parents would have sufficient money to send for him. The play then adroitly explores the vast cultural differences that separate these two mothers. Ana, who had intended to study dentistry in El Salvador, quickly learns that she must lie about her status and her second child, living abroad (both seen as definite liabilities, by all prospective employers.) Nancy is likewise advised, by her well-to-do friends, to spy on her new Nanny with a TV camera, hidden in a child's teddy bear, while also testing Ana's honesty by leaving some exposed cash on a table-top. Ana is also continually distressed by the fact that her child is being cared for by others, rather than by herself, while her husband worries that his troubled early years in El Salvador may be discovered, and eventually derail his status here in the U.S.A. Their varied cultural differences are also humorously revealed by Nancy's wealthy, gossiping neighbors, who discuss the cultural differences they've noticed between the various Latinos they've hired, such as those evident between Mexicans, Cubans or Guatemalans, just as a similar trio of Latino Nannies also exchange observations about their WASP, African-American, and/or Jewish employers. The latter, comprised of Salvadoran Ana, Mexican Sandra,and Guatamalan Zoila, are all especially winning. As the play compassionately builds, and then skillfully addresses the myriad problems, especially facing Ana and her hard-working and loving husband, the play then surprisingly concludes on an unexpected and seemingly contrived dark and somber note. It's being convincingly played by Mariela Lopez-Ponce as Ana, Rachel Harker as Nancy, Dale Place as her husband Richard, Luis Negron as Ana's husband Bobby, and especially Elaine D. Theodore and Nelida Torres-Colon as Ana's gossiping Latino fellow nannies, amongst others, all under the strong direction of Lois Roach. This compelling examination of cultural differences marred, as already stated, by its questionable denouement, is now playing through April 23. (My Grade: 3.5)

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GAGARIN WAY
Review by Norm Gross

At the Roberts Studio Theatre in the Boston Center for the Arts' Calderwood Pavilion, the Sugan Theatre Company presents its production of "Gagarin Way," a new comedy with serious overtones by Gregory Burke. This first play by Scottish neophyte Burke (it took him ten years to write ), has enjoyed phenomenal success since its debut in Edinburgh in 1998. Performed in London, Chicago, and Washington, D.C., as well as Gdansk, Buenos Aires and in Asia, it has been translated into nineteen languages. Its dominant theme, of the devastating effects Globalization has had on the average worker, has obviously struck an international nerve. Set in a factory storeroom in a small former mining town in Scotland, the play's action centers on two highly dispirited laborers: Eddie, a young, restless, highly self-educated, seething and nearly explosive, working-class tough-guy, who has a bent for violence and his helpful co-worker; and the much calmer Gary. Although Eddie has been at his job for seven years, it now appears that the company that he and Gary work for, may now relocate to a less costly and more profitable foreign destination, leaving them both adrift. Sparked by Eddie, they're both upset and embittered by the listless resignation of their fellow workers to their all encompassing and uncertain future. They're both passionately mindful of their town's storied history as a former hot-bed of Marxist driven unionism, replete with its many past labor strikes and anti-boss demonstrations. The play's title refers to a nearby town street named in honor of Yuri Gagarin, the triumphant Soviet Union's first cosmonaut propelled into outer space. Hoping to regenerate the town's long dormant backbone, Eddie, together with Gary, have undertaken a daring scheme. They'll kidnap, under threat of death, an executive of the multinational conglomerate that is responsible for everyone's discontent. Planning to hold a Japanese official as their hostage, Gary mistakenly abducts Frank instead, a worn-out and thoroughly depressed administrator and fellow Scotsman, who generally agrees with their grievances. To further complicate their plans, Tom, a young college student moon-lighting as a security guard-- who had initially admitted Eddie and Gary into the factory after hours-- returns unexpectedly to the storeroom to retrieve his official hat. He's surprised and mystified by the intrigue he discovers underway there. As the captive gradually awakens, these four vividly banter about the pros and cons of the ever widening number of multinational corporations who treat them all as insignificant pawns. This compact, yet wide-ranging and quite provocative, ninety minute exploration of Globalization and its after effects, bristles throughout with hard-edged, incisive and generally hilarious dialogue. However, it then suddenly shifts its tone with an unexpectedly jarring and disputative conclusion. Intensely directed by Brendan Hughes, it's being powerfully played by Ciaran Crawford as the fuming and impetuous Eddie, Rick Park as his conflicted partner Gary, Eric Hamel as the young, and unsuspecting Tom, and Dafydd Rees as the world-weary and defeated Frank. This well written, extraordinary and very compelling play is now on through April 23. (My Grade: 5)

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I AM MY OWN WIFE
Review by Norm Gross

At Boston's Wilbur Theatre is "I Am My Own Wife," a new play by Doug Wright. Winner of the 2004 Pulitzer Prize, as well as that year's Tony Awards for Best Play and Best Actor, this presentation now begins its national tour, after completing its highly successful run on Broadway. Set in East Germany in the 90's, the story centers on the true life of Lothar Berfelde, an East German transvestite, who preferred to be known as Charlotte von Mahlsdorf and is drawn from extensive taped interviews the playwright conducted with Charlotte over a few years, prior to her death in 2002. This one-man Docudrama is dazzlingly performed by Jefferson Mays, who in the course of his two hour portrayal (including intermission) shifts effortlessly and instantaneously back and forth from the play's blemished heroine to over 40 other related characters, ranging from the playwright himself and various American G.I.'s, U.S. and foreign news reporters, nurses, and associated fellow aids and co-conspirators to members of the Gestapo and later Communist agents. Her remarkable tale of perseverance, resilience and survival unfolds as actor Mays adjusts to each new, demanding and fully nuance accent (including Charlotte's heavily Germanic dialect) flawlessly. Dedicated for the past 33 years to amassing a vast collection of elaborate grandfather, and other assorted fancy clocks, courtly old, large, medium, and small sized furniture and an extensive assemblage of antique Gramophones, she has opened her home up to the public as a museum. As her story unfolds, we are told of her escaping death at the hands of the Nazis in her youth, her imprisonment, and eventual escape, for killing her brutish Nazi father, who had regularly and cruelly beaten her mother. Still later, at the height of the Cold War, we learn of her cooperation with the dreaded East German Staasi (Secret Police) as both a spy and an informer. Her later years were marked by her violent confrontations with young, vandalizing, Skinheads. Sensitively directed by Moises Kaufman, with a well chosen and memorable sound-design by Andre J. Pluess, which vividly evokes the many different time frames and musical styles encompassing Charlotte's uncommon life, together with David Lander's striking lighting, which dramatically exposes the many special possessions on view in her extraordinary Museum. This compelling, provocative, brilliantly performed and impressively staged drama is now playing through April 24. (My Grade: 5)

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DEN OF THIEVES
Review by Norm Gross

At the Boston Center for the Arts, Company One presents its production of "Den of Thieves," a new comedy by Stephen Adly Guirgis. Its grandly farcical plot centers on the unlikely situation in which a typical 12-step, self-help recovery program is offered to a gang of bigtime mobsters by a few opportunistic and dimwiitted losers. Paul has come to his friend Maggie's apartment to help sponsor her as a member of "Kleptomaniacs Anonymous." He assures her that their proven procedures will definitely aid her in overcoming her need to steal things. He was inspired to help others by the good public-spirited examples of his adopted Jewish grandfather. Although the leader (now retired) of a gang of professional criminals, known as "The Den of Thieves," his elder had always insisted on using their stolen fortunes to help others. His ongoing mission was to build many free public libraries for the poor and disadvantaged. Unfortunately, however, Paul's good spirited efforts towards Maggie are unexpectedly upset by the arrival of Flaco, her intensely jealous former flame, and his new girlfriend, a trollop named Boochie. After Paul finally convinces Flaco of his altruistic purposes in helping Maggie, Flaco calms down and decides to enlist them all in his "get-rich-quick" scheme. He persuades Paul, Maggie, and Boochie to help him to steal $750,000 from a nearby illicit gambling club. As expected, when his foolproof heist goes wrong, they're all captured and tied up by the club's criminal owners. As prisoners, they begin to explain their self-help notions to their captors. By so doing, they're able to dissuade "Little Tuna" (the son of Mob Boss "Big Tuna") from ordering his brutish cousin Sal to execute them. Instead, they're able to convince "Little Tuna" to give them until dawn to select only one of their own to be killed. However, when his top-gangster dad suddenly turns up, once again their positive sounding proposals for self-improvement and behavioral renewal completely reverses their desperate situation in genuinely hilarious fashion! Vividly played by the first-rate cast of farceurs with much praise for Keith Mascoll as.Paul, and most especially for Mason Sand as the boasting and swaggering Flaco. With additional commendations for James Milord as the agreeable "Little Tuna," Molly Kimmerling as the sexy and overly solicitous Boochie; Kenneth McFadden as the controlling "Big Tuna"; Tony Berg as his thug-like hit man Sal; and Nicole Parker as the acquiescent Maggie. Marshalled by Mark Abby VanDerzee's well focused direction and Anita Fuch's creative setting (a comfortable living room, which is quickly and deftly transformed into a stark, prison-like basement), this wildly uproarious take on self-improvement groups is a definite comic winner, all the way! Now playing through April 23. (My Grade: 5)

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OLLY'S PRISON
Review by Norm Gross

At the Zero Arrow Theatre in Cambridge, Mass. the American Repertory Theatre presents its production, an American premiere, of "Olly's Prison" by Edward Bond. One of the major playwrights, who gained notoriety in England in the 60's, and in this country as well, for their dramas which focused on a bare-knuckled view of everyday life. He's best known for his controversial 1965 play, "Saved," in which an infant is savagely brutalized by a band of juvenile blue-collar hoodlums. This latest drama is set in a small, working class apartment in London (conceived as a bright white confine by Designer David Zinn), which later turns into a similarly colorless but still radiant prison. The plot centers on middle-aged Mike, a widower and an average working-class type, overwhelmed by feelings of isolation, desperation and futility. The play's first 35 minutes are fixed on his agonizing and rambling monologue, during which Mike pleads without success for Sheila, his teenaged daughter, to respond in even a slight way, to his overtures. As his blind fury mounts steadily, because of her sullen silence, he finally erupts and violently assaults her, strangling her to death. Dazed, as if in a trance, and oblivious to his horrific act, he remains seated in his chair all night, sorting and calculating his many bills, and eventually falls asleep. Still declaring his innocence, Mike's life then teeters back and forth from his lengthy prison sentence, to his conditional release from jail. While still incarcerated, a rope he had intended for his own demise is used instead for the suicide of Smiler, a young, soon to be released fellow inmate. After being paroled, Mike, who at the time of his crime had offered his debt-free apartment to Frank, his deceased daughter's boyfriend, is now living with Vera, his next door neighbor. Unmindful of his seething confuson and disinterest, she fancifully imagines a future where they'll marry and live together, happily and forever after. Unresponsive, Mike finally ruthlessly dissuades her. While in prison, he had also met Ellen, Smiler's mother, and has now taken up with her. Thanks to her, he finally meets Olly, her young occasional boyfriend, a petty one-eyed thief. This encounter culminates very violently, when Frank, now a determined and vindictive police officer, decides to enlist Olly's help in avenging Sheila's murder. Although much too long, unrelievedly somber, and relentlessly bereft of even a minor glimmer of hope, it is being vividly directed by Robert Woodruff, and is played with fierce ardor and passion by the fine, intense eleven member cast. Centered by an extraordinary performance by Bill Camp as Mike, with well defined support from the optimistic and deluded Angela Reed as Vera, the always remarkable Karen MacDonald as Ellen, David Wilson Barnes as the malevolent Frank and Mickey Solis as the climactic Olly, amongst the others, Bond's message seems to be that Society not only depends upon violence to maintain itself, but also also creates and encourages it as well. Just like Mike, Smiler and the others, we too are victimized by Society which holds us imprisoned, along with Olly! While certainly unlikely to occur, this grandly acted, compelling, provocative, yet still too lengthy, and unyieldingly didactic play would certainly benefit from the author's extreme and judicious editing! Now playing through April 24. (My Grade: 3.5)

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EARTHA KITT AT STONEHAM THEATER
review by Norm Gross

At the Stoneham Theater in Stoneham, Mass. for a five day engagement, Eartha Kitt, in a rare Boston area appearance, is performing her celebrated one-woman show. Supported by a fine, small, rhythmic, on-stage quartet (keyboards, bass, drums and congas) directed by pianist Daryl Waters, Ms. Kitt, looking amazingly sleek and sexy (while boasting repeatedly about her advanced 78 years of age), with full control of her resoundingly strong singing voice, captivated the capacity audience, for more than two hours (including an intermission). She held them enrapt with the songs and reminiscences that have kept her star shining so brightly for nearly six decades. Beginning with Stephen Sondheim's "I'm Still Here!" and later with his "Leave You?...How Could I Leave You?", she interspersed her scintillating presence with many similarly notable musical milestones. Amongst these were such memorable numbers as: Jimmy McHugh's "I Can't Give You Anything But Love, Baby!", W.C.Handy's "St. Louis Blues," Noel Coward's "Mad About the Boy!," Kurt Weill's "September Song," and Duke Ellington's "The Blues,Ain't Nothin'." The evening's other notable highlights included her own special interpretations of the great songs associated with many other major female singers. Nancy Wilson's "Guess Who I Saw Today, My Dear? " Rosemary Clooney's "Come Onna My House! " and Edith Piaf's "La Vie En Rose, " were amongst the best of these. Singing, not only in English, she also wowed the audience with her renditions in Turkish of "Uska Dara," in German with "Bye, Bye, Mein Herr! ", and of course in French with her chart-busting success, " C'est Si Bon." Strutting as the international sex-kitten and the perennial gold-digging Vamp, and even spiritedly dancing "the Charleston " on stage, she held the gallery enthralled with her resounding comic versions of "I Want To Be Evil, " and "I Want An Old Fashioned Millionaire! " and then vividly changed moods with such serious and uplifting moments as "So, Here's To Life" and "It Was A Very Good Year " A genuine legend in her own time, this striking personality, who has been such a bright shining light in Theater, Movies, Nightclubs, Television and of course, recordings, is now on full view through April 17. (My Grade: 5)

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AMERICAN CLASSICS
Review by Norm Gross

At the Longy School of Music in Cambridge, Mass., in Pickman Concert Hall, "American Classics" has presented for one weekend only a full-cast concert-styled presentation of selected songs and comedy skits from "Irving Berlin's Music Box Revues of 1921-1924." After deciding to build his own Manhattan theatre, Berlin, in the fashion of the day, presented four highly popular successive editions of songs and comedy, framed by his music and lyrics (new songs written for each year) and comedy skits written by many of that era's most celebrated writers. Each show also always starred Broadway's best known artists. "American Classics," now in its 9th season, presents several newly researched and restored concert-styled productions of rare early American musicals. This year's offering, featuring more than a dozen of the master composer's original songs (many quite rare, with several also being very well known and highly venerated) and a half-dozen of recently unearthed classic comedy sketches (unseen since their initial performances). Together, this strong combination stands as one of this fine company's best productions, ever! Among the evening's many splendid musical segments were "What'll I Do? " (when you are far away, and I am blue), "All Alone" (by the telephone ...feeling blue) and of course the always impressive "Say It With Music." There are, as expected, several heretofore unknown gems such as:"I'm Looking for a Daddy Long Legs," (a Yankee, long and lanky), "Climbing Up The Scale" (do-re-mi...a tenor or a soprano can try it on a piano) and the amusing "I'm A Dumbbell!" (every summer, I get dumber). Although some of these antique comedy pieces were marked by their dated set-ups and antiquated outlooks, several were especially clever and witty, wearing their old age with remarkable relevance. Especially memorable, amongst these, were "If Men Played Cards As Women Do " with a genuinely winning script by George S. Kaufman, and "The Treasurer's Report" by Robert Benchley, recited in its delightfully muddled and amusing fashion as an early precursor of the many legendary two-reel theatrical movie comedies Benchley would later write and star in throughout the 30s and early 40's. Last, and certainly not least, was Berlin's rousing satiric send-up of Grand Opera, "Yes, We Have No Bananas! " sung in the modes of Verdi, Puccini, Wagner, and Handel, amongst others.The splendid 14 member cast, all in grand voice and solidly comical presence, are most certainly deserving of the highest praise. Especially noteworthy were Tenor Eric Bronner, Soprano La 'Tarsha Long, Mezzo-Soprano Heather Peterson, multi-faceted actor Bob Jolly, and of course Baritones and Producing-Directors Bradford Conner and Benjamin Sears together with Soprano Mary Ann Lanier and Pianist Margaret Ulmer, who are the Founders and Guiding Force for this highly praiseworthy company with its ongoing tradition of excavating and then staging significant milestones in American Musical Theatre. (My Grade: 5)

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ANNA IN THE TROPICS
Review by Norm Gross

At the Calderwood Pavilion's Roberts Studio Theatre in the Boston Center for the Arts, the SpeakEasy Stage Company has just concluded its current New England premiere production of "Anna in the Tropics," a new play by Nilo Cruz. Winner of the 2003 Pulitzer Prize, it enjoyed successful engagements on Broadway as well as earlier stagings in Coral Gables, Florida; Princeton, New Jersey; Chicago, and California. It's set in 1929 in Tampa, Florida, in a small, family owned and operated cigar factory. In those early days, prior to the rise of mass media, (radio broadcasts being still in their earliest stages), the factory workers, who laboriously hand-rolled and packaged the cigars, contributed a small percentage of their pay to hire a "Lector" (a Reader) to read popular and/or classical novels aloud to them as they worked, thereby easing their long day's monotony. As expected, eventually this longstanding tradition would give way to the advent of modern machinery. However, at this time in the play, a handsome, new Lector arrives from Cuba intending to recite the great, classic Russian novel "Anna Karenina" to them. Its highly charged story quickly resonates with many of their suppressed longings and hidden frustrations, and begins to exert a profound influence upon them, illustrating again the great changes that art can bring to everyday living. The factory is managed by Santiago, the elderly dispirited owner; and his perplexed wife Ofelia; Marela, their younger, unwed daughter; together with their older married daughter Conchita, and her uncaring husband, Palomo. Santiago, (prone to recklessly gambling at the local cock-fights) is also heavily in debt to his step-brother, Cheche. As the Lector continues his daily readings, the passionately stirring intrigues of Tolstoy's legendary heroine begins to spread its influence on the lives of the enrapt listeners. Conchita soon becomes romantically attracted to the factory's imposing Lector, as her strained relationship to Palomo becomes ever more pronounced, while Cheche's latent, and now more open, and unwanted advances toward Marela, are vigorously rejected by her. Similarly, thanks to the money owed to him, Cheche now boldly tries to influence Santiago and Ofelia to make their factory more efficient with the introduction of new machinery. While Act One is rather long on exposition and overly slow moving and gradual, Act Two effectively resolves these varied complications bringing them to a compelling and striking conclusion. Well acted by the strong cast, with fine performances by Melinda Lopez as Conchita, Liam Torres as the Lector, Diego Arciniegas as Palomo, with solid support by Bobbie Steinbach as Ofelia, Robert Saoud as Cheche, Dick Santos as Santiago, and Angela Sperazza as Marela, all under Daniel Jaquez' well focused direction. Much praise is also due for Susan Zeeman Rogers' tight, narrow setting (defined by its work benches and Lector's platform), Amanda Mujica's splendid period costumes, and J. Hagenbuckle's rhythmically potent, Latin accented (percussion and flute) sound design.

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36 VIEWS
Review by Norm Gross

At the Boston University Theatre is "36 Views," a new play by San Francisco-based playwright Naomi Iizuka, as produced by the Huntington Theatre Company. Well received in recent earlier presentations in Berkeley and Laguna, California, as well as at New York's Public Theatre, this staging represents its Boston premiere. Darius Wheeler, a high-powered and slick art dealer is intrigued by the revelation of his subordinate John Bell of a heretofore unknown 11th century Japanese "Pillow Book" ( a courtesan's private diary ). Newly discovered, if proven to be authentic, its acquisition would be of historic consequence! Setsuko Hearn, a young and attractive university professor and an expert on Japanese writing, fascinated by Wheeler's find, soon becomes romantically involved with him. However, their romance turns sour when it's learned that the imposing document is actually a hoax. It was concocted by Bell and Claire Tsong, his artist-friend, who specializes in restorations, who both harbored festering resentments toward Wheeler. The plot then turns on whether it can be ascertained if Wheeler knew that the ancient script was really a forgery, hoping thereby to garner substantial illicit gain, or to merely use it as a stratagem towards his seduction of Setsuko. Exquisitely mounted with a strikingly beautiful set designed by Adam Stockhausen : an imposing multi-paneled backdrop against which handsome projections of contemporary evening urban panoramas and delicately serene Japanese vistas are focused, with appropriate furniture props wheeled on and off stage, as required by each scene change. All the while, impressive and delicate hanging art pieces are also being lowered from high above or raised gently out of sight. Similar praise is also due for Teresa Snider-Stein's lovely contemporary and classical costumes, the engaging use of " Kurogo " (supposedly invisible, jet-black garbed stagehands) who facilitate onstage set and costume changes, and the sonorous use of wooden percussion blocks and bamboo flute to underscore each new plot twist. Deftly played by V. Craig Heidenreich as Wheeler, Christine Toy Johnson as Setsuko, Brad Heberlee as Bell, and Jane Cho as Claire, with able support from Heather Lea Anderson as a ruthlessly scheming journalist and MacIntyre Dixon as an old fashioned aficianado, all under Evan Yionoulis' fluid direction. The play's title refers to its utilization of 36 modern images as related to the similarly numbered classical impressions of Mount Fuji by Hosukai. This colorful and engaging amalgam of Eastern and Western and Ancient and Contemporary attitudes, motifs, and machinations is now playing through April 10. (My Grade: 5)

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DEAD WHITE MALES
Review by Norm Gross

At the Theatre Cooperative in Somerville, Mass. is their production of "Dead White Males " by William Missouri Downs. Written in the early 90's, it has had productions in California, Wyoming and Nevada, and this represents its Boston premiere. Set in contemporary Kansas, the play concerns young attractive Janet Greenberg, an idealistic new teacher at Thomas Payne Grade and Middle School. Although certified as an art teacher, she's required to teach history instead, and in similarly extraordinary fashion the teacher certified in history is now teaching science, while the young certified science teacher is pushing the art cart from classroom to classroom. Divided into two acts with a brief intermission, Act One begins with the teaching staff facing a myriad of instructional problems created by an all too misguided and controlling administration continually dominated by outside pressure groups. As a muddled and heavy-handed evaluating committee, whose purpose is to observe and appraise the new teacher's preparations and performance in the classroom, with a view to achieving positive educational goals and achievements, instead they remain rigidly insistent that said teacher always conform to the prevailing status-quo and never question or really challenge their students with any new or contentious ideas! This committee consists of a similarly timid "master" teacher fixated on acquiescence, a principal who turns out to be a pedophile, and the president of the school board with highly questionable university credentials. The play's title refers to their suggesting the early American presidents as fine, non-controversial subjects for the history teacher, with a similar recommendation about an analogous African American patriot being quickly rejected. Act One concludes with a thud when Miss Greenberg is recruited and coerced to direct a heavily restrained and revised student production of the popular musical play, " A Chorus Line." The new alterations, including a nicer "happy" ending, result in the show's closure by a court order initiated by the show's original Broadway producers. ActTwo features the evening's strongest moments when a much experienced and heavily dispirited teacher insists on teaching Darwin's "Origin of the Species," and faces censure and the threat of dismissal unless she apologizes to her students and agrees to give equal classroom time to "Creationism" as well. Layer upon layer of correspondingly intrusive or regressive administrative policies are introduced, always proving to run counter to genuine educational growth. Poorly conducted staff meetings with undertones of minority religious prejudice, while powerful mainstream religious groups become ever more influential, along with inadequate student testing, confused administrative restraints on student dress-codes, and insufficient attention to potential student violence, remain constant to the school's daily routine. As expected, a student (portrayed unconvincingly by adult Spencer S. Christie) finally erupts violently, near the play's conclusion. Of course, Miss Greenberg's initial idealism and enthusiasm for the teaching profession have been replaced by disillusionment and regret. Unfortunately, while Susan Gross (no relation) does quite well as Janet Greenberg, with solid support from Maureen Adduci as the senior teacher facing administrative disapproval and Peter Brown as the overbearing head of the school committee, several of the other cast members' portrayals were either unconvincingly or awkwardly handled! Regrettably, while the problems facing American public education continue to multiply, this well intentioned but rather overstuffed and fitful endeavor ultimately falls short. Now playing through April 9. (My Grade: 3)

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THE OLD MAN AND THE SEA
Review by Norm Gross

At the Stoneham Theatre in Stoneham, Mass. is their production (a world premiere) of "The Old Man And The Sea," adapted by Weylin Symes (the Theatre's Artistic Director) from Ernest Hemingway's award winning novella (Pulitzer Prize in 1953 and Nobel Prize in 1954). Starring Richard McElvain in the title role, one of this area's most acclaimed actors, who is best known for his memorable prize-winning solo performance several years back in the Sugan Theatre Company's production of "Saint Nicholas" by Conor McPherson. As performed before a brilliantly realized set designed by Richard Chambers, under Greg Smucker's strong direction, the seemingly daunting task of bringing this old Cuban fisherman's battles against a monumentally sized marlin, far from shore, amidst the vast expanse of the Atlantic Ocean, is brought impressively to the stage. The elderly Santiago's squalid beach-side hut (a simple rod supported canopy above a rugged platform, housing a weathered crate acting as both bed and table) extends forward, protruding out from a large, ceiling-to-floor proscenium wide, often multi-colored (thanks to Lighting Designer AnnMarie Duggan) rolling wave, constructed from large sheets of bamboo. It is, to say the least, grandly effective. Encouraged by Manolin, his young neophyte fisherman friend (nicely portrayed by Nicholas Carter), Santiago appearing haggard, with white grizzled beard, and ragged and rumpled in his off-white peasant attire, recounts in a credible Latin accent, his remembrances of his epic encounter with the biggest fish he'd ever seen. With David Reiffel's highly atmospheric sound design blending the resonance of the waves against a variety of other sea-worthy rumblings, and actress-playwright Melinda Lopez narrating intermittent, interconnecting recorded descriptive passages to enhance McElvain's compelling 90 minute (sans intermission) description of his eventual triumph. Vigorously using poles and ropes to suggest his relentless struggle with his gigantic marine adversary, his final victory is reversed as marauding sharks leave him only with the marlin's skeleton attached as a trophy to the side of his homeward bound skiff! This genuinely compelling and quite memorable presentation, totally true to its original source, is now playing through April 3. (My Grade: 5)

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TOP DOG UNDERDOG
Review by Norm Gross

At the New Repertory Theatre in Newton, Mass. is the Boston area premiere of "Top Dog Underdog" by Suzan-Lori Parks, a co-production staged earlier this year in succession, (with the same cast and director) at Alliance Theatre in Atlanta, Georgia, and most recently by the Trinity Repertory Company in Providence, Rhode Island. Originally presented at New York's Public Theatre in 2001, it was soon transferred to Broadway where it went on to win the Pulitzer Prize in 2002. By so doing, playwright Parks became the first African-American woman to receive the Pulitzer for Drama. Set in present day New York City, in a squalid boarding house room, with neither toilet nor running water, and enclosed like a cage on all sides,by wire see-through walls, live two young adult African-American brothers. Their home consists of just a single bed, a desk top supported by concrete builder's blocks, and a leather recliner easy chair, as the only furniture. Lincoln, the elder brother (Top Dog), is a retired playing-cards styled street hustler, a facile expert at the "Three Card Monte" con-game. He quit utilizing the scam when his assistant was shot by an angry dupe. Separated from his disgusted wife, Lincoln is now employed at a local arcade, dressed as Abraham Lincoln in white face, complete with beard, stovepipe hat, and black suit with string tie. His job is to act as the seated presidential victim, as tourists pretend to shoot at him with a loud cap-pistol, recreating the famed assassination. Booth, his younger brother (Underdog,) is unemployed but is able to survive as a shoplifter, specializing in grand scale thievery of clothing, suits, shoes, overcoats and assorted paraphernalia. Raised by their dysfunctional parents, they were named Lincoln and Booth by their drunkard father, as a malevolent joke. Years later, each was given $500, as inheritance, and were abandoned, forced to fend for themselves, at ages 16 and 11. Booth longs to be a successful street hustler like his brother and begs Lincoln to teach him all of his tricks. Ever in the shadow of his older, more accomplished brother, Booth seethes with a mixture of admiration, envy and rage. Lincoln, older, more assured, a seasoned "success," continually condescending to his immature younger sibling, finally relents and tries to teach him some of his street know-how. Although the drama's gripping, violent, and expected conclusion is obvious from its outset, nevertheless, the passionately intense performances by Joe Wilson, Jr. as Lincoln, and Kes Khemnu as Booth, under the potent and highly focused direction of Kent Gash, held the enthralled capacity audience like a vise throughout. In yet another extraordinary example of this genuinely riveting and memorable play, defined by the playwright's vivid use of explosively lusty 4-letter street language, bristling with caustic humor, anger, regret, and desperation, both actors also alternate their demanding roles from performance to performance. This provocative and compelling drama is now playing through March 27. (My Grade: 5)

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TALKING HEADS 2
Review by Norm Gross

Recently at the Boston Center for the Arts the QE2 Acting Company presented their production of "Talking Heads 2," a trio of short solo playlets by Alan Bennett, originally written for and performed on BBC-Television in 1998. The second of a succession of video-oriented monologues by Bennett, the series was very well received in Britain and has since been shown on America's PBS-TV. The first entry, "Miss Fozzard Finds Her Feet," like the others, is acted on a virtually bare stage, with only a few pieces of everyday furniture as props. Middle-aged Miss Fozzard (still a virgin), attends to her brother (whom she actively dislikes), since he's been incapacitated by a stroke. While nursing him back to health, she describes, in much detail, the ongoing tedium of her daily routine with special attention to her regular appointments with her Chiropodist. As her description of these visits continue, it soon becomes evident that all this attention given to her feet actually serves to arouse her heretofore grandly repressed sexual longings with obvious and vibrantly amusing intimations. The program's second one-woman offering, "The Hand of God," centers on Celia, an antiques dealer, who prides herself on her strong knowledge of the quality, authenticity and value of antiques, with a definite understanding of how to sell them at a real profit. She continues, at length and in detail, about the many notable, and potentially profitable treasures she has astutely acquired from an elderly dowager's estate sale. She later regretfully reveals the way in which she was outwitted by a shrewd and deceitful collector after selling him, at great loss, one such grandly undervalued acquisition. The evening's last, best, and most provocative piece is, "The Outside Dog," a dark and compelling character study of Marjorie, a perplexed housewife, whose husband may or may not be a murderer. With a genuinely surprising twist, after his arrest and exoneration, she continues to stand by him, even after a local dog helps her to unearth evidence (unknown to the police) that may prove him to really be guilty. All three monologues, as directed by Michael O'Halloran, are vividly portrayed by Jennifer Barton Jones as Miss Fozzard, McNeely Myers as Celia, and Nicole Jesson as Marjorie. Bennett's keen use of colloquialisms, as well as naturalistic and accurate sounding dialogue, together with the serious sensibilities and mischievously comic observations he adds to these situations, combine with striking effectiveness! (My Grade: 5)

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SHEAR MADNESS RINKER PLAYHOUSE West Palm Beach, Florida
Review by Norm Gross

As recently reported here, " Shear Madness", the highly-popular comic who-done-it developed by actors Bruce Jordan and Marilyn Abrams, (from an obscure mystery play by Swiss playwright Paul Portner ) made its debut at Boston's Charles Playhouse, Stage II, in January 1980 for a limited engagement, and this past January celebrated its 25th anniversary, having now played there for 10,400 performances! It has enjoyed similar record-breaking engagements throughout the U.S., as well as Canada, Mexico, Europe, South America, and Asia. Its latest incarnation is at the Rinker Playhouse, in the Kravis Center for the Performing Arts in West Palm Beach, Florida. As always, it's redefined with a local professional cast, replete with similarly regional setting, topicality and references. Set, as usual, in a fashionable hair salon, now here at Hibiscus Street rather than on Boston's stylish Newbury Street, the plot again centers on the murder of the Salon's contentious landlady, a retired concert pianist who lives in the apartment above the establishment. She has been killed by multiple scissor stabs into her neck, and the Salon's assembled staff and patrons immediately become the prime suspects, as declared by Dominic and Mike, two West Palm Beach undercover plainclothes Detectives, posing as customers.As they methodically describe the details about the crime, everyone there is shown to have enough motivation to be held for questioning. Bristling with non-stop, not-so-subtle, gags such as "the elderly pianist's murder had such a crippling effect on the Arthritis Clinic's patients, next door" or "the highlight of a trip to France, was a stay at the Paris Hilton" which were repeatedly greeted with loud gales of enthusiastic laughter by the nearly capacity audience, as were the many local comic allusions to such posh nearby communities like Boynton Beach, described as the remote, rural countryside.Act One is brought to a close by Detective Dominic informing the audience about their interactive participation, after the intermission, to thereby choose and reveal the murderer's identity.The Rinker Playhouse's spacious lobby also provided for a lively, laughter-filled opportunity for the audience to question Dominic directly before returning to their seats.Act Two likewise afforded a vividly spirited exchange between the actors and the audience, resulting in the exposure of the killer.Not the same revelation here, as earlier in Boston, the verdict is subject to change nightly with each new participating audience.The grandly amusing cast scored consistently with their rapid-fire comic turns.High praise for Tom Wahl as Tony, the highly manic over-the-top gay Salon manager ("Performing recently in the comic play 'The Full Monty,' his part really stood out") with solidly farcical assistance from Barbara Bradshaw as Mrs. Shubert, a pompously prominent neighborhood matron, Margo Moreland as Barbara, the Salon's sharp-tongued and scheming Beautician, and Bob Rogerson as Eddie, a sly and crafty "used" Antiques dealer, as well as Jeffrey Lerner as Detective Mike and most especially Jim Korinke as the effectively " In Charge " Detective Dominic! Michael Chamoun's bright, lemon-cream colored salon setting, complete with a vivid, scarlet Barber's chair, fully operational water and shampoo station, and nearby full-sized hairdryers was equally impressive, as was the excellent recorded music featuring Dolly Parton. the Supremes, Little Richard and the Village People, amongst others, which served to establish the show's tempo at the outset and helped to reinforce it during the intermission. Lastly, Producer Bruce Jordan's assured direction kept the evening's raucous spirit at full throttle, throughout. Although now playing only through February 27, if the enthusiastic comments overheard from the audience, as they filed out might act as a harbinger, maybe this production too might follow the course of so many other similar presentations. (My Grade: 5)

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THE MOONLIGHT ROOM
Review by Norm Gross

At Boston's Center for the Arts, the SpeakEasy Stage Company presents "The Moonlight Room" by Tristine Skyler. Her first play, it was very well received when originally staged Off-Broadway in 2003, and this presentation represents its Boston area premiere. Set late at night in a Manhattan Hospital emergency waiting room, young teenagers Sal and Josh anxiously sit, banter, and wait for news, as their friend Lightfield (who is never seen ) teeters on the brink of death, due to a drug overdose. As the night drags on, and their tension mounts, we slowly begin to learn about the underlying lack of communication and misunderstandings which are at the center of their home life. The play's title refers to Josh's recollections of the family of a missing friend, who not only ate dinner together, (" how weird" he muses) but also gathered afterwards as a unit, to sit side by side, in another room, to enjoy the calming effects of the moonlight. Soon Sal is joined by her worried mother. Troubled by her divorce, and the unfulfilled promises of her former husband, she tries to compensate for her feelings of unhappiness and depression by being overly protective of her young daughter. As a result, the relationship between them is mostly strained and fragile. Josh, similarly, has little in the way of any genuine family life. He doesn't hesitate to declare that they may not see each other for days and days. Lightfield's anguished father later bursts in, confident that he and his desperately ill son had developed a real rapport, and is visibly shocked to learn in this tragic manner of his son's undisclosed drug use. Soon thereafter, Josh's step-brother Adam, an intern at this same hospital, also comes to the waiting room. Highly involved in his round-the-clock work schedule, it soon becomes clear that he has little time or interest in his adolescent half-sibling. Tracee Chimo is quite convincing as the nervously apprehensive and unsure Sal, with an assuredly persuasive performance by Ian Michaels as Josh, (all the more impressive, considering he's just a recent graduate of Lexington High School.) The other cast members also add equally solid support. David Jackson as the distressed father, Cheryl McMahon as Sal's upset mother, and David Krinitt as Josh's uninvolved step-brother, under Paul Melone's strongly focused direction. A compelling drama, defined by a commanding use of realistic and believable dialogue, that examines some of the many problems facing today's adolescents, while offering no solutions. By the playwright's own admission: "...the play doesn't answer anything. It's just asking questions. " Now playing through February 19. (My Grade: 4 5)

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SHEAR MADNESS
Review by Norm Gross

At Boston's Charles Playhouse Stage II, is their long-running production of "Shear Madness," now celebrating its 25th anniversary at this same site. Based on an obscure mystery play by Swiss playwright Paul Portner entitled "Scherenschnitt," ( Cutouts ), in 1976 actor Bruce Jordan and his partner Marilyn Abrams decided to redevelop it as an interactive, comic, " who-done-it?." It premiered in Boston in January 1980 (for what was initially thought to be a month-long commitment ) and has remained there to this very day, racking up 10,400 performances to continually enthusiastic audiences! It has since also played (with well chosen local actors) to similarly greatly extended engagements throughout the length and breadth of this country, in many of its most prominent cities. Of special significance, in terms of lengthy numbers of performances are Philadelphia, Chicago, Washington,D.C., Kansas City, and San Francisco. It has also left its mark in Canada, England, Italy, Spain, Portugal, Israel, South Africa, Mexico and numerous other playhouses throughout South America and Asia, too. To call it a phenomenon would indeed be a major understatement. The breezy plot, unfolding in two fast paced acts, is set in an upscale beauty parlor on Boston's fashionable Newbury Street. The show's stylish location changes appropriately, to fit every different city that it plays in. Likewise, the basic plot is laced with non-stop extemporaneous double-entendres and spicy gags focused on each different locality's celebrities, places, events and special conditions, as well as highly topical general references. Besides Tony, the establishment's gay and bubbly barber, and Barbara, the shop's feisty and attractive manicurist, the clientele includes Edward, a middle-aged used antiques dealer; Mrs. Shubert, a rich elderly Beacon Hill matron; along with Nick and Mike, who are later revealed as plainclothes Boston policemen. They are there, undercover, investigating the beauty parlor's well-known, but never seen landlady, an elderly former concert pianist who lives in the apartment above the shop, and is seriously considering a comeback. When she's found murdered (stabbed repeatedly in the neck with long scissors), both Boston detectives examine the case and explore the various smoldering resentments resolved and/or benefits to be gained by each of the assembled patrons. Nick then turns directly to the audience and asks them to help them find the killer. Act Two is a briskly comic exchange between members of the audience recalling clues and asking pointed questions directed at the mainly ad-libbing suspects on stage. We learn thereby, amongst other matters, that Tony is a "genital liar," that the elderly murder victim was taking Viagra, which she thought could act as an aid for an aging pianist, and also that while gardening, TV's popular "Desperate Housewives" don't really know the difference between a rake and a hoe. The evening ends with the audience voting to choose the killer. Reportedly, a different choice is made by them every night. The splendid cast did very well indeed with their comic delivery to the audience which was jammed with many of Boston's best actors and actresses, many of whom began their careers as earlier cast members in this same show. Special praise must go for the deftly uproarious Patrick Shea as the over-the-top Tony, and Michael Fennimore as the much in control Detective Nick, with briskly amusing support by Ellen Colton as Beacon Hill's Mrs. Shubert, John P. Arnold as Detective Mike, Richard Snee as antique dealer Edward and attractive Caroline Lawton as the assertive manicurist. As stated by the cast at the show's highly amusing conclusion, it will continue on in Boston and elsewhere, for as long as the audiences continue to come. (My Grade: 5)

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THE GLASS MENAGERIE
Review by Norm Gross

The Lyric Stage Company of Boston presents its new production of Tennessee Williams' classic drama "The Glass Menagerie." It was first staged on Broadway in 1945 to much acclaim, and launched Williams' illustrious career. It has since been performed countless times, in the succeeding sixty years, on stage as well as in several motion picture versions, and has been a regular favorite for many of our most celebrated actors and actresses, ever since. Set in 1939, in a St. Louis tenement, it concerns the Wingfield family. Abandoned, now for 16 years by her husband, middle-aged mother Amanda strives to maintain her dignity and the unity of her two young adult children, Tom and Laura. Of necessity, Tom must act as their breadwinner, working days in a stultifying shoe warehouse, while secretly penning poetry and dreaming of escape from his controlling mother and his humdrum life.He plans to do so by joining the Merchant Marines! Tom and his mother are also very protective of Laura, who is crippled, withdrawn and terribly shy. She gains comfort from her collection of miniature glass animals and old phonograph recordings. Amanda fervently hopes to see her eventually married, and insists that Tom help by introducing his sister to a nice male friend from his workplace. He finally accedes by inviting his coworker Jim to dinner. Thrilled by the news of a "Gentleman Caller" for Laura, Amanda is flushed with fanciful memories of her youth, in the long-ago South, replete with its elegant gowns and formal cotillions. Unfortunately, the "Gentleman Caller," although pleasantly earnest and attentive, falls short of their expectations, leaving them to face their hopes with uncertainty. Considering that the play's action occurs in the late 1930's, the choice of Vincent Ernest Siders, an African American and one of this area's finest actors, to portray Tom, was certainly boldly innovative. Since the Wingfields are displaced, Depression-era Southerners, and since much of the drama's focus centers on the demanding Amanda's trenchant reminiscences about her glorious past in the grand "Old South," it is therefore difficult to dismiss the family's manifest cultural outlook. However, being the gifted actor that he is, it is certainly to Siders' great ability, and his skillfully nuance performance as Tom, that he was able to quickly put to rest any qualms the audience may initially have had! Under Eric C. Engel's assured direction, Nancy E. Carroll was especially engaging as the assertive Amanda with restrained and touching support from Emily Sophia Knapp as the frail and handicapped Laura. Lewis Wheeler was also properly thankful and respectful as the "Gentleman Caller," however, Janie E. Howland's minimalist set, a virtually bare stage with a hanging fire-escape ladder as its only major element ( with its landing area acting as the family's dinner table ), seemed quite inadequate, bereft of any other props, including Laura's collection of glass animals, which was surprisingly left to the imagination. Jeremy Wilson's sound design, with its occasional vocal-echo-amplifications, also often proved to be disconcerting. Now playing through February 5. (My Grade: 3.5)

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Thrill Me: The Leopold and Loeb
Review by Norm Gross

At the Stoneham Theatre in Stoneham, Mass. is the New England premiere of "Thrill Me: The Leopold and Loeb Story," a musical play featuring Book, Music and Lyrics by Stephen Dolginoff. Very well received at its Off-Off Broadway premiere in 2003, future productions in Florida and Australia are now being planned. A taut, one-act Chamber Musical ( 90 minutes with no intermission) that concisely explores the events surrounding the sensational 1920's "Crime-of-the-Century" thrill killing, that engaged the interest of the whole nation. Nathan Leopold and Richard Loeb, the young sons of two wealthy and prominent Chicago families, became lovers as college students and went on to plot and carry out a horrific murder. Their story is told, primarily by Nathan in a succession of 16 musical flashbacks, as he appears before a Parole Board hearing in 1958. Fascinated by Nietzsche's theories of a class of superior beings, Richard uses his sexual dominance over his young lover to inveigle him into assisting him in a series of petty fool-proof burglaries and thefts, including arson. Emboldened by their success, Richard then insists on using his superior intelligence to commit the "Perfect" super crime, with Nathan's help, of course. In May 1924, choosing their victim at random, they bludgeoned 12 year old Bobby Franks to death, disfigured his body with acid, and forced his dismembered remains into a drainage area. However, the discovery of Nathan's special eyeglasses at the scene of the crime, led to their arrest and trial. They were eventually found to be guilty, but were saved from the death penalty by their brilliant defense lawyer Clarence Darrow, who was able to gain a life-sentence for them. Performed by just two players on a nearly bare stage, before only two elevated gray panels, (one of which opened to reveal a pair of flashing automobile headlights, and the other with a balcony on top) and only three small benches as props, as designed by Jenna McFarland. Each song is sonorously and passionately rendered by Jonathan Reid Gealt as Nathan and Jonathan Colby as Richard with strong piano accompaniment (to the far rear of the stage ) by Judy Hayward. These spirited and deftly composed songs tell the story in strikingly effective fashion, especially "Everybody Wants Richard," " We Are Both Superior," a " Roadster " to entice our victim, Our plan has gone " Way Too Far!" and of course the title tune. Unfortunately, although only scant, passing mention is made of Darrow, their renowned attorney, and of Richard's violent death in 1936, at the hands of a fellow inmate, as well as nothing regarding Nathan's last years after his parole; nevertheless, this compact and compelling musical play is solidly engaging in all other respects. Now playing through January 28. (My Grade: 4)

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THE RIVALS
Review by Norm Gross

At the Boston University Theatre, the Huntington Theatre Company presents "The Rivals," Richard Brinsley Sheridan's classic 1775 comedy of manners. Set in Bath, England, the celebrated 18th century resort, this ribald play centers on two sets of sweethearts, who, thanks to the topsy-turvy plot, become their own competitors. Captain Jack Absolute, a wealthy young aristocrat, is in love with the young and beautiful Lydia Languish. However, since she's enamored with overly-exaggerated notions of a love affair steeped in romantic complications, to comply he's courting her posing as a poor ensign. As such, he doesn't meet the status requirements of her guardian, and consequently seems to represent the potential dangers of elopement and scandal that she finds so stimulating. Unfortunately, her pompous elderly aunt, the legendary (and often quoted) Mrs. Malaprop, learning of Lydia's involvement with such a lowly suitor, restrains her until she's able to provide her niece with a properly high-born beau. Sir Anthony Absolute, Jack's haughty, domineering, and vainglorious father, together with Mrs. Malaprop, then decide that his son represents the perfect solution! Jack, however finds himself in the quandary of competing for his sweetheart's affections in competition with his alter-ego. Similarly, he must also assist Faulkland, his uncertain friend, who's beset not only with doubts about himself, but also of the love and sincerity of Lydia's friend Julia, his sweet lady-love. There are also some amusing subplots involving a country bumpkin named Bob Acres, posing in garish bright, lemon-yellow garb, complete with an outlandish orange wig, as a proper gentleman, and his lusty confederate Sir Lucius O'Trigger, a bellicose and scheming Irishman. Of course, the evening's brightest moments erupt every time Mrs. Malaprop utters one of her many scrambled observations, such as: "I have very little affluence over my niece." " She's as headstrong as an allegory on the Nile." and although " Men are such Bavarians", " He is the very pineapple of politeness." The large, accomplished cast is nearly letter perfect, featuring grandly comic performances by Scott Ferrara as Captain Jack, Cheryl Lynn Bowers as Lydia, Gareth Saxe as Faulkland, Mia Barron as Julia, and certainly Brian Hutchison as the absurd Bob Acres and Rod McLachlan as the contriving O'Trigger. Special notice is also due for Mary Louise Wilson as the confusing Mrs. Malaprop (although she occasionally might have been a bit more resonant in her declarations), and most definitely for the always impressive Will LeBow as the comically autocratic Sir Anthony Absolute! Alexander Dodge's grand set, suggesting the resort's classic architecture, with its ring shaped placement in the center of Bath, and its large, beautifully decorated box-like panels, which smoothly pulled out and back to deftly establish each scene change, was genuinely memorable. Likewise, the elaborate and colorfully sumptuous period costumes designed by Michael Krass were also quite noteworthy. Now playing through February 6. (My Grade: 5)

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THE SYRINGA TREE
Review by Norm Gross

At the Loeb Drama Center in Cambridge, Mass., the American Repertory Theatre presents "The Syringa Tree," a one-person play written and performed by Pamela Gien. First staged in Seattle in 1999, it was then performed off-Broadway in Manhattan in 2001 where it garnered a host of awards ranging from the Obie, Drama Desk, and Drama League to the Outer Critic's Circle as "Best Play of 2001," amongst other distinctions. It was also performed thereafter in London at the Royal National Theater and also in Los Angeles. This presentation marks its Boston-area premiere. On a bare stage, with a child's swing as its only prop, Ms. Gien presents the terrors, conflicts and tragedies of Apartheid in South Africa, during the 60's, as seen and realized through the eyes and sensibilities of six year old Elisabeth Grace. In an astonishingly versatile solo performance, the actress effortlessly portrays, for nearly two intermission-less hours, more than two dozen players, old and young, male and female, black and white, friend and foe, amidst the rise of armed protest against Apartheid. Young white Elisabeth lives with her open-minded family on their farm. Her mother, a housewife, and her father, a doctor, have rejected the State's oppressive discriminatory restrictions, choosing friendship and cooperation with the blacks, instead. Dearest to them is their trusted black housekeeper Salamina, and her young daughter Moliseng. Unfortunately, the young black child, affectionately embraced by Elisabeth, is living with them illegally in hiding, due to the restricted "White's only" decree. The titled "tree," in the farm's yard, serves them often as a shelter, its elevated branches offering asylum, escape and even comfort. Later, Elisabeth sorrowfully recounts the events leading to the tragic death of her beloved grandfather, in the dark of night at the hands of brutal armed marauders. As time passes, she also tells of Moliseng's disappearance, only later to hear of her violent death, when a teenager, during the turmoil at Soweto! Near the play's finale, Elisabeth, as an adult, having migrated many years before "to the land of the free and the home of the brave," now herself a mother, returns for a visit to South Africa. Her journey culminates in a touching and optimistic reunion with the elderly Salamina. Assuredly directed by Larry Moss with strikingly effective dramatic lighting by Steven B. Mannshardt and compelling African musical intonations designed by Tony Suraci. This genuinely memorable first offering, in the A.R.T.'s 3-play, month-long, "South African Festival," is now being presented through January 16. (My Grade:5)

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QUILLS
Review by Norm Gross

The New Repertory Theatre in Newton, Mass. presents "Quills " by Doug Wright. This is the Boston area premiere of this 1995 Obie (Off-Broadway ) award-winning play, which was also released as a major motion picture in 2000. Set in 1807 in France's Charenton Asylum, the play centers on the notorious Marquis deSade, imprisoned because of his scandalous pornographic novels, such as "The 120 Days of Sodom," laced not only with vivid sexuality but also defined by their graphic, detailed, depictions of torture. Unlike the earlier, and similarly pointed play "Marat/Sade " by Peter Weiss, also set in Charenton, this drama fictionally restructures the facts of deSade's last years utilizing a winning interplay of the Marquis' desperate situation with his often genuinely witty and unyielding responses. At the insistence of his humiliated wife, Renee Pelagie, the Asylum's new Director seeks to end deSade's ongoing written drafts, which are being regularly smuggled to the outside by the institution's laundress. The jail's Chaplain, the Abbe de Coulmier, has been commanded to reason with the Marquis, hoping that God's word will lead the infamous novelist to either abandon or at least temper his literary output. However, unable to dissuade the Marquis, the Director and Abbe progressively increase the severity of the restraints placed upon him. Finding that deSade continues writing, using a pin with his wine ration, on his linens, after his paper, quill and ink have been taken away, the Abbe removes all of his bed sheets! The Marquis then responds by pricking blood from his finger and inscribing his philosophy on his clothing. Enraged, the ecclesiastic removes all of deSade's garments, leaving him to perform, the entirety of Act two, completely in the nude! The Marquis' defiance continues on in a succession of challenges, emblazoning his body excretions all over his cell walls, and still later even employing wall-tapped-soundings, to spread his ideas and circumvent the Abbe's orders! The Prelate responds to every confrontation by raising the severity of each punishment, until the level of the Abbe and the Director's disciplinary reactions begin to overtake and even exceed the Marquis' notions of barbarism! In a highly dramatic, although somewhat obvious turnabout for his righteous enforcer, at the drama's finale, in death the Marquis deSade comes to personify the resilience of controversial, unpopular, and/or even objectionable ideas as the hallmark of true art and free expression. Although he had occasional difficulty with some of his words, Austin Pendleton was otherwise compelling, engaging and often drolly striking as the heavily beleaguered deSade with very strong support from Benjamin Evett as the relentless Abbe. Plaudits also for the fine cast, featuring additional solid performances by Steven Barkhimer as the Asylum's demanding Director; Rachel Harker as deSade's vexed wife, and Marianna Bassham as the Marquis' accomodating laundress. While Rick Lombardo's direction was firm and well reasoned, his choice of somber pipe-organ music to define each change of scene, seemed to be unnecessarily ponderous and ill-conceived. High marks however must go to Richard Chambers for his effectively atmospheric set which combined deSade's dark, crimson stained, dungeon-like cell with the Asylum Director's brighter office. Now playing through February 6. (My Grade:4)

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FOREIGN AIDS
Review by Norm Gross

The American Repertory Theatre in its gleaming new Zero Arrow Theatre, in Cambridge, Mass. presents "Foreign Aids," a solo performance written and played by Pieter-Dirk Uys, a prominent South African satirist. Well known in his homeland, Europe and Canada for his many keen plays, novels, TV appearances, revues, and one-man shows, this is his first appearance in the Boston area. Spanning more than 30 years as a vigorous opponent of Apartheid, his focus now, in this past decade, since the long awaited rejection of that oppressive system, is on education and prevention of AIDS, which continues as a relentless, population-wide, public health crisis throughout the world, and especially so in South Africa.For more than one hour and forty minutes, without an intermission, Uys regaled the capacity audience with his witty and compelling observations on social and political life, not only in his native land, but also as seen by him in many of the other places where he's performed, including our own country.In a dazzling array of characterizations, he skillfully transforms himself on stage, before the captivated gallery, with deftly brisk applications of wigs, makeup, and simple, yet adequate costumes, into a myriad of well-known celebrities. He begins with Evita Bezuidenhout, "the most famous white woman in South Africa." More politically pointed than the similarly fashioned Dame Edna, this Evita doesn't hesitate to liken America's troubled racist history with that of her/his own land. Even further alluding to our treatment of Native-Americans, whereby "U.S. Indian reservations might have possibly served as models for Apartheid. Later, Uys fixes his sights on former South African leaders P.W. Botha and Nelson Mandela, and parallels Botha's imprisonment of Mandela as a " terrorist," with Mandela's ascendancy as Head of State, upon his release from prison, so many years after. Bedecked with the proper wig, he unexpectedly changes into a beaming Bill Clinton commenting "At least when I lied, no one died," and then complete in lavender robes, he becomes the majestic Desmond Tutu. He continues on, ruefully challenging South Africa's current leader Thabo Mbeki, by contesting his oft repeated notion that "H.I.V. does not lead to AIDS," followed by Uys' ongoing efforts to bring education, relief and support to South Africa's many afflicted and/or threatened school children. Then looking and sounding very much like the glamorous Marlene Dietrich, Uys becomes Evita's sister Bambi Kellerman, (widow of a notorious Nazi war criminal ) comparing the world's past indifference to the Nazi Holocaust to their current disinterest in the South African AIDS crisis. Incisively witty and totally provocative throughout, this commanding solo performance (the second offering in the A.R.T.'s 3 play " South African Festival) is now being presented through January 23. (My Grade:5)

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Two By Israel Horovitz
Review by Norm Gross

At Boston's Center for the Arts, the Alarm Clock Theatre Company has presented "Two By Israel Horovitz," a new, all too brief presentation, of the well known playwright's early works. Initially staged successfully off-Broadway in 1968, these two short plays served not only to propel Horovitz to national prominence but also helped to launch Al Pacino's career as one of its original new young stars. The first entitled "It's Called the Sugar Plum," is set in a student's apartment in Cambridge, Mass. and is a humorous character study of two young beginners, Joanna, a young artist in her early 20's, and Wallace, a similarly youthful university student, living off-campus at an unspecified local college. Bursting into his residence, after much heavy pounding on his door, Joanna hysterically accuses him of being a "murderer." Frank, her deceased fiance, had accidentally tumbled under Wallace's moving automobile, while he was skateboarding. In an amusing turnabout, as these two fledglings bicker back and forth about the real aspects of Wallace's " culpability," Joanna finds herself ( a bit too rapidly ) retreating from her sorrowful concern for her departed fiance, as she quickly becomes fixated on the burgeoning notoriety that she and Wallace have received in a local newspaper report! As her disquiet wanes, so too does her attraction to Wallace begin to assert itself! Fascinated by his many flights into fanciful word-games, as well as intrigued by his off-campus job at his Uncle's local meat market, she feels evermore drawn to him romantically! It all ends with an unexpected and amusing explanation of the playlet's unusual title. " The Indian Wants the Bronx," the second and more significant play, set at a lonely bus-stop, late at night, in New York City, concerns two young Urban juveniles, as they wait for the arrival of the long delayed public transportation. Nearby, also waiting is an older Indian man. Obviously a foreigner, new to Manhattan, and most likely to America, as well. Unable to speak English, he holds in his hand a note listing the telephone number of a relative in the Bronx. As the time drags on, the two City youths engage in some aggressive horseplay towards each other. Heavy with boredom, their focus gradually shifts onto the older Alien, waiting nearby. At first, attracted by his unusual white turbaned headdress, and annoyed by his strange language as well as his inability to communicate with them, their irritation soon turns to verbal harassment and finally to violence and brutality! Wresting the note away from the stranger, they amuse themselves by heckling his relative at a nearby phone-booth, and leaving their victim battered and bloodied! Although written and first performed nearly 40 years ago, this compact playlet still resonates vibrantly with its overtones of racial bigotry, suspicion of foreigners, and restless, ill-informed, uncared-for and indifferent youth. Well directed by Luke Dennis, with exuberant performances by Sally Dennis as Joanna and Brian Polak as Wallace in the first play. Adam Reed and Bill Gaines bring harsh, raw intensity to their roles as the irresponsible, uncaring, and assaulting street toughs with a compelling, bewildered, anguished and touching response by Bharat Bhushan as the tormented outsider, in the concluding play. (My Grade:4)

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THE CHRISTMAS REVELS
Review by Norm Gross

At Harvard University's Sanders Theatre in Cambridge, Mass. is the 34th annual presentation of "The Christmas Revels." A yearly holiday celebration of the Winter Solstice, this time with its focus on the music, song, dances, and traditions of the Province of Quebec, Canada. For nearly two hours (including a brief intermission) Narrator Debra Wise and M.C/. Songleader David Coffin, together with the large all-age male and female cast, establish the joyous mood for the evening's festivities. With the stage decorated by a brace of skis and snowshoes hanging above a rustic cupboard, and an old fashioned black country-styled, wood-burning stove, 33 vibrant varied and quite entertaining lilting segments are performed. Amongst the most memorable were the 16 "Pinewood Morris Men," several outfitted with reindeers' antlers, and others bedecked as either a hobby horse or an archer, performing the ancient ritual "Abbots Bromley Horndance;" the 34 member "Le Choeur de Noel " raising their metal cups in a festive holiday toast, while singing "Rincons-nous la dalle" ("Let's Rinse Our Throats"); a spirited contest, much like Irish Step-dancing, between the forces of Darkness and Light, featuring a lively Pierre Chart brand as a capering, competing priest pitted exuberantly against Judy Erickson as an ebony masked and cloaked whirling Devil; and the large assembly of "Quebecois Kids" (teen and pre-teen) as the Holy Family in the Manger, with some also dressed as either barnyard animals or shepherds, singing "Where Have You Been, Shepherdess?" The evening's high point, early in the concluding part of the program, features "Danse Cadence," a group of singing, dancing, musicians (Fiddle, Guitar, Accordion, and Percussion ) direct from Montreal, together with Le Choeur (many voices) in song, dance and narration, performing "La Chasse-Galerie " in which they're all enhanced by lively animated rear screen projections, illuminating a hunting party returning on their way home for Christmas, who find themselves caught for eternity flying forever up in the dark sky in their enchanted canoe. Their magical, unending voyage finally witnessed by the enthralled audience, as a miniature suspended craft moves briskly high above auditorium. The program ends, as it always has previously, with the entire cast and the audience singing the traditional "Sussex Mummers' Carol," concluding with everyone resoundingly declaring "Welcome Yule! " Throughout the evening the rousing Cambridge Symphonic Brass Ensemble (trumpets, tuba, trombone, horn, timpani and percussion), as well as "Les Sabots Volants " cascading across the stage in their wooden clogs, are also prominently in evidence, the entirety under the confident direction of Patrick Swanson. To say that a joyous holiday experience was had by the capacity audience, would indeed be an understatement! Now playing through December 28. (My Grade:5)

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FULLY COMMITTED
Review by Norm Gross

The Lyric Stage Company of Boston, now in its 31st season, presents "Fully Committed" a one-man comic play by Becky Mode. An Off-Broadway success early in 2000, this same production was staged during the Holiday season at Boston's Wilbur Theatre later that same year to enthusiastic popular and critical approval. This current presentation features John Kuntz, one of the area's best and most prolific performers, a multi-talented actor as well as a noteworthy playwright. Set in the basement of a very upscale Manhattan restaurant, Sam, an unemployed actor hoping for his big onstage break, works there taking telephoned reservations. He skillfully portrays nearly 40 callers requesting advance dinner bookings at this posh fully committed dining room, (with no available table seating for at least two months.) Voicing both ends of each frenetic phone call, Kuntz, in a winning display of nonstop versatility, ranges from movie stars and social climbers to big time gangsters and foreign dignitaries. The Vanderveers, just back from Tibet, Mrs. Winslow calling from Louisville, Kentucky, a Sheik phoning from Kuwait, the prominent Caroline Rosenstein Fishburne from NYC, and even an elderly matron, listing every one of her many ailments, are amongst many others all demanding special and/or preferential treatment. Similarly, he must also deal with the restaurant's overbearing chef, obsequious major-domo and duplicitous fellow workers, as well as trying to find a way to be able to spend the Christmas holiday with his out-of-town, elderly father. Assuredly directed by Spiro Veloudas, with a fine cluttered underground setting designed by Skip Curtis, suitable lighting by Robert Cordella and well devised sound effects by Dewey Dellay. Although, in striving for constant comic effect John Kuntz's vocal characterizations are occasionally unnecessarily harsh and sometimes needlessly cross over into being overly exaggerated, nevertheless his solo performance certainly does merit the audience's roaring, standing approval! Now playing through December 23. (My Grade:4)

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THE NUTCRACKER
Review by Norm Gross

At Boston's Colonial Theatre is the Boston Ballet's annual presentation of "The Nutcracker, " with Tchaikovsky's glorious music and splendid new choreography by Mikko Nissinen. The production's lovely new sets by Walt Spangler, defined by large, suspended, colorfully rotating snowflakes, were designed to accommodate the reductions necessitated by the Company's transition from the much larger stage at the Wang Theatre, and it proved to be a supremely favorable change! Once again, Drosselmeier, the visiting magician, attends young Clara's family Christmas party and presents her with a miniature enchanted toy Nutcracker. Later, that same evening, long after the party goers have gone, when Clara returns to play with her new bauble, she's confronted by Drosselmeier's active sorcery. As the family's decorated and brightly twinkling Christmas tree grows to a gigantic height, so too does her tiny Nutcracker turn into a tall, strapping, handsome Cavalier. Challenged by a large threatening column of household mice, the Nutcracker boldly leads his army of toy soldiers against them. After slaying their King, he and Clara ascend skyward, riding on a large and elaborate snowflake to the Magical Palace of Sweets! There, they are captivated by a wondrous parade of memorable performers. A robust trio of cavorting and high sprinting Russian dancers, strikingly lead by Joel Prouty; a lively Arabian couple Adriana Suarez and Yury Yanowsky executing a spirited duet, with standout Chinese (Kathleen Breen Combes and James Whiteside ) and fine Spanish (Sabi Varga, amongst others) animated dancing, as well. Romi Beppu grandly pirouetting to "The Waltz of the Flowers " as Dew Drop, Lorna Feijoo as a dexterous Sugar Plum Fairy, and most especially Larissa Ponomarenko and Nelson Madrigal, as the Snow Queen and King, executing a succession of vivid Pas de deux! Misa Kuranaga as the enraptured young Clara with Carlos Molina as her handsome, transformed Nutcracker, and the vibrant orchestral accompaniment conducted by Jonathan McPhee, add notably to the evening's genuinely memorable quality! Now playing through December 31. (My Grade:5)

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BARRAGE
Review by Norm Gross

At Boston's Wilbur Theatre is "Barrage," a remarkable group of traveling, animated musicians performing in a show which they call "Vagabond Tales." Composed of seven male and female accomplished violinists (who switch back and forth from country fiddle to concert violin), they're vigorously accompanied by a multi-instrument playing percussionist, a vibrant bass player, a nimble guitarist, and a striking rhythm drummer. They came together in Calgary, Canada in 1996 and have since enjoyed much international approval, playing to enthusiastic audiences throughout Europe, Asia, and North America. Described as a merging of "Riverdance" and "Stomp!," this extraordinary group certainly exhibits major aspects of both productions with their fast moving, high-stepping mixture of grandly disciplined musicianship, with formation-like, fluidly executed choreography. Simply put, their show consists of two captivating hours (with a brief intermission) of dancing and cavorting violinists, who play and dance simultaneously and in strict unison! Performed amidst a stage setting fashioned as a nomadic encampment replete with hanging paper lanterns, multi-colored draped sheets in front of clothes lines and hanging garments, together with crates, boxes, and even a push cart, the Company performs more than 20 lively musical numbers. They range from soft rock, Country Western, and Big Band Swing, to Celtic, South American and Eastern European styled songs. With the amplified announcements of an offstage, unseen, off-and--on Narrator, the show is described as the coming together of two rival journeying clans: the Sun Tribe and the Moon Tribe. Amongst the evening's highlights, especially memorable were violinist Seonaid Aitken's beautifully resonant singing of "Bridge Over Troubled Water," Benjamin Gunnery's putting aside his rustic fiddle to play the lilting "Anach Cuan Set " on his high-pitched, flute-like, Irish whistle, and Bob Fenske's dynamic performances of "Front Porch Jam " on xylophone, "Alabama Jubilee" on vibraphone, as well as "La Salle de Classe" with an assortment of rhythmic wooden spoons. Similarly notable was the entire company fiddling together as they rolled about onstage, seated on a host of jumbo beach balls, to the strains of "Sally G." Guitarist Jason Graham, surrounded by the entire stringed ensemble, playing the lively "Dark Haired Boy," and most definitely Benny Goodman's Jazz Classic "Sing, Sing, Sing" refashioned for violins here by the entire ensemble, with Jonathan McCaslin's pulsating drum solo lifting the audience out of their seats. With solid praise for both Music Director Dean Marshall and Director-Choreographer Brian Hansen, this exhilarating presentation is a definite must-see for the entire family! Now playing through December 19. (My Grade: 5)

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MATTER FAMILIAS
Review by Norm Gross

At the Boston Playwrights' Theatre is their production of "Matter Familias," a new comedy by Ginger Lazarus. Katherine, an unmarried 33 year-old therapist living with her concerned parents, has decided to respond to her anxious mother by adopting a son, rather than to just seek a husband as her mother had hoped. However, Katherine astonishes her parents by adopting William, an unattached 40 year old! What follows is a nonstop succession of hilarious twists and turns expanding on this bizarre premise. Lilly-white Katherine's adopted African-American sister Lisa P. is living far away in Wyoming with her lesbian sweetheart Lisa M., and they too hope to find a donor to help father a baby for them. Meanwhile, we also learn that adopted William's roommate Claude was Katherine's former boyfriend. To further complicate this wild stew, Katherine's middle-aged mother has taken a liking to Claude, and to compel him to bed-down with her, has locked him in her basement until he agrees. If daughter Katherine refuses to provide her with the acceptable grandchild she had always hoped for, then maybe grandma can become her own daughter's surrogate mom? Add to this outlandish turn of events a succession of grandly amusing takes on every baby-inspired notion from artificial insemination and a falsely induced pregnancy to adoptions in foreign countries and DNA investigations to ascertain the true identity of one's parents. Deftly played by the splendid seven member cast with many plaudits for Helen McElwain as the independently focused Katherine; Gus Kelley as the agreeably adopted William; Barlow Adamson as the hard-pressed and compliant Claude; Kortney Adams and Karen "Mal" Malme as Lisa P & M respectively; Robert D. Murphy as their quietly subservient father; and especially to Nancy E. Carroll as the darkly amusing and willfully manipulative mother, who uses her many migraine headaches and frequent fainting spells to achieve her goals. Assuredly directed by Wesley Savick with strong commendations for Richard Chambers' creative and highly amusing box-like set, composed of spare white cloth walls imbedded, hither and yon, with many toy-baby dolls, as well as Haddon Kime's loudly exaggerated and extremely amusing sound effects, producing such noises to fit the cast, as they pour coffee, swallow, slurp, or even wretch and/or puke! This well written, animatedly performed, brightly staged and confidently directed, comic whirlwind is now playing through December 19. (My Grade: 5)

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THE PROVOK'D WIFE
Review by Norm Gross

At the Loeb Drama Center is the American Repertory Theatre's production of "The Provok'd Wife" by John Vanbrugh, a Restoration Comedy (the first ever presented by the A.R.T., now in its 25th year). Set in the late 18th century, the plot's focus is on Sir John Brute, a middle-aged, dissolute, boorish sot who has grown completely disaffected with his young pretty wife Lady Brute, after only two years of marriage. Locked into an arranged mating, in an era when divorce was quite unthinkable, Brute prefers revelling in the company of his rowdy, drinking, buddies. Dispirited by her abusive and loutish husband's behavior, Lady Brute, with the help of her bright young niece Bellinda, intends to make a fool of him. She plans to deceive him by encouraging Constant, her long standing infatuated suitor. By so doing, she also arouses romantic interest in Bellinda by Heartfree, Constant's heretofore misogynistic compatriot. In selecting the names for his play's characters, the author definitely eschewed any vestige of subtlety. However, Lady Brute's advances toward Constant enrages Lady Fancyfull, a pretentious social climber. With the help of her brassy, outspoken French maid, she is able to thwart Lady Brute's adulterous rendezvous with Constant. Dressed as hookers (?), Lady Brute and Bellinda, venturing late at night into a lurid redlight district, with a bevy of trollops cavorting in picture windows, (a la the fleshpots of contemporary Hamburg, Germany), find their attempts at a secret tryst completely frustrated! Still later, Sir John Brute, in a bizarre turnaround intercepts his wife's tailor and decides to confuse Constant by masquerading as her, by dressing up in her gown, with only muddled results. Similarly, in yet another curious aspect, Lady Fancyfull in 1690 London speaks in an American southern accent reminiscent of Scarlet O'Hara in 1870 Virginia. Thanks to the A.R.T.'s splendid--and oh so necessary-- program notes, we're informed that this was based on the fact that in the 18th century embattled, immigrating Royalists originally founded the colony of Virginia, and thereby left their lasting vocal imprint on all the other Virginians still to come. Here, as in so many other instances throughout the play, British Director Mark Wing-Davey vigorously tries to impose 21st century motifs upon 18th century manners, to obviously stress the notion of the play's modern day relevance, with only bemused effect. The play's prologue, in yet another fully stretched example, is delivered in contemporary attire, before the cast minueting in period costumes, replete with references to "the Republic of Cambridge," Reality TV and Bush's America, while still again the evening ends with Sir John Brute, stepping out of character to inform the audience, amongst other suggestions, that they may now return to their favorite soap-opera. Performed with zest by the large, first rate cast, with heavily exaggerated turns by Bill Camp as Sir John, Kate Forbes as his Lady, Peter Rini as Constant, Adam Dannheisser as Heartfree, Deborah Knox Meschan as Bellnda, Effie Johnson as Lady Fancyfull and certainly Karen MacDonald as her highly accented and comic French maid. Much praise is also due for the production's most distinctive aspect, Marina Draghici's creative set with its full scale moveable box-like compartments, which being pushed forward or back, deftly suggest a wide variety of places and scene changes. Unfortunately, David Remedios' incongruous melange of contemporary musical styles was often just raucous and grating. This lengthy (nearly three hours), repetitive, often contrived and belabored, and only occasionally amusing mixture of classical and contemporary attitudes is now playing through December 26. (My Grade: 2 5)

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JOHNNY GUITAR
Review by Norm Gross

At the Roberts Studio Theatre in the Calderwood Pavilion at the Boston Center for the Arts is the SpeakEasy Stage Company's production of " Johnny Guitar." A New England premiere featuring Book by Nicholas van Hoogstraten, Music by Martin Silvestri and Joel Higgins, and Lyrics by Joel Higgins, it was inspired by the similarly-titled 1954 movie which, although originally trounced by the critics and shrugged off by its star Joan Crawford, has since achieved enduring cult status thanks to its overtones of feminine empowerment and its anti-blacklist and neo-McCarthyism undertones defined by a mob spurred on by false incrimination. After its debut in New York as a musical, it went on to garner the 2004 Outer Critics Circle Award as Best Off-Broadway Musical. Set in New Mexico in the late 19th century, the plot on stage hews closely to its camp-like predecessor's onscreen model. As in most Westerns, there' a "Good Guy" versus a "Bad Guy," but here there's a major and siginificantly unusual (for its time ) difference...both are swaggering, tough-talkin', gun-totin' females! Vienna, the proprietoress of the town's casinobBar, needs the help of Johnny Logan, her previous sweetheart and, a reformed gunfighter, who's replaced his sixshooters with a guitar and a new name, to match the music he now makes. Vienna's saloon will soon be the benificiary of all the upcoming business to be generated by the soon-to-be, new nearby railroad. This prospect draws the ire of Emma Small, the town's power hungy, vindictive major land owner. Fueled also by her jealousy of Vienna's latest romance with another gunfighter, known by the sobriquet of " the Dancin' KId," it propels her to find a reason to thwart them both. When her brother is later killed in an unrelated stagecoach holdup, she falsely accuses Vienna and the Dancin' Kid of complicity. After he goes on-the-run, Emma raises concerns about Vienna's casino, describing it as a haven for outlaws, and demands its' closing. Still later, when the Dancin' Kid and his gang rob a bank, Emma forces the casino's lowly former errand boy to falsely implicate Vienna. The plot really begins to boil over when Johnny Guitar puts aside his stringed instrument and straps his guns back on, in order to save Vienna from a lynch mob. This wild saga ends amidst the mountainous outskirts of town, when Vienna and Emma finally confront each other in a blazing and decisive shootout. Vividly acted and vibrantly sung by petite Kathy St.George as Vienna and Margaret Ann Brady as Emma, with rousing ensemble performances by the entire cast, and most especially by the humorously spiked portrayals by Christopher Chew as Johnny Guitar and Timothy J. Smith as the Dancin' Kid. Kudos also for the spirited Western-styled musical score, including such fine tunes as "What's In It For Me?," "In Old Santa Fe," "The Gunfighter," and the title song. High praise also for Paul Daigneault's well coordinated direction, Caleb Wertenbaker's creative setting, composed of many different, moveable flat planes deftly suggesting everything from saloon doors and a mine shaft, to a gallows and a mountainous range, as well as Gail Astrid Buckley's colorful Cowgirl and Cowboy costumes. Yes, we must certainly add this winner to this prestigious Company's long list of successes! Now playing through December 18. (My Grade:5)

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THE PRICE
Review by Norm Gross

At the Merrimack Repertory Theatre in Lowell, Mass. is their new production of "The Price" by Arthur Miller. It made its highly favorable Broadway debut in 1968 and has enjoyed much success, in the succeeding years, with many productions by professional touring companies, as well as by smaller regional groups. Set in the mid 1960's in the attic of a Manhattan brownstone apartment building scheduled for demolition, the garret is piled high with worn out furniture and the bric-a-brac left by an elderly deceased patriarch. Middle-aged Victor has come to this loft with his wife Esther, to meet with an antiques dealer to sell all of his late father's belongings. He had long ago abandoned his desire for college training as a scientist, settling instead for employment as a New York policeman. He had done so in order to care for his widowed aged and dispirited parent. Once a prosperous businessman, after the famly's fortune was lost thanks to the 1929 Stock Market crash, the old man was left destitute and depressed. Amidst the clutter, and the discussions about the furniture's value, Victor, who hasn't seen his brother Walter, a highly successful surgeon, for 16 years, wonders how much of the final agreed price should be sent to him. Thinking about Walter resurrects his long held resentment toward the prosperity and status that he feels was afforded to his college trained sibling, thanks to him. As Victor and Esther wrangle over monetary details with the visiting used furniture appraiser, Walter unexpectedly arrives. When the elderly merchant briefly vacates himself, the two brothers finally confront each other and begin to animatedly air, not only their past achievements, experiences and lifestyles, but also the hostilities and misunderstandings which have separated them for so many years. While no real reconciliation is achieved by them, a shocking revelation by Walter, about their father, gives Victor a truer understanding, not only of his parent, but also about himself and the sacrifices he made in his father's behalf. Intensely acted by Christopher McHale as Victor and W.T.Martin as Walter with vivid support especially by David Rogers as the earthy and knowledgeable furniture dealer, as well as a sharp performance by Monique Fowler as the financially concerned Esther. Bill Clarke's cluttered attic setting, with its elevated skylight, faded and paint-peeling walls, crammed full with a disarray of worn-out hanging chairs, old radios, lamps, easy chairs, sofas as well as bureaus, a refrigerator, and even their deceased musical mother's antique harp, is most definitely noteworthy. Solid commendations are also due for Charles Towers' strong and well focused direction. This well staged and compelling revival is now playing through December 12. (My Grade:5)

BURN THIS
Review by Norm Gross

At the Boston University Theatre is the Huntington Theatre Company's new production of "Burn This " by Lanford Wilson. Well received when first staged in New York in 1987 (after earlier presentations in Los Angeles and Chicago), it enjoyed an equally successful revival in Manhattan in 2002. The play's title derives from E.M.Forster's novel "Howard's End," and refers to the author's self advisory, listed at the top of each of his written pages, to himself as the writer, lest he not strive at all times, for absolute truth and unflinching honesty. Set in a Manhattan loft, Anna, a struggling dancer, is grief stricken by the unexpected, accidental death of Robbie, her gay roommate and confidante, also a successful dancer. Thanks to his encouragement, she had considered a transition from being a dancer to redeveloping herself as a choreographer. She seeks consolation and comfort from Burton, her wealthy, self absorbed screenwriter boy friend, and Larry, a gay, disenchanted advertising executive, who had also shared these same lodgings with them. Now a month after Robbie's funeral, their calm is noisily disrupted, in the middle of the night, when Robbie's boisterous and drunken brother Jimmy abruptly bursts into their living space. He loudly, and defiantly announces that he has come to retrieve his late brother's belongings. Jimmy, nicknamed "Pale," (in honor of his favorite Vodka), has long been estranged from his gay brother, and is now overcome with anguish because of their long separation, and Robbie's tragic demise. Anna is fascinated by Pale's wild, roaring, and explosive behavior, and a hesitant relationship slowly begins between them, evolving over a lengthy on-and-off time span. Their unlikely attraction is defined by Pale's many prolonged absences, punctuated by his sudden undisciplined and rambunctuous appearances. Extremely well played by Michael T. Weiss as Pale, and Nat DeWolf as the ever reliable, savvy, and cogently witty Larry, with somewhat less effective performances by Anne Torsiglieri as Anna, and Brian Hutchison as her wealthy and ineffectual boyfriend Burton. The ultimate certainty of Anna's love for Pale should be much more assuredly portrayed by her, under Susan Fenichell's more exacting direction. While much praise is also due for James Noone's bright loft setting, highlighted by its impressive trio of tall windows complete with a staircase leading up toAnna's bedroom, as well as Drew Levy's fine mood music between scenes, and Mary Louise Geiger's efficiently dramatic lighting. Now playing through December 12. (My Grade: 3.5)

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THE VALUE OF NAMES
Review by Norm Gross

At the Theatre Cooperative in Somerville, Mass. is their new production of "The Value of Names," by Jeffrey Sweet. Written in 1981, and staged then in Chicago, it has since had many subsequent presentations in New York, nationally in various regional performances, and even on both radio and television, as well. Set in 1981, in Malibu, California, it explores the turbulent issues which flared up, especially in Hollywood's professional movie oriented community, in the wake of the wide spread national post-World War II 'red scare". In the late 1940's, the House UnAmerican-Activities Committee began a lengthy and intensive public ( on nationwide TV and Radio) investigation of Communist infiltration into the film industry. Although it's generally accepted that the Committee already knew the names of all of Hollywood's card-carrying "reds", as well as just about every fellow traveler working in front or behind the cameras, they still insisted on ritualistic-styled public testimony. Since most of those who had been subpoened were also primarily Jewish, the proceedings were accordingly seen to have a decidedly Anti Semitic undercurrent. A "friendly" witness, who offered to name all known leftists, including his closest buddies, was praised and continued working in Holywood, as opposed to those who refused, and as a result were fired and blacklisted. Many, as in the case of the famed "Hollywood Ten," were also jailed for contempt of Congress. Years later, when public sentiment had modified and many reputations had been restored, countless others continued suffering from the irreparable destruction of their professional careers. Fortunately, although similarly rendered unemployable, because he wouldn't testify against his friends, the now elderly Benny Silverman has enjoyed some overdue rehabilitation, and is now a regular cast member on a TV sitcom. Long divorced, he's surprised at the unexpected visit from his young adult daughter Norma. An aspiring actress, who's unwilling to remain under her famous father's shadow, has come to explain her reasons for adopting a new name. Perplexed, he demands to know "Why, does it sound too Jewish?" She explains that she only wishes to establish her own individuality. She's done so because she's been chosen to appear in a new play. She also informs him that, since the show's director has fallen ill, he's been replaced by an oldtime and quite controversial associate of her father. Leo Greshen and Benny, estranged for more than 30 years, had organized "the New Labor Players" many decades before. Years later, when called to testify before the aforementioned Congressional Committee, Leo willingly named names, including Benny's, to save his own career! However, although he'd been steadily working ever since, and has collected many awards and honors,his "friendly" testimony has continued to act as a troubling cloud, even amongst his newer and younger associates. When he unexpectedly appears at Benny's seaside patio to confer with Norma about their forthcoming play, the unexpected reunion with Benny quickly reignites the long smoldering bitterness that has separated them for so many years. They both passionately wrangle over the events that have dominated their lives ever since, with compelling effect, skillfully airing most of the troubling issues, both pro and con, that continue to resonate in Hollywood, and elsewhere, to this very day. Vividly acted by the splendid three member cast, with strong performances by Harold Withee as Benny and especially by Fred Robbins as Leo, with reasonable support by Nelleke Morse as Norma. Now playing through December 11. (My Grade: 4)

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PERMANENT COLLECTION
Review by Norm Gross

At the New Repertory Theatre in Newton, Mass. is their production of "Permanent Collection," a new play by Thomas Gibbons, which explores our country's differing and often smoldering racial attitudes. as they are mirrored in some of the most recent legal battles involving the famed Barnes Foundation. Located in a suburb of Philadelphia, said institution houses one of the world's largest and most significant collections of Impressionist paintings. For the past decade, this same Foundation has been the focus of many racially defined controversies initiated by the African American University, which according to the original founder's will, took control of the establishment after his death. Known here as the Morris Foundation, the drama centers on Sterling North, a high powered, successful African American business executive, who has just been named as the new administrator. Investigating the institution's art collection, he discovers a large amount of significant African examples stored in its basemen.! Genuinely impressed, but also aware of the strictures in the founder's will prohibiting any addition or change as to what may be displayed in its galleries, North moves to alter the institute's by-laws, to thereby permit exhibition of these unseen works. In so doing, however, he comes into contention with Paul Barrow, the establishment's white longtime Director of Education. Barrow, insisting on strict adherence to the founder's dictates, suggests as a compromise, that North exhibit the African art at a local African American Museum instead. Unfortunately, when North learns that Barrow has never even visited this alternate institution, he rejects the suggestion as being racially patronizing. Their strident differences finally result in Barrow's dismissal. Soon, an investigative news reporter, in a series of pointed interviews, transforms Barrow from reserved timidity to full fledged confrontation with North. Meanwhile, Barrow also tries to sway Kanika, North's young, attractive, open-minded, African American assistant, hoping for an accomodation, without any tangible result. Throughout, the ghost of Alfred Morris, the institution's founder, appears every so often to make wry and counterbalancing observations about his life and intentions. While North and Barrow often seem to be lecturing rather than simply interacting with one another, by the finale playwright Gibbons, who is white, opts to let their positions stand, and leaves the audience to draw their own conclusions. Intensely acted by Clark Jackson as Sterling North, Benjamin Evett as Paul Barrow, Giselle Jones as Kanika, Tracy Oliverio as the news reporter, and Paul D. Farwell as the founder's specter, all under Adam Zahler's strong direction. Anita Fuchs' striking set, composed of several large, moveable white panels, emblazoned with jumbo black linear Matisse-like figures, which then parted to reveal two massively impressive, African wood-carved classic ceremonial masks, was especially noteworthy. Now playing through December 12. (My Grade: 4.5)

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Ramona Quimby
Review by Norm Gross

At Boston's Wheelock Family Theatre is their production of "Ramona Quimby " by Len Jenkins, based on the popular, similarly-titled eight children's novels by Beverly Cleary. A composite of characters and events drawn from Mrs. Cleary's beloved books, the plot centers on eight year old third grader Ramona, and her day-to-day simple problems and pleasures. With her nearly-teenaged sister Beezus, as observer and narrator, their family's tranquil suburban life on Klickitat Street is upset when the Frozen Food Warehouse, that their dad works for, decides to downsize and discharges him. When he's unable to quickly get another job, their mother finds work as a receptionist in a doctor's office. Other complications soon develop when their depressed father starts smoking and Ramona tries her best to convince him to quit. Her childish quarrels over Halloween masks at public school, with the teacher's pet student, abetted by Howie, her best friend, and her later capricious notion that she can make lots of money as a commercial spokesperson on TV, are just a few of her many antic daily entanglements. However, her greatest vexation unexpectedly occurs when she learns that her favorite, young, disco-dancing Aunt Bea, has decided to marry Howie's fortune-hunting Uncle Hobart, and relocate with him to Alaska. Naturally, by the play's finale, her dad has been rehired, and both Ramona and her big sister Beezus have helped Aunt Bea and Uncle Hobart have the grand and joyful wedding that they deserve, with everyone living happily ever after. Divided into two acts, including a brief intermission, the first act, primarily expository, was much too slow moving, with barely any complexities. Fortunately, Act Two brightened substantially with the development of the many previously described involvements. Deftly played by young talented eighth grader Andrea C. Ross in the title role, with fine support by Helen McElwain as Beezus, and Ken Baltin and Monique Nicole McIntyre as their father and mother. Special praise must also go to Sonya Raye as their rhythmically animated Aunt Bea, and likewise to Maureen Keiller as Ramona's hilariously repressed third grade teacher. High commendations are likewise due for Danila Korogodsky's striking, candy-colored, checker board set, with its raised central platform, grand, open, rotating, circular midpoint, and colorful doorways, as well as Laurel Stachowicz's lively choreography, performed by the large juvenile cast to many popular, past-recorded, soft-rock song hits such as "You Just Keep Me Hangin' On," and "Don't Stop Thinkin' About Tommorow." Lastly, notwithstanding my above stated reservations, the full and largely underaged audience, did most enthusiastically enjoy every moment of the show! Now playing through November 28. (My Grade 3.5)

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MACBETH
Review by Norm Gross

In Tower Auditorium at the Massachusetts College of Art in Boston is the Shakespeare Now! Theatre Company's production of "Macbeth." Set in ancient Scotland, Macbeth, a power hungry nobleman, is emboldened to fulfill his destiny as King by the striking prophecies of a trio of otherworldly witches. Encouraged by his ambitious wife, he initiates a succession of killings to realize all of the predictions that the supernatural ladies have revealed to him. However, with each murder of all the other noblemen who stand in the way of his accession to the throne, he's troubled by their ghostly appearances, which alarm him and fill him with doubts and anxiety. Ultimately, his homicidal path not only leads to his own violent death, but also to the equally unquiet demise of his scheming and distraught spouse. Barry Abramowitz is an imposing Macbeth with a strong and compelling portrayal by lovely Stephanie Clayman as the power craving Lady Macbeth. Her final defining mad sleepwalking scene was effectively underplayed by her without any superfluous histrionics. Although some of the minor roles were handled either awkwardly or unevenly, Mike Houston as Banquo, Spencer S. Christie as Malcolm (both victims of Macbeth's murderous course), Owen Doyle as a confused comic porter, and especially Joy Lamberton, Rydia Q. Vielehr, and Linda Lowy (the Company's Artistic Director), were quite effective as the three witches, all under Daniel Gidron's cogent direction. Commendations should also go to Jenna McFarland's impressive stone-portalled set. High praise is likewise due for this Company's stated goals. Founded by the aforementioned Ms. Lowy in 2000, its mission, from the beginning, has been to present fullscale daytime professional productions of Shakespeare's works, primarily for the benefit of elementary, middle,and high school students in Massachusetts and Southeastern New England. By so doing, they most certainly deserve our support and appreciation! Now playing through November 23. (My Grade:4.5)

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SPELL #7
Review by Norm Gross

At Boston's Center for the Arts is Company One's new production of "Spell #7" by Ntozake Shange. Written and highly-acclaimed when first staged 25 years ago, it mirrors the battles for racial equality that were waged in the streets of America at that time. Shange, hailed as the creator of what she described as "Choreo-Poems," her plotless play is an amalgam of rhythm, music and movement as defined by her compelling poetic descriptions, insights, and declarations. Set in a downtown Manhattan bar, a gathering of African-American actors, dancers, and writers assume a wide variety of characterizations, as each one tells his or her personal account of life in America, as experienced by them. Hosted by a top hat, tuxedo-wearing, Minstrel-styled "Magician," the show's accomplished nine cast members, bedecked with exagerated black masks, with their lips painted a grotesque red, begin their animated tales of struggle, despair and hope. Soon their bizarre disguises are removed and the author's rich words, laced wih caustic bitter humor, and uttered in raw, rolling, poetic, and musical terms, becomes the evening's focus. With the performers speaking, gyrating and cavorting to the recorded sounds of Bo Diddly, Tina Turner, Little Richard, Etta James, Stevie Wonder, Chaka Kahn, and innumerable others, they begin their lyrical, rollercoaster-accented, descriptions of transformation and empowerment, as achieved through pain and strife. Their ongoing testimonials cascade from such as the young black actress who wasn't hired because she wasn't "black" enough, or the young black child who feels unworthy because he can't ever be "white," to the many splendid African-American athletes who think they only exist because they excell in basketball or football, or the Black artist or writer who feels awkward and out-of-place in the company of similarly gifted Whites. For nearly two hours (including an intermission ), this exhuberant and commanding ensemble holds sway with the author's vibrant, compelling, insightful and poetic observations. Vividly directed by Summer L. Williams, and passionately acted by Michelle Baxter as the introductory "Magician," as well as Keith Mascoll, W.Yvonne Murphy, Dorian C. Baucum, Karimah S. Moreland, Melanee Addison, Kortney Adams, Jackie Davis and Bill Bruce as their attentive bartender. The passing decades have certainly not lessened the urgency of the playwright's penetrating messages! Now playing through November 20. (My Grade: 5)

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EARS ON A BEATLE
Review by Norm Gross

At Boston's Lyric Stage Company is their production of "Ears On A Beatle," a new play by Mark St.Germain. A recent Off-Broadway success, this is its Boston premiere. During 1971, while the legendary John Lennon was living in Manhattan and was very much involved in the anti-Vietnam War movement, the F.B.I. initiated secret and intensive surveillance of him, with his eventual deportation as its goal. However, this clandestine watch was terminated in 1972 after the death of J.Edgar Hoover. This play explores the Federal Government's covert scrutiny of Lennon through the observations of two fictional F.B.I. agents: the senior middle-aged, long experienced, and cynical Howard Ballantine; and his young neophyte, mid-20's year old partner Dan McClure, disguised as a "hippy," who's eager to help his country, thereby aiding his brother serving in Viet Nam. This somewhat contrived eighty minute one act play then follows these two disparate operatives from 1971 to 1980, revealing their differences against the background of actual recorded news bulletins which describe the turbulence of the times--from Nixon's resignation and Ford's pardon of him to Reagan's election. When the masquerading McClure infiltrates the counter-culture, against Ballantine's protestations, he does so by connecting and living with a young pretty "flower-child " named Annie. Now fervently in love, she gives birth to their child, they marry, and eventually they later divorce. Ballantine likewise, due to the demands of his job conflicting with the needs of his wife, also ends up divorced. At this same time, as an F.B.I. agent, McClure unearths a host of disquieting facts not only about Lennon, but also about many of his fallen heroes, such as Robert Kennedy and Martin Luther King, causing him much disillusionment. When their spying on the great rock star is concluded, both are separated and given new and different assignments. Many years later, with McClure now in a business suit and acting as a seasoned agent, he once again encounters Ballantine. Soon thereafter, in an obvious and highly unlikely conclusion, they both happen to unexpectedly witness John Lennon's assassination, which forces them each to come to terms with some compelling introspection. Although ultimately improbable and often superficial, nevertheless, it's being well acted by Michael Kaye as McClure and Steven Barkhimer as Ballantine, under Paula Ramsdell's focused direction. Now playing through November 20. (My Grade: 3)

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STRIKE UP THE BAND
Review by Norm Gross

At the Longy School of Music in Cambridge, Mass. in its Pickman Concert Hall, American Classics recently presented "Strike Up The Band," featuring Book by George S, Kaufman, Music by George Gershwin and Lyrics by Ira Gershwin, in this their fifth season of annual--one weekend only- award-winning concert-styled recreations of America's early and legendary musicals. This presentation of the show's original 1927 pre-Broadway version, marks its Boston premiere. Kaufman's Book, bristling with its satiric, anti-war attitude and comic view of Big Business manipulation, although well-received critically, failed in it's try-out stand, thanks to the public's indifference. An extensively revised adaptation, with a completely new and tamer Book by Morrie Ryskind, played to much more receptive Broadway audiences starting in 1930, racking up nearly 200 performances. However, contemporary audiences have since found this earlier 1927 uncompromising, sharper, and trail-blazing edition, much more in step with their current thinking. Horace J. Fletcher, the C.E.O. of America's leading cheese company, feeling threatened by the domestic competition posed by the intrusion of imported Swiss cheese, foments a real war, between the U.S.A. and Switzerland, based on quarrels about restrictive and excessive American tarrifs. High, amongst Kaufman's brilliantly sardonic thrusts, is Fletcher's offer to the U.S.Government, to bankroll the War, on the condition that it's to be named after him. As expected, this ultimately results in the cheese company's bankruptcy and the unnecessary war's quick and equitable resolution. The striking score, although heavily influenced by Gilbert and Sullivan, nevertheless definitely still manifests the resonant imprint of the Gershwins. While the stirring, military-styled, marching band title song, along with "The Man I Love," ( sung here with its rarely performed second chorus) are certainly the show's best known tunes, many of the play's lesser known melodies, such as "Meadow Serenade," "Yankee Doodle Rhythm," "Oh, This Is Such A Lovely War!," " Hoping That Someday You'd Care," and "How About A Man?," are also worthy of this new attention. Much approval should also go to the large, accomplished ten member cast, for their strong comic and sonorous acting performances, especially by Bob Jolly as the pompous cheese company's Director; Peter A. Carey in a wide variety of different comedic roles; Sarah de Lima and her daughter Caroline de Lima, as the play's highly involved socialite mother and daughter; Valerie Anastasio as Fletcher's sweet, ingenue daughter; and Brian Robinson as her clean cut young sweetheart. Special notice is likewise due for the fine six member chorus and most definitely for the strong piano accompaniment provided by Margaret Ulmer. Lastly, congratulations are once again merited by Bradford Connors and Benjamin Sears, most prominent amongst the founders of American Classics, for the great service they render to New England's theatre-going public, with this ongoing series of rarely performed, classic, concert-styled, musical revivals! (My Grade:5)

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THE PLAYBOY OF THE WESTERN WORLD
Review by Norm Gross

At Boston's Wilbur Theatre is Ireland's Abbey Theatre's production of "The Playboy of the Western World " by J.M.Synge. Set in a countryside pub in rural Mayo, Ireland, at the turn of the 20th century, the plot centers on the wild tale told there, to the locals, by Christy Mahon, a young disheveled male, on-the-run. These simple assembled country folk are captivated by his account of how he killed his contentious old father with the handle of a spade, as he was plowing the earth at their farm in Western Ireland. Especially impressed is Pegeen Mike, the pub owner's daughter, a lovely young maiden, who although betrothed to a staid timidly-devout villager, soon cancels her engagement to him, in the wake of her fascination with this novel and very exotic stranger. Equally impressed are the pub's habitues, the community's unmarried females, and the area's most egregious widow, in particular. However, Christy continues to vigorously court Pegeen by overly exaggerating his notorious deed. He even rides as a jockey in the village's popular nearby horse race, and by winning this contest, hopes to win her as his wife. Unfortunately, the unexpected appearance of his pugnacious old father, still very much alive and angrily seeking redress of his justified grievances, obviousy disrupts all of his son's plans. Vigorously acted by the highly effective twelve member cast, with very strong performances by Tom Vaughan Lawlor as Christy, Cathy Belton as Pegeen Mike, Olwen Fouere as the notorious widow, Maeliosa Stafford as Christy's dad, and Ciara O'Callaghan, Katy Davis, and Kelly Campbell as a bevy of young local unmarrieds, hoping to entice Christy. Special notice also for Simon O'Gorman as the neighborhood's cymbal-clashing Spokesman, (identified here as "the Bellman") who introduces the play by flavorfully reciting most of Synge's preface. Commandingly directed by Ben Barnes, with a very striking set design by Guido Tondino, defined by the Pub's high-rise, adjoining clay walls, decked on top with a myriad of bottles, which deftly part to reveal a large rear illuminated blank screen, against which the folksy activities, especially the aforementioned horse race, are seen in stark contrast. Solid commendation must also go to Monica Frawley for her splendid rustic country costumes. Lastly, unlike the furor that first greeted this play's debut in Dublin back in 1907, because of its controversial depiction of the rural Irish, now the cast's heavy Irish brogues, often obscuring the meaning of the playwright's words, nevertheless the audience still seemed to delight in every moment! Now playing through November 21. (My Grade:4)

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THE VIOLET HOUR
Review by Norm Gross

At the Stoneham Theatre in Stoneham, Mass. is their production of "The Violet Hour" by Richard Greenberg. Well received on Broadway last year, this is its Boston area premiere. Set just after the end of World War I, young John Pace Seavering (apparently based on legendary editor Max Perkins) is attempting to establish himself as a publisher. Amongst the clutter of his new upper level Manhattan office are the boxes upon boxes which contain the massive and rather disorganized pages of the novel written by Denis McCleary (seemingly referring to F.Scott Fitzgerald), a longtime friend of John's, harking back to their days together at Princeton. The name of his fictional narrative provides the title for this play, explained as being that subtle time between the daylight's end and the full start of darkness. Limited financially, John must choose to either publish this huge sprawling tome, or else the memoirs of his clandestine sweetheart Jessie Brewster, a well known, African-American singer and performer (obviously patterned after the celebrated Josephine Baker.) However, although Denis is in love with Rosamund Plinith (perhaps suggested by Fitzgerald's wife Zelda), heiress to a Chicago based meat-packing fortune, their engagement is contingent on his ability to succeed. Likewise, Jessie 14 years her young lover's senior, demands John prove his ardor by publishing her story first. John's dilemma is then seriously compounded when Gidger, his overly agitated and demonstrative assistant, announces the unordered delivery of a strange, bizarre machine. Soon this outlandish, unexpected device begins to rapidly cast forth page after page of a history of the 20th century, which had been completed and published far into the future, at the century's end. Now the fledgling publisher suddenly becomes aware of and is highly conflicted, not only by the tumultuous events to come, but also by the role his publishing choices will play, for good or ill, in the future for his friend Denis, and his flamboyant lady-love, as well as the surprising fate of his own secret lover. Amidst this quandary, the author also has the highly agitated Gidger become amusingly aware of the many changes in attitude, behavior, language, and even popular slang, to come. He's especially shocked by the new forever-altered meaning of the word "gay!" Although certainly well acted by Patrick Zeller as John, Nathaniel McIntyre as Denis, Carol Ann Parker as Jessie, and Stacy Fischer as Rosamund, Neil A. Casey's overly-exagerated and extremely shrill performance as Gidger often suffered from excess. Cristina Todesco's oldtime, highrise office set, framed by its jumbo windows, Gail Astrid Buckley's fine period costumes, and Weylin Symes' focused direction, were all reasonably effective. Although the play's central predicament often seemed like an elaborately expanded plight, such as those regularly seen on yesteryear's " Twilight Zone," on TV, with its often strained and/or contrived twist, at each episode's finale. Happily, in this instance, Playwright Greenberg was able to provide a rather interesting, somewhat provocative, and plausible concluson. Now playing through November 14. (My Grade: 3.5)

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THE GLIDER
Review by Norm Gross

Boston Playwrights' Theatre presents the premiere of "The Glider," a new compact ninety minute drama by Kate Snodgrass, the Theatre's Artistic Director. Set in Michigan, in the family's lakeside boathouse, where three adult sisters have convened after the death from a lengthy illness of their widowed mother. Wayward, single and non-communicative Francesca has returned, having left for nearly 20 years to pursue a career as a world travelling photographer for National Geographic Magazine. Overwraught Estella remained behind to marry and raise a family (three young children: her son and twin daughters), while Christina, the youngest, had turned away from a promising future to attend to her ailing mother. We also learn that Estella is estranged from her husband Max, who is now somehow involved with Christina. Regretably, it is never made clear exactly when, how and why Christina and Max became lovers. As the evening progresses, their frustrations, resentments, disappointments, and regrets are gradually aired, recognized and accepted when their relationship to their mother is fully understood and her final dying wishes are carried out. Their composure is then unsettled by Christina's startling disclosure and surprising decision. Superbly acted by the highly effective three member cast, with solid and equally high praise for Laura Latreille as Francesca, Birgit Huppuch as Estella, and Kimberly Parker Green as Christina. Additional praise must also go to Richard Chambers expert rustic boathouse set, with its assortment of boxes, work tools, and folded summer beach lounges, together with desk, chairs, a table, ropes, and even a small, secured boat, all surrounding the centrally placed glider (the family's comfortably worn and gently swaying old outdoor sofa.) Haddon Kime's expressive sound effects (rippling water, resonant insects, and faint, far away music), Andrew Foley's very atmospheric lighting, and most especially Wesley Savick's commanding direction, all combine to make this succinct and well written drama, (allowing for my one, previously stated, exception) the otherwise compelling and memorable achievement that it is. Now playing through November 14. (My Grade 4.5)

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COMPANY
Review by Norm Gross

At Boston's Center for the Arts' new Calderwood Pavilion in its Roberts Studio Theatre is their inaugural presentation of the SpeakEasy Stage Company's production of "Company" with Music and Lyrics by Stephen Sondheim and Book by George Furth. It opened on Broadway to multi Tony Award-winnning success in 1970, with similar approval later in London. In the succeeding decades, it has enjoyed much ongoing acclaim with national touring companies, as well as more recent triumphant revivals in New York and London. Virtually plotless, it departs from the usual progressive storyline to be found in most musical plays, opting instead for a series of related vignettes bound together by a central figure. On the occasion of his 35th Birthday celebration, Robert, an unmarried New Yorker, is encouraged to actively plan for and get married by a quintet of wedded couples, who are all of his best friends. Sarah and Harry complement each other in their efforts at weight control, either by dieting or physical activity. Susan and Peter, apparently a very happy couple, surprise him with news of their impending divorce. Middle class Jenny and David try to demonstrate the joys of togetherness by jointly smoking pot. Young Catholic Amy is unexpectedly overcome with doubts, on the day of her wedding to Paul, her young supportive Jewish fiance. Middle-aged Joanne, long very bored with her tiresome husband Larry, makes an amorous and rejected overture to Robert, followed by later dates and rebuffs for him, by several other young women. Each episode is highlighted by a compellng or insightful song which helps Robert to finally decide what course his future life should take. These vivid melodies are sung either by a resonant ensemble or as a pointed observation by a concerned couple. "The Little Things You Do Together," "Have I Got a Girl for You," " Side by Side By Side," "( No I'm Not) Getting Married Today," and the stirring "Being Alive" are just a few examples of the show's brilliant score! Especially trenchant is burnt-out Joanne's greeting to the vapid "Ladies Who Lunch." Michael Mendiola as Robert; Elaine Theodore and David Krinitt as Amy and Paul; Sara Chase, Aimee Doherty and Stephanie Carlson as Robert's girlfriends; and especially Nancy E. Carrol as the jaded Joanne, are standouts amongst the rest of the genuinely meritorious 14 member cast! Eric Levenson's bright contemporary set, with its multi-color panelled background, behind its opposing metalic angular and circular stairways, Karen Perlow's expressive lighting and Gail Astrid Buckley's fine costumes are all most certainly noteworthy. Similar praise must also go to the vibrant small orchestra conducted by Paul S. Katz and decidely to Paul Daigneault's strong direction. This genuinely memorable production is most definitely an impressive debut, as this notable Company's initial offering in this splendid new theatre. Now playing through November 13. (My Grade: 5)

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Professional Skepticism
Review by Norm Gross

At Boston's Actors Workshop Proscenium Theatre, the South Carolina Repertory Company presents its production of "Professional Skepticism," a new dark comedy by James Rasheed. After its debut in Indiana, followed by successful receptions in North and South Carolina, it played to equally responsive audiences in Wellfleet (Cape Cod), Mass. in 2002. This presentation denotes its Boston premiere. It's set in a conference room in a major national "Big 5" accounting firm in Charleston, South Carolina, that's in the midst of an approaching big corporate merger. The plot concerns the machinations of several staff accountants who feel threatened by the oncoming changes. Greg, a young "Yankee," defined by his strong sense of ambition, (masked by frequent references to his Baptist piety), and Paul, a geeky, eager to please,"goody-goody," Episcoplian. Catholic Leo, their sharp tongued superior, specializes in flouting his authority, while he schemes behind their backs to thwart them. All use their religious identities to assert their rectitude. Unfortunately for Leo, while he still hasn't passed the final leg of his CPA certification exam, Greg has zipped through this same test, scoring on his first attempt in the high 90's. Meanwhile, hard working and dedicated Paul begins to discover some fraudulent auditing irregularities. Then, into this developing stew steps Margaret, an equally aspiring, pretty young accountant, working in another of the firm's departments. Leo, now divorced from his former wife, (who departed, leaving him with her credit card debt, amounting to over $9,000), and conscientious Paul, are both rebuffed by Margaret, for their "romantic" advances. Act Two finds Paul, now fully aware of the duplicity of his associates, beginning to launch a series of revelations which will not only expose their trickery and avarice, but will also undermine their aspirations while elevating his. Very well acted by the strong and accomplished four member cast, who are here now recreating their roles from the play's earlier stagings in the Carolinas. Solid praise for Jim Stark as Leo, Nick Newell as Greg, and Blake White as Paul, with commendations likewise for Chip Egan, the play's original director. The role of Margaret, although not as strikingly defined as the others, was also well acted by Peggy Trecker. Chip Egan, and his assisting crew, also deserve much credit for the spare efficient conference room setting, as well as for the fine, brief and spirited Jazz and Blues recorded musical interludes, which helped to define each scene change. This well written play, bubbling over with witty and incisive dialogue, and brimming with provocative perceptions of the kind of workplace double-dealing, that seems to be so recognizable and universal, is now playing through November 14. (My Grade: 4.5)

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AIDA
Review by Norm Gross

At the North Shore Music Theatre in Beverly, Mass. is their production of "Aida." This is not the legendary, magnificent opera by Verdi, but rather a new contemporary soft rock and pop oriented version, utilizing the same basic story, but now completely redefined with Music by Elton John and Lyrics by Tim Rice. It made its successful debut in New York City in the Spring of 2000, after earlier modifying tryouts in Atlanta and Chicago, and although now still playing on Broadway, has also been very well received across this country, with recent national touring companies. As in the original opera, this too is set in Ancient Egypt, as war against neighboring Nubia is waged by them. Radames, a prominent Egyptian Army Captain (son of the country's power hungry Chief Minister), is engaged to marry the young beautiful and quite vain Princess Amneris. However, their engagement is upset when Radames meets the beautiful Nubian slave Aida. Impressed by her defiant attitude and regal bearing, they soon fall deeply in love with each other. However, their romance is threatened by the capture and enslavement of her father, the Nubian King. Later, by their helping the imprisoned Monarch to escape, the two impassioned lovers are captured by the Egyptian military and sentenced to death by entombment in the desert, with their love bonding them there together, forever. Vividly sung by the lovely Montego Glover in the title role, with handsome and resonant Brad Anderson at her side, as Radames. Radiant and attractive Janine LaManna as tempetuous and high fashion hungry Princess Amneris, definitely stops the show with her full throated and very sonorous rendition of "My Stongest Suit," a grandly amusing chronicle describing her many, multi-dimensional wardrobes, highlighted by a parade of statuesque beauties wearing bizarre, outlandish and quite colorful gowns with equally eccentric headgear. The show's excellent score also includes "Every Story is a Love Story," " Like Father, LIke Son," and " Enchantment Passing Through," amongst its many other fine songs,.although they were occasionally hindered by the Theatre's sometimes overly shrill ampification system. John Schiappa as Radames scheming father, Derrick Baskin as a helpful slave, and J.Bernard Calloway as Aida's Kingly father, also give striking performances as well. Extra notice is also due for Stafford Arima's strong direction, Bill Stabile's simple and colorful scenic design (in-the-round), Randall Klein's eye-catching costumes, and the solid orchestral direction by Andrew Graham. Now playing through November 21. (My Grade: 4.5)

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THE TAMING OF THE SHREW
Review by Norm Gross

At Boston's Wang Theatre is the Boston Ballet's production of "The Taming of the Shrew." Based on Shakespeare's legendary play, this dance version, which first premiered here in 1995, features choreography by the late John Cranko, with music deftly adapted by Karl-Heinz Stolze, after Domenico Scarlatti. As in the Bard's play, young Bianca will not be allowed to marry until Kate, her older, very quarrelsome and overly obstreperous sister, has found and marries a willing husband. Petruchio, a spirited bachelor in need of new financing, is inveigled by Gremio, Hortensio, and Lucentio, three of Bianca's hopeful suitors, to woo the headstrong and affluent Kate. After a highly spirited and physically turbulent courtship, they marry and then with many early, persistent, and quite strenuous encounters, come to realize that they do, indeed, love each other. Meanwhile, Lucentio has also been able to outwit his fellow contenders and win Bianca's affection. Vigorously danced by Pollyana Ribeiro as Kate and Reyneris Reyes as Petruchio (with great flair and high comic style), in a succession of vivid duets, with each Pas de Deux ranging from riotously combative and amusing (pushing, falling, whirling and rolling about) to majestic, lyrically tender, and ardently impassioned romantic couplings. Equally well danced by the facile Romi Beppu as Bianca and the dexterous Jared Nelson as Lucentio, with much praise for the amusingly cavorting antics of both James Whiteside as Gremio and Jared Redick as Hortensio. Kudos also for the large and splendid ensemble. Commendation likewise for Susan Benson's lovely costumes and impressive Renaissance styled settings (with muted and delicately painted backdrops), on loan from the National Ballet of Canada, as well as the splendidly vibrant full orchestral accompaniment conducted by Jonathan McPhee. This genuinely memorable, impressively and enthusiastically danced, and strikingly staged presentation, is now playing through November 7. (My Grade: 5)

JOE TURNER'S COME AND GONE
Review by Norm Gross

At Massachusetts College of Art's Tower Auditorium in Boston is the Up You Mighty Race Performing Arts Company's new production of "Joe Turner's Come and Gone" by August Wilson. Yet another of the ten play cycle written by the playwright defining the trials and experiences of African Americans, decade by decade, in this country throughout the 20th century. As in the other plays in this series, it too takes place in Pittsburgh, but is set early in 1911, this time in a boarding house. With the strains between African mysticism and European-influenced Christianity as its underlying core, the plot evolves amongst the spiirited inhabitants of Seth and Bertha Holly's rooms for rent (including meals) home, with Bynum Walker, a vivid elder brimming over with song, folksy enthusiam, and home-spun observations, as their most prominent resident and all-knowing sage. However, with the arrival of Herald Loomis, a dour and obviously very troubled sojourner and his young adolescent daughter Zonia, the mood of the Holly household quickly turns from calm contentment to tense uncertainty. Loomis, a former Church Deacon, is searching for his missing wife Martha.Their separation came about as a result of him working as a sharecropper, being trapped into forced indentured servitude, by the notorious and brutal white boss, whose hated name became the inspiration for the legendary blues chant that serves as this drama's title. His quest unfolds amidst the concerns of the household's other tenants: Jeremy, a guitar-playing, off-and-on day laborer, who soon shows some lusty interest towards both Mattie, a young woman whose boyfriend had abandoned her after the death of their twin babies, and newly arrived Molly, a flashy attractive and self-reliant goodtime party girl. When the expected and stormy reunion, between Herald and his estranged wife Martha, does finally occur, their highly emotional coming together spurs them both to a richer understanding of each other, and to a fuller realization of what their future must be. Although, often paced too slowly, well directed otherwise by Akiba Abaka, the show's Producer as well as the Company's Founder and Artistic Spearhead.The fine 11 member cast all give compelling performances, with much praise for the stirring portrayals by David Curtis as Herald Loomis, Minister Joe Lee Baker-Bey as the effervescent and spiritual Bynum Walker, young Faylis Matos as Zonia, Mugisha Feruzi as Jeremy, Simone St.John as Molly, and especially Ramona Alexander as the troubled Martha. Lastly, Peter Calao's spare, but quite effective set, a simple turn-of-the-century combination parlor, with its worn stuffed sofa and easy chair, and attached plain kitchen, defined by its heavy black woodburning stove, rustic table and chairs. Both areas being centered by a fireplace and a short side staircase, the set certainly merits approval. Now playing through October 31. (My Grade:4)

RICHARD III
Review by Norm Gross

At Boston's historic Old South Meeting House, the Actors' Shakespeare Project presents their production of "Richard III " by William Shakespeare. The play chronicles the rise and fall of one of the Bard's most notorious villains and follows his ruthless and unprincipled ascent to the British Crown. Beginning with the arranged murder of his brother, the Duke of Clarence, followed by mounting treachery against most of his former supporters and culminating with his pitiless instructions for the slaughter of his two very young nephews, the innocent Princes who stand in the way of his climb up to the Throne,. Richard is revealed as the totally dedicated personification of malevolence. Wracked by supreme feelings of inferiority, (hunchbacked, lame and crouched over with one hand twisted like a deformed talon) Richard compensates for his lack of self-esteem by putting to death Lord Hastings, one of his foremost rivals, and even marrying Lady Anne, the widow of one of his many victims. Retribution finally comes to him on the field of battle, surrounded by his many enemies, as he suffers defeat, a brief conscience-driven moment, and then dies like a slain and battered beast! In a splendidly surprising casting choice, John Kuntz (local actor and promising playwright, best known for his impressive comedic prowess) in the title role, gives an intense, impassioned, commanding, and totally believable performance as the mercilessly scheming usurper, with high praise for the large supporting cast, comprised of many of the area's most notable actors and actresses. Especially prominent were: Allyn Burrows as the Duke of Clarence, and Sarah Newhouse as Lady Anne, as well as such involved Royalty as Jennie Israel as Queen Elizabeth, Paula Plum as Queen Margaret, and Greg Steres as Richard's brother, King Edward. Also, likewise noteworthy were the drama's well portrayed victimized children, 10 year olds Khalil Flemming and Carlos Rojas, together with 14 year old Yavni Bar-Yam and 19 year old Maureen Regan as both Queen Elizabeth's son and daughter. As related by Benjamin Evett, both the play's Director and the Company's Overseer, in the group's "Mission Statement," they intend their future performances to be staged "in non-traditional spaces, such as Art Galleries, Museums, Warehouses, Studios, Churches, Meeting Halls" and other such similar places, defined by architecture and ambience that encourages audience involvement. Although the classic location, chosen for this current presentation, did indeed pose some difficulties regarding the strain associated with extended sitting on somewhat hard-benches, and also a few occasional problem's with the hall's acoustics, nevertheless this otherwise memorable presentation (in contemporary dress), and this site's striking ambience, augur quite well for this Company's future productions. Now playing through November 7. (My Grade: 4)

SONIA FLEW
Review by Norm Gross

At the new Calderwood Pavillion in the Virginia Wimberly Theatre at the Boston Center for the Arts, the Huntington Theatre Company presents its world premiere production of "Sonia Flew" by Melinda Lopez. Act One is set in Minneapolis in December 2001, as the holiday season approaches. Sonia, a Catholic middle-aged housewife working as a public defender, lives a bright, middle class home with her Jewish therapist husband Daniel, and their two teenaged children Zak, a student at Brown University; and Jennifer, a high school pupil. As the family awaits the arrival of Dan's elderly father Sam, the family's festive preparations are fully underway, with their home decorated for a combined Christmas and Chanukah celebration. The family's joyous mood is then abruptly upset by Zak's announcement that he has enlisted in the Marine Corps, eagerly anticipating service in Iraq. This news sparks a serious household crisis. We soon learn that in the 1960's, Sonia, then a teenager, was one of thousands of children flown from Cuba to America by their remaining fearful parents, in order to protect them from the ever growing totalitarian demands of Castro's revolution. This early rescue program was known as "Operation Pedro Pan," and as in J.M.Barrie's classic tale, just as his fanciful sprite would find himself barred by a locked Nursery window, so too would the young Sonia also feel herself, likewise, abandoned. She was never to see her parents ever again! These painful memories are the cause of her anxiety attacks, and her consequent air-travel phobia, now grandly aggravated by Zak's dramatic decision to go off to war. Act Two takes place 40 years earlier in Havana. There, the emotionally overwraught teenaged Sonia learns that her alarmed parents insist that she must leave them for safety in the U.S.A., terrified by the ever burgeoning surveillance by their friends and neighbors, and the new, all encompassing, demands of the State. They then proceed to comfort Sonia by promising her that they will all soon be reunited. Fervently played by the first rate six member cast, who assume double roles in both acts. Carmen Roman is compellng throughout, initially as the adult Sonia, and later as a helpful neighbor in Havana. Similarly effective is Jeremiah Kissel, first as her understanding Jewish husband, and later as an intrusive Cuban spy. Likewise, young Amelia Alvarez passionately portrays the conflicted, teenaged Sonia, as well as the youthful and feisty American Jennifer, as does Ivan Quintanilla as Zak, and still later as a young Cuban revolutionary. Especially impressive are Will LeBow and Zabryna Guevara as Sonia's anguished Cuban parents, with earlier forceful performances by them as the comforting American grandparent, and as Zak's helpful, female military assistant. An unexpected concluding development moves Sonia and her son Zak towards reconciliation. Much praise is also due for Nicholas Martin's strong direction and most certainly for Adam Stockhausen's two striking sets: the first, bright and cheery American; and then the second, warm, well-worn, and heavily coming-together Cuban. Now playing through November 28. (My Grade:5)

THE PLAY ABOUT THE BABY
Review by Norm Gross

At the Piano Factory in Boston, Mass at the Devanaughn Theatre, is the Boston Directors' Lab and The Mill 6 Theatre Collaborative's production of "The Play About the Baby " by Edward Albee. A success in London, where it was first performed in 1998, and similarly well received in New York in 2001, this presentation represents its Boston premiere. It's being staged here with only two metal office chairs as props, before a bare red brick wall, centered by a sky blue alcove, framed on each side of the wall by two Magritte-influenced and mounted paintings of open windows (each again exposing a blue sky.) Initially, a young adult boy and girl exhult over their new baby, as we hear it crying off-stage. In their joyful state, as they play frivolous, sexually-oriented word games with each other, their bliss suddenly becomes clouded by anxiety over a possible kidnapping, spurred by their stereotypical notions about predatory gypsies. The unexpected appearance of a mysterious middle-aged couple (apparently, a husband and wife) then proceed to systematically reverse the youngster's happiness. Both the man first, and then later the woman, talk directly to the audience, with each reminiscing about everything from long lost drives in autos, and the creative process (as discussed with famous authors ), to early youthful romances and lusty fulfilments. However, as their focus gradually shifts from the audience to the boy and the girl, their observations also begin to transform. Now they've become fixated on the many tricks memory can play on us! Is reality actually what we perceive it to be? Are you really alive, if you have no wounds? Without scars, who can you be? These are some of the vexing questions they set, as they methodically chip away at the young couple's sense of assurance. They soon begin to wonder: why have this enigmatic man and woman come? Who are they? What do they want? Have they come to take away their baby? Do they, in fact, even have a baby, or was its cry, like some of the other puzzling suggestions posed by this strange couple, just another figment of their imagination? Ardently played by Walter Michael Belenky as the Boy and Zofia Goszczynska as the Girl, as dominated by commanding performances by Jeff Gill as the Man, and Janice Hanson as the Woman, under Jeremy Johnson's well centered direction. Much praise is also due, for the aforementioned spare, yet quite effective, set designed by Caleb Wertenbaker. This provocative, incisive, and quite brief exploration (only 90 minutes, including a short intermission) of the delicate separation between reality and illusion (or perhaps delusion?) is now playing through October 30. (My Grade: 4.5)

GROUCHO: A LIFE IN REVUE
Review by Norm Gross

At Emerson College's Cutler Majestic Theatre in Boston, Mass. is "Groucho: A Life In Revue " written by Arthur Marx (Groucho's son), together with Robert Fisher. Unlike an earlier and quite different production of this same material (reviewed here by me last June) this presentation features much of the music associated with the master comedian during his long years on stage, as well as the many songs he sang on both the large and small screens. Directed by and featuring the show's original New York and London star Frank Ferrante, before a ramshackled tenement-like setting, composed of a full stage-wide series of elevated shelves, crammed to overflowing with a lifetime of his bric-a-brac, (including everything from old musical instruments to worn out apparel), there he vividly portrays Groucho, explaining his life and times, as he progresses from age 15 to age 85. He converses drolly with the audience about his long professional, as well as his personal life. He begins in the years soon after World War I, with his brothers: Chico, Harpo, Zeppo, and Gummo (who left their act very early on and remains to this day virtually unknown.) Starting as a vocal quartet in vaudeville, they gradually began to refocus their appearances with the madcap comedy routines that would eventually make them world famous. Later, a quarrel with their vaudeville chain's impressario would force them to turn to the legitimate stage for employment. They did so with a potpourri of their old vaudeville comic skits, which they had renamed, "I'll Say She Is." It proved to be a major hit on tour, and an even greater success thereafter on Broadway. The show's overwhelming approval, led them to Hollywood stardom. Much of Act One also centers on Groucho's ongoing difficulties with his older brother Chico (a compulsive gambler, with a penchant as a womanizer.) Chico was always either flush with cash, or else in debt, and always borrowing from Groucho. Consequently, the first act's most compelling development comes just before the intermission, when Chico unexpectedly rescued, the overly prudent and thrifty Groucho, from his "stock market crash" induced personal bankruptcy, with a massive infusion from his big new gambling winnings! Act Two finds Groucho now much older, and redefining himself, without his brothers, as a popular radio and television quizmaster, as well as exploring his three highly troubled marriages. All the while, the many great comic songs associated with him are animatedly performed and deftly sung by Frank Ferrante, including: "Hooray for Captain Spaulding," "Lydia, the Tattooed Lady," "Show Me a Rose" and "Everyone Says I Love You." Strikingly supported by Richard Tatum as both Chico, animatedly finger-shooting his piano playing segments, or raucously honking and cavorting as the ever silent, happy-go-lucky childlike Harpo, along with lovely Amanda Rogers portraying a wide assortment of roles ranging from Chico's paramours and Groucho's wives, to a pompous dowager and some very inquisitive reporters. This winning and grandly engaging entertainment is now playing through October 24. (My Grade:5)

Elaine Stitch At Liberty
Review by Norm Gross

At Boston's Wilbur Theatre is "Elaine Stitch At Liberty," a one person play constructed by John Lahr and reconstructed by its star, Ms. Stritch. After its successful Off-Broadway debut in 2002, it was quickly transferred onto Broadway to later earn a 2003 Tony Award. A highly popular engagement in London was soon followed by a Cable-TV documentary on HBO winning an Emmy Award for its star. On a bare stage, wearing just black tights and a white men's silk shirt with an elevated chair as the show's only prop, Elaine Stritch-- now nearing her 80th birthday-- recounts to the audience's enthralled delight, the highs and lows of her nearly sixty year career on the Broadway stage. Born in a suburb of Detroit, raised as a Roman Catholic, and after a strict Parochial School education she persuaded her parents to send her to New York to become an actress in the late 1940's. There, while studying at the famed New School (while living those initial few years in a Manhattan Convent), she began, the first of her many unsuccessful romances to come with fellow novice Marlon Brando. In the years thereafter similar disappointments would follow, primarily amongst them being her breakup with Ben Gazzara, in favor of Rock Hudson. "We all know what a bum decision that turned out to be!" was to be her tersely sardonic observation. Her first major acting break came when she won a part in "Angels in the Wings," a 1947 Musical Revue, in which she sang "Civilization" ( "Bongo, Bongo, Bongo, I don't wanna leave the Congo, etc.") which propelled her into a supporting role in the original out-of-town production of Rodgers and Hart's "Pal Joey," where she caused a sensation, as a highly sophisticated stripteaser, singing "Zip," as she disrobed! Unfortunately, this big opportunity was compounded by her having simultaneously agree to be Ethel Merman's "standby" in Irving Berlin's hit Broadway show "Call Me Madame." Since "Pal Joey" was being performed in New Haven, this dual daily comittment resulted in a frantic nightly train race by Ms. Stritch, from New York to Connecticut, with grandly comic complications. Her ongoing rise to fame quickly became defined by passion and success, tempered by personal disappointment, with her stage fright as an ever- present hurdle. In spite of her diabetic condition, a stiff drink before every performance, with a follow-up "quickie" during each intermission, evolved into full scale alcoholism. A resulting near fatal diabetic calamity brought her to longstanding sobriety. An all too brief decade of happiness finally came with her marriage to British actor John Bay, ending with his death from cancer in 1982. Major appearances on Broadway in such shows as Noel Coward's "Sail Away" and Stephen Sondheim's "Company," motion pictures like "Providence" and "September," plus TV credits including "Two's Company," and " 3rd Rock from the Sun," continued to maintain her star status. Among the evening's musical highlights were the star's compelling singing (accompanied by the fine small orchestra conducted by Rob Bowman) of Noel Coward's poignant "If Love Were All," George Gershwin's tender "But Not For Me," and most especially Stephen Sondheim's paean to the shallow middle class, "Ladies Who Lunch;" and his salute to stage-struck wanna-be's "Broadway Baby," and showbiz-weary pros with "I'm Still Here." Although a bit overlong at nearly 3 hours performance time (including an intermission ), nevertheless, this show certainly represents an unsparingly honest, extremely entertaining, and quite memorable account of a great theatrical lady's career! Now playing through October 31. (My Grade: 4.5)

Another American: Asking and Telling
Review by Norm Gross

At the Boston Center for the Arts, Boston Theatre Works presents the area premiere of "Another American: Asking and Telling," a one-man play written and starring Marc Wolf, and guided by its original Director Joe Mantello. An Obie Award winner after its Off Broadway debut in 1999, it has since enjoyed other multiple award-winning success from succeeding engagements in Princeton, New Jersey; Washington, D.C.; and Seattle, Washington. Developed over a span of several years, from many taped interviews with over 200 persons, conducted by the author, in response to President Clinton's 1993 "Don't Ask, Don't Tell" initiative, which attempted to amend the military's prohibition of gays with a policy that was meant to protect their anonymity and privacy. As in Anna Deavere Smith's similarly-constructed "Twilight: Los Angeles, 1992," ( focused on that year's riots), for nearly two hours, (with intermission ), seated at a desk, enhanced by a microphone, or standing, in like manner at a table, Marc Wolf assumes the many varied voices, quirks, and physical mannerisms of nearly 20 of his subjects. In so doing, this new military policy is reviewed, discussed, and appraised from many differing viewpoints by those most directly involved with, connected to, or victimized by it! Amongst the play's most trenchant and compelling episodes were: the homophobic-inclined Recruiting Officer's obvious suspicions levelled at his newest enlistee; the Bookie, remembering his youthful encounters with a child-molester, and transfering his memories, later as an adult, to Gay-Bashing; the G.I. who was sentenced to nearly a year's imprisonement in Leavenworth, due to his off-Base arrest as a Transvestite; and the self-described Jewish lesbian soldier, from the MidWest, who was discharged for revealing her homosexualty in 1976, and after many long legal battles, became the first gay to win reinstatement into the Service in 1987. Certainly the evening's gravest moments concerned the former Green Beret, who upon his discharge was deliberately assaulted and raped by an HIV-Positive compatriot, and then released at the Camp's rear exit without any means of transportation-- about a 20 mile walk to the nearest payphone-- as well as the mother informed about her Navy son's brutal death. Wracked by sadness, she tearfully recounts the onslaught by his shipmates, whereby his corpse had been so savagely beaten and disfigured, that she could only positively identify his body by a recognizeable tattoo on his arm. At the core of this extremely well acted, harrowing, revealing, and compelling solo performance, is the failure of the military's "Ask not, Tell not" course of action, maintaining the bigotry and propelling the hypocrisy, with the attendant harassment and disgraceful treatment of the many gays who have not only served their country with honor and distinction, but also with meritorious valor under fire. Now playing through October 23. (My Grade: 5)

GODSPELL
Review by Norm Gross

At the Family YMCA Theatre in Cambridge, Mass., the Metro Stage Company presents its new production of "Godspell," conceived and originally directed by John-Michael Tebelak, with Music and Lyrics by Stephen Schwartz. Initially staged Off-Broadway in 1971, it was soon moved to a major theatre on Broadway, and after a substantial and successful run, was then followed by seven road companies touring throughout America, as well as a popular Hollywood movie version, released in 1973. A triumphant stage engagement continued in London, and more recently celebrated revivals in 1993 in both London and Los Angeles. Based on the Gospel According to St. Matthew, it's a lively, soft-rock styled retelling of the last full week of the life of Jesus. Under Michelle M. Aguillon's well focused direction, the highly animated and talented group of young performers sing and dance the show's inspirational message on the Theatre's modestly appointed stage. With dark ceiling-to-floor drapes to the rear, Scenic Designer Jay Walden's set consists of four tall grafitti-sprayed columns, centered by a large "T" Bus and Subway route map, which when illuminated in darkness, reveals a glowing white cross! Amongst the show's first act highlights were the heart stirring and rocking "Save the People," sung by Jesus, strikingly portrayed by Paul Giragos. Then came sparkling Amy Birnbaum venturing out into the audience, uplifting everyone with the show's best remembered hit, "Day by Day" and Jesus joined by Robert Case, (as the soon-to-be duplicitous Judas ) doing a "soft-shoe"- type rendition of "All For the Best." Act One concludes with the full cast in a vivid military drill styled formation vocalizing "Light of the World." After a brief intermission, Act Two is launched with lively Anne Freund (coming on like a young Mae West) strutting and singing "Learn Your Lessons Well," accompanied by a few fellow cast members humorously masked as Bush, Cheney, and Rumsfield. Tracy Nygard tenderly intoning "By My Side," and D.Anthony Palen vibrantly voicing "We Beseech Thee" all rhythmically supported by the fine four member rockin' band directed by Brent Kincaid, were amongst the Act's most engaging moments. As expected the show ends somberly with the Crucifixion of Jesus and the cast chanting "Oh God, You're Dying!" followed by their exhuberant singing of "Long Live God." This solidly effective family-appropriate delight, is now playing through October 23. (My Grade: 5)

JASPER LAKE
Review by Norm Gross

At Boston University's Playwrights' Theatre is their premiere production of "Jasper Lake," a new play by John Kuntz, a well known local actor and playwright. The play takes its title from the similarly-named body of water at the edge of an affluent gated community apparently in New England. As in other seemingly pastoral settings, such as those in potboilers like "Peyton Place," sinister movies as "Blue Velvet," or striking TV series like "Twin Peaks," the idylic surface masks a seething cauldron lurking underneath. Everyone isn't what they seem to be-- being either unhappy, malevolent, abusive or abused! Foremost are newcomers garrulous Deb, who can't stop babbling; her creepy, silent husband Jerry; and their glumly mysterious teenager son Caleb, having migrated from the Midwest, due to some major trouble he was in. Deb's immediate mission is to connect with their new neighbors. The Daniels family consists of Nora, a migraine headache sufferer; Mitchell, her second husband; and troubled teenaged step-daughter Jennifer. Mitchell not only has his way regularly with Jennifer, but also maltreats wife Nora into silent acceptance. As expected, it's not long before Mitchell is also bedding down with Deb, who naturally is quick to complain to him about her husband's sexual inadequacy. Soon Jennifer and Caleb are also mating, with Jennifer maliciously provoking Caleb into a very nasty reaction. Meanwhile, Liz (a former resident, who later committed suicide in the Lake) acts as a mysterious third party observing it all while, elevated high on a platform above the stage, driving along a lonely road in her car with Drake, a young amorously inclined hitchhiker. As expected, there are many touches of the playwright's well known wit, as well as a compelling chorus-like introduction to the plot, intoned by the cast in semi-darkness, as Sound Designer Haddon Kime's somber music and spectral noises waft through the air. The eight member cast members are all uniformly fine, with solid performances by Jennifer Burke as Deb, Sharon Mason as Nora, Amanda Sywak as Jennifer, Bill Molnar as Mitchell, William Gardiner as Jerry, Edouard Tournier as Caleb, Sarah Abrams as Liz, and Eric Gould as Drake, under Douglas Mercer's confident direction. While most of the hangups of "Jasper Lake's" residents all seem quite familiar, if not borrowed, then at the least certainly infuenced by such writers as Stephen King and David Lynch, however, unfortunately with less varied and/or unanticipated results. Now playing through October 17. (My Grade: 3)

CELEBRITIES ON STAGE
Review by Norm Gross

At the Regent Theatre in Arlington, Mass. is "Celebrities On Stage," a new Las Vegas-styled touring show, presented here for the first time, starring the Edwards Twins. Anthony and Eddie are identical siblings, born in Burbank, California, who built their show business careers over a 20 year span during which time they were featured in many Las Vegas productions. In the early 90's, anxious to start out on their own, they created their own revue by developing a repertoire using makeup, wigs, brilliant costuming (from head to foot), and their uncanny ability to recreate the voices, physical appearances and recognizable mannerisms of more than 50 major celebrities. This established them as stars in their own right! Singing the popular song hits most associated with this glittering array of superstars, they captivated the audience for nearly two non-stop hours, without even an intermission respite. Ranging from Billy Joel singing "This Is My Life" and "Piano Man," amongst many others, and Elton John beginning as a bright colorful, grossly bespectacled Uncle Sam, and winding down much more sedately chanting everything from "Candle in the Wind," to melodies drawn from his great Broadway successes such as "The Lion King " with a stirring rendition of "Can You Feel The Love Tonight? " Of course their most memorable moments came appearing as Barbra Streisand, in "drag " singing "Evergreen," "People," and "The Way We Were," (looking and sounding amazingly like the great diva herself), with similar effectiveness as Cher, initially performing solo, belting out "It's In His Kiss" and "Believe" and then later capping that with both Brothers combining to shine as Sonny and Cher singing "I've Got You, Babe." The evening culminates with the duo, in tuxedos, sparklng through a wide medley of hits matching the voices of a host of well-known entertainers with the songs that made them famous, such as Tina Turner, Aretha Franklin, Stevie Wonder, Rod Stewart, and Diana Ross, to Tom Jones, the Bee Gees, and even Kermit the Frog! Although the show might have benefited from a bit more in the way of bright, sharp dialogue and witty commentary by the Edwards Twins, as well as a bit less of the occasionally excessively loud sound amplification system, nevertheless the audience rose to a thunderous standing ovation at the show's finale. Now playing through October 22. (My Grade: 4)

GEM OF THE OCEAN
Review by Norm Gross

At the Boston University Theatre, the Huntington Theatre Company presents "Gem of the Ocean," by August Wilson. Newly revised, after earlier productions in Chicago and Los Angeles it will premiere on Broadway immediately upon the conclusion of its current engagement in Boston. As the seventh new play in the longstanding partnership between this Theatre and Wilson, it represents the latest in the playwright's ongoing dramatic cycle of related works probing 20th century African-American life. Set in 1904 in Pittsburgh's Hill District, the plot centers on Aunt Ester, the neighborhood's grand collective "Earth-Mother." Although actually nearing 80 years of age, as the mystical mainstay of the community's aggregate memories of its long and bitter past, (dating back to this country's beginning introduction to slavery), she thinks of herself rather as approaching age 285, instead. Citizen Barlow, a troubled itinerant, conflicted by the death of another man, wrongly accused of a crime which Barlow had committed, seeks sanctuary, solace, and purification with Aunt Ester's help. However, she advises him that such redemption is possible only via his spiritual journey to "The City of Bones," the fabled undersea repository of the physical remains of those many countless souls doomed by the terrors of enslavement. Scenic Designer David Gallo's solid, well maintained parlor-and-kitchen setting, with Ester attended by "Black Mary," her young, accomodating and occasionally-feisty housekeeper, and Caesar, her brusque brother who considers his best upwardly directed opportunities (in the white man's world) to be tied to the strict enforcement of "the penal code," along with Ester's old, faithful helper Eli, whilst the elderly lady dallys with Solly Two Kings, a former runaway slave who now sees himself as the community's wry observer and pundit. The play's most compelling episode occcurs in Act Two, when assisted by Eli, Solly and Black Mary (sometimes wearing African ceremonial masks), Ester guides Barlow into a voodoo hypnotic-like trance, where he achieves absolution through a transcendent comprehension of his people's suffering. Brilliantly played by Phylicia Rashad as Aunt Ester, with grandly effective support from John Earl Jelks as Citizen Barlow, Anthony Chisholm as Solly Two Kings, Lisa Gay Hamilton as Black Mary, Ruben Santiago-Hudson as Caesar, Eugene Lee as Eli, and Raynor Scheine as a helpful Tradesman, the drama is being effectively directed by Kenny Leon. At nearly three hours performing time, the play's potent focus is finally revealed after the rather lengthy, mostly expository, first act which, although brimming with lively, lusty and earthy dialogue, would become even more effective by some thoughtful reduction. Now playing through October 30. (My Grade:4)

Cyrano de Bergerac
Review by Norm Gross

At the Theatre Cooperative in Somerville, Mass. is their new production of "Cyrano de Bergerac " by Edmond Rostand, employing the translation, from the original French, by Gladys Thomas and Mary F. Guillemand. Written in 1897, and set in mid-17th century France. It won instant approval and has since become regarded as one of France's greatest plays. A popular favorite worldwide and in this country as well, it enjoyed great favor especially throughout the years prior to World War II. Made into a successful Hollywood motion picture in 1950 (winning an Oscar at that time for its star Jose Ferrer), a much more definitive and lavish French film version, starring Gerard Depardieu, was critically and enthusiastically acclaimed in 1990. This current-- substantially pared down production-- is here being performed on a virtually bare stage, with only a few pieces of everyday furniture being used as occasional props, with all the male actors dressed in contemporary attire (except for hat-plumes and sashes, covering belt-wear, and boots instead of shoes.) As such, Rostand's fervently tender dialogue becomes most decidedly paramount. Loosely based on the exploits of an actual 17th century cavalier, Cyrano is a boisterous swordsman, renowned as a writer, poet, and eloquent wit, who stands out from his compatriots thanks to his extraordinary and unsightly large nose. Long harboring his secret love for his young and beautiful cousin: Roxanne, Cyrano agrees to act as the go-between for his friend Christian, a fellow soldier, who is also openly in love with Roxanne, but is unfortunately tongue-tied in expressing his ardor. By agreeing to provide his friend with his passionately conceived words of love, and to even pen amorously worded written letters to her, in so doing, Cyrano feels he will also be able to bask in the reflected glow emanating from her rapturous responses! The play's sublimest moments are reached when Cyrano, pretending to be Christian, while hiding beneath Roxanne's balcony, reveals his most impassioned feelings for her. Later, when Christian is killed in battle, Roxanne, filled with remorse, retreats to a nunnery. Many years later, never admitting but still intensely in love with her, when he is mortally wounded and near death, Cyrano finally admits to her that it was really he, and not Christian, who had captivated her with his spoken words and written correspondence! Although many of the minor roles, by the large 12 member cast, were too often handled either awkwardly or unconvincingly, it was otherwise well played by Peter Brown (appropriately fitted with a false supersized proboscis) in the title role, with fine performances by Janelle Mills as Roxanne, Marc Harpin as Christian, and Luis Negron as a willful military commander, all under the well-focused direction of Lesley Chapman, the Company's Artistic Leader. Now playing through October 9. (My Grade: 4)

THE ALL NIGHT STRUT
Review by Norm Gross

At the Turtle Lane Playhouse in Newton, Mass. is their new production of "The All Night Strut," a musical revue conceived by Fran Charnas 25 years ago, which has continued to be an ongoing favorite with regional theatre companies here as well as in Canada and Europe. Like such similar shows as "Ain't Misbehavin' " (in tribute to the music of Fats Waller), "Smokey Joe's Cafe" (a salute to the songwriting team of Lieber and Stoller), or "Swing!" ( the celebration of the Big Band era, recently reviewed here), this presentation likewise honors the popular music that kept all of America uplifted and hopeful throughout the economic downturns of the 1930's, and the fearful wartime years of the '40's! The evening features a highly spirited and talented sextet of gifted performers, who deftly sing and dance a myriad of the great tunes of those bygone times. With Robin Welch soulfully intoning the somber hymn to the Great Depression, "Brother, Can You Spare A Dime?," Ariane Grossi belting out Bessie Smith's legendary rent-party, Blues-rejoinder, "Gimme A Pigfoot And A Bottle Of Beer," James Tallach executing a spirited softshoe dance turn to "Fascinating Rhythm," or all six cast members joyfully recollecting Cab Calloway's "Minnie The Moocher" and The Ink Spots ' infectious caffeine inspired "Java Jive," the show's first act takes off with a rousing, footstomping bounce! It concludes with a stirring World War II medley highlighted by such inspiring melodies as "Praise The Lord And Pass The Ammunition," "Comin' Home On A Wing And A Prayer," and Kate De Lima's compelling rendition of "I'll Be Seeing You." Act Two centers primarily on the Big Band era with Dennis Roach and Katie Ford, and their fellow cast members, reminiscing to Glen Miller's ever popular "Juke Box, Saturday Night," Erskine Hawkins' "Tuxedo Junction," and Will Bradley's "Beat Me Daddy, Eight To The Bar," amongst other such memorable hits. Still later, lively tango-styled dance steps are joined to "I Get Ideas," mingled with the fluid "Lady Of Spain," to great response. The entire evening is well accompanied by the small sparkling onstage Swing Band under the direction of pianist Meri Lee Mafera. This grandly entertaining presentation (suitable for the whole family) is now playing through October 10. (My Grade:5)

SWING!
Review by Norm Gross

At the North Shore Music Theatre in Beverly, Mass. is their new production of "Swing!," a musical revue of the Big Band era, which dominated America's popular musical tastes throughout the 30's, 40's, and early 50's. As originally conceived by Paul Kelly, it made its successful debut on Broadway in December 1999, and was similarly well received on the West Coast when presented there in 2002. Although the show's overly slick and smoothly executed singing and dancing introduction, featuring a medley composed of Duke Ellington's "It Don't Mean A Thing (If It Ain't Got That Swing!)", Count Basie's "Jumpin' At The Woodside," and Tommy Dorsey's "Opus #1," amongst others, started reasonably well enough, the evening didn't really achieve its passionate center until the appearance of Everett Bradley (one of the show's original stars on Broadway). With pulsating and roaring effect, Bradley vocalizing, dancing, or explosively beating out his rhythms on standard drums and/or bongos, really began to turn this presentation on! His solid renditions of "Throw That Girl Around," or "Show Me What You Got!" (both of which he also co-composed), as well as a delightful, wordless, "scat-singing," conversation-like duet of Ellington's amusing notice to sweet-talking lovers "Bli-Blip," with his lovely costar Stacia Fernandez, Bradley quickly became the show's most commanding presence. A striking salute to the song hits of World War II, featuring a clever, all-male rhythmic revision of the Andrews Sisters' "Boogie Woogie Bugle Boy," once again spotlighting Bradley along with Bernard Jackson and Parker Esse, as well as fine new versions, by other cast members, of Louis Jordan's "G.I. Jive," Glen Miller's "Kalamazoo," and "In The Mood," together with a compelling interpretation of "I'll Be Seeing You," by the beautiful and grandly sonorous Ms. Fernandez, was again enthusiastically received. Other high show moments included a dazzling and exhilarating Latin Swing dance segment by the team of Anya and Benito Garcia, as well as a spirited potpourri of Country-Western Swing with likeable versions of "Take Me Back To Tulsa", "Stay All Night," and "Boogie Woogie Country." Erica Piccininni's touching rendition of "Skylark," Michelle Gaudette and Bernard Jackson's soulful dance-turns to "Harlem Nocturne," and Pamela Otterson and Parker Esse's highly amusing, teenager focused, "Dancers In Love," are all also most decidely noteworthy. As expected, the evening was completed with a rousing version of Benny Goodman's "Sing, Sing, Sing!," (now accepted as the Swing era's anthem) and a reprise of Ellington's "It Don't Mean A Thing.." The entirety was very well directed, arena-style, and vividly choreographed by Richard Stafford, based on the original Broadway conceptions of Paul Kelly and Lynne Taylor-Corbett, with commendations also for the bright, varied and highly colorful costumes by Jay Woods. Lastly, many kudos also for the splendid Swingin' Band directed by Milton Granger, with special notice for the fine onstage musical performances by trumpeter Jay Daly and trombonist Jeff Hoyer. Now playing through October 10. (My Grade: 4.5)

APPROACHING MOOTAJ
Review by Norm Gross

At the New Repertory Theatre in Newton, Mass., now celebrating their 20th anniversary, is their new production (a world premiere) of "Approaching Moomtaj" subtitled (a fairytale for grownups) by Michael Weller. Set in New York City several months after the 9/11 tragedy, the plot concerns the midlife crisis of Walker Dance, a well-to-do entrepreneur on the verge of selling his foundering business. Faced with marital problems while still involved with the demands of a spicy extramarital affair, (his secret girlfriend is a highly spirited cellist), Walker's complicated life then begins to really boil over, due to his freewheeling unconventional brother Wylie. Walker's bizarre sibling claims to have developed an extraordinary virtual-reality game from his own special computer, which will project the player into "Moomtaj," an Arabian Nights'-styled Fantasyland! There, when the player successfully finishes the "Game," he will achieve genuine self-awareness. By accidently entering his brother's amazing Playland, however, Walker is thrust into a wild confrontation with a host of challenging, brightly costumed Arabians. Now dressed in the fashion and responding to this new situation, like the famed movie action hero, Indiana Jones, Walker, after many further ups-and-downs, finally comes to a fuller understanding of his innermost frustrations and anxieties. This phenomenal adventure bounces back and forth from the mythical to reality, as Walker seeks help from his psychotherapist, reconsiders memories of his and Wylie's troubled childhood, complicated by their "hippy-styled" mother, and tries to adjust his strained relationships with his bright, pre-adolescent son, as well as his vexed wife. Well played by the fine seven member cast who assume a wide variety of Manhattan and/or Arabian focused roles, with high marks for Robert Prescott as Walker, Rachel Harker as his concerned wife, most certainly 7th Grader Jacob Brandt as their confused son, Lordan Napoli as Walker's spirited Mistress and especially Thomas Derrah as the crafty and unpredictable Wylie. Much praise also for Janie E. Howland's fanciful and adaptable grid-like set, replete with a large central screen ( for image projections ) framed on each side of the stage by smaller video monitors. Additional commendations are also due for Frances Nelson McSherry's colorful costumes as well as Rick Lombardo's strong direction. Notwithstanding all of these highly commendable production values, the play is much too long (nearly three hours), and much too complicated, with many incidental side issues. Some judicious editing and thoughtful simplification are certainly necessary! Now playing through October 17. (My Grade: 3.5)

A LITTLE NIGHT MUSIC
Review by Norm Gross

At the Lyric Stage Company of Boston is their new producton of "A Little Night Music, " featuring Music and Lyrics by Stephen Sondheim and Book by Hugh Wheeler. Based on Ingmar Bergman's classic 1955 comic Swedish motion picture. "Smiles of a Summer Night," it garnered similar acclaim when it was adapted as a multi-Tony award-winning musical play after its Broadway debut in 1973. Set in turn-of-the-20th-century Sweden, the story revolves around a highly respected middle-aged lawyer, his second wife (a teenager) and his secret tryst with a famous actress. When this guarded rendezvous is unexpectedly discovered by the sudden arrival of the actress' current lover (a pompous married soldier on leave), her wealthy elderly mother decides to intervene, in an effort to reverse the developing complexities. She promptly invites the lawyer, his child bride, his teenaged son (by a previous marriage), and the dowager's adulterous actress-daughter, to spend the weekend at her country estate. Complications erupt, when these plans are turned upside-down by the sudden appearance of the jealous soldier and his meek and subservient wife. As might be expected, the lawyer's young son (a confused divinity student) has become totally infatuated with his adolescent stepmother (with surprising consequences), while the Martinet's submissive wife decides to stir her own dash of retaliation into this now over-bubbling stew! The story ends as the lawyer gradually comes to a fuller understanding of himself and the real meaning of true love. The acting and singing by the large 18 member cast is uniformly excellent, with high praise for Maryann Zchau as the celebrated actress, Christopher Chew as the philandering lawyer and Drew Poling as the overly zealous soldier-lover, with extra mention for Bobbie Steinbach as the actress' helpfulmMother and Leigh Barrett as the soldier's submissive-to-self-assertive wife! Much commendation also for Cristina Todesco's simple and highly adaptable moveable set, David C. Cabral's fine period costumes, and most certainly Spiro Veloudas' strongly focused direction. Of course, the splendid orchestral accompaniment, under Jonathan Goldberg's direction, together with Sondheim's trenchant Music and Lyrics, including "Night Waltz," " Remember," "A Weekend in the Country," and the haunting "Send in the Clowns," (exquisitely performed by Ms. Zschau), are amongst the composer's most memorable achievements, and provide many of the evening's most sublime moments. Now playing through October 16. (My Grade: 5

TOMMY
Review by Norm Gross

At the Stoneham Theatre in Stoneham, Mass. is their new production of "The Who's Tommy." Originally presented in 1969 as a long-playing record album, it quickly became one of this rock group's greatest hits. Billed as a " Rock Opera," it told its bizarre story through a succession of bold songs by Pete Townshend chronicling the experiences of a severely disabled child's rise from obscurity to Iconic Pop-cultural status. Set in London from 1940 into the mid 60's, young Tommy is struck deaf, dumb, and blind as a result of the murder of his war-hero father at the hands of his mother's lover, and eventually triumphs as an adult, as the world's champion pinball-machine player. Later, in 1975, it was developed as a screenplay, and released as a controversial and highly disputed, overly-ostentatious movie, under the aegis of the flamboyant British director Ken Russell. Still later, after a series of live concert versions, it made its debut as a redefined, fully mounted presentation on the London stage in 1979. Finally, 14 years later, this present version, now with a completely revised Book by Townshend and Des McAnuff, together with additional Music and Lyrics by Keith Moon and John Entwistle, became a multi Tony-Award winning success after opening on Broadway in 1993. It has since been enthusiastically received on several national tours and has enjoyed ongoing success in many major and subsequent community productions, as well. Starring handsome and big-voiced Jake Simpson (Grand Prize winner of TV's "Star Search" show ) as the adult Tommy, with genuine support from young Christina Ventura and Connor Barry as early and later childhood personifications of his past selves. Robyn Elizabeth Lee as Tommy's concerned mother, Thomas Keating as her involved lover, Robert Saoud as Tommy's intrusive uncle, Scott Marshall as his abusive cousin, and especially Sarah Corey as Tommy's inspiration, "The Acid Queen" also offered vivid and well sung portrayals. The large, youthful, and highly animated cast, deftly executed Director Robert Jay Cronin's vigorous choreography with grand elan. Much commendation also for the highly adaptable set designed by Charlie Morgan: a bright and colorful elevated catwalk, housing a large central screen showing a fast-moving succession of photo-projections, defining the show's many changing times and places, flanked on each end of the stage with high-rise scaffoldings, centered by ceiling-to-floor poles, by which the young cast members energetically descended! Much praise also for the fine, way- up-onstage band directed by Angelyn Fullarton. Unfortunately, although the greatly amplified sound system worked quite well for all the singing and instrumentation, it intially made much of the spoken dialogue unintelligeble. However, most of this difficulty finally improved during the second act. This otherwise splendid and compelling attraction is now playing through October 3. (My Grade: 4). 5

Les Contes Fantastiques
Review by Norm Gross

At the Loeb Drama Center in Harvard Square, Cambridge, Mass., the American Repertory Theatre presents Marcel Marceau with his company, La Nouvelle Compagnie de Mimodrame, in an all mime program entitled "Les Contes Fantastiques" ( Fantastic Tales ). Identified in the A.R.T.'s promotional literature as "the world's greatest mime" (which Marceau most certainly is) this presentation is divided into two parts Initially, several classic vignettes (enthusiastically remembered from this grand master's many previous appearances, hereabouts) featuring "Bip, " his chalk-faced, solo, everyman in a series of brief reflections on life's perennial ups and downs. From his "Creation of the World," with his majestically skilled hands becoming fluttering doves, or buds sprouting skyward from the earth, and his wordless evocations of the sojourners at "A Public Garden," defined by his seemingly effortless transitions from security guard to a matron knitting, a young mother pushing her baby's carriage, or the frisky dog, kite aloft in the breeze, and rowboats gliding along, nearby...the audience remains enthralled throughout! Of course, there's also his witty characterization of "The Lion Tamer," who begins his act cautiously, then starts to confidently move much faster, again becomes more hesitant, and finally with his bravado restored, puts his head in the great beast's odorous open mouth, to the audience's rapturous delight. Later, as a street violinist (sans any actual musical instruments) effortlessly changing over to mandolin and finally becoming the cymbal player in a marching band, or as an unsuccessful suicide-wanna-be, sidestepping death, thanks to his inept attempts to end it all, with poison, dagger, rope, and/or gas-exhaust pipe, as expected Marceau is flawless, magnetic, captivating, and totally masterful! The evening's second act consists of three "Mimodramas" conceived by Marceau, based on Japanese Noh Theatre, ancient Chinese fables, as well as 19th Century Italian romanticism. "The Wandering Monk," takes place in Japan long ago, wherein a Monastic ventures out in the dark of night to confront the mystery of a marauding Spectre. "The Tiger, " set in classical China, centers on a mother shielding her infant from plundering warriors with the aid of a mystical, white-robed, ecclesiastic passing dark angel! Lastly, "The Masquerade Ball " evokes 19th Century Italy with its "commedia dell'arte" costumes and dancers, disguised with animal heads, frolicking as an unsightly female dons a transforming mask with unexpected consequences! The evening's final curtain was greeted by many well deserved thunderous standing ovations, culminating with a succession of curtain calls by Marceau and his highly gifted, seven member, male and female company! Now playing through October 9. (My Grade: 5)

Troilus & Cressida
Review by Norm Gross

In Boston's Brighton neighborhood, at the open-air Publick Theatre in Herter Park on the banks of the Charles River, is their production of Shakespeare's "Troilus & Cressida," reportedly the first ever professional staging of this rarely performed drama in the Boston area. The co-mingled plot, mixing story strands from Homer's "Iliad," with elements plainly suggested by the carnality of Chaucer's works, takes place amidst the longstanding Trojan War. The legendary Graecians such as Achilles, Ajax, Agamemnon, Ulysses, and Menelaus, are well represented here, as are their Trojan adversaries Hector, Aeneas, Andromache, Paris, and Antenor, amongst others. The two young lovers of the play's title, really just a secondary part of the drama's main thrust, are in their predominant physicality, far removed from the genuinely amorous intensity of the Bard's more celebrated sweethearts, Romeo and Juliet. Troilus, the youngest son of the Trojan King is introduced to the lovely,equally young, and decidedly lusty Cressida by Pandarus, her lecherous old procurer uncle! However, as quickly as their highly vivid passion ignites, so too does it soon flicker and extinguish, as Cressida becomes part of a prisoner-of-war trade involving her father Calchas, a Trojan Priest who has defected to the Greeks. Instead, the drama's central focus is on the interminable conflict, as Agamemnon, Ulysses, and Achilles bicker about their conduct of the ongoing war. Hector, the pre-eminent son of the Trojan King, challenges Achilles to a single encounter. As the opposing camp wrangles over what their best response should be, a lengthy succession of quarrels and indecisive confrontations between the various antagonists, finally culminates in Achilles, assisted by his security guards, assassinating Hector, and then dragging his corpse, in triumph, around the battlefield. The final pole-swinging clashes between the warring opponents, leading to this real ending, were stirringly choreographed by Kim H. Carrell and strikingly executed by the highly vigorous cast! Although some of the minor roles were either performed ineffectively or unevenly, Douglas Bowen Flynn as Achilles, Nathaniel McIntyre as Hector, Kawa Ada as Troilus, Angie Jepson as Cressida, William Gardiner as her salacious Uncle Pandarus, Gerard Slattery as a minor, yet significantly vocal Greek roustabout acting as both witness and commentator, and especially Steven Barkhimer, as the counselling Ulysses, as well as firmly serving as the play's director, all did very well. C. Russ Fletcher and Diego Arciniegas' simple plain set, with its elevated plank-like background defined by its topside turrets, along with its large draw string curtains, to establish every change of time and place, was also reasonably effective. Lastly, the Publick Theatre is most certainly to be commended for presenting such neglected works by Shakespeare as this, obviously chosen at this time, because of its manifest pertinence to current events. Now playing, in repertory, with "The Merchant of Venice," through September 12. (My Grade: 4)

NINE
Review by Norm Gross

At the North Shore Music Theatre in Beverly, Mass. is their new production of " Nine," featuring Music and Lyrics by Maury Yeston and Book by Arthur Kopit (as initially adapted from the Italian by Mario Fratti ). Based on "8 1/2" Federico Fellini's award-winning 1963 autobiographical movie, this musical version made its Broadway debut in 1982, and like its motion picture source it also garnered a host of awards followed by touring productions, both here and abroad, including as far away as Australia. A major new staging of this show last year, once again on Broadway, was topped off by winning a Tony Award as "Best Revival of a Musical." As in the original film, the play's focus is on the realities, fantasies, self-analysis, and artistic difficulties faced by celebrated Italian movie director: Guido Contini. Set at a fancy Venetian Spa, accompanied by his longtime and seriously neglected wife Luisa, Contini has come to work on his next project. Although he has already been paid and said movie is scheduled to begin production in a week, Contini suffers from a major midlife crisis brought on by overwhelming writer's block. Unable to maintain either his privacy or seclusion, Contini is then confronted by Carla, his amorously desirable Mistress, Claudia, his lovely and conflicted protégé, and Liliane, his extremely anxious producer. He is also vividly stirred by fantasies of his deceased mother, as well as visions of himself as a nine year old at a parochial boarding school, fixated on his earliest encounters with Saraghina, the local town's lusty prostitute! Pursued by countless beauitiful adoring young women who are highly motivated to bed down with him, the famed film director's anxiety steadily mounts, until in desperation he decides to improvise a scenario about Casanova, the legendary romantic, using his own life as its inspiration. As the production progresses, falters, and fails, Contini realizes that he must make far reaching decisions about his professional future and his personal life. Vividly sung and acted by Robert Newman (longtime star of TV's "Guiding Light" soap epic) as Contini, with noteworthy support from young seventh grader John Michael Breen, as the incarnation of his juvenile self. Similarly, the large all female supporting cast empowered by strong, vibrant, performances by Josie De Guzman as Luisa, Milena Govich as Carla, Amanda Serkasevich as Claudia, Beth McVey as Liliane, Inga Ballard as Saraghina, and Melissa Hart as Contini's mother, are all splendid, in every respect. Barry Ivan's solid direction (in-the-round) is also deserving of much praise. The fine musical score highlighted by such compelling songs as Liliane's fanciful salute to the famed Parisian "Folies Bergeres," Contini's plaintive plea to his wife "Only You" and Saraghina's libidinous advisory to his very young self "Be Italian", definitely contribute to the show's success. Of special interest is the play's creative and unusual wordless introduction, in which Contini conducts his large assembly of female devotees, as if they were musical instruments. In this respect, praise must certainly also go to the full orchestral accompaniment under Dale Rieling's potent direction. Now playing through September 12. (My Grade: 5)

SAY YOU LOVE SATAN
Review by Norm Gross

At the Boston Center for the Arts is the Zeitgeist Stage Company's Boston premiere of "Say You Love Satan," a new play by Roberto Aguirre-Sacasa. An award-winning comedy (recipient of the 2003 International Fringe Festival, as well as Glaad Media Award nominee), it chronicles the gay on-and-off affair between Andrew, a nerdy graduate student researching Russian literature, (most especially Dostoyevsky's "The Brothers Karamazov"), and Jack, a mysterious and very macho "beefcake"-styled stranger, sporting a curious "6-6-6" tattoo on his forehead. Lest you think this is just another contemporary reworking of the "Faust" story, be advised that such a basis is here more oblique than concrete. Meeting by chance at a local laundromat, Andrew is fascinated and quickly attracted to Jack's magnetism. He seems to have unlimited worldly knowledge, especially so regarding Russian authors. Still better, Jack is definitely supreme at the area's most populard dance clubs and cool hangouts, and even when Andrew discovers that his new boyfriend is actually the son of the Devil, their affair becomes even more intense. When Andrew then turns his back on his old-time friends Jerrod, his well-intentioned sensitive former swain, (a medical student, helping crack-addicted infants), and Chad, his previous confrontational mate, Bernadette, his longtime straight confidante (from childhood days), is thoroughly outraged and becomes his most outspoken critic and assertive conscience. As the powers of Light and Darkness then face each other, with Andrew as their focus, his fate is resolved by the appearance of a good and accomodating Angel! Bubbling over with cleverly witty dialogue such as Jack's observation that "There's a special section of Hell for those who work on Disney musicals!" or Andrew noting that "(Jack) has a forked tongue! Not that (he's) complaining!" With many other such quips, ranging from TV sitcoms, specializing in the occult and similarly centered popular novels and movies, Aguirre-Sacasa exhibits a definite and winning bent for sharp amusing observations on contemporary culture, making the play's consistently clever repartee its strongest feature. Well directed by David J. Miller, who also designed the spare, wide-open setting, defined by its backdrop of a nightime moonlit cityscape scene. Brian Turner was appropriately charismatic, slithery and unworldly as Jack, with a solid portrayal by Angela Rose as Bernadette, while John Meigs as Andrew often seemed to be either outperformed and/or overshadowed by Turner. Unfortunately, Alexander Albregts was likewise rather lacklustre as Jerrod, with Jeff Zorabedian similarly unconvincing as Chad, although he was much more effective as Andrew's helpful Angel. Now playing through September 11. (My Grade): 3.5)

THE MERCHANT OF VENICE
Review by Norm Gross

At the open-air Publick Theatre in Herter Park in Boston's Brighton district on the banks of the Charles River, is their new production of Shakespeare's "The Merchant of Venice." This legendary drama centers on Antonio, the plot's Venetian tradesman, who in an effort to financially aid (with overtly gay intimations) his friend Bassanio (who needs the money to effectively woo Portia, a wealthy heiress) borrows the needed funds from Shylock, a Jewish moneylender. If said loan isn't repaid in three months, Shylock, anguished and angry by the continual antisemitic hostility directed at him by his Christian fellows, and reinforced by his daughter Jessica's plans to elope with a gentile, demands an extreme penalty: a pound of flesh, if Antonio should fail to repay the debt. Later, when Antonio is unable to make his repayment, Shylock insists on his drastic forfeiture. In a clever succession of plot twists, Portia (disguised as a young male magistrate) is able to preside over the court's deliberations and rebuff Shylock's severe retribution. He may indeed take his pound of Antonio's flesh, but in so doing, he may not expel even one drop of the debtor's blood. Defeated, Shylock is forced in a most unChristian-like manner, to become a Christian and his wealth is dispersed to Antonio and to Jessica, his convert daughter. One of the Bard's greatest plays, its multi-dimensional meaning is essentially defined by its two most significant declarations. Initially by Shylock's affirmation of the Jews' fundamental humanity and universality: " ...fed with the same food, hurt with the same weapons, subject to the same diseases, etc. ...as a Christian is?" Still later Shakespeare's thoughtful view is enhanced by Portia's plea, to Shylock, for clemency: " The quality of mercy is not strained... it blesseth him that gives and him that takes, etc." Considering the harsh and immoderate times during which this play was written, these words continue to reveal the measure of Shakespeare's understanding and humaneness. Well directed by Diego Arciniegas, who also appears as Antonio, with Steven Barkhimer giving a heartfelt and restrained performance as Shylock, along with a vivid portrayal by Stacy Fischer as Portia. Ozzie Carnan, Jr. also shines as both Shylock's animated servant, as well as one of Portia's early and spirited suitors. Although several of the play's minor roles were overly and unnecessarily shrill, the production maintained its overall thoughtful constraint. Much praise is also due for Steven Barkhimer's interesting and compelling incidental music, with its sung and instrumental Hebraic influences, while Rafael Jaen Merchant's fine period costumes were also quite noteworthy, Lastly, the spare and largely open minimalist set, designed by C. Russ Fletcher and Diego Arciniegas, with its spaciousness, warm tones, and large drawstring curtains, (to establish changes in time and place) was also reasonably effective. Now playing through September 5, in repertory with "Troilas & Cressida," ( which will also be reviewed here, at a later time ). (My Grade: 4)

THE MUSIC MAN
Review by Norm Gross

At the Robinson Theatre on the Waltham High School campus in Waltham, Mass. the Reagle Players present their production of "The Music Man," with Book, Music and Lyrics by Meredith Wilson. A major Tony Award-winning success on Broadway in 1957, it went on to become a similarly popular Hollywood movie after its theatical release in 1962. Set in the small town of River City, Iowa, in the years prior to World War I, the show's sunny and highly tuneful plot concerns "Professor" Harold Hill, a super smooth and fast-talkling con-man, who's arrived in town intent on hoodwinking the community into purchasing from him a multitude of musical instruments, instruction books, and many uniforms, for the town's children to form a brass marching band, with him as their leader. Unfortunately, unbeknownst to the citizenry, Hill has no musical training of any sort and plans to abscond with the loot, leaving them all abandoned and cheated. However, as love unexpectedly blossoms between the Professor and sweet young Marian, the town's librarian, Hill undergoes a major change of mind. The sweethearts' inevitable happy ending follows, when the townspeople finally absolve him of all wrongdoing after Hill not only renounces his scheme, but also stays behind to see that the community's children do, indeed, become the promised uniformed brass marching band. Vividly, sung, danced, and acted by local, TV News-Anchor Scott Wahle in the title role, with a spendidly analagous and grandly sonorous performance by lovely Soprano Sarah Pfisterer, as Marian. High praise is also due for the large, vibrant and energetic supporting cast, with additional notice for Harold W. Walker as the town's Mayor, Cheryl McMahon as his wife, young 8 1/2 year old Sam Blumenfeld as Marian's delightfully singing little brother and especially Christopher King, Douglas Hodge, Brian Vaughn and George Bouchard as a splendidly, harmonizing "Barber Shop"-styled, singing quartet. Of course, the show's many memorable songs, such as "Ya Got Trouble!," "Marian, the LIbrarian," "Til there was you," and the rousing, marching anthem "Seventy Six Trombones," amongst many others, are certainly noteworthy! Onna White's lively original choreography, recreated here by Susan M. Chebookjian, as well as the many colorful fine period sets designed by James Fouchard and Robert Moody, are also very much deserving of genuine praise, all accompanied by the fine full orchestra conducted by Jeffrey P. Leonard. This solid, well-staged, and deftly performed family-oriented entertainment, is now playing through August 21. (My Grade: 5)

A CLOCKWORK ORANGE
Review by Norm Gross

At the Boston Center for the Arts, Company One presents its new production of "A Clockwork Orange." Initially written as a novel by Anthony Burgess, and published in 1962, the title is Cockney slang and refers to an oddity, anything peculiar, strange or unusual. It was made into a highly acclaimed motion picture in 1971, Produced, Directed and Adapted by Stanley Kubrick. Originally conceived by Burgess in 21 chapters, Kubrick's adaptation deleted the Book's final chapter (the author's explication), thereby resulting in a substantially different resolution from the author's intent. Vexed by the movie's altered conclusion, he refashioned his novel as a theatrical play in 1987 and it was performed by the Royal Shakespeare Company in London in 1990. Since then, this truer interpretation has also been presented in Chicago in 1993, and now with this production, its Boston premiere. Set in a futuristic London, wih its dialogue spoken in "Nadsat," (Burgess' curious blending of proper English and Russian slang) the storyline centers on Alex, the teenaged leader of a band of young thugs (known as "Droogs"), who congregate at a local dairy bar, specializing in drug-laced milkshakes. They delight in robbing, assaultng and raping the local citizenry, and see their violent behavior, not only as empowerment, but also as high "entertainment." One such evening of rampant mayhem, leaves an elderly female victim dead, and Alex in custody, with his fellow "Droogs" escaping arrest, in flight. Already very well known to the police, the authorities decide that Alex is the perfect subject for their Pavlovian-styled experimentation (referred to by their chief scientist Dr. Brodsky, as "the Lodivico Technique.") Accompanied by the recorded music of Mozart and Beethoven, and strapped into a mechanized chair, with electrodes fastened onto his head, Alex is forced to watch violent movies ranging from Nazi atrocities to various examples of urban cruelty, while he is systematically induced into nausea. Now "brainwashed," he not only vomits at the sight, sound or intimation of any kind of barbarism, but is also forcefully sickened by music, especially the works of Beethoven (which previously had been his only humanizing influence.) Although Alex is now robot-like and considered a "model citizen," nevertheless, the ideal of a person's free will continues to be central to civilization (even if the individual's choices are outrageous and/or wrong.) This is the core of Burgess' original denouement, which is here in this new presentation, finally explored. Intensely acted by Raymond Ramirez as Alex, with strong support from Ed Hoopman, James Milord, and Kristian Williams as his gang of "Droogs." Brian Quint as a bombastic probation deputy, and Mason Sand as the mind-altering Dr. Brodsky are also quite noteworthy. Unfortunately, many of the other supporting players offer not only uneven or superficial acting styles, but also varying and ineffectual dialects, as well! Viscerally directed by Shawn LaCount and Mark Abby VanDerzee, high praise must also go to David LaCount's creatively gaudy and quite adaptable forward-thrusting, Proscenium-fashioned set. Lastly, commendation is also due for the compelling Brecht and Beethoven-influenced "live" music provided by "the Dresden Dolls" ( Amanda Palmer - Piano, and Brian Viglione - Drums). Now playing through August 14. (My Grade: 3.5)

LIFE: A Guide For The Perplexed
Review by Norm Gross

At the Loeb Drama Center in Cambridge, Mass. The American Repertory Theatre presents a full evening's frolic by the Flying Karamazov Brothers entitled "LIFE: A Guide for the Perplexed." Not really a play, but rather a whispy framework to present this quartet of unrelated brothers an extended opportunity to display their spectacular abilities as jugglers in encounters laced together by a supposed mid-life crisis, explained and resolved by a Big Mystical Book filled with jests, pranks, stunts and lots and lots of eye-popping legerdemain! The "brothers", Paul Magid, Howard Jay Patterson, Mark Ettinger and Roderick Kimball, over a period of 2 hours, juggle everything from small to large candlepins (while standing), small handballs (while seated at a large table), and plumbers' plungers (each sticking on impact, while the quartet parades through a mock version of Hades), to even larger balls (as they constantly shift positions) As they banter with each other about such "comedic" topics as: Birth, Childood, Adolescence, and Adult Responsibiities, ranging from Marriage, Family, Children, Schooling, Hopes, and Dreams, they are also accenting their quips with highly animated and technically impressive feats of (yes, you guessed correctly) JUGGLING! Of course an ongoing melange of recorded mainstream rock and roll, country western, and Middle Eastern-type music underscores their feats, with the brothers occasionally demonstrating their additional capabilities by credibly playing a host of onstage, musical instruments (trombone, clarinet, trumpet, tuba, guitar, accordian, flute, ukelele and drums.) To make their melodic efforts even more astounding, there are times when they are not only sounding off, while still juggling, but are also physically locked together. In these instances, the one in front-- holding a guitar-- has the hand of his back-up brother threaded through his arm, harmonically plucking the forward strings, to the audience's rousing acclaim. At still another time the audience is encouraged to come up on stage to offer objects for the team to manipulate. At this point the audience's choices were a skate board, a bunch of wet soaking kelp, and an open bottle of water. Probably the evening's best comedic spoken moments involved Mark Ettinger, in a resplendent Indian, Bollywood-styled costume, spouting an exaggerated "Indian" speaking voice, while carrying on a running comic send-up of "The Mahabarata." The performance winds up with a memorable display of the group performing their act, intertwined with a brace of life-sized dancing Manikins, which must be seen to be fully appreciated. While the evening begins somewhat tentatively and slowly, and continues for a bit with some of the gags falling flat or else being too cornfed and/or obvious, the pace soon picks up and improves and is ultimately impressive on all other counts. Now playing through August 8. (My Grade: 4.5)

MUCH ADO ABOUT NOTHING
Review by Norm Gross

On the Boston Common at the Parkman Bandstand, the Commonwealth Shakespeare Company presents, "Much Ado About Nothing." This represents the Company's ninth fully-staged annual open-air Summer production of a play by Shakespeare, available to the general public, at no admission charge. Set in Messina, Sicily, it features Beatrice, the City Governor's niece, and Benedick, a returning warrior from battle, that have become very quarrelsome, and have since declared that they could never love one another. Claudio, his young friend, has fallen deeply in love with Hero, the Governor's daughter, and plans to marry her. Don John, a resentful member of this same group of visitors, fueled by bitterness because of his defeat in combat, plots to overturn their marriage plans. With the help of Borachio, one of his followers, he contrives a falsehood to convince Claudio that Hero has been unfaithful. After Claudio has publicly denounced his sweetheart, Beatrice and Benedick come together to assist her. Following a succession of confrontations and revelations, Don John's treachery is exposed, and he is punished. Beatrice and Benedick realize that they do, indeed, love each other and together with Claudio and Hero, they are united. Vividly acted by the large 28+ member cast, with highly engaging and spirited performances by Jonno Roberts as Benedick, lovely Georgia Hatzis as Beatrice, Kaolin Bass as Claudio and Amelia Nickles as Hero, with a strong malevolent presence by James Noel Hoban as the evil Don John. Extra praise is also due for many of the Company's splendid supporting players, especially Bobbie Steinbach as a humorously befuddled Constable, and Caroline DeLima as Margaret, one of Hero's attendants. High commendation, likewise, for Scott Bradley's warm Mediterranean Villa setting, and most certainly for the play's strolling Band of Musicians ( Guitar, Accordian, Mandolin, Trombone, Tuba, and Drums ), singing and playing delightful original folk-like music, that they all helped to compose. Now playing through August 1. (My Grade: 5)

BEAUTY AND THE BEAST
Review by Norm Gross

At the North Shore Music Theatre in Beverly, Mass. is their new production of "Beauty and the Beast," with Book by Linda Wolverton, Music by Alan Menken, and Lyrics by Howard Ashman and Tim Rice. Based on the Walt Disney Company's highly successful 1991 animated feature film, it was later expanded and developed as a live theatrical presentation, and made its debut as such on Broadway in 1994, and is still playing there ten years later. It has also proved to be equally successful in London, where it won the 1998 Olivier Award as "Best New Musical." The legendary fairytale plot concerns a selfish, unfeeling Prince, who has been transformed into a frightful Beast by a wayfaring enchantress.Unhappily, her magic spell has not only bewitched the Prince and his Castle-home, but also all of his servants as well, including: Lumiere, the Candelabra; Mrs. Potts, the warm Teapot; and Chip, her young Teacup son; Cogsworth, the Pendulum-Clock; plus all of the Prince's other belongings, including his forks and spoons and his carpeting, too. Belle, a lovely young country maid, has come to the Beast's Castle to rescue her elderly father who, after accidently wandering into the Monster's spellbound dwelling, is being held there as a prisoner. Offering herself as the Beast's captive, Belle gets her father released. As time passes, and Belle discovers the true inner sensitivity and tenderness beneath the Beast's hideous exterior, love soon develops between her and the Beast. Unfortunately, Belle's former brutish and scheming village suitor Gaston, learning of Belle's attachment to the Beast, and wary of his enchantments, incites a mob of villagers--with him as leader-- to storm the Castle to destroy the Beast. Of course, as expected, Gaston's plans are thwarted, the Beast's spell is broken, and Belle and her now handsome Prince are united! Vividly sung and acted by lovely Nikki Renee Daniels as Belle, and Brad Little as the Beast, with spiritedly expessive support by Ron Wisniski as Lumiere, Jeanne Lehman as Mrs. Potts, Ari Shaps as Chip, Dick Decareau as Cogsworth, Brian Noonan as the malevolent Gaston, and especially Peyton Royal as an eye-popping, animatedly high-leaping and grandly somersaulting carpet. Much praise is also due for Dex Edwards' simple, yet highly versatile minimalist set, (in-the-round) together with a series of projected images on elevated screens, surrounding the audience, which deftly suggest a wide variety of interior and exterior locations. Miguel Angel Huidor's colorful period costumes, for the most part, offer a genuinely interesting departure from those in the original Disney version, although neither his new interpretations of the Candelabra nor of the Beast's knives and spoons seemed to be quite as effective. The splendidly tuneful score, including "Be Our Guest," "How Long Must This Go On?," "Human Again," and the lilting title song, plus John MacInnis' robust choreography, are amongst the show's greatest strengths, with additional commendation for the vibrant orchestral accompaniment conducted by Bill Stanley. Now playing through August 1. (My Grade: 4)

GREASE
Review by Norm Gross

On the Waltham High School campus in Waltham, Mass. in the Robinson Theatre, the Reagle Players are now presenting their new production of "Grease!," with Book, Music and Lyrics by Jim Jacobs and Warren Casey. Originally a major Off-Broadway success in February of 1972, it was transferred onto Broadway later that same year, and has enjoyed great popularity, culminating in a triumphant Hollywood movie, starring John Travolta and Olivia Newton-John in 1978. It has had innumerable productions and revivals, here as well as abroad, in such diverse locations as London, Rome, and even including a grand-scale tour of Australia. The slight and very ephemeral plot is highlighted by the remembrances of the fictional Rydell High School Class of 1959 at their reunion many years later, and focuses mainly on the innocent summer romance between Danny and newcomer Sandy. Seemingly incompatible, he with his tough, macho and "experienced" aura, and she ostensibly prim, proper and virginal, their meeting, break-up, and final togetherness is played out in two acts (including a brief intermission) revolving around Danny as the leader of the School's "Palace Boys' " Gang, and Sandy's efforts to join Rydell's similar "Pink Ladies' " clique. Their trials are distinguished by the show's 16 lively songs including, "Summer Nights," " Beauty School Dropout," " Born to Hand Jive," and the highly amusing ode to Hollywood purity, "Look At Me, I'm Sandra Dee." Several additional tunes from the movie's version by John Farrar, Scott Simon, and Louis St. Louis, such as " Hopelessly Devoted to You," " You're the One I Want, " and " Sandy" are also performed. Lively teenager styled choreography, recreated by Brian Loeffler, based on Jeff Calhoun's original Broadway concepts, as performed by the large,youthful and quite energetic cast, define the animated acting and vibrant singing by Todd DuBail as Danny, and Kim Brownell as Sandy, with strong support especially from Joanna Young and Jennifer Espensen as seasoned members of "The Pink Ladies," and D.J.Gregory and Doug Kreeger similarly with "The Palace Boys." Extra praise should also go to Cheryl McMahon as Rydell's amusing principal, most certainly to the fine live Orchestra conducted by Brent S. Ferguson and for Frank Roberts' vigorous direction. Now playing through July 24. (My Grade: 4)

MAMMA MIA
Review by Norm Gross

At Boston's Colonial Theatre is the return engagement of "Mamma Mia!," a major international success. This highly popular musical play was devised around an assortment of Golden Oldie Pop tunes written and performed by Abba, the well-known 70's Pop vocal group. Comprised of nearly two dozen songs, Music and Lyrics (in English) by the group's mainstays Benny Andersson and Bjorn Ulvaeus, with additional songs by their late Manager Stig Anderson. It's all held together by a simple and quite clever Book by Catherine Johnson, which deftly serves to make it seem as if all of the tunes were actually written to further Ms. Johnson's plot-line! Sophie, a young lovely 21-year old, lives with her unmarried mother Donna in a small resort which her Mom operates, on a tiny isand off the coast of the Greek mainland. Soon to be married, Sophie uncovers her mother's hidden diary, and in its pages learns that one of Donna's three past boyfriends, back in the 70s, might be her father. Determined to finally discover the identity of her long, unknown dad, unbeknownst to her mom, she invites all three former male suitors to her forthcoming nuptials. Once there, she's positive she'll be able to ascertain her real father's identity. Sam, a divorced American architect; Bill, a fun-loving Australian; and Harry, a staid Englsh banker, soon arrive to attend the wedding. In the meantime, Donna has also invited Tanya and Rosie, two former girlfriends, who had all been members of a long-past singing trio. Likewise, they also soon show up. Complications develop when Donna finds out about Sophie's scheme, and the two dissimilar groups of visitors begin to interact. As expected, Tanya, a wealthy multiple-divorcee, and Rosie, an unmarried career woman, have their hopes fixed on forming some new relationships. "Dancing Queen," "Money, Money, Money," "Winner Takes It All!", "I Do, I Do, I Do!," and of course, the title tune, are just a few of the spirited melodies sung and danced by the large, youthful, and highly energetic cast. Colleen FitzPatrick is in grand voice and form as Donna, as is Chilina Kennedy as Sophie, with fine vocal and acting support from Gary Lynch as Sam, Craig Bennett as Bill, and Michael DeVrees as Harry. Cynthia Sophiea as Tanya and Rosalyn Rahn Kerins as Rosie, also vocally, deliver grandly animated comic support. The booming keyboard and synthsizer enhanced orchestra directed by Faith Seetoo, begins with a resounding roar and maintains its rhythmic intensity throughout, quite literally lifting the audience right out of their seats. Much praise is also due for Phyllida Lloyd's strong direction, Anthony Van Laast's lively and jubilant choreography, and most definitely for Mark Thompson's colorfully resplendent set... revolving, elevated, curved wall sections, which open to expose sedate and intimate interiors and close to establish bright and sunny exteriors. This well deserved audience delight is now playing an extended engagement through August 8. (My Grade: 5)

THE MISER
Review by Norm Gross

At the Loeb Drama Center in Cambridge, Mass. is the American Repertory Theatre's new production, in collaboration with the Minneapolis based Theatre de la Jeune Lune, of Moliere's classic farce, "The Miser." Set in 17th Century France, the comedy revolves around Harpagon, the play's central character, a tight-fisted, penny-pinching widower and his elaborate strategies to protect his money and property from any and all potential schemers. These swindlers may, or may not, include his spendthrift son, an overly anxious matchmaker eager for a bountiful fee, his untrustworthy servants, and even members of the Theatre's audience, sitting out there in front! All are suspected of trying to undo him from his beloved riches. Unfortunately, the old skinflnt has chosen beautiful young Mariane to be his bride, not knowing that she is very much in love with his debt-ridden son Cleante, while also being unaware that his daughter Elise is secretly in love with his man-servant Valere. Naturally, by the play's conclusion, everyone ends up happily, after Harpagon's buried, gold-filled strongbox disappears and is finally returned to him, and all the clandestine lovers have been sorted out and have been properly brought back together, with even the crass and fuming old curmudgeon being content to be reunited with his fortune. Steven Epp, as Harpagon, wearing tattered robes and completely dishevelled hair, gives a flat-out non-stop, broadly hilarious performance, from start to finish, while at no time seeming to be the area's richest man. The rest of the absolutely letter-perfect, 15 member cast, drawn from the A.R.T. and their visiting Company, are likewise totally uproarious, throughout. Where to begin, in saluting so many equally first-rate portrayals, perhaps with Remo Airaldi as the Miser's capricious Coachman-turned-Chef, outfitted to look like a bizarre version of Humpty-Dumpty, or Karen MacDonald as the grasping churl's scheming Matchmaker, dressed near the finale, as a jaded Mae West look-alike. Certainly, high praise should go to Sarah Agnew as Elise, Harpagon's foolishly anguished daughter; Will LeBow as Valere, the decrepit money-grubber's duplicitous valet; Stephen Cartmell as Cleante, his absurdly infatuated son and most definitely to Natalie Moore as Mariane, Cleante's goofy malaprop-spouting sweetheart. Vividly adapted by David Ball, bubbling over with many comical contemporary allusions, under Dominique Serrand's assured direction, with additional approbation for Ricardo Hernandez' expansively shabby, manor-like set, with its multi, water-leak-stained bare walls, and its doors-falling-off-their-hinges, bereft of any furniture or obvious human comforts, and to Sonya Berlovitz' splendid period costumes, all heightened by Marcus Dilliard's dramatic lighting. Although a bit overlong, at nearly three hours (including intermission),this boisterously exhilarating, laughter-filled, and memorable reworking of a great comic masterpiece, remains a definite must-see!! Now playing through July 18. (My Grade: 5)

THE LAST SUNDAY IN JUNE
Review by Norm Gross

At Boston's Center for the Arts, SpeakEasy Stage Company presents "The Last Sunday in June" by Jonathan Tolins. An Off-Broadway success in 2003, a comic revision (with serious undertones) of such gay-themed plays as "Boys in the Band," "Jeffrey," and "Love! Valour! Compassion!," this is its New England premiere. A group of dissimilar gay friends convene at the Greenwich Village apartment of Tom, a lawyer, and Michael, his roommate, a teacher, who are preparing to move from Manhattan to live in the suburbs. They've all come together, at Tom's invitation, to watch New York City's annual "Gay Pride Parade," from the couple's apartment window, even though Tom's mate Michael has strongly stated his distaste for the event. As the procession moves along, on the street below them, the aggregation: Joe, a young actor, recently returned from L.A., and now heavily into the N.Y. Gay scene; Charles, a flamboyantly witty devotee of Opera; and Brad, an HIV survivor, ever on-the-make for new dates; jocularly banter about their lives and their topsy-turvy romantic affairs. Naturally, as expected, as the spectacle outside continues, they're eventually also joined by a bare-chested "hunk" who wanders in from the street. Tom has likewise invited James, his former lover, and the writer of an unsuccessful novel about gays. Dispirited and totally unfulfilled by what he feels is the shallowness of "the Life," James announces that he is turning away from gay relationships, and that he plans to marry Susan, a woman-friend, instead! Attracted to gay men, since her college days, she has responded positively to James' proposal of a platonic sex-free marriage, based on mutual interests and shared hopes. Her arrival at the apartment, while not totally persuasive, provides the play's provocative outcome. Ably directed by Scott Edmiston, with vivid performances by the well chosen cast: Tom Lawlor as Tom, Trey Burvant as Michael, Jeremy Johnson as the flashy Joe, and most especially Larry Coen and Will McGarrahan as the highly expressive Charles and Brad, with affecting performances by Bill Mootos as James and Tori Davis as Susan. This thoughtful and challenging play, bristling with engaging comic dialogue and stimulating notions, is now playing through July 3. (My Grade: 4)

JANE EYRE
Review by Norm Gross

On the campus of Wellesley College in Wellesley, Mass., at the Ruth Nagel Jones Theatre, Wellesley Summer Theatre presents "Jane Eyre" by Polly Teale. Based on Charlotte Bronte's classic 1847 novel, which has been produced at least four times as motion pictures, this dramatic adaptation was successfully staged in London in 1997, and later in New York in 2000. Set in the repressive Victorian age, Jane Eyre progresses from her early years, in an authoritarian and highly restricting Orphanage, to her life as an adult, as Governess for Adele, a young prepubescent child, living in a remote rural English mansion, with the Estate's mysterious Lord Edward Rochester. In an era when women were expected to be totally submissive and completely dependent, Jane (the surprising and legendary progenitor of contemporary woman) remains throughout, as fiercely independent, unmanageable, ever honest, and at all times unyielding. As love grows between her and Rochester, she discovers his dark secret. She learns that as a young man he had married, and that his West Indian wife has long been overwhelmed by madness, and has been locked for many years in the Manor's attic, with only a servant to attend to her needs. When Rochester proposes marriage to Jane, she flees from him, and later, in a remote and distant area, finds relief and encouragement there. As her benefactor, St.John Rivers, a well meaning Clergyman, wants her to not only join him as his wife, but also as a fellow Missionary. Unwilling to accede to his proposals, she leaves and finally returns to Rochester. There, she learns that the passage of so many years has dramatically altered everything! She marries him, finding him now to be both blind and a widower. Throughout, Rochester's mad and sequestered wife is seen as a symbol of Jane's underlying conflicts, her strong sense of independence, her unbridled truthfulness, and her supressed sexuality and desire...everything her controlled world has forbidden or rejected, with its stultifying conformity offered in its stead. Powerfully directed by Nora Hussey, with strong performances by the large cast, featuring solid acting by John Boller as St.John Rivers, Kortney Adams as Rochester's mad enclosed wife, and most certainly by Molly Weston, as the very young Adele, with high commendation also for Derek Stone Nelson as Rochester, and absolutely for the commanding, well defined, and sensitively nuanced portrayal of the title character by the highly accomplished Alicia Kahn. Ken Loewit's spare set: simple wooden frameworks, on a bare stage, with a few unadorned benches, and an adjoining platform with an attached short staircase to suggest Rochester's attic space, all highlighted by dramatic lighting and striking rear projections illuminating various times and settings, touchingly accented by tender, original music played on the violin by Jane Park, all working together in supreme harmony. This genuinely compelling presentation is now being performed in repertory, together with Polly Teale's prequel, "After Mrs. Rochester," (previously performed by this Company, and reviewed in this space, last Winter ) through June 26. (My Grade: 5)

WEST SIDE STORY
Review by Norm Gross

On the Waltham High School campus in Waltham, Mass., the Reagle Players are now presenting their new production of "West Side Story," featuring Music by Leonard Bernstein, Lyrics by Stephen Sondheim and Book by Arhur Laurents. A major success after its debut on Broadway in 1957, it has been performed nationally and internationally ever since, with similar response to the triumphant,Oscar-winning Hollywood motion picture, first released in 1961. A modern version of Shakespeare's "Romeo and Juliet," it is now set on the violence-racked streets of New York City's Upper West Side. Tony, a former member of the "Jets" street gang, quit the group in an attempt to separate himself from the long festering feud between the so-called true "American " Jets and their neighborhood rivals, the Puerto Rican "foreigner" Sharks. After meeting and falling in love with Latino Maria at a High School dance, she convinces Tony to try to stop a burgeoning late night street "rumble" between the gangs, and then to try to mediate peaceful co-existence between the warring groups. Unable to halt the street-fight, when Tony's best friend Riff (the leader of the Jets) is killed by Bernardo (the Leader of the Sharks, and also Maria's brother), Tony, in response, impetuously kills Bernardo! As full blown gang warfare then erupts, Anita (her best friend) urges Maria to sever her ties to Tony. As expected, Tony, later mistakenly believing that Maria is dead, is in turn, killed by a member of the Sharks. The curtain falls as Maria discovers the still body of her slain sweetheart! Well directed by Ken Leigh Rogers, with solidly vigorous performances by Stephen Brockway as Tony, Mary Tucker as Maria, David M. Vaughn as Riff, Adam Jacobs as Bernardo, and especially Stacey Harris as Anita, with strong assistance from the large, youthful, and highly animated 30+ supporting cast. Of course the show's legendary musical score, highlighted by such longtime favorites as "Tonight," "Maria," "Amerrica," "Something's Coming," "I Feel Pretty," and the grandly amusing lampoon of urban gangs "Gee, Officer Krupke!" are amongst its greatest strengths. Much praise is also due for the electrifying original choreography, as devised by Jerome Robbins, here recreated by Lori Leshner, enhanced by the full orchestral accompaniment conducted by Jeffrey P. Leonard. The only drawback, in this otherwise splendid presentation, was the ongoing amplication problems, with its loud and recurrent static noises, resounding in the Theatre's sound system, which proved to be a frequent obstacle! Now playing through June 26. (My Grade: 4)

GRACE
Review by Norm Gross

At the Cambridge Family YMCA Theatre in Cambridge, Mass., Opera on the Edge presents the world premiere of "Grace," a new Opera in English by Roger Rudenstein, based on the similarly titled play by John Carmichael and Edouard Langlois. Described as "the First Opera about AIDS," the story unfolds in a Hospital room where young adult Lewis lies dying of AIDS. Attended by his warm and caring nurse Sammy, Lewis fantasizes about himself as a member of the French Court of Louis XV. In a succession of provocative dream sequences, he comes to see a number of striking parallels between his own desperate condition and the doomed fate soon awaiting Madame DuBarry, the King's mistress. As the action shifts steadily back and forth from the Hospital to the French Court, Lewis is visited by his dysfunctional family. First to come is his mother, who loves him, but is in denial about him being Gay, and later his father, who has rejected him because of his Homosexuality. "You're not the son I wanted!!" he sings, although suggested and closeted hints about his own private life soon begin to be apparent. In the work's touching finale, Lewis' former boyfriend Mike enters, and with Madame DuBarry ( visible only to Lewis ) as their witness, they bicker about the causes of Lewis' illness, and as he begs his past lover for a drug overdose, he dies in the arms of Madame DuBarry. ( God's ) "Grace", is then intoned by the entire cast standing at his death bed, at the Opera's somber finale. Replete with much four-letter street language, and several decidedly carnal props, Rudenstein's sonorous and melodically defined music commandingly propels the plot steadily forward with strong acting and singing by the six member cast. Solid commendations must go to Tenor Ryan Turner as Lewis; most definitely, Soprano Karyl Ryczek as Madame DuBarry; and also while doubling as members of the French Court, Mezzo-Soprano Deborah Rentz-Moore as the mother; Baritone Nikolas Nackley as the father; Baritone Donald Wilkinson as Mike; and especially Baritone John Whittlesey as Nurse Sammy. Extra praise is also due for the fine minimal set and the splendid period costumes designed by Edouard Langlois, and most certainly for the full Orchestra, provided by Emanuel Music, conducted by Tim Steele. Although this presentation might have benefited from many more substantial arias, nevertheless the Opera's overall imaginative musical intermingling of the grave realities of the ongoing AIDS crisis with the fanciful and ill fated world of 18th Century France, remained musically engaging and dramatically compelling, throughout. Now playing through June 26. (My Grade: 4)

GROUCHO
Review by Norm Gross

At the Stoneham Theatre in Stoneham, Mass. is a new production of "Groucho" by Arthur Marx (Groucho's son) and Robert Fisher, directed by and starring TV's Gabe Kaplan. Originally developed in 1982 as an HBO television special for Kaplan that he toured in it nationally, before other actors assumed the role for several more years. With the stage made up to look like a combination old-time living room and office, Kaplan (as the Master Comedian), chats for nearly two hours (including a brief intermission) about his early childhood years on the teeming streets of New York City, and his rough and tumble days as part of a fledgling Vaudeville act. Of course, Act One is about his famous Brothers: Gummo (who quit the act early on and never appeared in any of their movies ) was so named because of the rubberized soles on his shoes; Chico, because of his fascination with the "Chicks"; Harpo, thanks to his self-taught proficiency playing the harp; and Zeppo(who also quit the act in the mid 1930's ) so designated, for some obscure reason, because he was the team's handsome, leading man. Clearly, Groucho's stage-name is self-explanatory! Much of the play centers on Groucho's strained relationship with his older brother Chico, a compulsive gambler, and a flagrant womanizer, whose excessive and undisciplined behavior was a continual irritation to the much more cautious and parsimonious Groucho, who was always ready to remonstrate against the elder sibling's lack of restraint. The evening's most touching moments occur at the close of the First Act, when Groucho suffered a total financial collapse, due to his losses in the 1929 Stock Market crash. Chico's unexpected monetary salvation, ($ 50,000 thanks to an unusual gambling win) restored Groucho and cemented his unending respect and appreciation. Act Two is devoted primarily to the clan's motion pictures, Groucho's three stormy marriages, his early and unsuccessful forays as a radio comedian, and his final triumph on radio and television as the adlibbing host of the highly popular Quiz Show "You Bet Your Life!" Vividly supported by Robert Saoud, who not only looks very much like Chico, but also does quite well mimicking the elder's garbled Italian dialect, and similarly approximating his spirited piano stylings. Kudos must likewise go to Jennifer Valentine as the various women (married and otherwise) in Groucho's life. Curiously, except for a few brief honking sounds off stage, at one point, and a terse reference to him, near the finale, as a dedicated and sensitive husband and father, as well as a dependable member of the "Act," virtually little notice or mention of Harpo is ever made throughout the course of the play. Likewise, although many, many celebrated comic songs were sung by Groucho in all of the Marx Brothers' movies, except for the entire cast singing "Lydia, the tattooed Lady " at the final curtain, unfortunately, there were no songs performed in the show. Now playing through June 27. (My Grade: 4)

Sin - A Cardinal Deposed
Review by Norm Gross

At the Regent Theatre in Arlington, Mass. is "Sin - A Cardinal Deposed," a new docudrama devised by Michael Murphy,and directed by David Zak, drawn, adapted and edited from 1000 pages of transcripts of depositions of Bernard Cardinal Law, in the recent and ongoing Boston Archdiocesan Child Sex Abuse Scandal. Presented in March 2004, in its highly successful world premiere engagement in Chicago by Bailiwick Repertory Company, this is its New England premiere, transposed and staged here by the original Chicago based cast and production team. With the major players seated on a bare stage at two simple tables, before a stark black curtain, with a Cardinal's crimson frock draped at its center, the small six member cast reenacts the most telling moments of the Cardinal's lengthy and clouded declarations. Act One centers on his dealings (for many many years) with Father John Geoghan, (a Pedophile, who was subsequently prosecuted, convicted, jailed and later killed by a fellow inmate.) As his testimony proceeds, his accounts are regularly interspersed with sorrowfully compelling remembrances by some of the young victims and their parents, recounting their longstanding ordeals. Act Two similarly concentrates on the Cardinal's involvement, again over a very lengthy period of years, with the notorious Father Paul Shanley. Like an embattled politician, defending himself against a barrage of charges, accusing him of falsification, deception, and obstruction, Cardinal Law steadfastly defended his more than 20 years of shielding these pathological clerics from exposure, even when confronted with such damning evidence as Shanley's flagrant speech, (on-the-record) justifying and approving of "Man-Boy Love, " delivered by him, years before, at a convention of like minded individuals. As each ruinous statement, letter, or document is offered as evidence, the Cardinal repeatedly reasserts his inability to either acknowledge or recollect it! Throughout, he doggedly upholds his reassignments of known transgressors, hoping thereby to maintain the Church's good reputation to the complete disregard of the victimized children. Jim Sherman is stately and resolutely compelling as the beleaguered Church Official, (with the actual Lawyer Mitchell Garabedian, seated in the audience), strong support is given by Patrick Rybarczyk as the onstage Garabedian (regarding the testimony concerning John Geoghan) with an especially stirring portrayal by Mark A. Steel as Lawyer Roderick MacLeish Jr., detailing Shanley's offenses. Although this docudrama offers us no genuinely new understandings or insights into this still burgeoning crisis, nevertheless, this well documented retelling of this tower of deceit and uncaring irresponsibility tendered to salvage status and maintain authority, remains solidly moving and provocative, throughout! Now playing through June 27. (My Grade: 4)

 BODY AND SOLD
Review by Norm Gross

At the Boston Center for the Arts is "Body & Sold," a new docudrama written and directed by Deborah Lake Fortson. Divided into two acts separated by a brief intermission, Act One chronicles the enticement of two young girls, Razia and Kamala, from rural Nepal, to their entrapment and victimization in a Bombay Brothel. Lured by a male "friend " into leaving their village to journey to neighboring India, planning to return with beautiful colorful shawls, once there they discover that they have been sold into Prostitution, a life of confinement and abuse, with no seeming possibility for escape. Act Two similarly follows the paths of several young American runaways, ranging in age from pre-pubescence to teenage. These victims hail from Massachusetts, California, Illinois, Iowa and Minnesota, amongst other places. Isolated, unwanted and unloved, they left their dysfunctional families for a precarious life on the streets. Alone and anxious for human warmth and support, they think they've found it in the welcome of a "friendly " stranger at a dreary Bus Depot, or maybe from a "kind" voice in an unfamiiar urban setting. Jeanette, Dora, Karen, Elaine, Jason, and others, find themselves drugged beaten and pushed into a life of degradation, with its attendant physical and verbal abuse, narcotics, unwanted pregnancies, felonies, and attempted suicides. Their plights are tenderly and resonantly accented by original music, composed by Vessela Stoyanova, played on the cello by Kristy Foye, with Jerry Leake on percussion and tabla. The earnest young cast, headed by Pallavi Nagesha, Pilar Carrington, Kali R. Walker, Alexander Albregst, Julia Soyer, and Ozzie Carnan, amongst others, ardently portray a wide variety of different roles on an essentially bare stage, with only several formal chairs being moved, hither and yon, to suggest various places and times. A related exhibition of drawings and written accounts in the outer lobby by young Nepalese women, about their travails in sex Trafficking, adds a considerable adjunct to the evening. Based on actual interviews, here and abroad, with juvenile survivors, rescued from this horrific existence, this somber, documentary-styled exercise once again reintroduces us to one of the most urgent and relentless crises still facing the world's children (both here, as well as in the Third World!) Although some of the minor roles were performed unevenly, the ensemble's obvious dedication, coupled with their fervent portrayals, remained constant and compellng throughout. A thoughtful discussion between the concerned members of the audience and the Playwright and some local authorities, likewise added substantially to the proceedings! Now playing through June 26. (My Grade:4)

TOM JONES: THE MUSICAL
Review by Norm Gross

Now at the North Shore Music Theatre in Beverly, Mass. is their production of "Tom Jones: The Musical," a new play based on Henry Fielding's classic 1749 novel, with Book and Lyrics by Paul Leigh and Music by George Stiles. Tom Jones, an illegitimate foundling, is raised by the wealthy Mr. Allworthy on his country estate, along with his young nephew, Blifil. As they both mature into early adulthood, Tom grows into a handsome, zesty, romantic, who easily captivates every female in sight; while Blifil is revealed as a calculating and mean-spirited schemer, bent on subverting Tom. As love then begins to blossom between Tom and his former childhood neighbor Sophia-- now a beautiful young woman-- complications soon develop when her father mistakenly believes her to be romantically attracted to Blifil. Unwilling to agree to her father's plans to marry her off to Blifil, she runs off to London. Meanwhile, Blifil has also been successful in tricking Mr. Allworthy into rejecting and banishing Tom, who then feels that his best hopes for the future must lie in London. There, Tom becomes romantically involved with the sexually predatory Lady Bellaston. However, after learning of Tom and Sophia's attraction, she becomes preoccupied with ways of breaking up their love affair. A series of sprightly and highly comic escapades follow, in which Tom goes in and out of prison, Blifil's machinations are exposed, Lady Bellaston retreats, and Tom and Sophia are finally happily united. Vividly directed in-the-round by Gabriel Barre, with fine spirited performances by the large youthful, lively and highly resonant cast, lustily moving to Christopher Gattelli's animated choreography. Well deserved applause for full-voiced David Burnham in the title role, with grand support from lovely Angela Gaylor as Sophia, Jeremy Webb as the shifty Blifil, and Sara Gettelfinger as the demanding Lady Bellaston, with additional mention also for Ron Wisniski, as Tom's amusing early and calculating childhood schoolmaster, plotting together with Blifil, all richly augmented by the fine orchestral accompaninment directed by Lynne Shankel. Special notice is also due for Pamela Scofield's colorful and eye-catching period costumes, especially the unusual female see-through bell-like skirts. Featuring nearly two dozen original songs, of varying quality, which act to move the story along, amongst the most noteworthy are: "Spider, Spider," by which Blifil defines himself; " Sir", a spirited anthem, sung in the Gilbert and Sullivan mode; " Masks," which we realize are our only true "friends," and the lovely ballad "Distant as the Moon." Although Act One consists of too many overly-complicated and overlapping expository details and events, Act Two then soon turned briskly and sonorously on to its various resolutions and its inevitable happy ending, eliciting a loud and enthusiastic response from the capacity audience. Now playing through June 20. (My Grade: 3.8)

THE ROSE TATTOO
Review by Norm Gross

Boston's Huntington Theatre Company is now presenting its new production of Tennessee Williams' "The Rose Tattoo." A major Tony Award winning success on Broadway in 1951, it's reception was equally auspicious when released as a much anticipated Hollywood motion picture in 1955 (starring Anna Magnani (the great Italian actress for whom the role was originally written), who went on to win the Academy Award that year for her performance. Certainly big shoes for TV's Andrea Martin to step into, in this new revival... but, suffice it to say, that she not only takes on this legendary central role, but most certainly does make it her very own. Set on the Gulf Coast, between New Orleans and Mobile, devoutly Catholic Serafina della Rose, a widow for several years, has mourned her handsome truck-driver husband. Sexually virile, with a prominent "Rose" tatooed on his chest, (in her honor), he was killed in a trucking accident, somehow related to his secret underworld ties. As the community's favorite seamstress, reclusive Serafina, while tending to her customers, is also troubled by Vivi, her 15 year old daughter, who's romantically attracted to Jack, a local youth, on leave from his duties as a U.S.Navy sailor. In a touching and grandly comic scene, she forces the bewildered young recruit into kneeling and praying, before her household statue of "Our Lady,"swearing to never " disrespect "Vivi!"! Also, while still very fixated on the revered memories of her deceased spouse, unanticipated suggestions about his infidelity begin to surface that distress her. Into this mix, Alvaro Mangiacavallo, a manly truck driver, unexpectedly introduces himself to her. Like her late husband, Alvaro's firm chest is also adorned with a similar flowery tattoo! He soon rekindles Serafina's long dormant sense of romance, and their comic courtship quickly becomes the play's grandly affecting center. As noted above, Andrea Martin is absolutely superb as Serafina, quite literally dominating the play with her commading and well rounded performance. Fine backing is also provided by Sophie Rich as Vivi, Ryan Sypek as Jack, and most especially Dominic Fumusa as Serafina's new romancer, Alvaro. The large supporting cast also offers well defined performances, for the most part, although several of the minor roles, especially those of some neighborhood female gossips came off as much too overdrawn, for the sake of easy laughter. Extra notice is also due for James Noone's highly atmospheric revolving set, which effectively established the play's various scene changes, and especially for Nicholas Martin's (no relation to Andrea) knowing direction. Now playing through June 13. (My Grade:4.5)

OEDIPUS
Review by Norm Gross

At the Loeb Drama Center in Cambridge, Mass. is the American Repertory Theatre's new production of "Oedipus" by Sophocles. Written 2400 years ago, this legendary tragedy begins as a great plague wracks the city of Thebes. Oedipus, its King, dispatches Kreon, his brother-in-law, to seek the Delphic Oracle's aid. The Oracle tells him that the pestilence is the penalty for the murder of the previous Monarch. At his birth, the Oracle had prophecied that Oedipus would kill his father and marry his mother! Oedipus, having been adopted and raised by a Shepherd, whom he had mistakenly thought to be his own father, later discovers that as an adult he has indeed killed his real father, in a roadside altercation, and then married Jocasta (the slain King's wife) whom he later learned was his mother. Stubbornly pursuing the truth, he has finally realized that the prophecy he has so doggedly tried to elude, was indeed unavoidable. In response, Oedipus blinds himself, as Jocasta chooses death. Stirringly performed by John Campion in an intense enactment of the title role, with a correspondingly passionate and vividly compelling performance by Stephanie Roth-Haberle as the anguished and crazed Jocasta; with strong support from the always- effective Thomas Derrah as leader of the Chorus, with additional potent characterizations by Michael Potts as Kreon and Novella Nelson as the adopting Shepherd. Resonantly augmented by Evan Zyporyn's vibrantly discordant original music (cello, guitars, keyboards, bass, and percussion), and given even more impact, under Robert Woodruff's inspired direction, by the creatively challenging interchange of English dialogue (expressively translated by Stephen Berg and Diskin Clay) and then later dramatically projected above, as English subtitles, when the actors describe their destinys in the original Greek. This memorable production--one of the best ever--of this monumental classic, is now playing through June 13. (My Grade: 5)

POPCORN
Review by Norm Gross

At the Boston Center for the Arts is Zeitgeist Stage Company's production of "Popcorn," a new play based on author Ben Elton's novel of the same name. Successfully premiered in London in 1997, where it went on to win Britain's 1998 Olivier Award, it has since had several regional stagings in this country, as well. This presentation represents its New England premiere. Set in present-day Hollywood, Bruce Delamitri has just won the Academy Award as Best Director for his movie, "Ordinary Americans," a violent, blood-splattered chronicle of a lengthy mobile multi-state killing spree, by a young drifter and his girlfriend, which is obviously patterned after Oliver Stone's similarly focused movie, "Natural Born Killers." When Delamitri returns to his grand home to celebrate his "Oscar" win, accompanied by Brooke, a would-be actress and "Playboy" centerfold-model, he discovers that his home has been invaded and commandeered by gun-toting Wayne and his young adoring girlfriend Scout. Known in the national media as "the Mall Murderers," Wayne and Scout have seen Delamitri's movie many, many times, and credit it as the inspiration for their notorious cross-country murderous orgy! Realizing that they'll soon be captured, and found guilty, with their execution as a probability, they've taken over Delamitri's home with a daring plan in mind. They'll force the celebrated Hollywood Director to appear on National Television to publicly apologize and declare his movie's responsibility as the major reason for Wayne and Scout's criminal behavior! Seen as the dupes of Hollywood's excessive--and highly profitable--exploitation of violence, they will not only be spared the death penalty, but also hailed and grieved for as abused and brainwashed victims! Unwittingly joined in his home by his estranged wife, his 15 year old daughter, and his Producer-friend, Delamitri realizes that Wayne's demands will absolutely result in the total finish of his movie-making career. In spite of the frantic pleas of the other hostages, Delamitri then offers Wayne a desperate alternative to his demands, resulting in extraordinary consequences! Extremely well played by Stephen Epstein as Delamitri, Jesse Soursourian as Wayne, Susan Gross (no relation) as Scout, Naeemah A. White-Peppers as Brooke, Jennifer Huth as the disaffected wife, Caryn Andrea Lindsey as Delamitri's daughter, and George Saunier III as his Producer-friend under David J. Miller's strong direction. In the play's startling conclusion, Playwright Elton touches on most of the disputes and controversies surrounding the many issues concerning violence in the movies with compelling effectiveness, however, in a somewhat unnecessary postscript, the play's striking denouement is undercut by a needless cast summation. Now playing through June 5. (My Grade: 4)

NOISES OFF
Review by Norm Gross

At the Lyric Stage Company of Boston is their new production of "Noises Off," Michael Frayn's acclaimed, highly-inventive 1983 London and New York comic success. Its focus is on six second-rate British actors who are on tour in England performing a silly sex farce entitled, "Nothing On." Act One takes place early, on a Monday evening in January, in the remote community of Weston-Super-Mare; Act Two, on a mid-February matinee, in the equally removed city of Goole; and Act Three is similarly presented in April, at yet another matinee, in the far-off town of Stockton-on-Tees. In an unusual twist, we see "Nothing On " first in Act One on stage, as seen by the audience, and later during Acts Two and Three, from Back Stage. There, we realize that the actors are actually involved in real-life sexual entanglements that crudely mirror the foolish escapades taking place "out front!" Neil A. Casey as the play's idiotic, bedevilled and exhausted leading man; Kristen Sergeant as "Nothing On's " pretty, young, uncomplicated ingenue in her undies; Barlow Adamson, prone to nose bleeds at extremely unexpected times, as the show's other leading man; Sarah deLima, as a veteran actress, doing her best as the play's comically befuddled HouseMaid; MaryAnn Zschau as the always-reliable, ever-gossiping cast stalwart; and Bob Jolly as a bumbling supporting-player and drunkard, with a penchant for missing his cues and forgetting his lines. All of this revolves absurdly around a plot-driven saucer of Sardines, that appear, disappear and reappear, mostly at the wrong times. Jeremiah Kissel as the play's anxious, overbearing and amorously-inclined Director, and Jessica Healy and David Krinitt as the play-within-a-play's hardpressed Stage Manager and Handyman, also deserve special notice. High marks likewise for Robert M. Russo's clever and creative on-stage and behind-stage settings. The parallel contradictions, foul-ups, and missteps, performed simultaneously in-front and in-back, by the highly accomplished first rate ensemble, under Spiro Veloudas' well-coordinated direction, combine to provide an evening of nonstop hilarity! Now playing through June 5. (My Grade: 5)

THE LOVE OF THE NIGHTINGALE
Review by Norm Gross

At the Abbott Memorial Theater in Waltham, Mass., the Hovey Players present "The Love of the Nightingale " by Timberlake Wertenbaker. Based on the ancient Greek myth of Philomele and Procne, as recounted in Sophocles' "Tereus" and Ovid's "Metamorphoses." Originally staged in England in 1988 by the Royal Shakespeare Company, and Off-Broadway in 1993, it has since been performed regionally, most recently in Los Angeles in 2001. The story, set in Ancient Greece, centers on the plight of two Athenian sisters, Procne and her younger sibling Philomele. Procne reluctantly marries Tereus, the powerful King of Thrace, and joins him in his Kingdom as his wife. Unhappy in Thace, because of its unfamiliar people and strange customs, she persuades Tereus to return to Athens to bring her younger sister Philomele back to Thrace to help her in adjusting to life in her new and unusual surroundings. Unfortunately, after returning to Athens, Tereus begins to lust after Philomele, and after being roundly rejected by her, then takes her brutally, by force. Later, shocked and anguished by the King's savagery, she loudly and bitterly denounces him! Overwhelmingly angered by her rebuke, he silences her, by cutting out her tongue! Resigned for many years to being made mute, Fate then exacts its measure, for her and eternity, Philomele being transformed into a Nightingale, Procne into a Swallow, and Tereus into a Hoopoe! The author uses this legendary tale as the basis for her attitudes, not only on male violence and rape in particular, but also on the townsfolk's reaction to it. In a striking moment, an elderly aide to Philomele draws a somber comparison between the sexual assault and the invasion and destruction of her homeland by conquerors, cautioning her that the people met whatever challenge was required of them to survive. Sally Dennis gives a passionately intense portrayal as Philomele, with equally strong performances by Brian Polak as Tereus, Julia Van Daam as Procne, and Dorothy Ahle as the gravely, counseling, elderly aide, under Luke Dennis' well focused direction. The simple minimal set, cooperatively developed by the cast: a series of black, upright partitions, which easily adapt to suggest walls, entrances and Court rooms, effectively established the play's many different settings. Although some of the acting by the lesser supporting players was occasionally uneven and/or unconvincing, the strong performances of the main roles, together with the drama's overall compelling theme, still maintained the play's provocative purpose throughout. Now playing through May 29. (My Grade: 4)

WHAT TIME IS IT?
Review by Norm Gross

At the Theatre Cooperative in Somerville, Mass. is the world premiere of "What Time Is It? " by Vladimir Zelevinsky, a new play commissioned by this theatrical company. Set in 16th century Nuremberg, when and where, (according to the play's program notes ) the first clock was invented. This latter "fact " is certainly disputable, with several earlier times and places (usually in Germany) often attributed. Martin is the angry, arrogant, self-centered, Timekeeper of Nuremberg. He loves Agnes, a sweet, lovely, young Maiden, best known in the community for the pretty flowers she grows and sells. Spurning Martin's love, she marries his friend Hans, instead. In a futile attempt, that does not succeed, to delay and/or disrupt their wedding, Martin stops the town's large, central major Clock. Madame Singer, the owner of the local Textile Factory, and Herr Krupp, the hard-driving boss of the area's Coal Mines, are quite impressed by Martin's manipulations, seeing them as a way to increase their profits, by deceiving their workers into working much longer hours for the same pay. Fully aware of the control he can now bring to bear on the town, Martin begins to blackmail both business culprits, eventually bringing about their downfalls. Now firmly established as the town's Supreme Master, with his friend Hans (who has been cajoled into leaving Agnes) as his major Lieutenant, he begins to form a Guild of Timekeepers, to act as the town's Security Force. They will impose all prohibitions of any unapproved forms of telling time, such as the making and/or use of Sun Dials, the growing of Sunflowers, and even going so far as to black-out the Sun, itself! Martin's official methods will be the only means permitted for telling time. Still hoping to win Agnes' love, Martin confronts her, initially promising to reform his authoritarian ways, and later warning her that he may force Time to completely reverse itself. She responds by defiantly continuing to grow and sell her flowers. In a surprising twist, (albeit somewhat contrived and simplistic), she is able to soothingly talk him to sleep, mollify him, and save the day. Well played by the fine small cast, with commanding performances by Michael Avellar as the power-mad Martin, and Stacy Fischer as the play's sweetly moralistic heroine. Solid support is also provided by Jason Myatt as Hans, Peter Brown as Krupp, Kim Anton Myatt as Singer, and Lida McGirr as a local egg merchant, all under Lesley Chapman's coordinated direction. Although this "Fairytale" obviously seeks to draw parallels not only with many similar totalitarian situations, and also with the ways by which Time dominates everyone and everything, the story's soft and placid resolution seemed to be unusually and awkwardly insufficient! Now playing through May 29. (My Grade: 3)

Europhochylus, Massachusetts
Review by Norm Gross

At the Boston Center for the Arts is the Essayons Theatre Company's presentation of "Europhochylus, Massachusetts," six short plays by six different playwrights, staged on two consecutive evenings, exploring characters, situations and themes based on classical Greek Dramas. Program "A " begins with "Desire " by Josh Rollins, which laboriously attempts to spin "Hyppolytus " into contemporary strained interactions between an imprisoned father, awaiting execution, as a hooker provokes an incestuous attraction between his son and his wife, with only limited success. "Mowing the Parched Earth," by Art Hennessey is next, which more favorably fashions elements from Euripides' "I phegenia " and Sophocles' "Women of Trachis," into three disgruntled landscapers becoming witnesses to the tensions and ultimate rifts between a suburban father and his troubled adolescent daughter, and the best play of the first program, "Europhochylus House of Pizza " by Kate Hundley. Here, Sophocles' "Philoctetes " is wittilly represented as a star Boston Red Sox player (sidelined with a fractured elbow ), who is tricked into signing on with the hated New York Yankees, with a humorous assist from the Ghost of Babe Ruth. Program "B" consists of "Megan " by Irina Salimova, a strained and rather murky view of an adolescent girl's breakup with her boyfriend in the sway of some very suspicious medical procedures. "Dryope in Common " by Nancy Hurlbut is roughly based on the similarly-titled Greek myth. Set in Boston's lush Public Gardens, a nymph appears before a new mother and her younger sister to debate life, while suggesting some other unusual choices. The evening's last play "Chorus Girls " by Amanda Good Hennessey is most certainly the second program's best offering. Three lovely, heavenly female Spirits act as the observant, poetically rhyming, Chorus to an affluent uppercrust dysfunctional Wellesley, Mass. family with abundantly comic complications. Lastly, overall the large cast does perform their roles reasonably well, with special mention for Floyd Richardson as Program " A's " deceived Red Sox star, and Sarah Copeland Visser, Irina Salimov and Amanda Good Hennessey as Program "B's " thoroughly charming, rhyming, Greek Chorus! Now playing through May 29. (My Grade: 3.5)

THE SAVIOR AT FENWAY
Review by Norm Gross

At the Cambridge Family YMCA Theatre in Cambridge, Mass. is "The Savior of Fenway," a new play by Brendon Bates. Winner of the 2003 New York International Fringe Festival new play award, followed by a successful Off-Broadway engagement, this is now its Boton premiere. Set in a South-of-Boston (Quincy) neighborhood Bar, the plot centers on a small cadre of doggedly determined Boston Red Sox baseball fans during games six and seven of last season's American League Championship Series. Act One takes place during game six, when a Red Sox win appeared to be imminent, while Act Two finds all hope for victory gone, erased by the sorry results of game 7! The "Savior" of the play's title is Shane, a brawling, overly-aggressive alcoholic. Throughout much of the First Act he's heard thunderously ranting off stage, as he willfully wrecks havoc on the Bar's men's room! Given to similar nightly hours of mayhem, with payment for his damage always assured, he is distressed not only by the ever failing Red Sox, but also by the many rumors about the soon-to-come demolition of Fenway Park, followed by the construction of a new Stadium. Shane's anguish over his beloved team is fueled by his torment about the perceived infidelity of his wife. He and his barroom buddy Sweeney, while sharing the same grief over the Red Sox, also share the same passionate hostility towards Patty, the bar's young industrious, perceptive and intellectualbBartender, a former Minor League prospect, and college drop-out, who left school to care for his infirm mother. They resent his universiy training, his real athletic capabilities, and his sense of superiority towards them, couched in his knowledge about their private failings. Their frustrations erupt in Act Two, when Shane discovers a gun, hidden by Walshie, the bar's accommodating and understanding owner, for use against any potential robber. His fateful confrontation with Patty, then takes place in the play's surprising outcome! Well directed by Michael D. Laibson, with fine ensemble performances by the small four member cast: Nate Meyer as Walshie, John Highsmith as Patty, Joe Burch as Sweeney, and especially author Brendon Bates as Shane. I should also note, that Bates' performance would've been more enhanced had he been made to appear middle-aged, adding more complexity to the play's underlying theme.Now playing through May 30. (My Grade: 4)

SCAPIN'
Review by Norm Gross

At the New Repertory Theatre in Newton, Mass. is their new production of "Scapin," a new musical play, freely adapted from Moliere's 1671 farce, with Book by Rick Lombardo (who is also the show's Director) and Music by Haddon Kime, with Lyrics by Kime and Lombardo. Reset in the contemporary town of Naples, Texas, the plot centers on Scapin, the crafty servant, who deftly comes to the aid of some troubled sweethearts by pitting their parents against one another. Ignoring his father's wishes, Argante's son Octavio has married Hyacinthia, instead of agreeing to wed the daughter of their pompous neighbor Geronte. Meanwhile, the latter's son Leandro longs for a lovely Gypsy captive, while lacking the necessary ransom money needed for her release. Still later, Scapin along with the help of his dimwitted fellow servant Sylvester, successfully manipulates Argante against Geronte, with all of the lovers correctly and finally mated by the play's foretold Happy Ending! Brimming with contemporary jibes, jests, and one-liner gags, primarily lampooning President Bush, "President" Cheney, Attorney General Ashcroft, the Patriot's Act, the Religious Right, Arabs and Turks, ( hereafter all known as "Osammas"), John Kerry, and of course, the soon-to-be Boston-based, Democratic Presidential Convention. While most of these volleys are simply too obvious or too belabored to really be very funny, on occasion they do humorously find their mark. Comparing the beleaguered parents' "bawling and screaming" to "Governor Mitt Romney at a Gay Wedding," or, in Act Two, having Miguel Cervantes ( the acclaimed Star of last season's highly popular "Bat Boy" musical) here performing as Leandro, wearing his former " bat " ears, while distributing Baseball Bats to members of the audience, being examples of the show's occasional high points. Featuring a melange of more than 16 original songs, none especially memorable, touching on Rock, Pop, Country-Western, and assorted other Musical styles. The best of these is "In Each Other's Eyes," sung by Leandro and his Gypsy sweetheart and "Shock and Awe," rattled off in Hip-Hop "Rap" fashion by Sylvester, exhorting the audience to join him in calling out "Say Ho! Say Yo! Say Smack that Bitch! " (from which the audience suddenly and awkwardly recoils)! Vividly performed by the area's expert comic actor John Kuntz in the title role, with animated support from Ken Baltin and Steven Barkhimer ( wearing pig's snouts and dressed in Cowboy suits) as Geronte and Argante, with amusing assistance from Bret Carr and Jennifer Lafleur ( both curiously costumed in Restoration finery ) as Octavio and Hyacinthia , and the aforementioned Miguel Cervantes as Leandro with Bonita J. Hamilton as his Gypsy sweetheart. Extra notice for Matthew J. Nichols as a wildly rambunctious messenger, and special commendation for Bates Wilder as the hilariously rapping Sylvester! Now playing through May 30. (My Grade: 3.5)

LIZZIE BORDEN--THE MUSICAL
Review by Norm Gross

At the Stoneham Theatre in Stoneham, Mass. is their production of "Lizzie Borden - the Musical," with Music, Book and Lyrics by Christopher McGovern and additional Lyrics also by Amy Powers. Successfully produced in 1998 at the American Stage Company in New Jersey, this is its Boston area premiere. Set in 1892-93 in Fall River, Taunton, and New Bedford, Mass., this musical drama chronicles the events surrounding the sensational New England based axe-killlings (probably the first major murder case to be tried daily in the National Press), that rocked this Country in the late 19th century. The plot centers on Lizzie and Emma, the young adult unmarried daughters, who live with their father Andrew Borden, a stern, tight-fisted, miserly millionaire, and his unwavering second-wife Abby, in his modest and severely drab home. Humiliated daily by her father's unyielding parsimony, and the hostility of his wife, with little support from her resigned sister, she finds some solace in volunteering for a local Ladies' Charitable Society. Unable to make even the simplest of purchases, she often feels the necessity to resort to occasional petty thievery at neighborhood shops, with demoralizing consequences. The sympathetic concerns of Robert Flaherty, a sensitive Irish handyman, employed by her father, and Bridget Sullivan, the family's spirited housemaid, finally force her to make some drastic decisions about her desperately unhappy life. The blood-soaked deaths of both parents are then succeeded by the surprising results of the subsequent Courtroom trial. Her story is told in more than 16 somber and often trenchant songs, ranging from the touching "Fly Away," ( concerning Lizzie's beloved pet doves, which her father ruthlessly kills ), and the animated description of "The Maggie Work," (the laborious assignments of the family's Irish employees), to the Community's lively gossip: " Oh, How Awful! Oh, How Sad! " and even more so with Lizzie's poignant yearning for a better life in "The House on the Hill!" Confidently directed and choreographed by Bill Castellino, with an especially strong and intense performance by the grandly sonorous Jayne Paterson in the title role, with solid melodic support from Christopher Chew as Robert, Sara Inbar as the feisty Bridget, Dale Place as the oppressive Father, and most certainly for 7th Grader Andrea Ross as the very young Lizzie! Praise also for Craig Siebel's easily adaptable set, a series of neutral and movable, wrought-iron bedecked upright flats, that easily open up to suggest entrances, stairways, and various living spaces, and the striking small orchestral accompaniment directed by Timothy Evans. Although somewhat slow moving and restrained, considering the longlasting notoriety of these century-old murders, still the accomplished cast and the fine descriptive musical score remain consistently compelling throughout. Now playing through May 30. (My Grade: 4)

Elegies:A Song Cycle
Review by Norm Gross

At the Boston Center for the Arts is the SpeakEasy Stage Company's New England premiere production of "Elegies: A Song Cycle " by William Finn. An evening of 22 new songs celebrating the Composer's many deceased friends, loved ones, and acquaintances, going from thoughtful, poignant, and stirring to raucously amusing and vividly striking. From the joyful memories of his friend "Mark's All-Male Thanksgiving" ( later shrouded by the scourge of AIDS), to his lusty salute to New York's legendary Theatrical Impressario Giant, Biblical. Defiant "Joe Papp," and all other 3-Name Musical Composers such as "Jack Eric Williams"; to his tender memories of his beloved departed mother; and his pleasant childhood at "14 Dwight Ave., Natick, Massachusetts"; his "Dead Dogs," (Why is it only Dogs that I love, die?), "Passover," the happy, religious "Feast with no Yeast!" observed by him with his Uncle and Aunt in New Jersey (now both also passed over! ); and his passionate paean to 9/11 "Goodbye/Boom Boom," these being just a few of the tender, witty, and incisive musical reminiscences which, with only a few exceptions, abound in this grandly sung and performed presentation. Solid praise must also go to this highly accomplished, fully voiced, five member cast of Leigh Barrett, Jose Delgado, Kerry Dowling, Michael Mendiola, and Will McGarrahan, all vibrantly accompanied by Paul S. Katz, on stage at the piano, under Paul Daigneault's highly concentrated direction. Now playing through May 29. (My Grade: 4)