Michael L. Quintos

• OnStage Los Angeles Columnist
• Twitter: @cre8iveMLQ

COSTA MESA CA - To close out its current season, Orange County's Tony-winning regional theater South Coast Repertory has chosen to mount an opulent, high-caliber revival of Peter Shaffer's 1979 play AMADEUS, which continues performances in Costa Mesa through June 5, 2016. The recipient of the 1981 Tony Award for Best Play, AMADEUS most notably became the basis for Milos Forman's Academy Award-winning (and, yes, arguably, much more readily known) 1984 film of the same name. 

For SCR's season-ender—engagingly directed by Kent Nicholson—the rather lengthy play is presented with much of the visual grandness one expects from an antiquated period piece, particularly from this particular theater company. And as an added bonus, the play is performed by a cast of incredible, seasoned actors that winningly transports its audience to a time and place centuries ago—even if, curiously, a little bit of modern-speak sneaks in here and there.

Mostly fictional at its core—in that scholars have repeatedly reiterated that the events, personalities, and central conflict depicted in the play (and movie) sprung heavily from the playwright's imagination—the darkly comic drama tracks the supposed contentious relationship between two renowned composers—the seasoned but less appreciated Antonio Salieri (Marco Barricelli) and the younger, apparently wildly buffoonish mad genius Wolfgang Amadeus Mozart (Asher Grodman). 

When the play begins in 1823, Salieri is of advanced age, ranting and raving like a lunatic—and claiming, out of guilt, that he "poisoned" the great Mozart. 

He breaks the fourth wall and begins speaking directly to us, the audience (whom he refers to as ghosts from the future, haha), to explain his outburst, thereby setting up a narrative that is told solely from his point-of-view. Referencing his want to rise above his own sad mediocrity, he spends the remainder of the play outlining his decade-long role in snuffing out one of the world's most celebrated musical geniuses. 

We soon flashback to 1781 to Salieri's younger days in Austria's musical hub, Vienna. There, Salieri enjoys a life of wealth and privilege as the court-appointed composer for Emperor Joseph II (Peter Frechette), a ruler with a great admiration for the Arts. All of Vienna, including the Emperor it seems, is all a-buzz over the work of a new arrival in Vienna: a young composer from Salzburg with enormous, recognizable talent named Mozart. 

Much to Salieri's surprise, he too is quickly enchanted by Mozart's musical genius, turning into a total fanboy without ever meeting him in person. But little do they all know that the gorgeousness of this young man's music doesn't quite match the personality behind the composer who has crafted it.

So, while at a fancy shindig thrown in Mozart's honor, Salieri—hiding quietly in a private room behind a tall chair munching on a grand selection of confectionery delights—witnesses the celebrated young man in a rather salacious moment with a young lady named Costanze Weber (Liesel Allen Yeager). Unaware of Salieri's presence in the room, the two young lovers proceed to carry on with their, um, naughtiness... much to Salieri's frozen shock (well, okay, he does continue eating desserts, so he can't be that frozen).

Instantly, Salieri thinks... Wait... so THIS is the guy everyone's so gaga over?

As to be expected, the true joy of experiencing the play is rooted in watching the otherwise jovial Salieri slowly but surely boil with jealousy and resentment from within as he watches everyone—from the highest classes of society to the sauciest of local women—still fall madly in love with Mozart more, despite the young man's penchant for scandal, debauchery, and shenanigans. Salieri, of course, continues to recognize Mozart's natural talent and hates that he does still feels that... but, as the play continues, Salieri's hatred grows more and more. He becomes furiously incensed that the very God that he worships and to whom he has devoted his own life's work to has instead bestowed such an honorable gift to someone like Mozart whom he finds so utterly deplorable and so lacking in decency and morality. 

Fed up, the once ultra-religious Salieri eventually eschews his allegiance to God—citing his Catholic diety's continued support of Mozart's successful career. Sticking with the clichéd adage that one must keep their friends close and their enemies closer, Salieri's original mission to be a mentor to Mozart is soon discarded in favor of becoming his frenemy, ensuring the young man's ultimate destruction. 

Much like a plot straight out of a soap opera, thus begins Salieri's continuous attempts at sabotage of Mozart's upward success—pretending to be his friend, fan, and cheerleader on the surface, while at the same time vehemently smearing his name and artistry behind his back. 

For his part, Mozart—despite a seemingly nonchalant attitude towards rules or decorum—still desperately wants his work to be liked, which fuels his fire to produce one brilliant opera after another in order to achieve high-society's praise. Objections to the content of his work are continually brought to the forefront (in part churned by Salieri), but, somehow, the mad genius plows through anyway, mostly because the Emperor himself is ocassionally in Mozart's corner. 

As one might guess, Salieri is not pleased.

Along the way, Mozart eventually marries his darling Costanze, who unflinchingly stands by her husband's side despite the constant obstacles that Mozart faces—including Salieri whom they don't even suspect is trying to take him down. 

So the question remains... is Salieri indeed responsible for Mozart's demise?

Gorgeous and engaging from start to finish, SCR's latest production of AMADEUS is a posh affair that's a feast of theatrical riches. The dense, dialogue-heavy script may seem a bit overwhelming at first, especially for those seeking much livelier dramas or comedies. But the play manages to make that aspect absorbing, nonetheless. 

The cast assembled for the production is phenomenal, particularly its two central figures caught in a Viennese waltz of musical dominance. The super-jealous Salieri is played with grand verbose fashion by the riveting Barricelli, whose monologues filled with acidic wit display the work of a master thespian, reeling in the audience with every single word he says. His direct addresses to the audience easily earns our attention throughout the three-hour (!) play.

As Salieri's unknowing adversary, Grodman brings a believable playfulness, naiveté, sexiness, and sweetness to his wild-eyed Mozart. Perhaps as a reminder to the audience that the play depicts an exaggeratedly fictional narrative, AMADEUS incorporates a mixture of antiquated mannerisms with contemporary colloquialisms. Thus, even Grodman's Mozart has a hint of a surfer accent that I didn't necessarily expect nor object to in the long run. Oh, and that laugh of his, which may have been annoying to Salieri, is actually quite endearing.

Their supporting cast, of course, completes the excellence. Frechette is a hoot as the Emperor, while Yeager is as resplendent as she is compelling in her portrait of Mozart's lover turned loyal wife Constanze. Camille Thornton-Alson is memorable as opera singer Katherina Cavalieri, while Geoffrey Wade, Mark Capri, and Bo Foxworth provide worthy high-brow support and advice to the Emperor. Christian Barillas and Louis Lotorto add humorous moments as Venticellis.

But while the SCR's production of AMADEUS certainly features superb performances all around, the real eye-catching star of the production is its artistic visual qualities, which on its own truly elevates the play to greater heights (and in the process, makes the production worth seeing again even if you've already checked this play off on your to-see list).

From the beautifully ornate costumes designed by Alex Jaeger to the lavish sets designed by John Iacovelli (lit exquisitely by lighting designer Lap Chi Chu), AMADEUS' luxe surroundings distinctively recreate the settings the play depicts. In terms of overall art direction, this season finalé is top-notch.

But for a show that recounts the lives of musicians, there is shockingly far too little actual music in the show (the incidental music, much of which is hardly audible, is almost an afterthought or at the very least a consolation). This seems to be a deliberate aspect of the play that has been (thankfully) expanded for the film adaptation (yes, admittedly, I am one of those that saw the film first before seeing this play, so I've been slightly spoiled by the film's enhancements to the original). In this case... a little less conversation, a little more action, please.

So is it worth revisiting the tug-of-war between Salieri and Mozart? If it is SCR's visually-stunning production, then the answer is an enthusiastic "yes."

* Follow this reviewer on Twitter: @cre8iveMLQ *

Photos by Debora Robinson & Ben Horak for South Coast Repertory.

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Peter Shaffer's AMADEUS continues performances at South Coast Repertory through June 5, 2016. Tickets can be purchased online at www.scr.org, by phone at (714) 708-5555 or by visiting the box office at 655 Town Center Drive in Costa Mesa. 

David Roberts

• OnStage Chief New York Theatre Critic

NEW YORK NY - Created by Paula Vogel and Rebecca Taichman, “Indecent” could not have opened at the Vineyard Theatre at a more auspicious time. In the midst of an increasingly frenzied discussion about what is and what is not decent in contemporary American society and culture, this remarkable and stunning play - based on true events surrounding the 1923 Broadway debut of Sholem Asch’s “The God of Vengeance” - brings into sharp focus the importance of vigilance in the midst of intolerance and indomitability in the face of insidious censorship.

Portraying Sholem Asch, Max Gordon Moore delivers a riveting performance of a playwright who initially inspires his cast and crew as they begin to present “The God of Vengeance” but ultimately abandons them. Paula Vogel and Rebecca Taichman have created a compelling story about the power of innovation and the equally powerful effect of detachment and disinheriting oneself from the innovative process.  The cast portrays the characters in three stages of their lives from the excitement of actors beginning a journey together in 1906 to their disappointments and fears that present themselves as they age and face the danger of the threat of the Nazi regime and beyond.

Photo by Carol Rosegg

Mr. Moore and the other members of the stellar ensemble cast are listed as “Actors” in the program, he and all individuals – on or off stage – who take significant risks to maintain personal and professional integrity. Solem Asch’s failure to testify in court in Manhattan is a trope for the epic failure of all who shy from controversy and compromise rectitude for the assumed comfort of safety. Adina Verson and Katrina Lenk are riveting as Rifkele and Manke dance their way through life, death, and beyond death.

Rebecca Taichman directs “Indecent” with a sensitive precision. David Dorfman’s choreography is fluid with stunning lines and fresh contemporary movement. Emily Rebholz’s “dust to dust” costumes are intriguing and perfectly matched to the period. Both Christoper Akerlind’s lighting and Matt Hubbs’ sound are exquisite and create emotion-laden “pictures” that are as stunning as they are life-changing. With the assistance of “Stage Manager” Lemml (played with a self-effacing charm by Richard Topol), Tal Yarden’s projections guide the audience through language shifts, and shifts in time with ease.

Music and performances by Lisa Gutkin and Aaron Halva provide an essential emotional thread to “Indecent’s” important story.

It is difficult to rehearse here the entirety of the plot of “Indecent” driven by characters that share unimaginable conflicts that play out in a variety of settings without posting “spoiler alerts” in every paragraph. “Indecent” is a compelling piece of theatre that raises deep, enduring questions about the future of a society that refuses to accept differences and embrace those deemed to be “different.”

INDECENT

The cast of “Indecent” includes Katrina Lenk, Mimi Lieber, Max Gordon Moore, Tom Nelis, Steven Rattazzi, Richard Topol and Adina Verson.

“Indecent” features music composed and performed by Lisa Gutkin and Aaron Halva and choreography by David Dorfman.  “Indecent” features set design by Riccardo Hernandez, costume design by Emily Rebholz, lighting design by Christopher Akerlind, sound design by Matt Hubbs, projection design Tal Yarden, fight choreography by Rick Sordelet and dialect coaching by Stephen Gabis. Casting is by Tara Rubin Casting. Production photos by Carol Rosegg.

Performances of “Indecent” through Sunday June 12, 2016 at the Vineyard Theatre, 108 East 15th Street.  For more information, please call the box office at (212) 353-0303 or visit www.vineyardtheatre.org. Running time is 1 hour and 40 minutes without intermission.

Skip Maloney

• OnStage North Carolina Columnist

Chapter 2

Even now, closing in on 50 years later, memories of my 21st year are an odd combination of the pleasant and the truly horrific. All of them, though, are related to my emerging interest and early participation in theater. Virtually every step taken that year was either motivated by or tangential to decisions I made to pursue that interest.

And it began in the spring of 1969, when, after two years of working with the Quannapowitt Players in Reading, MA, I opted to attend a massive 'cattle call' audition in Boston. Representatives from summer stock companies all over New England were on-hand, basically to choose the enormous contingent of support personnel they'd need to mount their summer seasons. As best as I could figure (hindsight, really), very few of the producers and directors were there looking for actors or actresses to star in leading roles. Most of those roles had already been allocated to previous employees of the company, or known quantities that were invited. The rest of us were there for the future privilege of wielding hammers, nails, paint brushes, and our own bodies to move set pieces, as necessary, during actual productions. Actual roles were confined, more or less, to bit parts, like Lancelot's squire in Camelot, whose sole contribution to the words in the play amounted to "You fell him a mighty blow, sire," or words to that effect.

Didn't know this going in, of course. Full of myself, I expected to be cast as Lancelot (fat chance). Don't remember what I did at the audition, but in a matter of weeks, it was enough to land me a few invitations, which arrived, quaintly, in my actual mailbox. Some of these offered no money. Some wanted me to spend money (fat chance). One, the Weathervane Theater in Whitefield, NH, offered me room, board, and if memory serves, a small stipend to spend my summer working with the northernmost barn theater in the country. I accepted, immediately.

Then, in May, I discovered that the Selective Service had spit out my number (related to my birth day). It was low enough (4) to assure that come June, when they selected young men to be drafted into the armed forces, at the height of the Vietnam War, I would most certainly be among them. As it happened, I was working (at McDonalds) with a woman who was the wife of an Army recruiter. I knew them both, socially, and when I articulated my frustration at this unfortunate turn of events, the Army recruiter suggested an alternative. He told me that the Army offered what they called a 'delayed enlistment' program. It meant that as an alternative to being drafted, I could voluntarily enlist, which would commit me for an extra year (three, instead of two), but would offer me options, like selecting an MOS (military occupational specialty), instead of being tossed into an infantry unit, and, the deciding factor, I would not have to physically report for duty/basic training for 90 days.

I was sworn into the US Army in June, days before my 21st birthday. I'd more or less dodged the draft to pursue my theatrical ambitions. By the end of the month, I was in Whitefield to spend most of the following 90 days.

Not surprisingly, it wasn't quite what I'd imagined. As a repertory company, we were premiering a new show every week, which, at certain times, meant three different shows running in a given week. For us peons, it meant double (triple) duty with the hammers, nails, screw guns, brushes, and the milk-based paint they used for sets, the smell of which still lingers in my nasal memory banks. Every day was something of a boring grind. No glitz, no glamour. Work on stage actually made things worse, because in addition to being up, literally, at the crack of dawn to do set work, you were expected at the end of a really full day to do your part in rehearsals, and ultimately, performances. Our opening production was Camelot, and sure enough, I was given the role of Lancelot's squire, with his one line that I was determined to say, in spite of (as it turned out) Lancelot's tendency to jump it at every opportunity.

The day that Camelot was to open dawned grey and cool, but having been afforded a first day off since our arrival, cast, and crew set out to do any number of things. In the early afternoon, myself, a fellow performer and a 14-year-old drummer (literally, half of our piano/drum orchestra) set out for a local swimming hole, formed by a river flowing out of the White Mountains. A 12-foot waterfall fed this swimming hole and provided an option of climbing into a rock sluice and allowing that waterfall to plunge you into the swimming hole below it.

Upon our arrival, though, that same fun-friendly option looked a tad ominous. Rainfall, higher up in the mountain, had turned the flow of water into something of an angry stream, which initially, none of us was anxious to ride into a maelstrom of water. We stood on the edge of the rocks, questioning whether a swim at this particular moment was a good idea, but throwing caution to the winds, the young boy jumped off the edge and into the swimming hole.

And didn't come up. The two of us left looking down into the pool wondered whether he had come up behind the waterfall and into a little cave space behind it. The roar of the water made it likely that even if he were answering our shouts, we wouldn't have heard him. Finally, concerned that something had happened beneath the surface of the roiling water, I jumped in after him. And immediately lost all control of my movements, which, for the next two or three minutes were controlled by a whirlpool that sucked me under, driving me in a continuous circle around the swimming hole and under the waterfall. It would suck me directly under the waterfall, which, in turn, would drive me to the bottom of the hole, before sucking me back up to the surface, allowing me a quick gasp of air, and then sending me back into the vicious circle.

I struggled for a while against the overpowering current, but remember, distinctly, giving up and committing myself to what I was sure was my death. I remember going through a thought process about how pissed my mother was going to be; having to take a day off, possibly two or three, to drive all the way up to New Hampshire to claim my body. I suspect that giving in saved my life. Somehow or other, I had caught a random current moving beyond the raging whirlpool, that drove me downstream, out of the swimming hole. When I felt my knees scrape a rocky bottom, I stuck my head up and out of the water. I staggered to my feet in waist-deep water, and struggled to catch my breath.

The young boy had caught the same current apparently, but too late. He was found dead in a tangle of branches a couple of hundred yards downstream from where I'd emerged.

I don't know how long I stood in the middle of the river, the powerful current continuing to push at my legs below the surface of the water. I was paralyzed with fear, and more than likely in clinical shock. I was literally scared to move in the water and stood there for I don't know how long.

At a time well before cell phones, I have no idea how the EMT vehicles were alerted, but still standing in the water, I watched them arrive at the riverbank and move downstream with an ambulance cot. I worked up enough courage to get to the riverbank myself, and by the time I did, one of the EMTs was headed back toward the road. He informed me that the body had been found and continued his way up the path. As I headed that way myself, a small group of  'lookee-loos' came running towards me, anxious to get downstream and (I presumed) see the body, like rubber-neckers looking for tragedy and blood at the scene of a highway accident. I don't know who was more surprised, them or me, but from a distance of a few feet, I started hollering at them. I planted my feet wide and curled my hands into a fist as I screamed something to the effect of "Get the hell away from here!" One of them tried to ignore and go around me, but I stepped in his way and repeated my command at a voice level that strained every vocal chord in my body. He took a look into my eyes, and decided against taking another step. He and the small band of them turned heel and headed away.

It was approaching 4 o'clock by the time I got back to the cast house, just outside of downtown Whitefield. Camelot, which was going to be my first performance on a summer stock stage, would open in four hours.

David Roberts

• OnStage Chief New York Theatre Critic

With some surprise – and a modicum of disbelief – I overheard the two Millennials settling in behind me at the performance of “Hadestown” I attended at the New York Theatre Workshop sharing that they “had no idea” what the show they were there to see was about. Is it possible to reach ones 20s and 30s and not know the Orpheus and Eurydice myth? As the lights came back up following the performance, my despair transformed to hope: this remarkable and rich retelling of that myth will assuredly ignite interest in the Orpheus-Eurydice story as compellingly as “Hamilton” has renewed interest in America’s first Secretary of the Treasury.

Anaïs Mitchell’s “Hadestown” is a faithful retelling of this epic myth with a deep connection to the present and the plight of the 99 percent. Orpheus’ journey to rescue Eurydice from Hades and death, Persephone’s intervention on their behalf, and the gripping journey of the pair to the very Gates of Hell has never been more clear or more compelling.

Developed with the New York Theatre Workshop and Rachel Chavkin after the 2010 release of Anaïs Mitchell’s album of the same name, “Hadestown” retells the myth of Orpheus and Eurydice while counterpointing the tale with the reality of current political-social economics and challenges. Orpheus sings, “What we have we have to share.” Hades, on the other hand prefers building walls to keep the have nots away from those who have. Sound familiar?

The wonderful Chris Sullivan portrays Charon’s sidekick Hermes the psychopomp who narrates “Hadestown” and ushers the dead – and those who wish to rescue the dead – into and on occasion out of Hades on the train that “comes a-rollin’ clicketly clack” (not across the River Styx on a boat). His enchanting vocals reverberate through Hermes’ “Road to Hell,” “All I’ve Ever Known,” Way Down Hadestown,” and “Wait for Me.” Nabiyah Be portrays the deceased Eurydice who lands in Hades leaving her husband Orpheus pining for her above. Ms. Be’s remarkable vocal instrument brings a chilling authenticity to Ms. Mitchell’s “Wedding Song,” “All I’ve Ever Known,” “Chant I and II,” “Gone, I’m Gone,” “Flowers,” “Promises,” and “Wait for Me.” 

Photo: Joan Marcus

Patrick Page (Hades) and Amber Gray (Persephone) handily bring the King and Queen of Hadestown to electrifying heights with remarkable performances and stunning vocals. Mr. Page’s range is astonishing and his low notes must be heard to be believed. Ms. Gray has a brilliant upper range that rings with the well-controlled interpretations of her songs. Standing out are their duets “Chant I” and “How Long;” Hades’ “Hey, Little Songbird,” “Why Build the Wall,” “Chant II,” and “His Kiss the Riot;” and Persephone’s “Livin’ It Up on Top,” “Way Down Hadestown,” “Chant I and II,” Our Lady of the Underground” (Entr’acte), “How Long,” and “I Raise My Cup to Him.”

The Fates Lulu Fall, Jessie Shelton, and Shaina Taub serve as a Greek Chorus as well as a stealthy superego. They weave through the action sometimes with a stark intrusion, sometimes with a gentle nudge. Their voices blend beautifully in their songs: “Any Way the Wind Blows,” When the Chips Are Down,” “Way Down Hadestown II,” Nothing Changes,” “Word to the Wise,” and the suspenseful “Doubt Comes In.”

Only the charming Damon Daunno seems to struggle with his role. His important Orpheus seems unable to match the richness and depth of the other performances. Perhaps it was the performance this critic attended but his voice seems surprisingly unsteady and occasionally pitchy. He reaches hard to be a fitting interloper in Hades and is sincere in his performance. His strong musical numbers include “Wedding Song” (with Ms. Be), “Epic I,” and “Wait for Me.”

Rachel Hauck’s set design, along with Bradley King’s lighting and Robert Kaplowitz’ sound, transform the New York Theatre Workshop’s space into a haunting Hades that beckons to the faint of heart and the weak of spirit.  Ms. Mitchell’s scintillating “Hadestown” quickens the deadliness of our current political maelstrom and the social ennui it so weakly attempts to address. Like humankind’s attempts to “get it right,” “Hadestown” is “the tale of a love that never dies.” “It’s a sad song/It’s a sad tale, it’s a tragedy/It’s a sad song/But we sing it anyway” croons Hermes. One wonders how many more times we will “lift our cup” to Orpheus before we “see the world the way it could be in spite of the way it is.”

HADESTOWN

The cast of “Hadestown” features Nabiyah Be as Eurydice, Damon Daunno Orpheus, Lulu Fallas a Fate, Amber Gray as Persephone, Patrick Page as Hades, Jessie Shelton as a Fate, Chris Sullivan as Hermes, and Shaina Taub as a Fate.
 
The production features scenery by Rachel Hauck; costumes by Michael Krass; lighting by Jennifer Tipton; sound by Rob Kaplowitz; properites by Noah Mease; choreography by David Neumann; dramaturgy by Ken Cerniglia; music direction by Liam Robinson; arrangements and orchestrations by Michael Chorney; and co-arrangements and orchestrations and music supervision by Todd Sickafoose. “Hadestown” is co-conceived by Ben t. Matchstick. Production photos by Joan Marcus.

For more information on “Hadestown,” including performance schedule and ticketing, please visit http://www.nytw.org/show/hadestown/. Running time is 2 hours and 5 minutes including a 15-minute intermission.

David Roberts

• OnStage Chief New York Theatre Critic

The jury remains out in the scientific community: which came first the brain or the mind? Throw into the discussion precisely where memory resides and how it is accessed and the debate becomes even more interesting and convoluted. Playwright Nick Payne focuses his interest on the brain and memory and in the American premiere of his “Incognito” – currently playing at the Manhattan Theatre Club at New York City Center Stage I – he raises enduring questions that challenge the status quo assumptions about both.

How much of what we experience, remember, and think is real? Are our brains passive data banks that receive, store and render up the reality we experience or do our brains process what we experience, remember, and think with some sleight of hand? In other words, can our brains “trick” us and if they can, are there ways to harness that chicanery to enrich our lives and perhaps the lives of others?

The four actors in “Incognito” double up and portray twenty characters within three interwoven stories. All of the action takes place on, on the edge of, or just beyond Scott Pask’s stark “brainscape” set.  There are only four chairs on the stage. The actors remain in the same costumes – designed by Catherine Zuber – throughout and speak a variety of dialects making it necessary for the audience to remain focused and diligent throughout. However, one needs to remember that what one is seeing is hurtling out from the “brain” and is, at best, illusory and unreliable. So whether one keeps track of all of the characters in the three stories all of the time might not be important.

The three stories intertwine in episodic – not chronological – fashion and involve three functions of the brain: encoding; storing; and retrieving. These functions comprise three “scenes” in which all three stories continue in random order and without regard to the passage of time. Prior to each “scene,” the four actors engage in a stylized and well-choreographed arm and hand movements mimicking the synaptic firing in the brain. These “dances” – directed by Peter Pucci - give the audience members an opportunity to re-boot their own brain for the action to come.

In one story, pathologist Thomas Harvey (Morgan Spector) steals Albert Einstein’s brain after performing the deceased icon’s autopsy. In another, neuropsychologist Martha Murphy (Geneva Carr) experiences her first romance with another woman Patricia Thorn (Heather Lind). And in the third story, a seizure patient Henry Maison (Charlie Cox) forgets everything but how much he loves his fiancé Margaret Thomson (Heather Lind). The stories blend into one another without warning and the dialogue is rapid and overlapping. 

Each of the four actors also portrays characters that are part of these stories: Thomas’ wife Eloise (Geneva Carr); Einstein’s daughter (Geneva Carr); Martha’s brother Ben (Charlie Cox); and Henry’s physician Victor Milner (Morgan Spector). And this is only ten of the twenty characters in the play!

What happens to Einstein’s brain, Thomas Harvey’s marriage, Martha and Patricia’s romance, and Henry’s memory – including his ability to remember how to play the piano – makes up the engaging ninety minutes of Mr. Payne’s important play. Each actor gives their multiple characters distinct characteristics, mannerisms, and speech patterns. This results in authentic and believable performances throughout. Doug Hughes’ direction is necessarily fast-paced and exact demanding the actors fall into and out of character with lightning speed – not as fast as the crossing of a synapse in the brain, but fast.

Ben Stanton’s lighting and David Van Tieghem’s original music and sound design add to the suspense and the overall success of the production. Kudos as well to dialect coach Stephen Gabis and fight director J. David Brimmer.

As the audience tries to keep pace with the action on stage, their individual and collective brains are processing information, deciding how to store it, and just how to make it available for retrieval. Our brains are creating new pathways as we watch – a remarkable feat. And as we leave the theatre, we will ultimately have to decide whether what we experienced was real, fiction, or perhaps pure illusion. And we will discover whether Einstein was a genius because of his brain or because “Albie worked like a dog and he treated his family like crap.” Yes, it will be a bit of a glorious bumpy ride.

INCOGNITO

The cast of “Incognito” features Geneva Carr, Charlie Cox, Heather Lind, and Morgan Spector.

The creative team for “Incognito” features Scott Pask (scenic design), Catherine Zuber (costume design), Ben Stanton (lighting design), David Van Tieghem (original music & sound design), J. David Brimmer (fight director), Peter Pucci (movement direction), and Stephen Gabis (dialect coach). Production photos by Joan Marcus.

Single tickets for “Incognito” are available by calling CityTix at 212-581-1212, online by visiting www.nycitycenter.org, or by visiting New York City Center box office (131 West 55th Street). All tickets are $90. The running time is 90 minutes with no intermission.

Pictured (L to R): Morgan Spector, Geneva Carr, Heather Lind, and Charlie Cox. Credit: Joan Marcus.

Chris Peterson

• OnStage Editor-in-Chief
• Twitter: @CMPeterson81

When I was younger, I had my heart broken quite a lot. While each scenario was a bit different from one another, the remedy was always the same, music. 

I would go into my room, put on a mix tape, my headphones and just tune out for little while. And do you know what? Most of the time it worked. 

This weekend, the Lipstick Project, produced a musical revue to explore how heartbreak and music go hand in hand and how one needs the other. 

"Heartbreak Hotel" was a revue conceived by Jess Rodi and directed by Rachel Schulte. The concept consisted of various women "checking in" to the hotel for various reasons. Whether it was a lost lover or a victim of abuse, each had a reason for visiting the establishment. 

The cast was chock full of talent from all over the area. The cast featured Sara DeFelice, Marilyn Olsen, Sara Detrik, Kelly Killmer, Rachel Lewis, Karen Chodash, Claire Kenny, Heather Abrado, Natasha Edwards, Jenny Cormier . Lisa Dahlstrom , Lauren Gulliver and Julie Thaxter-Gourlay. 

This ensemble performed such recognizable numbers as "Will You Still Love Me Tomorrow?", "Time After Time", "Because of You" and "Concrete Angel". 

What I really liked about this production was that while each performers singing styles and ability differed, their performances were strong, clear and cutting. Ms. Schulte smartly conveyed that heartbreak isn't momentary, it's relentless. 

Being a one man band is a tough job but Greg Chrzczon proved once again why he's the perfect choice for that job. 

The show ended with "Bridge Over Troubled Water". With the staging of the number, we don't see how things turn around for each woman but we begin to see that it could, which is exactly how I felt after listening to that mix tape. 

Kudos once again to this fantastic group. 

David Roberts

• OnStage Chief New York Theatre Critic

"I tell you the truth, unless a kernel of wheat falls to the ground and dies, it remains only a single seed. But if it dies, it produces many seeds. The man who loves his life will lose it, while the man who hates his life in this world will keep it for eternal life." (John 12:24)

One legitimate critical strategy for reading/viewing Henrik Ibsen’s epic verse play “Peer Gynt” is the mythological (sometimes referred to as the archetypal) strategy – the strategy that interprets the hopes, fears, and expectations of entire cultures. As directed and adapted by the Classic Stage Company’s John Doyle, Ibsen’s “Peer Gynt” is the story of the quest of a young man who willingly descends to the underworld and ascends to heaven in search of his “self.” 

In the beginning of Ibsen’s 1867 play – written during his lengthy self-imposed exile in Italy – Peer’s (played with a self-effacing vulnerability by Gabriel Ebert) mother (played with a resilient hopefulness by Becky Ann Baker) claims he should be ashamed of himself. And throughout the play, Peer is confronted with making choices that affect his self-understanding and his need for self-effacement. Ibsen’s script is heavily seasoned with allusions to Judeo-Christian texts, particularly those from the New Testament that resonate with self-discovery, repentance, and salvation. Early on, the Undertaker expresses the need to “save [Peer’s] soul.”

It is only his encounters with Solveig (played with the wisdom of innocence by Quincy Tyler Bernstine) that give him clarity, challenge him to continue to search, and – ultimately – offer him solace on his journey from home back home. Like Penelope, Solveig is patient and forgiving: “But I know that you will come in the end, And I will wait, as I promised I would. God guard you - wherever you may be. God give you joy - if you stand before Him.” She also encourages Peer to be faithful and contrite.

Photo Joan Marcus

Peer neither finds his ‘self’ at home (initially), nor at his father’s banquet, nor during his encounter with the trolls (a wonderful archetypal image). Near the end of the play, Peer meets the Undertaker (another wonderful archetypal image). Peer asks, “One question. What does it mean: “To be one’s self?” The Undertaker (played with a haunting persistence by Adam Heller) replies, “To be one’s self is to kill one self. But that explanation’s probably wasted on you. Let’s just say: to follow - in all ways - the Master’s intention.” This is pure and powerful mythos.

Though typically - with good reason – Peer is compared to Odysseus, Don Giovanni and Faust, a more fitting and certainly subtler comparison would be with T.S. Eliot’s J. Alfred Prufrock or Shakespeare’s “Seven Stages of Man” from “As You Like It.” Often Peer’s journey is much like J. Alfred Prufrock’s whose words resonate deeply with Peer’s: “I am no prophet — and here’s no great matter; I have seen the moment of my greatness flicker, And I have seen the eternal Footman hold my coat, and snicker, And in short, I was afraid.” Peer “fears being a dead man before he dies.”

Rounding out the engaging cast are Jane Pfitsch as the fetching Bride, Dylan Baker as the conniving Doctor, and George Abud as the soulful Bridegroom. David L. Arsenault’s minimal set design and Jane Cox’s simple monochromatic lighting work well with this fittingly sparse production directed with a keen eye to detail and audience connection by John Doyle. 

When Peer returns home and asks, “Where was my self - my true self - the Peer who bore God’s
stamp on his brow,” Solveig replies “In my faith, in my hope - in my love.” Ibsen’s “Peer Gynt” restores the hope that these three things might abide and heal our wounded hearts and disillusioned selves.

PEER GYNT

The cast of “Peer Gynt” features Gabriel Ebert as Peer, George Abud, Becky Ann Baker, Dylan Baker, Quincy Tyler Bernstine, Adam Heller and Jane Pfitsch. Scenic design is by David L. Arsenault, costume design by Ann Hould-Ward, lighting design by Jane Cox, and original music and sound design by Dan Moses Schreier. Production photos by Joan Marcus.

“Peer Gynt” performs Tuesdays through Thursdays at 7:00 p.m.; Fridays and Saturdays at 8:00 p.m. and Sundays at 3:00 p.m. Tickets are $60.00 on weeknights and $65.00 on weekends and are available at www.classicstage.org or by calling (212) 352-3101 / 866-811-4111 or at the box-office at 136 East 13th Street, New York City (between Third and Fourth Avenues).  Running time is 2 hours without intermission.

Pictured - Becky Ann Baker and Gabriel Ebert. Photo by Joan Marcus.

Sophia Dee

• OnStage Connecticut Critic

I can’t begin to tell you how excited I am to be writing this review. Over the weekend, my friend and I went to go see “Pirates of Penzance” at Hole in the Wall Theater in New Britain. HITW is one of my favorite places because it’s such the unique space. A director has to bring a strong creative vision to make a show work in what is essentially an “L” shaped theater. When I heard that they were doing “Pirates of Penzance,” an operetta, I had to go opening weekend. My thoughts were “what are they thinking doing such a grand show in a tiny black box? ”  To call the endeavor “ambitious” is an understatement. Director Emily Trudeau would need to completely re-shape the show to fit the space. She would have to compile a cast of stronger actors and even stronger singers who could also dance. She did just that, and it made for outstanding community theater.

“Pirates of Penzance” is a comedic operetta written by Gilbert & Sullivan in the 1870s. The show got a facelift in the 1980s when Joseph Papp’s staged his Broadway revival which also spawned a movie. Kevin Kline appeared in both, bringing a substantial amount of popularity to the 100 year old show. The operetta centers on Frederic, a young Pirate who was apprenticed to the King at the tender age of 8 years old; completely by accident. His nursery maid, Ruth, was supposed to apprentice him to a ships “pilot”, but being hard of hearing heard “pirate.” To those who do not understand how such words can be confused, remember that the composers were British, thus the words are said with British dictation.  The now 21 year old Fredric is released from his indentures, and devotes his life to exterminating the Pirate clan that he grew up with. Frederic sets off into the world, a free man, looking for an appropriately aged woman to marry. During his adventures he encounters a cast of characters which include; beautiful Mabel, her sisters, deceitful but hilarious Major General Stanley, The Sergeant of Police with his loyal policeman, Ruth, The Pirate King, Samuel and the Pirates. 

Let’s start with the shows lead characters; Frederic and Mabel. Voiced by Peter Bailey and Johanna Regan respectively, Frederic and Mabel have a huge amount of difficult music. Frederic (Bailey) is hardly ever offstage, and is almost always singing. Bailey is a vocal marvel, bringing his tenor brilliance to the role of Frederic.  Johanna Regan is exquisite with her bright coloratura sound. Mabel (Regan) enters with the line “Tis Mabel,” stretched out in a long, difficult, and high cadenza. I would like to point out that she hit every single note on pitch. Her entrance was so impressive that the audience gasped. She is hugely talented and versatile in her performance. Regan played Mabel like a diva from your worst nightmares, which is an amusing modern take on a classic character. The leads were perfectly cast, both in their roles and as an onstage couple. Their voices mesh perfectly.

Susan Thom played Ruth, the nursery maid who desires to marry the boy that she raised. Smith was very funny and had excellent chemistry with both Frederic and the Pirate King. She also possesses a glorious belt voice which was showcased in the flawless duet between her and Frederic “Oh False One.”  Smith is extremely talented and perfect in her role. Hal Chernoff acted perfectly in the role of the Pirate King, he had chemistry with everyone. His interpretation of the character was funny and original.  Chernoff has great comedic abilities and annunciates well. He has excellent stage presence and was always fun to watch. Much like that of Major General, David Schancupp who has an extraordinary ability to project and deliver his lines with style. The Pirate King and Major General were perfectly cast in their roles and are excellent actors. Unfortunately, the two theater veterans had difficulty making their entrances with the music. The show was prerecorded and did not use live musicians. The timing was noticeably off on the Major Generals entrances and to a lesser extent the Pirate Kings as well. Both actors were noticeably distraught after a missed entrance and were occasional off pitch as a result. I will contribute their missteps to opening weekend jitters and hope that moving forward they both can deliver the perfect performance that they are no doubt capable of. 

The principals were well cast and brought serious character to their roles. This is especially true of Kristen Norris who played Kate. Kate is a character with a couple of lines and small solos, but Norris brought Kate to life as a 1870s flirt. Her performance was superb and lively. Erin Campbell was wonderful as the oldest sister Edith, as was Doug McCarthy who played Samuel. Both were funny with great facial expressions. Remy McCoy who had the small but sweet role of Isabel was perfect. She wore pigtail braids with ribbons and sang beautifully. The Sergeant and his Policeman were the “funny ones” in an already hilarious show.  No one brought the comedic timing better than the Police. Lead by the Sergeant Alex Kirtsukas, the trio, which included Stephen Michelsson and Nathan Rumney, brought laughs to the point of tears. Their big dance number “When a Felon’s Not Engaged,” was the most fun number in the show to watch. It was also the best choreographed number in the show. 

Finally, we end by looking at the unsung heroes of any show; the ensemble. In “Pirates of Penzance,” the male ensemble  is composed primarily of, you guessed it, pirates! The Pirates are: Stepehn Michelsson, Nathan Rumney, Stephen Maher, Kathleen McKay Pine, and David Unsworth. "They arrrrrrrr" all a laugh, bringing energy and comedic style to the show. Every pirate appeared to be very into character, especially during “Oh Better Far to Live and Die”. The female ensemble was compromised of General Stanley’s Daughters portrayed by: Angelina DeLorenzo, Lauren Hyne, and Cassandra Pease. They were all  fun to watch with their period costumes and smiling faces. “Climbing over Rocky Mountain” was melodic with great choreography. At times the women’s ensemble was quiet and difficult to hear, but they made up for their lack of volume with their energetic stage presence.  Overall the ensemble was excellent and the show would not have been so enjoyable without contributions from everyone in the small cast.

Director Emily Trudeau put together an outstanding show. Trudeau not only directed “Pirates of Penzance,” but she choreographed the entire show as well. That’s large undertaking for one person, and she did it so well. I didn’t notice until the end of the show that there was a video conductor. I saw The Piratre King, Hal Chernoff , glancing into what I thought was the audience. I then saw that he was looking at a T.V. with what looked like a Pirate conducting. I have never seen a show with a prerecorded conductor. What a wonderful tool that Trudeau provided for her cast. This production of Pirates of Penzance is family friendly so bring the little ones, I highly recommend it. 

Kelli Butler

• OnStage CT/NY Critic

Next to Normal is not a feel-good show. Next to Normal  is a show that, when done right, can change your perception of mental illness and your image of the people who fight it. It can open your eyes to the struggle of loving someone who can't cope with the world as it is. It also is a scathing take-down of the mental health system in the US. 

Thankfully, Elmwood Playhouse's production doesn't just get it right – they get it perfectly. Vocally and dramatically, it is easily one of the strongest casts I have ever seen.

Leading the cast as Diana is Miran Robarts, who lists an impressive amount of operatic work (including Carnegie Hall) in her bio. She draws on immense depths of empathy and drama to produce a realistic view of the troubled mother who can't quite come to terms with her personal tragedies. In fact, she brings enough subtlety to the role than you wonder if Diana wasn't a ticking time bomb all along – her passionate rendition of the show stopping 'I Miss the Mountains' describes a woman who has always had her manic highs and depressive lows. Onstage for almost the full run time of the show, she never faltered in her dramatic commitment (despite being, I can only assume, exhausted!).

Photo by Omar Kozarsky

As her husband Dan, Rich Goldstein presents an image of a long suffering man who tries to hold his family together with a desperate veneer of normality. His swings from pretending 'Its gonna be great' to his private breakdowns are both impressive and heartbreaking; his use of vocal dynamics to suggest his mental state is truly impressive. Just as Ms. Robarts gives the insightful performance of someone struggling with mental illness, Mr. Goldstein shows in painful clarity the effect it can have on someone who vows to stay with them, no matter the cost to themselves.

The family is completed by the son, Gabe (Coleman Cummings) and their daughter Natalie (Katie Sondermeyer). Mr. Cummings carefully navigates his role with emotional depth and reality; you almost feel that given the chance, Gabe would leap out and grab the audience himself to insist he should be seen and heard. Ms. Sondermeyer, on the other hand, is a roller-coaster of repressed emotions that swirl far out of her own control, and she chooses very carefully when to let loose vocally to show how quickly Natalie is losing ground mentally. Their powerhouse song 'Superboy and the Invisible Girl' showcases both of these young actors to acclaim.

Rounding out the cast is Alex Martinez as Natalie's boyfriend Henry and  (in my performance May 15) Larry Gabbard as Diana's dual Doctors Fine and Madden. Of the whole cast, Mr. Martinez was the most 'real'. He begins the role almost caricature-ish, but as the show progresses you realize he is the solid ground for Natalie to stand on; he creates a vocal and physical character that is, effectively, a younger Dan, simply waiting to exist. Mr. Gabbard was alternately anger-inducing (medicating Diana into antipathy, or nonchalantly discussing her memory loss with ECT) and hilarious (embracing his 'rock star' persona in Diana's delusions).

Director Deb Failla has elicited an amazing bond in her cast; her direction has pulled out performances that I am sure some of them weren't aware they could give. By using the single-room, two story set (designed by David Julin) to the highest possibilities, she has created a drama that feels both epic and intimate. The musical direction by Tony Bellomy was superb – the singers and the orchestra were linked together without any feeling of waiting on one or the other, and he has guided the cast to some amazing vocal acting. If at times the instrumentation was overpowering, all was forgiven with the next perfect moment. 

David Roberts

• OnStage Chief New York Theatre Critic

Change one letter in the phrase ‘American Psycho’ to form a phrase that describes the essence of Roberto Aguirre-Sacasa/Duncan Sheik’s musical currently playing at the Gerald Schoenfeld Theatre - a phrase that handily explains why the musical garnered such praise on the London stage. The result: ‘American Psyche.” Brits love watching the foibles of their “children across the pond” play out on the stage – especially antics that arise from the specific character of the American experience. Certainly the final year of the 1980s provides a plethora of deadly sins and detritus from the opening of Pandora’s box/jar. Think “Enron” on steroids.

Roberto Aguirre-Sacasa’s book brims with the excesses of 1989 America and these come into sharp focus in the character of the protagonist Patrick Bateman (Benjamin Walker) and the coterie of mindless and vapid individuals he surrounds himself with including his girlfriend Evelyn Williams (Helene Yorke); his best friend Timothy Price (Theo Stockman); and his co-workers Craig McDermott (Alex Michael Stoll), David Van Patten (Dave Thomas Brown), and Luis Carruthers (Jordan Dean). 

Mergers and acquisitions analyst Patrick Bateman barely hangs on to reality and his coping mechanisms dwindle as his ego strength wanes. The “existential horror” that is America resonates with a similar horror that haunts his psyche resulting in a spate of “murders and executions” that appear to be more matters of fantasy than acts of reality. It is clear that what haunts the young, ripped, and handsome analyst is the same dystopian future facing the nation itself.

Were it not for Benjamin Walker’s formidable craft, “American Psycho” would be as much of a horror as Mr. Aguirre-Sacsa’s weak and shallow book – this musical is pure comic book and more anime than theatre. And Duncan Skeik’s music and lyrics are equally unsatisfactory. As syrupy as Patrick’s secretary Jean’s (Jennifer Damiano) love ballad “A Girl Before” is, under Ms. Damiano’s care, it far outshines the majority of the musical numbers. 

Other exceptions are the numbers sung by Benjamin Walker who brings as much honesty to his character Patrick Bateman as possible. “Common Man,” “The End of an Island” (with Ms. Damiano), and “This Is Not an Exit” stand out in the list of some twenty-two musical numbers.

Photo: Benjamin Walker as Patrick Bateman. Credit: Jeremy Daniel

Like Hans Christian Andersen’s delusional Emperor, Patrick Bateman is depicted most of the time in some state of near-nudity. And although Benjamin Walker pulls that task off well, it does not fully justify the overuse of that trope that is meant to highlight the ignorance, incompetence, and boorishness of contemporary American society. 

“American Psycho” is worth the visit to see Mr. Walker’s electrifying performance – suited up or strutting around in bloodied underwear in the second act’s extended “dream” sequence – and to allow his Patrick Bateman to rattle the recesses of the American psyche within and outside the theatre.
 
AMERICAN PSYCHO

“American Psycho” has music direction by Jason Hart, and music supervision and vocal arrangements by David Shrubsole.

The cast of “American Psycho” features Krystina Alabado, Dave Thomas Brown, Jennifer Damiano, Jordan Dean, Anna Eilinsfeld, Jason Hite, Ericka Hunter, Holly James, Brandon Kalm, Drew Moerlein, Sydney Morton, Alice Ripley, Anthony Sagaria, Keith Randolph Smith, Theo Stockman, Alex Michael Stoll, Benjamin Walker, Morgan Weed, Helene Yorke, and Neka Zang.   

“American Psycho has scenic design by Es Devlin, costume design by Katrina Lindsay lighting design by Justin Townsend, sound design by Dan Moses Schreier, and video design by Finn Ross Casting is by Telsey + Company/Craig Burns, CSA. Production photos by Jeremy Daniel.

The regular performance schedule for “American Psycho” is:  Monday, Tuesday and Thursday at 7:00 p.m.; Friday at 8:00 p.m.; Saturday at 2:00 p.m. and 8:00 p.m.; and Sunday at 2:00 p.m. and 7:00 p.m. Wednesdays are dark (please visit www.americanpsychobroadway.com for variations to this schedule).
 
Tickets for “American Psycho” are priced $69.00 - $148.00 ($225.00 - $250.00 for premium seating) and are available via Telecharge.com or by phone at (212) 239-6200. Running time is 2 hours and 30 minutes with a 15-minute intermission.

Christian Jost

• OnStage Virginia Critic

I’ll be honest, up until Saturday night, I had never seen My Fair Lady, the play or movie. All I knew was the general plot and that the rain in Spain stays mainly in the plain. That being said, I was pleasantly surprised at the production the Pickwick Players put forward, even though I’m not a fan of the musical itself. My Fair Lady follows the life of a young Ms. Eliza Doolittle as she is thrown into the lives of Henry Higgins and Colonel Pickering, who believe they can transform her into a proper young lady as opposed to the street girl she really is. This proves to be more difficult than Prof. Higgins anticipated, causing him to spend night after night teaching Eliza before she finally gets it. The show takes a turn however when Eliza doesn’t know that she is a transformed lady and must decide the proper thing to do when choosing how to spend the rest of her life.

The Pickwick Players, primarily located in Hamilton VA, have been doing productions for just about 11 years now and show no signs of stopping. They’ve presented 23 full scale musicals that range from “The Secret Garden” to “High School Musical”. They also have an annual summer camp for younger actors that put up musicals as well. If you’re in the area and want to learn more about the group check out their website, www.thepickwickplayers.com. 

Standout performances in this production would Include Kristen Fitzgerald who plays Eliza. I’ve had the honor to see Kristen perform in another production where she didn’t have an accent, which lead to my surprise when seeing how flawless her dialects were and how seamlessly she switched between them when need be. She also had a perfect voice for the part and was able to sing her high notes to the back of the house with no trouble.  Jeff Mitchell gave a very believable performance as Higgins, making the audience laugh and cringe whenever the show called for it. Although Mr. Mitchell stumbled over a line here or there, it actually managed to work for the character, it felt as if the character began to speak, realized the diction and syntax of the statement wasn’t good enough and decided to reword it. The most impressive thing about Fitzgerald and Mitchell was that those roles were double cast! Usually I don’t care for double cast shows because they always feel lacking in quality, as most actors only give 50% because they only get 50%. This was definitely not the case in this production, both gave it 100% and if I hadn’t looked at the program I would have thought the roles were theirs exclusively.  Although John Geddie took a little while to get his energy up as Colonel Pickering, once it was up it stayed up.  He wound up getting some of the best laughs of the night as well as showing the kindhearted aspect of the show that isn’t present in many of its characters. Finally, Bill Kirkendale showed amazing commitment to his character, Eliza’s father, and seemed to execute this role to perfection. His accent, mannerisms, movement and overall performance were the most authentic of the show.

The most impressive thing to me in this production was the Ensemble. As we all know, the Ensemble can either be a fun and great experience or terrible depending on how the cast approaches it. It’s no secret that some people in the Ensemble auditioned for leads and didn’t get them and became bitter, usually this reads pretty well on stage as it feels like the ensemble isn’t really interacting with each other and just sings the songs because the script tells them to. However this Ensemble had none of that; they were completely engaged with each other and professionally acted and reacted to the surroundings (meaning they didn’t take away from the leads, they just shined on their own without forcing the audience to pay attention to them). Some standout members of the Ensemble were Erica Stewart, Bob Rosenberg, Donna Russel (who also gave a great performance as Mrs. Higgins, Henry’s mother), Mike Goshorn and my personal favorite Loralee Price.

As a critic I can’t tell you whether the direction by Michele Reynolds and Donna Russell was really good or the characters were excellent at making choices or some combination of both but somehow something impressive stuck.  In a play the audience can expect to see a certain amount of “garbage” which means characters do things like fix their hair, adjust their clothes, or do any number of things that don’t fit the scene. This show however, lacked that as every movement by the actors seemed precise and intentional. I commend them for that. Although there was little choreography in the show, the choreography they did have seemed very synchronized.  Kudos to Theresa Pazanowski for that.

Another shining star in this production was the costuming. It’s no secret costume budgets for community theatre are very small, the Pickwick Players however spared no expense. The costumes were perfect for everyone in the cast. Whether it was Eliza’s elegant ball gowns, Higgins proper English cardigan or some the largest hats you’ve ever seen for the horse race goers. I hope to see more community shows where the costume artists/designers put as much detail and effort into their costumes as Deirdre Breithaupt, Katie McDaniel, Loretta deLamare, And Lou Mitchell. This production used tracks instead of a live band, which is usually no problem, however there were a few times when the music was too loud to hear the singing on stage. That being said, the vocals in this show, taught by the music director Mike Goshorn, were all pretty solid. Some standout songs included “I Could Have Danced All Night”, “Wouldn’t It Be Loverly (Reprise)”, and “Get Me To The Church On Time”.

What plagued this production the most were the long set changes. Granted they performed on a middle school stage which are all very tight to maneuver but having several 40+ second set changes in a show that is already over 3 hours long is a bit excessive. The stage also seemed to be a bit cluttered at times due to the large amount of people in the cast. I understand the desire to cast as many people as possible in a show like this but in my opinion there needed to either be a smaller cast or a less complicated to set. Having both combined caused the audience to be overwhelmed at times, making them lose focus from the performance as a whole and nobody wants that. I won’t blame the actors for the slower pace of this show because that’s just the kind of show it is. It’s a more old fashion type of musical and we don’t really relate to its themes as much anymore. They did the best they could with the material they were given and put forward a show to be proud of. I hope to see them continue to grow and put up great works in the future!

Michael L. Quintos

• OnStage Los Angeles Critic
• Twitter: @cre8iveMLQ

Many—myself included—couldn't believe that it took Disney almost two decades before finally unveiling a stage adaptation of the studio's 1992 live action movie musical that depicts the real-life Newsboys Strike of 1899. 

Sure, Newsies was a huge box office bomb when it was first released in movie theaters, which may be a strike against it (though I'm proud to say that I contributed my $4.50 to its coffers when I saw it opening weekend). But, surprisingly enough, this flawed but cute little song-and-dance film about a bunch of young, turn-of-the-century paperboys found a new lease on life as a deeply-beloved cult favorite in the early days of home video (remember VHS, kids?), spawning entire generations of young (and, ahem, young at heart) fans singing "Seize the Day" while crossing their fingers for an eventual Broadway adaptation. 

Reportedly, it has long been one of the most requested titles from the Disney catalog to be re-envisioned for the stage. But, alas, their theatrical arm instead dove into their more reliable animated feature lineup for source material. 

Fast forward to Fall 2011 and NEWSIES - THE MUSICAL finally danced to life as a world premiere limited-run production at Millburn, New Jersey's Paper Mill Playhouse. Expanding from its cinematic blueprint with more songs and lots of smart new narrative changes, the brand new stage musical—directed by Jeff Calhoun and featured dynamic, wow-inducing choreography by Christopher Gattelli—reunited composer Alan Menken with lyricist Jack Feldman to revisit the songs from the film and write a few new ones to fill out its running time. In addition, and most notably, the show's producers also wisely recruited playwright/actor/script doctor Harvey Fierstein to write a new book. 

Spiritually similar to the film, the most notable change in the stage iteration is the introduction of a new character, Katherine Plumber, a strong-willed cub reporter who falls for the show's central hero Jack. This new, more intriguing love interest is a hybrid of two separate periphery characters from the film—a faint, bland love interest and a male reporter covering the strike played in the movie by Bill Pullman. 

To no one's surprise, the show was an instant hit with both audiences and critics, which, naturally, triggered the go-ahead for an even more celebrated Broadway bow in the Spring of 2011, a run that would eventually last for more than a thousand performances, much to delight of "fansies" everywhere, many of whom have long held a special place in their hearts for this plucky little musical (yes, including myself). Along the way, the Broadway transfer earned eight Tony Award nominations (including Best Musical) and winning two—for choreography and for original score.

Now after more than a year, the show's North American First National Tour is nearing its conclusion, finally stopping at Orange County's Segerstrom Center for the Arts in Costa Mesa through May 29 (the musical will motor down to San Diego the following week). After seeing the original Broadway production in NYC and then seeing its Los Angeles debut at the Pantages Theatre last year, experiencing this buoyant stage musical again right here in my own home turf felt like a special gift. NEWSIES is a fun, uplifting night at the theater... and continues to be in subsequent, multiple viewings. 

An exuberant, high-energy, smile-inducing crowd-pleaser with some of the most astonishingly explosive choreography outside of a Cirque du Soleil show, NEWSIES is an endearingly tenacious show with heart and passion, performed by an extraordinarily talented cast with a fearlessness that is synonymous with the very youthful audacity its story illustrates. 

Just like the moxie and pluck displayed by its young characters yearning to be heard, the stage musical adaptation itself exudes that same palpable spunk we all want to root for, especially in this historically-based story that pits the poor little guy against the rich scary giant—the very kind that urged these underage kids to organize and stand up for themselves against the city's most powerful news moguls whom they all felt are treating them unfairly. The fact that they sing and dance their pain/anger/joy throughout the show with such fierce intensity is the awesome bonus.

In the sweltering heat of a New York City summer in 1899, the city's army of young paper-sellers (most of whom are poor, orphaned, or even homeless) become incensed by the sudden price hike placed on the purchase of a bundle of papers—a revenue-enhancing measure enacted by greedy Joseph Pulitzer (Steven Blanchard), the infamous publisher of The Evening World. 

Instead of charging the consumer more for a single issue of his paper, Pulitzer decides that the newsboys must now all have to pay 60 cents for a bundle of 100 papers, forcing the "newsies" to have to sell twice as many "papes" than before just to make the same paltry amount of coin they used to earn. It's not exactly an easy task to begin with since they're already having some difficultly hawking the papers in the first place—thanks to boring, repetitive headlines about the trolley strike that aren't as enticing as, say, headlines about earthquakes, wars, scandals...  

Charismatic, seasoned newsie Jack Kelly (the riveting Joey Barreiro)—a talented painter/artist who dreams of one day escaping his harsh life in New York for the clay-covered hills of Santa Fe—urges his fellow newsboys to go on strike to combat this injustice, with some assistance from his best friend Crutchie (the adorable Andy Richardson) and new acquaintances Davey (Stephen Michael Langton) and Davey's little brother Les (Ethan Steiner at the opening night performance). Smarty pants Davey feels that although the newsies are a bunch of young-in's, they should all collectively come together from all the boroughs in New York to form their own makeshift union anyway, as a sign of their strength, and that they mean business and should be taken seriously.

After facing some initial reluctance from his fellow newsboys, Jack—with guidance from Davey and support from theater owner Medda Larkin (the divalicious Aisha de Haas)—manages to incite more interest in their strike, much to the disdain of vendors Wiesel (Michael Gorman) and his goons the Delancey brothers (Devin Lewis and Alex Prakken). With a united front, the newsies could essentially "seize the day" so that "wrongs will be righted."

The good news is that Jack's crush, a witty young cub reporter named Katherine Plumber (the wonderful Morgan Keene) is super interested in covering the newsboys' story in depth and promises to give them above-the-fold prominence in The New York Sun so that all of New York can learn of their cause. The bad news? All this attention to the protest makes Jack an easy target for not only Pulitzer himself, but for a man named Snyder (James Judy), the sadistic Warden of the "Refuge," a dilapidated, badly-run juvenile detention facility. 

Infectiously gleeful thanks to its memorable music, peppy, engaging story, witty banter, and its winning ensemble of honest-to-goodness triple threats, NEWSIES is a rousing, irresistibly entertaining stage musical that celebrates the tenacity of oppressed groups that stand up for what is right even if it is against a powerful adversary. 

Though its easy to see why young audiences absolutely love this youth-centric musical, adults (and those, like myself, who have fond memories singing along to their worn-out videotapes of the original movie) will appreciate this show's nostalgic, historical roots and its impressive theatrical artistry. NEWSIES on stage is most definitely a worthy upgrade.

The intricate choreography of Tobin Ost's massive, mobile metallic tower sets coupled with Sven Ortel's gorgeous projections (adapted on the tour by Daniel Brodie), and enhanced by Jeff Croiter's lighting schemes and Ken Travis' sound design create an exciting, vibrant environment to envelope the actions of the show. Jess Goldstein's period costumes (that feel remarkably timeless, actually) complete the illusion. Danny Troob's orchestrations and Michael Kosarin's arrangements give Menken and Feldman's already familiar songs from the movie a boisterous refresh, sounding better than ever. And, of course, Gattelli's magnificent choreography is just beyond brilliant. He truly deserved that Tony for his work here which continues to be the show's most eye-catching aspect.

While certainly not a perfect musical, the stage adaptation is a vast improvement from the movie in pretty much every aspect, from its revitalized story to its approach to the characters (don't get me wrong, though, I'm still fond of the original film). Film-to-stage adaptations seem to still be a go-to for Broadway producers, and I can honestly say that NEWSIES, at least for myself, counts as one of the more successful transfers.

But, really, at the end of the day, what gets audiences coming back over and over again to NEWSIES is to watch these amazingly talented young people do this show and do it well. Seriously, you will be floored by their palpable joy and gusto (by the way, the adults in the cast are by no means less impressive even though they're not leaping from one end of the stage to the other).

As our central character Jack, Barreiro brings a compelling, robust stage presence to his portrayal, balancing a charming swagger with a fiery inner turmoil. His explosive outbursts are just as riveting as his quieter, more serious moments. With every appearance, he really commands the scene, and even more so when he's singing (his "Santa Fe" is glorious). Even though he doesn't get to do the acrobatic tricks his fellow dancers get to do, he holds his own by simply being a man you'd gladly stand side-by-side with in a crisis.

Barreiro has great, believable chemistry with co-star Keene who is incredible as Katherine in her own right. Her "Watch What Happens" really made me smile, as she displays a knack for mingling quirkiness, vulnerability, and effervescence within the same sentence. She's also enjoyable just being the sole girl amongst the soot-covered boys in most scenes, and yet doesn't look at all out of place.

Other co-stars worth noting include Richardson, who I saw on Broadway play the same role of Crutchie, Jack's adorable, cheerful best friend saddled with a crippled leg. This time around, he gets his own solo number, a lovely new song "Letter from the Refuge" which was added into the national tour. If you don't fall in love with Richardson and/or his character during this song, then perhaps you need to check your pulse. It's cutesy but not saccharine.

Langton is a standout as nerdy know-it-all Davey, who straddles sheepish and self-confident well. Steiner is amusingly precocious as Les, Davey's younger brother (Steiner alternates the role with Turner Brithisel). I also love scene-stealer Meredith Inglesby in her brief appearances as Pulitzer's opinionated secretary Hannah. Her deliciously layered line deliveries certainly didn't go unnoticed. Another scene-stealer is Kevin Carolan's Governor Roosevelt, who shows up late in the second act for a brief but oh-so impactful cameo.

Blanchard is also excellent as the menacing bully Pulitzer, the boys' adult adversary. De Haas makes a memorable (if all too short) appearance as Medda Larkin, the vaudeville theater proprietor who shelters Jack and provides him monetary compensation for his gorgeous backdrop paintings. She does a wonderful job with her lone solo "That's Rich," a brassy and sassy number that the show needed at that moment.

And, of course, it goes without saying that the show would be nothing (well, at least less rousing) without its remarkable title characters, those "papes"-selling guys who dance and leap and tumble up a storm, earning every bit of the roar of applause they receive all throughout the show. How these guys can muster up this much unbound energy at every performance should be applauded. Daniel Switzer, Sky Flaherty, Andrew Wilson, Michael Rios, Iain Young, Anthony Zas, Nico DeJesus (hilarious as Romeo), Nicholas Masson, Joshua Burrage, Michael Dameski, and Chaz Wolcott all wowed collectively on opening night. Even better? They all look like the age of the characters they play. 

Overall, NEWSIES—now just months away from the end of its national tour—remains a must-see musical which you should not pass up when you have the chance to see it near you with this cast (the show has likely been earmarked for in-demand regional productions across the country after its final tour stop this fall). With its winning combination of incredibly acrobatic dancing, family-friendly comedy, engaging story, awesome singing, and dazzling showmanship, there is a lot to love with this show—whether you're 5 or 95. 

Heck, it certainly made a #Fansie out of me.

** Follow this reviewer on Twitter: @cre8iveMLQ **

Photos from the National Tour of NEWSIES by Deen van Meer ©Disney, courtesy of Segerstrom Center for the Arts.

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Performances of the National Tour of NEWSIES The Musical at Segerstrom Center for the Arts continue through Sunday, May 29, 2016. Tickets can be purchased online at www.SCFTA.org, by phone at 714-556-2787 or in person at the SCFTA box office (open daily at 10 am). Segerstrom Center for the Arts is located at 600 Town Center Drive in Costa Mesa. For tickets or more information, visit SCFTA.org.

Asya Danilova

• OnStage New York Critic

BROOKLYN NY - The Grand Paradise is a beautiful fantasy set on a beach resort in the late 70s and you are invited to become a part of it. Your journey begins with a boarding pass handed to you as you enter trough a door in a blind wall somewhere in Bushwick. But once the “plane” of the show takes off, you forget about the outside world. The “safety” video they make you watch before “landing” is strangely out of tune with the rest of the Paradise experience with it’s forced jokes and deliberately awkward inappropriateness. The foreignness of this video introduction in the context of the entire evening experience makes me wonder if it was done deliberately in order to mock traditional viewing, whether it is theater, television or film.            

You definitely won’t be a slave to your fixed point of view in The Grand Paradise. Produced by Third Rail Projects, this interactive show continues the company’s experiments with site-specific immersive dance theater. The members of the audience are not merely the spectators; they are offered the position of an active viewer (or should I say voyeur), a witness, sometimes even a participant in the action. 

Once you step into The Grand Paradise, you find yourself surrounded by blooming fake greenery and bamboo sheds. Mermaid-like dancers swim in an aquarium tank. Production design by Zach Morris, Tom Pearson and Jennine Willett has the look of a faded traveling brochure and immediately sets the mood of a sentimental memory. For some time you are allowed to wander by yourself, surrounded by fellow travelers: flower leis around necks, tropical cocktails in hand, and the sparkle of adventure in eyes. 

The family of tourists with matching luggage enters and the show begins. The magical Elisabeth Carena sings seductively, and one of the “tourist” girls, captivated by the siren’s call, joins her on the gallery above our heads. As the two of them continue their dance around each other, they exchange clothes and the tourist girl becomes a resort disco queen. In the same way, we are offered to shed a layer of our stereotypical theatrical perception and surrender to the guidance of the characters inhabiting the Paradise.

The show has a structure of mystery with the number of rituals and scenes leading you through the experience of transformation. However the number of these scenes, their order, and your position in space may vary. Therefore there is no point for me describing the journey I went through because yours will be different. The Grand Paradise has a narrative path, yet there is room for chance in your travel. You never know when you will be pulled aside, with whom you will end up, or where. The inhabitants of the Paradise share their stories through existential monologues and contemporary dance leading you through the maze of the rooms. You drink with them, you laugh and cry with them. 

The coming of age, romance of youth, mid-life crisis, aging and death - The Grand Paradise unfolds the map of a human life in front of you and you suddenly see yourself somewhere on this map. By watching and listening to the stories of the resort’s ghosts, you rise above the landscape of your own experiences, reminisce about the past and speculate about the future. 

The closeness of the actors and the other members of the audience make you feel incredibly vulnerable at times. However it doesn’t feel intrusive and you can trust me on it, a person, who fidgets uncomfortably if the actor just glances at me from the proscenium stage. By the end of the evening I wished I could join the dance. Instead, they put me in a coffin and I heard people dancing on the rock above me. Well, sometimes you ask the question but in fact you need to hear something else, as the fortuneteller in the beginning of the performance told me. So I encourage you to come to The Grand Paradise open-minded and prepared to hear and to see something entirely different from what I described here.  

THE GRAND PARADISE runs though September 4, 2016. Beginning June 2, performances are on a new summer schedule: Thursday - Sunday at 7:00pm, with 10:30pm shows on Friday and Saturday. The Grand Paradise is located at 383 Troutman Street at Wyckoff Avenue in Bushwick, Brooklyn -- just off the L train at Jefferson Street. Tickets are $110 - $135, available atwww.thegrandparadise.com. Private events are also available; visit the website for more information. 

Nancy Sasso Janis

• OnStage Connecticut Critic
• @nancysjanis417

Thomaston, CT - The eleventh production by Backyard Theater Ensemble opened last evening at the tiny Black Box Theater in the Thomaston Opera House Arts Center. ‘Extremities’ by William Mastrosimone was a challenging choice made by the production team of this young theatre group that does not shy away from thought-provoking dramatic works.

‘Extremities’ is an intense play about an attempted rape, power and gender in society. Marjorie is the young women who is attacked in her home by a stalker and would-be rapist. She fights back and manages to tie him up and lock him in the fireplace. Her two roommates come home to the grim scene and offer different points of view about rape and justice. The three women turn on the attacker and each other at various points in the rest of the play and be forewarned that there is violence and some graphic/profane language throughout. 

Lucia Dressel directed the play with keen insight, partly as a result of consultation with Mr. Mastrosimone via email and a phone call during the rehearsal process that was initiated by him. The playwright offered invaluable insight and shared his reasons for writing the play, common pitfalls of producing the show and anecdotal experiences with other productions of the piece. It was both interesting and helpful to read the excerpts from their conversation printed in the program. 

In her director’s note, Ms. Dressel shares that she believes the piece is not about rape, but rather about how individuals react to sexual assault. She reminded the audience to keep in mind that the play is set in 1982, a time when during a rape trial a woman’s sexual history was admissible in court. While acknowledging that the play is difficult to watch, she asked the opening night audience to allow themselves to feel and experience theatre “in a new and brave manner. For a brief time, let it seep under your skin and into your intellect. Let it become part of your extremities.” 

The title of the play probably refers to the extremes that Marjorie goes to punish her attacker, as well as the body parts that she ties up in order to confine him. There was a 1986 movie that starred Farrah Fawcett and before that the play ran off Broadway with Susan Sarandon. Because I was unfamiliar with both, I was able to experience the ninety minute production (presented with no intermission) without knowing what would happen next. I found it spellbinding and easier to sit through than I had expected. Right up to the final minutes, I would have guessed a different ending and during the talk back, members of the opening night audience expressed astute opinions as they spoke with the cast members and their director. 

The cast did an amazing job of bringing to life the four characters in the play. Frank Beaudry played Raul, the attacker who has spent time in prison. The character is a master manipulator and truly terrifying to watch; Mr. Beaudry, in his BTE debut, gave a masterful performance. Amy Kopchik made her theater debut as the roommate Terry, who was a victim of rape, and Abby Lund returned to BTE to play the roommate named Patricia. Both actresses gave strong performances.

In the leading role of Marjorie, Tina Parziale gave everything she had to what she calls the most challenging role, by far, that she has ever taken on. I am always impressed by the work of this young actress, who by day is a teacher at Classical Magnet School in Hartford, and this performance was the best one I have seen. With just a glance, she was able to convey what her character was thinking and she mastered the extremes of behavior that Marjorie exhibits in the ninety minutes following the attack. 

Another very effective BTE set was designed by committee and worked well in this tiny space. BTE Vice President Chet Ostroski served as both set build coordinator and fight coordinator. His very recent fiancee, BTE President Kailee Donovan, was the show’s producer. Interesting lighting and some well-placed blackouts were designed by Chris Petrucci, with consultation by Dylan Reilly. Mr. Beaudry was in charge of sound design. 

‘Extremities’ runs May 28, June 3-4 at 8:00pm, May 29 at 4:00pm and June 5 at 5:00pm.Next up for BTE is a special collaboration in honor of their five year anniversary with Phoenix Stage Company at Clockwork. ‘Loose Ends’ by Michael Weller will run November 4 through 12, 2016 at the Clockwork Repertory Theater in Oakville. 

Chris Peterson

• OnStage Editor-in-Chief
• Twitter: @CMPeterson81

On the title page of the program for the new musical, Anastasia, lies a small but important note. It states, "Inspired by the Twentieth Century Fox Motion Pictures". This is important because if you're walking into Hartford Stage assuming a direct adaptation of the 1997 animated film, with a few exceptions, you'd be wrong. But that's what also makes this production rather marvelous. 

Christy Altomare and company of Anastasia. Photo: Joan Marcus

Rather than go the Shrek/Beauty & the Beast route, with a live version of their animated origins the creative team behind Anastasia opted for a hybrid adaptation between the 1997 animated film and its 1956 Ingrid Bergman-starring counterpart. The show abandons many of the more animated/supernatural elements in favor of a more adult-oriented story line. While fans of "Bartok the Bat" might be a bit disappointed, the change mostly works. 

According to Hartford Stage, “Anastasia is the romantic and rousing story of one brave young woman attempting to discover the mystery of her past while finding a place for herself in the rapidly changing world of a new century. With a rich and sweeping musical score that evokes the opulence of Russian aristocracy and the energy of Paris street life, Anastasia is the ultimate journey of a woman caught between the pull of the past and the promise of the future.”

One of the improvements from its animated film is the treatment of its source material. While the animated film glanced over the reality of the historical truth, this production addresses it throughout in poignant fashion. 

As Anya, Christy Altomare is a star in the making. With pitch-perfect vocals but with an even more grounded and affecting acting performance, Ms. Altomare is everything you would want in this role. While she nails the iconic songs like the Act 1 finale "Journey to the Past", she's even more outstanding in the moments when she's not singing. 

While the character of Dmitry isn't given much more depth in this version than he had in the movie, he's certainly given more material, which Derek Klena takes full advantage. With strong vocals Mr. Klena's voice is perfectly matched with many of the new songs from Stephen Flaherty & Lynn Ahrens, which are, in some cases, just as good or better than the work they did on the animated film. 

Providing humorous support are John Bolton and Caroline O'Connor as Vlad and Lily respectively. Their number, "The Countless and the Common Man", is the show's comedic highlight. CT theatre favorite Mary Beth Peil is simply stunning as the Dowager Empress. Her scenes with Ms. Altomare are some of strongest in this production. 

Derek Klena and Christy Altomare. Photo: Joan Marcus

The only character that I found to be problematic was a new character named, Gleb. While wonderfully performed by Manoel Feliciano, the character serves as an unnecessary antagonist, as much as Rasputin was in the animated film. The character ended up becoming more of a hindrance to the overall production rather than aiding it, especially late in Act 2. 

By now it should be clear that Darko Tresnjak is one of the most creative names when it comes to staging his productions. We saw it with Gentleman's Guide to Love & Murder and it's very clear in Anastasia. The entire production feels like a dance on the perfect tempo but slows down and speeds up when it needs to. 

This production is not only gorgeous to listen to but to look at as well. Alexander Dodge also lives up to his reputation as one of the best scenic designers today with his sleek and movable designs. The train car scene is a study in the combination of scenic design and video/projection, provided by Aaron Rhyne, who really deserves an award for his work on this show. Linda Cho's costume work is once again superb as is Donald Holder's lighting. 

Finally, I must commend Peggy Hickey on some of her best choreography yet.  While I found her work on last year's Kiss Me Kate to be particularly excellent, she goes even further here with everything from ballroom to ballet to the Charleston. 

All in all, Anastasia is sensational and given its expected move to Broadway next year, I'd say the future is looking bright for this fairy-tale musical about a young woman trying to find out who she really is.

Asya Danilova

• OnStage New York Critic

The Father, written by a French novelist and playwright Florian Zeller is a winner of the Molière Award for the best play in 2014, which is considered the highest theatrical honor in France. After taking the stages of London and Paris by storm, it was brought to New York by the Manhattan Theater Club. Florian Zeller made an 80-year old Andre, suffering from developing dementia, the main character of his story (played by the magnificent Frank Langella). And he gave dementia to the structure of the play itself. 

In the opening scene of The Father, Kathryn Erbe plays his daughter, Anne. In the very next scene Kathleen Borland appears in the apartment as Anne and is devastated by the fact that her own dad doesn’t recognize her. As Andre mixes up his daughter with another woman, he has a hard time figuring out if she is married or single, if she is moving to London or staying with him in Paris, if they live in his apartment or hers.       

The flat with poisonously green walls, designed by Scott Pask, tricks Andre and the audience with pictures and furniture disappearing during the blackouts between the scenes. It starts slowly with smaller things and doesn’t get noticed immediately. Much like the loss of memory, the loss of the interior details happens gradually. The scenes get repeated; the same words are being said multiple times, and sometimes by different actors. 

Photo: Joan Marcus

Andre hangs on in the middle of this spinning time funnel while trying not to get sucked into madness. He frantically obsesses over time, as losing his watch equals losing his mind to him. When he asks his helper or his daughter what time is it, they never say the time of the day. They say things like: “It’s time to take your medication” or “It’s time to get dressed”. The people surrounding Andre gave up hope for him a while ago, yet he is still grasping for the remaining bits of his sanity. We can see that he probably was a very powerful, influential man in his younger years, which makes witnessing his decline even more tragic.      

Frank Langella delivers an incredibly powerful performance, portraying the man losing himself. His frustration brings up anger, fear, and desperation. Though at times he is cheerful, funny and flirty, which triggers bursts of laughter in the audience. This is an uncanny effect considering the subject matter. Langella demonstrates the broad pallet of the emotions of a confused person who yet fights furiously. Unfortunately his strikes are directed at the wrong people. 

Kathryn Erbe, playing Anne, is a little bit one sided. As her wardrobe doesn’t change much until her last scene, her performance holds the same note of uncertainty, tiredness and guilt. Her entire character seems to be made of worrying about her father, and her voice is almost always on the verge of crying. Given the fact that the play is trying to look at the world through Andre’s eyes, the flatness of the other characters is justifiable. However, Anne is very much real and I wish we were given emotional access to her.     

Both Anne and her boyfriend, Pierre (Brian Avers), are mainly characterized by their functions.  Anne’s function is to take care of Andre; Pierre’s function is to get irritated by Andre. They and their doppelgangers are reminiscent of characters in an absurd play. Yet Doug Hughes directs The Father in a very realistic manner. There is only one “dream” monologue delivered by Anne from the proscenium in a kind of a no-space, with dramatic contrast side lighting. Everything else looks scarily realistic and is not covered by the fog of stylization. The structure of the play alone conveys the misplaced reality, so it was a wise decision to keep the visual and audial design minimalistic.        

THE FATHER runs though June 15th, 2016 in Samuel J. Friedman Theater at 261 W 47th Street, New York. More information and tickets here: http://thefatherbroadway.com/    

Joel Gerard

• OnStage Texas Critic
• Associate Critic for John Garcia's THE COLUMN

“In here, life is beautiful.” The performance of Cabaret currently on tour at the Winspear Opera House is also beautiful. This is simply the finest production of Cabaret I have ever seen. It’s a classic show that has received a raw and emotional revival for this tour.

The setting is Berlin, Germany in 1929-1930. Berlin at the time was an exciting city filled with free-wheeling parties and sexual liberation. However, the Nazis were coming into power and freedom was replaced with oppression and fear. Based around the nightlife at the seedy Kit Kat Klub, the main story involves an English cabaret performer named Sally Bowles and the American writer Clifford Bradshaw with whom she meets and develops a relationship. Some of the other situations involve a boarding house run by Fraulein Schneider, her suitor Herr Schultz, and the other residents in the boarding house. The enigmatic Emcee oversees all the action and looms over the proceedings.

Randy Harrison, who is mostly known for playing Justin on the acclaimed Television series “Queer As Folk”, presides over the drama as the Emcee. He’s a mischievous figure that weaves in and out of scenes playing different parts. Most of his songs serve as a metaphor for the current political climate in Germany. Mr. Harrison is extremely impressive in this leading role. He has a rich, booming voice that caught me by surprise. At the start of Act II, he comes out and does a bit of improvisation with the audience which made everyone laugh. He dances, sings, and nails every emotional moment.

Sally Bowles is a complicated character. As headliner of the Kit Kat Klub, Sally parties and drinks and bounces from man to man. Her bold and effervescent way with people masks her pain. She hides from the real world and tries to remain oblivious to the changes happening in Germany and around her. Andrea Goss tries her best with Sally. She has a good voice, but she doesn’t really get a chance to let loose. “Maybe This Time” is one of the best songs in the show and she just doesn’t quite nail it. I’ve heard other actresses sing it better. I’ve heard the title song, “Cabaret”, sung strictly as a bouncy up-tempo song and also in a slow sad version. Ms. Goss does something somewhere in between, and with a touch of anger. It was her best moment in the show, but the rest of her performance felt a little off.

Clifford Bradshaw is the American writer who comes to Berlin to be inspired to write a new novel. He gets seduced by the glitz and the parties of Berlin, but he is also very aware of the impending Nazi takeover. Even though he’s been with men in the past, he’s drawn to Sally and tries his best to be in a relationship with her. Cliff is actually a bland character on paper. But Lee Aaron Rosen injects charm and passion to Cliff that I’ve never seen anyone do before. He made a weak character come to life and made us care about him.

The boarding house in Berlin where Cliff stays is run by Fraulein Schneider, and older spinster woman who never married. She develops a flirtation, and then real feelings for one of the tenants staying there, Herr Schultz. Herr Schultz is the Jewish owner of a fruit shop in Berlin. Though he was born in Germany, his Jewish faith puts him in danger from the Nazis. The subplot between Fraulein Schneider and Herr Schultz has always been my least favorite part of Cabaret. Even though their relationship is central to the theme of the show, I’ve always found it to be the least interesting aspect. I would much rather spend time with the dancers and performers in the Kit Kat Klub. However, major kudos to Shannon Cochran as Fraulein Schneider. She was by far the best actor in the show. Her voice and talent really sold every moment and showed great depth. Mark Nelson was also wonderful as Herr Schultz, the most innocent character in the show. He played well opposite Ms. Cochran and their bond was the most believable.

One of the best parts of watching Cabaret on stage is the Kit Kat Klub Band. These people play every instrument in the live band onstage, then they move downstage to sing, dance, and act in many scenes as the scantily clad boys and girls of the Kit Kat Klub. They are the real triple-threats and an extremely talented group.

The costumes by William Ivey Long are sublime perfection. Mr. Long has been nominated for 15 Tony awards and won 6 times. There is no one in the business who does it better. The Kit Kat Klub girls are dressed in revealing lingerie and the boys in open vests and trousers. Sally Bowles wears a divine fur coat most of the show. The Emcee also wears mostly revealing outfits such as crisscrossed suspenders, a black trench coat, and even a sparkly dress or two. He understands every character and dresses them just perfectly.

The set design by Robert Brill is fairly simplistic in its design but very functional. Center stage has three doors used for various scenes such as the boarding house and the Kit Kat Klub. Two spiral staircases lead up to the second level where the orchestra is suspended over the action downstage. A large picture frame highlights any action on the second level. The large stage and the spacious Winspear Opera House strangely made the show feel less intimate. Cabaret truly works better in an actual cabaret style setting. A smaller audience and more confined space would make you feel like you were actually in the Kit Kat Klub.

The direction and choreography is stellar courtesy of the original Broadway veteran directors Rob Marshall and Sam Mendes. For a show that runs about 2 hours and 45 minutes, it moves very briskly and doesn’t drag. The directors made some great choices and one mildly confusing one. The song “Two Ladies” is now done where one of the ladies is a boy in drag. It was funny and added a fresh take on the song. One of the other well-known songs, “Mein Herr”, is pretty famous for the choreography using chairs by the legendary Bob Fosse. This version doesn’t use the chairs at all, and I kind of missed that fun visual to go along with the song.

The choreography and assistant direction for this national tour was recreated from the original by Cynthia Onrubia. For you fans of TV’s “Dancing With The Stars”, she is indeed the regular judge on the hit ABC series. She also was one of Madonna’s dancers for her world tour titled “The Girlie Show”. She in fact was the nude dancer with chopped hair that made her look almost bald who slithered and glided sensually on a high rise stripper pole at the beginning of the show. So to be erotic and uninhibited on stage fit perfectly with her background to create the debauched and lascivious world within the Kit Kat Klub.

The final image of the show (which I won’t spoil) is striking and haunting. I wasn’t expecting it to punch me in the gut that emotionally, but it did. This is a masterful version of Cabaret co-produced by the Roundabout Theatre Company. In fact, this is the second revival of this particular staging. You won't want to miss it.

Rachel Elizabeth Khoriander

• OnStage Texas Critic
• Associate Critic for John Garcia's THE COLUMN

The simplest relationships can be surprisingly complex when multiple viewpoints must coexist. Bright Half Life chronicles the romance between two women, Erica and Vicky, and the transforming moments that circumscribe their relationship and marriage. The play deviates from a typical linear structure, moving backward and forward in time to show its characters and the story of their love in bursts of connected segments that illustrate all the things that keep them together and all the things that tear them apart. While the lack of chronology can be a bit difficult to decipher at first, once your mind adjusts, the obvious similarities to the way we sift through memory when we find ourselves at a relationship crossroads and begin wondering how we got there make the lack of chronology a powerful device.

Developed during residency at the Eugene O’Neill Theater Center’s National Playwright’s Conference in 2014, Tanya Barfield’s Bright Half Life is a relative newcomer to the stage, premiering at The Women’s Project Theater in NYC last February. Playwright Tanya Barfield is a 2007 Pulitzer Prize nominee and the assembled artistic and technical team for the NYC run of Bright Half Life included some of the most active names in theater, which should give you an idea of the level of interest the play engendered.

Kenneisha Thompson and Kelsey Leigh Ervi in BRIGHT HALF LIFE. Photo: WaterTower Theatre

Because the play runs 75 minutes long with no intermission and both characters continuously share the stage, the roles require actors with stamina, superb timing, and palpable chemistry. Kelsey Leigh Ervi and Kenneisha Thompson, who embody the roles of Erica and Vicky at WaterTower, are strong in all of these. Kenneisha Thompson, as Vicky, masterfully shifts gears between segments with intensity. When a time-switch is occasionally confusing, we are often able to regain our footing based on small changes in Thompson’s delivery and body language, which change as Vicky ages. Throughout her performance, Thompson emphasizes Vicky’s ambivalence toward relationships, but her Vicky is not flighty or uncommitted. Rather, she is so acutely sensitive to social politics in the world around her that she sometimes errs on the side of security. Thompson is an expert at mixing analysis and raw emotion, easily modulating her voice and facial expressions to instantly switch from one to another and illustrating how, over time, both take their toll on Vicky.

Kelsey Leigh Ervi plays Erica, a would-be writer and teacher, who appears to be a bit more adventurous in relationships than she is in other aspects of life. I admit that I am biased against Erica’s initial character type, so it surprised me when I found myself sympathizing with Erica later on, and I suspect Ervi is mostly to blame for making me re-evaluate similar individuals in my life. Although Erica could be accused of lacking follow-though and a harboring a childish inability to empathize, Ervi’s Erica is unfalteringly earnest and unflinchingly honest, which makes her hard to dislike; she seems simplistic, but has hidden complexity. Ervi is at her best when attempting to (often awkwardly) express how she feels about Vicky, whether at the office where they first meet or during a marriage proposal. And she has a particularly strong during physical scenes with Vicki, during which she reveals vulnerable tenderness.

Costume changes occur on stage and are minimal but effective. Each character has her own style; Vicky wears professional clothing with more traditionally feminine tailoring, while Erica dresses in jeans and a t-shirt with a more traditionally masculine button-down shirt and occasionally a blazer.

Costume changes are assisted through two coat racks placed at either side of the stage. The additional set, designed by Bradley Gray and Director Garret Storms, appears simple, yet is effective. It consists of a backdrop constructed of interlocking wooden blocks and embedded with a constellation of lights, and several minimalist wooden benches that the actors move to represent different locations—Vicky’s apartment, the office where they meet, an elevator, a Ferris wheel. At the end, the set reveals itself to be not quite so simplistic after all, which elegantly mirrors the subject matter of the play.

Shifts in time and emotion are indicated through subtle shifts in lighting, whether through gels and dimming, or small changes in the constellation of lights that form the backdrop of the play and the handful of lights dangling from the ceiling. Additional indicators of time changes occur through sound effects, with an occasional progression of chords again mirroring the play’s content. Given the small space and excellent vocal projection of the actors, microphones are not required.

One of the questions asked throughout Bright Half Life is, “Knowing what you know now, would you do it all over again?” As relates to seeing WaterTower’s production of the play, my response is a resounding yes. Bright Half Life takes advantage of the dream-like jumps that sense memory imparts on our interpretation of our own experiences and invites us to apply them, which results in something fascinating: many people will have wildly differing conclusions after watching this play. It is this universal appeal and invitation to interpretation that make for a thought-provoking evening of theatre, and WaterTower’s production alluringly magnifies these.

BRIGHT HALF LIFE
WaterTower Theatre, 15650 Addison Road, Addison, TX 75001
Runs through June 12th.

Friday and Saturday at 8:00pm, with matinees on Sunday at 2:00pm. Additional performances on Thursday, May 26 at 7:30pm and Saturday, June 11 at 2pm.

Ticket prices for regular performances are $28.00. Tickets for the May 26th and June 11th performances are $22.00. Groups of 10 or more receive $3.00 off the cost of admission. Student rush tickets cost $12.00 and are available 15 minutes before curtain time (subject to availability).

For information and to purchase tickets, visit http://www.watertowertheatre.org/, or call the box office at 972-450-6232.

Nancy Sasso Janis

• OnStage Connecticut Critic
• Twitter: @nancysjanis417

“My students joke that in order for me to choose a musical to direct, there must be a darker storyline and at least one or two deaths. I wouldn’t necessarily go that far, but keeping that notion in mind, I do keep ‘Little Shop’ close to my heart as it is a fun and campy musical that has no problem whatsoever laughing at itself.” - Isabel Carrington, Director & Instructor, Performance Lab at the Warner Theatre

Torrington, CT - The Warner Theatre Performance Lab, the most advanced class at the theatre’s center for arts education, presented the campy ‘Little Shop of Horrors’ this weekend in the Nancy Marine Studio Theatre. The book and lyrics were written by Howard Ashman with music by Alan Menken and the musical is based on the film by Roger Corman with a screenplay by Charles Griffith. The show has long been one of the favorites of director Isabel Carrington and she writes that this is because of the “tongue-in-cheek homage to long-ago sci-fi/horror B movies, the comedic dialogue, and some of the catchiest music ever to grace the stage.” Ms. Carrington has made no secret of the fact that she is not an ardent fan of what she terms “fluffy musicals,” and calls ‘Little Shop’ with its dark moments about the fluffiest musical that she keeps in her bag of favorites. In her notes, she also credits her P-Lab students with reaching and exceeding their next level with fearless enthusiasm. 

Les Ober designed a ‘Little Shop’ set like none that I remember which had the musicians sitting on a raised platform center stage behind brick screens until the plant reached its largest size. Dawn Marie Conroy conducted the group while playing keyboard, Michael Conroy was on guitar, Matt Albert played bass and Andrew Svitlik was on drums; the group sounded amazing. Those plant puppets performed beautifully thanks to puppeteers Meghan Sullivan, Shanna Shotwell and Steve Picard. Greater Hartford Academy of the Arts junior Connor Picard was the voice of Audrey II, but also covered the role of a derelict early in the show. Mr. Picard also assists with various tech elements for most WTCAE productions.

Mr. Ober managed to outdo himself on the set and he designed the lighting himself to make it look even more like Skid Row. I cannot remember a seedier dental office in which Orin laughs himself to death. There were a few sound issues at the closing matinee but they were worked out.  

The talented group of students rose to every challenge of this technically and musically difficult work. Hannah Begley, an Avon HS sophomore, played a flower shop customer and Snip Snip, while Burlington freshman Allison Rau was another customer and Ms. Bernstein. Freshman  Aspyn Bean was Ms. Luce, and Michael Conroy did a voiceover as an interviewer. Nicholas Calabrese, a Burlington sophomore that I remembered from ‘Dogfight,’ took on the role of the evil dentist Orin and won; he reappeared in the second act as Mr. Martin. 

Seventeen year old HS junior Charlie Rau was strong in the role of shop owner Mr. Mushnik. The girls in the Greek chorus brought plenty of attitude and sang well in harmony. At the final performance that I attended, Torrington HS senior Julia Traub played Ronette, Burlington freshman Morgan Rinaldi rocked the role of Chiffon and the fabulous Isabella Riccio, who will soon graduate from Cheshire HS and attend Berklee College of Music in Boston, wailed on many a note in the role of Crystal. 

Ms. Traub shared the role of Ronette with Catherine MacKay. All three young ladies were perfectly synched on the outstanding choreography by Katie Brunetto and their dancing truly added to the attitude of their characters. I loved it. The three also had several costume changes, one more fabulous than the next. Kudos to Johanna DeZurik on spectacular costume design for each and every member of this cast.

Veronica Johnson was the perfect Audrey; she had the fluffy voice for speaking and a wonderful singing voice when she needed it. With her brunette hair in curls, she had the classic Audrey wiggle as she walked into her high heels. Her “Somewhere That’s Green” was a highlight. Ms. Johnson, who is often chauffeured by her mother, community theatre actress Mary Cantoni Johnson, is a sophomore at Chase Collegiate School in Waterbury. Just as great was sixteen year old Jacob Honig as an adorably geeky Seymour; this young man who lives in Harwinton, CT, can sing and made “Suddenly, Seymour” sound amazing. 

Overall, this production was very impressive musically, technically and in every other way needed to get it on the stage. Ms. Carrington spoke during her curtain speech of the requisite hair tearing involved with doing just that. As the crepe paper “plant tendril” fell on the audience as the last notes were sung, it was clear that it had been worth the angst. 

Photos of the cast of 'Little Shop of Horrors' by WTCAE

Skip Maloney

OnStage North Carolina Columnist

Among the many benefits of working in the Wilmington, NC theater community is its commitment to the production of material by local playwrights. This commitment is reflected in an organization called Page to Stage, which nurtures new material through staged readings, and on to larger scale productions. The entire local artist initiative, pursued with such zeal, is aided and abetted by some very talented writers.

On Sunday, May 22, one of those talented writers - Tom Briggs - who is also an actor, director, producer and former artistic director of North Carolina's "official community theater," The Thalian Association, brought to the city's TheaterNOW stage an adaptation of Joseph Mankiewicz' 1950 film, All About Eve. The film picked up 12 Academy Award nominations and won six of them - Best Picture, Best Supporting Actor (George Sanders), Best Costume Design; Black and White (Edith Head, Charles Lemaire), Best Director and Best Adapted Screenplay (Mankiewicz), and Best Sound Editing. A month later, in Cannes, Bette Davis picked up a Best Actress award for her work on the film, while the film itself won the Special Jury Prize.

All of which speaks to a highly effective combination of cinematic story-telling, direction and acting, which has been described as a "classic of the American cinema." None of this is particularly revealing about Mr. Briggs' stage adaptation, other than to note that he had a film masterpiece to work with. He has, however, crafted an elegant work that brings all that the film had to offer to the stage, and found himself a highly competent cast to pull it off.

Just try to imagine following in Bette Davis' footsteps, and matching her delivery of the film's famous line - "Fasten your seat belts, it's going to be a bumpy night."

Before we delve into specifics, it should be noted that this Sunday night performance was a staged reading. Furniture amounted to varied arrangements of straight-back bamboo chairs. Drink glasses and telephones were non-existent and every member of the cast carried a script. That said, costumes were of full production quality, lighting was designed and executed, stage movement was well-rehearsed, and the performances were polished. The iconic famous line most assuredly did not refer to this staged reading. As the director, Briggs helmed an almost fully-realized production of the film he has adapted for the stage.

Staged readings are not normally expected to elicit useful responses from any gathered audience. As a quintessential work in progress, it is expected to be "a bumpy ride" with, generally, a lot of work necessary to fine tune everything from the writing to performances and direction; all part of the learning process. Briggs, however, brought years of experience to the work, having adapted the Broadway production of State Fair, Rodgers and Hammerstein's Cinderella, and Irving Berlin's Easter Parade. His work with this adaptation is stellar. It invokes all of the themes, and mounting tension of the original, and it does so with a practiced eye on the peculiarities of stagecraft, which, even with scripts in hands, was something to see.

Like the film, it's been designed without an intermission, and it could be argued that as a stage experience, it's just a bit too long (just shy of two hours) for a single sitting. Actual scene changes, involving more than just chairs and including actual telephones, drink glasses and other assorted props would have a way of making it even longer. This, though, might have a lot to do with expectations. As theater-goers, we tend to get used to the idea that midway through a performance, we can get up to use a restroom or (adding to the theater's revenue) drink a bit of wine purchased at a concession stand. There's even a name coined for this - Broadway Bladder - indicating the necessity of Broadway audiences to get to a restroom no later than 75 minutes after the rise of an initial curtain. Not always, of course. Man of La Mancha is traditionally performed without an intermission, as is A Chorus Line. Shakespeare's plays were originally intended for performance without them. This adaptation, though, could probably use one.

For those perhaps unfamiliar with the tale, which is based on a 1946 short story by Mary Orr, called "The Wisdom of Eve" (Orr was not credited in the film), it is a tale about a highly ambitious young actress named Eve Harrington (Anne Baxter in the film), who ingratiates herself into the world of an aging actress, Margo Channing (Bette Davis). While touching upon themes of age discrimination, particularly among actresses, and what might best be described as the dying of the light among human beings, in general, it broadens to examine certain destructive impulses associated with blind ambition. While Harrington's character is introduced as a star-struck innocent, anxious only to be near the object of her intense admiration, she is eventually revealed as a calculating, deceitful woman, looking to bring down and eventually replace the star she supposedly reveres.

What makes the tale particularly compelling is the fact that we, as witnesses, can see where it's headed very soon, though we're denied the satisfaction of seeing it actually happen for quite a long time. There's almost a sense of impatience built into the story line, which has a way of making us a bit antsy, as we wonder what Eve's going to do next to accomplish the goal we've known almost from the start that she's wanted to attain.

One of the strengths of Briggs' adaptation is its adherence to this mounting tension and something of a stubborn refusal to rush things. Were Eve's true character to be revealed too early, we might be inclined to sympathize with Margo, who has something of an abrasive, diva-like nature. This has a way of focusing early sympathy on the young, presumably innocent girl (Eve). There's a delicious division of our early loyalties, which, as the play progresses, becomes the focal point of our interest in the outcome. The scenes in the adaptation have a tendency to be short, revealing only tiny packets of information, which makes us yearn for more. Beyond Briggs' adaptation skills, it's clear that even when working within the confines of a staged reading, Briggs, the director, has approached the story with a clear understanding of its most compelling elements.

It wouldn't be fair to analyze this staged reading's performances too closely. Scripts in hand work like power outages when you're trying to get work done on your computer. Not only do they stop 'action,' they inhibit a smooth flow of development. To their credit, each of the performers in this reading were able to dispel the notion that they were working with their scripts. Once we, as audience, settled into the story, the presence of the scripts grew increasingly more invisible.

That said, particularly strong performances were turned in by Katherine Vernon in the role of Margo Channing, Alissa Fetherolf as Eve, and particularly, Lee Lowrimore as Addison DeWitt, who, like Eve, undergoes a transformation from what we think he's all about to something quite different. Also exhibiting a fine sense of her literal and figurative role in the play was Laurene Perry as Birdie Coonan, whose sharp, wry observations of the characters around her is the source of a lot of humor.

It's my contention that this character's presence in the adaptation should be increased; should, in fact, replace various other characters, who, throughout the performance, are assigned narration roles that bridge scene changes and shifts in focus. Narrators tend to be focal points in a play. Their presence often indicating a single, and often critical point of view in any given story; a reason for this or that particular character to be assigned the role of addressing an audience directly.

Tom Briggs' adaptation of Joseph Manciewicz' All About Eve was, by far, the best staged reading of a play that it has ever been my experience to witness. It fostered a strong desire to see its promise realized in a full-scale production, worthy of a Broadway opening. There's a lot of work to do before that could actually happen, but so much work has already been done that it would be a shame to see its development arrested.