David Roberts

• OnStage Chief New York Theatre Critic

“And how stands the city on this winter night? More prosperous, more secure, and happier than it was 8 years ago. But more than that: After 200 years, two centuries, she still stands strong and true on the granite ridge, and her glow has held steady no matter what storm. And she's still a beacon, still a magnet for all who must have freedom, for all the pilgrims from all the lost places who are hurtling through the darkness, toward home.” (Ronald Reagan’s “Shining City Upon A Hill” Farewell Speech, January 11 1989)

America in the late 1980s was for Ronald Reagan a shining city upon a hill, “a magnet for all who must have freedom.” This nation was pristine, flawless, offering to all who would respond to its beckoning the opportunity for improvement, self-discovery, and community. Many nation-states and their urban centers offer similar promises to the “pilgrims from lost places who are hurtling through darkness, toward home.” John (Matthew Broderick), Ian (Billy Carter), Neasa (Lisa Dawn), and Laurence (James Russell) are four such pilgrims navigating Dublin’s promises in Conor McPherson’s “Shining City” currently running at the newly renovated Irish Repertory Company.

James Joyce wrote, "For myself, I always write about Dublin, because if I can get to the heart of Dublin I can get to the heart of all the cities of the world. In the particular is contained the universal." Conor McPherson has accomplished the same goal in his “Shining City.” The stories told here are universal stories of self-discovery, motivation, fear, loneliness, and making choices – for better or for worse. Stories of recognizing opportunities to “sort out” life’s challenges and unexpected changes.

Billy Carter and Lisa Dwan in SHINING CITY Photo: Carol Rosegg

John has been seeing the ghost of his deceased wife Mari in their house and, thinking he might be a “nutcase,” he visits psychotherapist Ian to “sort it all out.” John is former priest Ian’s first client and – as the audience learns – the roles of penitent and priest and client and therapist often become reversed in Mr. McPherson’s engaging and complex script. John’s confessional sessions reveal a lonely individual who rarely communicated with his wife before her fatal accident. Those sessions somehow give Ian permission to admit to his girlfriend Neasa it might be time to part ways.

“Shining City” features three (at least) parallel stories, parallel situations and conflicts involving dyads of human interaction without authentic human connection. There is no communication between John and his wife; none between Ian and his girlfriend Neasa; and initially even less between John and Laurence the sex worker John turns to for comfort and understanding. In these parallel stories, the characters discover communication and non-judgmental affirmation from very unexpected places.

Under Ciarán O’Reilly’s meticulous and clean direction, the cast of “Shining City” captures the full range of human emotions including those often roiling beneath the surface waiting to offer redemption and release if expressed. Matthew Broderick gives his character John a sensitive believability that is expressed in dialogue and in lengthy monologues. Mr. Broderick give’s John’s journey from fear to courage authenticity. Billy Carter portrays Ian with a graceful underbelly of frustration and guilt unable to fully disengage from his dysfunctional relationship with Neasa. Lisa Dwan’s Neasa is manipulative, fearful, and determined not to allow Ian to separate from her and their child. And James Russell portrays a young man ravaged by poverty and unemployment to work in places he never expected to labor.

Charlie Corcoran has designed a clean and serviceable set that allows the actors to settle into their roles with ease and comfort. Sven Henry Nelson’s property design creates the illusion of not only the passing of time but the growth of the characters. Martha Hally’s costumes, Michael Gottlieb’s lighting, and M. Florian Staab’s sound successfully complement the action of the play.

During their first session, Ian tells John he sees the ghost of his wife because he needs to. That might be true but one wonders whether Mari’s ghost had its final appearance in the couple’s bathroom. Only time will tell. 

SHINING CITY

The cast of “Shining City” features Matthew Broderick, Bill Carter, Lisa Dwan, and James Russell.

‘Shining City” features scenic design by Charlie Corcoran, costume design by Martha Hally, lighting design by Michael Gottlieb, and sound design by Ryan Rumery. Production photos by Carol Rosegg.

“Shining City” plays a strictly limited engagement through Sunday, July 3rd at the newly renovated Irish Repertory Theatre (132 West 22nd Street). Performances are Tuesday and Thursday at 7:00 p.m.; Wednesday, Friday, and Saturday at 8:00 p.m.; Wednesday, Saturday, and Sunday matinees at 3:00 p.m. Tickets are $50.00 - $70.00 and available here:  http://www.irishrep.org/. Running time is 90 minutes without intermission. 

Asys Danilova

• OnStage New York Critic

Then Silence, a contemporary Norwegian play produced by Scandinavian American Theater Company (SATC), more than anything, left me confused. It seemed like some of the common sense got lost in translation, no offence here to May-Brit Akerholt, she did a good, honest job translating Norwegian to English. Whether playwright Arne Lygre translated himself into Norwegian well, that’s the question… 

This abstract play has three actors and two interwoven narrative lines. At first we see characters named One (Kwasi Osei), Another (Morten Holst) and Brother (Christiane Julie Seidel) playing billiards for what seams like a really long time. As sounds of gurgling water slowly come through, One becomes increasingly alarmed.  He looks above the audience as if he sees something there.  One shares a vision with his companions: “A man at a distance from two other men”. Most of the scenes begin in a similar way. This time they are looking at two men torturing the third one. With the quick change of light the actors immediately transition to the described scene. With another flash they transition back to discuss if you should call sleep and water deprivation a torture or an interrogation technique. 

As the play progresses, they describe and relive more scenes built around “power, domination, loss, love, mortality and survival”. They pose questions like “What is I” and try to figure out if Me can exist without the Other. Different episodes are brought up to investigate acts of cruelty and aggression between oneself and the other on different levels, starting from personal everyday interactions (kids playing, lovers cheating) ending with political endeavors (countries claiming new territories). 

Guilt-loaded self-analysis of split consciousness, the components of which are called One, Another and Brother is not for everybody and definitely wasn’t for me. Even though my imagination was able to make some connections to historical events, philosophical concepts and personal experience, it all seemed forced and didn’t reach me on intellectual or emotional levels. 

Then Silence
photos by Kait Ebinger Pictured: Morten Holst (white guy), Kwasi Osei (black guy) & Christiane Julie Seidel (woman).

Red tubes of minimalistic scenic design by Lauren Helpern were justified by the location of the last scene and gave a nice graphic backdrop. Genderless costumes by Joseph S. Blaha were appropriate for the play where gender of the character does not necessarily correspond to the gender of the actor. Lighting design by Derek Van Heel and sound by Brenda Bauer were supporting the structure of the play. But unfortunately all of these components were left floating without a chance to land on this loosely built play. The direction of Sarah Cameron Sunde lacked clarity. 

The actors seems a bit lost themselves, as if they didn’t quite answer to themselves the question “Who am I”, philosophically raised in the play. They looked more engaged in scenes that got a comical interpretation. Morten Holst got especially excited portraying an old lady in one scene and a part of the trio of political leaders with the same face in the other. His lisp accompanied by a fountain of saliva got even Christiane Julie Seidel to come out of her character and giggle on stage. 

Ultimately the show felt lackluster and didn’t come together as it could have. I felt lost and unenthusiastic, but that doesn’t mean you won’t find something of yourself reflected in this performance.

Then Silence can be seen at The Lion Theatre at Theatre Row. 410 West 42ndStreet through June 19th.  You can find tickets and more information on the Scandinavian American Theater Company’s website: http://www.satcnyc.org/#!then-silence-1/xt9a8

Nancy Sasso Janis

• OnStage Connecticut Critic

“Enjoy every minute of it because it only takes a moment before the parade passes by!” - Karl Hinger (Cornelius) to the cast

Danbury, CT - Musicals at RIchter in Danbury CT opened their thirtieth anniversary season this weekend on a chilly Friday evening. MAR is Connecticut’s longest running outdoor theatre and the aspiration of their board of directors has always been to provide high quality, family entertainment under the starts at an affordable price. Bradford Blake, MAR’s Founding Artistic Director, could not have been more excited as he opened yet another season on the outdoor stage.

Mr. Blake served as both director and choreographer for the first musical of the season, the nostalgic ‘Hello, Dolly!’ MAR also did the show back in 1990 and 2004. The musical based on the play ‘The Matchmaker’ by Thornton Wilder, features a book by Michael Stewart with music and lyrics by Jerry Herman. The MAR cast felt a bit small for this stage, but the talent of the male chorus was impressive and the choreography was well executed.

Unfortunately, there were a slew of mishaps at the chilly opening night performance. There were some line and lyric issues, props were dropped, Dolly’s hat got tangled in a twirl and fell off in the hat shop, microphones were not turned on for some actors in time but several backstage whispered exchanges could be heard. A few notes didn’t come out quite right and one musical cue was off but the cast continued through it all with aplomb. 

The ensembles of both genders did a great job with all of the song and dance numbers and their harmony was really impressive for only fourteen singers. Amber Levine, a sophomore at Western CT State University, served as Dance Captain and Rudolph (played by Michael Wright) and the guys almost stole the show with “The Waiter’s Gallop.” I am not sure who had the cameo as the judge on opening night; the black robe, white wig and mustache are shared by Matt Austin, Ted Schwartz and Steve Stott.

Dr. Barbara Kessler, a biology teacher in Brookfield, returned to the MAR stage in the funny role of Ernestina and Dolly Connor did a great job with the walk on role of Dolly’s old neighbor, Mrs. Rose. Jessica Cerasoli did the constant crying of Ermengarde and WCSU rising sophomore Cole Urso was her devoted Ambrose Kemper. Karl Hinger (whose brother Brian made his MAR debut in the ensemble) was very strong in the role of Cornelius Hackl while WCSU student Andrew Kocur was quite adorable as his sidekick Barnaby Tucker. 

Katherine Wolff used her flawless singing voice to make the most of the role of Irene Malloy and the Hartt School student truly looked the part in her great costume changes. I was thrilled to see Lexi Tobin in the fun role of Minnie Fay; I have always enjoyed her work onstage with all three seasons of the 1214 Foundation in Newtown.

Cat Heidel returned to the MAR stage for her seventh season to take on the title role of Dolly Gallagher. Ms. Heidel is always a strong actress (think Ursula in Landmark’s ‘The Little Mermaid’) and her take on Dolly was no exception. Levi Mike Armstrong held his own as the blustery Horace Vandergelder.

Peter Randazzo, who I usually see at Amity Regional HS, was the conductor of the larger than usual orchestra that sounded very full. The musicians sit in a tent next to the stage. 

There were at least three large movable set pieces that rotated, as well as a few smaller pieces that appeared in order to take us to the various locations in Dolly’s world. Kudos to Edgar Kniffen, Pay McCoy and the cast on a very impressive set that was lit nicely by Mike Campbell and Adam Romano. Lauren Nicole Sherwood worked her usual magic with the piles of terrific period costumes and excellent wigs, while Wendy Wildman provided the fine costumes for Mrs. Levi. 

‘Hello, Dolly!’ continues at Musicals at Richter through June 25 and if the current weather continues, don’t forget a warm winter coat and a blanket along with your picnic basket and bug spray to enjoy an evening of theatre under the stars. 

Photos by David Henningsen

Eloise Baxter-Moss

• OnStage North Carolina Critic

Monty Python’s Spamalot was last presented in Wilmington, NC in 2013, courtesy of Cape Fear Theatre Arts, so it may be a tad too soon for a return engagement.  But here it is nonetheless, this time presented by Opera House Theatre Company.  While the production hits all of its marks, under the capable direction of Jason Aycock, there is no mistaking the whiff of mildew about both the production and the musical itself.

The original production opened on Broadway in 2005, directed, perhaps unexpectedly, by the legendary Mike Nichols.  Or perhaps Nichol’s direction shouldn’t have been unexpected, considering his stellar career in sketch comedy with Elaine May.  Based upon the wildly irreverent and silly sketch comedy developed by the British comedy troupe, specifically their 1975 film, Monty Python and the Holy Grail, the Tony Award-winning musical somewhat strains to make the old gags land.  

This production works overtime to put those gags over.  The book and lyrics by Eric Idle, an original Python, and music by John Du Prez and Mr. Idle get the job done, but that job was mostly done when the television show expired in 1974.  The appropriately rudimentary plot finds King Arthur traveling medieval England recruiting Knights of the Round Table to join him in his quest for the Holy Grail.  It goes without saying that comic high jinx ensues.  One of the most amusing happens at the top of the show when the Narrator (full-throated George Domby, splendid in five roles) is giving the audience a brief education on medieval England.  A Finnish village suddenly appears and the Narrator must explain to the braided, frolicking villagers that he was speaking of Eng-land, not Fin-land. 

I couldn’t help noticing that uninitiated younger audience members were not slapping their thighs at the mere mention of “Ni,” while greeting the killer-rabbit, bring-out-your-dead and taunting Frenchman scenes with polite chuckles.  Those of a certain age, however, were squealing with delight in anticipation of what they knew was lying just around the corner.  

Mr. Aycock and the game cast can’t be blamed for not quite being able to blow the dust off of the material.  The musical’s best known song, the cheerful “Always Look On the Bright Side of Life,” was interpolated from the troupe’s 1979 film, Life of Brian, in which its subversive context of being sung by a chorus of men nailed to crucifixes made it something more than a would-be Sesame Street ditty.  That example is representative of the material in general which, understandably, has lost some of its edge during the more than four decades since the then-daring troupe was conceived.  It’s somewhat telling that one of the biggest laughs of the evening is awarded an incongruous bale of hay being pulled across the stage when someone yells, “Hey!”  But in all fairness, it may be exactly that vaudeville style of presentational comedy that has always afforded the material its charms.

In a gender bending turn, Heather Setzler, a dry and wry comedienne, plays King Arthur’s world-weary sidekick, Patsy, whose clapping of coconut shells to impersonate his master’s horse (a staple of the original series) somewhat wears out its welcome after the umpteenth time it’s employed.  The young and fair Annie Tracy Marsh, as the Lady of the Lake, socks her songs over with a raise the roof, growling belt including “The Diva’s Lament,” while not quite inhabiting the comic center of the diva herself.  The production hits its comic stride halfway into Act Two when Sam Robison’s sweet Sir Lancelot courts the effete Prince Herbert, Mr. Domby again and in excellent voice on the hilarious “Where Are You?”  Suddenly a burst of welcome helium hits the stage, lifting everything around it.  (Mr. Robison proves invaluable in several other roles as well.)  Everyone in the cast seems to be having a high time of it throughout, which goes a considerable way toward putting the production across.

The serviceable score is well served by music director Lorene Walsh and her ten-piece band, assisted by sound designer John Deveaux’s dependable contribution.  Costume designer Juli Harvey has done her customary fine and detailed work, largely modeled upon the original designs by Tim Hatley.  While the scenic design by Terry Collins is nothing special, often offering nothing more than a bare stage, it gets us there and back, accompanied by Greg Gelder’s unremarkable light design, which I wish was more playful.  The production design overall is a bit cheesy but that may have been part of Mr. Aycock’s concept.

While Spamalot may not be a musical for the ages, OHTC’s production certainly qualifies as an agreeable night of entertainment, especially if acres of somewhat puerile silliness is your cup of tea.

Vicki Trask 

• OnStage Calgary Critic

September 1st, 1989

Heathers the Musical presented by Cappuccino Theatre is the definition of a hit and miss show.

So what’s the damage?

Well, on Saturday June 11th 2016, I attended the cult classic at Vertigo Theatre with mixed emotions. Though I’m still fairly new to this musical, I am in desperate love with the show penned by Legally Blonde: The Musical creators Laurence O’Keefe and Kevin Murphy. The music is unforgettable, the story is timeless and shameless; how can you not fall head over heels? 

The show centers around Veronica Sawyer, a high school senior, just trying to make it to the end of the year with her best friend Martha “Dumptruck” Dunnstock. That is, until she meets the mysterious Jason Dean (JD for short) and ends up amongst the high school royalty of “the Heathers”. This somehow leads her to kill three of her classmates and watch her high school crumble into unexpected chaos, all underscored by catchy, and poignant music. This fantastic dark comedy has so many universal themes and translates so creatively to the stage.

Cappuccino Theatre presents Heathers The Musical starring, from left, Jamie Robinson, Eden Hildebrand, Chelsea Millard and Tanis Laatsch. Photo: CALGARY HERALD

However, this particular production had me a little weary. The actors playing seventeen year old high school students were…not seventeen year old high school students. While that’s not normally a major problem in a production, this show is so centered around the selfish, angsty, judgmental teenage life, I worried it wouldn’t land with audiences. 

I’ll eat a few slices of humble pie. There were some very honest and moving performances and then there were some not so convincing moments.

Our leading actress, Chelsea Millard is the perfect example of this hit and miss concept. She is a strong singer but as soon as a song or a phrase was out of her range, I could see her lose a bit of her power as Veronica. She was very stiff and it didn’t suit the words she was saying. Veronica carries a lot of the show and Chelsea wasn’t always present in the scene which killed me because when she found those little moments they were (forgive the pun): Beautiful. 

As for her leading man, I have to tip my hat to Bryan Smith. I wasn’t convinced of his Frank Abagnale Jr. (Catch Me If You Can by Front Row Centre Players back in March 2016) but his JD was chilling, terrifying, and yet still endearing. When he worships her, you feel the hairs on the back of your neck stand on end. My compliments to Bryan Smith. 

The Heathers: Chandler (Eden Hildebrand), McNamara (Tanis Laatsch), and Duke (Jamie Robinson) are all actresses I’ve seen on stage one hundred times and these leading ladies always deliver incredible performances. I wasn’t shocked in the least to see them own the stage with every well placed heel – especially in Candy Store, not an easy number. My undying admiration goes to Tanis Laatsch. “Lifeboat” is a powerful number and she did it justice; the audience held their breath for her. 

I must say I was pleasantly surprised by Forrest Tymchuk and Johann Wentzel – playing Ram Sweeney and Kurt Kelly respectively – who brought a lot of energy and skin to their performances of the dumb and dumber jock. Those boys were always on and I admit there was always something to laugh about with these two. Congratulations.

Which brings me to Martha Dunnstock played by Mandee Marcil. This role is not large, but it’s so important and Mandee blew me away. I knew she could sing and act like nobody’s business but she was transformed as the love struck best friend who lives her days in the bully circle. Thank you, Mandee, for sharing this character with the audience. 

Of course these actors were fantastically directed by the incomparable Carl Bishop, musically directed by the ever fabulous Danielle Wahl, and choreographed by the stunningly talented Danielle Desmarais – a powerhouse team who brought this monster of a show to life, accompanied by their incredible design and production team. The set design was so clever and so well executed. I couldn’t describe it, even if I wanted to; you have to see it for yourself. 

The only thing that stunted my enjoyment of the show was the show itself. The balance between band and vocals was off, there was a stilted energy whenever dancing started, dead air during set changes kills any mood. These are things that happen on a show to show basis that can let it fall into the ranks of “potentially amazing.” Right now, I’m feeling: so very…meh. 

There were a lot of amazing things and then a lot of things that didn’t quite reach for me. This is a show that speaks to so many generations despite its very specific dating. It’s about youth: the desperation that comes with needing to walk through hell to get to graduation day; the consequences of standing up for yourself without thinking about the future. What it means to destroy instead of create when the world turns to shit. Sometimes the message can be lost in the wordy texts and big dance numbers but I expect great things from Cappuccino and they reached it in some ways but not in others.

You can still get tickets for Heathers the Musical which is running from June 4th to June 18th in the Studio at Vertigo Theatre. Who knows? It could be Beautiful.

Angelica Potter

• OnStage Massachusetts Critic

Funny Girl, music by Jule Styne, lyrics by Bob Merrill and book by Isobel Lennart, originally stared Barbra Streisand when it opened on Broadway in 1964. It is the story of comedian Fanny Brice and her rise from the Vaudeville stage to becoming a world-renowned Ziegfeld star. In Bill Hanney’s North Shore Music Theatre production, Shoshana Bean of Broadway’s Hairspray and Wicked, takes on the role of Fanny Brice and from the moment she walks on the stage through the final note she sings, she embodies every comedic moment, emotion and gusto of the character that makes the audience truly believe she is the “greatest star”. 

Shoshana Bean has everything it takes to pull off this iconic role: fantastic vocals, perfect comedic timing, and the emotional depth needed for the dramatic scenes within the show.  Everything she did was genuine and the audience couldn’t have loved her performance any more than it did giving her a robust standing ovation.

Other highlights of this production include Rick Faugno as Eddie Ryan, Fanny’s longtime friend and mentor, Bradley Dean as Nick Arnstein, Fanny’s husband, and Susan Cella as Mrs.Brice, Fanny’s mother. Faugno delivered solid vocals and incredible tap dancing skills both as a solo in act one and then in a duet in “Rat-Tat-Tat-Tat” in act two. His sounds were clearly executed and his rhythms were superb. He danced effortlessly across the stage even while singing and was a joy to watch. Dean as smooth talking Nick delivered a strong performance with terrific vocals and acting. Cella was amusing as Fanny’s mother, Mrs. Brice, also delivering a solid performance and receiving tremendous applause during “Who Taught Her Everything”, a duet with Faugno, in which while singing, Cella slid into a full right split with ease. 

Shoshana Bean is Fanny Brice in North Shore Music Theatre's production of FUNNY GIRL playing thru June 19, 2016. Photo © Paul Lyden

The staging and choreography  by James Brennan was well done and worked great for the circular stage with entrances coming from a variety of aisles in the audience or up from below the stage via a square cut out in the floor. Costume coordination and additional designs from Mark Nagle were colorful. The show girl outfits were especially well done and a nice nod to the originals worn in Ziegfeld’s productions. Additional production credits include Mark Hartman as music director, Stephen Dobay as scenic designer, Jack Mehler as lighting designer and Charles Coes as sound designer. 

Though the run time is 2 hours and 50 minutes including intermission, Shoshana Bean as Fanny Brice makes every minute worth it and her performance is not to be missed. Funny Girl plays Tuesdays-Sundays through June 19th. For tickets or more information visit www.nsmt.org , call 978-232-7200 or visit the box office in person at 62 Dunham Rd. Beverly, MA. 

For more of my reviews and theatrical thoughts check out: http://intheatresome1isalwayswatching.blogspot.com/

Nancy Sasso Janis

When shall we three meet again?
In thunder, lightning, or in rain?
When the hurly-burly’s done,
When the battle’s lost and won.

Oakville, CT - Phoenix Stage Company at Clockwork decided to commemorate the 400th anniversary of William Shakespeare’s death with a production of the tragedy of ‘Macbeth.’ In his notes, director John Long declines to jump into the controversy of who actually wrote the plays credited to the Bard, but writes that during the rehearsal process he and the cast were reminded of the greatness of the Scottish play. Scholars have argued over the both the meaning of the play and especially of the importance of the “weird sisters.” While some maintain the three witches simply prophesize the future, this production has the witches using magic to control the future. Therefore, the three sisters “take on additional roles that are instrumental in pushing Macbeth and other characters toward the resolution the witches desire.”

Assistant Director Tori Richnavsky is a former student of the director, as is her husband, the Fight Director Rob Richnavsky. Jameson Willey, the Lighting Designer is another former student. The talented Burton Tedesco, the chair of the department of the arts and instructor of theater at Naugatuck Valley Community College who takes on the title role, is joined onstage by five students from his program. The director concludes,  “These connections have helped us create an ensemble in which everyone has devoted a great deal of time to make a very old play come to life for a modern audience.”

I am well aware that a Shakespeare play is not everyone’s idea of a good time, especially the tragedies. I honestly cannot recall if I have ever seen a full production of ‘Macbeth,’ but I am sure that I have read it because I found myself saying many of the lines in my head along with the character. Of course Shakespeare requires intense concentration to follow the action (and to enjoy the language) and the PSC production was worth the effort. The fight scene that opened the tragedy, convincingly choreographed by Mr. Richnavsky, was the first of many and we knew that it would not end well.

Brian Bowyer made his PSC debut to play Banquo and Young Siward. Michael Calabrese returned to this stage as Fleance/Lord/Servant and Brian Elser, a castmate from ‘The Last Supper’ got to sit at another PSC table as a Lord, as well as Ross and Donalbain. Deborah Goodman was the doomed Lady McDuff and Daniel Morrow, who I saw in NVCC’s ‘Hairspray’ and CT Theater Company’s ‘Noises Off’ played McDuff and a soldier. 

The three sisters/witches were well-played by Lindsey Halliwell, Simone Matusevice and Beth Steinberg; Ms. Steinberg used her low voice so effectively. Preston James, another former castmate from an elementary school production, showed maturity in his acting as Malcolm. Retired professional actor Will Jeffries was a regal King Duncan and Kathryn Lynch made her community theatre debut as a gentlewoman. Aric Martin appeared as a soldier, Banquo’s son, a lord and a messenger. NVCC graduate Edward Montoya was a soldier, a lord and Seyton, while Leland M. Schick returns to this stage in the funny role of a porter, as well as a doctor. 

Phoenix Stage Company veteran Kristen Jacobson was spot on as Lady Macbeth; luminous as always, she made clear the level of her character’s ambition and her descent into madness. Mr. Tedesco brought tremendous acting skill to the role of Macbeth and gave special care to the delivery of the classic lines written by the Bard. I was engrossed in the performance of both halves of the royal couple. 

The stage was essentially bare, with only a black raised platform on one side, backed by a white screen that used projections to suggest locations and shadow puppets to get into the head of Macbeth. The costumes designed by Ed Bassett were Elizabethan in tone and very impressive, especially the costumes of Lady Macbeth, Hecate (Elizabeth Fricke) and the hoods of the three witches. Preston James and Aric Martin were in charge of make-up and the hair of Lady Macbeth done by production stylist Ms. Lynch was both intricate and flattering.

The play that must not be named inside the theater runs through June 18 at the Clockwork.

Thomas Burns Scully

• OnStage New York Critic

Sometimes you’re not sure if a show is trying to make a comment, emulate reality or extrapolate within established context. ‘Seen / By Everyone’ at HERE arts typifies this. The concept is a play  about life and death composed, largely, of Facebook posts and comments. In theory, an excellent exercise in verbatim theatre. In reality… a mess. There’s no coherent through line, beyond vague attempts at a theme and a symbolic character arc. It leans on its concept like a gimmick, but despite its commitment to the bit, there’s no evidence of a thesis. What occurs, then, is an array of scenes that would be bewildering if they weren’t so boring. Occasional moments of poignancy are created, and the tech aspect of the show is gorgeous, but as an experience for an audience, it’s an awful slog.

As mentioned above, the script for the show is an amalgamation and appropriation of hundreds, possibly thousands, of Facebook posts and comments. They are reworked to become monologues, discussions, and conversations. There is a vague idea that the show is set at a wake, and digital condolences flood throughout. Also processing is a thread about a man getting divorced, a man terminally lonely, a discussion of foreskin and karaoke samplings. The people having these discussions are attended by an ominous bartender, and a girl in a white dress who runs about the stage haphazardly at irregular intervals. Occasionally, people are diverted to a confession cam, or put on glitter-ball masks and shout. I’d say it feels like watching the manifestation of a bad first draft, but actually it’s more like watching someone’s rough brainstorm notes come to life.

I suppose the essential problem of giving full voice to people’s Facebook output, is that most people aren’t great writers. Now you might say that verbatim theatre works despite the fact that most people aren’t great public speakers. That’s true, but verbatim theatre captures the essential honesty of uninterrupted, unplanned thought, captured, recorded, and reproduced authentically. Facebook posts are not typically fonts of honesty or hidden depth, so using them in a theatrical context captures their inherent simplicity, repetitiveness and, often, shallowness. If the piece’s goal is to take online superficiality, blow it up giant size and smear it in your face, then it works perfectly. But then, why would you want to do that? You could just go on Facebook. Yes, there are occasional moments of great honesty, just like on Facebook, but they are few and far between. Most of it just sounds like badly written dialogue because that’s what Facebook conversations are when you take them out of context.

 Meg MacCary, Enormvs Muñoz, Alesandra Nahodil Photo: Carl Skutsch

From an acting point of view I can’t find too much fault. The problems of this piece all stem from the construction of the text, not the manner in which it is delivered. Many of the performers have genuinely touching moments, particularly on the stage bar’s apparent ‘Confession Cam’. In fact, the technology aspect of the show informed many of ‘Seen’s best moments. Screens behind the bar showed trippy trick-video, cartoons and astral graphics, creating a period indeterminate retro sci-fi feel. Large screens on the ceiling and far wall of the traverse stage allowed for some exciting visuals, as well as the faux-karaoke gimmick the play used at various times. Additionally, the bartender character used a camera on his person to broadcast a live feed to one or other of the screens at various times. He would film the ‘lost’ female character as she ran about the stage, and when she stood in front of he screens her image would be duplicated infinitely behind her. Simple tricks, but creating cool visuals. Of course, because there was no emotional context for it provided by the show, that’s all they were, cool visuals; but credit where credit’s due. Rey Sun Ruey-Horng’s tech design, mixed with Christopher Heilman’s set design was undeniably impressive.

‘Seen / By Everyone’ is an interesting concept. Using online discourse to create real-world interaction. It’s just a shame the show has nothing to say. It doesn’t seem to be indicting online communication, nor commending it, nor presenting it ‘as is’ and free of judgement. It does seem to be trying to tell a story, but I’ll be buggered by a canary if I can tell you what it is. There are vague ongoing threads throughout, but none of them add up to any kind of a narrative. I was too confused to feel anything, too busy trying to justify all the incoherent images to accept there was a story. If this review reads as vague, then please, by all means go and see the show, because I promise you it is the spring whence the vaguery originates. That said, don’t go see this show, it’s not worth your time. You’re not going to learn anything you couldn’t learn from ten minutes on Facebook. 

As a side note, if you want to see online comments put to more interesting use, I can recommend YouTuber ‘Jacksfilms’ series ‘Your Grammar Sucks’. It’s much funnier, and much more coherent. If you want to see a good play about grieving online, check out ‘Canuck Downunder’ by Jessica Kazamel at the NYC Fringe this Summer.

‘Seen / By Everyone’ is presented at the HERE Arts Centre as part of the SubletSeries@Here. It was created and produced by ‘Five on a Match’, conceived by Amir Darvish and Meg MacCary. It runs until June 25th, all shows are at 8:30pm. HERE Arts is located on 145 6th Avenue NYC.

This review was written by Thomas Burns Scully, a New York based writer, actor and musician. His work has been lauded by TimeOut NY, the New York Times, BAFTA US, the Abbey Theatre Dublin and other smaller organizations too numerous to mention. His theatrical writing has been performed on three continents. He is generally considered to be the thrifty person’s Renaissance man. 

Follow him on Facebook (as Thomas Burns Scully), and on Twitter (@ThomasDBS)

Angelica Potter

• OnStage Massachusetts Critic

Opening the 48th Anniversary Summer Season is Rogers and Hammerstein’s classic musical Carousel. It tells the story of carnival barker Billy Bigelow and mill worker Julie Jordan who meet at the carousel and quickly fall in love. In addition to the clear love theme, the show also delves into the themes of violence, hope, and redemption. The “Carousel Waltz” was an entertaining start to the show and the audience enjoyed the turning of the carousel center stage as various performers moved about the stage enticing the locals with different carnival acts such as acrobats, a dancing bear, clowns and of course the main attraction: the carousel. 

Jennifer Ellis as Julie Jordan (left) and Jessica Kundla as Carrie Pipperidge. Courtesy Reagle Music Theatre/©Herb Philpott

Jessica Kundla as Carrie Pipperidge delivered a magnificent performance both with her vocals and strong character work. Her rendition of “Mister Snow” was absolutely lovely. Ciarán Sheehan as Billy Bigelow performed with strong vocals throughout, but his best performance of the evening was in “Soliloquy” towards the end of act one. His voice boomed through the theatre capturing the audience’s attention with his rich tone as he powerfully sang each note. Jennifer Ellis as Julie Jordan and Leigh Barrett as Nettie Fowler also delivered beautiful vocals throughout. 

The best part of the show was the choreography by Director/Choreographer Rachel Bertone. The choreography was rooted in Ballet technique and well executed by the cast. My one complaint regarding choreography comes from the opening of act two: “This Was a Real Nice Clambake”, when the cast’s actions and lyrics led us to believe they were too full from the clambake to move, but some got a bit too energetic with the dancing especially the turning. If someone was that full they wouldn’t be turning and bouncing around unless they wanted their lunch to come back up. The boisterousness took away from the reality and authenticity of the number. 

The highlight of act two was the beautifully danced “Ballet”, largely performed by Kyra Christopher as Louise Bigelow, Zachary Eisenberg as the Carnival Boy and Ensemble dancers. Christopher’s emotional connection to the music and the movement was stunning. Her technique was tremendous and she is clearly a very talented and trained dancer of whom I’m sure we’ll be seeing more of in the future. 

While this musical is a classic, its’ length of three hours including intermission (in part due to a seeming lack of urgency as many scenes drag on) is certainly a deterrent and explains why a number of people left after the first act. However, if you love Rogers and Hammerstein or this musical, you’re sure to enjoy it.  If you’re not an enthusiast of the classics you may want to sit this one out and wait for the next one. Carousel plays from June 9-19, 2016 at the Robinson Theatre (617 Lexington Street, Waltham, MA). For information and tickets visit www.reaglemusictheatre.com

Title Photo: Female dance ensemble from Carousel. Courtesy Reagle Music Theatre/©Herb Philpott

For more of my reviews and theatrical thoughts check out: http://intheatresome1isalwayswatching.blogspot

Nancy Sasso Janis

• OnStage Connecticut Critic

“It’s a fine life!”

Nineteen year old Jonathan Zalaski made his Warner Theatre debut in ‘Oliver!’ six years ago. Since then, he recently did a great job with the role of Lucas Beineke in the Warner’s well-received ‘The Addams Family’ and he just completed his sophomore year at Central CT State University with, not surprisingly, a major in theatre. He also is the production manager of the theatre company at Terryville Congregational Church where he has directed ‘Cinderella’s Glass Slipper,’ ‘The Wizard of Oz,’ and last year’s ‘Roald Dahl’s Willy Wonka’ in the sanctuary of the church. The productions have evolved in scope along with the growth of the company in a very short time and over 80 people are involved in this year’s production of ‘Oliver!’ 

‘Willy Wonka’ had to be performed with just piano accompaniment due to the fact that they were unable to fit even a small number of musicians into the space and ensure that the singers could be heard. This year, Music Director/Conductor Jim Luurtsema came up with a ingenious way of having the 16 musicians sit in a different room, streaming his conducting on a monitor at the rear of the church for the cast, and piping the music into the church over speakers. It worked flawlessly and made me so glad that he had a found a solution that sounded like a really good professional track. Anne DeMichiel was also Music Director and Alison Reed was Executive Producer.

Mr. Zalaski designed the set to fit the tight quarters and somehow not appear cramped, and he has a knack for using the church space most efficiently so that the audience doesn’t miss anything. Orphans entering with empty wooden bowls through the aisle for “Food, Glorious Food” was very effective. Ensemble member Michele Alicky served as Assistant Director. Choreography by Kayla Mastracchio always fits the space and even the youngest members of the cast are well-rehearsed enough to pull off every step. Tori Campbell’s lighting design was hard to appreciate at a matinee, but the super costumes by Allison Graboski were something very easy to appreciate.

The young members of the children’s ensemble were cute and clearly prepared for their appearances. TCC’s minister Rev. Zachary Mabe appeared in his fourth TCC show as Dr. Grimwig and Kathleen P. Harris made her TCC debut as Mrs. Bedwin. College student  Andrew Chase played the scary Bill Sykes with conviction and Jillian Boland, a voice student of Marianna Vagnini-Dadamo, gave a heartfelt performance as Bet. Jonathan David was a young Charlie Bates and Katharine Cartwright sang beautifully as Charlotte and the Rose Seller. 

Nicholas Barber was appropriately somber as undertaker Mr. Sowerberry and Terryville HS graduate Jolene Bourgoin sang well as his wife. Pastor of St. Paul Lutheran Church in Terryville Lisa Watson-Hill had a great English accent and plenty of attitude as the Widow Corney. Payton Turpin, last seen as Shem in Goshen’s ‘Two by Two,’  was quite wonderful as Mr. Bumble. Mr. Zalaski somehow had time to have a superb cameo as Noah Claypole and Nathan Suarez (who usually does tech) had a great singing voice for his role as The Artful Dodger. 

As Oliver Twist, young Ethan Wollman had a wonderfully big tenor voice for his solos and acted well. This young actor is a fifth grade grad who will attend WAMS in the fall. In the role of Fagin, Jakob Buckley was a great singer and had a smooth charm, not to mention a great costume. Kayla Mastracchio was such a professional as Nancy; this young lady used her great belt for “As Long As He Needs Me,” and her lead on “Oom-Pah-Pah.” She is now a senior at CCSU studying to be an English teacher with a music minor. 

‘Oliver!’ continues next weekend at Terryville Congregational Church. Tickets are available online at TCC.booktix.com

Photo of Jacok Buckley as Fagin by Sarah Kozma

Angelica Potter

• OnStage Massachusetts Critic

STONEHAM MA - The final show of the season, Lobster Girl, is an original story and book by Director Weylin Symes, with music and lyrics by Steven Barkhimer, and choreographed by Ilyse Robbins. Hank takes his soon-to-be stepdaughter, Cora, out on the lobster boat for the day with high hopes of bonding. Things start out awkwardly for Hank and Cora, but with the help of Jake, Hank’s right hand man on the lobster boat, things quickly become slightly less awkward and even more amusing for the audience. It’s an interesting concept for a musical and because it takes place locally, on Cape Ann, Massachusetts, the audience easily understands the premise which makes the jokes land even better.  The set, designed by Katy Monthei, is simple and includes two wooden boats, one is a mid-size lobster boat and the other is smaller and moves across the stage a number of times during the production with Ol’ Joe seated inside.  

Brigit Smith, Felix Teich*, William Gardiner*, Bryan T. Donovan*. Courtesy Stoneham Theatre

The opening number “The Ballad of Ol’ Joe” sung by Ol’ Joe, William Gardiner, had a fun, bluegrass, Irish pub song - kind of feel to it which the audience really relished. It was a great way to capture the audience’s attention right from the start. Throughout the show Gardiner continued to be a source of comic relief: if things got a bit tense between Hank and Cora, he would come “floating” by the boat, singing or muttering something as he passed that would instantly lightened the mood. Bryan Donovan’s characterization of Hank was real to life and his awkwardness was very funny to watch. Both Brigit Smith as 14yr old Cora and Felix Teich as Jake, delivered solid performances with great comedic timing and vocals. Rounding out the cast as Nancy, (Cora’s mom and Hank’s fiancé), is Ceit Zweil. 

A few more highlights from the show include a fun air guitar rendition of Boston’s “More than a Feeling” played by Hank, Cora and Jake and the consistently, rhyming lyrics in many of the songs that were all highly entertaining. The slower songs, though still nicely performed, seemed to drag the momentum of the show down a bit. That being said, it was made up for by up-tempo and very funny numbers such as “Lobster Girl and Professor Sharktopus”. 

Felix Teich*, Bryan T. Donovan*, Brigit Smith. Couresy Stoneham Theatre

The most enjoyable moments in this production were the tight harmonies done in numbers like “The Tao of Jake”, a three-part harmony between Hank, Cora and Jake, and “A Fine Mesh We’re In”, a four-part harmony between Hank, Cora, Jake and Ol’Joe. The voices blended beautifully in both pieces. 

Though it pushes past musical comedy into musical farce, the audience clearly enjoyed the 90 minute, no intermission production giving it enthusiastic applause at the end. The family friendly musical Lobster Girl plays at the Stoneham Theatre through June 26th. More information can be found at https://www.stonehamtheatre.org/lobster-girl

For more of my reviews and theatrical thoughts check out: http://intheatresome1isalwayswatching.blogspot.com/

Asya Danilova

• OnStage New York Critic

NEW YORK NY - The Beekeeper’s Daughter, written and directed by Karen Malpede celebrates its 22nd birthday this year. It talks about the Bosnian war of 1992-95 but takes place far from the theater of action, namely on the remote island on the Adriatic Sea, where the poet Robert (George Bartenieff, who originated this role in 1995) enjoys the company of his young lover Jamie (P.J. Brennan). Robert’s sister, pensive and doleful Sybil, shares the roof with them and looks after the beehives. The family is soon to be completed with Robert’s daughter, Rachel (Najla Said), who returns from her humanitarian mission in Bosnia with Admira (Di Zhu), a pregnant refugee whom she took under her wing.  

From there the narrative branches out like a soap opera: young love bursts out, skeletons come out of the closet, wounds heal slowly and painfully. The appearance of Admira and her baby stirs the world of the eccentric American family and puts everybody on a journey of self-rediscovery. As announced by Karen Malpede on the opening night, Di Zhu joined the cast very recently. Maybe it was the coming together of this circumstance and the role of the outsider, but Di Zhu really shined as Admira. Visibly subtle on the surface, her performance conveyed distress and tension with only the occasional tear showing the turmoil inside. 

"The Beekeeper's Daughter," written and directed by Karen Malpede, presented by Theater for the New City, June 2-26, 2016.  L: Najla Said. R: P.J. Brennan. Photo by Beatrice Schiller.

The rest of the cast seemed like potentially strong actors, with which the director didn’t work enough. Scenes looked stale, dialogues often too lengthy and there was no chemistry whatsoever despite drama escalating in the plot. To demonstrate the Dionysian atmosphere of the island, some provocative moments were thrown into the viewer’s face, like eating grapes from the genitalia and full frontal nudity. How pertinent these moments are is debatable, but at least it gave the performers some outer motivation to react and act. Even in the simple action of pouring and drinking wine they seemed more involved than in the supposedly passionate scenes.  

At least the director, Karen Malpede, managed to utilize the unconventionally long and deep stage space by putting different scenes on different planks with the most dramatic ones being closer to the audience. The costumes by Carisa Kelly and Sally Ann Parsons were surprisingly professional and well developed. They managed to create a very unique world of it’s own where fantasy about ancient Greece meets modern days. However, the armature looking scenic design by Michelangelo DeSerio seemed less considered. 

The topics that Karen Malpede raises in her play are relevant today; that’s what brought me to The Beekeeper’s Daughter. However real issues and potentially rich emotional knots are barely touched, all sacrificed for the witty writing to which the actors couldn’t connect. It seems like the entire play is built on quicksand. Unfortunately The Beekeeper’s Daughter became another play where interesting ideas didn’t find solid ground and never gained proper footing.  

The Beekeeper’s Daughter can be seen in The Theater For The New City at 155 First Avenue, New York, through June 26th. Performances run from Thursday to Saturday at 8pm, and Sunday at 3pm. General admission is $18 per ticket and can be purchased on the theater’s website: http://theaterforthenewcity.net/index.html. $10 tickets are available for seniors, students and the unemployed. More information about the show can be found here: http://theaterthreecollaborative.org/. 

Anne Collin 

• OnStage Connecticut Critic

August Osage County is billed as a comedy, and when I saw the 2014 movie starring Meryl Streep, I couldn’t have disagreed with that assessment more. The film left me feeling uncomfortable and disturbed due to the heavy subject matter. However, the Windsor Jesters’ current production managed to straddle the line between comedy and drama, resulting in a performance that was hilarious, unsettling, and moving.

As it begins, Beverly Weston, the patriarch of the family, is preparing to hire live-in help for himself and his ailing wife. As he sits and talks with the prospective housekeeper, Johnna (Anna Neild), we learn that Beverly is a teacher, a poet, and an alcoholic. His wife, Violet (Rosemarie Beskind), is battling mouth cancer and is addicted to various pain medications. Bill Mullen’s portrayal of Beverly Weston is brief but impressive. In just one scene, he sets the mood and prepares us for the events that are about to unfold.

When Beverly goes missing, the Weston sisters rally around their unstable mother. Marisa Clement is wonderful as Ivy Weston, the dutiful daughter who never married and constantly has to face her mother’s criticism and advice on how to attract a man. Suzanne Robertson gives a strong performance as Karen Weston, the sister who fled to Florida to pursue her dream of being whisked away and traveling the world with the man of her dreams. Enrico DiGiacomo plays her sleazy and opportunistic serial monogamist fiancé, Steve Heidebrecht. Virginia Wolf commands the stage as Barbara, the Weston sister who is the strongest of the group, yet also the most vulnerable as she faces the possibility of both the loss of her father and the loss of her marriage. Phil Godeck gives an emotionally complex performance as Bill Fordham, Barbara’s estranged husband who accompanies her home for support despite their impending separation. Jacqueline Lasry is lovely as their edgy and impressionable 14-year-old daughter, Jean. Also in attendance are Violet’s busybody sister, Mattie Fae Aiken (Helen Malinka), her husband, Charlie Aiken (Bruce Larsen), and their unassuming and somewhat scatterbrained adult son, Little Charles (Logan Lopez). They also receive visits from Barbara’s high school boyfriend, kindly Sheriff Deon Gilbeau (Mark Proulx).

As an ensemble cast, this group really shines. Every single performer hit his or her mark brilliantly. With that said, I have to give special accolades to Virginia Wolf and Rosemarie Beskind for their performances. Ms. Wolf showed an amazing range of emotion, from exasperation to grief, and from complete command of a situation to utter despair and hopelessness. Similarly, Ms. Beskind convincingly gave Violet both bravado and weakness. Their parting in the closing scene gave me chills.

August Osage County has just two more performances on Friday, June 17th, and Saturday, June 18th, both at 7:30 p.m. at the LP Wilson Community Center, 599 Matianuck Avenue, Windsor, CT. Tickets in advance are $16 for adults and $13 for students and seniors; tickets at the door are $18 for adults and $15 for students and seniors.

Crystal Wall 

• OnStage Florida Critic

Fort Lauderdale, FL - On Thursday, June 9th, I had the pleasure of watching the Slow Burn Theatre Company production of Heathers the Musical. Prior to this I had seen Spring Awakening a couple months back, which was brilliantly done by the same company, so, of course, I had very high expectations while waiting for the show to begin. Even with a high bar, the cast and crew of this production managed to exceed what I expected and took me on a journey through the 1980’s. 

For those who aren’t familiar with Heathers the Musical, it is adapted off the movie Heathers released in 1988, and we watch the protagonist, Veronica Sawyer balance her high school reputation and ethically lost boyfriend who deems murder to be appropriate. The dark but humorous nature of this plot made this a perfect fit to be moved to the stage. I hadn’t seen this musical live yet, but I have listened to the cast recording an embarrassing amount of times. So, the moment I heard that a local production will be playing by me, I jumped at the opportunity to attend, and all who are able should as well.

While sitting in the audience, you are faced with a colorful set of lockers that immediately intrigue you, and the excitement for the show to begin kicks in. However, it only goes uphill from the moment the first word is said. The moment Abby Perkins (Veronica Sawyer) sings her first note after her opening monologue, the audience is immediately in awe. Rarely do people encounter a belt that is so pure and seemingly effortless that it sounds as smooth as silk. It was never overpowering, but never too weak. The control and range exhibited in her vocal performance had the audience members behind me squealing every time she would hit a beautiful high note in her belt. Not only did her voice leave the audience yearning to hear more of it, but her portrayal of the character allowed her to sneak her way into the heart of every person watching. She was adorably dorky, and it made it impossible for the audience not to laugh at every punch line thrown or facial expression made. On top of that, her soft moments were genuinely beautiful, for she allowed you into her heart, which is one of the greatest gifts an actor can give an audience. You noticed her heart fluttering during “Fight for Me” with the excitement of a crush and hope that feelings will be returned. Then, in addition to both those things, she was powerful. Perkins never missed a beat to shine during Veronica’s moments of intensity. This can be proven alone by the amounts of shouts and hollers during “Dead Girl Walking,” for every eye in the room was drawn to her captivating stage presence. 

Photos by Lisa Nalven

Even with Perkins’ stellar performance, no production of Heathers is complete without incredible performances from the rest of the cast as well. Bruno Faria (J.D.) played Veronica’s love interest with depth and raw emotion. The chemistry between the two was undeniable, and watching Faria’s character unravel as the show progressed was truly heartbreaking. Faria made J.D. a character the audience liked, which is saying something since he is a psychotic killer. To me, his stand out moment was during “Meant to Be Yours” when he breaks down because he feels he cannot be without Veronica. The honesty in every note he sang really did come across to the audience, and his vocal performance was beautiful throughout the entire show. The Heathers of the show, for lack of a better word, slayed. The moment the three of them strutted on, the audience roared with excitement. Leah Sessa (Heather Chandler) was fierce. Not only were her vocals incredible (with a flawless vibrato, may I add), but she demanded the attention of the audience every time she graced the stage. She made the “mythic b” lovable. Sunny Gay (Heather McNamara) was adorable. She never failed to make the audience smile with her innocent and lost nature. She delivered the part with humor and charm. Cristina Flores (Heather Duke) blew the audience away with her vocals. When she belted out incredible notes during “Blue” (reprise) the audience was cheering her on. And, of course, Justen Fox-Hall (Ram Sweeney) and Domenic Servidio (Kurt Kelley) did not leave a dry eye in the house, not due to sadness, but from laughter. That dynamic duo always had the audience shrieking with laughter at every inappropriate remark and nuanced joke. On top of all that, the rest of the cast can be summarized by one word: powerful. All the vocals, character choices, and detailed relationships/reactions brought color to the show, and really enhanced the production to be one of remarkable strength. 

However, even a great cast would be lost without an amazing crew and director. The lights, sound, and mic mixing was all spot on. Cues were timely, the the show as a whole ran very smoothly. Additionally, some moments that were directed truly gave the show an extra layer that I have never seen before. The buttons after just about every number were breathtaking, for the image and lighting change left the audience in a state of awe. Particular moments of the show were also very nicely done. For one, the fight scene was excellently performed, leaving the audience gasping for air because they had been laughing so hard. Also, the finale had one of the most beautiful moments of the show. While the cast was reunited and singing of how beautiful life can be, seeing J.D. watching over them with a fulfilled and accepting expression sealed the show for me. That was the ending that gave me closure, and when exiting the show, I was disappointed the show was over, but I felt content, and that is a remarkable way to leave a theatre.

If you are in the Fort Lauderdale area, or close enough to drive, I would highly recommend making an effort to see this show. It will not only making you laugh and possibly cry, but it will remind you that “if you were happy every day of your life you wouldn't be human, you'd be a game-show host.” Also you may even pick up some “very” lingo. So motor your way down to the Broward Center Amaturo Theatre because this is a show you do not want to miss. 

Christian Jost

• OnStage D.C./Los Angeles Critic

WASHINGTON DC - There’s nothing I love more than non-traditional Shakespeare and this production was exactly that. Non-traditional. This Production, directed by Ed Sylvanus Iskandar, was set in mid-20th century Europe at its height of fashion.

This production also was a musical of sorts due to the fact the characters would often break out into contemporary musical numbers to advance characterization, including adding some aspects to characters that were not in Shakespeare’s original work.   But we’ll talk about that later. The Taming of the Shrew follows a father, Senor Baptista and his desire to find a husband for his eldest daughter, Katherina, so that he may then find a husband for his daughter Bianca. This seems like a harmless enough task if it weren’t for the fact that Katherina is infamous for being a foul-mouthed shrew who does not have any gentlemen callers. Bianca however, is loved by all and has many men fighting for affection, specifically local noblemen Hortensio and Gremio, and the newly arrived in town Lucentio. Hilarity ensues when various characters decide to go undercover to infiltrate Baptista’s house to seduce Bianca from the inside until a husband can be found for Kate.  Eventually Kate does find a husband in the mischievous Petruchio, leaving Bianca’s hand available for marriage. The rest is the show so I wouldn’t dare spoil it!

 photos by Scott Suchman

This show is traditional to Shakespeare in one sense: All the actors were male. They weren’t males being portrayed in “drag” however, they were just men playing females, and convincingly. So convincingly, I might add, that many people around me were shocked when they realized Bianca was played by a man (the very talented Oliver Thornton). The director’s reasoning behind this casting choice was very honest and sincere. It boiled down to this: The Taming of the Shrew is viewed as very sexist and misogynistic these days, and justifiably so. This director states that is would be “monstrous” to ask a women to perform Kate’s role and her last speech specifically, in today’s world. The all-male cast is a true look at identity in this work, not gender. It is also very interesting that the Public Theatre in NYC is mounting an all-female production of this show and I can only imagine that the reasoning is similar and the effect will be just as powerful. As Iskandar put it “maybe this play can only be produced this way now”. There are five main aspects of the show I would like to focus on that really made this play something spectacular.

Diversity

This show had just about every skin tone you could think of (the way a show should be). Starting with Katherina, played beautifully by 30 Rock’s Maulik Pancholy who is of Indian decent. Although Kate’s sister is white and Kate has a much darker complexion, I never once felt like they weren’t sisters.  I believed it all the way. Their father Baptista, played by Bernard White also had a darker complexion that fit the character and the setting. You also had Tony nominee André De Shields who played several parts throughout the show, including Vincentio who plays Lucentio’s father.  Like before, I 100% believed he was Lucentio’s father even though Vincentio was African-American and Lucentio was of Asian descent. Throw in several people with English accents like Peter Gadiot who played Petrucchio, who reminded me of Kit Harington from Game of Thrones, and you’ve got a brilliantly diverse cast of talented performers who played their roles both well and convincingly.

Costumes

The costumes for this show, helmed by Loren Shaw, were simply fantastic. As I stated earlier, the show was set in 1950’s Italy where fashion and fashion magazines were very popular. The play suggested that Baptista made his fortune by having his own fashion magazine that Bianca modeled for. That being said, the house of Minola had to have elegant costumes and it did indeed. Baptista sported a golden outfit for the majority of the show that showed his social status immediately. Bianca wore mainly pink throughout the show, solidifying her character as “a perfect lady”. All the suitors were also upper class so they all sported top notch clothing, from fur capes, to gold chains, to fine denim, to long formal jackets. Kate also had an amazing wedding gown, not to mention the excellent job the costumers did with Kate and Petruchio’s “peasant” costumes after they leave the wedding which is quite the contrast from the other characters. In a nice homage to classic Shakespeare many characters at one point or another wore costumes that while seemingly modern, also incorporated codpieces. I confess my favorite pieces were the red jackets that Petruchio and eventually Kate show off in the last scene of the show that suggested a phoenix design.

Subtlety

I could write here all day about the acting in this show and how each line was given with elegance and eloquence but I don’t have the time. The true acting glory in this show were the subtle things (looks, gestures, etc.) Now as I’ve said before I can’t give credit to the director or the actors when it comes to subtlety because it could have been blocked that way or it could have been a character choice from the actor. Either way greatness was achieved. Before I talk about the subtle things I must fill you in on some things. This show added two romances that aren’t usually present in the show, without adding any dialogue to the original play.  I’ll talk about how in a bit. They added a one-sided romance from Tranio, Lucentio’s man-servant, towards Lucentio, and they also added a seemingly two-sided romance between Bianca and Biondello, a poor local hired man working with Lucentio. This matters because some of the best acting in this show was on the faces of Tranio (played by Matthew Russel) and Biondello (played by Drew Foster) when Bianca’s marriage to Lucentio was solidified. The looks of just sheer heartbreak and loss was enough to crush anybody’s spirit. André De Shields and Tom Story (playing Hortensio) also had their fair share of great moments, especially when it came to interacting with Kate. Great subtle things also contributed to the solid performance of Petruchio who would do things like pick his toes, shove food in his mouth and so on to make it clear he was a nobleman in name only. A great performance was also given by Gregory Linington as Grumio, who appeared be the most perfected Shakespearean actor on stage. I’ll disclose that my favorite bit of subtle acting was this look on Kate’s face on her wedding day, a look of absolute regret and fear that sticks with audience well after the curtain call has ended. 

Music

As I stated above this could have just as easily been considered a musical as opposed to a play. I like to consider it a happy middle ground. This show used musical number to do so much, the opening number set the theme for the show, they had numbers that expressed characterization, secret desires, and everything in between. Just about all music came from Duncan Sheik, a composer most known for the Tony-nominated, Spring Awakening. You could tell instantly the music came from the creator of Spring Awakening, because most of it had that teenage angst vibe to it as well as great romantic numbers. These were contemporary songs that seemed to flow flawlessly into the words Shakespeare provided us. It made the plot and the characters so much stronger and it was more understandable/enjoyable to the audience. Some of the more impressive musical numbers were “Shine Inside” where the audience learns of Tranio’s secret love for his master, “Mouth on Fire” which is sung by the ensemble as Petruchio tames his shrew, and the closing number “The End of the Outside” which left a bittersweet taste in the audience’s mouth and left us wondering if this really was one of Shakespeare’s comedy’s we had just watched. The strongest Vocalists were Telly Leung (playing Lucentio) and Drew Foster who were just brilliant. Also, with any musical number there is choreography, so kudos to Chase Brock on the good work there.

Audience Interaction

 photos by Scott Suchman

This aspect of the show was like nothing I had ever seen, heard of, or experienced before. It started out when you first got the Theatre and there were merchants as well as actors from the production who talk with you and encouraged pictures. They sang, drank, and laughed throughout the theatre which made you care about these characters before the curtain even went up because you just danced and sang with them in the lobby! They also made a point to block scenes throughout the audience periodically so we felt included. I was in the front row so they interacted with me more than most, and it made me feel very special and invested into this production. The most interesting and creative thing happened at intermission. Right before intermission there was the marriage of Kate. Intermission was the reception of the wedding on stage. So the audience was invited on stage to drink and mingle with the cast for twenty minutes, all the while the cast was still in character and performing musical numbers. They served wedding cake and wine, to over age patrons of course, and there was also some interesting character development happening if you were paying attention that I won’t spoil for you. The cast also greeted the audience in the lobby after the show was over and talked and took pictures and it was such a great time for all.

So in conclusion I recommend this show to anyone and everyone. It is an important look into society not only back then but also how society is moving forward. There isn’t a weak actor in the bunch or a weak vocalist, and you’ll never feel more involved or attached in another production the way this The Taming of the Shrew will makes you feel. This production is on till June 26th and tickets can be bought online (http://www.shakespearetheatre.org/) or you can call 202.547.1122. Please do yourselves a favor and see this show before it’s too late!

Erin Karll

• OnStage Missouri Critic

The success of ‘Hamtilon’ shows us that history is full of amazing stories waiting to be told. ‘Atomic’ is one of them. New Line Theatre’s latest production is powerful. Doing what theatre does best, this show opens a dialog that has importance in todays socitey. I consider myself a history buff, but the writers Danny Ginges (book and lyrics) and Philip Foxman (music and lyrics) taught the story behind the atomic bomb in thought provoking way. When the finale ended and the band hit the last note the audience is left with the questions these scientists ask themselves. Just because we can, does that mean we should? Can we forgive ourselves for our actions, or lack of actions?

The story of the Manhattan Project’s Leo Szilard (Zachary Allen Farmer) is followed during the origins of the project and the aftermath when the bomb was used on Japan. Act one focus on the challenges the scientist faced not knowing who to trust and where to find support. Act two deals with the fallout, both physically and emotional after the bombs are dropped.

The cast was full of stand outs, but also worked together to form hefty harmonies. J Robert Oppenheimer (Jeffery M Wright) got quite a few laughs by just walking in and out of a door. Wright and Farmer showed layers of the characters, showing the audience that these are not just bolded names in text books.

The costumes (Sarah Porter) were impeccable. Fitted suits with hats and army uniforms for the men. The ladies had some quick changes from World War II era skirts to Rosie the Riveter outfits for a wonderful chorus number that brought visions of Edward Snowden nightmares to my mind. The lighting (Rob Lippert) was brilliant. Not wanting to spoil the show I will just say the use of colors during the bombing and while talking about the victims of the fall out added to the storytelling. Also there was a scene where Leo is torn between the two worlds. One controlled by his heart with his love Trude Weiss (Ann Hier) and the other controlled by his brain filled with the scientist of the Manhattan Project. The light choice and staging was so simple, but powerful and I enjoyed it.

‘Atomic’ runs at The Marcelle Theatre in St. Louis until June 25th. For tickets and show information call MetroTix at 314-534-1111 or visit newlinetheatre.com. Also, check out #newlinelive for live tweets from opening night.

Noah Golden

• OnStage Connecticut Critic

Living on the shoreline, I had never seen a production put on by Westport Community Theater nor do I know any of its members, so I was excited to be introduced to them when I arrived at their black box theater housed at the local town hall. I was however familiar with Stephen Schwarz and John-Michael Tebelak’s oft-produced and visionary musical “Godspell,” which has been retelling the Gospel According to St. Matthew through song and skit since 1971. It was a good fit as “Godspell” is the perfect show to get an overall sense of who a theater group is. With its loose structure and open-ended aesthetic, “Godspell” can be a playground for directors and actors to put their unique stamp on. But that amount of freedom can be a mixed bag and, even more than your typical musical, the fate of “Godspell” rests in a few key decisions. 

Right off the bat, director Maggie Pangrazio made two bold choices. The most successful of which is setting the show in a coffee house, the modern version of the Roman forum. Placed into the small and inviting thrust stage, are an open mic platform, a coffee bar, tables and chairs. Eclectic art and tchotchkes line the walls. Inhabiting it are some well-known Millennial archetypes: a college-aged woman performing poetry, a hipster dictating his thoughts on an old typewriter, a conservatively dressed academic, a Latina young woman in a shirt that reads “yes, homo.” Post baptism, they will become a united tribe under the eyes of an unusually youthful Jesus.

Photo: WCT

In Pangrazio’s “Godspell,” Jesus is played by Tyler Campbell, a fresh-faced, casual young man who could easily pass for a high school student. Judas (Bill Warncke), on the other hand, is middle-aged and dressed in a suit and tie. In theory, this idea has a lot of potential. Judas could represent the bankers and businessmen, the old guard, with Jesus being the hip wunderkind who brings about revolution. Judas’ doubting outbursts could be attributed to his old-fashioned worldview, while Jesus’ sudden anger being the tantrum of a brilliant but immature prodigy in way over his head. And yet it never quite translates to the stage as much as it needed to.

Perhaps if Warncke had been more serious and dour from the beginning, his journey from outsider to skeptical tribe member to traitor would have been in sharper focus. Campbell, too, needed to display more charisma and nuance to better capture such a magnetic and complicated character. Both are fine performers and do some collectively good work here, but their skill set as actors and the characters asked of them never quite matched up. This is a shame as the push-and-pull relationship between the two men is what holds the loose threads of the story together. Without Jesus’ firm leadership and mysterious allure, and without a fully developed antagonist to play against, this “Godspell” can sometimes lose its sense of urgency and cohesiveness. 

Much of the energy then is created by the eager and talented ensemble. Given the gift of Schwartz’s stellar score – which pinballs from folk rock to burlesque and back – the apostles really shine when they step forward to claim a solo. Jessica Paige Braun brought an infectious presence, wide vocal range and beautiful, tightly coiled vibrato to “O Bless The Lord My Soul.” Other vocal highlights were courtesy of Juan Ayala, whose assured, sensitive “All Good Gifts” really soared, and “Turn Back O Man’s” spirited Betzabeth Castro, who would make a killer Nina if Westport Community Theater ever mounts “In The Heights.” It was Katherine Logan, though, that my eyes kept gravitating towards whether she was leading the standout “By My Side” in a pristine soprano or adding a needed dose of authentic vulnerability or joy in the parable sketches.  Her light shone very bright. They were joined by multitalented apostles Rob Pawlikowski, Rosalind Cormier, Dena Lagonigro, Emily Beers and Caitlin Brown.

“Godspell” may just be the quintessential community theater show. There’s the excellent score, ability to refresh, reinvent and modernize without hurting the piece’s integrity and the somewhat slapdash, informal style that’s involved in even the most prestigious productions. While Pangrazio didn’t deviate too much from the archetypical “Godspell” once we get into parable story time, she thankfully stayed away from the hippy clown theme that so often dogs the show. She also does a nice job of constantly reinventing the static set into new stage pictures and playing with a few new modern pop culture and musical theater references.

But even more than that, both “Godspell” and the groups producing it follow the same basic journey. Here we have a diverse group of people from all walks of life, ethnicity and age coming together to create something bigger than themselves. They bring their individual talents to the table to learn and grow together under the tutelage of a teacher who sees the bigger picture and then walks away when the group is strong enough to continue the work on their own.

It is a real pleasure to watch a group such as this build, as one song puts it, a beautiful city together so visibly on stage. Between its strikingly diverse cast and friendly atmosphere that pervaded the theater, it’s clear Westport Community Theater does well in honoring the community part of its name and has built quite a few beautiful cities over its astonishing 60 year run. While this particular one may not be perfect, it was certainly an entertaining and worthwhile place to visit.

“Godspell” runs through June 28 at the Westport Town Hall. 

Michael L. Quintos

• OnStage Los Angeles Critic

LA MIRADA CA - I have no qualms in admitting that I am a huge Disney nerd. My love of the studio's offerings began as a toddler crying my eyes out when my mother introduced me to the animated film The Rescuers. I also found out from my parents that my very name was inspired by the precocious character they saw in the Disney-produced movie version of Mary Poppins. Even my move to California and its close proximity to the Happiest Place on Earth™ was a huge factor in my eventual choice for a college.

So it's no surprise then that The Little Mermaid—the hit 1989 animated movie musical that helped usher in Disney's late-20th Century movie musical renaissance—still holds a special place in my heart, like it does for many others like myself who grew up with it... knowing every lyric of the movie's many memorable songs and enchanted by the movie's ideal of following your dreams to fruition. 

By weirdly-timed happenstance, two separate stage presentations of Disney's "THE LITTLE MERMAID" landed in my inbox for reviewing for the same weekend. The first is the celebrity-packed live concert version at the Hollywood Bowl that had the likes of Sara Bareilles, Darren Criss, Rebel Wilson, Tituss Burgess, and John Stamos singing alongside a 71-piece symphony orchestra while the original movie—directed by John Musker and Ron Clements—played overhead in gigantic HD screens. 

The second, which opened the following evening, is a fully-staged new production of the film's Broadway stage adaptation, produced locally by McCoy Rigby Entertainment with new staging and direction by Glenn Casale. The production is currently performing at McCoy Rigby's home theater at the La Mirada Theatre for the Performing Arts in the city of La Mirada through June 26. 

A gorgeously-mesmerizing visual treat, this family-friendly La Mirada production—which also toured at other regional theaters in the US—is a lovely new heavily-reimagined hybrid of the original Disney film (which featured music by Alan Menken and lyrics by the late Howard Ashman) that we all cherish, and the 2008 Broadway adaptation (with new additional lyrics by Glenn Slater and book by Doug Wright) that had its heart in the right place.

Just as the original Disney movie treatment was a reinvention of Hans Christian Andersen's famous fairy tale, so too was its short-lived Broadway incarnation—in which it tried to make itself directly reminiscent of the animated masterpiece while at the same time differentiate itself enough to be its own stand-alone entity. Besides the addition of new songs by Menken and Slater, Wright introduced new backstories and story details to expand the original shorter movie into a two-hours-plus stage musical.

That same need for re-invention is definitely apparent in Casale's newer, much improved version, in which he cuts song and scene lengths here and there and tightening up others, while increasing the story's relatable aspects without sacrificing the Disney-esque qualities that so many of the film's fans have loved about it in the first place. On the whole, many of the changes enacted by Casale generally made this iteration an admirable one. 

The resulting high-quality show—magically charming in just about all the right places—will dazzle kids and bring smiles to many adults. Don't be fooled by its local venue leanings... this reboot is as eye-popping as you'd see in a big tour or in a Broadway theatre.

Here, many characters feel slightly altered enough to feel like fresh new versions of the ones we all know so well. 

The musical still centers around young, spunky, human-artifact-collecting mermaid Ariel (the lovely Alison Woods), the youngest daughter of King Triton (Fred Inkley), the ruler of the watery depths. Though touted as the kingdom's most talented singer, Ariel still feels like a, well, a fish out of water, feeling unsure of herself and thinking she's destined for something beyond what's beneath the ocean surface. 

Enter handsome Prince Eric (Eric Kunze) himself a King-to-be who, well, doesn't really wish to be. Instead, he'd rather set sail for high adventure in the open seas, much to the impatience of his trusted caretaker/confidant Grimsby (Time Winters). So, uh, yeah he and Ariel are pretty much meant to be.

Alas, this doesn't sit too well with Ariel's best bud, surfer-accented Flounder (Adam Garst) who—in a twist from the previous Disney-fied story—has a totes adorkable secret crush on her (Flounder has been aged up a bit to be a "teen" just like Ariel to, you know, lessen the ick factor).

As expected, Ariel's "troubles" put a strain on her already rocky relationship with her Dad, who is understandably over-protective and super-strict, as most single fathers would be in a similar situation. He hates his daughter's inexplicable fascination with humans, a species he absolutely despises and whom he blames for all the ailments and problems in the world today (hmmm... sounds eerily familiar). He even alludes to the possibility that humans are to blame for Ariel's mom's mysterious demise. 

Their conflict is, of course, an advantageous way in for Ursula (the incredible Tracy Lore), the Sea Witch who all this time has been plotting revenge against her...surprise!... brother, Triton. In another new story detail that deviates from the movie, Ursula and Triton are actually the offspring of Poseidon (say what?!). 

An even darker detail introduced in this new version is that evil little Ursula, we later learn, is a murderous creature who slaughtered her and Triton's other siblings to take the reign for herself. Triton later overthrows her, becomes King himself and banishes his sis out of the kingdom... which explains her thirst for revenge and her need to restore herself as ruler of all. All she has to do, apparently, is restore power to her shell trinket which she can achieve by stealing Ariel's voice. Got all that? 

Wowza, that's a lot of backstory... one of the few things this stage version (and, frankly, even the Broadway one) didn't really need. 

Soon, angered by Triton's destruction of her secret collection of human trinkets, Ariel defies her father once again to explore her fascination with all things human... so he agrees to Ursula's deal to be turned into a human for three days. Oh, yay, Ariel gets her human legs and gets to know Eric up on the surface!

One problem: because Ariel had to give Ursula her awesome voice as the price for the deal, she now can't speak or sing. That's not good, considering Eric is currently searching for the mystery woman that saved his life. Days before, during a freak storm out at sea, Eric is thrown overboard and almost drowns. He wakes up on the beach to the sounds of a gorgeous female voice that has since enraptured his every waking moment. Yes, just like in the movie, Ariel was his rescuer.

To make matter worse: mute Ariel's got three days to get Eric to give her a true love's smooch to remain a human forever or else her soul will belong to the sea witch. Thus begins her quest to get Eric to fall for her even without her voice, helped along by Flounder, an eccentric know-nothing seagull named Scuttle (Jaime Torcellini), and Triton's court composer Sebastian the crab (the terrific Melvin Abston), whom Triton has personally requested to look after Ariel.

Despite its unnecessarily over-padded backstory, this Casale-revised stage version does take many detours (some big, some minor) away from both the original movie and the Broadway production. New in this iteration is the song "Daddy's Little Angel" a new song meant to replace "I Want The Good Times Back." The song "Human Stuff" is also removed in favor of just dialog that slowed things down a bit during surface scenes. 

But perhaps this revised show's most notable, most welcome aspect is the way characters maneuver themselves in the show. During many instances where characters are swimming "Under the Sea," they are often actually flying on high-wires above the stage allowing them to mimic the swimming-through-water movements of mermaids and fish from the animated film. It's an astonishing illusion to take in, all choreographed by Paul Rubin—and it sells the idea brilliantly. When not hoisted up on harnesses, though, fishy characters merely gyrate their bodies to illustrate their existence in still waters. It's slightly distracting at first, but you get used to it as the show progresses.

Surrounding them all are the underwater (and above water) scenic designs that combine sets and props with projections by Kenneth Foy that are absolutely beautiful, swathed in Charlie Morrison's contextual lighting design, and colorful costumes by Amy Clark and Mark Koss—that are more abstract than, well, fishy. Part of me still hoped to see actual "mermaid" fins at the tail end of their costumes to complete the look that so many of us have ingrained in our brains, but this somewhat implied representation still conveys the idea, I suppose, thanks to the actors' portrayals, which are additionally helped tremendously via Leah J. Loukas' hair, make-up, and wig work. 

Sound-wise, the music and score sound incredible under the baton of musical director Colin R. Freeman and the 15-member orchestra assembled at La Mirada. Many of the movie's signature numbers such as "Under The Sea," "Poor Unfortunate Souls," and, yes, the hilariously over-the-top "Les Poissons" sung by Chef Louis (portrayed by marvelous scene-stealer Jeff Skowron, who really at this point should just be automatically inserted into every So Cal production) are revisited here as dazzling showstoppers thanks to the cast and choreographer John MacInnis. 

Woods nails the ubiquitous "Part of Your World" so beautifully that it will surely have children in the audience spellbound. Abston's work in "Under the Sea" (plus his many droll one liners) is musical theater heaven. "Kiss the Girl," however, is slightly less exciting here, as if it needed the ensemble to be more participatory in the romantic scene to give it some extra oomph to match its place in the film. 

Of the newer, written-for-the-stage show songs, the best is the quartet of "If Only" which features Triton, Ariel, Eric and Sebastian harmonizing with great intensity and emotion; as well as the rousing and endearing "She's In Love," a doo-wop charmer that's great fun from start to finish. Here, Garst (with surfer/skater moves and a wicked mohawk atop his head) shows Flounder's newly revised "older" character arc quite well... an arc I wish was explored even more throughout the musical. Lore, always amazing in these showy divalicious roles, makes an exceptionally wicked Ursula, flanked by the slithery Flotsam (Scott T. Leiendecker) and Jetsam (Jeffrey Christopher Todd).

Overall—and perhaps most important of all—Casale's reboot feels like you're experiencing exactly what you'd expect with a Disney version of the fairy tale. Yes, believe it or not, this production looks and sounds more Disney than if Disney Theatricals itself did it. 

That's a pretty great feat on its own... and a pretty great reason to check out La Mirada's winning production.

Follow this reviewer on Twitter: @cre8iveMLQ

Photos from the La Mirada Theatre for the Performing Arts' production of Disney's THE LITTLE MERMAID by Bruce Bennett courtesy of Theatre Under the Stars.

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The McCoy Rigby Entertainment / Mt. Beacon Productions presentation of Disney's THE LITTLE MERMAID continues at The La Mirada Theatre for the Performing Arts through Sunday, June 26, 2016. The theater is located at 14900 La Mirada Boulevard in the city of La Mirada. Parking is Free. For tickets, visit www.LaMiradaTheatre.com or call (562) 944-9801 or (714) 994-6310.

Asya Danilova

• OnStage New York Critic

Monday nights in the city are a strange kind of animal. Some part of you resists the thought that the weekend is over and wants to party on. Another part wants to just sit back and do nothing. Well, luckily there is just the right place where both needs can be satisfied and that is On The Spot, the show where talented singers meet on stage with brilliant improvisation actors. Producer Nathan Armstrong picks the hottest young talent in town while the co-author of the show and it’s director, Patrick Reidy, keeps his improv group of 4 to 7 “on their toes”.  “We’d like to think of it as we are creating a family”- says Nathan. I truly felt like a part of the family and even got to chat with some of its members.  

***
As I walk into the Broadway Comedy Club on Monday night, the first people I see are the singers stumbling nervously from foot to foot in anticipation of their New York debut. Tonight On The Spot features eight graduates from The Citrus Singers, a 3-year music and performance program in Citrus Collage, California. Carlene O’Neill, Delia Trear, Edward Little, Julia Iacopetti, Kelly Grandmaison, Kylie Molnar, Steven Federoff, and Taylor Barbata; their brief visit to New York is packed with sightseeing and going to the theater but they are used to intense schedules as the group tours a lot domestically and internationally. 

Patrick Reidy and Nathan Armstrong anounce the house rules to the singers. Photo: Asys Danilova

“In the last three years I have gone to Germany, Check Republic, and China. And in four days I am going to Philippines and China again to perform with the Citrus Singers and to do a Broadway review!” – Kylie Molnar shares with me excitedly while we are waiting for the house to open. The energy of a bright eyed, perky musical theater lover is doubled by the thrill of just being in New York. I can only imagine how it feels for the singer to see a Broadway musical on stage for the first time. Well, actually I don’t need to imagine as Kylie is radiating the contagious joy after seeing Something Rotten, Matilda and Fun Home. She is going to see She Loves Me the next day, she said: “I love Laura Benanti so much, I’m gonna die”! 

This great energy and love for the musical theater supported by Kylie’s talent made her performance that night electrifying. To be honest, all eight singers were really good. Each of them prepared the song without any idea of what’s going to happen. The director of On The Spot and one of the improv actors, Patrick Reidy fills me in: “Tonight there are eight singers, usually we have four that do two songs each.  And they pick their songs and the actors can’t know what they are. We will just sit there and listen for the lyrics and emotion and something from it will inspire one of the four of us for a scene. And hopefully that scene is funny”. 

Tonight Patrick directs three other actors besides himself: Meg Reilly, Chris Catalano and Andrew Del Vecchio. To stay in tune with each other, the actors meet for a couple of hours a week and practice; this is what the “rehearsal” process for improv is like. When asked to define the role of director in an improve, Patrick says the following: “There is no script. But you are still using the same set of skills: the characters, the plot and the story, so I think you need to have a little bit of a director brain to be an improviser. So the other improvisers definitely have a lot of say in what happens in the story and I am there to help control it as well. If anything needs a firm director’s grasp on it I can literary jump into the show and steer it in the direction that I think will work best for everybody and will bring up all the characters and show them in the best possible light”. 

With ten years of experience as an improv actor and the support of his stage-mates, Patrick can turn even the saddest song upside down and make you laugh hysterically a moment after you were nearly sobbing at a touching piece of a musical theater. “Some of the songs that they bring in are so sad and we are sitting there thinking: how can we make anything funny about it, - the improviser says, - But in reality no matter how dark and depressive our lives get sometimes, there is always a sense of humor in there that keeps us going so that’s kind of what we go for. The drama is necessary to have a big laugh, to take a step back and enjoy the fact that you are still here”. 

***
Before the show I briefly meet Nathan Armstrong, the producer and co-creator of On The Spot. He nervously adjusts his cufflinks while giving the last instructions before the public will flood the cozy cabaret. As he told me later, “99% of being the producer is just to put out one fire after another, dealing with all kinds of crazy situations, trying to be the calm one in the room as everything else is crumbling around you. But for that one percent when things are right and it’s your show up there, and that’s what you have envisioned, that one percent is one of the greatest feelings”. 

Nathan also admitted that he was particularly nervous that night because his show was hosting students from his Alma Mater; he himself was a member of the Citrus Singers. In the honor of them he sang the opening number and, oh my, did he transform! All of a sudden a business looking guy lights up with the fire coming from within and fills the room with his gorgeous voice. The applause hadn’t even stopped yet as Patrick, Meg, Chris and Andrew took the space to improvise a story about two Jersey Boys coming to study in Hogwarts. The audience met these characters again in a couple of other sketches. The evening also gave birth to such individuals as a gay cave man, a dog who had thumbs, a girl who makes the world fade away when she yodels and many more. 

Andrew Whitbeck, playing the piano, was rocking it. Andy Scannell, technical director, was working the lights, which, besides creating an atmosphere, is an important narrative tool as Andy is the one who “cuts” the scene namely by doing blackouts. Even the bartender was almost dancing between the tightly packed tables without being destructive. I was amazed by how well harmonized, not only the performers, but also the backstage people are. 

***
I was looking forward to Kylie’s performance, as during the short interaction with her before the show I already became a fan. As she sang “Cute boys with short haircuts” from Vanities, I truly felt for the heroine even tough I have no idea what the musical is about. For a few minutes I got carried away to the world of girl’s heartaches and witnessed an entire story in miniature. I had a chance to experience something that Kylie said to me earlier: “I don’t think it really matters where you get to perform as long as you get to perform. It can be on a Broadway stage or it can be in a coffee shop. You are performing for people who care and if they are there to watch, they are there to watch. What kind of a performer are you if you don’t make them feel something no matter where you are”.  

Improvisers, as per usual, turned the story upside down. That was one of my favourite moments in the show when the strongest emotional tension was immediately followed by the biggest laugh. “Cute boys with short haircuts”, which felt like a page in a young girl’s diary was turned into a scene of an audition for the part of a “boy with a short haircut” for Law and Order. And this is the beauty of On The Spot, the mixture of emotionally charged musical theater and down-to-earth timely humor. ¬¬¬

The melting of these two elements creates a completely new narrative. When I asked Nathan if the song of the musical theater loses its sense when put out of context, he answered the following: “Some numbers are very contextual so in order really to understand it you have to understand what’s going on before and after that. But what I think we are trying to do is to create that before and after outside of what it was originally intended. What we are really doing is creating a new story for these songs to be a part of”. 

On The Spot is a great show to see on a Monday night for both musical theater and improv comedy enthusiasts. Even if you don’t think of yourself as either, like myself, come share a laugh, maybe a couple of tears and a drink with your New York theater family. 

On The Spot is happening every Monday at 8pm (doors open at 7:30pm) in Broadway Comedy Club - 318 West 53rd Street, New York. For more information and tickets visit http://www.onthespotnyc.com/home.html

Erin Fossa

• OnStage North Carolina Critic

Nestled in the quaint little historic district of downtown Fayetteville, North Carolina are several theaters doing extraordinary work. For a town that seems to get a bum rap elsewhere in the country, there is much to see and do and this lovely area of Fayetteville. I’ll admit, I had my reservations about moving here. No one seemed to have a good thing to say about the city. However, since moving here in December I have fallen in love with it and discovered a thriving arts community that I am blessed to already have become a part of. 

This past weekend, I went to see The Vagina Monologues, directed by Mr. Brian Adam Kline at the The Gilbert Theater. I’ll be working at the Gilbert this coming fall in their production of Steel Magnolias. So I wanted to see this show for my own entertainment, but also I must admit, to snoop on the quality of the production. I asked my girl friend to go along with me, since this didn’t seem like the kind of show my husband would enjoy. I was right. He actually thanked me for taking her instead of him when he heard what the subject matter was. 

The Set

The stage and the set were very conducive to the show. The stage was set up very simply with the women sitting in an open circle, each on a different type of seat - one sat on the ground, one sat at a desk, one even sat on a toilet. Some seats seemed to have particular meaning to the woman who inhabited it, but others seemed to simply be whatever chair was available. The “narrator”, I will call her, had no seat however. She sashayed around the stage throughout the play, which I thought was a great choice directorially (more on that in a moment). 

The upstage wall was a bit of a strange choice, in my opinion. In the center, framing the exit to backstage was red tule pulled back like curtains, coincidentally creating a… ahem… suggestive shape. Very appropriate and clever. To the left of the opening was a large stamp of the show’s trademark image - lipstick lips turned sideways, again very suggestive of female genitalia. 
To the right of the opening, a projector projected slides periodically during the show. It wasn’t used all the time, only when questions were being asked by the narrator or when certain facts were being read by the particularly studious character who I assumed was meant to portray a schoolgirl-like innocence. The use of the projector was interesting. I’m not sure what the director wanted to accomplish by using it, but I thought it could have just as easily been done without. While it did help organize the conversations, I often forgot it was there and failed to pay attention to it even when it was used. 

These three focal points were very random, but they were not distracting. The women were captivating enough to draw our attention to their words, rather than anything else on the stage. There were a few props, but mostly the set reflected the subject matter - dark, dirty, and very raw, which I loved. I can’t imagine doing this show any other way. 

Directorially 

I don’t know Brian Adam Kline yet, but I hope to in the future. I felt he did a excellent job directing this show. You could tell how much work went into directing each of these monologues as though they were tiny plays within the play. And yet somehow, he managed to tie them all together as one at the same time. His choice to have all the women out onstage throughout the show and to have them interact with each other throughout each monologue was a great one. It showed that each woman did not stand alone in her story, which was a major theme of the play. At the end, he brought each woman downstage into a straight line as they said their final words. Seeing them all side by side, representative of the female population as a whole, wrapped up all 11+ monologues and figuratively tied them with a rough, imperfect bow. It was an extraordinary moment of power and strength, which is exactly what the script called for. 

My favorite directorial choice, though, was one that I accidentally saw coming when I wasn’t supposed to. Seated in the audience was a man dressed as a woman portraying the transgender character that would close out Act One with a brilliant performance. Mr. Kline chose to seat him in the audience so that when his monologue began, all heads turned towards him shocked by his presence. (Isn’t that symbolic of the transgender population in our society?) Because it was a small audience, I had actually had seen him earlier sitting with his head down and arms folded across the aisle from me. I thought it was an older lady sleeping, and I thought, Why would you come here just to sleep? So in a way, I was surprised with everyone else when this “sleeping woman” turned out to be a transgender character in the show. Definitely not something I was expecting! 

I loved the use of the narrator character who introduced some monologues and had several of her own. She was a dynamite actress who was so fun to watch onstage. Mr. Kline used that to his advantage, allowing her to float around the stage and interact with everyone as though she was the mother hen looking over her babies. Her fluidity and grace were amplified by the blocking which seemed very organic, giving her freedom to move about and then settle in one place while another character performed. And while she was lovely, she still embodied that raw, vulgar, brashness that the script contained. With her dancer-like grace and her obscene language and hand movements, she was Princess Grace meets Rosanne Barr. But then again ladies, aren’t we all? 

The Actors

Here is where I hesitate to get too critical, particularly because I don’t know the Gilbert Theater’s situation. I know they hold open auditions for most shows, but I don’t know the pool of actors they get at each audition or how big the community of actors is in Fayetteville. However, I will say this: the cast, for me, was split pretty evenly down the middle - 50/50 extraordinary and just okay. 

Among the extraordinary were the gentleman I mentioned playing the transgender character, Matt Lamb, Liz Covington who delivered a comedic monologue that had me doubled over with laughter, and an actress whose name (I believe) is Deanna Robinson who delivered the gut-wrenching monologue as an abused young woman from Africa. I was blown away by their performances and I hope to be given the privilege of acting with them someday. 

In defense of the “just okay” actors, the cast had an uphill battle with this particular performance. First of all, it was a Saturday afternoon matinee. This is very much a Friday night kind of show. So the tiny, Saturday afternoon crowd took quite a bit to get into the spirit. Our reactions were small and stifled, and our energy was low I’ll admit. But the cast as a whole gave it their all! They didn’t hold back when throwing words like “vagina” (and all its slangs) in our faces. Their energy was thankfully much greater than ours - and that was true of all 11 actors. 

Also in their defense, I was under the impression that this entire show was a comedy with maybe a serious monologue or two at the end. However, this show deals with some harsh subject matter and dark topics. Going into it, I was ready to laugh. I was taken aback by the heaviness these young girls were thrusting upon me. While they were doing pretty good work, I was waiting to laugh, which is my fault for going in with expectations. Had I gone in with a more open mind, perhaps I would have found some of the performances more compelling rather than confusing. 

Overall, the production was great work by some very talented people. Their performances stuck with me long after the show ended, which is of particular importance with a show like this. It is meant to leave a lasting impact and hopefully influence the way we feel about women, lesbians, transgenders, feminists, and the people who love them. I am thoroughly impressed by the Gilbert Theater and proud to be a part of their team!