Archived Theatre Reviews (page 5)

December 2005 - December 2006

THE SANTALAND DIARIES
Review by Norm Gross

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

WHAT THE DICKENS?
Review by Norm Gross

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

THE ONION CELLAR
Review by Norm Gross

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

THE CHRISTMAS REVELS
Review by Norm Gross

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

EXCEPTIONS TO GRAVITY
Review by Norm Gross

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

THE NUTCRACKER
Review by Norm Gross

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

A CHRISTMAS STORY
Review by Dede Tanzer

COMPLETELY HOLLYWOOD (Abridged)
Review by Norm Gross

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

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

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

URBAN NUTCRACKER
Review by Norm Gross

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

WINGS OF DESIRE
Review by Norm Gross

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

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

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

RABBIT HOLE
Review by Norm Gross

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

STUFF HAPPENS
Review by Norm Gross

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

HOLES
Review by Norm Gross

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

JULIUS CAESAR
Review by Norm Gross

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

THE PHYSICIAN OF HIS HONOR
Review by Norm Gross

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

CLOUD NINE
Review by Norm Gross

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

SCREENPLAY
Review by Norm Gross

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

AFTER ASHLEY
Review by Norm Gross

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

THE ICE BREAKER
Review by Norm Gross

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

9 PARTS OF DESIRE
Review by Norm Gross

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

NUT/CRACKED
Review by Norm Gross

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

HAMLET
Review by Norm Gross

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

ALTAR BOYZ
Review by Norm Gross

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

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

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

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

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

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

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

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

(My Grade: 4.5)

MARITIUS
Review by Norm Gross

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

AROUND THE WORLD IN 80 DAYS
Review by Norm Gross

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

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

DON QUIXOTE
Review by Norm Gross

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

FIRST BLUSH
Review by Norm Gross

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

RESPECT: A MUSICAL JOURNEY
Review by Norm Gross

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

THE WAITING ROOM
Review by Norm Gross

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

DOWNSTAGE
Review by Norm Gross

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

LITTLE SHOP OF HORRORS
Review by Norm Gross

At the Plaza Theatre in the Boston Center for the Arts the Animus Ensemble presents its new production of "Little Shop of Horrors," featuring Music by Alan Menken and Book and Lyrics by Howard Ashman. Based on the 1960 Grade "B" movie of the same title, it made its debut as a comic Off-Broadway musical spoof in 1982, where its resounding success (2,209 performances) paved the way for its production and release as an equally popular Hollywood movie in 1986. Set in Mr. Mushnik's floral shop located in New York's "Skid Row", where meek employee Seymour has hatched a strange new house plant. He names it Audrey II in honor of his fellow sales clerk Audrey, whom he loves from afar. Unfortunately, however, she ignores Seymour because of her heavy romantic involvement with Dr. Orin, a highly abusive dentist. Meanwhile Seymour discovers that his unusual shrub must be fed with human blood! When he tries to feed it with droplets from his own fingers, the plant demands human meat. In a devilish arrangement, Seymour agrees to feed it humans if Audrey II will be able to attract enough attention to make him rich and famous as its creator. As Mr. Mushnik's flower shop thrives, with Seymour gaining all the fame and fortune he'd hoped for, he realizes that the monstrous plant is also able to do away with anyone who stands in his way. Then, with Dr. Orin, amongst others, drastically removed, everything seems to be just right for salesgirl Audrey to finally really become Seymour's full fledged sweetheart. However, they quickly discover that Audrey II has turned into a ravenously uncontrollable monster, with very unforeseen consequences. Spiritedly performed by the fine eleven member cast with vividly well acted and sung portrayals by Christian Daniel Kiley as Seymour and especially by Erin Tchoukaleff as Audrey. Resonant comic support by Jim Jordan as mean Dr. Orin and Eric Ruben as Mr. Mushnik, the kindly owner of the flower shop, were also quite praiseworthy. The grandly amusing score features such lively songs as "Feed Me!" (Audrey II's voracious demand), "Skid Row" ("gotta get out of here"), "I Am A Dentist" (Dr. Orin's nasty and wildly funny introduction), "Suddenly Seymour" (when Audrey begins to notice him) and, of course, the engaging title tune. Heather Fry, Emilie Battle, and Sehri Wickliffe as a vibrant R&B singing trio are also quite noteworthy. Although Audrey II is usually revealed as a series of puppets, in various stages of growth,(first small, then medium sized, and finally quite large), with an appropriate offstage singing voice added, this time around the vicious flytrap is portrayed throughout by an actor. It does take a bit of adjustment initially to accept Neil Graham, in full voice, wearing dark glasses, green T-shirt, black trousers, both arms fully decorated with tattoos--and looking very much like a mean "Mr. Clean"--as a killer house plant. However, the addition of three highly physical young female dancers, animatedly surrounding Audrey II and gyrating like windblown blades of grass, finally do begin to make this highly unusual concept take hold. Lastly, commendations are most certainly due for the fine small orchestra conducted by Bob Mollicone and John Ambrosino's well focused direction. Now playing through October 21. (My Grade: 4)

THE WOMEN
Review by Norm Gross

At the Roberts Studio Theatre in the Calderwood Pavilion in the Boston Center for the Arts, the SpeakEasy Stage Company presents its new production of "The Women" by Clare Boothe Luce. A major success on Broadway when first staged there in 1936, it went on to similarly great approval when it was on stage, and as an all-female Hollywood film in 1939. A full scale production was presented on national TV in 1955 and in 1956 it was also redone as Hollywood movie-musical entitled, "The Opposite Sex" (at that time men were included in the cast.) It then enjoyed a well received Broadway revival in 1973. More recently, an equally applauded new production was also nationally telecast in 2002 on PBS-TV. Sweet upper-class Mary Haines seems to have it all, a prominent wealthy husband, two lovely small children, and a splendid, large Manhattan apartment, complete with servants. Unfortunately, her "perfect" life is suddenly turned upside down when she discovers that her "wonderful" husband is heavily involved in a secret affair with a salesgirl. Swirling within the beauty salons and around the luncheon tables, her socialite best "friends" are quick and very delighted to find out as much as they can, about Mary's new awareness. And much like bees circling a newly found source for honey, they swoop in, full force! Foremost are the alternating reassuring, comforting and yet malicious and duplicitous Sylvia, together with her sly and vixen-ish cohort Miriam. Also blended prominently into their many intrigues we find middle-aged and ever pregnant Edith, and sweetly demure Peggy. Mary's elderly mother tries to comfort her daughter while offering her some wise cautionary advice. Mary, however, ultimately leaves for Reno, Nevada for her expected divorce. There she meets the very amusing, multi-wed, matronly and American Countess de Lage, who supplies her with many grandly witty observations about marriage. Sometime later, Mary also finally meets her ex-husband's predatory former and now married mistress Crystal Allen. Not too surprisingly, Crystal is now thinking of moving on to more golden fields by changing husbands. Surrounded by the mounting avalanche of bristling gossip, not only by her catty best "friends," but also from the many hairdressers, shop girls, and assorted other females who cross her path, Mary makes the grand decision to do whatever it takes to win her husband back. The large, nearly perfect, 22 member cast provide vivid portrayals framed by a nonstop shower of genuinely sharp and very amusing comments. Anne Gottlieb is effectively compelling as the troubled Mary Haines; with sharp, edgy comic support from Maureen Keiller as Sylvia, Sonya Rae as Miriam, Kerry A. Dowling as Edith, and Aimee Doherty as Peggy. Beautiful blonde Georgia Lyman is appropriately hard-nosed and opportunistic as Crystal and Mary Klug is quite engaging as the Countess. Alice Duffy as Mary's wise mother and Ellen Colton as both a gossipy beautician and a crusty Reno cook are also especially noteworthy. Nancy E. Carroll is continually strong as writer Nancy Blake who is most often onstage as a dispassionate onlooker and narrator. Bryna Bloomfield's sleek, multi-columned and highly adaptable set, Gail Astrid Buckley's elegant costumes, Dewey Dellay's well considered musical choices (including some trenchant lyrics by Cole Porter), and most certainly Scott Edmiston's assured direction, all combine to make this show such a memorable winner! Now playing through October 21. (My Grade: 5)

COMING UP FOR AIR--AN AUTO JAZZOGRAPHY
Review by Norm Gross

At the Boston Center for the Arts' compact Plaza Black Box Theatre, Aliger Arts presents "Coming Up for Air - An Auto'Jazz'ography," written and directed by Jon Lipsky, starring Boston-based jazz musician Stan Strickland. First produced as a workshop event at the Martha's Vineyard Playhouse and then at the Boston Playwrights' Theatre, this one-man presentation is Stan's compelling 80 minute, one act recollection of his life and times concluding with his near death experience. Fortunately, it's capped by his survival and framed by his many years as a highly creative jazz artist. On a bare stage, with only a stool, surrounded by his many musical instruments--flute, tenor and soprano saxophones, portable keyboards, chimes and a set of percussions--Stan begins his story. He starts by briefly describing the frightening moment in Hawaii, some time before, when while he was bodily coasting in very active ocean waters, and almost drowned when he was submerged by the surging, high-crested waves. Cascading and then floating in the turbulent sea he begins to reflect on the momentous events in his life. He recounts to the hushed audience his memories of his dad's death from a heart attack and his early joyful years living with his very religious old grandma. Later, his developing interest in jazz is inspired by the great classic recordings of John Coltrane, the legendary trailblazing saxophonist. Throughout his musings are defined by his singing and performing full-scale, captivating musical pieces. These interludes are played by him on the many instruments stationed nearby. Put simply, Stan is masterly at every turn, whether chanting an old spiritual, scat-singing to a solid jazz riff, or rhythmically striking up a native-styled island beat on his set of percussions, he is continually engaging and impressive! Then, a trip to the Far East with his girlfriend Isis, leads him to many different and ultimately extraordinary experiences. At a spiritual retreat in India, to his great surprise, the Ashram's Guru there warns him against jazz music, which he cautions "jars the soul." Still later, long evening jam sessions in Hawaii become framed by the local musicians chiding him about "getting a hit record, and scoring on the charts." His fascinating reminiscences reach their momentous peak when Stan decides to drive with his girlfriend to a mountainous volcano near the sea. There, the breathtakingly majestic setting prompts him to daringly ignore the posted sign warning to "swim at your own risk." As a huge wave picks him up and thrusts him down to the bottom, he wonders whether he'll end up as "just another black dude washed up on the beach." On the way to the hospital in an ambulance, he speculates as to whether his neck is broken and exactly what injuries have impacted on his teeth and tongue. His soulful singing and spiritedly swinging concluding jazz solos on both saxophones, as well as flute, keyboards, and percussions, dramatically demonstrate his full recovery. However, with the small theatre's capacity audience completely enthralled by Stan's provocative descriptions and grandly engaging and stimulating performances, for whatever reasons we are still left to wonder at the evening's finale: Exactly what oral injuries did he suffer? How long did his hospitalization take? How did his girlfriend fare during this crisis? Now playing through October 14. (My Grade: 4.5)

1776
Review by Norm Gross

At the Lyric Stage Company of Boston is their new production of "1776", featuring a Book by Peter Stone and Music and Lyrics by Sherman Edwards. Highly acclaimed after its opening on Broadway in 1969, it went on to win three Tony awards including "Best Musical." A 1972 major Hollywood movie edition, which included most of the original Broadway cast, was equally triumphant. The play's action is framed by the debates, laced with petty squabbles, together with the hefty trials and ultimate compromises hammered out by Delegates of the Second Continental Congress who met in Philadelphia during the oppressively steamy July of 1776. Prodded relentlessly by the impassioned John Adams of Massachusetts, a fierce advocate of independence from Great Britain, who's aided and abetted by history's wise old sage Benjamin Franklin of Pennsylvania. However, because Adams' unyielding intensity has made him so unpopular with his fellow delegates, he and Franklin must strenuously appeal to a host of other members to finally gain enough support for their cause. Thomas Jefferson, composer of the "Declaration," and Richard Henry Lee, both of Virginia, also soon proved to be dedicated helpers in their active support, while John Dickinson of Pennsylvania and Edward Rutledge of South Carolina were revealed as vigorous opponents. The lengthy, loving, long distance separation of John Adams and his wife Abigail is touchingly described musically by their exchange of mail. Later, a similarly engaging get-together between Jefferson and his wife Martha also occurs. Finally, the deciding compromise over the highly divisive issue of slavery ultimately leads to the signing of "the Declaration of Independence." The large, highly accomplished cast of 26 is in top form throughout, with much commendation for the vivid Peter A. Carey as the passionate John Adams; J.T. Turner as the warmly wise Ben Franklin; Terrence O'Malley as the grandly contemplative Thomas Jefferson; Timothy John Smith as the dedicatedly supportive Richard Henry Lee; and Christopher Chew as Edward Rutledge, the strong defender of slavery. Eileen Nugent as the sweetly resonant Abigail Adams and Jennifer Ellis as the full voiced Martha Jefferson were equally impressive. The fine score of more than a dozen songs deftly define the assembly's historic deliberations. "For God's Sake, John, Sit Down" sing the annoyed delegates. Adams responds to them that their "Piddle, Twiddle" proves that "nothing's ever solved." Abigail's affectionate musings "Till Then" about her absent husband, and Martha's glowing praise for her extra talented mate, "He Plays the Violin," were also especially noteworthy. Dickinson's compelling summation of his compatriots as "Cool, Considerate Men," and Rutledge's stirring observation of the North's heavy involvement in the business of "Molasses to Rum" (to Slavery) were likewise quite memorable. Janie E. Howland's simple Colonial-styled, multi-leveled set, including a multi-candled chandelier and an imposing central score-board, Gail Astrid Buckley's splendid period costumes, the lively seven member orchestra conducted by Jonathan Goldberg, and most certainly the well coordinated Direction by Spiro Veloudos all come together effectively in this genuinely notable presentation! Now playing through October 14. (My Grade: 5)

THE 25TH ANNAUL PUTNAM COUNTRY SPELLING BEE
Review by Norm Gross

At Boston's Wilbur Theatre "The 25th Annual Putnam County Spelling Bee" is now being presented in an open-ended engagement. Conceived by Rebecca Feldman with Music and Lyrics by William Finn, this grand Tony Award-winning play is now still captivating capacity audiences on Broadway. Originally performed as an improvised showpiece Off-Off Broadway, it was expanded for a workshop production in 2004 at the Barrington Stage Company in Western Massachusetts. Its great success there prompted its Off-Broadway debut in 2005 with its quick transference, just a few months later onto the Broadway stage. Enthusiastically received productions soon followed in Chicago, Philadelphia and Toronto. It's set in a mock public school gymnasium, complete with an elevated three-tiered section of wooden planks, where the assembled, pre-pubescent juvenile contestants are seated. During the course of the next 90 minutes, without an intermission, several members of the audience are also brought up onto the stage to join them as participants, with frolicsome results. The players are then questioned by the two attending adult school officials: Rona Lisa Peretti, herself a former spelling bee winner (many years before), and the school's vice principal Douglas Panch. The six anxious young competitors represent a typical cross-section of the general student body. Chip Tolentino, last year's spelling bee winner, this time around, suffers some serious lack of word knowledge, as well as some significant physical problems, Logainne Schwartzandgrubenierre, the group's youngest, is being raised by two gay fathers, and is very politically focused. Her long-worded name is a combination of the names of both of her daddies. Leaf Coneybear is challenged by both attention deficit problems and unpredictability. Olive Ostrovsky is a very shy only child, who thinks of herself as a wallflower and a poor speller. Marcy Park is a determined perfectionist and an intense overachiever. William Barfee is a very bright, but awkward, chubby nerd with an often runny nose. He also suffers from several food allergies. Burly adult Mitch Mahoney, on supervised parole, is also present at this event. He's there performing his required "community service" by comforting the losers as he escorts them out. As each youngster steps up and hears the word he or she must spell, they also ask for its definition as well as its use in a sentence. In nearly every instance, either the juvenile's question about the word or the official's answer regarding its usage turns out to be explosively funny. Composer William Finn's more than a dozen sublimely amusing and insightful songs delightfully define the various players and the challenges they must face. Olive singing "I Love My Dictionary," (it's a very reliable friend); Chip, without any warning, is suddenly flustered by his "Unfortunate Erection"; Leaf's winsome explanatory defense, "I'm Not That Smart"; Marcy's strong assertion that "I Speak Six Languages," and Logainne's rollicking quips about Bush and Cheney continually elicit big bursts of laughter from the audience. Pudgy William Barfee, repeatedly reminding the vice principal that his name is pronounced "Barr-fay," and later, by each time tracing every one of his words on the floor with his shoe, triumphantly sings about his "Magic Foot," to a genuinely hilarious response. The splendidly engaging cast are supremely humorous from start to finish. Aaron J. Albano as Chip, Sara Inbar as Logainne, Stanley Bahorek as Leaf, Jenni Barber as Olive, Greta Lee as Marcy, and most certainly Jared Gertner as William "Barr-fay," are all genuinely comic winners (even though only one actual prize-winner emerges victorious at the show's finale.) Betsy Wolfe as Moderator Rona Lisa Peretti; Daniel Pearce as the usually un-ruffable Vice Principal, and James Monroe Iglehart as the husky and formidable Mitch Mahoney are also grandly amusing throughout. This thoroughly entertaining, extended and long-term, presentation is quite definitely recommended for the entire family. (My Grade: 5)

JESUS CHRIST SUPERSTAR
Review by Norm Gross

At the North Shore Music Theatre in Beverly, Mass. is their new production of "Jesus Christ Superstar," featuring Music by Andrew Lloyd Webber and Lyrics by Tim Rice. Originally conceived as a commercial album-recording in 1970, its overwhelming success quickly lead to its expansion and development as a Rock Opera for Broadway in 1971. Notwithstanding the initial negative reaction by many clergymen, its enthusiastically positive theatrical reception paved the way for a similarly well received staging in London in 1972. This was then followed by its release as a major motion picture in 1973. The early religious complaints were fueled by the ecclesiastics' objections to the play's representation of the last seven days of Christ as a flamboyantly Rock-inspired extravaganza. This also proved to be the absolutely positive reason for the show's great and enduring popularity! Needless to say, the show's commanding musical score most certainly also proved to be a strong reason for its triumphant durability. The evening's more than two dozen stirring songs compellingly move the story of Christ's arrest, trial and crucifixion with vivid effect. Especially noteworthy amongst them were "What's the Buzz?" (with the Apostles probing the future expectations of Jesus), "This Jesus Must Die" (defining the denunciation of Christ by the High Priest Caiaphas), "Hosanna" (whereby the people are exultant over the arrival of Jesus), "The Temple" (which vigorously represents Jesus' rage and expulsion of the moneylenders), "Blood Money" (that potently describes the betrayal of Jesus by Judas Iscariot), and of course, the show's best known tune "I Don't Know How to Love Him," (Mary Magdalene's fervently spiritual and emotional concerns for Jesus. This song became a top ten hit for Helen Reddy and Yvonne Elliman.) It concludes with the highly anticipated title song (as Jesus struggles carrying his Cross.) Performed exuberantly in-the-round, the large splendid cast sing, dance, and perform their various roles with much gusto. Nicholas Rodriguez as Jesus is assured, quite moving and resoundingly appropriate, as is Delisco as the treacherous Judas Iscariot, with similar praise for sweet, attractive, and fully voiced Rona Figueroa as Mary Magdalene. Like praise must also go to Phillip Lamar Boykin as Caiaphas and John Hickor as Pontius Pilate. Gerard Kelly's impressive wigs, Campbell Baird's well conceived scenic designs, Gregory J. Poplyk's fine period costumes, Matthew Smedal's spirited full orchestral conducting, and most definitely Robert Johanson's lively choreography and strong direction all contribute mightily to this excellent presentation. Now playing through October 8. (My Grade: 5)

ALL SHOOK UP
Review by Norm Gross

At Boston's Opera House the national touring edition of "All Shook Up" is now being presented, after its recently completed engagement in New York. Featuring more than two dozen songs popularized by Elvis Presley and a Book by Joe DiPietro, ostensibly based on themes derived from Shakespeare's "Twelfth Night," "As You Like It," and "A Midsummer Night's Dream," with an oblique hint of "Romeo and Juliet" added for good measure. Obviously spurred on by the success of "Mamma Mia!", which deftly blended the songs of Abba with a frothy plot about romance on a Mediterranean island, this time around however, the merger between the Bard and Elvis is, for the most part, fitful and strained at best. Set in a small backwater Southwestern town in the mid 1950's, the plot centers on Chad, a young handsome biker, who rolls in one day and immediately becomes the heart-throb of petite and lovely Natalie, who works as a mechanic in her dad's auto garage. Complications then quickly develop when Chad shows no romantic interest in Natalie, and is later frustrated upon learning that Matilda, the community's straight-laced Mayor, is strictly enforcing the town's "Mamie Eisenhower Decency Act" ("No loud music, No outlandish dancing, and No indecent behavior") of municipal mandates. To further entangle matters, Chad is instantly attracted to Sandra, the beautiful and statuesque director of the local art museum, who shows no interest in him. Meanwhile, although the local nerd Dennis loves Natalie, she spurns him, hoping instead to arouse Chad's interest by posing as "Ed," a boy who can prove to him how wonderful "Natalie" is. Yet still another snarl emerges when Mayor Matilda's young son Dean arrives home from military school and falls passionately in love with sweet, teenaged Lorraine, the daughter of African-American Sylvia, the owner of the local saloon. Oblivious to the historic Civil Rights struggles throughout the 50's and the violent attempts to thwart their progress, here the interracial romance between these two youngsters surprisingly elicits no controversy at all. Act Two, set in a neglected amusement park, neatly untangles all the confusions, initially with Chad becoming unnerved by his attraction to "Ed," followed by his relief and sudden ardor when he discovers that "Ed" is really Natalie! In similarly awkward fashion Sandra, who earlier had taken a fancy to "Ed," now unexpectedly is love-smitten with Dennis, while Natalie's dad reveals his long unexpressed love for Sylvia. As in Shakespeare's day, everyone is then happily wed by the final curtain. Whereas in Elizabethan times such a storyline was pleasantly acceptable, here in the 1950's American Southwest such a plot often seems awkwardly belabored and foolish. As expected, the songs, the singers, the sets, and certainly the choreography, represent the show's strong points. While many times the transitions from story to song seemed strained and/or artificial, songs such as "Jailhouse Rock," "Hound Dog," "Heartbreak Hotel," "It's Now or Never", "Don't Be Cruel," and of course, "All Shook Up," amongst the many others are given fine full voiced, rockin' treatment by the large excellent cast. Joe Mandragona as Chad, Jenny Fellner as Natalie, Dennis Moench as Dennis, Brian Sears as Dean and Valisia Lekae Little as Lorraine serve the show's many memorable tunes quite vividly and resoundingly! Especially noteworthy are most certainly the stately Susan Anton as the very beautiful Sandra, and the grandly resonant Natasha Yvette Williams as Sylvia, the proprietress of the town's bar. She's especially impressive soulfully chanting "Can't Help Falling in Love." Commendations are also due for the rhythmically rockin' Orchestra conducted by August Eriksmoen. Most praiseworthy also is the engagingly creative choreography by Sergio Trujillo. The cast, for example, effectively made-up as statues in Sandra's Art Museum, who suddenly and vigorously come to dancing life to the rousing sounds of "Let Yourself Go" definitely wowed the enthusiastic capacity audience. Last, but certainly not the least, David Rockwell's many moveable and striking set pieces, as well as his fascinating design of the abandoned amusement park and his decidedly majestic church setting for the many final nuptials were also most memorable. While, as previously stated, the "Shakespearean" plot often seemed much too contrived, otherwise the Elvis songbook was resoundingly and effectively represented. Now playing through October 8. (My Grade: 3.5)

RADIO GOLF
Review by Norm Gross

At the Boston University Theatre in Boston, Mass. the Huntington Theatre Company presents "Radio Golf" by August Wilson. The last of the playwright's ten plays, each chronicling the African-American experience, throughout the 20th century, decade by decade, from beginning to end was his crowning achievement. Sadly, Wilson died in October of 2005. Set in 1997 in Pittsburgh's Hill District, in the storefront office of Harmond Wilks, a real estate promoter now also campaigning for mayor, and his longtime friend and partner Roosevelt Hicks, a bank vice president. Central to the plot is their ongoing efforts to advance their intentions to erect a major upscale commercial and residential center in the Hill District. However, two obstacles remain before their big renewal plans can commence. First, to receive federal funding, they must see that the Hill District is registered as a "blighted area," and secondly, an abandoned ramshackle house in the neighborhood must be torn down. The second requirement, however, unexpectedly begins to loom as a significant impediment. As with so many other references sprinkled throughout the play, this same house was also the setting of Wilson's much earlier play, "Gem of the Ocean." Elder Joseph Barlow, apparently a transient aged derelict, who's been found painting this same dilapidated home, appears in the real estate office claiming to be the actual owner of the house. Notwithstanding Harmond's assertions that he is now the rightful owner of the property, since he paid the city for it, in lieu of unpaid back taxes, Barlow holds firm to his claims of ownership. Even Harmond's proffer of a substantial monetary settlement with Barlow is immediately rejected. As their struggle grows ever more intense, these two adversaries also discover some startling facts about their long deceased ancestors, that changes the dynamic of their confrontation completely. This new awareness redefines Harmond's view of the neighborhood's need for redevelopment, as well as his outlook on his drive to become the city's new mayor. The play's unusual title refers to Harmond's partner Hicks' longstanding obsession with the game of golf. "Teaching kids golf will be good training for life," he asserts enthusiastically. He knows that golf is the game of America's elite, and he sees his and Harmond's plans for the redevelopment of the Hill District as a very positive move upward, both financially and socially. Now a part owner of a local radio station, Hicks is also the host of a popular show on the airwaves entitled "Radio Golf." Harmond's new attitude also begins to challenge his relationship with his wife Mame, who is acting as his mayoral campaign manager. Also, Sterling Johnson, a self-employed construction worker, who figured prominently in Wilson's earlier play, "Two Trains Running," turns up as Harmond's newly hired, feisty and earthy employee. He spiritedly declares that "just to know what having money was like," he once robbed a bank many, many years before. The small, highly accomplished five member cast is uniformly excellent with compelling performances by Hassan El-Amin as Harmond, Anthony Chisholm as Elder Joseph Barlow, James A. Williams as Hicks, Eugene Lee as Sterling, and Michole Briana White as Harmond's wife Mame. David Gallo's highly atmospheric office setting, flanked high above, and on each side of the proscenium, with broken windows and the clutter and scattered debris of former occupants, is especially noteworthy! This wholly absorbing production of the final play, in the late author's imposing ten-play-cycle, is now on view (prior to Broadway) through October 15. (My Grade: 5)

SENSE AND SENSIBILITY: A PLAY
Review by Norm Gross

At the Abbott Memorial Theatre in Waltham, Mass. the Hovey Players present, "Sense and Sensibility: A Play," adapted by native Australian Pamela Whalan, based on Jane Austen's 1811 novel. A great success in 2005 in Sydney, this is the play's American premiere. The classic story revolves around the Dashwood family, John, his wife Fanny and his two unmarried sisters Elinor and Marianne. Their romantic entanglements are at the drama's center. At their story's outset Elinor's intense love for Fanny's shy brother Edward Ferrars meets with Fanny's strong disapproval. Although he really does love Elinor, it cannot be since Edward has thoughtlessly and secretly become engaged to Lucy Steele. She's a lower class friend of Sir John Middleton, a relative of the Dashwood family, and hopes to gain social status by marrying Edward. Meanwhile, Marianne also shows no romantic interest in Sir John's friend Colonel Brandon because she has fallen passionately in love with John Willoughby, a handsome young visitor. She's then quite heartbroken by his sudden lengthy unexplained departure. Later, she becomes even more disconsolate upon learning of his seduction and abandonment of Colonel Brandon's young female ward, and is then overcome with a deep, life-threatening malaise when she learns that he has married another young woman, seemingly for her money. Meanwhile, Elinor's love for Edward Ferrars is surprisingly reinvigorated by Lucy Steele's decision to marry Edward's brother Robert instead, after she has learned of Edward's disinheritance. These striking highs and lows, primarily in the lives of Marianne and Elinor, spiritedly explore the extremes of 19th century English society in which wealth, status and greed are pitted against sentiments involving love, identity, honor and personal happiness. Jane Austen's provocative novel has been faithfully and vividly adapted and is being given here a strong, splendid and engaging production. Sara Jones is both passionate and compelling as the despondent Marianne with an equally commanding portrayal by Leigh Berry as her sister Elinor. Angus Merry as Willoughby, Evan Bernstein as Edward Ferrars, Brashani Reese as Lucy, Tracy Nygard as Fanny, Mike Soulios as her husband John, and Michael Peluso as Colonel Brandon are all quite effective in their varied roles, guided by Michelle M. Aguillon's perceptive and assured direction. H.O.Jones' splendid period costumes and Gabrielle Aguillon-Hatcher's deftly appointed set, which utilizes the theatre's compact stage quite well, were also equally noteworthy. Now playing through September 30. (My Grade: 5)

YOU NEVER KNOW
Review by Norm Gross

At the Stoneham Theatre in Stoneham, Mass. is their new production of "You Never Know," featuring Music and Lyrics by Cole Porter, adapted by Rowland Leigh and Paul Lazarus based on "By Candlelight," a play by S. Geyer, K. Farkas, and R. Katscher. Written by Porter in 1929 as an intimate "Chamber Musical," it was finally staged on Broadway in 1938, with a new book, several new songs by other composers, a bevy of chorus girls, and a large chorus. It had only a brief run at that time. Readapted in 1991 and presented at California's Pasadena Playhouse it was then well received, with its focus now once again centered on Cole Porter's original intimate conception. The show's highly farcical plot concentrates on the affairs of Baron Rommer, a wealthy Bon Vivant with a penchant for romancing other rich men's wives. One evening, while the Baron is out, Maria, a lovely young wife, comes calling and mistakes his valet Gaston for the Baron. Emboldened by her mistake, Gaston proceeds to follow in his Master's footsteps by convincing her that he is indeed who she thinks he is. Matters then take a surprising turn when the Baron unexpectedly returns and, unbeknownst to Maria, after quickly realizing Gaston's deception, sees it all as a grand joke and decides to pose as his own butler. What ensues thereafter is a delightfully amusing succession of misunderstandings between Maria and Gaston (as the Baron), and the real Baron acting as Gaston. Sparks then begin to erupt when some of the real Baron's married lady friends appear, compounded later by the arrival of one beauty's irate husband. As expected from any Cole Porter show, however engaging the book and the actors are, his grand musical score stands as the show's raison d'etre. This is once again most certainly true for this play's nearly dozen songs. "What Shall I Do?" (I love not one, but two), "From Alpha to Omega" (from Shubert to Jerry Kern), "Is It At Long Last Love?" (Is it for all time), and of course the title tune, "You Never Know" (When love says hello). Several of the show's best were borrowed from some of Porter's other show's such as "Let's Misbehave." (Let's be outrageous), "Let's Not Talk About Love " (Let's talk about drugs, about pills, and Beverly Hills), and "I'm Ridin' High" (Ring bells. Sing songs. ). Steve Gagliastro and Sarah Corey (both with full resonant voices) are supremely amusing as the real Gaston and Maria. Sean McGuirk is equally noteworthy (both singing and performing) as the real Baron with fine sonorous support from Leigh Barrett and Shannon Muhs as the Baron's lady friends, as well as Robert Saoud as the cuckolded husband. Especially impressive is Jeremy Barnett's imposing Art-Deco set, Seth Bodie's exquisite, eye-catching period costumes (adorning all the lovely ladies), the fine small onstage orchestra conducted by Judy Hayward (notwithstanding its shaky start), and Leah Joseph's lively choreography, all guided by Caitlin Lowans' spirited Direction. Now playing through October 1. (My Grade: 5)

bobrauschenbergamerica
Review by Norm Gross

At the Loeb Drama Center in Cambridge, Mass. the American Repertory Theatre presents "bobrauschenbergamerica," a panorama suggested by the works of the famed artist, conceived by Charles L. Mee, Directed by Anne Bogart and performed by the New York based SitiCompany. First presented successfully at the Humana Festival in Kentucky in 2001, and then to much enthusiasm in 2003 at the Brooklyn Academy of Music, this presentation is its Boston-area debut. Against a proscenium high and wide rear wall painted as the American flag in full color, and functioning as the front of a house, 43 highly animated vignettes, representing a wide and multi-varied view of American life, are performed nonstop by a spirited cast of ten for 1 hour and 45 minutes, with no intermission. Rauschenberg's mom begins the evening by reminiscing about her famous son's childhood and the rest of the neighborhood's folks, both past and present, while a young, bubble-gum chewing school girl whizzes by on her roller skates, and a pretty young woman, clad in a bikini, dangles from side-to-side while seated on an old auto tire, (suspended from high up above). A derelict vividly describes his proposed movie about a developing conspiracy, as the same bikini clad female slides her body across a martini-soaked plastic sheet together with her burly male companion. They conclude their slide by munching on olives. At another time, an unidentified performer dressed from head to toe as a chicken, walks across the stage for no known purpose. Still later, behind the prone dead body of someone who's just been shot, a succession of silly and corny chicken jokes are told, while a young man, wearing a kilt, parades across the stage playing the bagpipes, and then continues on by wandering throughout the audience. Lively Square Dancing begins, as a backyard picnic is in full sway, while a lively gay couple discusses their plans to raise chickens. The bikini clad young woman again reappears, this time with the derelict holding a pitchfork, as both then assume the posture of "American Gothic." In full concert with much that has come before, the recorded voice of Cab Calloway singing "A chicken ain't nothin' but a bird" booms loudly across the audience, and a young man, clothed only in a towel and a bathing cap, sings that grand old song, "I don't want to set the world on fire." Then quite unexpectedly, all the levity is interrupted by a pizza delivery man who describes, in great detail, how he committed a very gruesome crime, to the shocked silence of everyone. Yet another attractive young woman, after breaking up with her boyfriend, decides to reunite with him, and later reappears to gorge herself, to the audience's great amusement, by stuffing her mouth with many, many servings of nicely sliced cake, piled high on a large platter. In this fashion, the spirit of Bob Rauschenberg's celebrated collages, much of them composed primarily of America's flotsam and jetsam, is strikingly brought to life on stage. Although, at first much of this grand potpourri seems unrelated, soon the thread that binds them all together becomes quite apparent. The splendidly accomplished ten member cast are all in top form, as they engage the audience with each new provocative turn. Kelly Maurer as Bob's mom, Danyon Davis with his on-again-off-again girl friend Ellen Lauren, (the aforementioned pastry gobbler); Akiko Aizawa (ever in her bikini); Leon Ingulsrud as her slithering-on-plastic buddy; Jennifer Taher on her roller skates; Tom Nelis as both the guy dressed as a chicken and the homicidal pizza delivery man; along with Stephen Webber, Barney O'Hanlon and J.Ed Araiza, in a variety of similarly compelling guises, were all genuinely praiseworthy. This engaging tribute to one of our country's most significant artists is now playing through October 7. (My Grade: 5)

MONSTERS - THE MUSICAL
Review by Dede Tanzer

Cute, cute, cute...except for the three actors who played the Monsters ( those nagging, negative voices in our heads). Monsters was written by Gail Phaneuf and Ernie Lijoi. It was first presented at Emerson College's Rod Parker playwriting competition where it was a finalist. It was then turned into a musical which is what this reviewer was happy to enjoy yesterday.
  The lead role, Samantha, was brilliantly played by Lisa Beausoleil. As far as I was concerned, Lisa lit up the stage and the show. The three characters who played Fear, Apathy and Body could and should be easily replaced. The part of Samantha's mother, played by Cheryl McMahon was a believable, if a tad stiff, performance.
  As I sat enjoying the show, I asked myself, "If I had paid $32.00 for this seat, would I be a happy camper?". The answer is, yeah. It was a nice way to spend a couple hours with a friend. I wouldn't say run, but if you are in town during the next few weeks (it runs until September 30) you can walk over to CentAstage on Tremont St. and be entertained by someone else's Demons for a change. As far as I'm concerned, I already spend much too much time with my own!

THE PILLOW MAN
Review by Norm Gross

At the Mosesian Theatre in the Arsenal Center for the Arts in Watertown, Mass. is the New Repertory Theatre's production of "The Pillow Man" (a New England premiere) by Martin McDonagh. It was a major success in London in 2003 where it won the 2004 Olivier Award as "Best New Play" and later on Broadway in 2005, where it likewise garnered two Tony Awards plus "Best Play" nomination. Set in a typical Police State, Katurian K. Katurian, the author of a series of bizarrely horrific stories, focused on the abuse and murder of small children, has been arrested when the deaths of several local children closely resemble those described in his stories. Most prominent in Katurian's tales is his narrative about a 9 foot man, composed completely of pillows, who entices many young children to commit suicide in order to end their despicable lives. Still later, after many similarly gruesome tales have been told by him to his captors, (Good Cop: Tupolski and Nasty Cop:Ariel), Katurian reaches his ultimate high with his description of the small six year old girl who wants to be like Jesus and is summarily tortured, crucified and buried by her horrendously abusive foster parents. During his lengthy interrogation (the play's performance time is nearly 3 hours), we learn that Katurian's interest in writing was actively encouraged by his parents. He also describes how at this same time, they methodically tortured his older brother Michal, leaving him permanently brain damaged. Upon discovering what they had done to Michal, Katurian in turn killed his terrible parents. Act One culminates with a harrowing and heart-wrenching meeting, in an adjoining prison cell, between Katurian and his brother. Later, the play closes with a similarly disquieting confrontation between Katurian and his interrogators. Obviously, while going to great lengths related to parental abuse as the cause of the violent behavior of their offspring, McDonagh wants us to consider the ramifications and responsibilities of those involved, when life begins to mirror art, as well as society's response. Throughout, there are glaring similarities to Kafka and many suggestions of the legendary tales of the Brothers Grimm, with the emphasis on "grim." Although all of the play's promotional activities repeatedly define it as a "Black Comedy," it's difficult to really find much amusement in the evening's many detailed descriptions of savagery to little children! While there were occasional bursts of laughter from the audience, it often seemed to be based more on the release of nervous tension rather then on genuine comic response. For example, the overly descriptive and very extended Act One (at 1 hour and 40 minutes) was ultimately mostly distressing. The fine eight member cast were all highly effective with very strong portrayals by John Kuntz as Katurian, and Steven Barkhimer and Phillip Patrone as Tupolski and Ariel. Bradley Thoennes was especially impressive as the dimwitted brother Michal. John Howell Hood's creative scenic design, a succession of elevated 2-way mirrors behind the actors, while accentuating the stark prison setting, also reflected the audience reaction and then also served to disclose some enactments of Katurian's troubling tales. In this manner, Rachel Harker and Stephen Cooper as the mother and father of young Rebecca Stevens as the child, who yearned to be like Jesus, were revealed with compelling impact. Rick Lombardo's assured direction was evident throughout, from start to finale. Now playing through October 1. (My Grade: 3.5)

COPENHAGEN
Review by Norm Gross

At the open-air stage in Christian Herter Park, on the grounds of the nearby Charles River in Boston's Brighton district, is the Publick Theatre's new production of "Copenhagen," Michael Frayn's Tony Award winning drama. In September 1941, soon after the start of World War II, and shortly after the Nazi occupation of Denmark, German physicist Werner Heisenberg, head of the Nazi's Atomic Energy Research effort and author of the "Uncertainty Principle," (which concludes that knowledge about the complete conduct of a physical object is never fully possible) secretly met at the home of his mentor, Danish physicist Neils Bohr. Many years before, both had become friends and Nobel Laureates while at Copenhagen's Institute for Theoretical Physics. Now, with the half-Jewish Bohr and his wife Margrethe under Nazi surveillance, Heisenberg and Bohr have come together again for still quite unknown reasons. Has the younger German come to see his former, much trusted senior Danish counselor in hopes of fast-forwarding his atomic research for the Nazi war machine, or is he instead seeking to impede Hitler's nuclear plans by assuming that his old colleague might do the same towards the Allies' camp? This question becomes their many faceted focus as they struggle to comprehend the scope of their lives and the consequent decisions that each has made. Was Heisenberg's futility in his nuclear research, fundamentally more advantageous to humanity, than the atomic destruction of Hiroshima and Nagasaki, furthered as it was by Bohr's progress at Los Alamos? Bohr and his wife, soon after the aforementioned meeting, had both been able to escape to America from the clutches of the Nazis. Their discussion cascades from a wide variety of observations about the ethics of atomic research to more personal and emotional notions about their own long friendship and the uncertainties of human behavior. Throughout, Bohr's wife is ever responsibly critical and constructive, while remaining calmly and steadfastly supportive of her husband. Intensely performed by Gabriel Kuttner as Heisenberg, Barry Press as Bohr, and Susan Nitter as Margrethe (who, in the program's notes, dedicated her performance to her grandfather, who was an active part of the Danish resistance). All were effectively compelling and provocative under the strong direction of Diego Arciniegas, whose creative use of the area's surrounding landscape, for the performer's entrances and exits, was always noteworthy. Judy Staicer's simple, multi-columned setting, defined by its large, metallic, striking, circular, and central entrance; Anthony R. Phelps' highly dramatic lighting, and John Doerschuk's engaging musical choices and deftly placed sound effects were all quite impressive! Now playing through September 10. (My Grade: 5)

CINDERELLA
Review by Norm Gross

At the North Shore Music Theatre in Beverly, Mass. is their new production of "Cinderella" featuring Music by Richard Rodgers and Book and Lyrics by Oscar Hammerstein II. Originally staged there in July 2005, the show was canceled at that time due to a disastrous fire. Now it's been revisited once again, at this same grandly restored arena-styled theatre. Rodgers and Hammerstein's "Cinderella" was initially created for and presented on television in 1957 starring Julie Andrews. It has since been redone on TV in 1964 starring Lesley Ann Warren and yet again, more recently on TV, in 1998 starring Brandy. It has also been successfully adapted for the stage and has enjoyed much popularity as presented by many national touring companies. Closely following the classic fairytale, it centers on lovely young Cinderella being mistreated as a scullery-maid by her domineering step-mother and her two arrogant and overbearing step-sisters. Later, that same evening, a formal Ball is held at the nearby Royal Palace for the realm's handsome unmarried Prince. In such a gathering, the King and Queen hope that their son will find a prospective wife. Later, Cinderella goes to the Ball after her Godmother has appeared and transformed her into an opulently gowned and mysterious stranger, unbeknownst to her step-mother and step-sisters. There, the handsome Prince is immediately captivated by this enigmatic beauty. However, as her Godmother's magic spell begins to wear off, Cinderella must hastily leave the Ball at the stroke of midnight. In so doing, she inadvertently loses one of her beautiful slippers. The handsome Prince's search for the unknown wearer of this slipper eventually leads him to Cinderella (now revealed as a scullery-maid), much to the surprise, chagrin and dismay of her step-mother and step-sisters! Handsomely staged in-the-round with compelling performances by the large, enthusiastic and highly energetic cast, lovely sonorous Deborah Lew in the title role, ably joined by full-voiced Ryan Silverman as her Prince Charming are both in top form, as is Maureen Brennan as the whimsically magical Godmother. Lisa McMillan, Joyce Chittick and Natalie Joy Johnson are boisterously raucous and effective as Cinderella's nasty step-mother and step-sisters, although their outrageously slapstick antics, especially at the Royal Ball, seemed to be occasionally and unnecessarily overdone. However, David Coffee and Terry Burrell were both regally appropriate as the King and Queen. While the musical score is certainly not one of Rodgers and Hammerstein's most impressive, "In My Own Little Corner" (I can be whatever I want to be), "Ten Minutes Ago" ( I have found her), and "On a Lovely Night" (you meet your Prince), amongst others, were certainly pleasant enough. Karen Azenberg's vigorous choreography, especially at the Royal Ball, Joanna E. Murphy's splendid costumes, Martin E. Vreeland's dramatic lighting, and the fine full Orchestra conducted by Edward Reichart were all quite laudable under Charles Repole's strong direction. Now playing through September 10. (My Grade: 4.5)

THE BEARD OF AVON
Review by Norm Gross

On the banks of the Charles River in Boston's Brighton neighborhood, at the outdoor stage in Christian Herter Park, is the Publick Theatre's production of "The Beard of Avon" by Amy Freed. A substantial success off-Broadway in 2004, it's now being performed here in the Boston area after earlier acclaim in productions on both the West Coast as well as in Chicago. Set in Elizabethan times, it poses notions about Shakespeare that have vexed scholars throughout these many, many centuries. Could a young rustic, with only a limited education, have actually written the nearly forty plays which bear his name, and which most critics and audiences alike have agreed throughout the ages, represent the greatest plays ever written in the English language? Similar questions also surround the more than 100 poems attributed to him. In this intriguing and provocative presentation playwright Freed, with splendid comic flair, Shakespearean-sounding dialogue, and commanding insights, cuts through the maze of doubts with some very assured answers. Here we first meet Will Shakespeare as a relatively untutored bumpkin who leaves his nagging wife, Anne Hathaway, to join a traveling company of actors. Some time thereafter, as a bit player with this same troupe in London, Will meets Edward DeVere, the Earl of Oxford. While most of the time behaving as a dissolute rake, DeVere knows that as a member of the nobility, it would never be acceptable for him to reveal his one great interest and skill in play-writing. Obviously, it was a time when the upper class held actors and playwrights in very low esteem. We learn that DeVere had actually written many plays but had kept them all secret and hidden in a trunk. Spurred on by his lover Henry Wriotheseley, DeVere decides to claim someone else as the author of his works. When he attends the company of visiting actors and encounters Will, everything quickly begins to connect for him. Will Shakespeare agrees to become William Shakespeare and the rest, as the old saying goes, is history. As their partnership grows over the years, DeVere encourages Will to educate himself, and soon the lowly surrogate is adding some of his own attitudes and insights to DeVere's plays and soliloquies. Soon, after many rumors begin to blossom, many other would-be playwrights also begin to hope to attach their dramas to what Will now asserts is just his "Brand Name." Among these aspirants is none other than Queen Elizabeth, who has penned a play concerning "The Taming of a Shrew." As expected, Will provides some real help for her. In an amusing sub-plot, Will's wife Anne, sometime later and wearing a disguise, follows him to London and tricks him into thinking that he's cheating on his "wife." Extremely well performed by the excellent eleven member cast with much praise for Gabriel Kuttner as the Beard turned into the Bard and most certainly to Bill Mootos as the very real Edward DeVere. Eric Hamel as his lover Wriotheseley, Helen McElwain as Will's feisty wife Anne Hathaway, M. Lynda Robinson as Queen Elizabeth, and Ellen Adair as both a juvenile actor and a Lady in the Queen's court, amongst others, were all quite noteworthy. Similar applause must also salute Judy Staicer's simple but easily adaptable set, Rafael Jaen's fine period costumes, Steven Barkhimer's authentic sounding original music, and certainly to Diego Arciniegas for his knowing direction. Now playing in repertory through September 3. (My Grade: 5)

DISNEY'S BEAUTY AND THE BEAST
Review by Norm Gross

At the Robinson Theatre on the campus of the Waltham High School in Waltham, Mass. the Reagle Players present their production of "Disney's Beauty and the Beast," featuring Music by Alan Menken and Lyrics by Howard Ashman with Book by Linda Woolverton. Based on the classic French fairy tale, it originally made its debut as a highly popular animated motion picture in 1991. Its great success as a multi- award winning movie prompted the Disney Company to expand it and then launch it in 1994 as a fully staged theatrical production on Broadway. That same presentation continues on Broadway to this very day. Similarly successful staging in London, as well as national touring productions, have since served only to add to its popular appeal. After the death of Lyricist Howard Ashman in 1991, the score was extended with seven new songs written by Menken and his new lyricist Tim Rice, specifically for the Broadway presentation. A wicked witch has cast a spell on a handsome prince, turning him into a fearsome man-beast, with buffalo-like fur and horns, and transformed his castle's staff into animated household utensils. Only by the emergence of someone who can truly love him, in spite of his frightening appearance, will the curse be lifted not only for the beast, but also for his enchanted household staff. Belle, a lovely young maiden from the local village who is searching for her missing elderly father in the nearby forest, takes refuge in the beast's castle at nightfall. Initially alarmed by the beast's terrifying countenance, Belle eventually comes to sense her captor's inner humanity and sensitivity. However, complications develop when Gaston, the village's handsome, but bullying braggart, who also harbors romantic notions toward Belle, upon learning that she is a "captive" in the castle, incites the villagers to storm the "Monster's" stronghold. As expected, the final confrontation between the beast and Gaston leads to the beast's triumph over his brutish rival, and his ultimate transformation into Belle's handsome prince. The splendidly large 20+ member cast handle their varied roles with much enthusiasm. Grandly voiced Sarah Pfisterer is quite compelling as the beautiful Belle, with Fred Inkley resonantly intimidating as the Beast, with lively melodious and frolicsome support from M. Zach Bubolo as the animated candelabra; Roy Earley as a cavorting grandfather clock; Beth Gotha as a singing teapot; Rachelle Riehl as a sprightly wardrobe closet; Melissa Beauregard as a frisky feather duster and Edward Watts as the aggressive Gaston, amongst others. The award-winning score includes the lilting title song along with such other delightful tunes as "Be Our Guest!," "If I Can't Love Her," "Belle," and "Human Again." The handsome costumes by Terry Schwab and Miguel Angel Huidor, the abundant and lively choreography by Eileen Grace framed by the fine full orchestra conducted by Paul S. Katz and most certainly Kate Swan's firm direction all coalesce to form this genuinely captivating family-friendly entertainment. Now playing through August 19. (My Grade: 5)

WONDER OF THE WORLD
Review by Norm Gross

At the Experimental Theatre in the Loeb Drama Center in Cambridge, Mass. the Harvard-Radcliffe Summer Theatre presents its production of "Wonder of the World" by David Lindsay-Abaire. After its highly favorable premiere in Washington,D.C. in 2000, it had an equally successful debut in New York City in 2001. This over-the-top, fancifully absurdist farce hilariously plumbs the wildly comic imagination of its famed author. After 7 years of marriage, Cass suddenly decides to leave her husband Kip, and walks away from their cozy apartment in Brooklyn's highly fashionable Park Slope neighborhood. The bizarrely alarming and outrageous reason for her unexpected departure is finally revealed much later. Armed with a written list of things that her wedded life had prevented her from ever doing, such as learning Swedish or wearing a wig, she exits by bus for Niagara Falls. On route to "the Honeymooners' Wonder of the World," she bonds with Lois, her traveling seat-mate, a dipsy alcoholic who is very distraught after being dumped by her callous husband. She plans to end it all by going over the grandly elevated Falls in a barrel. As hotel roommates, Lois busies herself preparing for her final suicidal ride, while Cass becomes romantically involved with Captain Mike, the lonely Skipper of the region's major tourist boat. A widower, we soon learn that his wife had died after being accidentally conked on her head by a falling super-jumbo jar of peanut butter, which had been purchased at a wholesale food warehouse. Still later, Cass and Lois are confronted by Glen and Karla, a pair of light-headed private detectives (the former owners of a yarn shop in Buffalo, N.Y.) who have been hired by Kip to trace the whereabouts of his missing wife. Finding Cass leads to the surprise appearance, before Cass and Lois, of the very frustrated Kip. It's then that Kip's extraordinary perversity is finally revealed. It really does have to be heard and described to be believed, and does indeed justify Cass' decision to leave him! As Cass, Lois, Kip, Glen , Karla, and Captain Mike all finally come together, in this same hotel room, to discuss their complaints, in desperation they all agree to listen to a marriage counselor. This same adviser, who also acts part-time as an entertainer at children's parties, has been so hastily recruited that she arrives still wearing her circus clown's wig and costume. After some animated discussion, she decides that the best way to encourage everyone to really air their grievances would be for the counselor to act as the M.C. of a wildly comic version of TV's popular "Newlyweds' Game," with grandly hilarious consequences. The young, highly enthusiastic seven member cast handle their extremely antic roles with much aplomb. Jennifer Brown does quite well as Cass, with finely tuned comic attitudes by Laurel Holland as the perpetually soused and suicidal Lois, with very amusing assistance by Simon Williams as Captain Mike, Daniel Pecci and Olivia Benowitz as Glen and Karla, and Peter Shields as Kip. Sarah Bartel is especially winning as the clownish marriage counselor. Roxie Myhrum's effective, two sided, semi arena-styled multi-leveled set, which was easily transformed to act as many different locations including Bus and Hotel room to sail boat, helicopter cockpit and even water falls, and John Drake's nicely concentrated direction were all very much on target. Now playing through August 18. (My Grade: 5)

THE TAMING OF THE SHREW
Review by Norm Gross

At the Parade Grounds on the green open air Boston Common, the Wang Center for the Performing Arts presents the Commonwealth Shakespeare Company's new production of "The Taming of the Shrew" by William Shakespeare. This is the Company's 11th annual free presentation of a Shakespearean play offered to the entire general public. Reset in the present day, no longer in Padua, but now taking place in "Bostonia," Act One unfolds in the North End (the Hub's "Little Italy") mainly in front of "Baptista's Ristorante Italiano." The hand of the prosperous Papa Baptista's lovely youngest daughter Bianca is fervently sought by Lucentio, a student new to the area, whom we first encounter whizzing by on stage on roller skates. However, he first finds Hortensio, a prominent local, as his major rival for Bianca's affection. Papa Baptista demands that his daughter Katharina, the older unmarried sister of Bianca, must be wed first. Although Katharina is quite comely, she's best known throughout the region for her sharp tongue and belligerent attitude. Because of her well founded reputation as a "shrew," she's never had a suitor! Fortunately, handsome, well groomed, unattached Petruchio arrives in the neighborhood, cruising by on his sleek new motor scooter, with his feisty valet alongside. When he's informed about Katharina, he's not only impressed by her good looks, but most certainly also by her family's great wealth. Undaunted, he finds her aggressively assertive notoriety to be a challenge that he can master. After a rowdy courtship, marked by a vivid contest of wills, they agree to marry. To further demonstrate his authority and disdain, he even appears at their nuptials dressed as a colorfully costumed Court Jester. Intent on subduing her, he then quickly transports Katharina to his summer home in Revere Beach. There, near the site of the former grandiose amusement park, he begins to work his strategy to bend her to his will. Amidst the beach chairs, picnic table, and barbecue grill, he drastically limits her food and sees that she gets little, if any, sleep, while always pretending that nothing was ever quite good enough for her. Soon, his repeated harsh and concerted efforts ultimately succeed in softening her. By then, of course, Lucentio and Bianca also marry, while Hortensio is content in finding a rich widow to wed. Played very broadly to generate much laughter, (although somewhat overly and unnecessarily exaggerated during Act Two) for the most part, the large accomplished 30 member cast is in top form. Darren Pettie is vividly convincing as Petruchio with strikingly volatile reactions from attractive Jennifer Dundas as Katharina. Scott Barrow as Lucentio, Angie Jepson as Bianca, Paul Farwell as Baptista, Remo Airaldi as Hortensio, William Young as an elderly suitor for Bianca, and Nat Dewolf and Larry Coen as Lucentio's servants, and especially Antonio Edwards Suarez as Petruchio's highly animated valet, were all grandly effective and amusing. John Coyne's splendid North End Restaurant set, bolstered by a large colorful, Act II proscenium-wide banner emblazoned with "WELCOME to REVERE BEACH" and Steven Maler's strong, well centered direction, were all quite commendable. Finally, J.Hagenbuckle's rhythmically stirring sound design, highlighted by the classic 50's and 60's recorded hits by Louis Prima and Keely Smith ( "Just a Gigolo," "That's Amore," "Volare," etc.) added just the right bounce to the evening's merriment! Now playing through August 13. (My Grade: 4.5)

HOVEY PLAYERS SUMMER ARTS FESTIVAL
Review by Norm Gross

At the Abbott Memorial Theater in Waltham, Mass. the Hovey Players present their tenth annual Summer Arts Festival, consisting of two very short independently made films, "Jimmy's House of Hugs," and "Eddie's Winning Date," and the premiere of two new one act plays. The initial play, "What We Save" by Kelly DuMar concerns two young married couples living far apart from each other. Corri and her handicapped, wheelchair-bound husband Vic are busy cleaning out the clutter from a closet. Each piece of old clothing they uncover has its own history and set of memories. An old boyfriend's jacket, in particular, reveals some surprising and contentious aspects about Corri's past. Meanwhile, Sharon and Lance sorting through some old photos, beads, and paraphernalia in their home, discover Lance's former girlfriend Corri's personal diary. It reveals the details about her former pregnancy and abortion, and raises some very troubling questions. Without informing him or bringing it to her spouse's attention, the otherwise very religiously-oriented Sharon had gone ahead and read the private diary.! Of course, this prompts some strong questions about Lance's role (if any) in Corri's fateful decision. Lance insists that he did not know anything about either Corri's pregnancy or her abortion. Later, these two couples meet for the first time at their high school's 20th anniversary reunion. As expected, Lance's old jacket is returned to him, and the revelations in Corri's personal diary are finally and intensely summed up. Well acted by Leigh Berry as Corri, Jeannie Lin as Sharon, Ted Batch as Lance, and J. Mark Baumhardt as Vic, under Michelle M. Aguillon's well-focused direction. Although we know that Corri's husband Vic is handicapped and in a wheelchair, his affliction is never explained, and while Sharon's religious concerns are evident, they too are never adequately addressed. This compelling short play would definitely be enhanced by much more of such development. (My Grade: 4). ...

The evening's second short one act play, "The Halfway House Club," was written by and stars its young authoress, Philana Gnatowski as 21 year old Samantha, a clerk at a nearby bookstore, who has spent most of her young life living in and out of many halfway residences. An only child, her mother deceased, she was abandoned by her dad at a very young age. She is soon joined by several other similarly isolated roommates. Anne, a soon to be divorced 40ish housewife, is distraught over her callous philandering husband, and Paul, a former banker, now penniless, due to many hasty and unwise investments, has been dumped by his sweetheart, mainly because of his constant cheating, and now also finds a new "home" here. Lastly Jack, an unemployed freelance photographer, who has likewise had romantic problems with his girlfriend, now becomes the newest addition to this "club." As this unlikely quartet begins to bond, marshaled by the assertive and surprisingly insightful Samantha, (who's occasionally challenged as being too manipulative) they begin to find some direction and hope in their troubled lives. Ms. Gnatowski brings a great deal of verve and animation to her genuinely clever, cogent and witty dialogue, with fine support from Penny Benson as Anne, John Griener-Ferris as Paul, and Jack Tallach as Jack. Here too, as in the earlier play, a fuller development of the past lives and relationships of this foursome is really needed. However, Philana Gnatowski certainly does show strong potential as a fine playwright. J. Mark Baumhardt (seen as an actor in the first play) served nicely this time as Director. (My Grade: 4.5)

The Hovey Players' Festival wraps up on August 5.

THE CRUCIBLE
Review by Norm Gross

At Beatrice Herford's Vokes Theatre in Wayland, Mass., the Vokes Players present their new production of "The Crucible" by Arthur Miller. Seen as a parable at the time of its Tony Award winning Broadway debut in 1953, on McCarthyism and the excesses of the House Un-American Activities Committee, it has since that troubled period achieved prominence as a classic exploration of the innocently accused individual pitted against societal mass hysteria. It was also twice produced as major motion pictures. Initially, in a noteworthy French version in 1957 (adapted by Jean Paul Sartre), and more recently in 1996 in an equally applauded Anglo-American presentation. Set in Salem, Mass. in 1692, John Proctor, a hardworking New England farmer, learns that his wife Elisabeth has been accused of witchcraft. She has been denounced by teen-aged Abigail Williams, whom she suspects her husband John has shown some adulterous interest in. Soon many others throughout the community are similarly-accused with the certainty of public hangings looming as their punishment. As the townspeople's fear of Evil in their midst grows and grows, enhanced by a host of festering property disputes, the town's elders are also spurred on by their concerns of a lessening of the town folk's religious fervor. In a desperate attempt to save his wife and expose the sexual and jealousy-inspired duplicity of young Abigail (now aided in her deceit by several other young area females), John publicly admits his philandering and is himself, in turn, condemned as a witch. As his execution draws near, the presiding Judge offers him a final opportunity to save his own life by signing a confession admitting witchcraft, that he knows to be a lie. Well staged and vividly acted by the large twenty member cast, Bill Stambaugh's intense portrayal of John Proctor is especially impressive! Leah Carolan as the falsely scheming Abigail, Kimberly McClure as John Proctor's loving and deeply concerned wife, Jonathan Ashford as the town's stern presiding Judge, and Kimberly Schaeffer as the Proctors' confused and easily manipulated teen-aged housemaid, were all also equally compelling. High praise is also due for Kimmerie H. O. Jones' splendid period costumes, and most certainly for John Barrett's strong direction, as well as for his simple but effectively adaptable set designs which were quickly changed from rustic bedroom and living room to stark courtroom settings. Now playing through August 5. (My Grade: 5)

LUCKY STIFF
Review by Norm Gross

At the Turtle Lane Playhouse in Newton, Mass. is their production of "Lucky Stiff," featuring Music by Stephen Flaherty and Book and Lyrics by Lynn Ahrens. A success Off-Broadway in 1988, it was also the winner at of the Richard Rodgers Production Award, and has since gone on to become a favorite with many regional performance companies. The zany plot, based on "The Man Who Broke The Bank At Monte Carlo" by Michael Butterworth, may also have proved to be the comic inspiration for the popular "Weekend at Bernie's" movie series. All of the grandly bizarre characters necessary for an old fashioned raucous farce are here. Harry Witherspoon, a humdrum British shoe salesman, has inherited six million dollars from his deceased New Jersey gambler Uncle Tony. However, it's bound by one major condition. Harry must take his Uncle's wheelchair-saddled corpse (now properly preserved by a taxidermist), on the free-wheeling Monte Carlo vacation that he had always planned to take during his lifetime, but had never gotten around to. If this stipulation is not met, Tony's fortune will go instead to a Brooklyn Shelter for stray dogs. As expected, sweet young Annabel Glick, representing the hopeful canine asylum, is also there to keep tabs on Harry's compliance with the terms of his Uncle's will. To further complicate matters, Tony's rambunctious and quite nearsighted Mistress Rita (complete with fully packed and uncertainly aimed gun) also shows up in Monte Carlo, with her brother Vinnie, a highly befuddled optometrist. It soon becomes apparent that Tony cheated Rita's husband out of all that money and was in turn shot and killed by her. Through some fancy trickery, she was then able to also incriminate her brother Vinnie. To even further entangle things, Dominique, a lovely and very sultry chanteuse takes a fancy to Vinnie. Can Harry fulfill the conditions of his Uncle's will? Are he and Annabel destined to click romantically? What will happen to Rita and Vinnie (not to mention Dominique)? The unexpected surprise ending, conclusively rearranges all of the overly plotted complications to insure the anticipated happy resolution all around! Wayne Fritsche is in full voice and is well focused, on carrying out his late Uncle's wishes as Harry, with strong vocal assistance from Sarah Ziegler as Annabel. Kendra Kachadoorian is grandly resonant and very comically effective as the supremely assertive Rita with amusingly confused help from Chris Moleske as her brother. Attractive Arjana Vizulis is quite striking as the exotic Dominique with funny and spirited support from Brad Fugate as a tip-hungry Bellhop and David W. Frank as the resort's singing M.C. Thomas Bourque is especially noteworthy (stiff in his wheelchair) as the ever present corpse. The witty score of nearly 20 songs serves nicely to propel the farcical plot, featuring such solid tunes as, "Something Funny's Going On," "Fancy Meeting You Here," and "It's Good To Be Alive," Kendra's vibrant rendition of "Rita's Confession," and Dominique's lively singing lesson "Speaking French," (use your lips, use your hips) were both quite impressive. The fine small orchestra conducted by Michael Kreutz, John MacKenzie's simple, but efficient multiple settings ranging from hotel room, nightclub and airport, to a moving train and even the beach and Elaina Vrattos' confident Direction were all most certainly commendable. While it must also be noted that the cast did get off to a somewhat overly slow start, once the play's absurdly complicated plot began to fully unfold, the ten member cast really then began to comically connect. Now playing through August 13. (My Grade: 4.5)

GERSHWIN SINGS GERSHWIN
Review by Norm Gross

At the Stoneham Theatre in Stoneham, Mass. is their presentation of "Gershwin Sings Gershwin," featuring songstress Alexis Gershwin in the East Coast premiere of her tribute to the music composed by her legendary uncles, the Gershwin brothers, George (Music) and Ira (Lyrics). Backed on stage by a six member orchestra conducted by Steven Applegate, she was accompanied by "the Gershwin Singers" (a male and two lovely female vocalists) resonating with her, much in the fashion of such well known 40's and 50's vocal ensembles as "The Pied Pipers" and "The Modernaires." Act One of the 90 minute song-filled program (including a brief intermission) focused on the famed Brothers' many hit collaborative compositions including such memorable numbers as "'S' wonderful," "Nice Work If You Can Get It," "A Foggy Day In London Town," and "Embraceable You." Here, as throughout the evening, Ms. Gershwin also offered many anecdotal insights and memories to her musical introductions. "The Man I Love," for example, was originally written for, but not included, in their great 1924 Broadway success, "Lady Be Good," but was later introduced in their equally popular 1930 production of "Strike Up The Band." Even some of their lesser known songs such as "Naughty Baby" (who will tease you?) were also offered. Act Two centered on many of the Lyrics that Ira Gershwin wrote with other songwriters after his brother George's untimely death in 1937. "I Can't Get Started With You," and "The Man That Got Away" written with Vernon Duke and Harold Arlen, and "Long Ago and Far Away," composed with Jerome Kern are prime examples here. She ended the evening with some spirited renditions from "Porgy and Bess," such as "Summertime" and " It Ain't Necessarily So." Unfortunately, much of the first Act was flawed by Ms. Gershwin appearing overly tense and occasionally somewhat overwhelmed (possibly from exhaustion?) more often than not! However, her performance, assurance and presence was appreciably stronger and more confident throughout Act Two, allowing for a more amiable and appreciative response from the large audience. Now playing through July 30. (My Grade: 2.5)

THOROUGHLY MODERN MILLIE
Review by Norm Gross

At the Robinson Theatre on the Waltham High School campus in Waltham, Mass. the Reagle Players present their 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. Adapted for the stage based on the same-titled 1967 Hollywood movie, it made its highly popular Broadway debut in 2002 and also spawned a successful national touring production soon thereafter. Young, attractive, small-town Millie arrives in Manhattan in 1922, fresh from rural Kansas, and becomes thoroughly dazzled by the lure of the "modern age," as epitomized by the great city of New York. Soon, with the help of handsome but unemployed Jimmy Smith, she finds lodging in a nearby girl's residence hotel and also quickly gains employment as a stenographer. Millie then decides that the most "modern" thing for her to do would be to marry a millionaire, such as her boss. Meanwhile, back at her modest residence, she has also become quite friendly with sweet young lovely Miss Dorothy, yet another rural based newcomer. With a golden-blonde coiffure, composed of many Shirley Temple type ringlets, and wearing a simple high buttoned gown, Miss Dorothy is intent on a career as an actress. However, she has also attracted the attention of the hotel's sinister manager, Mrs. Meers. A former duplicitous actress, now posing as the hotel's Chinese director, she is in actuality the head of a white slavery ring that arranges to kidnap young American females and transports them, against their will, to the fleshpots of old Hong Kong. This is done with the help of her two bona-fide Asian henchmen, Ching Ho and Bun Foo. However, things don't turn out exactly as Millie had hoped when her boss becomes romantically smitten with Miss Dorothy, and is further complicated when Mrs. Meers and her helpers succeed in kidnapping the prim dainty blonde. Everything finally does reach the expected happy ending when Miss Dorothy is found and freed and Mrs. Meers' dastardly scheme is foiled. Of course, Millie likewise finally realizes, instead, that her true love is really the aforementioned Jimmy Smith. Deftly directed by Frank Roberts and Troy Magino, sweet, full-voiced Eden Riegel is splendid as the exuberant Millie, with grandly farcical support by Maryann Zschau as Mrs. Meers, Siobhan Maus as Miss Dorothy, Edward Watts as Millie's love-happy boss and Andy McLeavy as the ever-helpful Jimmy Smith. Janelle Ann Robinson as Jimmy's wealthy and highly resonant socialite friend, who helps Millie to finally realize that she does indeed love Jimmy, is most especially noteworthy, as well! The sprightly score of more than a dozen tunes is spiritedly defined by the fine title song, along with Millie's determination to "Forget About the Boy," followed later by her "Gimme,Gimme" hope to find "that thing called Love." Of special interest is Millie's early singing stenographic "Speed Test," involving her rapid fire enunciation of a whirlwind of Gilbert and Sullivan styled lyrics, later matched by a hilarious parody of Victor Herbert's "Ah, Sweet Mystery of Life" sung full tilt, a la Jeanette MacDonald and Nelson Eddy, by Miss Dorothy and her lovesick boss. Still later, Arthur Kwan and Sage Park as Ching Ho and Bun Foo bring down the house with their boisterously funny rendition of Al Jolson's signature song "My Mammy," sung in Chinese, complete with brightly projected and highly elevated English subtitles. Much praise is also due for the excellent full orchestra conducted by Rick Scalese, Martin Pakledinaz' colorful period costumes, Troy Magino's lively choreography, and James Fouchard's striking multiple urban settings. Now playing through July 23. (My Grade: 5)

THE LAST DAYS OF JUDAS ISCARIOT
Review by Norm Gross

At the Boston Center for the Arts, Company One presents its production of "The Last Days of Judas Iscariot," by Stephen Adly Guirgis. A substantial success Off-Broadway in 2005, this new staging is its Boston area debut. It's set as a courtroom drama and shaped by its decidedly vociferous rowdy street language (with many highly comic overtones) in that section of Purgatory known as "Hope." There sits the presiding judge, high above at his elevated podium, together with an attractive female defense attorney named Fabiana Aziza Cunningham and the meeting's sleazy prosecuting attorney known as Yusef El-Fayoumy, along with a small attending jury. The tribunal has been called to re-examine and to finally really decide the ultimate fate of Judas Iscariot, the duplicitous betrayer of Jesus! In the light of Jesus' mission of all-forgiving love and redemption, shouldn't the informer's damnation at least be reconsidered? To this end a host of prominent and lesser known Biblical figures have been summoned to testify. Amongst them are Judas' mother Henrietta Iscariot, St. Monica, Caiaphas, St. Peter, and Matthias of Galilee. Especially noteworthy here were Simon the Zealot, who had hoped that Jesus would lead the revolution against the existing order, and Mary Magdalene who insisted that she was not a whore and was instead the actual founder of the Christian Church. Of course, Pontius Pilate, who adamantly claimed that Judas never had any remorse, and a smooth, well-dressed (in the most up-to-date fashion) stridently assertive and highly animated Satan, who held firm that he never tried to sway Judas, were also major contributors. Similarly, feisty Mother Theresa and the highly confrontational Sigmund Freud were also called to testify. Freud concluding that Judas was really insane calmly declared that "Any God who punishes the mentally ill is not worth worshiping." Without reaching a verdict, the play's compelling finale was finally focused on the provocative meeting of the loving Jesus with his betrayer and framed by a juror's trenchant comparison of his marital lies and infidelity with Judas' perfidy. Portraying a wide array of diverse roles, it is being intensely acted by the large 15 member cast, under Summer L. Williams' strong direction. Noel Armstrong as the resonantly confident defense attorney, Mason Sand as the tricky prosecuting attorney, George Saulnier as Caiaphas, Shawn LaCount as Satan, Cliff Odle as Pontius Pilate, Danny Maurino as Simon the Zealot, Nael Nacer as Jesus, and Greg Maraio as both Freud and the conflicted juror were all passionately effective, with additional commendation for Raymond Ramirez as the quietly anguished Judas. Lastly, while the play's nearly three hour performance time would definitely be improved by some significant and judicious editing, nevertheless it stands as quite absorbing, enlightening and challenging. Now playing through August 5. (My Grade: 4.5)

JAY JOHNSON: THE TWO AND ONLY
Review by Norm Gross

At the American Repertory Theatre's new Zero Arrow Theatre in Cambridge, Mass. is their presentation of "Jay Johnson: The Two And Only," a new one person show written and performed by the extraordinary and multi-faceted ventriloquist Jay Johnson. Starting with a brief exploration of the history of ventriloquism, from ancient times when its practice was considered supernatural and demonic, to its popular acceptance as a mainstay of vaudeville, he gradually begins to tell us about his passionate thirty year career as a performer. He starts by describing his interest, when he was just a young child, in his cousin's doll, sparked by his fascination with the many famous ventriloquists that he saw on TV. Eventually, this brought him to his first meetings with his mentor Art Sieving, a puppet maker, who presented him with "Bob," his first stage-dummy. Thereafter, came his many years playing in carnivals, theatres and clubs leading to his ultimate recognition as one of this country's great master ventriloquists. He's now probably best known as a popular cast member of the long-running hit TV series "Soap" However, this 95 minute show is much more than just Jay Johnson's reminiscences about his life and times. It is, instead, primarily a thoroughly entertaining and grandly amusing evening exhibiting Jay's many diverse and remarkable talents. Amongst a host of similarly exhilarating moments, the enthralled capacity audience was captivated by his sharp-tongued and blindfolded vulture (" I'm the bird of death! I Wait! I Watch! I Eat!"), along with his providing the voice to a talking disembodied head, followed by a telephone conversation in which Jay was also the distant electronic voice on the other end of the phone line! He then followed with a comic talking softball named "Spaulding" and continued to amaze us all by drawing a cartoon face (with a black marker) on a large pad, and then with its pictorial eyes rolling and its animated mouth spouting hilarious comments, he then proceeded to wipe all traces of this drawing away. The evening's memorable finale involved a wildly vigorous and spiritedly guffawing monkey who uproariously lifted the audience out of their seats with his outrageously unbridled antics, followed by Jay's touching final tribute to the memory of his deceased mentor Art Sieving. Now playing through August 6. Although very highly recommended for adults, do consider bringing the children along, too! (My Grade: 5)

SINGIN' IN THE RAIN
Review by Norm Gross

At the North Shore Music Theatre in Beverly, Mass. is their new production, in the round, of " Singin' in the Rain," based on the classic 1952 motion picture. Adapted for the stage from their original screenplay by Betty Comden and Adolph Green, the lively musical score is actually a collection of songs by Nacio Herb Brown and Arthur Freed which were originally written for several MGM musicals during the 30s. Comden and Green also contributed several brand new songs in collaboration with Roger Edens to the show. The plot, a delightfully comic spoof on Hollywood's transition from Silent movies to " Talkies," centers on Don Lockwood and Lina Lamont, Monumental Studio's biggest silent stars. However, Lina's annoyingly shrill speaking and singing voice creates a major dilemma for the Studio when she and her costar are set to appear in their first sound film. Fortunately, Kathy Selden, an aspiring starlet and Don's real sweetheart, is quickly brought in to secretly dub her voice ( both speaking and singing ) onto the soundtrack! When the pompously self-centered Lina discovers what Don and the Studio Head have done, she demands that Kathy's contract limit her movie career to always just being Lina's secret voice! The clever and highly amusing way in which Lina's nasty scheme is revealed to the movie-going public finally brings Don and Kathy to the film's happy ending. Throughout Don is also assisted by Cosmo Brown, his ex-dancing partner during their early years together in Vaudeville. Aside from the show's memorable title tune, the evening's best numbers are mainly the newly added songs mentioned earlier! " Fit as a Fiddle," ( suggesting Don and Cosmo's days as a song-'n-dance team ), " Moses Supposes," ( a spoof of the Elocution lessons needed to prepare for " Talking Pictures " ), " Good Morning " ( in which Don, Kathy and Cosmo stay up all night thinking up ways to improve Don's forthcoming movie ), and " Make 'Em Laugh"( where Cosmo animatedly demonstrates the wide variety of his many comic skills ) are amongst the evening's most noteworthy highlights. Throughout, the classic motion picture's original choreography by Gene Kelly and Stanley Donen is evident in Director Richard Stafford's stylized dance sequences. As expected the show's grand title song, with the help of a creatively suspended sprinkler, is splendidly performed in the "rain" by Matt Loehr. However, two slight near-mishaps suggest that even greater caution and care (under such wet and slippery conditions) should be actively considered! Later in the show an impressively performed dancing salute to MGM's popular 30's and 40's "Broadway Melody" movie series, as imagined by Don, is brilliantly danced by Matt Loehr and Sae La Chin. Mark Ledbetter and Kelly D. Felthous were both likewise quite compelling as Cosmo and Kathy. Randall Klein's bright period costumes, the vibrant full orchestra accompaniment conducted by Richard Hip-Flores, and the amusing film projections (surrounding the central arena) parodying silent movies ( also directed by Richard Stafford ) were all equally notable. Now playing through July 30. (My Grade: 5)

THE RINK
Review by Norm Gross

At the Cape Playhouse in Dennis, Mass., now enjoying their 80th season, is their new production of "The Rink," featuring Music by John Kander, Lyrics by Fred Ebb, and Book by Terrence McNally. Although it was nominated for several Tony awards, including a "Best Actress" nod for Chita Rivera, its original star, it was only a modest success on Broadway at its premiere in 1984, followed in 1988 by a brief engagement in London. As such, this rarely performed, but quite involving musical play is certainly a welcomed revival. As weary middle-aged Anna, having just sold the family's decrepit seaside roller skating rink for development, prepares to leave, she's surprised by the unexpected arrival of her wayward young adult daughter Angel, who's been gone for seven years. The appearance of the demolition crew ignites a fierce confrontation between mother and daughter, filled with regrets, laced with anger at the rink's proposed fate, intermingled with hope for the future. Embittered by having had to manage the entire enterprise by herself, after being abandoned by her husband, (the father of their only child) when Angel was a little girl, Anna now looks forward to a much easier lifestyle. Told in a series of flashbacks, framed by a host of compelling plot-driven songs, Anna and Angel finally do come to a joyfully tearful rapprochement by the final curtain. Leslie Uggams is first rate and full voiced as the wearily aggrieved Anna, with a solidly impressive and commanding portrayal by the grandly resonant Janet Metz as Angel. Similar praise is also due for the fine supporting ensemble, who assume a wide variety of dissimilar roles. They are especially memorable in their well-coordinated, show-stopping turns, in the vivid roller skating scene, performed by them at the show's midpoint. Michael Minarik as Anna's highly troubled husband, and Angel's absent father, Bill Kocis as a hopeful suitor planning to marry Anna, and Stephen Berger as Angel's grandfather are all equally noteworthy. Kander and Ebb's engaging and often affecting score includes such fine songs as "Familiar Things," "We Can Make It" (I'm here with you), "What Happened to the Old Days?," "Colored Lights," and "The Apple Doesn't Fall" (far from the tree). Extra notice must also go to the splendidly atmospheric multi-level set, with its classic central pipe-organ, elevated, revolving and sparkling crystal ball, and illuminated cocktail bar, complete with stools, designed by Daniel Meeker, with similar regard for the vibrant six member orchestra conducted by Andrew Gerle. Lastly, plaudits are also most certainly due for Michael Unger's strong direction. Now playing through July 15. (My Grade: 5)

MONSIEUR CHOPIN
Review by Norm Gross

The American Repertory Theatre at the Loeb Drama Center in Cambridge, Mass. is now presenting the East Coast premiere of "Monsieur Chopin," written and performed by Hershey Felder. A great success earlier in Chicago in 2005, it represents the second in Felder's trilogy of biographical one-man plays, which were first presented in his acclaimed 2002 "George Gershwin Alone," and which will be completed with the debut of his upcoming solo play about Beethoven next February in Chicago. Now dressed in an elegant 19th Century morning coat, shifting his long fine auburn locks, seated at a splendid grand piano in his Paris salon in 1848, Felder as Chopin prepares the audience for a piano lesson, which gradually becomes the story of his life. Exiled from his beloved Poland, Chopin made his living in France as a teacher. During the next nearly two hours, he tells the enthralled audience about the major events in his short, brilliant, but troubled career, illustrating each momentous happening by majestically playing many of this great master's best loved compositions. His happy childhood is framed by a lively performance of a very early "Polonaise," while the tragic young death of his teenaged sister Emilia is marked by his soulfully compelling rendition of "Marche Funebre." His move to Paris, ("The musical capital of the world") is highlighted by selections from "Romanza, E Minor concerto, " " Larghetto, F Minor concerto, " " Nocturne in C-Sharp Minor," and "Prelude in G Major," amongst many others. His passionate anger at the news of Russia's ongoing crimes against his homeland, and his intense rivalry and envy with Franz Lizt ("That ostentatious Hungarian") act as a precursor to his stormy romance with the celebrated novelist George Sand ("The most famous woman in France"). He rapturously describes their eight years together, with idyllic periods in Majorca and Nohant, as "pure bliss." Their relationship finally erupts with her scandalous novel about their long affair. It appears as a fictionalized version of their love, in which he is represented in thinly disguised, but quite obvious and humiliating fashion! Wracked by chronic consumption and many periods of "Melancholia," (now diagnosed as "Bipolar Disorder"), Chopin died in 1849 at the untimely age of 39. The play concludes with Felder's vivid performance of the composer's resounding "Polonaise in A-Flat Major." Following the audience's highly enthusiastic standing ovation, Felder returns to the stage as himself to informally chat with them about Chopin's life and music. He concludes by encouraging them all to join him in singing "I'm Always Chasing Rainbows," a popular song from the 1940's based on "Fantasie Impromptu in C-Sharp Minor." While this type of audience involvement in his earlier play about George Gershwin seemed quite appropriate, considering Gershwin's background in "Tin-Pan-Alley," here it seemed to be just a hokey contrivance to generate more of the assembly's approval. The opulent, multi-curtained salon setting, designed by Yael Pardess, was complemented by the interesting portraits of Sand and others, as designed by John Boesche and projected onto the draperies behind Hershey Felder, as he sat and played Chopin's sublime music. Similar commendations must also go to Richard Norwood's highly dramatic and effective lighting and most certainly to Joel Zwick's assured direction. Now playing through July 30. (My Grade: 4.5)

THE MOST FABULOUS STORY EVER TOLD
Review by Norm Gross

At the Plaza Black Box Theatre in the Boston Center for the Arts the Encore Theatre Company presents their new production of "The Most Fabulous Story Ever Told," by Paul Rudnick. First staged in New York in 1998, it was later very well received at the B.C.A. when it was originally staged here (by another local company) back in 2000. A provocative and very witty exploration of the Bible, it offers a host of amusing and challenging questions and observations about the Good Book. Told from a decidedly gay perspective, it provides us with many unusual and quite extraordinary changes in these legendary accounts. In the beginning God appears, to the rear of the stage, as a young attractive woman, wearing an amplified headset and holding a scheduling pad as she resonantly announces the first scene, cues the play's action, describes the Creation, and continues thereafter to announce each new change in time, place and circumstance. Innocent Adam and Steve miraculously find themselves in the wonderful Garden of Eden, soon to be joined there--also miraculously-- by their adult children, Jane and Mabel. Since that famous and nefarious snake never appears, their departure from this sublime setting comes about thanks to their ongoing curiosity about the outside world, sparking God's displeasure. Furthermore, here also, Jane does not slay Mabel, and they all remain together as a family throughout. Their long years of travel through forests and storms are finally ended with the onset of the really Great Flood. Their consequent voyage on the Grand Ark, complete with all of the world's animals, is then undertaken without Noah ever being mentioned or seen. Eventually, this all leads them to Egypt. There they are witness to its historic rise and fall due to the people's Great Liberator (here known by them as "Brad".) While Adam continues to trust in the word of God, Steve is continually filled with doubt. Their bristling philosophical disagreements leads Adam and his followers into long years in the desert with Steve remaining behind, lost in Sodom. As they are both then beset by the ravages of war, pestilence, and disease, each is forced to cry out in despair for a Miracle. It comes to them, at the conclusion of Act One, as the Nativity. Act Two shifts the time and place to a loft in today's Manhattan on Christmas eve. Now contemporary Adam and Steve are joined by Jane (who is 9 months pregnant, thanks to Adam as her sperm-donor) and her soon-to-be bride, Mabel. Their holiday house guests also include a gay friend dressed as Santa, a young querulous female Morman, and the last minute arrival of a handicapped lesbian Rabbi in a wheelchair, ready to boisterously officiate at the marriage of Jane and Mabel. All of this is played out in a barrage of nonstop hilarious dialogue where one wildly uproarious thrust after another is aimed at almost every standard or conventional spiritual or religious notion. The results are very challenging, stimulating, engaging and very funny, with some thoughtful reflection lasting long after the play's finale. Performed with much comic flair by the young enthusiastic cast. Albert Chan and Jason Fenton are both quite amusing as Adam and Steve with equally and effectively humorous acting by Christine Powers and Robin Rapoport as Jane and Mabel. Kami Crary is properly authoritative and businesslike as the ever present Stage Manager (God), with jocular support by Jeffrey Kwong and Colleen Dever in a variety of different roles. Tauheed Zaman as both the Egyptian Pharaoh and the Gay Santa, and most especially Carla Whittley's grandly over-the-top performance as the stridently assertive, handicapped lesbian Rabbi were particularly striking! Extra notice should also go to Kai Cho's simple but effective set, composed of both large and small movable wooden blocks, as well as Lisa Cahill's colorful costumes, and Christina Hanson's strong direction. Now playing through July 1. (My Grade: 5)

THE WILL ROGERS FOLLIES
Review by Norm Gross

At the Robinson Theatre on the Waltham High School campus in Waltham, Mass. the Reagle Players are now presenting their production of "The Will Rogers Follies," featuring Book by Peter Stone, Music by Cy Coleman and Lyrics by Betty Comden and Adolph Green. A major multi Tony Award-winning success on Broadway after its debut in 1991, it has also enjoyed several very popular national tours since. Subtitled, "A Life in Revue," it vividly traces the ascent to prominence of the celebrated folksy philosopher who, at the turn of the 20th Century rose from lively and unpretentious but obscure and barnstorming rope-twirling vaudevillian, to becoming star of the Ziegfeld Follies and then a major Hollywood motion picture actor, as well as a highly influential nationally syndicated newspaper columnist and network radio commentator. He had truly become America's first full-media Superstar. His life's story, in word, song and dance, is being performed before the original production's radiant, stage-wide, ten step, constantly and colorfully illuminated staircase, by local grandly voiced TV news anchorman Scott Wahle in the title role. He's grandly supported by a young, talented and highly exuberant cast of more than 50. Rogers' courtship and marriage to his patient and loving wife Betty, his heavily demanding public performing and speaking schedule, and his consistent concern for the well being of his four children, are deftly explored. Of course, his overwhelming national public acclaim, including his unsuccessful independent run for the U.S. Presidency, and his untimely death at age 55 in a plane crash, are all fluidly related in this captivating 2+ hour show. The lively musical score with such grand songs as "Will-a-Mania," "Give a Man Enough Rope," "We're Heading for a Wedding," "Favorite Son," and "I Never Met a Man I Didn't Like," are all resonantly sung by the cast and Wahle as Will, with lovely Sara Pfisterer equally noteworthy as his wife Betty. Much fully deserved applause was garnered by the large, beautiful, high-stepping female chorus-line, wowing the capacity audience with several highly coordinated and very animated dance numbers, featuring Tommy Tune's original choreography, as recreated by Eileen Grace. Similar praise must also go to Willa Kim's resplendent costumes and to Dana Leigh Jackson as the evening's lovely tall singing and dancing narrator; Harold " Jerry " Walker as Will's zestful old dad; and (recruited from recent touring companies of this same show) expert rope twirler Chris McDaniel and the lively, onstage stunts executed by Joanne Wilson and her trained performing dogs. Assuredly directed by Robert Eagle and Eileen Grace, with vibrant full orchestra accompaniment conducted by Paul S. Katz, this splendid family-oriented entertainment is now playing through July 1. (My Grade: 5)

ONCE UPON A MATTRESS
Review by Norm Gross

At the Plaza Theatre in the Boston Center for the Arts the Animus Ensemble is presenting their new production of "Once Upon A Mattress," featuring Book by Jay Thompson, Dean Fuller and Marshall Barer, Music by Mary Rodgers, (daughter of Richard Rodgers) and Lyrics by Marshall Barer. A solid favorite when it premiered on Broadway in 1959, it has since been frequently and successfully staged throughout this country many by both large and small companies. It was once again enthusiastically welcomed upon its New York revival in 1996. As originally conceived it was based on the classic fairy tale, "The Princess and the Pea." Princess Winnifred arrives at the Royal Palace, having swum the Royal Moat, hoping to win the hand of Prince Dauntless. However, his domineering mother, Queen Aggravain, has decreed that the Prince shall only wed a bona fide Princess. Accordingly, to prove her true Royalty, Winnifred (who prefers to be called "Fred") must pass a series of tests, the last of which is the most important. That evening she must sleep on top of a humongous stack of mattresses, with just one small pea stashed underneath the bottom mattress. If she's unable to sleep because of the discomfort she suffers, thanks to that lowly pea, it will be proof of her Royalty. As expected, at the finale of this winning show, "Fred" can't sleep during the entire night because of that pesky bottom pea, with her betrothal to the Prince as the happy ever after result. However, this time around, the old fairy tale's story and this frisky musical's premise have both been given a decidedly new and different spin. Now "Fred" is a male, first appearing, fresh from his wet entrance via the Palace Moat, crowned with a white swim cap, adorned by a pink flower, wearing a bright lavender blouse and jet black shorts. His feet are bare and his ankle is ringed by a floral bracelet. This opens every door to many quips, both spoken or sung, hinting at same-sex marriage and all the other such similarly potent contemporary and topical issues. Brent Reno is a fine handsome, well-voiced, Princess "Fred," with equally appealing acting and singing by Todd Sandstrom as Prince Dauntless. Kate deLima is grandly amusing as his overbearing and quite over-the-top mother, Queen Aggravain, with much zestful support by the large youthful singing and capering 20+ cast. High laughter inducing marks must also go to Eric Ruben as the Queen's totally mute husband King Sextimus, Ariel Heller and Erin Tchoukaleff as Sir Harry and Lady Larken, a pair of troubled courtly sweethearts, and Stefanie Tovar as the show's enthusiastic and capricious Minstrel and Narrator. Amongst the best of the tuneful score was Winnifred's highly animated "(I'm) Shy" (Sure, I'm demure.); Sir Harry and his Lady's "Yesterday I Loved You," and the Queen's rollicking assurances of her "Sensitivity," with lively choreography by Josie Bray and spirited musical accompaniment provided by the fine small orchestra conducted by Gary Durham. While some significant attention was paid by Costume Designer Katie Sikkema to the outfits worn by Princess "Fred" and Queen Aggravain, otherwise by comparison, the ensemble dressed in contemporary, unadorned and unexceptional T-shirts, jeans, slacks, and mini-skirts seemed dull and uninspired. This was especially obvious in Shonna McEachern's vivid singing of her "Soft Shoes" tribute to her dancing vaudevillian dad. It would certainly have helped if she wore some interesting decorative elements to emphasize that she was indeed the Court Jester. Similarly Ray O'Hare, dressed in formal and lackluster business attire, looked much more like a C.E.O. than the "Wizard" he was supposed to be. While the cast's everyday attire was certainly acceptable, the play's fairytale aspects suggest that a few added colorful or creative embellishments would have gone a long way in sprucing up their overall appearance! Now playing through June 24. (My Grade: 4.5)

HEADING FOR EUREKA
Review by Norm Gross

At Boston's Center for the Arts' Plaza Black Box Theatre, CentAstage has presented its recent world premier production of the now concluded comedy "Heading for Eureka," by local playwright George Sauer. As the typical American family: George (Dad), Martha (Mom), Dick (their teenaged son), Jane (their teenaged daughter), and Toto (their small stuffed pet dog), head across the Western desert in their SUV, everything starts to go wrong when their vehicle suddenly explodes. Their predicament forces them to begin a desperate and unsuccessful search for food and water culminating with Toto becoming their dinner. We also soon learn that George suffers from low self esteem, having been laid off from his job, while Martha has been suspected of "Insider Trading." Soon Dick and Jane begin to think that maybe their dad had actually engineered their calamity in order to collect some insurance money. His later unexpected disappearance seems to confirm their suspicions. All the while they've been under continuous surveillance by a young man garbed in full-feathered, American Indian headwear, carrying a boom box, and systematically reporting the family's every move on his cell phone. Act One then wraps up with the sudden appearance of grandpappy, the crusty old proprietor of the nearby "Last Chance Motel." He also informs them that the spying young "Indian," who's been watching and reporting on them, is just his grandson. Unfortunately, after this promising and highly farcical beginning, Act Two unexpectedly becomes overloaded with plot complications and underdeveloped shifts in the casts' characterizations. Now Jane is pregnant, with the earlier "Indian" spy revealed as the soon-to-be baby's father. Searching for some kind of cultural identity, he then fluctuates in rapid succession from being a Yiddish-accented Hassidic Jew, into an ultra-hip white street-wise punk acting and speaking like an African American L.A. Gang member. Shedding these poses, he finally announces that he's really an Alien from outer space named (you guessed it,) Mork. Meanwhile, Martha now sees herself as an artist with fine art potential akin to those of the legendary Georgia O'Keefe, while her son Dick has abruptly changed from being a typical teenaged malcontent to an ultra-conservative fiscal authority, dressed in a formal business suit. All the while, the missing dad is discovered to be working, first as a dentist in a small remote village, then as a surveyor in the desert, and still later as a radio talk host. None of these bizarre transformations are ever fully explained, justified or advanced meaningfully. This is compounded even more when a tax official shows up at the motel to question Martha about her insider trading, to no seeming purpose. Act Two's best moments are reached midpoint when grandpappy, a former actor, reenacts the 'mad scene' from Shakespeare's "King Lear," followed by his extraordinary onstage tumbling as a consequence of a major sandstorm. Eventually, (to sum up most succinctly) all of this comes to a close with a most outlandish finale. Well played by the fine six member cast, with plaudits for Dale Place as George (including his portrayals of several other minor roles), Maureen Keiller as Martha, Michael Avellar as Dick, Allison Colby as Jane, Adam Soule as Mork, and most especially Jeff Gill as Grandpappy, all under Darren Evans' well focused direction. Commendations are also most certainly due for Kenneth Loewit's amusingly cartoonish set, and John Tibbett's lively choices of recorded, old western movie songs as background music. (My Grade: 2. 5)

SONGS FOR A NEW WORLD
Review by Norm Gross

At the Cambridge Family YMCA Theatre in Central Square, Cambridge, Mass. Metro Stage Company & She Productions recently presented their now concluded staging of "Songs For A New World." Originally produced Off-Broadway in 1995, this was its Boston-area debut. A revue of 16 new songs, all with Music and Lyrics by Jason Robert Brown, with each tune featuring its own complete and trenchant storyline. Opening with the soaring title-song "New World" ( come to me, hold me to your promise) exultantly sung by the strong young full voiced and compelling eight member ensemble, and followed by an imposing succession of equally impressive numbers. They ranged from an intense song about a couple's impending breakup "Just One Small Step" (and I'll be Free), passionately sung by Tracy Nygard; then by Grace Sumner's resoundingly moving rendition of "I'm Not Afraid of Anything" (be it growing old...or going out of style); Joshua William Heggie's vivid "When She Cries," instead of leaving her (she sighs, she smiles, and you'll stay forever); Chas Kircher's resonant singing of "The World Was Dancing" (oblivious of personal or familial travails); Aaron Velthouse's vigorous chanting of "I'm King of the World" and James Tallach's evocative version of "I'd Give It All for You" (to have you by my side) were all quite haunting. Finally, Mary O'Donnell's touching and troubled salute to "The Flagmaker," busy preparing banners for soldiers away at war (one more star, one more stripe, till they come back home) and especially Kristen Huberdeau's wryly exuberant paean to her former lovers who promised her "The Stars and Moon," instead of offering her the yacht or the champagne that she really wanted, were both genuinely memorable! It's also noteworthy that the latter song has also since gone on to become a favorite and witty standard with many well known jazz vocalists. This grandly provocative and quite stimulating collection of new songs by a fine young composer, performed by a superb group of youthful talented singers was effectively directed by Janet Neely with stirring musical accompaniment by a vibrant, onstage quartet conducted by keyboardist Karen Gahagen, with equally notable choreography by Donald Ray Gregorio. (My Grade: 5)

HOT MIKADO
Review by Norm Gross

At Eliot Hall in Boston's Jamaica Plain neighborhood, The Footlight Club (which proudly asserts itself to be "America's Oldest Community Theater") presents its new production of "Hot Mikado," a contemporary adaptation of Gilbert and Sullivan's classic light opera. This presentation is substantially different from the first, similarly-named All-Black version, staged in 1939 in Manhattan by the flamboyant Broadway producer Mike Todd, which featured the legendary African-American tap dancing star of stage and screen Bill "Bojangles" Robinson. No longer 'All Black,' it was successfully re-adapted in 1986 for Washington's Ford Theatre by David H. Bell, its Artistic Director, with Musical Concepts and Arrangements by Rob Bowman. Now reset in the late 1930's and early '40's, its story remains essentially faithful to its original 1885 source. Nanki-Poo, the handsome young runaway son of Japan's Mikado (Emperor), comes to the city of Titipu disguised as a wandering swing musician, seeking his sweetheart Yum-Yum, who's soon to be married to her foolish, middle-aged guardian, Ko-Ko. Unfortunately, he faces beheading for violating the Mikado's stern decree forbidding "flirting" with the opposite sex. To avert this drastic punishment, Ko-Ko appoints himself as the 'Lord High Executioner,' because by holding this commanding position he's now not permitted to execute himself. To ensure this plan, since all of Titipu's city officers have resigned, he also appoints his friend Pooh-Bah to assume all the vacant municipal posts. These duties range from Attorney General and Police Commissioner to Lord High Admiral and Secretary of State. Meanwhile, besides longing for Yum-Yum, Nanki-Poo also left his father's court to escape from the wiles of Katisha, a sexy and predatory vixen, who fancies him. However, an edict unexpectedly arrives from the Mikado announcing that the position of 'Lord High Executioner' must be abolished if no execution is soon to occur. This prompts Nanki-Poo to agree to be beheaded, in one month's time, if he's first allowed to marry Yum-Yum! The unforeseen arrival of Katisha seriously complicates matters for them all with surprising and grandly happy and comical resolutions for everyone. John Raftery and Lauren Sprague make an attractive, appealing, and full-voiced couple as Nanki-Poo and Yum-Yum, with Artie Leger as the amusingly crafty Ko-Ko, David Leong as the all-important Pooh-Bah, and Brandon Grimes as the always assertive Mikado, providing them with solidly comic support. Lovely Rydia Q. Vielehr, as the very alluring and quite sonorous Katisha, was likewise especially impressive. Unfortunately, the large, young supporting ensemble, although quite enthusiastic, were often mostly uneven, occasionally amateurish, with several whose vocalizing was rather labored and sometimes awkward. Of course the classic and grandly comic musical score featuring such memorable offerings as Nanki-Poo's "A Wand'ring Minstrel,I", Ko-Ko's lively "Behold the Lord High Executioner," " I've Got a Little List," and "Tit-Willow," and Katisha's "Alone and Yet Alive," plus Yum-Yum,(and her two lively sisters), spiritedly singing as the well-known "Three Little Maids," (in the fashion of the popular 40's-styled Andrews Sisters) were all equally imposing. Much praise is also due for Director Richard Repetta who also designed the splendid pink, Japanese styled set complete with its small elevated bridge and colorful hanging paper lanterns. He likewise was responsible, together with Dora Cruz, for the bright costumes, with all the males bedecked in eye-popping, multi-hued, 1940's-styled "Zoot-Suits," and the females all costumed in lovely, resplendent Japanese kimonas. Finally, while the lively five piece Band directed by pianist Tim Evans, (perched on stage, high above and behind the set), occasionally sounded a bit too ragged, for the most part provided otherwise fine musical accompaniment for this exuberant show. Now playing through June 17. (My Grade: 3.5)

AIN'T MISBEHAVIN'
Review by Norm Gross

At the North Shore Music Theatre in Beverly, Mass. is their new production of "Ain't Misbehavin'" conceived by Murray Horwitz and Richard Maltby, Jr., a celebration of the life, times and music of Thomas "Fats" Waller. Its highly enthusiastic Broadway debut in 1978 has continued to spawn many popular national touring companies of the show ever since, including similarly successful presentations in London in 1979 and again in 1995. Waller, who came to national prominence in the late 1920's and early 30's, was a major luminary in the jazz world making his mark as a prime Stride pianist, vocalist and composer, with a grand flair for comedy. He was second only, at that time, to receiving the great popular acclaim showered onto the legendary Louis Armstrong. Waller, like Satchmo, also appeared in many motion pictures. A celebrity used to high living and many lusty appetites, he died in 1943 (at the highly untimely age of 39) while en route by train back to New York, after appearing in the Hollywood movie "Stormy Weather." This new production features a superb ensemble of accomplished performers: Monique Midgette, Ken Robinson, Idara Victor, Natasha Yvette Williams, and Joe Wilson, Jr., who together as well as soloists succeed brilliantly in evoking the spirit of the great and legendary jazz star. The program (divided into two acts with a brief intermission) features 18 tunes written by Waller, with lyrics by a variety of different co-composers. It also features a dozen other songs by other songwriters, which also went on to become hugely popular Fats Waller hit recordings. Those penned by the great jazz star included "Honeysuckle Rose," "Squeeze Me," "I've Got a Feeling I'm Falling," "Out of Mischief Now," and of course the splendid title tune. Amongst the other hit songs which he only introduced on disc were "I Can't Give You Anything But Love," "It's a Sin to Tell a Lie," and "I'm Gonna Sit Right Down and Write Myself a Letter." The evening's most memorable moments featured ensemble vocal renditions of three Waller instrumental compositions (with new lyrics added by Maltby and Horwitz): "Handful of Keys," "Lounging at the Waldorf," and the ever compelling "Jitterbug Waltz." The program also presented several outstanding show-stopping numbers: ( Why're you so...) "Fat and Greasy?" and the grandly amusing "Your Feet's Too Big," plus his trenchant 1929 plaint about the suffering brought on by racial bigotry, (Why was I born so..) "Black and Blue." Certainly the show's most memorable segment was Joe Wilson, Jr.'s extraordinarily vivid solo rendition of "Viper's Drag" (subtitled "The Reefer Song.") High marks must also go to the small highly rhythmic seven piece band conducted by Pianist Darryl Ivey; William H. Grant III's effectively dramatic Lighting and definitely for the vibrant Choreography and well focused Direction (in the round) by Kent Gash. Now playing through June 18. (My Grade: 5)

CYRANO DE BERGERAC
Review by Norm Gross

The Trinity Repertory Company in Providence, Rhode Island is now presenting their new production of "Cyrano De Bergerac" by Edmond Rostand, as translated and adapted by Anthony Burgess. The classic hero of this celebrated tragicomedy, first performed in France in 1897, has served as a favorite role for countless of the world's finest actors ever since. Set in the 17th Century, its legendary plot centers on Cyrano, a dashing soldier-- one of the best swordsmen in all of France--who's equally famed for his wit and poetic expertise. Although he's deeply in love with his beautiful young cousin Roxanne, he knows that she will never love him because of his very large and uncommonly grotesque nose. As his plight unfolds, he also learns of Roxanne's love for Christian, a handsome but quite awkward young soldier. As their paths cross, Christian tells Cyrano of his great love for Roxanne, and asks for his new friend's help in wooing her. Inept at expressing himself, and aware of Cyrano's great poetic reputation, he persuades Cyrano to let him use as his own, a love letter that the great swashbuckler had secretly written for Roxanne. Now with Roxanne convinced of her sweetheart's poetically passionate capability, even poised under her balcony, the tongue-tied suitor finds himself still unable to adequately express his ardor, while the hapless and hidden Cyrano continues to prompt him with his hushed and eloquent words of love. Later, when Christian and Roxanne are finally married, much to the chagrin of his Regiment's Commander (who had also shown some romantic interest in her), the angry military leader orders the new bridegroom to report for battle duty. With France now at war with Spain, when both Christian and Cyrano go off to fight with their Regiment, Christian is killed in the conflict. The play then ends 15 years later with Roxanne, having long retired to a convent, finally coming to realize that her dying old friend Cyrano was the actual composer of the majestic poetic words of love that had so passionately inspired her. While played vividly with great physical and vocal flair by Mauro Hantman in the title role with an equally compelling performance by Angela Brazil as Roxanne, unfortunately although Noah Brody as Christian and still later Fred Sullivan, Jr. as his irked Commanding Officer were effective most of the time, regrettably their occasional attempts to spoof their periodic dismay as highly farcical moments seemed labored and quite inconsistent with the play's otherwise sentimental and lofty mood. However, much praise is due for the splendidly rustic wooden framed set (with its elevated platforms, stairway and hanging chandelier) designed by Eugene Lee, with equal approval for Craig Handel's deftly choreographed swords play. Many plaudits must also go to William Lane's impressive period costumes as well as to the large competent 17 member cast, with extra notice for William Damkoehler as the zestful manager of a lusty, local Rotisserie. Lastly, Amanda Dehnert's assured direction and her commanding choice of the tender French songs sung by members of the cast to define various scene changes, were equally noteworthy. Now playing through June 11. (My Grade: 4)

CAROLINE OR CHANGE
Review by Norm Gross

At the Boston Center for the Arts' new Calderwood Pavilion the SpeakEasy Stage Company, in association with the North Shore Music Theatre presents "Caroline Or Change," featuring Music by Jeanine Tesori and Book and Lyrics by Tony Kushner. Nominated for six Tony Awards including "Best Musical," at the time of its acclaimed New York engagement in 2004, this presentation represents its New England premiere. It's fashioned much like a Folk Opera in which this stirring musical play's storyline is driven virtually nonstop, in recitative style, wherein its more than three dozen "songs" act primarily as the play's dialogue. It's set in Louisiana in 1963 amidst the tumultuous changes being wrought in this country by the ongoing civil rights movement and the shocking assassination of President Kennedy. Caroline, a 39 year old divorced African-American mother of four, works as the maid for the Gellmans. They are a middle-class Jewish American family consisting of widower father Stuart, (employed as a professional clarinetist), his second wife Rose, (a displaced New Yorker), and Stuart's eight year old son, Noah. The troubled young boy, obviously distraught by the loss of his actual mother, and ill at ease with his new step-mom, seeks consolation and assurance from Caroline, the family's longstanding house maid. As she labors her long hours at the washing machine and dryer in the family's basement laundry, she's comforted by the ever present table radio and, in the early evening, by the bright moon shining through the room's nearby window. In the play's strikingly imaginative flights of fancy, these all assume human form and sing their life affirming songs to her. Still later, the local city bus is also added to these singers, when Caroline is returning to her own home. A'lisa D. Miles as both the matronly, gospel-tinged Moon and Blues styled washing machine, Brian Richard Robinson similarly as the rhythmic and assertive dryer and City Bus, and the trio of Emilie Battle, Nikki Stephenson, and Anich D'Jaeb Wright as the soulful radio (coming on and singing like the early soft-pink gowned "Supremes") were all quite compelling! The plot's turning point erupts when young Noah's step mom decides to arouse his sense of responsibility by encouraging Caroline to keep any and all of the loose change that Noah is always forgetting to remove from his about-to-be laundered clothing. Noah's disturbing confrontation with Caroline, sparked by her discovery of a significantly large amount of his forgotten "change" in his pile of laundry, (which she hopes to use for her family's Christmas presents), sharpens the special double meaning of the play's provocative title and brings its challenging and transforming message of hope, humanity and ultimate betterment into clear focus. Jaqui Parker (one of this area's finest actresses) is superb in both acting and singing the highly demanding title role with very effective support by young Jacob Brandt as Noah. Much praise is also due for Sarah Corey as his concerned step-mom and Michael Mendiola as his somewhat uninvolved dad. Merle Perkins as Caroline's very outspoken neighbor Dotty, and most certainly Shavanna Calder as her boldly contesting eldest daughter Emmie are also most impressive. Potently directed by Paul Daigneault with a highly adaptable basement and upper living room set designed by Eric Levenson, commendations must also go to the splendid seven member orchestra directed by Pianist/Conductor Jose Delgado playing the evening's compelling, multi-layered musical score with its many references to R&B, Jazz, Spirituals and even Klezmer Music. This genuinely memorable production's performance schedule has now been extended by the Company, due to popular demand, through June 10. (My Grade: 5)

LOVE'S LABOUR'S LOST
Review by Norm Gross

At the Boston University Theater the Huntington Theatre Company presents its new production of "Love's Labour's Lost" by William Shakespeare. Reset at the beginning of the 20th Century, the King of Navarre has challenged Longaville, Dumaine, and Berowne--his three most loyal Lords-- to join in a demanding oath. They must all pledge that for three years they will totally avoid pleasures, concentrating instead on study, and shun any and all females. Berowne, the most independent of the trio, while accepting the King's order, still harbors some reservations concerning the purpose for such a pledge. All's well until the beautiful Princess of France officially arrives, joined by Maria, Katharine, and Rosaline, her lovely three attending ladies. Of course, this bevy of beauties puts a serious kink in the plans of the King and his three loyal attendants for romantic abstinence. As expected, the bemused female visitors take great delight in upsetting their counterparts' pompous hypocrisy. Into this lusty comic stew the Bard also adds Don Adriano de Armado, a fatuous self-centered Spaniard, and Moth, his dimwitted page. Performed with great comic flair by Noah Bean as Berowne and Mia Barron as the Princess of France with grandly amusing support by Kieran Campion, James McMenamin, and Eric Anderson as the King, Longaville, and Dumaine. High praise must likewise go to Krystal Rowley, Rachel Rusch, and Zabryna Guevara as the Princess' lively entourage. Especially noteworthy also is the always impressive Will LeBow as the vain and foolish Don Adriano de Armado, with similar praise for Jeremy Beck as Moth, his simpleton page. Initially revealed as an imposing curved library, Alexander Dodge's splendid setting is then transformed into a great majestic green backdrop, which is then enlivened with small wittily-animated projections of a seagoing steamship. This elegant set is then centered by a very large moving Oak tree which, in concert with Ben Stanton's commanding lighting, deftly suggests the play's various time changes. Equally noteworthy are Mariann Verheyen's opulent turn-of-the-century costumes and most certainly Nicholas Martin's strong direction. Michael Friedman's captivating original Shakespearean-based music, all spiritedly sung by the cast, and blended with many ragtime-styled touches, buttressed by occasional renditions by them of more recent ballads such as "Meet Me Tonight In Dreamland," were all strikingly accompanied by pianist Robert Mollicone. Most memorable, in this respect also, was Will LeBow, as the Spanish Armado, briefly taking over at the piano, to vividly play and sing a particularly ribald version of an old Al Jolson novelty tune entitled "The Spaniard Who Blighted My Life." Now playing through June 11. (My Grade: 5)

KONG's NIGHT OUT
Review by Norm Gross

The Lyric Stage Company of Boston is now presenting the world premiere of "Kong's Night Out," a new comedy by Jack Neary. Set in a Midtown Manhattan hotel suite in October 1933, debt-ridden Producer Myron Siegel is desperately hoping his new about-to-open show "Foxy Felicia" will be his saving lifeline. However, Carl Denham, his arch rival, is preparing to unveil a mysterious super attraction at a nearby theater that appears to be seriously luring all of Siegel's potential audience away. Of course the play's title removes any mystery that might have otherwise attached itself to Siegel's dilemma. Playwright Neary then systematically adds all the requisite and expected characters and situations. In Siegel's hotel suite we find Sally, his feisty Showbiz mom; Daisy, his newly arrived, highly eager, young bumpkin niece from Buffalo; Sig, his new play's portly and oafish European financial backer (direct from Budapest); Bertrille, his two-timing wife (who's secretly in cahoots with nasty competitor Denham); Little Willie, his dimwitted Lower East Side type subordinate; and of course, Blonde Ann (who, like the original movie's Fay Wray, is the living object of that big famous Gorilla's passionate love.) Naturally, Ann's fiance Jack, is there in Siegel's Hotel suite, too. Little is left to either surprise or catch us unawares. The set-up's outcome is just like moving checkers: 1-2-3 on a waiting checkerboard, since we know that Kong will ultimately come to Siegel's hotel window to grab Ann and carry her off to the nearby Empire State Building. As in Kong's first Hollywood appearance, here again his massive hand, as so many years before, is very deftly and prominently involved. Just as in the very popular Broadway mid-30's farcical, hotel-set, success "Room Service," (which later became one of the Marx Brothers' biggest movie hits), there's loads of confused identities and much running about, along with lots of slamming hotel doors, however without any of the famous Brothers. Unfortunately, like these old worn and predictable situations, the familiar jokes, mostly about Daisy's (ha,ha) hometown Buffalo, and the very, very frequent references to Carl Denham's (ho,ho) Extra-Big "Monkey," come across just as duds. The hard working ensemble try their best with their obvious assignments. Larry Coen as Siegel, Ellen Colton as his fast-talking mom, and most especially Lordan Napoli as his hyper avid, out-of-town niece, do their utmost with their stock characters. Similarly, Timothy Smith as Denham, Steve Gagliastro as Little Willie, M.J.J.Cashman as Sig, Rachel Harker as Siegel's wife Bertrille and certainly Sarah Abrams as Kong's special love interest Ann, as well as Christopher Loftus, as her fiance, also offer their very animated support. Finally, solid commendations are due for Robert M. Russo's grand art-deco hotel setting, Gail Astrid Buckley's attractive 30's styled costumes and most certainly for Spiro Veloudas' spirited direction. Now playing through June 3. (My Grade: 2.5)

THE ISLAND OF SLAVES
Review by Norm Gross

At the Loeb Drama Center in Cambridge, Mass. the American Repertory Theatre presents its new production of "The Island of Slaves" by Pierre Marivaux, translated from the French by Gideon Lester, and assuredly directed by Robert Woodruff. This classic 18th century comedy was written as a challenge to the class and social divisions of its time. As originally penned, Masters and their servants, traveling from Athens, are shipwrecked onto a remote island which is now governed by renegade Greek slaves. There they've established their own isolated dominion as an outpost dedicated to democratic equality. As such the newly arrived aristocrats and their servants (who were treated like slaves) are forced, under threat of death, to not only exchange their clothing with their attendants, but to also reverse their upper and lower class status with them. By so doing, they are thereby redirected towards a new appreciation of humility, justice, and humanity. In this extraordinary new interpretation, the play's time and place have now been reset to the present day in a run down nightclub called "Utopia," populated by a bevy of raucous and extravagantly costumed drag queens. Iphicrate, an arrogant and abusive nobleman; Arlequin, his long tormented jester; Euphrosine, a pompous self-centered and disdainful dame; and Cleanthis, her downtrodden hand maiden, are met after their arrival by Trivelin, the club's cool and calm manager. As expected, their forced changeovers initially result in the anticipated transformations of the former Masters, having finally been exposed to the long festering hurt and wrath of their previous menials. They are likewise also chastened by some concerted degradation by the Club's members. For example, Euphrosine, wearing a pig's mask, is strapped onto a jumbo spinning wheel, which is then rotated and actively sprayed with many bursts of colorful paints. Similarly, the anguished Iphicrate must don his buffoon's garish suit as the unbridled and contemptuous drag queens cover his bedraggled hair with a very gaudy wig. However, the sorry plights of the disrupted Aristocrats also brings about some surprising changes in the behavior and mind sets of their new superiors. Extremely well played by John Campion as Iphicrate, and the ever exceptional Karen MacDonald as Euphrosine, with intense and masterful performances especially by Remo Airaldi as the long suffering Arlequin, and Fiona Gallagher as the passionately unbound Cleanthis. High marks must also go to Thomas Derrah as the business-like Trivelin, and most definitely to the quintet of outrageously assertive drag queens whose titles range from "Landa Plenty" to "Fena Barbitall. " This production is certainly one of this Company's most fascinating, compelling and provocative re-workings of a great classic. Now playing through June 11. (My Grade: 5)

THE RAT PACK RETURNS
Review by Norm Gross

At the Stoneham Theatre in Stoneham, Mass. is their presentation of "The Rat Pack Returns," a musical revue performed as a tribute to Frank Sinatra, Dean Martin, Sammy Davis, Jr., and Joey Bishop. A long running hit in Las Vegas, this presentation marks the show's Boston area debut. The production was produced by Dick Feeney and Sandy Hackett (son of the late and legendary comedian Buddy Hackett) with much of the original script developed by comedian Joey Bishop, with additional input by Buddy Hackett. Starring Jonathan Poretz as Frank, Johnny Edwards as Dean, Kenny Jones as Sammy, and Mickey Joseph as Joey, this quartet does a remarkable recreation of the fabulous four, who would occasionally perform together, usually extemporaneously at the Sands Hotel in Las Vegas, mostly as a surprise to whomever was starring there at the time. Best known for their easy going and laid-back banter, their grandly amusing interplay was always defined by each of them performing both as soloists and then in tandem. Poretz was quite impressive reprising "Come Fly With Me," "A Foggy Day in London Town," and "You Make Me Feel So Young", amongst others, deftly approximating Sinatra's original vocal style and flair. While neither Jonathan Poretz nor later Mickey Joseph tried to look like their famous alter egos, Johnny Edwards and Kenny Jones were surprisingly able to not only sound like Dean Martin and Sammy Davis, Jr., but to also really look amazingly just like them,too! Replete with Dean's jet-black coiffure and his ultra-relaxed manner, his renditions of "That's Amore," and "Everybody Loves Somebody Sometime," and Sammy's resounding interpretations of "The Candy Man," "That Old Black Magic," and "What Kind Of Fool Am I?," were both quite remarkable! Dean singing "Sam's Song," as a duet with Sammy, and later on Frank also in duet with Sammy performing "Me And My Shadow" were equally noteworthy. In contrast, between the above mentioned vocal stints, Mickey Joseph as Joey Bishop regaled the capacity audience with his nonstop barrage of "Borscht Belt"-styled jokes, as all four were then rhythmically backed on stage by Lon Bronson's dynamic swinging 12 piece Band. This splendid 90 minute extravaganza finally came to a roaring closure with Dean, Sammy and Joey joining Frank in rousing versions of "The Lady Is A Tramp," and "Birth Of The Blues," followed by Frank's striking emotional concluding rendition of "My Way. " Now playing through May 28. (My Grade: 5)

CHARLIE VICTOR ROMEO
Review by Norm Gross

At its new Zero Arrow Theatre in Cambridge, Mass. the American Repertory Theatre presents the New England premiere of "Charlie Victor Romeo," a theatrical re-enactment based completely verbatim on "Black box" transcripts retrieved from six actual airline emergencies. Created by Bob Berger, Patrick Daniels, and Irving Gregory, this live performance documentary was highly acclaimed upon its New York debut in 1999 and has since toured extensively throughout the U.S. to similar approval. The winner of many awards including the 2000 "Drama Desk Award," the production was also filmed by the U.S.Air Force as a training video for pilots and has also elicited great interest by many physicians and healthcare administrators. Enacted in a well simulated aircraft's cockpit, designed by Bill Ballou and Cecile Boucher, Paul Bargetto, Noel Dinneen, Nora Wooley, Bob Berger, Debbie Troche, and Sam Zuckerman alternate, in each of the six portrayed crises, as either pilots, assisting technicians, or flight attendants. Initially, a 1995 crash by an American Airlines Flight in Connecticut due to an incorrect altimeter setting and, at the evening's 90 minute conclusion, a 1989 United Airlines crash landing in Sioux City, Iowa caused by an engine's explosion, were the only two disasters that did not result in any fatalities. There were no survivors in the other four calamities. They consisted of a deadly 1994 Simmons Airlines impact in Indiana due to icing conditions; a fatal 1996 descent into the ocean by an AeroPeru Airlines flight off the coast of Lima, (because of instruments inadvertently left taped by the maintenance crew); a 1995 U.S.Air Force crash in Alaska due to involvement with a flock of Canadian geese; and a 1985 catastrophic bulkhead rupture on a Japanese Airlines flight in Japan. In all six incidents the genuinely accomplished cast portrayed the various intensely committed airline personnel with riveting realism and totally convincing accuracy, framed by the very gripping and highly resonant calamitous sound effects designed by Jamie Mereness. This grimly unnerving yet quite spellbinding exploration of the various conditions and reasons for a variety of airborne disasters ultimately stands as a tribute to the skill and dedication of the airline pilots and their assistants. The documentary's title refers to the radio code words for "Cockpit Voice Recorder." Now playing through May 28. (My Grade: 5)

HIDING BEHIND COMETS
Review by Norm Gross

At the Plaza Black Box Theatre in the Boston Center for the Arts the Zeitgeist Stage Company presents its production of "Hiding Behind Comets," a new play by Brian Dykstra. After its successful premiere in Cincinnati in 2004, followed by an equally well received engagement in New York, this presentation represents its Boston debut. Set in a small Northern California neighborhood bar, the play's action revolves around two young fraternal twins: Troy (the Pub's 22 year old bartender) and his feisty sister Honey. As Troy's frisky girlfriend Erin sexily flirts with him, much to the zesty concern of Honey, their interest shifts to Cole, a mysterious stranger sitting alone at a corner table. He soon joins them and over the course of the play's two hour performance time steadily becomes more and more threatening. Cole reveals that he was a Guard and witness at the infamous Jonestown "People's Temple" multi-person mass suicide in Guyana, led by the notorious Cult Leader Jim Jones, more than two decades before. He has been driven ever steadily by persistent questions about the horrific event, and a mysterious woman, a survivor. His main concern has been the whereabouts of her children. Are Troy and Honey her offspring, and who was their father? What was their relationship to Jim Jones and/or even to Cole? Exactly what has been Cole's purpose in so doggedly seeking them over these many, many years? The drama then follows them all as their extreme cat-and-mouse confrontation steadily mounts to its shattering conclusion. Intensely performed by Greg Raposa as Troy, Olivia Rizzo as Honey and Kelley Estes as Erin, with high commendations for Rick Park's powerfully convincing portrayal as the determined and obsessed Cole. This compelling production was potently directed by David J. Miller (the Company's founder and driving force) who was also responsible for the splendid highly atmospheric bar setting. Lastly, the play's title is a reference to the similar and more recent 1997 "Heaven's Gate" mass cult suicide. That multi-person group's self-destructive members believed that there was a Spaceship hiding for them behind the Hale-Bopp comet, as it passed by the earth. They were all convinced that their mass deaths would lead to the Spaceship's transporting them all to the Heavenly Kingdom. Now playing through May 20. (My Grade: 5)

SERENADE/CARMEN
Review by Norm Gross

At Boston's Wang Theatre the Boston Ballet now concludes its current season with two completely different presentations. The evening began with "Serenade," framed by Tchaikovsky's sublime music and superbly danced to George Balanchine's majestic choreography. Created by Balanchine in 1934, it features a splendid seventeen member all female ensemble, with the always impressive Lorna Feijoo and Carlos Molina performing a series of grandiose turns and lifts deftly assisted by Melanie Atkins, Tai Jimenez and Pavel Gurevich. Surprisingly, this piece proved to be the evening's most memorable offering. Unfortunately, the program's major work--- the world premiere of "Carmen"--- newly conceived and choreographed by Jorma Elo and danced to Rodion Schedrin's " Carmen Suite," based on Bizet's original score, proved to be a distinct disappointment! With virtually none of the classic story remaining, the doomed Spanish-Gypsy romance and setting have now here been replaced with contemporary dancers in a murky and neon-lined set suggesting a fashion salon. This modish space is complete with a raised catwalk and a battery of up to eleven--often blinding-- elevated klieg lights, which were constantly and distractingly moving every which way. Karine Seneca and Roman Rykine, while grandiosly dancing, practically nonstop, weren't provided with nearly enough interesting variations for them to perform. They were also similarly, but very ably, joined by Lia Cirio, Pavel Gurevich, and Melissa Hough.The full orchestral accompaniment, although vividly conducted by Jonathan McPhee, was often overwhelmed by much too heavy percussion accents and clashing cymbals. Now playing (with varied and changing casts) through May 21. (My Grade: 3.5)

THE MAN WHO
Review by Norm Gross

At the Boston Playwrights' Theatre, the Nora Theatre Company recently presented the New England premiere of "The Man Who." Listed in their program's notes as a "Theatrical Research," this staged production, as adapted by Peter Brook and Marie-Helene Estienne, was based on the notable neurologist Oliver Sack's 1985 book "The Man Who Mistook His Wife For A Hat." Sack's celebrated treatise on his insights and experiences with many brain-injured patients were developed as an intriguing eighty minute presentation, without an intermission. Stephen Barkhimer, Robert Bonotto, Owen Doyle, and Jim Spencer, by donning or exchanging their white medical tunics with each other, this accomplished quartet of performers effectively alternated as either doctors or patients. Under Wesley Savick's well concentrated direction, sixteen such patients were knowingly and compassionately counseled by their attending physicians. These sensitive and quite compelling meetings ranged from the individual conflicted by "Visual Agnosia" who saw his gloved hand only as a rectangle with tubular extensions, to the person who was frightened by his own reflection in a mirror. Still later the doctors engaged the patient with loss of "Proprioception" who, even with visual assistance, was only able to shave half of his face, being unable to comprehend the other half; or the young man with "Broca's Aphasia" who couldn't recognize his own hands; and then the fellow whose conversation was intermingled with strange, unknown and confused words of his own invention, all of whom were vividly and provocatively portrayed. This highly stimulating, informative and often heart-wrenching exploration of dedicated doctors assisting distressed individuals struggling with their disorienting afflictions, by calmly assisting them with caring support and understanding, was most certainly deserving of the full audience's enthusiastic concluding acclaim! (My Grade: 5)

RAGTIME
Review by Norm Gross

At the new Mosesian Theatre in the Arsenal Center for the Arts in Watertown, Mass. is the New Repertory Theatre's production of "Ragtime," based on the novel by E.L.Doctorow, featuring Book by Terrence McNally with Music by Stephen Flaherty and Lyrics by Lynn Ahrens. It became a multi-Tony Award winner after its highly acclaimed opening on Broadway in 1998. Doctorow's novel had also been released as a major (non-musical) Hollywood motion picture in 1981. An epic chronicle of the United States at the onset of the 20th Century, America's story unfolds in terms of the interactions of three completely dissimilar families. Intermingled with their stories also were such legendary historical figures as Harry Houdini, Henry Ford, Booker T. Washington, Emma Goldman, J.P.Morgan, Admiral Peary and Evelyn Nesbit ( the great beauty who was at the center of the sensational Stanford White - Harry Thaw murder trial). The story begins with a wealthy suburban New York family and their relationship to their pregnant and unmarried African-American housemaid. The father of her baby is the popular Harlem Ragtime pianist Coalhouse Walker. At the center of the plot is the extreme measures Coalhouse takes, fully armed with weaponry and explosives, to achieve justice in response to a series of vicious racist abuses inflicted on him by whites, while he was courting the mother of their unborn child. Together with these tumultuous events is the arrival on these shores of Tateh, an immigrant Jewish widower, with his young daughter. His rise to prominence as a successful Silent Movie Director is interwoven with the main storyline of Coalhouse's fierce struggle for a measure of rectitude. The play's grand historical sweep is enriched by the show's powerful score featuring such memorable songs as "Wheels of a Dream," "Goodbye My Love," "The Crime of the Century," "Gettin' Ready Rag," "Till We Reach That Day," and Coalhouse's hopeful plea, "Make Them Hear You." The large 30+ cast is uniformly excellent with potent performances (all being intensely acted and resoundingly sung.) Maurice E. Parent as Coalhouse, Stephanie Umoh as his pregnant fiancee, Leigh Barrett as the compassionate wife and mainstay of the prominent N.Y. household, and Robert Saoud as Tateh were all especially laudable. Amongst the numerous supporting players - June Babooian as Emma Goldman, Kenneth Harmon as Booker T. Washington, Austin Lesch as the idealistic eldest son of the wealthy N.Y. family, and Aimee Doherty as the glittering Evelyn Nesbit, were also all quite noteworthy. Rick Lombardo's well focused direction and highly astute musical staging, the splendid eight member orchestra conducted by Todd C. Gordon and Janie E. Howland's very fluid set, composed of a series of moveable platforms of various heights,along with an ongoing succession of screened onstage historical photographic projections (to each side of the proscenium), were also quite commendable. All of these strong components welded together to form this well integrated and stirringly provocative entertainment! Now playing through May 21. (My Grade: 5)

ALL'S WELL THAT ENDS WELL
Review by Norm Gross

At the Cambridge Family YMCA Theatre in Central Square, Cambridge, Mass. is The Actors' Shakespeare Project's production of the Bard's rarely-performed comedy, "All's Well That Ends Well." Bertram, a youthful self-centered Count, is commanded by the King to marry Helena, the sweet young ward of his mother. Angered by his forced wedding, Bertram, with the assistance of his unprincipled and crafty friend Parolles, abandons his bride, announcing that he will never accept her until she wears his ring on her finger, which he will never permit. Off to fight for the King in Italy, Bertram there soon becomes attracted to the lovely Diana. However, unbeknownst to him, Helena has secretly followed him to Italy and reveals herself, as Bertram's wife, to Diana. Together then, these two young women devise a scheme whereby Helena will finally find the way to wear her husband's ring. Bertram then comes, as expected, to realize that he really does love Helena. As the play's title so aptly declares, Bertram and Helena are finally happily united at the final curtain, the young Count turns away from his misguided behavior, and rejects Parolles, his underhanded friend. As a consequence, any friction he may have caused with either his mother or the King by his obstructive attitude is amicably corrected. The large ten member cast are all supremely effective with many successfully portraying a wide variety of dissimilar roles. John Kuntz is first rate as the arrogant and self-centered Count Bertram, coupled with a hilarious succession of grandly comic capers as a wildly unpredictable Court Jester. Jennie Israel is sensitively compelling as the highly aggrieved Helena, with commanding support by Ellen Adair as Diana, Paula Plum as Bertram's distressed mother, David Gullette as the King, and especially Allyn Burrows as the shifty Parolles. Caleb Wertenbaker's simple set, composed of many white canvas hanging backdrops, each emblazoned with a different heraldic emblem, such as a rose, star and crescent or even Cupid (with his bow and arrow) or the Fleur-de-Lis, was certainly most striking. Similarly impressive also was the memorable Old English musical accompaniment, played by Musical Director Natasha Collette on piano, with Natty Smith on violin and percussion. Their melodious efforts framed the equally noteworthy singing by most of the accomplished cast members. Paula Langton, Greg Steres, Ellen Adair, Bobbie Steinbach and Risher Reddick were all grandly commendable as actors, as well as folk singers. While Artistic Director Benjamin Evett's direction certainly proved to be amongst this splendid production's strongest assets, the evening's overly lengthy (three hours) performance time suggests that the presentation might definitely be enhanced by some wise and careful editing. Otherwise, in all other respects, this production stands as one of this fine Company's best. Now playing through May 14. (My Grade: 4.5)

EVENING OF RUSSIAN BALLET
Review by Norm Gross

At Boston's Wang Theatre--in an all too brief four days only engagement--the Boston Ballet presents its extraordinary "Evening of Russian Ballet," a program composed of two major extended works plus five short, but nevertheless quite substantial, show-pieces. Beginning with compelling singing, on stage, by the New World Chorale, "Raymonda, Act III"(Music by Glazunov and Choreogaphy by Petipa) features a fine ensemble of sixteen male and female dancers spiritedly performing as they're majestically augmented by flawlessly executed Pas de Deux by Lorna Feijoo and Carlos Molina. Next came the always impressive Boston Ballet Orchestra, conducted by Jonathan McPhee, resoundingly playing a variation on the Finale of Tchaikovsky's "Polonaise," which paved the way for a succession of genuinely majestic pairings by Tai Jiminez and Yury Yanowsky dancing to "Spring Waters" (Music by Rachmaninoff and Choreography by Messerer); Romi Beppu and Carlos Molina gracefully intertwining to "Moszkowski Waltz," (Music by Moszkowski and Choreography by Messerer), and the Pas de Deux from "Le Corsaire," ( Music by Drigo and Choreography by Petipa) again triumphantly danced by the ever superb Lorna Feijoo and Nelson Madrigal. A series of exceptionally high vaults by Christopher Budzynski to an excerpt from "Taras Bulba" (Music by Soloviev-Sedoy and Choreography by Zakharov) and Karine Seneca's memorably expressive solo turns to "The Dying Swan" (Music by Saint-Saens and Choreography by Fokine) rounded up this altogether splendid night's introduction. The evening's major concluding work, "Les Noces" (Music by Stravinsky and Choreography by Nijinska) although first staged nearly a century ago, proved to be the program's most startlingly different and quite contemporary dance piece! Once more commencing with the New World Chorale intoning the jarringly discordant lyrics as Karine Seneca and Roman Rykine commandingly danced an unsettling expressive quartet of duets representing a Traditional Russian Peasant Wedding. This formidable twosome was imposingly supported by the large thirty-six member male and female ensemble, who were vividly and ever so very repetitively leaping up and down, in nearly military precision. A remarkable, vigorously danced, but often trying conclusion to one of this Company's finest presentations. Now playing through May 7. (My Grade: 4. 5)

DAMN YANKEES
Review by Norm Gross

At the North Shore Music Theatre in Beverly, Mass. is their new production of "Damn Yankees", featuring Words and Music by Richard Adler and Jerry Ross with Book by George Abbot and Douglass Wallop. A multi-Tony Award winning hit after its New York debut in 1955, with similar success in 1958 when released as a major motion picture. The Hollywood version was quite noteworthy since it also featured the entire original Broadway cast, with the exception of Tab Hunter in the leading role. Updating the Faustian legend to the mid 50's, rabid middle-aged baseball fan Joe Boyd makes a pact for his soul with the Devil (known here as Mr. Applegate), to save his beloved faltering Boston Red Sox. Although heretofore all productions of this same show revolved around the fate of the slumping Washington Senators, this time around for this presentation, the Devil's contract is comically focused here on the Bosox. Joe Boyd is then transformed into a young ace superstar pitcher and hitter, now named Joe Hardy. Fortunately, before signing on with the Devil, Hardy had also strongly insisted on an escape clause in his contract. Of course it comes in quite handily at the show's bright conclusion. Resisting the seductive wiles of beautiful and sexy Lola, Applegate's glamorous assisting enchantress, Joe Hardy is still finally able to return to his calm and loving middle-aged wife, at the final curtain. The show's memorable musical score has always proved to be its grandest resource. "(You Gotta Have) Heart," and (Then I Thought About...) "The Game" have since been forever associated with this country's national pastime. Certainly, the rousing "Whatever Lola Wants, Lola Gets", "Those Were The Good Old Days," and "Near to You," amongst others, also served the production very well. The large young and attractive Red Sox uniformed cast, all in strong voice and spirited dance movement, were all quite exemplary. Solid commendations are also due for full voiced George Merrick as Joe Hardy and lovely, sultry Shannon Lewis as the beguiling Lola, who kept the show's momentum at a lively pace. Their vivid singing and dancing as "Two Lost Souls," to the highly rhythmic onstage accompaniment of jazz saxophonist Robert Bowlby Jr., was one of the evening's brightest high spots. Lastly, crafty Jim Walton was in top comic form throughout as Applegate, whether mimicking the voice of Teddy Kennedy or predicting the long long wait of the Red Sox, (at the Devil's insistence) for the Millenium, and 2004. High praise for Barry Ivan's strong direction and spirited choreography. Now playing through May 14. (My Grade: 5)

THE SWEETEST SWING IN BASEBALL
Review by Norm Gross

At the Plaza Theatre in the Boston Center for the Arts is the Boston Theatre Works' East Coast premiere production of "The Sweetest Swing in Baseball" by Rebecca Gilman. Dana Fielding, a prominent artist, finds that the exhibition of her latest paintings has been a failure both critically and financially. This overwhelmingly negative reception to her artwork, coupled with a breakup with her boyfriend, leaves her in a deep funk. An unsuccessful attempt at suicide (slashing both her wrists) lands her in a local mental ward. While she finds comfort and acceptance there, she's also very upset when she discovers that her health insurance will just permit her to be in the ward for only ten days. Determined to remain there longer, with the help of two accommodating patients, she decides to try to convince her doctors that she suffers from schizophrenia, and begins to assume the traits of flawed baseball star Darryl Strawberry. Nicknamed, "the sweetest swing in baseball," like Dana, he too suffered from falling short due to his drug and alcoholic addictions, followed by his well reported tries at a comeback. Knowing little about the famed athlete, she's greatly assisted, regarding Strawberry's history and statistics, by two fellow inmates, a friendly alcoholic and a non-threatening sociopath stalker. Her successful deception convinces her doctors to allow her to remain at the institution. Her extended stay there ultimately leads to her return to her artwork and to critical and financial acclaim, in the fine arts world, as a major artist. The surprising and enthusiastic reception at the play's finale accorded to Dana for her new paintings depicting "Baby Chicks as Baseball Players" says much not only about the uncertainties and unpredictability of fame and fortune, but also mightily about the shallowness of the dealers in Fine Arts as well as their well heeled patrons! Sarah Newhouse is supremely effective as the deceptive Dana, with splendid support from Adam Soule and Chris Brophy as her alcoholic and sociopath cohorts. Hearty plaudits must also go to Eve Passeltiner and Maureen Keiller as both Dana's art-dealers and her easily hoodwinked psychiatric physicians. Similar praise is likewise due for Jason Southerland's brisk direction and especially for Jenna McFarland's highly creative set, consisting of a series of moveable panels, which were quickly and easily transformed from an Art Gallery into a Rehabilitation Center. Now playing through May 6. (My Grade: 5)

TALLEY'S FOLLY
Review by Norm Gross

The Lyric Stage Company of Boston recently presented its new production of "Talley's Folly" by Lanford Wilson. After the play's popular Off-Broadway debut in 1979, it went on to win the Pulitzer Prize the following year. It is the center piece of Wilson's trilogy, including "The Fifth of July," and "Talley and Son," set in his home town of Lebanon, Missouri, chronicling the lives of the Talley family. The action of this one act play takes place on the night of July 4, 1944 in the family's ram-shackled boat house (known by them as the "folly " of the play's title.) Matt Friedman, a 40 year old Lithuanian-born Jewish emigre, now lives and works as an accountant in St. Louis. He's come to see Sally, the family's 31 year old unmarried daughter. After a week long tryst during the previous year, followed by a host of many unanswered letters to Sally, Matt has finally come to Lebanon to propose marriage to her. To emphasize the point , he addresses the audience directly at the play's onset, informing them that his mission is just "a no holds barred romantic story, like a waltz...one-two-three, one-two-three, with only 97 minutes (the play's performance time) to accomplish his task." An improbable two-some, their similar sense of being "outsiders" seems to have drawn them together. Matt as the emigre victim of European prejudice, brought to the fearful forefront by the rise of Nazism, and Sally, as a member of a rather bigoted Southern family, now approaching middle-age as lonely, frustrated, and unmarried. Nevertheless, she remains steadily unwilling to explain to him why her engagement to a prominent local suitor, many years past, was abruptly terminated, with her isolated and solitary life as the result. Through a series of gently awkward jokes and ungainly but heartfelt observations, Matt is finally able to lower Sally's resistance, paving the way for both to express revelations of their deepest held secrets and innermost yearnings. While Marianna Bassham brought just the right feelings of hesitation, solitude and discouragement to her role as Sally, unfortunately Stephen Russell initially seemed a bit uncomfortable with Matt's fluctuating European accent, and was often unconvincing, however as the drama progressed, he grew more assured as Sally's earnest and forthright pursuer. Lastly, high marks must also go to Janie E. Howland's rickety and run-down boathouse setting, as well as to Adam Zahler's well focused direction. (My Grade: 3.5)

NUNSENSATIONS! - THE NUNSENSE VEGAS REVUE
Review by Norm Gross

At the Stoneham Theatre in Stoneham. Mass. is "Nunsensations! - the Nunsense Vegas Revue," written and directed by Dan Goggin. Following the triumphant, multi award-winning New York debut of the original "Nunsense" in 1986, author-composer Goggin has followed his initial smash hit with a series of highly successful sequels. These succeeding revues, each with a new setting, with all new songs and comedy skits, have kept enthusiastic audiences delighted nationwide with the antics of the quintet of singing and dancing Little Sisters of Hoboken, New Jersey in their ongoing comedic efforts to enlist financial aid for their convent. This time around the Sisters have been lured to the Pump Room Lounge, on the third floor of the Mystique Motor Lodge in Las Vegas by the enticing promise of a $10,000 donation, if they'll perform there. Before an elevated pink bandstand, complete with a quartet of highly spirited musicians, flanked by an ascending wrap-around staircase, with a glittering backdrop accented by golden draperies, the cavorting Sisters entertained the capacity audience for nearly two hours, (including intermission) with more than two dozen uproarious comic songs, intermingled with gentle but still lively jokes and frivolous banter. From the hilarious start of Act One, with the Sisters singing "Life is a Game of Chance", while bedecked with jumbo pink-feather head gears, while also waving huge pink-feather fans, followed by the equally amusing "Holy Rollers Game, " defined by Faith, Hope and Charity, to the grandly amusing spoof of Old-time Burlesque, whereby the Little Sisters adorned their dark, black robes with outrageously comic cartoon white "sexy" coverings, the Sisters were greeted throughout by thunderous approval. Act Two was similarly laced with a bevy of lively songs and familiar jokes, such as "The Las Vegas Drive-In Confessional" (known as Toot and Tell) or "Apple," the first computer used by Eve,... to the notorious "Mustang Ranch," referred to by Sister Mary Paul (also known as "Amnesia") as the city's "Horse House." Carolyn Droscoski, Bambi Jones and Carrie Keskinen (all in grand voice and equally graceful and adept at either the two-step or the latest dance moves) and especially Bonnie Lee as the jovial, Irish-brogue Reverend Mother and most certainly attractive Jeanne Tinker as the capricious Sister "Amnesia," were all in top form! This is definitely one of Dan Goggin's best editions of his "Nunsense" series, and the overwhelming audience response has prompted the Stoneham Theatre to add an additional performance to their concluding Sunday schedule. Now playing through April 30. (My Grade: 5)

CHRISTINE JORGENSEN REVEALS
Review by Norm Gross

At the Calderwood Pavilion's new Roberts Studio Theatre in Boston's Center for the Arts, the Theatre Offensive presents the area premiere of "Christine Jorgensen Reveals," conceived and performed by Bradford Louryk. This show comes here after an earlier well received initial run Off-Broadway and will be staged in Dublin, Ireland later this year. In 1950, only a few years after his discharge from the U.S.Army, 24 year old Bronx native George Jorgensen, after researching the revolutionary and still somewhat controversial sex change operations being undertaken in Scandinavia, flew to Denmark. He was intent on undergoing the new surgery that hopefully would transform him into the female he had always felt that he was. Thanks to this extraordinary gender change, his return to New York City in 1953 was greeted as a major, headline-worthy, news event, and the newly renamed woman, Christine Jorgensen, quickly became an overnight national celebrity. This sudden fame eventually propelled her into headlining as the star of a highly popular professional nightclub act throughout the 1960's, followed by much similar success during the 70's as a nationally touring lecturer to many enthusiastic college audiences. After retiring to California in the 80's, she died of bladder cancer in 1989. With his discovery of a recording that Christine made in 1957, of an interview (the only one of its kind) with African-American entertainer Nipsy Russell, actor Bradford Louryk went on to develop this recreation of this 50+ past years old Questions and Answers session. Wearing a bright, blonde wig, extensive makeup, and a glamorous gown, on a virtually bare stage, with just an early black-and-white television receiver as the only stage prop, Louryk flawlessly lip-syncs the actual recorded voice of Christine Jorgensen, while fellow actor Rob Grace (the play's co-creator), on videotape voices Russell's original questions. The result is an engaging and quite provocative hour-long exploration of Christine's character, as well as the then prevalent notions about notoriety, morality, sexual identity, and other similarly related attitudes. "Do you ever wish to become a man again?," "Will you be able to have children?," "What is the reaction of other women to you?," "What happened to your surgically removed parts?," "Did you ever suffer much disrespect, either off-stage or while performing your night club act?," "Was your choice a courageous act or simply evidence of perversion?," "Are your parents proud or ashamed of you?," "Will you ever marry?," and finally, amongst many such others, " What was your reaction upon learning that your night club act was 'Banned in Boston?" Throughout, in answering , Christine remained strong, stately, unruffled, confident, and completely assured. From start to finish, Bradford Louryk and Rob Grace are totally convincing and compelling in this stimulating re-examination, not only of Christine's historic decision, but also of the attitudinal and behavioral changes her resolution initiated then and is still inspiring! Now playing through April 29. (My Grade: 5)

SWAN LAKE
Review by Norm Gross

Matthew Bourne's radical reinvention of "Swan Lake" was presented at a recently concluded-- all too brief-- four days only engagement, at Boston's Colonial Theatre. Eliminating all vestiges of the lovely and transformed Odette, her graceful handmaidens, her lovelorn male sweetheart, and the initiating, malevolent Wizard; Bourne, the celebrated British choreographer, writer, and director has devised a completely new and revolutionary interpretation for Tchaikovsky's legendary music. This original, highly acclaimed, multi award-winning production made its debut in London in 1995, followed by a similarly enthusiastic presentation on Broadway in 1998. This production marks its first time on a Boston stage. Regrettably, the ballet's opening night was marred by major technical problems forcing the Company, at the very last moment, to cancel that first evening's performance, much to the dismay of the wholly distressed capacity audience. Fortunately, all succeeding performances were presented as planned. In a contemporary Palace (seemingly European), a young distraught and lonely Prince is upset by his mother, the Queen's disapproval of his lovely young sweetheart (a commoner). Later, after a lively evening with his girlfriend at a local nightclub, returning to the Palace alone, the tipsy Prince pauses at a secluded lake. There, under the moonlight, he encounters a flock of highly energetic swans. In this new version, the most discussed and controversial change takes place, as the swans are revealed as a vividly, assertive corps of male dancers. The fascinated young Prince, in a brilliantly executed encounter, then becomes totally enthralled by the swan's charismatic leader. Act Two finds the unhappy young Royal unimpressed by the many prominent young females his mother, the Queen, has invited to the Palace Ball, for his approval. He's then attracted by the arrival of a mysterious male stranger, who exudes the same overwhelming charm as the swan's leader. Disheartened by the stranger's obvious disinterest, coupled with the newcomer's heavy involvement with the Queen, the distraught Prince retires to his bedroom. Later, that evening, at rest in his bed, ever more massively despondent about his regimented life, he's visited there by apparitions of the many highly energetic swans he'd seen earlier. As they vigorously dance about the bedroom, he's shown the way to a better existence by their alluring leader. As the Prince dies, we last see him, reflected in a large mirror hanging above his bed, being embraced by the swan's leader. Intensely and passionately danced by both Jose Tirado as the swan leader and the stranger and Neil Penlington as the very troubled young Prince, in a succession of quite compelling and highly demanding solos and duets, with impressive dance support by Saranne Curtin as the unyielding Queen Mother, Leigh Daniels as the Prince's accomodating girlfriend, Alan Mosley as the Prince's Private Secretary, as well as the dynamically vigorous and accomplished 30+ accompanying, dancing ensemble. This remarkable presentation has certainly proved to be a major event in this year's theatrical season here in Boston! (My Grade: 5)

THE ROAD HOME: Remembering America
Review by Norm Gross

At the Boston Center for the Arts' new Calderwood Pavilion the Huntington Theatre Company presents the world premiere of " The Road Home: Re-Membering America," a one-man play written and performed by Marc Wolf. Based on a series of tape recorded conversations Wolf had as he drove across America from Los Angeles back to his home in New York City during the immediate aftermath of the 9/11 disaster. Dressed in khaki "fatigues" on a bare stage, with only a rustic type picnic table and a flag pole with two large and small American flags as the sole stage props, Wolf assumes the voices, attitudes, and physical stances of a great number of widely varied Americans. As expected, many are concerned, shaken and deeply distressed by the terrorists' attack, while others surprisingly remained mired in their own personal interests. Talking to a West Coast husband and wife decrying the American public's dependence on oil, and later with a native American Indian sadly recalling our nation's many past Indian massacres, Wolf then encounters a German hitch-hiker while crossing the desert. The foreign sojourner is not only amazed at the scope of American technology but is also quite annoyed at the overwhelmingly hectic pace of everyday life here. The excessive greasiness of our fast-food, likewise perturbs him. At a "Ghost Town" in Nevada, a local pundit contends that "the U.S. Government has been terrorizing the State of Nevada forever" with less than scant justification for his claim. In Mississippi, a traveling salesman strongly declares how he voted affirmatively for the Confederate flag, while a neighborhood store owner sees the 9/11 attacks as a portent of "the end of the world." An Asian-Indian dentist comes forward who now feels that, as a Moslem, he has become trapped between the two worlds of the U.S. and the Middle East! Still later, at the Martin Luther King Museum in Memphis, Wolf listens as a visitor there is filled with pride by Dr. King's majestic legacy. In Virginia, a local actress derides New York City as the much too self-centered media target of the terrorists, while a hairdresser in Washington, D.C. wonders "Are we next?" Amongst still many others, finally an architect in Manhattan, living near "Ground Zero," declares decisively that "The two Towers were our Totem." Like similar documentary-styled theatrical works by Anna Deveare Smith, and others, Marc Wolf has woven a fascinating oral and visual tapestry of our countrymen, in the wake of our national crisis. While, as previously stated, some remarks were quite pertinent and focused on the new gravity, and many others were certainly not, the author-performer's multi-layered observations and portrayals were solidly provocative and compelling from start to nonstop finish. Now playing through April 30. (My Grade: 5)

ORPHEUS X
Review by Norm Gross

At the new Zero Arrow Theatre in Cambridge, Mass. the American Repertory Theatre presents "Orpheus X," a new play featuring Music and Text by Rinde Eckert, the play's star. Based on the ancient myths of poet and musician Orpheus and his beloved Eurydice, coupled with that of Persephone, the Queen of Hades. Set in contemporary urban America, famed Rock star Orpheus, dressed in T-shirt and jeans, with his perennial guitar hanging across his chest, continues to languish in an ongoing funk that has overwhelmed him for many days. His depression stems from an accident which was caused some time before by a taxi in which he was riding. Lovely young Eurydice, a promising poetess, was killed at the time while crossing the street, dying in the arms of Orpheus. The celebrated rock star has been obsessed by the memory of the graceful and tragic victim, ever since. Concerned that Orpheus has shut himself off from the outside world, his manager tries unsuccessfully to turn him away from his malaise. Meanwhile, we see the deceased Eurydice scurrying about, vigorously scribbling her poetry in heavy unintelligible chalk strokes on every surface available on the far surrounding stage walls. Later, Persephone, Queen of the Underworld, intrigues her with the notion that in Hades, by immersing herself in "The River of Forgetfulness," her poetry will be regenerated. Meanwhile Orpheus, still haunted by thoughts of Eurydice, decides he must go to Hades to bring her back. Now blindfolded, Orpheus confronts Persephone, and by the intensity of his singing is able to convince her to allow him to return with Eurydice to the Real world. However, Persephone demands but one prerequisite. As these two ascend to the upper Life, he must not look back at Eurydice. As expected, faithful to the legendary tale, as they begin their escape together, Eurydice removes the blindfold from Orpheus. Rinde Eckert is strong in voice and performance as the central figure, as is John Kelly, with equally compelling and effective portrayals as both the Manager and Persephone. Extra special praise is also due for full-voiced soprano Suzan Hanson as Eurydice. Impressive and commanding musical support, a composite of Hard Rock, modern Jazz, occasional Far Eastern motifs, and free-form Operatic themes, was provided by the splendid on stage quartet: Jeff Lieberman, piano & guitar, Wendy Richman, viola, Blake Newman, bass, and Timothy Feeney, percussion. The sparse and nearly bare set, defined by a massive, horizontal girder and a contrasting tall heavy vertical beam, designed by David Zinn and Denise Marika, was vividly utilized for a succession of fascinating video projections, also created by Ms. Marika. These focused on the very distant and nude Eurydice continually entering and then re-entering Hades, supplemented by a variety of colorful abstact drippings and/or crimson oozings. Similarly involving large rear-screen projections were also simultaneously shown at the back of the stage. All of these imaginative, and genuinely engaging conceptions coming together to memorably retell this classic story! Now playing through April 22. (My Grade: 5)

TALKING TO TERRORISTS
Review by Norm Gross

The Boston Center for the Arts and The Sugan Theatre Company presents its production of "Talking to Terrorists," a new documentary-styled play by British author Robin Soans and the docu-drama's original director, Max Stafford-Clark, who interviewed 30 or more terrorists, as well as some of their victims. Well received at its London debut last year, this production represents its American premiere. The guiding impetus behind collecting the many verbatim reasons given by the interviewees, which form the core of this compelling and informative docudrama, obviously was the author's attempt to understand why these seemingly average everyday individuals would engage in such horrific atrocities. Those questioned included a former member of the Ulster Volunteer Force; the ex-head of Bethlehem's Al-Aqsa Martyr's Brigade; a juvenile schoolgirl forced to join the Ugandan National Resistance; Terry Waite, the kidnapped Anglican representative, held as a hostage somewhere in Lebanon for 4 years; Patrick Magee, the ex-IRA agent, who set off the bomb at a British Hotel that killed 5 people, including a near-miss for the Prime Minister; as well as former British Ambassador Craig Murray, who opposed the use of ntelligence achieved by torture; former member of Parliament Norman Tebbit, whose wife was crippled at the above mentioned hotel bombing; and also the former British Secretary of State for Northern Ireland. Invariably and uniformly, the terrorists base and justify their various murderous acts on the urgency and desperation of their causes, while the assorted government officials and victims try their best to explain their comprehension of and/or responses to the horror. One of the most graphic descriptions was that of the very young female juvenile combatant, impressed into the Ugandan National Resistance, who described her participation in the massacre at an enemy camp, where no living person was to be left, and where multi-enemy amputations had become commonplace. Under the potent direction of Carmel O'Reilly (the Company's Founder and Artistic Director) the accomplished eight member cast fervently and effectively portray the docudrama's multiple and varied roles. As their intermingled responses, laced as they are with a blend of fanaticism and futility, mesh to form this powerful whole. High praise is especially due for the entire ensemble: Geralyn Horton, Gabriel Kuttner, Lau Lapides, Mario Mariani, Dale Place, Dafydd Rees and Mason Sand, with extra commendation for Eve Kagan's very strong performance as the young female Ugandan conscript. J. Michael Grigg's fine scenic design: a series of movable panels, suggesting many different urban windows at night time, was also quite commendable. Now playing through April 8. (My Grade: 5)

UNFORGETTABLE: THE NAT KING COLE STORY
Review by Norm Gross

At the Stoneham Theatre in Stoneham, Mass, is "Unforgettable: The Nat King Cole Story," a one man tribute to the legendary popular entertainer, written by Clark Peters and Larrington Walker. Initially staged in the United Kingdom and then on tour in the Far East, it's now here with its original star, Monroe Kent III. Set in two acts divided by a brief intermission, it features handsome, affable and velvet-voiced Kent accompanied by a smooth musical trio composed of Robert Stevens III on piano; Edison Herbert on guitar; and Jesse Hautala on bass, who deftly recreate the sound and rhythmic style of the fabled "King Cole Trio" of many years past. For nearly two hours, Kent in song and anecdote recounts the great star's all too brief life, with its many triumphs and disappointments, its many ups and downs. Beginning with his early years as the son of a Baptist Minister in Montgomery, Alabama, followed by the family's move to Chicago, and then to his first marriage at age 19 to Nadine, ten years his senior, with only a very brief nod to his seminal beginnings as a prominent jazz pianist. His solid achievements in the late 30's and early 40's as the leader of the rhythm trio that would propel him to fame and fortune, succeeded by his second marriage to elegant Bostonian Maria. His great success as a highly popular solo artist, and the hurtful racism when he, as the first African American artist in the late 50's, starred in his own short-lived weekly national TV series, only to find it impossible to sustain his popular presentation, because he was unable to ever garner any commercial sponsorship. This insult, still later was also followed by the racist desecration of his front lawn, when he and wife Maria moved into a posh Los Angeles neighborhood. Of course, his untimely death in 1965 at age 45, from lung cancer, became the final sorrow to blight his otherwise brilliant, but turbulent career. As expected, the many memorable songs associated with Nat King Cole are at the core of this engaging, informative and quite entertaining production. The early rhythmic trio hits: "Errand Boy for Rhythm," "Straighten Up and Fly Right," "Route 66," and "Frim Fram Sauce," (among others), and most especially his extraordinary succession of solo chart-busters: "Mona Lisa," "Too Young," " Besame Mucho," "Stardust," "Let There Be Love," and most certainly "Unforgettable" contribute greatly to this grandly nostalgic evening. While surprisingly neither "Nature Boy," (the greatest thing you'll ever know is just to love and be loved in return), nor Nat's premiere recording of "The Christmas Song," (Chestnuts roasting on an open fire), were not included in the show. They became such mega-hits, that they prompted him to disband his trio and fully launch his solo career. Nevertheless, this otherwise splendidly solid presentation is a winner all the way! Now playing through April 15. (My Grade: 5)

BROOKLYN BOY
Review by Norm Gross

At the Roberts Studio Theatre in the new Calderwood Pavilion at the Boston Center for the Arts is the SpeakEasy Stage Company's production of "Brooklyn Boy," a new play by Donald Margulies. Initially staged in California in 2004, and then on Broadway to much approval in 2005, this presentation is its New England premiere. Brooklyn-born writer Eric Weiss, now at the early onset of middle age, has suddenly achieved national acclaim as the author of his latest novel, a semi-autobiographical account entitled "Brooklyn Boy." Now firmly listed on the New York Times' Best Seller list, Weiss now also readies himself as the prospective screenwriter for Hollywood's movie adaptation of his novel. At the drama's outset, Weiss has just returned to the Brooklyn Hospital room where his aged widower father lies painfully awaiting death from his advanced case of cancer. The crusty old man, vividly unimpressed with his son's newly acquired fame and fortune, and quite disdainful of his son's obvious need for his approval, offers his offspring only a succession of caustic, sarcastic, and/or deprecating "compliments." Later in the hospital's cafeteria, Eric unexpectedly encounters an old former boyhood chum, who in the intervening quarter century, since they were last aquainted, has become heavily involved in his Jewish faith and heritage. However, Eric having long ago turned away from his ethnic and Judaic background, spurns his old friend's efforts at comforting him through prayer and Biblical precept. Still later, Eric meets with his estranged gentile wife in Manhattan. Although they're in the midst of divorce proceedings, nevertheless he still pleads unsuccessfully with her for reconciliation. Act Two finds the dismayed Eric in the Hollywood office of a hard-nosed, fast-talking, lady movie producer, accompanied by a flashy young male "hunk," who's been contracted to star in the forthcoming screen version of his novel. Later, when a tryst in a local hotel room with a young female admirer, whom Eric had met at a nearby book-signing event, serves only to heighten his overwhelming sense of malaise, he's finally compelled to rethink the tapestry of his life, and the age old traditions that have shaped him. Sensitively portrayed by Victor Warren as Eric, with fine support from Debra Wise as his divorcing wife, Joy Lamberton as his youthful appreciator, and Brad Smith as the potential star of the motion picture adaptation of his novel, with especially strong performances by David Kristin as Eric's ailing and testy dad, Ken Baltin as his sympathetic boyhood friend, and Ellen Colton as the hard-driving and very businesslike movie producer. Deftly directed by Adam Zahler with a nicely atmospheric urban set designed by Audra Avery, this engaging and compelling exploration of the struggle between the demands of contemporary life in contrast to the recurring memories of a former lifestyle with its vastly different concerns and customs is now playing through April 1. (My Grade: 5 )

 THE HOPPER COLLECTION
Review by Norm Gross

At the Boston University Theatre the Huntington Theatre Company presents "The Hopper Collection," a new play by Mat Smart. Winner of the San Diego Playbill's "Best New Play Award," this production marks the play's east coast premiere. Daniel and Marjorie, a wealthy and heavily embittered middle-aged couple are "celebrating" the anniversary of their long smoldering contentious marriage. Her ferociously sarcastic-tinged enmity towards Daniel is primarily focused on a painting by Edward Hopper, the great and legendary American artist that her husband had bought as a gift for her years before. Marjorie's teenaged meeting with the famed artist, long ago, had resulted in her becoming the model for his painting entitled, "Summer Evening." To this day, she often still dons the pink swim suit she wore at that historic time. The masterful painting, mounted on an upright artist's easel in their drawing room, and faced away from the audience, is never revealed frontally. Daniel and Marjorie, each have long lived apart on opposite sides of their opulent, well appointed, contemporary home (strikingly designed by Adam Stockhausen.) Notwithstanding Daniel's grandly expensive purchase of the classic painting for her, she still continues to despise him and makes gleefully malicious sport of her ongoing "playful" schemes of ways to do away with him. Their contentious life together is then altered by the arrival of Edward and Sarah, a young wayfaring couple, who have been invited to come to their home to see their famous Hopper painting. Suffering from a brain tumor, with only a few months to live, Edward has come there thinking that his companion is the long, lost, beloved girl friend of years' past, only to soon realize that his young and recent acquaintance is not really the one who he'd thought she was. The contrasting interaction of this highly troubled foursome, forces them all, especially Marjorie and Daniel, to really face, re-evaluate, and finally come to terms with their illusions. While intensely acted by Leslie Lyles as Marjorie, Bruce McKenzie as Daniel, Brian Leahy as Edward, and Therese Barbato as Sarah, under Daniel Aukin's assured Direction, and although it does suggest much dramatic promise from this new young playwright, the play as written regretably still seems to be much too much of an echo of Edward Albee's far superior "Who's Afraid of Virginia Wolf." Now playing through April 2. (My Grade: 3.5)

JOEY AND MARIA'S COMEDY ITALIAN WEDDING
Review by Norm Gross

At the Courtyard Marriott Hotel in Boston every weekend, in the Matrix Room, is their ongoing comic presentation of " Joey and Maria's Comedy Italian Wedding. " This production is one of a rotating series of similar parodies featuring a cast of ten or more performers spoofing various related dysfunctional Italian or Irish families or groups. The evening's activities begin with Rocco, the big burly Master-of-Ceremonies, demanding that "You's Guys Gotta Shudupp Now!" to the capacity audience, all seated at the surrounding tables. Shortly thereafter, a cast member dressed in priestly garb, and referred to as "Pastor Fagioli," walks amongst the seated onlookers, blessing them, while sprinkling bottled water on them, as the recorded melodies of "Funniculi, Funnicula, ' " Goin' to the Chapel," and " That's Amore'!, " amongst other such popular tunes, blare through the room from nearby loudspeakers. Then the three short, tall, and fat bridesmaids enter, each wearing garish full length bright green gowns. Of course, the shortest one is fully pregnant, appearing as if she's imminently due to give birth. They're followed by the trio of the groom's male ushers, dressed in pale grey tuxedos, with their captain appearing somewhat disheveled, as if he had just been involved in a vigorous fistfight. The bride, in bright white headdress and gown, furiously chewing gum and the bridegroom, also dressed in full white tuxedo, both file in. They're accompanied by the bride's father, also in a dark tuxedo, and her mother, as well. As expected, she too is quite overweight, gaudily overdressed in a flashy short, short dress, which emphasizes her bulbous legs, completed up above by a big, wide-brimmed, floppy hat. Also present is the groom's old, equally obese grandmother, dressed from top to bottom in black, and sobbing uncontrollably. (Apparently, here being overweight is equivalent to being very amusing!) The elderly grandma insists, in broken English, weeping that she "must-a, go-a, home-a, soon-a." After the happy couple pronounce their "I - Do's", the groom begins to read from a long roll of tissue paper, announcing that he has decided to have at least ten kids. He's then counseled by the bride's concerned father, who demands that, "You better be GOOD to my daughter." The groom responds by declaring, "I showed up tonight, didn't I?" M.C. Rocco then announces to the audience that the wedding dinner is now ready, buffet style, in the outer lobby. As expected, it consists of green salad, and large amounts of surprisingly bland, and even tasteless Italian specialities, seemingly mass processed, of pasta, meatballs, sausages, grated cheese, and small pastries. As the crowd lines up for the meal, they are told to "Eat all the food, down to the cookies, 'cuz then we will open the gifts, and pay off the bookies." Throughout, this tired "humor" resounds as overly obvious, simplistic and totally belabored. Stale and worn-out, it rings from start to finish with familiarity. In the hands of such expert farceurs as the Brothers Groucho and Chico or Moe and Curley, some of it might even raise a smile or too (but even then, maybe not too often!). With this crew of earnest, but very heavy-handed players, no such response is ever even remotely generated. (My Grade: 1)

FLOWERS of RED
Review by Norm Gross

At the Boston Playwrights' Theatre "Flowers of Red", a new one act play by Eliza Wyatt was recently presented for a brief engagement. Set in the Gaza Strip, as Israel begins to consider its withdrawal, the play was inspired by the death of Rachel Corrie, an American peace activist in 2003. As expected it concerns the visit of Roberta, a well intentioned pacifist from the U.S., who has traveled to Gaza to help the native population. She has come to the small barren home of Samia, a young, unmarried Palestinian woman. Their brief relationship is at the play's center. Jim, yet another American sojourner, (continually reporting to others on his cell phone) is probably functioning as a U.S. operative. As played by Jonathan Myers, his main purpose there seems to only be to insure that the local water supply is being safeguarded. As Samia recounts the ongoing difficulties of her life in Gaza, without necessities such as electricity and lights, she tells Roberta about her relatives, who have been summarily arrested, followed by their simple homes being destroyed. She is constantly fearful of the always approaching Israeli bulldozers. As she prepares for the worst by tearing strips from an old sheet to be used as bandages, she ruefully observes that "We have no houses and when the soldiers come, we have only flowers of red." Unfortunately, no attempt is ever made by playwright Wyatt in her brief drama, to suggest Israel's concerns, nor the long standing deadly suicidal strife between these two populations that even now tragically continues as an ever present plague. While Krista D'Agostino gives a strong, impassioned performance as Samia, regrettably Caryn Andrea Lindsey's portrayal as Roberta is both poorly acted and inadequately conceived. Having come thousands of miles from her home in America to be of help, she seems to know little--if anything at all-- about the history of the area's two conflicted peoples, and even less about the differences between the Middle East and the West or Islam and Christianity. Similarly, while Mario Zarattini's spare, one room stone house setting (with its sterile outer garden), is reasonably effective, his overall sluggish direction continually serves mainly to undermine this limited and much too narrowly focused presentation. (My Grade: 1.5)

BLUE MAN GROUP
Review by Norm Gross

Now celebrating its tenth year at Boston's Charles Playhouse is the highly popular entertainment called "Blue Man Group." Seemingly destined to remain at this same theatre well into the far distant future, as the steady approval of the ongoing nightly capacity audiences amply suggest. After its acclaimed debut at Manhattan's Lincoln Center, it opened Off-Broadway in 1991 to similar success. Created by Matt Goldman, Phil Stanton, and Chris Wink, the popularity of their show in New York spurred these three long-standing friends to develop a satellite trio of "Blue Men" to bring their innovative show to Boston in 1995, while the original threesome continued performing in the Big Apple. Since then, an equally transposed and applauded company opened in Chicago, and more recently in Las Vegas, Berlin and London, as well. These editions have obviously been added in response to the Group's ever expanding national and international appeal! As always, the cerulean trio, dressed in dark fatigues, with their hair covered by skintight skull caps, have painted their heads completely in deep bright blue, making them all look like outlandish "extra-terrestrials." From the onset, for ninety nonstop minutes, the audience is then absolutely overwhelmed by a series of wildly uproarious visual and physical stunts. In deadpan silence, they begin by banging away at kettle-drums saturated with bright pools of colorful and radiant paint which then erupts into brilliant, dazzling splashes of color. They proceed on with an ever continuing succession of visual gags, never speaking or making any kind of vocal sound. Buttressed by audience participation, each caper being very amusing, highly creative and quite unusual. These gambits range from the "Blue Men" recruiting a young pretty unsuspecting female volunteer from the audience to assist them as they pitch marshmallows, small Twinkies Cakes, Cap'n Crunch cereal bits, and even gumballs, into the targeted Blue Men's mouths. Still later, an equally unaware young male conscript is bought up onto the stage, who's then taken backstage, outfitted from head to toe in a white jumpsuit and helmet, suspended upside-down by his feet, doused with colorful paint, and bounced against a stretched, artist's type white canvas sheet. The result is an instant "Abstract-Action" painting, which is simultaneously shown to the audience, seated out front, by roving video cameramen, on a large onstage movie screen. All of this is accompanied by a rhythmically dynamic and vibrantly pulsating rock band, dressed in "glow-in-the-dark" colors, playing in a bandstand perched way up high above the stage. Then, to wrap it all up, the show's finale bursts forth with the whole theatre illuminated by flashing strobe lights, as the members of the audience are totally immersed in a deluge of white, crepe paper streamers cascading down upon them, for nearly ten minutes, from the auditorium's ceiling. To say that the wall-to-wall crowd had a rousing grand time, would be a great understatement! Now entering what I'm sure will be their next decade in Boston... (My Grade: 5)

FIVE BY TENN
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 "Five by Tenn," the area premiere of a quintet of newly found short one act plays by the late Tennessee Williams, plus a scene from "Vieux Carre," his last Broadway play. Other similarly titled productions in Hartford, Connecticut, Washington and New York utilized some of these same short plays together with others also drawn from the even larger collection of recently discovered, and heretofore unknown manuscripts. "These Are The Stairs You Got To Watch," the earliest and least effective piece, centers on the many disquieting problems confronting a young usher at a squalid southern movie theatre in the 1940's. "Summer At The Lake" foreshadows Williams' yet-to-come masterpiece "The Glass Menagerie," involving as it does an exacting southern matron's disappointment and complaints about her adult son who she considers to be an impractical dreamer. "Vieux Carre: Scene Two" provocatively suggests the writer's first dramatic exploration of homosexual ardor. "And Tell Sad Stories Of The Death Of Queens" concerns an aging drag queen's tumultuous relationship with a violent young, and abusive seaman. "I Can't Imagine Tomorrow" (which was originally presented on PBS-TV in 1970) finds a thoughtful older gentleman bidding farewell to his approving and inexperienced devotee. The final piece, "Mister Paradise", has a writer (obviously Williams) thoughtfully rejecting a young college student's intentions of introducing his work (as yet unknown) to the world. Impressively acted by Christopher Brophy, Eric Rubbe, Anne Scurria, Allyn Burrows, William Young, Will McGarrahan,Ellen Adair, and Mary Klug, in a wide variety of very different roles under Scott Edmiston's strong direction. Janie E. Howland's highly atmospheric set design, with its wrought-iron framed balcony, long ascending staircase, and full-length, drawstring curtains, likewise served this memorable production both admirably and quite effectively! Now playing through February 25. (My Grade:5)

Tom Crean - Antarctic Explorer
Review by Norm Gross

At the Boston Center for the Arts, the Sugan Theatre Company presents the Northern Stage production of "Tom Crean - Antarctic Explorer," a one-man performance written and portrayed by Irish playwright and actor Aidan Dooley. This presentation, a substantial success in Ireland, won the Best Solo Performance award at the New York International Fringe Festival in 2003. The production will then return to Ireland, upon completion of this Boston appearance, for an extended engagement in Dublin. Tom Crean, an Irishman, during the years of 1901 to 1916, was the only one to participate in the three legendary expeditions to the Antarctic, at that time. Decorated with the Albert Medal for his heroism, Antarctica's "Mount Crean," in the region's Victoria Land, and "Crean Glacier" in Antarctic Bay on South Georgia Island are both so-named in his honor. He served with Captain Robert Scott in the first two such expeditions and also on the third with Ernest Shackleton. Scott died during his second hazardous march across this frozen ice-bound region, after being surpassed to the South Pole by a Norwegian group. Crean helped in bringing back bodies from Scott's unit and later journeyed with Shackleton's group, maneuvering in a frail boat through storm lashed waterways, and then on foot for 40 miles with others to save the crew, whose ship had been destroyed by the impact of a major ice jam. His dogged perseverance in helping to rescue 22 fellow comrades trapped for months on Elephant Island, was his unparalleled act of courage. Effectively and commandingly acted by Dooley, even with occasionally witty observations on a nearly bare stage, with only a few spare props to suggest a simple weather-worn Antarctic outpost. Dressed from head to foot in heavy grey early 20th Century-styled storm wear, for two intense hours (including a brief intermission), Dooley held the enthralled audience with his expert, gripping and impassioned monologue. Now playing through February 11. (My Grade: 5)

HAMLET
Review by Norm Gross

At the Cutler Majestic Theatre, under the aegis of Emerson College in Boston, the Aquila Theatre Company recently presented an all too brief three days engagement of its production of Shakespeare's "Hamlet." Founded in 1991 in London, but now based in New York, the Company is dedicated to extensive nationwide touring to make their productions of the great classics accessible to the widest general audience possible. Visited by the ghost of his slain father, the former King, young Prince Hamlet swears to seek revenge for his Father's murder. The spectra has told him that the new King, his Uncle Claudius, now married to Hamlet's mother, Queen Gertrude, was responsible for his assassination. Feigning madness, Hamlet schemes to expose his Uncle's perfidy. To do so, he entices a group of traveling actors to perform a play, at Court that is closely patterned after the killing of his father. Wearing impressive and elaborate white facial masks, their presentation ushers in a series of tumultuous and tragic consequences. Concurrent with these events is a subplot, in which Hamlet's conflicted love for Ophelia, his very young sweetheart, also leads to her early and anguished demise. This celebrated tragedy is being performed in modern dress against a large, neutral web-like backdrop, which is enhanced by several moveable and easily adaptable screens, which are quickly and deftly reassembled to act as both benches, beds, and even an open grave-site. Several heavy black block-like wooden chairs are the drama's only other striking props. The accomplished cast of eight young players perform their many different roles quite effectively, with special notice for Emily Bennett as Ophelia, Richard Sheridan Willis as King Claudius, Natasha Piletich as Queen Gertrude, and Andy Patterson as Ophelia's overly solicitous father Polonius. While Andrew Schwartz, in the central and title role, begins somewhat uncertainly, as the play progresses and his stratagems become increasingly bolder and more formalized, his portrayal gains increasingly in intensity and strength. Commendations are also due for Robert Richmond's assured direction, Peter Meinick's highly dramatic lighting and Kenn Sabberton's skillfully choreographed swordplay. (My Grade: 4.5)

FROZEN
Review by Norm Gross

At the new Mosesian Theater in the Arsenal Center for the Arts in Watertown, Mass. is the New Repertory Theátre's production of "Frozen" by Bryony Lavery. First performed in England in 1998 and later revised and revived there to much acclaim in 2002, it received its New York premiere to similar praise in 2004. Nominated then for four Tony Awards, including "Best Play," this new production represents its area premiere. It's being presented here, as designed by Richard Wadsworth CChambers, on a stark, nearly bare stage, covered from back to front with an extensive layer of white sand, with its far end divided into three separate sections. Each division holds a chair for each of its trio of participants. Set in England, it centers on the grim examination of the horrific murder of a very young child, the criminal pathology of her killer, the extended emotional agony of the young victim's mother, and the healing efforts of a visiting American psychiatrist preparing a dissertation on "Serial Killing: A Forgivable Act? " As the story progresses in a series of vivid and alternating monologues, we learn much about this disparate three-some. 25 years after her daughter's unexplained disappearance has finally been solved, with the revelation of her child's murder, and her killer has been exposed and convicted, the psychiatrist's coldly theoretical explanations (given in great detail, and at great length) about the criminally insane, are challenged by her meeting first with the brutish and remorseless killer and then as she is confronted by the mother's persistent and still all-consuming grief. It's only later, when we learn that the slain child's remaining sister has been able to convince her ever sorrowful mother to come face-to-face with the murderer, that the psychiatrist's theories about such insanity and the healing power of forgiveness are confirmed! Well directed by Adam Zahler, it's being strongly acted by the small accomplished cast. Bates Wilder is especially convincing as the appalling, pathetic, but most often implacable, cold-blooded killer. Fuming with obscenities, and raging with contempt for womankind, while trying to convince his psychiatric confidante that he was really treated very "nicely " by his obviously abusive parents, Wilder is totally compelling throughout! Nancy E. Carroll as the persistently distraught mother, who finally comes to some closure, is equally impressive. While Adrianne Hewlett is similarly effective as the visiting psychiatrist, however as written by the author, much too much time is spent by her detailing her highly academic theories, as well as trying to relate her Icelandic heritage to those expositions. Nevertheless, this well acted and quite provocative study of man's darkest and most reprehensible drives and the impact it has on the victims, is certainly well deserving of all the praise that has been showered upon it. Now playing through February 12. (My Grade: 4.5)

Les Liaisons Dangereuses
Review by Norm Gross

At the Boston University Theatre, the Huntington Theatre Company presents its new production of "Les Liaisons Dangereuses" by British playwright Christopher Hampton. Based on the scandalous 1782 novel by Choderlos de Laclos, Hampton's play was a great success in London after its premiere there in 1985 with similar critical and box-office success upon its Broadway debut in 1987. It also appeared as several major motion pictures: in a 1960 contemporary French adaptation starring Jeanne Mareau and Gerard Philipe, as well as two American versions, the first in 1988 featuring Glenn Close, John Malkovich and Michelle Pfeiffer, and then (re-titled as "Valmont") in 1989 with Colin Firth and Annette Benning. More recently it again made its way to the big screen in 1999 as "Cruel Intentions" with Reese Witherspoon, Ryan Phillippe and Sarah Michelle Gellar; and again in 2003, reset in 18th century Korea and re-titled "An Untold Scandal." It also made its debut in Tokyo as an imposing ballet! Set in 18th century France, its steamy plot centers on the period's French Nobility and the devilish and sexually oriented schemes devised by La Marquise de Merteuil and her ex-lover Le Vicomte de Valmont. Seething with rage against another (who has rejected her) she seeks revenge with Valmont's complicity. She entices him to seduce the former ex-lover's innocent, young, teenage bride Cecile Volanges, to which Valmont lustily agrees. His quick and easy success then spurs these two salacious schemers to set their maliciously lecherous sights on the socially prominent and highly sanctimonious Madame de Tourvel. However, when the crafty and vengeful Merteuil realizes that her co-conspirator Valmont, has actually fallen in love with their victim Tourvel, their alliance soon derails with tragic consequences. Brilliantly staged with a majestically luxurious set designed by James Noone, defined by an impressively grand white staircase, multiple ascending and descending chandeliers, a host of flickering candles, and elegant period furniture complemented by Mark Stanley's splendidly dramatic lighting and also Erin Chainani's opulent and eye-filling costumes. While lovely young Louisa Krause and attractive Yvonne Woods handle their portrayals of the compromised and abandoned Cecile Volanges and the equally targeted and misused Madame de Tourvel effectively, unfortunately the all too necessary conspiratorial chemistry and spirited sense of intrigue never seems to really ignite in the somewhat lackluster portrayals of Tasha Lawrence as Merteuil and especially so for Michael T. Weiss as the uninspired Valmont. Without this essential emotional component, this otherwise provocative exploration of 18th Century French upper class morality, hypocrisy and duplicity never fully catches fire! Now playing through February 5. (My Grade: 3)

THE UNDERPANTS
Review by Norm Gross

The Lyric Stage Company of Boston is now presenting their new production of "The Underpants," as adapted by Steve Martin from Carl Sternheim's 1911 German farce, "The Bloomers." In its time, Sternheim's comedy must have seemed like a stingingly comic spoof of the narrow-minded Bourgeoisie! Unfortunately, time has certainly lessened any original comic effect this satire may have originally held for its audiences, nearly a century ago. However, even with funnyman Martin's efforts to update the dialogue and the hectic turns of the fine seven member cast, regrettably this short two act play offers very few genuine laughs, mired as it is in its overly-obvious, stilted and time worn jibes at early 20th Century middle class morality and behavior. Theo Maske, a stuffy governmental clerk, becomes alarmed when his pretty young wife Louise's panties fall down, while watching a city parade in honor of the King. He's sure the scandal may hurt his standing at his place of employment. Also, attracted by this young woman's exposure, (quite racy for 1911), two amorously inclined opportunists show up at the Maske household, anxious to rent the spare empty room that is now available. Frank Versati, a fatuous and self-centered "poet," and Benjamin Cohen, a local, frail and ill-at-ease barber, then actively vies with each other to become the Maske's new tenant. It's certainly also quite noteworthy that Steve Martin doesn't attempt to modify Maske's openly anti-Semitic attitudes, as he wonders if the barber is a Jew, when Benjamin meekly answers "No", explaining that his name is spelled "Kohen." Still later, since Louise's husband's monetary concerns have drastically limited her romantic opportunities, she turns to Gertrude Dueter, her officious upstairs neighbor for advice. As expected, Louise's attempts to wear "sexier" dresses, to try to allure either of the two hopeful lotharios, fizzles out. Although well played by Steven Barkheimer as the small-minded Theo, with equally lively portrayals by Lewis D. Wheeler as Vesati, Neil A. Casey as Cohen, and Stephanie Clayman as the neighbor Gertrude, with extra praise for Caroline Lawton's animated performance as Louise. Nevertheless, as already stated above, the occasional chuckles this old chestnut offers are certainly very few and rather far apart! Now playing through February 4. (My Grade: 2)

Unaccustomed to My Name
Review by Norm Gross

At the Ruth Nagel Jones Theatre in Alumnae Hall, on the campus of Wellesley College in Wellesley, Mass., is their presentation of Unaccustomed to My Name“, a new one-person play written and performed by Marta Rainer. Having been presented in New York and Edinburgh, Scotland, the drama is now having its area premiere at the authors alma mater. On a bare stage, with only several boxes of varying sizes, and two small stools as the only props, Ms. Rainer fills the stage, for nearly 1 1/2 hours (without an intermission) with a host of varied characters, interacting with Sofie Petrowski, a young, recent university graduate, now living with her Polish immigrant mother in Warsaw, N.Y. Having recently returned from Chicago, she has become increasingly bogged down in self-doubt and angst, always choosing to wear her morning’s bathrobe. Accordingly, she remains mostly sequestered in the bathroom, peering at herself in the mirror, and ruminating about the emotional dead-end her life now seems to be at, while occasionally being chided by her mother nearby. She finds solace in poetry, and in her large collection of books. She feels bored and unfulfilled, with no social life to ease her discontent. Her malaise is further challenged when her superficial girlhood friend Lily speaks to her on the telephone about her impending wedding. Sofie is then faced with a dilemma, when Lily offers to arrange a male date for her at the approaching nuptials. Sofie retreats from this unexpected predicament by fantasizing about herself as Sonya Petrovna, an attractive, worldly wise, Siberian expatriate, who is able to effortlessly meet the opposite sex at local dating bars. Matters then take a surprising turn for the conflicted Sofie, when her alter ego Sonya encounters Bill. Vividly portrayed by the multi-faceted and assured Ms. Rainer, with deft and stimulating characterizations of the various personalities who come into her hapless main character’s life. Her highly accomplished portrayal utilizing many different attitudes and accents is most certainly noteworthy. This well written, compelling and insightful solo-piece, a praiseworthy achievement in all respects, is now playing through January 28.(My Grade : 5)

NO EXIT
Review by Norm Gross

At the Loeb Drama Center in Cambridge, Mass. the American Repertory Theatre presents "No Exit, " Jean Paul Sartre's legendary 1944 drama, as translated from the French by Stuart Gilbert. This production is based on an earlier staging in 1998 by the Imago Theatre in Oregon. Set in an austere hotel-type room, with no windows or mirrors and just three undersized sofas as the area's only furniture, three unconnected adult strangers are ushered in, one by one, by a playfully malevolent bell-hop. Punished for their misdeeds during their lives, this barren space will be their eternal Hell! With no possibility of their ever sleeping, with this room forever illuminated, and only the door by which they entered, to always remain locked, they will quickly become their own perpetual tormentors. Inez, a prim hardened lesbian, caused her sweetheart to take her own life, because of her duplicity and treachery. Blowzy Estelle, looking very much like a blonde, jaded, "Mae West," similarly brought about her lover's self-destruction when she killed their unwanted illegitimate infant. Garcin, the male center in this desperate triangle, suffered his bullet-ridden demise when his pacifist idealism put him squarely in harm's way, and he chose cowardly flight instead of honor and courage. Into this unnerving mix, one new and brilliantly innovative aspect has been added, to this strikingly compelling one-act drama. The performance is now being played out on a very large rectangular platform, elevated several feet above the floor, on motorized and activated jumbo springs. Their tortured existence is now compounded by their quarters tipping and tilting, as these three tormented roommates alternately advise, scheme, entice, berate, and pursue each other, in endlessly fruitless and frustrating confrontations. They must now also contend with unexpected periods (obviously highly practiced) when their equilibrium is challenged, as they also try to find some other ways to balance their dreadful eternity together. The cast of four (a quartet of the area's finest actors and actresses) are absolutely at the peak of their powers! Paula Plum as the malevolent and self-serving Inez, Karen MacDonald as the unrestrained and frumpy Estelle, and Will LeBow as the weak-willed and ignoble Garcin, are all superb, as they regulate their measured portrayals, against the ongoing physical demands of the extraordinary set. Remo Airaldi's maliciously smirking and cavorting bell-hop is equally praiseworthy, all under the vividly confident direction of the Imago Theatre's Jerry Mouawad, who also devised the highly creative set. Certainly the most interesting, daring, engaging, and provocative treatment of this rarely produced masterpiece, ever...it is now playing through January 29. (My Grade: 5)

A PRAYER FOR OWEN MEANY
Review by Norm Gross

At the Stoneham Theatre in Stoneham, Mass. is their new production of "A Prayer For Owen Meany" by British playwright Simon Bent, based on the celebrated novel by John Irving. It was initially staged at London's National Theatre in 2002 and had its U.S. premiere in Chapel hill, North Carolina in 2003. This production now represents its New England debut. An American motion picture version, loosely based on Irving's novel, was also produced in 1998, but due to thematic differences in the film it was disavowed by the author and the movie's title was changed to "Simon Birch," upon its release. Set in a small town in New Hampshire from the early 1950's through the 1960's, its allegorical story-line follows the interaction of the juvenile titled character as he ponders the various mysteries of his existence and God's manifold purposes with his best and only friend John. The plot skirts back and forth, with Owen's buddy John narrating alternately as both an involved adolescent and, much later in life, as a middle-aged adult. Dwarf-like, with a grating high-pitched awkward sounding voice, Owen's search for the meaning of Life is played out against the ebb-and-flow of his hometown neighbors' hypochrasies and his friend John's skepticism. Early on, while playing baseball, when Owen bats a pitched ball and it hits John's mother in the head, killing her, his friend's sorrow is redirected and transformed by Owen's steadfast faith in the Almighty's justification and ultimate goals. Still later, as America becomes increasingly involved in the Vietnam War, Owen's prophesies about his own death as a U.S. soldier, including the day, manner, and reason for his demise, confirms John's acceptance of his friend as a spokesman for the Lord. Vividly portrayed by the large sixteen member cast, with strong performances by Ken Schatz as Owen, and Timothy Smith as his friend John, with solid support by John L. Egging and Stephen Russell as the town's querulous Ministers, Caitlin Lowans as John's mother, Owen Doyle and Sharon Mason as Owen Meany's father and mother, as well as Ann Marie Shea, Bobbie Steinbach and Richard Arum, amongst others, as various townspeople. Well focused under the assured guidance of Weylin Symes, the Company's Artistic Director, with additional commendation for Audra Avery's stark, simple, black paneled setting, which adapted quickly and easily to the play's various time and place changes. This wide ranging, highly stimulating, and very provocative exploration of spirituality, in its many and varied guises, is now playing through January 29. (My Grade: 5)

LITTLE WOMEN
Review by Norm Gross

At Boston's new Opera House is "Little Women " a musical play based on the beloved novel by Louisa May Alcott featuring Book by Allan Knee with Music by Jason Howland and Lyrics by Mindi Dickstein. It comes here now after a successful five months on Broadway as part of its national tour. Beginning at the time of the Civil War and set in Concord, Mass., the plot follows the lives of the March daughters: Meg, Jo, Beth, Amy and their wise and loving mother, Marmee. While her husband and their father is away serving in the Army as a Chaplain Christmas-time in 1863 to the Spring of 1867, the family's hopes, trials and concerns and the coming of age of the four daughters are chronicled with the free-wheeling, highly spirited, aspirations of Tom-boyish Jo, as their story's main focus. Refusing to accept the stultifying limitations of the times for females, Jo dreams of becoming a great writer specializing in lusty "cloak-and-dagger" story lines. Intertwined with her fanciful anticipations are her romantic involvement with her upstanding young male neighbor Laurie, her expectations to accompany her wealthy old aunt on a grand tour of Europe, and the marriage of her older sister Meg. Dreaming of a career as a famous writer in New York, Jo's rejection of Laurie's marriage proposal, followed by her testy aunt's choosing to travel instead throughout Europe with Jo's younger sister Amy, and the death of their sister Beth from scarlet fever, brings Jo to new unforeseen pathways and more promising possibilities. Vividly performed and sung by Renee Brna as Meg, Autumn Hurlbert as Beth, and Gwen Hollander as Amy, with equally expressive portrayals by Stephen Patterson as Laurie, Louisa Flaningam as the crusty old aunt, and James Darrah as an earnest German Professor who becomes romantically attracted to Jo. Maureen McGovern as the clan's warmly involved mother Marmee, and Kate Fisher as the highly self-centered and focused Jo, are especially noteworthy! The mostly serviceable musical score of nearly twenty songs is at its best with Jo's impassioned, full-throated, Act One finale, singing of her hopes for a career, as a writer, that will prove to be "Astonishing", as well as Act Two's memorable mid-point with the show's grandly sonorous star Maureen McGovern vibrantly voicing her expectations of "Days of Plenty." Strikingly staged with imposing settings utilizing lovely and impressive rear pastoral panoramas, enhanced by multiple ascending and descending scenic units, along with fine period furniture, on tracks gliding in and out, as warranted, all deftly defining the many, many time and place changes. Much praise is most certainly due for set designer Derek McLane, as well as for Susan H. Schulman's assured direction. Although somewhat overstocked with complicating plot situations and thereby a bit overlong, otherwise this engaging family oriented show is a winner! Now playing through January 22. (My Grade: 4.5)

TWELFTH NIGHT
Review by Norm Gross

At the Cambridge Multicultural Arts Center in Cambridge, Mass. the Actors' Shakespeare Project presents "Twelfth Night" as their second offering in their second season. Once again the Bard plums all of the farcical potentials to be found in an absurd situation defined by mistaken identities. Sebastian and Viola, twin brother and sister, are shipwrecked at sea and believe each other to be dead. Viola, finding herself lost in the principality of Illyria, and posing in male clothing as a Page in the household of young Duke Orsino, now calls herself Cesario. A merry mixup of confusions then begins when Orsino's romantic hopes towards Countess Olivia are upset when she becomes surprisingly attracted to Cesario. A riotous sub-plot concerning Malvolio, Olivia's foolishly pompous Steward, who becomes the target of an outrageous prank devised by her chambermaid Maria, with the help of Olivia's carousing Uncle Sir Toby Belch and his boozing cohort Sir Andrew Aguecheek. Together this crafty trio trick Malvolio into believing that, dressed in garishly gartered bright yellow stockings, he will thereby arouse Olivia's secret longings for him. Of course, this mirthful jumble grows and grows until all of these misunderstandings are finally corrected when Sebastian, Cesario (Viola's brother) suddenly appears, and soon thereafter Malvolio also realizes that he's been duped. Sarah Newhouse and John Kuntz are both excellent as the lost twins with solid praise also most deserved by the large and highly accomplished cast. Michael Balcanoff as the spirited Sir Toby, Michael F. Walker as the fatuous Aguecheek, and Bobby Steinbach as the cunning Maria, combine as a winning trio of buffoons. Extra special commendations are also most deserved for Ken Cheeseman's hilarious portrayal as the grandly pretentious Malvolio and quite certainly also for Kenny Raskin as the play's delightful Court Jester. Raskin's engaging singing while accompanying himself on both mandolin and flute was most memorable. Plaudits must also go to the compelling incidental music provided by cellist Yuan Chang, pianist Robin Cho, and at one time also, by vioinist Tala Ashrafti. Similar approval should likewise go to Amir Ofek's fine 19th century styled costumes, and most definitely for Robert Walsh's assured direction. The production's deft use of the Cambridge Center's splendid performance space, with its imposing marble floor, narrow second level balconies, and large rear staircase, was similarly noteworthy. This grandly entertaining presentation, a worthy successor to this Company's earlier, and most impressive, production of "King Lear," is now playing through January 8. (My Grade: 5)

URBAN NUTCRACKER
Review by Norm Gross

At the newly refurbished Strand Theatre in Boston's Dorchester neighborhood, BalletRox has presented its fifth annual production of "Urban Nutcracker," in a brief, all too limited, and now concluded engagement. Adapted by David Ira Rottenberg and based on E.T.A. Hoffman's famous story, this contemporized version of the legendary ballet classic is now redefined by a fascinating blending of Tchaikovsky's majestic original music together with Duke Ellington's impressively swinging reinterpretation (orchestrated by him more than 35 years ago) of the great Russian composer's themes, in his new pulsating, jazz oriented suite. Marshaled and choreographed by Anthony Williams, the Founder and Artistic Director of BalletRox, the production's focus has now been shifted to a modern American city, presumably Boston. As friends gather at the Williams' family's cozy urban apartment on Christmas eve, Mrs. Williams and her two young children Clarice and Omar, together with their sprightly grandfather are joined by Drosselmeyer, the tall stately street magician, along with his diminutive and highly comical assistant Minimeyer. These two had delighted them all earlier that same evening while they were last minute shopping with their slight-of-hand tricks. Drosselmeyer has brought a bright toy nutcracker, in the form of a 19th century soldier as a gift for Clarice, as well as a stuffed toy mouse as a present for Omar. Later that evening, when all are asleep, Clarice returns to play with her new toy, near the family's glistening Christmas tree, where she also soon falls asleep. However, she's then awakened by a host of mice who have appeared and have begun to picnic with some of the food left over from the family's earlier holiday festivities. When the mice are then joined by their King, the family's Christmas tree magically begins to grow up to double its size, and the toy nutcracker suddenly comes to life, ready to challenge the Mouse King. Joined by a battalion of toy soldiers dressed in green army fatigue uniforms, both the toy nutcracker and the royal mouse are felled by their combat. Happily, Drosselmeyer's magic quickly restores the nutcracker to life again, as the mice depart with their dead King.The nutcracker now transformed into a handsome Snow Prince, together with Drosselmeyer and Minimeyer they then lead them all to Fantasy Land, where they are greeted by the Sugar Plum Fairy. There, they are entertained by a varied assortment of stirring and fanciful foreign dancers. The large, nearly 100+ member cast performs for them in a striking variety of different dance forms ranging from traditional ballet to other compelling new urban modes such as Hip Hop and Breakdancing (including head-over-heels somersaults, head spins, and acrobatic hand stands) as well as exuberant tap dancing and even old time Swing and Ballroom styles. The grand fusion of Tchaikovsky and Ellington music is likewise enhanced by spirited acappela Doo Wop singers, onstage street type drummers, and a multitude of children cavorting with colorful jumbo beach-type balls, hula hoops, and brightly colored cloth streamers. Adriana Suarez and ianni Di Marco, both formerly with the Boston Ballet, perform their grandly executed Pas de Deux as the Sugar Plum Fairy and her stately Cavalier, with Duncan Cooper, of both the San Francisco Ballet and the Dance Theatre of Harlem, equally impressive as the Snow Prince. With multi-colored capes and top hats, Michael Shannon and Yo-El Cassel as Drosselmeyer and Minimeyer prove to be a comically winning magic team, with stand out support from Isaiah Beasley as a loose-jointed soldier doll, Angessa Hughmanick and Ira Hardy as a frisky dancing Raggedy Ann and Andy, Ilanga as the family's cavorting grandfather, with fine presence by Penelope De la Rosa as Clarice and Jack Humsey as her brother Omar. Especially noteworthy also were Ricardo Foster, Aura Tavares and Rachel Klein as Hip Hop vaulting Russian dancers, Caitlin Novero as the spicy Spaniard, Amanda Bertone, Alexis Britford and Lily Caffrey-Levine as exotic Chinese and Sara Love and Rick Vigo as tantalizing Arabians. High praise also for the splendid and colorfully dancing Floral Corps de Ballet, as well as Rebecca Cross' fine painted scenery and bright, colorful costumes. Although there were occasional awkward moments during Act One, and while the transition to Fantasy Land might have been handled much more smoothly, nevertheless this engaging production was a winner in all other respects. (My Grade: 4.5)

THE CHRISTMAS REVELS
Review by Norm Gross

In Sanders Theatre at Harvard University's Memorial Hall in Cambridge, Mass. is the 35th annual production of "The Christmas Revels." This year's presentation, one of nine such productions presented nationally in major cities ranging from Hanover, New Hampshire and New York City to Boulder, Colorado and Oakland, California, is offered in memoriam to John Meredith Langstaff, who founded this event in 1971. Under his leadership, even beyond his "retirement" in 1995, he was responsible for establishing it as an eagerly anticipated and much beloved annual seasonal treat with similar Revelries presented in the summer and fall, as well. Mr. Langstaff died on December 13, 2005 at the age of 84. This current production is set in an English manor in Darbyshire in the 14th century, featuring a blending of Medieval English as well as early French inspired stories and songs. Composed of a cast of 40+, attired in widely varied and festively colorful period costumes, together with a large, onstage assembly of male and female singers, musicians, dancers, swordsmen, mummers, and even a spirited bevy of young children. In a joy-filled program spanning 2 1/2 hours, 39 differing, lively and very engaging segments were performed by the extensive cast. First amongst the evening's most memorable pieces was the captivating "Stick Dance" animatedly presented by the sextet of white robed "Pinewoods Morris Men," with their knees banded by small, bell-tinkling clusters, who cavorted in a circle while rhythmically clapping their wooden rods together. Later, the grandly sonorous 14th century "Angelus ad Virginem," a middle English carol, lustily chanted by the Company's major artists David Coffin, Michael Collver, and Daniela Tosic, while vividly accompanied by assorted early stringed and reed instruments, was equally enthralling! Still later, the evening's most significant series began with "The Friendly Beasts," in which the many assembled young children, costumed as donkey, lamb, and doe chanted their musical introduction to the legendary early French satiric "Story of Fauvel." In a succession of nearly ten songs and tales, including the boisterously mocking "Charivari," the comic "Feast of Fools," and the robust "Boar's Head Carol" in which the audience joins in singing their tribute to the period's classic banquet, storyteller Debra Wise animatedly narrated this ancient chronicle detailing the exploits of an evil horse mired in political and moral corruption. Act One concluded with the audience again joining the cast as they filed out to the lobby, for the intermission, singing the lively Shaker song, "Lord of the Dance." Equally noteworthy during the evening's splendid second act was the children's chorus parading in a circle with the central child holding a tree branch, with an attached hanging apple, as they all intoned the cheerful "Apple Tree Wassail." Even more momentous later was the cast's performance of the traditional Mummers' play "St. George and the Dragon," complete with the fabled knight, adorned with helmet and sword, ready to joust with the great fancifully costumed reptile, animated by a grouping of children acting as his body and tail. Their great confrontation was then followed by a juggling court jester along with a group of lively sword dancers and a vibrant accordionist. As always, the evening's merriment concluded with the cast and audience singing the traditional "Sussex Mummers' Carol." This thoroughly captivating production, heartily recommended for the entire family, is now playing through December 30. (My Grade: 5)

CROWNS
Review by Norm Gross

The Lyric Stage Company of Boston presents its production of "Crowns" (a Boston premiere) by Regina Taylor, adapted from the popular book by Michael Cunningham and Craig Marberry. The original book is a collection of interviews and portraits exploring the long (dating back even to Africa) and nearly mystical history and fascination that hats have always inspired in the African-American community. Unlikely as such source material might seem to be at first for a theatrical presentation--with only a few reservations--it has otherwise been skillfully reworked into an uplifting and highly engaging celebration of the African-American woman's life affirming "Hattitude." The evening's slight storyline centers on Yolanda, a street smart Brooklyn teenager who's been sent to Darlington, South Carolina to live with her grandmother, after her brother was killed in a street related shooting. Initially teased in high school because of her "northern" street-wear and arrogantly cocked baseball cap, she soon comes to appreciate the calmer, more subdued lifestyle of her new surroundings. These spare and only peripheral events generally serve just as a frame upon which to explore the attraction and importance (especially during Sunday church services) that headwear has always held for southern African-American ladies. Hats of all sizes, shapes, shades, and adornments, either white, yellow, blue, green, crimson, or lavender, and sometimes even little black ones, too, hold this distinction. Hats are likewise proudly worn with wide brims, short brims, or brimless, bedecked with flowers or feathers or small or big bows...but never, never just worn as a plain and unadorned decoration. For two hours, including a brief intermission, the highly spirited seven member cast regaled the audience with soulful anecdotes about the many, many different hats they wear throughout the evening (each defined by its own set of amusing and/or compelling circumstances), while they also exultantly sang the black church's wonderful gospel hymns. From "When the Saints Go Marching In," "I Am on the Battlefield" (for my Lord), "We're Marching to Zion" and (If only I can touch) "The Hem of His Garment," to "Just a Closer Walk with Thee," and "Ain't Gonna Let Nobody Turn Me Around," they captivated the enthralled capacity audience. Merle Perkins' soaring and passionate rendition of "His Eye is on the Sparrow," and as the community's energizing preacher, Darius Omar Williams' uplifting chanting of "Oh Lord, I'm Waiting on You" were both particularly noteworthy. Heather Fry as Yolanda, together with Jacqui Parker, Fulani Haynes, Michelle Dowd, and Mikelyn Roderick, similarly and vividly held the large assembly with their stirring singing and storytelling! Lois Roach's well centered direction, Susie Smith's bright, colorful costume design, and most definitely pianist Evelyn Lee-Jones and percussionist Lyndon Rochelle's highly rhythmic musical accompaniment all came together quite vibrantly. While the very thin exposition of Yolanda's journey and transformation didn't really resonate very convincingly, and ultimately remains as the evening's weakest link, nevertheless, this inspirational presentation stands as an otherwise thoroughly joyful and exhilarating treat! Now playing through December 23. (My Grade: 4.5)

THREE SISTERS
Review by Norm Gross

At the Loeb Drama Center in Cambridge, Mass. the American Repertory Theatre presents Anton Chekhov's "Three Sisters" with translation by Paul Schmidt. This production marks the American debut of the highly-celebrated Polish director Krystian Lupa, who also designed the pale worn expansive two level drawing room setting. Flanked by large rear elevated black screening, the entire stage at one point was adorned with a complete glowing crimson border. Although written in 1901and set in Russia at that time, Piotr Skiba's costumes range from contemporary dress to the military uniforms of the period. Mired in the dull provincial daily routine of a small town, Olga, the eldest of the play's titled trio is fully consumed by her position as a teacher; Masha, her sister, married at age 18 to Kulygin, the local area's vapid high school principal, is involved in a stormy adulterous affair, while Irina, the youngest of the three, bogged down by her post office job, is preparing to enter into a loveless marriage. Andrei, their ineffectual brother, proves to be their greatest disappointment. The visiting soldiers, stationed at a nearby army post, have become their regular house guests, and as such provide the sisters with the only real respite from their daily humdrum existence. Eventually, after little more than this occurs (in a performance time exceeding 3 1/2 hours) when the friendly regiment of soldiers must finally move to another military outpost, Lieutenant Colonel Vershinin, Masha's extra-marital lover has also had to move on, while Baron Tuzenbach, Irina's fiance has perished in a duel. Later to their dismay, after the sisters' brother Andrei has married his disruptive and assertive girlfriend Natasha, he surprises them even more so by mortgaging their common property without seeking their consent. As the stultifying torpor of their lives drags on, the three regularly and wistfully dream of a better future in the bright cosmopolitan ambience of far-off, sophisticated Moscow, a reverie that obviously will never come to pass. Intensely acted by Kelly McAndrews as Olga, Molly Ward as Masha, and Sarah Grace Wilson as Irina, Frank Wood as Vershinin, Will LeBow as Kulygin, Jeff Biehl as the Baron, Julienne Hanzelka Kim as Natasha, and Sean Dugan as Andrei. Thomas Derrah as the army's despairing alcoholic Dr. Chebutykin was also especially noteworthy. While the sisters' bleak existence was vividly, albeit very gradually developed in the drama's extended first act, the similarly prolonged and even more sluggishly paced and exhausting second act, laced as before with many lengthy pauses, simply repeated the family's overall malaise without any significant difference or change. Jacek Ostaszewski's intermittent and repetitive drone-like original music, underscored by Director Lupa's occasionally punctuating drumbeats, initially proved to effectively accent the drama's sense of hopelessness, but these too ultimately also became exceedingly wearisome! This long and tedious second act would certainly be improved by some thoughtful editing. Since Shakespeare's works are most often presented in reduced form, why not much the same for Chekhov? When was the last complete version of "Hamlet" ever performed? Now playing through January 1. (My Grade: 3.5)

Scenes From An Execution/Promises, Promises
Reviews by Norm Gross

Two noteworthy plays, each offered in all too brief engagements, were recently presented at the Boston Center for the Arts' new Calderwood Pavilion. Both shows were concluded on December 18. The first, presented by Boston University's College of Fine Arts,"Scenes from an Execution" by British playwright Howard Barker was staged in the Pavilion's impressive Wimberly Theatre and is set in 17th century Venice. Its heroine, Galactia, a strong-willed gifted and very tempestuous artist, has been commissioned by the local governors to paint a massive mural depicting their triumphant "Battle of Lepanto." However, her decision to not to gloss over the conflict's horror, bloodshed and brutality, but rather to graphically depict the true conditions as they actually occurred places her in complete opposition to the politically correct demands of the state's reigning politicians. The resulting dilemma develops into a vigorous, stormy and provocative confrontation between these two opposing contenders with unexpected consequences. While some of the minor roles by the large cast were performed somewhat unevenly, the drama was very well directed by Jim Petosa, and was strongly centered by the commandingly passionate performance by Paula Langton as Galactia, buttressed by solid help from Gabe Levey as the crafty Head of State, Matt Weight as a rival artist and Rachel Rusch as an arrogant critic. Eric Allgeier's imposing set, consisting of two large tiled elevated, highly adaptable and easily moveable walls, proved to be consistently effective. Similar praise is also worthy for Sekula Sinadinovski's interesting costume blending of period and contemporary attire. (My Grade: 4).

The next presentation by the Animus Ensemble at the Pavilion's Roberts Studio Theatre of "Promises, Promises," the Tony award-winning show that made its Broadway debut in 1968, featuring Music by Burt Bacharach with Lyrics by Hal David and Book by Neil Simon, is based on "The Apartment," Billy Wilder's Oscar winning 1960 motion picture. With its plot sticking closely to that of the original movie, low level mild- mannered employee Chuck decides to move up the corporate ladder by loaning his nearby apartment's key to various philandering executives. Unfortunately, things go very wrong when Chuck discovers that he's also given clandestine access to his residence to his boss, J.D. Sheldrake, who's having an affair with Fran, the great love of Chuck's life! Featuring winning performances by Jeff Mahoney as Chuck and Aimee Doherty (who in reality is Jeff's wife) as Fran, with Jerry Bisantz as the double-dealing Sheldrake, and animated performances by the large young and lively cast. The show's fine score, culminating with its two big hit songs,"I'll Never Fall In Love Again," and the show's breezy title tune, along with John Ambrosino's zestful direction, Peter Watson's bright, colorful and easily rearranged set and Josie Bray's lively choreography, all came deftly together to make this production the engaging pleasure that it was! (My Grade: 5)