Fiddler
on The Roof
Review by Norm Gross
Now
playing through November 19 At the North Shore Music Theatre in Beverly,
Mass. is their new production of "Fiddler on the Roof". Based
on stories by Sholom Aleichem with book by Joseph Stein, music by Jerry
Bock and lyrics by Sheldon Harnick, it premiered triumphantly on Broadway
in 1964. Set in 1905 in a tiny, rural village in Czarist Russia, the
plot centers on Tevye, an impoverished dairy farmer,his sharped tongued
wife and his five unmarried daughters. Devoutly religious and defined
by the community's customs, Tevye grudgingly accedes to the marital
wishes of his three elder daughters. Choosing "love" over
"tradition", they reject the pairings initiated by the village's
matchmaker, to wed, instead, a poor tailor, a radical, itinerant scholar
and a young, sympathetic gentile. Their story unfolds in the show's
legendary and wonderful songs such as: "Tradition," "If
I Were a Rich Man", "To Life", and the haunting "Sunrise,Sunset",
amongst many others. Well staged, in-the-round, under Greg Ganakas'
sure direction, with Dex Edward's evocative settings and Bob Richard's
fine choreography, this excellent production features strong performances
by a large cast of talented young singers and dancers headlined by David
Coffee's splendid characterization as Tevye, grandly assisted by Nancy
Johnston as his assertive wife and Madeline Doherty as the village matchmaker.
This is a first rate family-oriented presentation...well sung and touchingly
performed. . (My Grade:5)
THE
BEAUTY QUEEN OF LEENANE
Review by Norm Gross
Now
playing through November 18 At the Boston Center for the Arts is the
Sugan Theatre Company's production of "The Beauty Queen of Leenane"(an
area premiere). Written by Martin McDonagh, it enjoyed great success
in Ireland, London and more recently on Broadway. Set in Leenane, a
small rural town in County Galway, Ireland, the plot centers on unmarried
and middle-aged Maureen, who is saddled with caring for Mag, her elderly,
conniving, mean-spirited and infirm mother. Maureen bears her responsibilities
to her scheming and manipulative parent with an equal measure of resentment,bitterness
and fury. Pato Dooley, a handsome neighbor (now living and working in
England) has returned to Leenane, for a brief visit. Maureen invites
him to her home to spend the night with her, and the next morning, brazenly
flaunts her behavior before her angry and scandalized mother! She hopes
for a happy future with Pato, in America, finally free from Leenane
and the grasp of her demanding parent. Mag then schemess to thwart her
daughter's plans with heartbreaking consequences. Susan Nitter as Maureen,
Mary Klug as Mag and Derry Woodhouse as Pato give strong, compelling
performances, under Eric Engel's sure direction, in this vividly engrossing,
well-written and provocative drama. (My Grade:5)
STREET
SCENE
Opera Review by Norm Gross
At
the Boston Conservatory's Theatre is their new production of "Street
Scene", an opera making its debut in 1947, with music by Kurt Weill
and lyrics by Langston Hughes, based on Elmer Rice's similarly titled
Pulitzer-prize- winning 1929 drama. Set in a drab Manhattan working-class
neighborhood, on an oppressively hot summer's day, the drama unfolds
during a 24-hour period,in front of a low-income tenement building,
as the residents congregate outside to cool off! Their tensions, struggles
and hopes are expressed in nearly two dozen splendidly sung and well-performed
arias and musical numbers. The book focuses on Frank, a hard-drinking
blue collar laborer, who suspects his wife Anna of infidelity, and their
neighbor Sam, a young pre-law student who's in love with Rose, their
beautiful young adult daughter. Their steady progression to the expected
tragic, yet still hopeful, conclusion is resoundingly sung by soprano
Kerra Barr as Anna, in such strong musical moments as "Somehow
I could never believe in a brighter day" and baritone Charles W.
Parker's (as Frank) forceful interpretation of "Let things be like
they always was!", with notable support from tenor John Dias as
Sam and soprano Alyson van de Geisen as Rose. Praise also must go to
the large, excellent cast of student singers and dancers with additional
special notice for Elena Gutierrez and Benjie Randall's spectacular
dance-duet to the vivid "Moon-faced Starry-eyed" number. This
is a first-rate presentation in all respecds of a grand and legendary
American classic! (My Grade: 5)
THE
COUNTESS
Review by Norm Gross
Now
playing through November 5 At the Boston Playwrights' Theatre is the
Nora Theatre Company's production of "The Countess", a new
drama by Gregory Murphy. Based on a major mid-nineteenth century scandal,
the plot, set in 1853-54, revolves around the actual love-triangle between
John Ruskin, the celebrated art critic. John Everett Millais, a notable
young pre-Raphaelite painter (and Ruskin's protege) and Effie, Ruskin's
beautiful young wife. In Act One, these three spend a few months together
in a rustic cottage in Scotland, communing with nature. Millais becomes
steadily attracted to Effie, as he grows increasingly aware of Ruskin's
ongoing cold and relentless disparagement of her. Likewise, Effie (known
as "The Countess" to Millais) becomes drawn to the young painter,
as she defies her husband's austere and derogatory behavior. As the
love between Millais and Effie blossoms, Act Two concludes with her
shocking (for the time) divorce suit against Ruskin, coupled with a
startling personal revelation by Ruskin! Strongly enacted by an accomplished
seven-member cast under Daniel Gidron's sure direction, high praise
must go to Darra Yomtov Herman as Effie, Christopher Thorn as Millais
and Steven Barkhimer as Ruskin, with additional commendation for the
elegant costumes designed by Gail Astrid Buckley. My only qualm about
this otherwise provocative and well-mounted presentation, concerns the
drama's seemingly inconclusive finale, leaving us later to read a rather
lengthy printed epilogue, where a brief on-stage statement might have
been much better! (My Grade: 4)
A...My
Name is Alice
Review by Norm Gross
Now
playing through November 18 at Boston's Lyric Stage is their production
of the award-winning off-Broadway musical revue "A...My Name will
Always be Alice" , conceived by Joan Micklin Silver and Julianne
Boyd. It comprises more than two dozen original comic songs, monologues
and poems celebrating contemporary woman. Based on two earlier revues,
"A...My Name is Alice" and "A....My Name is still Alice",
this new edition is a compilation of the best from each, and represents
the efforts of nearly thirty authors. Each song, poem or monologue has
its own distinct set of writers and composers such as Anne Meara, Steve
Tesich and Carolyn Sloan. Naturally, with such a multiplicity of creators,
there are highs and lows in success and quality, with Act Two being
the better and some of the poems falling short. Especially amusing are
such numbers as "Painted Ladies " in which the cast members
(especially Maryann Zschau) pose within paintings by DaVinci, Manet
and Picasso, making amusing and pointed comments; "Honey-Pot"
(wherein Jacqui Parker, as a vibrant blues-singer, visits her "shrink"
and begins to change the bouncy sexual innuendos in her songs to their
more accurate clinical terminology, with hilarious results); and most
definitely the show's finale "Lifelines", which triumphantly
focuses on aging in positive ways. High marks also for the rest of the
accomplished five-member female cast, as well as the fine on-stage accompanying
musical trio. (My Grade: 3)
LADY
IN THE DARK
Review by Norm Gross
Now
at Boston's Emerson Majestic Theatre is the Boston Academy of Music's
production of "Lady in the Dark". First produced in 1941 on
Broadway, with book by Moss Hart, lyrics by Ira Gershwin and music by
Kurt Weill, it was hailed as the hallmark of a new direction in musical
theatre. It was a play dealing with a major theme utilizing music as
an integral component rather than just as a diversion. Liza, editor
of a popular high-fashion magazine, seeks help from a psychoanalyst
(a controversial and daring choice at that time). She's unable to make
decisions, uncertain about her relationship with the magazine's married
publisher, and questioning the effectiveness of an important male subordinate.
Set in Manhattan, her journey to emotional recovery is framed within
two lengthy acts, defined by three well-staged, creatively elaborate
and musically innovative dream sequences, each with a distinct focus.
First "Glamour" (Liza's doubts about her femininity); second
"Wedding" (her confusion about marriage) and lastly "The
Circus" (her inability to decide on a similarly focused format
for her magazine)! This trio forms the play's core, with the latter
being the best and most interesting, in all other respects. Unfortunately
the play's book (nearly three hours long), by contemporary standards
is quite dated, predictable and ponderous! However, high praise for
Delores Ziegler (in fine operatic voice) as Liza, with commendation
also for Richard Conrad (effectively reprising Danny Kaye's original
tongue-twisting vocalizing) as an exuberantly comic fashion-photographer,
and the large and accomplished supporting cast. Now playing through
October 22. (My Grade: 3-1/2)
NOCTURNE
Review by Norm Gross
Now
at the Hasty Pudding Theatre in Cambridge, Mass. is the American Repertory
Theatre's production (a world premiere) of "Nocturne" by Adam
Rapp. It is essentially a two-hour stream-of-consciousness recollection
concerning the painful and emotionally destructive consequences resulting
from a deadly accident. A young man, now in his early thirties, recounts
his sorrowful story. At age seventeen, while living with his family
in the midwest, upon driving home on a summer afternoon (due to the
sudden snap of his car's brake chain) he accidentally runs over and
kills his nine year old sister! This dire event devastates their family.
His mother, overwhelmingly depressed, is eventually institutionalized,
while his father's anguish and rage against him, almost results in another
tragedy. Act Two finds him, fifteen years later, living, for all those
years, in New York City. Although enjoying some limited success as a
novelist, he's persistently tormented by memories of his sister. His
ongoing remorse negatively compromises his relationship with a potential
sweetheart. Learning that his father is dying of cancer, he returns
to the midwest for a final, highly-poignant reconciliation.Eloquently
written, with masterful use of language and imagery, it's brilliantly
performed by Dallas Roberts as the young man, with fine support by a
small cast headed by Will LeBow as his father. Under Marcus Stern's
strong direction and Christine Jones' vivid and striking sets, this
is a haunting engrossing and superbly written, staged and enacted drama.
Now playing through October 29... (My Grade : 5)
La
Bayadere
Dance Review by Norm Gross
Currently
at Boston's Wang Theatre is the Boston Ballet's production of the legendary
19th century Russian ballet "La Bayadere", featuring choreography
by Anna-Marie Holmes, based on Marius Petipas' original concept, with
music by Ludwig Minkus. The highly elaborate sets and costumes were
made in and imported from Ukraine. Set in ancient India, this classic
tale revolves around the warrior Solor's love for Nikiya, the story's
titled Bayadere (temple dancer). Their love can never be, since he is
required by law to marry the Rajah's daughter Gamzatti. The Rajah then
sees to it that Nikiya is killed by a venomous snake! A remorseful Solor
then dreams the fabled "Kingdom of Shades" sequence (the ballet's
most celebrated scene) which is highlighted by an exquisite 32-member
corps de ballet, all dancing memorably in striking pure white tutus.
Solor then kills himself so that he may enter Paradise with his beloved
Nikiya. High praise for the splendid solos and sublime pas de deux danced
by Yuri Yanowsky as Solor, Larissa Ponomarenko as Nikiya and April Ball
as Gamzatti with special commendation for Christopher Budzynski and
his striking performance as the resplendent "Golden Idol".
This is a grand and sumptuously staged presentation with majestic dancing,
both individual and ensemble. Now playing through October 29... (My
Grade: 5)
SWEET
CHARITY
Review by Norm Gross
At
the North Shore Music Theatre in Beverly, Mass. is their production
of the musical "Sweet Charity". Making its Broadway debut
in 1966, it's based on Federico Fellini's darkly comic 1957 Italian
film "Nights of Cabiria" and the setting is now definitely
American, with music by Cy Coleman, lyrics by Dorothy Fields and book
by Neil Simon. As in the original "Charity", the title's heroine
(although now a dance-hall hostess rather than a prostitute) is still
a kind-hearted floozy whose gentle good nature is continually betrayed
by the men she encounters. As we follow her from an early brush with
a famous movie-actor to a surprising meeting (trapped in an elevator)
with a shy young man (who might marry her), Charity faces each new challenge
with hope and optimism. High praise for Roxane Barlow as Charity, rhythmically
fluid, dancing and belting out the show's fine songs including "If
my Friends Could See Me Now" and "I'm a Brass Band",
as well as a bevy of dance-hall "Beauties" stopping the show
with a rousing rendition of "Hey, Big Spender!". Commendation
also for Christopher Carl as the movie idol and Steve Wilson as Charity's
neurotic beau...All in fine form and voice, in an excellent revival
of a spirited and entertaining presentation, strongly directed and nicely
choreographed by Barry Ivan. Now playing through October 22. (My grade:
5)
MISALLIANCE
Review by Norm Gross
At
Massachusetts Bay Community College in Wellesley, Mass. is the Lyric
West Theatre Company's production of "Misalliance". Although
not one of George Bernard Shaw's better-known plays it is nevertheless
a well-crafted drawing-room comedy bubbling with sparkling dialogue
and witty insights. Set in 1909 at a fashionable English country home,
the plot revolves around John Tarleton, a wealthy British entrepreneur,
his wife and their two adult children: Johnny (a bon vivant) and Hypatia
(a young woman emerging as a liberated female). Their guests that afternoon
are Tarleton's good friend Lord Summerhayes and his sheltered and timid
son Bentley (who plans to marry Hypatia). As the day progresses, however,
their placid visit is disrupted by a nearby crashing airplane! Unhurt,
Joey Percival, the pilot, and his free-spirited female Polish co-pilot
Lina Szczepanowska join the group with disarming and hilarious consequences.
All of this is still later further complicated by the unexpected appearance
of a mysterious and disgruntled intruder...The nine-member cast is very
strong, with stand-out performances by Ron Ritchell as the business
magnate, Alisha Jansky as Hypatia and Sheila Stasack as Lina. Well directed
by Polly Hogan with a fine atmospheric set by Jeff Gardiner, this is
a thoroughly entertaining diversion in the best Shavian tradition..Now
playing through October 22...My Grade (0-5):5
Fuddy
Meers
Review by Norm Gross
At
Boston's Center for the Arts is the Speakeasy Stage Company's production
of "Fuddy Meers", a recent off-Broadway success by South-Boston
native David Lindsay-Abaire. An offbeat and refreshingly original comedy
bursting with unexpected and unusual plot developments revolving around
Claire, a housewife afflicted with "psychogenic amnesia" (an
illness causing her to forget, once asleep at night, whatever occurred
that same previous day). After awakening each morning with no memory,
her helpful husband must reintroduce her daily, not only to herself
and himself but also to her surly and rebellious teen-aged son. The
author then adds to this extraordinary situation a handicapped and disfigured
intruder (claiming to be her brother) bent on kidnapping her! He's assisted
by a confused ex-convict (with an alter-ego that asserts itself as a
stocking hand-puppet) and a scheming and deceptive female taffic cop.
Claire's elderly mot*her (impaired by a recent stroke) who is unable
to speak coherently, is responsible for the play's curious title. This
bizarre assortment of characters is then embroiled by some gunshots,
a stabbing, and various other physical encounters resulting in self-awareness
and a provocative resolution concerning women whose lives are defined
by abusive men! The small, seven member cast is first-rate, under Eric
Engel's fine direction, with special notice for Helen McElwain as Claire,
Thomas Derrah as the puppeteer and Rober D. Murphy as the interloping
kidnapper. Now playing through October 28. (My Grade : 5)
TALLULAH
Review by Norm Gross
"Tallulah",
a two-hour, one-woman show starring Kathleen Turner as the legendary
Tallulah Bankhead, is now in a pre-Broadway engagement at Boston's Colonial
Theatre. Written by Sandra Ryan Heyward, the play takes place in 1948,
in two acts. Act One is set in the star's Manhattan apartment. Flitting
about her elegantly draped boudoir, as she readies herself for a fund-raising
party in honor of President Harry S Truman, she chats effusively with
the audience. She recalls her celebrated life, her past triumphs and
recurrent setbacks while responding to multiple phone calls (most of
which are with playwright Tennessee Williams regarding a young upstart
actor named "Brando") As expected, a sudden crisis upsets
the upcoming party. Act Two finds the actress unable to sleep that same
evening at 4 A.M. Facing the prospect of her career in decline, she
ponders her future as hostess on network radio of a weekly nationally-broadcast
comedy variety show. As she quips about her many bisexual escapades
and her fabled bouts with drugs and alcohol, she bemoans her solitary
and unhappy situation, and in a poignant moment asks herself "When
did I become a joke!" Act One, brisk and superficially amusing
, leads to a much stronger and more remorseful, although unfortunately
rather predictable second act. Kathleen Turner, however, in total command
for the entire evening, gives a vibrant and mesmerizing perfrmance,
fully deserving the audience's final standing ovation. Now playing through
October 22. (My Grade :3-1/2)
RESURRECTION/The
Four Seasons
Dance Review by Norm Gross
Now
at the Wang Theatre, the Boston Ballet begins its 37th season with the
world premieres of two strikingly different pieces. The first, entitled
"Resurrection", set to Samuel Barber's "Concerto for
Cello and Orchestra" with choreography by Daniel Pelzig, is based
on Walt Whitman's observations as a Civil-War nurse, as recounted in
his poem "The Wound Dresser". In a succession of expressive
spins, animated floor revolves and sensitive encounters, Jennifer Gelfand,
Paul Thrussell, Jennifer Glaze, Yury Yanowsky, Lyn Tally and Alex Lapshin
suggest war's agony, grief, suffering and loneliness draped in Paul
Tazewell's striking bandage-like costuming., hauntingly culminating
in a memorable male pyramid dramatically accompanied by the full orchestra
featuring Ronald Lowry's passionate cello solo! The second work, entitled
"The Four Seasons" , based on Vivaldi's celebrated music,
features a dazzling set by Santo Loquasto...centered on a large , stunning
suspended halo of sparkling clouds surrounding an ever-changing moon,
as a multitude of brilliant colors progress from season to season !
Defined by Christopher Wheeldon's sensuous choreography, with Pollyana
Ribeiro and Christopher Budzynski performing their fervent "Spring"
duet, Jennifer Gelfand's spirited insect-like "Summer" dance,
Lyn Tally's sexy town strumpet enticing all the men-folk, culminating
with a sublime and snowy winter coupling featuring Larissa Ponomarenko
and Simon Ball. Two captivating world premieres, providing an exquisite
evening of sublime music and enchanting dance, now playing through October
8.. (My Grade: 5 )
SCENES
FROM A BORDELLO
Review by Norm Gross
Boston's
Playwrights' Theatre is now presenting "Scenes from a Bordello",
a new play by Melinda Lopez. Set at the turn of the 20th century, the
plot centers around a group of prostitutes living and working in a Klondike
brothel. "Fat Bess", the establishment's "Madame",
is a no-nonsense, hard-as-nails business woman, "One-Eyed Kate"
and her attractive but dim-witted sister "Slow Maude" are
her main attractions. Kate lusts after power and schemes to run her
own whorehouse. She commands an authoritative hold on her sister due
to a previous and mysterious near-drowning. "Tok", a young
Alaskan female (with a mournful family history) is compelled to join
their work-force with extraordinary consequences. Because of her self-effacing
innocence and purity of spirit, she becomes the catalyst for dissension
and independence among her fellow prostitutes, causing a dramatic and
surprising chain of events! The small cast, headed by Paula Langton
as "Fat Bess", Kataryn Zamora Benson as "Kate",
Marie Larkin as "Maude", Christina Yim as "Tok"
and Eric Roemele as a gold-prospecting customer, are all excellent under
Michael Hammond's strong direction. My one reservation concerning the
otherwise well-written and well-enacted play, concerns the unexpected
and raucously performed "fairy-tale" conclusion, which, as
written and performed, as of now seems much too farcical and out-of-step
with the rest of the story!. Now playing through October 8 (My Grade:
3-1/2)
SEX
DRUGS ROCK AND ROLL
Review by Norm Gross
Currently
at Boston's Community Church is the Stanley B. Theatre's production
of "Sex, Drugs, Rock-and-Roll". Originally written and performed
in 1990 by Eric Bogosian as a one-act, intermissionless, ninety-minute
solo perfrmance-play, it is now, in this presentation being enacted
by three performers. In nearly a dozen savagely funny, witherlingly
observant and searingly compelling vignettes, the author offers us a
wide swatch of Americana, from the philandering businessman telephoning
lies to his wife, the self-denying, panhandling drug addict, and the
overly-assertive professional who sees the American dream solely in
terms of more and more lavish and expensive consumerism to the average
guy raging against the pollutions (big and small) we all face (or step
in) at every turn, to a dark and scathngly hilarious reenactment of
a blue-collar "stag-party" for a working cohort on the eve
of his wedding. Bogosian scores solidly each and every time! Bruce Serafin
(the company's founder and executive producer), Brad Pickett and Dennis
Strahan handle their roles very effectively under Daniel Ja"quez'
strong direction Although a decade has passed since Bogosian first presented
this striking play, time has not lessened its provocative impact in
any way! Now playing through October 14.(My Grade: 5)
KING
LEAR
Review by Norm Gross
Now
at the New Repertory Theatre in Newton, Mass. is their new production
of Shakespeare's "King Lear". Set in ancient Britain, the
plot revolves around the elderly king (becoming senile) who intends
to divide his kingdom into three parts for his three daughters: Cordelia,
Goneril and Regan. Enraged by Cordelia's honesty, he banishes her, and
in response to their duplicity, gives all of his domain to the other
daughters! Eventually his benevolence leaves him homeless and deranged.
Concurrent with these events, the Earl of Gloucester becomes entangled
in a contest over his estate with his two sons, one legitimate (Edgar)
and the other illegitimate (Edmund). These discordant power-struggles
then run their course, with Lear soon reduced to a ragged, homeless
madman, while a series of schemes and confrontations evolve, first amongst
and later against Lear's daughters and Gloucester's sons. Assisted by
his jester, Lear finally comes to understand the realities of himself
and the truth about his daughters. Austin Pendleton (well known from
movies and TV) in the title role, begins somewhat meekly and understated
at the saga's outset but grows steadily stronger and bolder as his sanity
falters. He's well supported by the large sixteen-member cast with special
commendation for Richard Bowden as Gloucester; Shawn Sturnick as Edgar;
Laiona Michelle as Cordelia and Ken Cheesemen as the King's fool. One
additional reservation regarding this otherwise strong presentation
concerns the unnecessarily loud and distracting metallic percussion
which introduces each scene..Through October 22nd .. My Grade (0-5):
4
SIDEMAN
Review By Norm Gross
At
Boston's Lyric Stage is the New England premiere of "Side Man",
Warren Leight's Tony Award-winning drama about jazz-music and the supporting
players (in large or small orchestras) who come what may devote their
lives to performing it. The story's focus is on trumpeter Gene, his
wife Terry and his adult son Clifford who narrates their troubled story
as a series of memories. Moving back and forth in time, from the eighties
through the fifties, sixties and seventies.....the rise of rock-and
-roll soon causes the popular decline of big and small-band jazz, making
it increasingly difficult for many professional sidemen to earn a living
playing pure jazz. Many are forced to either join local ballroom, night
club or theatrical bands (often necessitating long day and evening schedules)
or else spending endless time waiting in line for unemployment checks!
Accordingly, Gene's passionate devotion to his career (and the sacrifices
it demands) exacts an enormous toll on his family. Totally dedicated
to the "real" music and indifferent to either his wife or
his son, wife Terry soon descends into alcoholism and attempted suicides,
while son Clifford valiantly struggles not only to save her, but also
to maintain some semblance of family unity...High praise for the small
cast led by Ro'ee Levi as Clifford and Dale Place as Gene with special
commendation for Paula Plum's heartbreaking performance as the despairing
and tragically neglected wife!...A well-staged, strongly enacted and
trenchant study of jazz musicians and the often self-destructive penalties
their chosen career entails...Now playing through October 14. (My Grade:
5)
COMMUNICATING
DOORS
Review by Norm Gross
Now
at "Quannapowitt Players" in Reading ,Mass. is Alan Ayckbourn's
delightfully amusing fantasy "Communicating Doors". Set in
a single suite in a posh London hotel, the fanciful plot begins in the
year 2020. A weak, elderly and dying business tycoon hires an extravagant
prostitute to witness his final written confession admitting the murder,
by himself and his business partner, of his two former wives. This same
colleague, after learning about the incriminating document, decides
to retrieve it and kill the call-girl! To save herself, she hides in
a closet which turns out to be a bizarre time-warp, which transfers
her (always in this same suite) back and forth to the years 2000, 1980
and thence again to 2020! In this giddy spin, she meets both former
wives and after much amusing disbelief, convinces them both about her
horrific predictions. They then begin to work together to change their
deadly fates, in a series of miraculous, unexpected and grandly amusing
twists. .. Jennifer Kirey as the hooker, Grace Butler and Candy Goff
as the two former wives and Shawn Maguire as the murderous business
associate all perform in fine comic fashion, as does the rest of the
small and accomplished cast, with special notice also for Juree James'
fine set and Michael Jacobs' fluid direction..Now playing through September
30. (My Grade: 5)
Charlie
Brown
Review by Norm Gross
At
the Turtle Lane Playhouse in Newton, Mass. is their new production of
"You're a Good Man, Charlie Brown", based on Charles Schulz'
highly popular daily comic strip "Peanuts". The original show
made its debut, with great success, off Broadway in 1967, featuring
music and lyrics by Clark Gesner with book by John Gordon. The evening
consists of fourteen gently comic vignettes with musical moments, divided
into two acts, with a brief intermission, which consistently ring true
to cartoonist Schulz' originals....and what definitive "originals"
they are! Five quizzical , slightly perplexed and very often confrontational
"small-fry" and their highly amusing and meditative pet dog
Snoopy, Chuck Walsh as the hapless Charlie Brown,Craig Spaner as the
piano-playing Schroeder, Tyler Hart as the blanket-draped, thumb-sucking
Linus and Holly Wade as the ever ebullient Patty (all adults) artfully
assume their pint-sized persona....With special praise for Susan Walsh
as the always-demanding, assertive and in-your-face Lucy, with extra
commendation for Christopher Mack as the comically contemplative Snoopy.
He's especially winning whether fantasizing himself in combat with "The
Red Baron"(World War I German flying-ace) or singing about a special
bone at suppertime! A charming and thoroughly engaging family entertainment,
which is now playing through September 24. (My Grade: 5)
THE
KING STAG
Review by Norm Gross
At
the Loeb Drama Center in Cambridge, Mass is a return engagement (prior
to a national tour) of Carlo Gozzi's multi-faceted fairy tale "The
King Stag" . Adapted into English by Albert Bermel, it's set in
a mythical, medieval, Japan-like kingdom, replete with brilliant costumes,elaborate
and dazzlingly bizarre facial masks, and larger-than-life-sized puppets
(representing the animal world). The story (performed in Kabuki fashion)
concerns a handsome young king's search for the perfect bride, whose
plans are overturned by his power-hungry prime minister, who casts a
magic spell over him and assumes his throne! Naturally, the evil-doer's
sorcery is eventually reversed with good finally triumphant! The large
cast of young actors and puppeteers are all first rate with special
notice for Jay Boyer as the bewitched king and Dmetrius Conley-Williams
as his dastardly advisor. However, the evening's greatest applause must
go to Julie Taymor's brilliantly conceived and executed costumes, masks
and puppetry. Unfortunately, much of the play is directed in an increasingly
unvaried and predictabe style for ninety non-stop minutes by Andrei
Serban. The production, I think, would be much improved by the addition
of some genuinely lively and interesting songs and dances rather than
just the accomplished drumming. whistles and assorted sound-accents
provided by Russ Gold. Now playing through September 28 (My grade: 4)
SEVEN
AFFIDAVITS ON AUTHORITY
Review by Norm Gross
Currently
at Boston's Tremont Theatre is Pet Brick Productions world-premiere
presentation of "Seven Affidavits on Authority". Written by
and starring Brandon Toropov , the performance consists of seven playlets
(enacted for ninety minutes without an intermission), concerning the
difficulties, absurdities, contradictions and positive and negative
interactions which constitute contemporary urban life. Beginning with
an amusing declaration of the many ludicrous demands intrinsic within
formal employment applications and follow-up job interviews, continuing
on with extra-marital infidelity with politically scandalous overones,
and then with more on the many bewildering and illogical aspects of
standardized testing..The program advances on with wide-ranging observations
on everything from hospital cuisine (even taking note of Hitler as a
vegetarian) to the multi-varied power struggles between the sexes. These
vignettes run the gamut from occasionally amusing, knowing and illuminating,
to often baffling, contrived and obscure.Well acted by the author, with
fine support from Gregory Steres and Rachel Grissom, the evening's best
moments were achieved at mid-point in a wildly amusing satire entitled
"Face It", featuring Sophie Parker as a stridently right-wing
radio talk-show hostess. Well directed by Betsy Carpenter, this presentation
is now playing (in repertory with "The Water Engine" by David
Mamet) through October 1st. (My Grade: 3)
THE
WATER ENGINE
Review by Norm Gross
Now
at Boston's Tremont Theatre is the Pet Brick Productions' new presentation
of "The Water Engine". Initially written by David Mamet as
a play for broadcast on National Public Radio, it was later expanded
for on-stage performance and was then done as such in 1977 in Chicago
and then New York. Set in 1934 at Chicago's "Century of Progress
" exposition, the plot of this short one-act drama concerns young,
idealistic Charles Lang, who has invented a revolutionary engine that
is powered by water. In attempting to insure his rights to his own invention,
he discovers (with the sister he lives with) a sinister corporate conspiracy
aimed at wresting ownership of his creation away from him. In a situation
that still resonates to us in our own time, their very survival is then
directly threatened by the malevolent forces marshalled against the
young inventor. His plight begins as a reading in a radio studio complete
with a sound-effects man and many actors reciting their roles before
microphones, but quickly and effectively evolves into a well-mounted
and highly provocative full-scale theatrical performance. The acting
by the ten-member cast, led by Gideon Banner as Lang, Angela Meade as
his sister and Ken Flott as a major corporate conspirator, is uniformly
excellent with commendation also for Stephen Benson's strong direction
and David J. Miller's simple but efficient set-design. Now playing through
October 1st. (My Grade: 5)
A
LITTLE LATE NIGHT MUSIC
review by Norm Gross
Currently
at the North Shore Music Theatre in Beverly, Mass. is their new production
of Stephen Sondheim's award-winning musical play "A Little Night
Music". Featured on a book by Hugh Wheeler, it's based on Ingmar
Bergman's celebrated 1955 Swedish motion picture "Smiles of a Summer
Night". Set in Sweden at the turn of the 20th century, the plot
revolves around a highly respected middle-aged lawyer, his second wife
( a teen-ager) and his secret tryst with a famous actress, which is
unexpectedly discovered by the sudden arrival of her current lover (a
married soldier on leave). The actress' wealthy elderly mother, in a
conciliatory effort, invites the lawyer, his young wife, his teen-age
son (by a previous marriage) and the dowager's adulterous actress-daughter,
to spend the week-end at her country estate. Complications erupt when
their plans are upset by the sudden appearance of the jealous soldier
and his subservient wife! The acting and singing by the large 21-member
cast is first-rate with special commendation for Donna McKechnie as
the amorous actress, Jess McCarthy as the philandering lawyer and Chuck
Wagner as the overly-zealous and combative martinet, as well as high
praise for Dex Edwards' simple yet effective pastoral setting and Barry
Ivan's spirited direction and choreography! Let's not forget Sondheim's
sublime music and lyrics including "A Weekend in the Country"
and his haunting "Send in the Clowns". A total delight, now
playing through September 24 (My Grade: 5)
SEUSSICAL
Review by Norm Gross
Boston's
Colonial Theatre is now featuring "Seussical", a new musical
play based on the popular Dr. Seuss stories with engaging book, music
and lyrics by Lynn Ahrens and Stephen Flaherty. Set in the fanciful
"Jungle of Nool" with "The Cat in the Hat" as host,
the elaborate plot centers on Horton, the gentle elephant, and his determined
efforts to protect "The Who", a miniature society inhabiting
a particle of dust! His efforts are then complicated by his romance
with the beautiful bird Gertrude McFuzz, and still later challenged
when he agrees to hatch another's egg by sitting many months on it!
Interwoven within this framework is the young male Who "Jo-Jo",
sent off to the military to face war and near-death for (as the show's
central song intones) "Thinking he can Think" and thereafter,
fleeting and occasionally excessive moments with "The Grinch"
and Christmas, the Sour Kangaroo and even Yertle the Turtle. Here, less
would have definitely been better. Kudos to Kevin Chamberlin as Horton
(unfortunately in a drab and uninteresting costume)...Also, Andrew Keenan-Bolger
as Jo-Jo, Janine LaManna as Gertrude and David Shiner, who (although
frequently overextended) is amusingly mobile and elastic as the Cat
in the Hat. Much applause for Kathleen Marshall's fluid choreography
and Eugene Lee's colorfully imaginative and dazzling set designs; however
much more should be done with Dr. Seuss' original cartoon representations,
now featured only sporadically as either a hand puppet or as elevated
hand-held standards. Even so, this is captivating family entertainment!
Now playing through September 17. (My Grade: 4)
MISALLIANCE
Review by Norm Gross
At
Massachusetts Bay Community College in Wellesley, Mass. is the Lyric
West Theatre Company's production of "Misalliance". Although
not one of George Bernard Shaw's better-known plays it is nevertheless
a well-crafted drawing-room comedy bubbling with sparkling dialogue
and witty insights. Set in 1909 at a fashionable English country home,
the plot revolves around John Tarleton, a wealthy British entrepreneur,
his wife and their two adult children: Johnny (a bon vivant) and Hypatia
(a young woman emerging as a liberated female). Their guests that afternoon
are Tarleton's good friend Lord Summerhayes and his sheltered and timid
son Bentley (who plans to marry Hypatia). As the day progresses, however,
their placid visit is disrupted by a nearby crashing airplane! Unhurt,
Joey Percival, the pilot, and his free-spirited female Polish co-pilot
Lina Szczepanowska join the group with disarming and hilarious consequences.
All of this is still later further complicated by the unexpected appearance
of a mysterious and disgruntled intruder...The nine-member cast is very
strong, with stand-out performances by Ron Ritchell as the business
magnate, Alisha Jansky as Hypatia and Sheila Stasack as Lina. Well directed
by Polly Hogan with a fine atmospheric set by Jeff Gardiner, this is
a thoroughly entertaining diversion in the best Shavian tradition..Now
playing through October 22...My Grade (0-5):5
Fuddy
Meers
Review by Norm Gross
At
Boston's Center for the Arts is the Speakeasy Stage Company's production
of "Fuddy Meers", a recent off-Broadway success by South-Boston
native David Lindsay-Abaire. An offbeat and refreshingly original comedy
bursting with unexpected and unusual plot developments revolving around
Claire, a housewife afflicted with "psychogenic amnesia" (an
illness causing her to forget, once asleep at night, whatever occurred
that same previous day). After awakening each morning with no memory,
her helpful husband must reintroduce her daily, not only to herself
and himself but also to her surly and rebellious teen-aged son. The
author then adds to this extraordinary situation a handicapped and disfigured
intruder (claiming to be her brother) bent on kidnapping her! He's assisted
by a confused ex-convict (with an alter-ego that asserts itself as a
stocking hand-puppet) and a scheming and deceptive female taffic cop.
Claire's elderly mot*her (impaired by a recent stroke) who is unable
to speak coherently, is responsible for the play's curious title. This
bizarre assortment of characters is then embroiled by some gunshots,
a stabbing, and various other physical encounters resulting in self-awareness
and a provocative resolution concerning women whose lives are defined
by abusive men! The small, seven member cast is first-rate, under Eric
Engel's fine direction, with special notice for Helen McElwain as Claire,
Thomas Derrah as the puppeteer and Rober D. Murphy as the interloping
kidnapper. Now playing through October 28. (My Grade : 5)
TALLULAH
Review by Norm Gross
"Tallulah",
a two-hour, one-woman show starring Kathleen Turner as the legendary
Tallulah Bankhead, is now in a pre-Broadway engagement at Boston's Colonial
Theatre. Written by Sandra Ryan Heyward, the play takes place in 1948,
in two acts. Act One is set in the star's Manhattan apartment. Flitting
about her elegantly draped boudoir, as she readies herself for a fund-raising
party in honor of President Harry S Truman, she chats effusively with
the audience. She recalls her celebrated life, her past triumphs and
recurrent setbacks while responding to multiple phone calls (most of
which are with playwright Tennessee Williams regarding a young upstart
actor named "Brando") As expected, a sudden crisis upsets
the upcoming party. Act Two finds the actress unable to sleep that same
evening at 4 A.M. Facing the prospect of her career in decline, she
ponders her future as hostess on network radio of a weekly nationally-broadcast
comedy variety show. As she quips about her many bisexual escapades
and her fabled bouts with drugs and alcohol, she bemoans her solitary
and unhappy situation, and in a poignant moment asks herself "When
did I become a joke!" Act One, brisk and superficially amusing
, leads to a much stronger and more remorseful, although unfortunately
rather predictable second act. Kathleen Turner, however, in total command
for the entire evening, gives a vibrant and mesmerizing perfrmance,
fully deserving the audience's final standing ovation. Now playing through
October 22. (My Grade :3-1/2) -
RESURRECTION/The
Four Seasons
Dance Review by Norm Gross
Now
at the Wang Theatre, the Boston Ballet begins its 37th season with the
world premieres of two strikingly different pieces. The first, entitled
"Resurrection", set to Samuel Barber's "Concerto for
Cello and Orchestra" with choreography by Daniel Pelzig, is based
on Walt Whitman's observations as a Civil-War nurse, as recounted in
his poem "The Wound Dresser". In a succession of expressive
spins, animated floor revolves and sensitive encounters, Jennifer Gelfand,
Paul Thrussell, Jennifer Glaze, Yury Yanowsky, Lyn Tally and Alex Lapshin
suggest war's agony, grief, suffering and loneliness draped in Paul
Tazewell's striking bandage-like costuming., hauntingly culminating
in a memorable male pyramid dramatically accompanied by the full orchestra
featuring Ronald Lowry's passionate cello solo! The second work, entitled
"The Four Seasons" , based on Vivaldi's celebrated music,
features a dazzling set by Santo Loquasto...centered on a large , stunning
suspended halo of sparkling clouds surrounding an ever-changing moon,
as a multitude of brilliant colors progress from season to season !
Defined by Christopher Wheeldon's sensuous choreography, with Pollyana
Ribeiro and Christopher Budzynski performing their fervent "Spring"
duet, Jennifer Gelfand's spirited insect-like "Summer" dance,
Lyn Tally's sexy town strumpet enticing all the men-folk, culminating
with a sublime and snowy winter coupling featuring Larissa Ponomarenko
and Simon Ball. Two captivating world premieres, providing an exquisite
evening of sublime music and enchanting dance, now playing through October
8.. (My Grade: 5 )
SCENES
FROM A BORDELLO
Review by Norm Gross
Boston's
Playwrights' Theatre is now presenting "Scenes from a Bordello",
a new play by Melinda Lopez. Set at the turn of the 20th century, the
plot centers around a group of prostitutes living and working in a Klondike
brothel. "Fat Bess", the establishment's "Madame",
is a no-nonsense, hard-as-nails business woman, "One-Eyed Kate"
and her attractive but dim-witted sister "Slow Maude" are
her main attractions. Kate lusts after power and schemes to run her
own whorehouse. She commands an authoritative hold on her sister due
to a previous and mysterious near-drowning. "Tok", a young
Alaskan female (with a mournful family history) is compelled to join
their work-force with extraordinary consequences. Because of her self-effacing
innocence and purity of spirit, she becomes the catalyst for dissension
and independence among her fellow prostitutes, causing a dramatic and
surprising chain of events! The small cast, headed by Paula Langton
as "Fat Bess", Kataryn Zamora Benson as "Kate",
Marie Larkin as "Maude", Christina Yim as "Tok"
and Eric Roemele as a gold-prospecting customer, are all excellent under
Michael Hammond's strong direction. My one reservation concerning the
otherwise well-written and well-enacted play, concerns the unexpected
and raucously performed "fairy-tale" conclusion, which, as
written and performed, as of now seems much too farcical and out-of-step
with the rest of the story!. Now playing through October 8 (My Grade:
3-1/2)
SEX
DRUGS ROCK AND ROLL
Review by Norm Gross
Currently
at Boston's Community Church is the Stanley B. Theatre's production
of "Sex, Drugs, Rock-and-Roll". Originally written and performed
in 1990 by Eric Bogosian as a one-act, intermissionless, ninety-minute
solo perfrmance-play, it is now, in this presentation being enacted
by three performers. In nearly a dozen savagely funny, witherlingly
observant and searingly compelling vignettes, the author offers us a
wide swatch of Americana, from the philandering businessman telephoning
lies to his wife, the self-denying, panhandling drug addict, and the
overly-assertive professional who sees the American dream solely in
terms of more and more lavish and expensive consumerism to the average
guy raging against the pollutions (big and small) we all face (or step
in) at every turn, to a dark and scathngly hilarious reenactment of
a blue-collar "stag-party" for a working cohort on the eve
of his wedding. Bogosian scores solidly each and every time! Bruce Serafin
(the company's founder and executive producer), Brad Pickett and Dennis
Strahan handle their roles very effectively under Daniel Ja"quez'
strong direction Although a decade has passed since Bogosian first presented
this striking play, time has not lessened its provocative impact in
any way! Now playing through October 14.(My Grade: 5)
KING
LEAR
Review by Norm Gross
Now
at the New Repertory Theatre in Newton, Mass. is their new production
of Shakespeare's "King Lear". Set in ancient Britain, the
plot revolves around the elderly king (becoming senile) who intends
to divide his kingdom into three parts for his three daughters: Cordelia,
Goneril and Regan. Enraged by Cordelia's honesty, he banishes her, and
in response to their duplicity, gives all of his domain to the other
daughters! Eventually his benevolence leaves him homeless and deranged.
Concurrent with these events, the Earl of Gloucester becomes entangled
in a contest over his estate with his two sons, one legitimate (Edgar)
and the other illegitimate (Edmund). These discordant power-struggles
then run their course, with Lear soon reduced to a ragged, homeless
madman, while a series of schemes and confrontations evolve, first amongst
and later against Lear's daughters and Gloucester's sons. Assisted by
his jester, Lear finally comes to understand the realities of himself
and the truth about his daughters. Austin Pendleton (well known from
movies and TV) in the title role, begins somewhat meekly and understated
at the saga's outset but grows steadily stronger and bolder as his sanity
falters. He's well supported by the large sixteen-member cast with special
commendation for Richard Bowden as Gloucester; Shawn Sturnick as Edgar;
Laiona Michelle as Cordelia and Ken Cheesemen as the King's fool. One
additional reservation regarding this otherwise strong presentation
concerns the unnecessarily loud and distracting metallic percussion
which introduces each scene..Through October 22nd .. My Grade (0-5):
4
SIDEMAN
Review By Norm Gross
At
Boston's Lyric Stage is the New England premiere of "Side Man",
Warren Leight's Tony Award-winning drama about jazz-music and the supporting
players (in large or small orchestras) who come what may devote their
lives to performing it. The story's focus is on trumpeter Gene, his
wife Terry and his adult son Clifford who narrates their troubled story
as a series of memories. Moving back and forth in time, from the eighties
through the fifties, sixties and seventies.....the rise of rock-and
-roll soon causes the popular decline of big and small-band jazz, making
it increasingly difficult for many professional sidemen to earn a living
playing pure jazz. Many are forced to either join local ballroom, night
club or theatrical bands (often necessitating long day and evening schedules)
or else spending endless time waiting in line for unemployment checks!
Accordingly, Gene's passionate devotion to his career (and the sacrifices
it demands) exacts an enormous toll on his family. Totally dedicated
to the "real" music and indifferent to either his wife or
his son, wife Terry soon descends into alcoholism and attempted suicides,
while son Clifford valiantly struggles not only to save her, but also
to maintain some semblance of family unity...High praise for the small
cast led by Ro'ee Levi as Clifford and Dale Place as Gene with special
commendation for Paula Plum's heartbreaking performance as the despairing
and tragically neglected wife!...A well-staged, strongly enacted and
trenchant study of jazz musicians and the often self-destructive penalties
their chosen career entails...Now playing through October 14. (My Grade:
5)
COMMUNICATING
DOORS
Review by Norm Gross
Now
at "Quannapowitt Players" in Reading ,Mass. is Alan Ayckbourn's
delightfully amusing fantasy "Communicating Doors". Set in
a single suite in a posh London hotel, the fanciful plot begins in the
year 2020. A weak, elderly and dying business tycoon hires an extravagant
prostitute to witness his final written confession admitting the murder,
by himself and his business partner, of his two former wives. This same
colleague, after learning about the incriminating document, decides
to retrieve it and kill the call-girl! To save herself, she hides in
a closet which turns out to be a bizarre time-warp, which transfers
her (always in this same suite) back and forth to the years 2000, 1980
and thence again to 2020! In this giddy spin, she meets both former
wives and after much amusing disbelief, convinces them both about her
horrific predictions. They then begin to work together to change their
deadly fates, in a series of miraculous, unexpected and grandly amusing
twists. .. Jennifer Kirey as the hooker, Grace Butler and Candy Goff
as the two former wives and Shawn Maguire as the murderous business
associate all perform in fine comic fashion, as does the rest of the
small and accomplished cast, with special notice also for Juree James'
fine set and Michael Jacobs' fluid direction..Now playing through September
30. (My Grade: 5)
Charlie
Brown
Review by Norm Gross
At
the Turtle Lane Playhouse in Newton, Mass. is their new production of
"You're a Good Man, Charlie Brown", based on Charles Schulz'
highly popular daily comic strip "Peanuts". The original show
made its debut, with great success, off Broadway in 1967, featuring
music and lyrics by Clark Gesner with book by John Gordon. The evening
consists of fourteen gently comic vignettes with musical moments, divided
into two acts, with a brief intermission, which consistently ring true
to cartoonist Schulz' originals....and what definitive "originals"
they are! Five quizzical , slightly perplexed and very often confrontational
"small-fry" and their highly amusing and meditative pet dog
Snoopy, Chuck Walsh as the hapless Charlie Brown,Craig Spaner as the
piano-playing Schroeder, Tyler Hart as the blanket-draped, thumb-sucking
Linus and Holly Wade as the ever ebullient Patty (all adults) artfully
assume their pint-sized persona....With special praise for Susan Walsh
as the always-demanding, assertive and in-your-face Lucy, with extra
commendation for Christopher Mack as the comically contemplative Snoopy.
He's especially winning whether fantasizing himself in combat with "The
Red Baron"(World War I German flying-ace) or singing about a special
bone at suppertime! A charming and thoroughly engaging family entertainment,
which is now playing through September 24. (My Grade: 5)
THE
KING STAG
Review by Norm Gross
At
the Loeb Drama Center in Cambridge, Mass is a return engagement (prior
to a national tour) of Carlo Gozzi's multi-faceted fairy tale "The
King Stag" . Adapted into English by Albert Bermel, it's set in
a mythical, medieval, Japan-like kingdom, replete with brilliant costumes,elaborate
and dazzlingly bizarre facial masks, and larger-than-life-sized puppets
(representing the animal world). The story (performed in Kabuki fashion)
concerns a handsome young king's search for the perfect bride, whose
plans are overturned by his power-hungry prime minister, who casts a
magic spell over him and assumes his throne! Naturally, the evil-doer's
sorcery is eventually reversed with good finally triumphant! The large
cast of young actors and puppeteers are all first rate with special
notice for Jay Boyer as the bewitched king and Dmetrius Conley-Williams
as his dastardly advisor. However, the evening's greatest applause must
go to Julie Taymor's brilliantly conceived and executed costumes, masks
and puppetry. Unfortunately, much of the play is directed in an increasingly
unvaried and predictabe style for ninety non-stop minutes by Andrei
Serban. The production, I think, would be much improved by the addition
of some genuinely lively and interesting songs and dances rather than
just the accomplished drumming. whistles and assorted sound-accents
provided by Russ Gold. Now playing through September 28 (My grade: 4)
SEVEN
AFFIDAVITS ON AUTHORITY
Review by Norm Gross
Currently
at Boston's Tremont Theatre is Pet Brick Productions world-premiere
presentation of "Seven Affidavits on Authority". Written by
and starring Brandon Toropov , the performance consists of seven playlets
(enacted for ninety minutes without an intermission), concerning the
difficulties, absurdities, contradictions and positive and negative
interactions which constitute contemporary urban life. Beginning with
an amusing declaration of the many ludicrous demands intrinsic within
formal employment applications and follow-up job interviews, continuing
on with extra-marital infidelity with politically scandalous overones,
and then with more on the many bewildering and illogical aspects of
standardized testing..The program advances on with wide-ranging observations
on everything from hospital cuisine (even taking note of Hitler as a
vegetarian) to the multi-varied power struggles between the sexes. These
vignettes run the gamut from occasionally amusing, knowing and illuminating,
to often baffling, contrived and obscure.Well acted by the author, with
fine support from Gregory Steres and Rachel Grissom, the evening's best
moments were achieved at mid-point in a wildly amusing satire entitled
"Face It", featuring Sophie Parker as a stridently right-wing
radio talk-show hostess. Well directed by Betsy Carpenter, this presentation
is now playing (in repertory with "The Water Engine" by David
Mamet) through October 1st. (My Grade: 3)
THE
WATER ENGINE
Review by Norm Gross
Now
at Boston's Tremont Theatre is the Pet Brick Productions' new presentation
of "The Water Engine". Initially written by David Mamet as
a play for broadcast on National Public Radio, it was later expanded
for on-stage performance and was then done as such in 1977 in Chicago
and then New York. Set in 1934 at Chicago's "Century of Progress
" exposition, the plot of this short one-act drama concerns young,
idealistic Charles Lang, who has invented a revolutionary engine that
is powered by water. In attempting to insure his rights to his own invention,
he discovers (with the sister he lives with) a sinister corporate conspiracy
aimed at wresting ownership of his creation away from him. In a situation
that still resonates to us in our own time, their very survival is then
directly threatened by the malevolent forces marshalled against the
young inventor. His plight begins as a reading in a radio studio complete
with a sound-effects man and many actors reciting their roles before
microphones, but quickly and effectively evolves into a well-mounted
and highly provocative full-scale theatrical performance. The acting
by the ten-member cast, led by Gideon Banner as Lang, Angela Meade as
his sister and Ken Flott as a major corporate conspirator, is uniformly
excellent with commendation also for Stephen Benson's strong direction
and David J. Miller's simple but efficient set-design. Now playing through
October 1st. (My Grade: 5)
A
LITTLE LATE NIGHT MUSIC
review by Norm Gross
Currently
at the North Shore Music Theatre in Beverly, Mass. is their new production
of Stephen Sondheim's award-winning musical play "A Little Night
Music". Featured on a book by Hugh Wheeler, it's based on Ingmar
Bergman's celebrated 1955 Swedish motion picture "Smiles of a Summer
Night". Set in Sweden at the turn of the 20th century, the plot
revolves around a highly respected middle-aged lawyer, his second wife
( a teen-ager) and his secret tryst with a famous actress, which is
unexpectedly discovered by the sudden arrival of her current lover (a
married soldier on leave). The actress' wealthy elderly mother, in a
conciliatory effort, invites the lawyer, his young wife, his teen-age
son (by a previous marriage) and the dowager's adulterous actress-daughter,
to spend the week-end at her country estate. Complications erupt when
their plans are upset by the sudden appearance of the jealous soldier
and his subservient wife! The acting and singing by the large 21-member
cast is first-rate with special commendation for Donna McKechnie as
the amorous actress, Jess McCarthy as the philandering lawyer and Chuck
Wagner as the overly-zealous and combative martinet, as well as high
praise for Dex Edwards' simple yet effective pastoral setting and Barry
Ivan's spirited direction and choreography! Let's not forget Sondheim's
sublime music and lyrics including "A Weekend in the Country"
and his haunting "Send in the Clowns". A total delight, now
playing through September 24 (My Grade: 5)
SEUSSICAL
Review by Norm Gross
Boston's
Colonial Theatre is now featuring "Seussical", a new musical
play based on the popular Dr. Seuss stories with engaging book, music
and lyrics by Lynn Ahrens and Stephen Flaherty. Set in the fanciful
"Jungle of Nool" with "The Cat in the Hat" as host,
the elaborate plot centers on Horton, the gentle elephant, and his determined
efforts to protect "The Who", a miniature society inhabiting
a particle of dust! His efforts are then complicated by his romance
with the beautiful bird Gertrude McFuzz, and still later challenged
when he agrees to hatch another's egg by sitting many months on it!
Interwoven within this framework is the young male Who "Jo-Jo",
sent off to the military to face war and near-death for (as the show's
central song intones) "Thinking he can Think" and thereafter,
fleeting and occasionally excessive moments with "The Grinch"
and Christmas, the Sour Kangaroo and even Yertle the Turtle. Here, less
would have definitely been better. Kudos to Kevin Chamberlin as Horton
(unfortunately in a drab and uninteresting costume)...Also, Andrew Keenan-Bolger
as Jo-Jo, Janine LaManna as Gertrude and David Shiner, who (although
frequently overextended) is amusingly mobile and elastic as the Cat
in the Hat. Much applause for Kathleen Marshall's fluid choreography
and Eugene Lee's colorfully imaginative and dazzling set designs; however
much more should be done with Dr. Seuss' original cartoon representations,
now featured only sporadically as either a hand puppet or as elevated
hand-held standards. Even so, this is captivating family entertainment!
Now playing through September 17. (My Grade: 4)
KISS
OF THE SPIDER WOMEN
Review by Norm Gross
Currently at Boston's Actors Workshop Theatre is the Vernon Street production
of Manuel Puig's "Kiss of the Spider Woman" (as translated by Allan
Baker). Based on the author's 1976 novel, it was later made into the
acclaimed 1985 motion picture and still later into the multi- Tony-awarded
1993 Broadway musical! Unlike its movie and song-embellished manifestations,
however, this play only features its two main protagonists. Set in a
dark, bare jail cell somewhere in Latin America, two starkly opposite
prisoners are confined. Valentin, a Marxist revolutionary, is paired
with Molina, a romantic and politically naive homosexual. Initially
cautious, their relationship gradually evolves over several weeks from
wary acceptance to genuine affection and sexual union to ultimate tragedy.
The glue that unites them is Molina's ability to recite the main plot-lines
of the many 1940s Hollywood "B" movies he saw as a youth (hence the
play's title). Much praise for Justin Crowley as Molina and Derry Woodhouse
as Valentin, who enact their roles with great sensitivity. Unfortunately,
there are some shortcomings to this otherwise provocative, solidly mounted
and well-performed presentation. When their totalitarian jailer attempts
(off-stage) to entice Molina to spy on Valentin it is confusingly relayed
to us with much too much unnecessary amplification. Also, as the play
ends, with Molina's early release, again a highly-amplified off-stage
narrator, surprisingly sums up at great length and with much drone-like
detail, their story's tragic conclusion, thereby undercutting much of
the finale's theatrical effectiveness. Now playing through September
9. (My Grade: 3-1/2)
GYPSY
Review by Norm Gross
Now at the outdoor Public Theater in Herter Park in Brighton, Mass.
is their new production of the musical "Gypsy" . First produced on Broadway
way back in 1959 with music by Jule Styne, lyrics by Stephen Sondheim
and book by Arthur Laurents, the plot is based on the similarly titled
autobiography of Gypsy Rose Lee . Set in the second-rate hotel and backstage
rooms on America's vaudeville circuit during the twenties and early
thirties, the story revolves around thrice-divorced Rose Hovick, Herby
her boyfriend and booking agent and her two young daughters, June and
Louise. Central to them all is Rose's single-minded determination to
make her children headliners! As they progress from early childhood
to young adulthood, Rose's ambitions for them are nearly derailed when
June runs off to be married, leaving sister Louise as her sole focus.
How Louise then does finally achieve stardom in burlesque as Gypsy Rose
Lee defines Act Two's triumphant yert poignant conclusion. Featuring
such grand songs as "Everything's Coming up Roses", "Small World", and
"All I need is the Girl" plus well-sung performances by Maryann Zschau
(excellent!) as Rose, Laura Schweitzer as the adult Louise and Samantha
Goober as baby June. My only reservation about this otherwise well-directed
and strongly-enacted production is the drab and lackluster set ( a muted
and unimaginative red-brick wall with two doorways). Now playing through
September 3. (My Grade: 4).
My
One and Only
Review By Norm Gross
Now
at the Robinson Theatre on the Waltham (Mass.) High School campus is
the Reagle Players' production of "My One and Only", a reconception
(with a completely new plot) using many of the great and legendary somgs
of George and Ira Gershwin. Set once again in the twenties, this new
book by Peter Stone and Timothy Mayer revolves around Captain Billy
(the young aviator who dreams of becoming the first one to fly non-stop
across the Atlantic) and his on-again off-again romance with Edythe,
the beautiful young aquacade star. Although their love affair is almost
derailed by Prince Nikki, her devious Russian manager, true amour does
finally triumph! The original 1983 Broadway choreography by Tommy Tune
and Thommie Walsh is here effectively recreated by Eileen Grace and
is well performed by the large and vigorous youthful cast. Kirby and
Beverly Ward, as the harassed singing and dancing sweethearts are in
top form and generate much audience response with their splendid rendition
of the title tune plus "He Loves and She Loves", "Strike up the Band"
and most especially "'S Wonderful" which is exuberantly sung and danced
by them on a deserted beach, cleverly splashing their way through a
lengthy trestle-like, water-filled floor prop. Althouigh the plot unfolds
initially somewhat slowly and awkwardly, thereafter it quickly blossoms
into a top-notch song and dance feast! Now playing through August 12.
(My Grade: 5)
The
Tempest
Review By Norm Gross
Now
on the Boston Common at Parkman Bandstand is the Commonwealth Shakespeare
Company's production of "The Tempest". The bard's classic fantasy about
Prospero, the deposed Duke of Milan and master-sorcerer (exiled for
many years on a desert island) living there with his adolescent daughter
Miranda, his bewitched slave Caliban and the helpful sprite Ariel. Working
his magic, Prospero conjures a ferocious storm at sea, forcing a ship
bearing the schemers responsible for his misfortunes onto the island
and thus begins a sequence of events underscored by Prospero's and Ariel's
enchantments, in which his daughter falls in love with his enemy's son,
while the remaining conspirators ultimately atone for their treachery
and restore him to his title. All of this is very well enacted by Will
Lyman as Prospero, working his spells with Antonio Suarez, quite lively,
as Ariel! A high comic interlude is also provided by Thomas Derrah as
Caliban along with Jeremiah Kissel and Paula Plum as a trio of drunken
buffoons, amidst Scott Bradley's effectively atmospheric, ramshackle
setting. The masque (play within a play) sequence near the finale unfortunately
seemed somewhat cumbersome, although performed with waving and strikingly
colorful banners. As with such other summer Shakespearian offerings
in New York, Atlanta and elsewhere, this fine production is being presented
outdoors and free of charge! Now playing through August 13 (My Grade:4)
Peter
Pan
Review By Norm Gross
Now
at the North Shore Theatre in Beverly, Mass. is a return engagement
of the award-winning musical version of Sir James Barrie's 1904 classic
"Peter Pan". This beloved tale of the eternally youthful juvenile boy
from "Never-Never Land" who returns to Victorian London seeking a surrogate
mother for him and his band of motherless boys in this mythic far away
home. He then convinces lovely adolescent Wendy and her two younger
brothers to fly away with him to his habitat in the sky! Once there,
they'll not only become his "family" but also join forces with his young
cohorts and a tribe of friendly "Wild-West" Indians to outwit and defeat
dastardly Captain Hook and his villainous pirate crew! Successfully
revised and adapted on Broadway in 1955, with bright contemporary words
and music by Carolyn Leigh and Moose Charlap (with additional songs
by Jule Styne, Betty Comden and Adolph Green), this production, quite
literally, soars with former Olympic gymnastic champion Cathy Rigby
as Peter. Singing with a strong and engaging voice, she sprints, duels
and most especially "flies" high above the audience (upheld by a nearly
invisible cable) to the completre awe and delight of all! High praise
also for the large, vigorous youthful cast, with extra commendation
for David Masenheimer as Captain Hook and Yvette Tucker as the dancing
leader of the amicable Indians. A well-mounted, highly captivating family
entertainment. Now playing through August 12 (My Grade: 5)
An
American Comedy
Review By Norm Gross
At
the New Repertory Theatre in Newton, Mass. is the Second Stage Theatre
Company's production of "An American Comedy" by Richard Nelson. Set
on an ocean liner in depression-riddled 1936, the farcical plot revolves
around Max and George (a successful comedic playwriting partnership)
and their befuddled agent Joe. In Act One, Max is becoming increasingly
influenced by Marxism, to the complete dismay of George and Joe. He
no longer considers comedy as meaningful for the world's suffering.
Instead, he sees his new mission linked to socialist-inspired drama!
Since a new comic script is expected from the duo that same evening
by their financial patron (also on board) George and Joe desperately
explore a variety of wild schemes to derail Max's radicalism and return
him to writing comedy. Add to this mix, two young male ship's stewards
(as aspiring playwrights), Max's sweet young fiancee and a young, attractive
female communist newspaper drama-critic, and all seems in place for
a rollicking second act! Unfortunately, however, the author's farcical
resolutions thereafter were for the most part much too obvious and uninspired,
further weakened by the two ship's stewards' uneven acting during the
play's most crucial moments! The strong performances by Doug Rainey
as Max, Jerry Robbins as George and Fred Robbins as Joe were then all
surprisingly undermined by the play's feeble denouement! Now playing
in Newton, Mass., through August 5 and then at the Firehouse Center
in Newburyport, Mass. through August 20 (My Grade: 2.5)
Hapgood
An American Comedy
Now
at the Loeb Drama Center in Cambridge, Mass. is the Harvard-Radcliffe
Summer Theatre's production of "Hapgood", a suspenseful play with comic
undertones, by Tom Stoppard. Set in London at the height of the cold
war, the plot concerns Elizabeth Hapgood. director of a British intelligence
unit, surrounded by a group of male subordinates involved in a series
of clandestine intrigues with their Soviet opponents. As the complex
machinations between these antagonists unfold, the author weaves a web
of surprising and tricky complications involving a host of double-agents,
their power struggles and even a secret romance between Mrs. Hapgood
and her Russian counterpart. This is all brought into sharp focus by
the kidnapping of her young son. The nine-member student cast are all
uniformly excellent, with high praise for Emily Knapp in the title role,
George Byron as a major member of her espionage team and Dan Cozzens
as her Russian lover! Extra notice also for Nicholas Parrillo's fast-paced
direction and Ali Rutrh Davis' effectively dramatic lighting, John Gordon's
economical sets and Liz Gehrlein's fluid set-changes, encompassing a
wide variety of times and places from male shower stalls and a rugby
playing field to the city's zoo(amongst others) which were all quite
impressive. Mention should also be made of Joh Baxindine's original
and highly dramatic music. A timely, provocative, well-staged and very
well-enacted melodrama, now playing through August 5 (My Grade :
5)
OKLAHOMA
Stage Review by Norm Gross
Now at the Robinson Theatre on the Waltham (Mass.) High School Campus
is the Reagle Players' new production of Rodgers and Hammerstein's landmark
musical-drama - "Oklahoma." First produced on Broadway in 1943, it revolutionized
the American Musical Theater with its simple, dramatic story, completely
integrated with songs that advanced the plot, as well as an innovative
(for then)"Dream Ballet Sequence" (conceived originally by Agnes deMille
and recreated here by Gemze De Lappe). Set at the Close of the 19th
Century, in the frontier territory that would soon become the State
of Oklahoma, the plot concerns beautiful, young Laurey, who lives on
a ranch with her elderly aunt. Her love for handsome, cowboy-wrangler
Curly, is complicated by Jud , a brutish and sinister hired-hand, who
challenges Curly for Laurey's affections with deadly consequences. All
of the sublime music, including such perennial favorites as the spirited
title-anthem plus "Oh, What a Beautiful Morning," "People Will Say We're
In Love," and "Surrey With the Fringe on Top," amongst others, are sung
in grand style by the large cast with Rob Sutton as "Curly" and Kristin
Gillies as "Laurey," complete with a nicely performed "Dream Ballet
Sequence" danced by a Corps De Ballet headed by Randall Graham and Rebecca
Link as the troubled sweethearts. Grandly accompanied by a full orchestra
conducted by Roy Groth. A splendidly mounted family entertainment, now
playing through July 22. (My Grade: 5)
MacBeth
Stage Review by Norm Gross
Now at the Outdoor Stage in Christian Herter Park in the Brighton District
of Boston, is the Publick Theatre's production of Shakespeare's "Macbeth."
Set in ancient times, Macbeth, a Scottish thane, is thrust onto a murderous
course by a trio of witches, who prophesize his ascendancy to the monarchy.
However, to accomplish this, he must first kill all those in his path,
including the current King. Driven by his own unbridled ambition and
his wife's incitements, Macbeth follows through and is thereafter riddled
with guilt. He is then, ultimately, vanquished on the field of battle
as the witches' dire predictions of his rise and fall are finally fulfilled.
This production is most effective in its use of the stage's outdoor
surrounding trees and shrubbery in the early scenes centering on the
witches' declarations as well as the concluding battle scenes in which
Macbeth is finally defeated. However, most of Macbeth's subsequent homicidal
advances (the play's tragic core) were uninvolving and much too lackluster,
due to Diego Arciniegas' sluggish direction and Scott Kealey's low-keyed
performance in the title role. Much more of the vigor and intensity
projected by Susan Nitter as Lady Macbeth, would have been welcome!
Special notice, also, for Ted Arabian's effective castle like, gray-stone
setting. This presentation is now on view through July 23. (My grade:
2)
Othello
Stage Review by Norm Gross
Currently at the New Repertory Theatre in Newton, Mass. is the "Shakespeare
Now! Theatre Company's" production of "Othello," one of the Bard's greatest
tragedies. Its plot centers on Othello, a moorish military commander
of the Venetian Army, and Aigo, his disciple subordinate, who devises
an elaborate and destructive scheme against him. Passed over for promotion
(in favor of Othello's lieutenant Cassio), Aigo plans to destroy them
both, with his greatest hatred focused on Othello. To this end, he deviously
persuades the moor that Desdemona, his beautiful young wife, is having
an illicit romance with Casio, and uses a purloined handkerchief (a
special gift from Othello to his wife) to convince him of her infidelity,
with horrific consequences! Steve Dooner is strong and very compelling
in the title role and Dan Kelly, vigorously and skillfully establishes
Aigo's consummate wickedness with fine support from Dean Calusdian as
Casio and Jessica McNamara as Desdemona. High praise also from Justin
Badinoff's strong direction as well as his simple wooden-block set-piece…centered
on a dark, somber, bare stage, which effectively functions as a courtyard,
ship's deck and bedroom. My only reservation regarding this otherwise
strong and successful production concerns the occasional background
crowd, which were too often overly animated, and excessively loud and
obtrusive. Now playing through July 8. (My grade: 4)
Marcel
Marceau
Review by Norm Gross
Marcel Marceau, the legendary master-mime, is now in solo performance
after a two-decade absence, at the Loeb Drama Center in Cambridge, Mass.
under the auspices of the American Repertory Theatre. His two-hour program
is divided by a brief intermission. Act one, entitled: "Pantomimes of
Style" consists of a series of vignettes suggesting humankind in a variety
of settings, such as people interacting in a public park, a bird-keeper
tending his winged pets, and a trial (from start to execution) complete
with judge, defendant and advocates, all dramatically visualized on
a bare stage in silent bodily movement, with only occasional incidental
music. Act two, entitled: "Pantomimes of Bip," focuses on the "everyman"
character, created by Marceau, gently reminiscent of Chaplin's "Little
Tramp." The master, assuming all the roles, in his battered tall-hat,
chalk-white face and ruby red lips, becomes a lion and his tamer, and
a seasick traveler, unstable, on deck, due to the ocean's mild turbulence.
Both acts also culminate with brief but totally masterful enactments…act
one, with "youth, maturity, old age and death," a stunningly effective
summation of man's life cycles, while act two concludes with a breathtaking
display entitled: "The Mask-maker," in which Marceau swiftly alternates
between comic and tragic masks ultimately becoming frantically entrapped
in the ludicrous mode resulting in his frustration and despair. Each,
in its own way, is a genuine masterpiece! Although now aged 77, none
of Marceau's graceful dexterity or inspired artistry has been lessened,
in any way. Currently performing through July 30. (My grade: 5)
Bye
Bye Birdie
Review by Norm Gross
Now
playing at the Waltham Mass High School stage is the Reagle Players'
production of "Bye Bye Birdie", A musical comedy first produced successfully
on Broadway in 1960 based on the book by Michael Stewart, music by Charles
Strouse and lyrics by Lee Adams. It was later made into an equally successful
movie and more recently into a well-received major television presentation.
To stir national attention, the manager of an Elvis Presley-like clone
named Conrad Birdie (who's being drafted into military service) assisted
by his lovely enamored secretary, sends the rock idol to Sweetapple
Ohio for one last kiss, on network TV, as a civilian. The lucky recipient
is the young teen female leader of the star's local fan club. The resulting
comic uproar throws the townsfolk into an amusing tumult and nearly
severs the romance between the manager and his secretary. High praise
for Kirby Ward and Nancy Hess as the love-tossed sweethearts (who sing
and dance in grand style) and especially for "Rockin'" Randall Patterson
as Birdie! Extra notice for Peter Larkin's sleekly attractive tubular
set, the splendid full pit orchestra conducted by Paul Katz and the
large and rhythmically vigorous supporting cast. A well-mounted, tuneful
and genuinely entertaining presentation for the entire family! Now playing
through June 24 (My grade: 5)
Honk
Review by Norm Gross
At
the North Shore Music Theatre in Beverly Mass. is their production of
the award-winning British musical "Honk!". Based on Hans Christian Anderson's
"The Ugly Duckling" with music by George Stiles and book and lyrics
by Anthony Drewe, this charming import also features most of the show's
London production values as well...including its highly effective original
director, Julia McKenzie. Adapted for arena-style presentation, Anderson's
short fable about tolerance has been deftly expanded into a full two-act
evening with substantial uplifting and emotional content. After breaking
out of his eggshell. "Ugly" (as he is then named) wanders away from
his siblings and faces a myriad of perils (mainly initiated by a hungry
and wickedly frolicsome cat) as the mother duck desperately tries to
find him. Naturally, all turns out well by the finale when the gangly
duckling is revealed to his mother (and all the others) as a handsome
swan!...Much commendation for Gavin Creel as "Ugly", Charis Leos as
his worried mother and Bob Walton as the amusingly scheming "Cat". Extra
notice also for the many fine songs such as the touching "Every Tear
a Mother Cries" and Ugly's paean "Different!", with clever and delightfully
colorful settings and costumes by Peter McKintosh and dexterously creative
choreography by Aletta Collins featuring cavorting "Busby-Berkeley-style"Frogs
and a striking formation of Geese on a "Wild Goose Chase"!..A totally
captivating family entertainment. Now playing through July 2 .(My
Grade : 5)
MISS
SAIGON
Review by Dede Tanzer
If Will Swenson (who plays Chris) and Mika Nishida (who plays Kim) are
not in love in real life, they are perhaps the best stage actors it's
been my good fortune to enjoy. The chemistry between them is so intense
I believe I saw small electric particles traveling between their lips.
This is a magnificant love story that leaves the entire audience dabbing
their eyes, as Kim..... (Okay, I won't tell). Also exciting the audience
is the sparkling performance of Joseph Anthony Foronda as The Engineer
who runs the whore house where.... (still not telling). His rendition
of "The American Dream" brought down the house last night, replete with
the 1960's pink Cadillac which has become a symbol of this story of
war, romance and the American loss in Vietnam. The brains behind 'Miss
Saigon' are that of Alain Boubill and Claude-Michel Schoenberg, the
two Frenchmen who brought us 'Les Miserables'. Their talent is making
art out of tragedy and in this production of 'Miss Saigon' they do just
that! One of the most wonderous aspects of this particular performance
is the brilliant staging by acclaimed choreographer Bob Avian. The magic
began as the show opened to the incredibly imaginative set by John Napier.
The stage is framed by sixteen 50' pleeted rice paper shades draped
from ceiling to floor with sets that move on and off as each shade opens
on cue. The music and sound effects add to the feeling of being in Saigon
in the late 60's. The transportation of my soul, back to the news reels
of Vietnam, was completed by the sounds of the crickets chirping in
the air. This is a "DO NOT MISS" (pun intended) show. It's playing at
The Wang Theatre now through June 25. Tickets are on sale directly
from The Wang Theatre box office or through Telecharge at 1-800-447-7400.
For groups of 20 or more, call The Wang Theatre/Show of the Month Groups
at 1-617-350-6000. Tell them Dede sent you. On the other hand....Don't
tell!
The
Most Fabulous Story
Stage Review by Norm Gross
At Boston's Lyric Stage is the Speakeasy Company's area premiere of
Paul Rudnick's The Most Fabulous Story Ever Told," a brazenly hilarious
farce which explores the Bible from a decidedly gay viewpoint. Imagine
the Garden of Eden with Adam and Steve and Jane and Mabel as its original
residents. Then follow them all into the ensuing centuries experiencing
the flood, the ark, the animals, Egypt, slavery, the exodus and even
the nativity. Then, in act two fast forward them all into present-day
Manhattan at Christmas-time with many comic observations about the hazards
of contemporary living with serious overtones about gay parenting, gay
weddings and AIDS. With its full-frontal nudity, explicit dialogue,
and unabashed over-hauling of the Bible, this show won't appeal to everyone.
However, all others should find it to be extremely funny, well staged
and very well performed. High praise for the small, expert cast headed
by Henry David Clarke and Chris Arruda as Adam and Steve and Sandra
Heffley and Helen McElwain as Jane and Mabel…and also Richard Carey
as both a flamboyantly comic Pharaoh and a frazzled Santa Claus. Commendations
also for Scott Edmiston's sure direction and Susan Zeeman Rogers fine
minimalist sets which effectively accommodate the play's many times
and places. A provocative and highly amusing entertainment, now playing
through June 24. (My grade: 5)
Dames
At Sea Stage
Review by Norm Gross
Now
completing a limited engagement at the Abbott Memorial Theatre in Waltham,
Mass. is the Hovey Players production of "Dames at Sea." First presented
with great success off-Broadway in 1968, it's a delightfully clever
spoof of those splendid depression-era Dick Powell, Ruby Keeler musicals
of the thirties like "Shipmates Forever" and "Forty Second Street ".
This time it is presented with pleasantly nostalgic music by Jim Wise
and grandly comic book and lyrics by George Haimsohn and Robin Miller.
Naturally young and pretty "Ruby," from small-town America arrives in
Manhattan, with only her tap-shoes, ready to conquer Broadway. Backstage
she meets gifted, sailor and song-writer "Dick," whose tunes are ready
for the "big time." Unfortunately, however, for many reasons, the show
he's involved with must be performed at sea, instead, on the deck of
a battleship. When "Mona," the headstrong and demanding leading lady,
is unable to perform because of seasickness, Ruby is recruited at the
last moment as her replacement and becomes Broadway's newest star! The
small cast of six handle their roles very well with Ann McCoy and Dave
Garison both fine as the handsome singing and dancing sweethearts with
special notice for Linda Goetz as the amusingly egocentric and indisposed
star. Unfortunately act one suffers from its distracting and unnecessarily
dark and quite uninteresting backstage setting while act two is substantially
improved by its varied and brightly painted sea-going scenery. (My
grade: 3½)
Not
About Nightingales
Stage Review by Norm Gross
At the Boston University's Theatre is the "Theatre Works" production
(an area premiere) of "Not About Nightingales." Written in 1938, by
then unknown, Tennessee Williams and thought, until recently to be "lost,"
it was rediscovered several years ago and produced, with much success,
in London, Houston and New York. Based on actual events, this drama
is here set, in 1938, in a Southern jail (situated offshore, on an Island),
governed by Boss Whalen, a tyrannical warden. The inmates, seething
with discontent over the institutions bad food and inhumane treatment,
prepare to challenge their harsh living conditions with a hunger strike.
Together with the prison guards, the embattled warden is aided by Eva,
a young and pretty secretary, who is in love with "Canary Jim," a long-term,
subservient, self-taught, intellectual, convict who has become Whalen's
obedient lackey! In an effort to quell their revolt, Whalen orders the
strike leaders to be locked in a steam room set for the life threatening,
maximum heat! "Canary Jim" and Eva, then desperately confront the despotic
superintendent in a defiant attempt to reverse his horrific strike breaking
course. Extremely well-acted by Stephen Benson as the oppressive warden
and Eileen Nugent and John Carozza as the conflicted sweethearts, with
commendation for Jason Southerland's strong directions and Laura McPherson's
highly effective settings in the small arena style theatre space. A
tense and gripping drama, whose focus still resonates to this very day!
Now playing through June 25. My grade (0-5): 5
KING
HEDLEY I I
Review by Norm Gross
At the Boston University Theatre is the Huntington Company's production
of "King Hedley II", August Wilson's latest exploration of African-American
life in Pittsburgh's battered and squalid "hill district". As in his
earlier plays, this drama, set in 1985, likewise continues the author's
exposition of their struggles and resilience. Hedley, imprisoned for
seven years for murder, returns to his old neighborhood and dreams of
opening a video store. With the help of a friend (a petty thief) he
expects to raise the necessary money by selling some stolen refrigerators.
Barely subsisting, he lives together with Tonya, his wife (pregnant
and preparing for an abortion) and Ruby, his mother (a disillusioned
former big-band vocalist). Their neighbor, an elderly eccentric, quotes
liberally from the Bible with comments about the community, acting as
a Greek chorus. Elmore, Ruby's former sweetheart, (a flamboyant gambler)
returns after a long absence and creates a stir by his marriage proposal.
In a series of lengthy (more than 3 hours) and very well enacted soliloquies,
these varied residents vent their despair and hopes, culminating, as
expected, tragically. High praise for the small, excellent cast, with
special notice for Tony Todd as Hedley, Marlene Warfield as Ruby and
most definitely for Charles Brown as Elmore....with additional commendation
for David Gallo's massive and very striking crumbling brick setting.
Although Wilson's monologues are all very well written and vividly performed,
nevertheless his play does suffer from insufficient plot-development.
Now playing through June 18. (My Grade : 3-1/2)
MACBETH
Review by Dede Tanzer
MACBETH IN BLACK AND WHITE New York will embrace this production of
Macbeth starring Kelsey Grammer in the title role and Diane Venora as
the diabolical Lady Macbeth. As in life, the lady runs the show. In
this case the show is done completely in shades of black, gray and off
white. This new sleek production, whose set and costume design were
crafted by Timoth O'Brien, will cause New Yorkers to ooh and ah. The
stage is a stark black backdrop to the action. The wardrobe looks more
like GQ than Shakespearian garb. This particular design brings the audience
back to a time before technicolor. The only color one sees is the red
blood of real life that is taken by Macbeth and Lady Macbeth as they
kill Duncan in order to claim the throne. Macbeth is the tragic tale
of a Scottish General whose devious ambition earns him first the throne
and then a bloody end. For those celebrity gazers, Not only is Frazier
(Kelsey Grammer) aboard, but Michael Gross (Michael J Fox's dad on "Family
Ties") is also a featured cast member. This production is a pre-Broadway
engagement that is playing at the Colonial Teatre in Boston now through
June 4, 2000. Tickets can be purchased through the Colonial box office
(617-426-9366) or through Broadway in Boston (617-880-2400) who brings
this original production to Boston.
THE
STUDENT PRINCE
Review by Norm Gross
The North Shore Music Theatre in Beverly,Mass is presenting their new
production of "The Student Prince". This legendary operetta was first
introduced on Broadway back in 1924. Featuring book and lyrics by Dorothy
Donnelly and Sigmund Romberg's sublime music, it served for many years
thereafter as the standard for many of the succeeding musical plays
which followed it. Set in Germany in the late 19th century, the plot
deals with the age-old clash between true love and the call of duty.
Prince Karl journeys to Heidelberg (a university center) to become a
student for a year. While there, he enjoys the camaraderie of the town's
young male military recruits as they introduce him to the joys of singing
and drinking beer! Soon he is also captivated by the charms of Kathie,
a vivacious young barmaid and falls deeply in love with her. However,
their romance and his free-wheeling student days are abruptly ended
by the death of his grandfather the king. He then returns to the palace
for his coronation and an arranged royal marriage. Featuring such lovely
songs as "Golden Days", "Deep in my Heart" and "The Drinking Song",
all beautifully sung by Andrew Varela and Elena Shaddow as the mismatched
sweethearts, with high praise also for the large talented supporting
cast. While effectively staged in the round, and handsomely costumed,
unfortunately the play's original four acts (although much too long
and sombre) have now been too drastically revised and severely abbreviated,
culminating in a brief, shallow and anti-climactic second act. Now playing
through June 4 .(My Grade: 3-1/2)
THE
WINTER'S TALE
Review by Norm Gross
At the Loeb Drama Center in Cambridge,Mass. is the American Repertory
Theatre's production of Shakespeare's "The Winter's Tale". Rarely done,
it's one of the Bard's later plays and divides dramatically into two
distinctly different halves. Part One, set in Sicilia, is dark, vengeful
and tragic. Part Two, set in Bohemia, radiates in its exploration of
adolescent romance and the triumph of reason and forgiveness. In Act
One, Leontes, King of Sicilia, suspects his pregnant wife, Queen Hermia,
of infidelity with the visiting King of Bohemia. After Hermia's conviction
and imprisonment, she gives birth to a baby girl and later dies. Leontes,
enraged, banishes the infant, who is taken to Bohemia and reared by
shepherds. In Act Two, the child, now an adolescent, falls in love with
the Prince of Bohemia and their relationship becomes mired in a multitude
of confusions and intrigues, which are all ultimately resolved in Sicilia
by the changed and forgiving Leontes! Act One. memorably staged in an
angular black and gray set, is strongly performed by Henry Woronicz
and Mirjana Jokovic as obsessed King and accused Queen. Act Two. resplendent
in warm, tropical expanses of pinks and oranges, is well performed by
Sarah Howe and Jovan Rameau as the young sweethearts. However, much
of the frivolous (animated and rhythmic)antics of the supporting Bohemian
folk (played mostly as comic relief) seemed excessive and belabored.
In all other respects, a highly innovative and compelling presentation.
Now playing through June 11. (My Grade :4)
THE
BLUE ROOM
Review by Norm Gross
Vernon Street Prodctions is now performing its debut presentation of
"The Blue Room" by David Hare, at the Boston Center for the Arts. A
recent success in London, it caused a major sensation there because
of its full-frontal nudity and explicit language. It's being staged
now , arena-style, by a predominantly Brandeis University student production
staff, on a nearly bare central theatre-space. Utilizing only a chair,
two large angular wooden crates (as bed, sofa or table), two candles
in candlesticks and a white sheet (which acts as either a tablecloth
or a bedsheet), it's being performed for 90 minutes, without an intermission.
A series of ten touching, insightful and stirring vignettes explore
the various ways in which males and females amorously interact. Matthew
Argersinger and Lindsay Bellock (both now Brandeis University students)
are compelling and believable playing all the roles! He as either cab-driver,
inexperienced student, savvy politician and egocentric playright (amongst
others) and she as novice prostitute, foreign exchange student and worldly-wise
actress (also amongst others). All illuminating the differing highs
and lows revealed by their many sexual involvements, ranging from adultery
and impotence to self-doubt, clandestine drug-use and mocking self-assrance...strikingly
bridged from episode to episode by effective lighting and the caring
choice of memorable, soulful musical interludes...Now through May 27
(My Grade : 5)
THE
ILLUSION
Review By Norm Gross
At Boston Center for the Arts is the Stagedoor Theatre Company's production
of "The Illusion" by Tony Kushner; freely adapted from Pierre Corneille's
1636 play "L'Illusion Comique". It explores the relationship between
reality and fantasy and the various ways in which they may or may not
interact. An aging and contrite father seeks out a sorceress to investigate
the fate of the disappointing son whom he had cast out 20 years before.
In response, she conjures up a series of three different visions, each
depicting the errant son in a variety of amorous escapades, wherein
complications quickly develop to either hinder or deter him. As the
elder reflects on each romantic episode, he ponders the meaning and
the ways they may have helped his son to become a better person. As
he questions their significance and begins to re-evaluate his son, the
author provides us with a surprising and clever resolution! Jim Robinson
does quite well as the inquiring father and Maureen Tannian Butler is
appropriately spirited as the enchantress, as are the other members
of the small and highly animated supporting cast. Unfortunately, however,
Newell Young as the prodigal son and Jenne Gooding as his various love-interests,
should have exhibited much more flair and zest throughout, thereby undercutting
some of the play's impact. Otherwise, this is very much a stimulating
and provocative presentation. Now playing through May 27 (My Grade:
3-1/2)
Emma
Goldman: A Noise in the Silence
Review by Norm Gross
At Boston's Threshold Theatre, now through May 21, is their production
of "Emma Goldman: A Noise in the Silence" by Tamara Ellis Smith in collaboration
with Deborah Heiman and Claudia Traub. Starring Ms. Traub in an hour-long,
one-woman show- - performed without an intermission- - it's set early
in 1940 in a modestly furnished room in Canada, and centers on Ms. Goldman,
the legendary leftist political publicist and lecturer who gained great
notoriety as a radical activist in this country in the years prior to
and after World War I. The hour culminates with her unsuccessful support
for the Republican-Socialist forces in Spain during the Spanish Civil
War. As she sits alone in her room, playing solitaire and listening
to the radio for news about the final left-wing defeat in Spain, she
ruminates about her stormy life and her total dedication to anarchism!
She recalls her early years as a midwife, when she first became aware
of the grinding hardships of the poor, and the many jail sentences she
served, strengthened by her long relationship with fellow anarchist
Augustine Souchy. She ponders her deportation from America and her many
travels throughout Europe, all sadly ending upon her return to Canada
and her death from a debilitating stroke. Although strikingly performed
by Claudia Traub, otherwise the drama falls short. Regrettably, there
is no mention ever being made of Ms. Goldman's early and strong advocacy
of free love and birth control. There is also the distracting use of
a 1960's style radio and telephone as props. (My Grade:3)
Cleopatra
Ballet Review by Norm Gross
The Boston Ballet's New England Premiere Production of "Cleopatra,"
is now on view at Boston's Wang Theatre. An impressive full-length ,
two act ballet featuring choreography by Houston's Ben Stevenson. Its
story, as expected, explores the tumultuous life, rise to power and
dramatic death of Egypt's legendary Queen. Act one depicts her stormy
relationship with Julius Caesar; followed in act II by her passionate
love affair with Marc Anthony. Amidst a panoramic sweep of political
intrigues and conspiratorial cliques, their gripping history, centered
with music by Rimsky Korsakov, (as arranged by John Lanchberry), is
grandly danced by Larissa Ponomarenko in the title role, Paul Thrussell
as Caesar and Simon Ball as Anthony. Featuring a stirring ensemble enactment
of Caesar's assassination and several fine "pas de deux" culminating
in Anthony's and Cleopatra's suicides! High praise for Thomas Boyd's
many splendid sets, ranging from the Queen's bed-chamber to the columned
centers of Roman power, with special notice for the stunning transformation
of the regal barge into an openly winged falcon Sungod! An additional
salute should also go to Judanna Lynn for her many splendid costumes.
A memorable presentation, vividly danced and exquisitely staged. Now
playing through May 21. (My grade: 5)
THE
ORDER OF THINGS
Review by Norm Gross
The
World Premiere of "The Order of Things" by Melinda Lopez is now being
presented by Centastage at the Boston Playwrights' Theatre. The plot
concerns a divided Cuban family. Dolores, her husband, her adult divorced
daughter and their eight year old grand-daughter now live together in
America. Dolores' younger sister Luz and her adult son have remained
in Cuba. As their story shifts back and forth in time, interwoven with
dream sequences, we learn that Dolores is dying from cancer and has
only a few months to live. Her family had fled Cuba because her husband,
a mathematician, had refused to conform to the demands of his Communist
superiors. Her sister, dedicated to the revolution, has remained steadfast
in her homeland. Dolores' family desperately tries various ways to cope
with her illness. Her husband speculates on complex mathematical theories
(hence the play's title) while her daughter practices primitive religious
rituals, as distant-sister Luz struggles with mail informing her of
Dolores' dying wish for one last reunion. How their dilemma is ultimately
resolved is revealed in the play's surprising and touching conclusion.
Much praise for the excellent seven-member cast under Ellen Groves'
strong direction, with special notice for Nancy Carroll as Dolores and
Genie Montalvo as Luz. A timely, well-written and provocative drama.
Now playing through May 13 (My grade : 5)
THE
SPRING REVELS
Review by Norm Gross
"The
Spring Revels", a panoramic celebration of the triumph and tragedy of
early Acadian history, is now completing a very limited engagement at
Boston's Emerson Majestic Theatre. Produced by "Revels,Incorporated",
it features a cast of nearly eighty on-stage singers, dancers and musicians
(both adult and juvenile). Exuberantly directed by Patrick Swanson,
the evening progresses (in two acts,including a brief intermission)
as story-teller Paula Plum unites the various elements of the show (songs,
dances and traditional ceremonies) into a unified whole,narrating selected
passages from Longfellow's epic nineteenth-century poem "Evangeline",
the story of the brutal eighteenth century expulsion of the French Acadian
setttlers from Canada's maritime provinces and their eventual relocation
as "Cajuns" in Louisiana, unfolds. It's all delightfully expanded into
an engaging series of songs, dances and frolics. Much praise for lead
singer David Coffin, Accordionist Tom Pixton , Fiddler Louise Arsenault
- and most especially the French-Acadian ensemble "Barachois", who brought
lusty shouts of audience approval with their every song and turn! Special
notice also for the large children's group performing their buoyant
"Sheep and Duck Songs" and the highly coordinated "Broom Dance"! A stirringly
performed, lusty and joyously entertaining treat for the entire family.
(My Grade: 5)
THE
WORLD GOES ROUND
Review by Norm Gross
Now
at Boston's Lyric Stage is their presentation of "The World Goes Round",
a musical review celebrating the nearly thirty year Broadway and Hollywood
collaboration of composer John Kander and lyricist Fred Ebb- -best known
for such theatrical successes as "Cabaret", "Woman of the Year", "Kiss
of he Spider Woman" and "Chicago"- - as well as such movie favorites
as "Funny Lady" and "New York, New York". Featuring a quintet of gifted
performers: Mary Callanan, David Foley, Christine Maglione, Frank Gayton
and Merle Perkins, who sing in grand style and dance equally well. They
were accompanied by a small, spirited on-stage orchestra led by Jonathan
Goldberg. Among the show's many tuneful highlights are "Sara Lee", a
comic salute to the well-known commercial pastries, the scintillating
"All that Jazz" and the timorous and wrily amusing "Mr. Cellophane",
both from "Chicago", and the show's vibrant title song! Briskly directed
by Peter A. Carey with an atmospheric set framed by two mammoth Hirschfield
caricatures of the song-writing duo, designed by Janie Howland.The show's
finale, a "hip" modern jazz -tinged version of the title song from "Cabaret".
plus a delightful multi-language rendition of "New York, New York" are
both winningly performed by the entire cast. A bright, breezy and strikingly
presented tribute to one of America's most creative songwriting teams.
Now through May 21. (My Grade: 5)
THIS
IS OUR YOUTH
Review by Norm Gross
Kenneth Lonergan's "This is our Youth" (a recent off-Broadway success)
is now in a striking production by the Coyote Theatre at Boston's Center
for the Arts. Set in early 1982 in a slovenly upper West Side Manhattan
apartment, the plot revolves around three alienated youths (all offspring
of highly affluent, dysfunctional New York families). Warren, a rebellious
teen-ager, lives with his wealthy divorced father in a large Central
Park West apartment. Ousted by his assertive parent for smoking pot,
he finds and steals a briefcase stuffed with $15,000 (hinted as Mafia-connected)
from his dad's bedroom, and goes to his best friend Dennis to hide out.
Dennis, a petty drug-dealer, although also estranged from his parents,
is being financially supported by them. Spurred on by the stolen cash,
they spend an anxious evening scheming on ways to use the money to buy
drugs and yet still somehow to return it intact to Warren's dad. Dennis
also arranges a meeting with Jessica (likewise young, rich and disaffected)
who agrees to spend the night with Warren at an expensive hotel! Extremely
well acted by Patrick Zeller as Dennis, Amanda Mantovani as Jessica
and most especially by Graham Sack as Warren, their pain, loneliness
and despair are artfully and incisively realized by the author's provocative
and authentic-sounding dialogue and skillful plot development. Now playing
through April 30. (My Grade: 5)
THE
JUNGLE BOOK
Review by Norm Gross
Boston's Wheelock Family Theatre is now presenting its production of
"The Jungle Book" by Joseph Robinette, based on the classic stories
by Rudyard Kipling...The plot shifts back and forth (a century ago)
from Kipling as a young student in England, as he begins to write his
fanciful tales of Mowgli (the Indian child reared from infancy by wolves)
to that same child's adventures in the Indian jungle, as he is alternatively
mentored and/or thwarted by animal friends or foes. Bagheera, a facile
panther, and Baloo, a portly bear, become his teachers and protectors,
and as Mowgli grows to puberty, their greatest challenge is presented
by Shere Khan, an aggressive and power-hungry tiger. Naturally, by the
final curtain, Mowgli cleverly defeats this fierce and wily foe! Jacqui
Parker as Shere Khan, Lisa Tucker as Bagheera, Tyrone Aiken as Baloo
and Elyse Garfinkel as an imperturbable snake, perform their animal-like
roles quite well, with spirited support from the large, youthful seventeen-member
cast buttressed by nearly thirty children as either wolves or monkeys.
Director James Byrne is also responsible for the fine movable jungle-like
set pieces, abetted by a series of creative rear-screen shadow projections.
However, unfortunately, Rishabh Lyer in the central roles of both Rudyard
Kipling and Mowgli was, for the most part, awkward and unconvincing,
thereby distracting from much of the play's effectiveness! Now playing
through May 7 (My grade : 2-1/2)
FOLLIES
Review by Norm Gross
A very limited engagement of the Emerson College production of "Follies"
is now at Boston's Emerson Majestic Theatre. First presented on Broadway
in 1971, with only limited success, this legendary show with book by
James Goldman and music and lyrics by Stephen Sondheim, has long since
achieved a cult-like status. It features a cast of fifty vibrant, enthusiastic
and highly talented young student performers, who enthusiastically bring
its premise of one final reunion party for the stars and supporting
players of the celebrated pre-World War ll "Follies" spectacles to vivid
life! The saga of the show's four major entertainers gradually unfolds
(portrayed on stage simultaneously by four youthful and four elder performers).
Sally married Buddy, even though she had always loved Ben, because he
had already married Phyllis. No longer in show business, now thirty
years later, unhappily they meet once again to perform some of their
old songs and sadly reminisce about their failed marriages, lost opportunities
and unfulfilled dreams. Lavishly staged and directed by L.A. Nickole
with impressive sets by Laura McPherson and splendid costumes by Rafael
Jaen, the show features some of Sondheim's best show-stopping music,
such as the haunting torch-song "Losing my Mind", the bristling survivor's
song "I'm Still Here" and the grandly sardonic "Could I Leave You?"
amongst many others. Much praise for Lauren Gruet as Sally, Chris Carlisle
as Buddy, Richard Idgar as Ben and Ellyn Marsh as Phyllis. Although
the show does run a bit too long and the plot unfolds much too slowly,
this memorably staged extravaganza wins on all other counts! (My
Grade : 5)
The
Dying Gaul
Review by Norm Gross
Currently at Boston's Center for the Arts through April 30, is the Speakeasy
Stage's premiere production of Craig Lucas' "The Dying Gaul". Set in
1995, in Los Angeles, the plot concerns Robeet, whose lover has just
died of AIDS . He's written a screen play abot two gay lovers, one of
whom also has AIDS. Jeffrey, a bisexual top-level movie executive, has
offered Robert a million dollars to produce his script, on the condition
that he eliminate its gay focus! Troubled, Robert agrees not only to
the story changes and the big money, but also to Jeffrey's sexual overtures.
Elaine, Jeffrey's suspicious wife, decides on a course of entrapment
for her husband. Using her computer laptop, she invades Robert's psychiatrist's
records and uses this information on the internet to correspond with
him, pretending to be his dead lover, speaking from the grave! Her pretense
is eventually revealed with devastating consequences..Although very
well acted by John Arnold as Robert, Will Lyman as Jeffrey and Melinda
Lopez as Elaine, unfortunately the crucial "e-mail" exhanges were extremely
difficult to read,especially on the two smaller viewing-screens provided
for those sitting on the left and right sides of the center stage. While
there is some limited justification for Elaine's elaborate scheme, ultimately
it becomes cumbersome, tedious and unsatisfactory as a dramatic device...
(My grade : 1)
Lend
Me a Tenor
Play Review by Norm Gross
Now
finishing a very limited engagement at Massasoit Community College in
the Buckley Arts Center in Brockton.Mass. is their production of "Lend
Me a Tenor". A farce by Ken Ludwig, it was first produced with much
success on Broadway in 1989. The plot, set in 1934, concerns Tito Merelli,
a celebrated Italian opera star who has come to appear as Othello at
the Cleveland Grand Opera. Falling ill and passing out before the performance,
the anxious opera company's general manager devises an unscrupulous
scheme to prevent a financial catastrophe. He browbeats his assistant
manager into donning the great tenor's costume and make-up and then
appearing on stage as him. When Tito revives, he puts on his own costume
but is chased away as a charlatan, thereby causing a series of wild
confusions surrounding the real star, his impersonator and two predatory
adoring females! The largely non-professional cast does reasonably well,
becoming more assured as the show progresses. High praise for Don Bravo
(a genuine and popular opera star) as the real tenor, and also for Jeff
Marganian as his imitator and Roland Blanchette as the harried general
manager. Except for Jennifer O'Brien and Linda Sakelaris who were both
unconvincing as the two enamored young women, the cast does succeed
overall in generating some real laughter! (My Grade: 3)
Relatively
Speaking
Review by Norm Gross
Currently at the Lyric West Theatre at Massachusetts Bay Community College
is their production of "Relatively Speaking"by Alan Ayckbourn. Initially
performed in London in 1967, it was the playwright's first great comedic
success. Young Greg loves Ginny, who has just ended a relationship with
an older man. Greg's been living with her in London for the past month
and wants to marry her. Undecided ,she leaves, telling him she must
first visit with her parents at their distant country home. After she
has left, he decides to follow her to also meet her family! Somehow
he arrives at their home much earlier than she, and there meets Phillip
and Sheila an older couple (unrelated to Ginny) whom he assumes to be
her parents. Unbeknownst to either Greg or Sheila, we discover that
Phillip is in fact Ginny's former lover! When she finally does arrive,
a series of grandly amusing mistaken interchanges swirl around Greg
and Sheila as Ginny and Phillip try many subterfuges to conceal their
former clandestine relationship. The cast of four: Jo Barrick as Ginny,
Robert Isaacson as Greg, Cheryl McMahon as Sheila and Ron Ritchell as
Philip are all first rate. Under Polly Hogan's sure direction, a rollicking,
well-staged and deftly enacted farce...Now playing through April 30.
(My grade : 5)