Nancy Sasso Janis

• OnStage Connecticut Critic
• @nancysjanis417

Sharon, CT - The summer season at Sharon Playhouse opened last night with Karen Ziemba in the iconic title role of ‘Gypsy.’ The playhouse reimagined both this musical and the upcoming ‘Big River: The Adventures of Huckleberry Finn’ for their stage this season because they represent two of the best stories Broadway has ever told. The crowd at the opening night of ‘Gypsy’ was on its feet for the curtain call and many remained for the post-show cabaret outside the theater. 

Kyra Kennedy, Karen Ziemba Photo: Randy O'Rourke

‘Gypsy’ is a big show with an almost three hour book by Arthur Laurents and wonderful music by Jule Styne and lyrics by Stephen Sondheim. The story was inspired by the memoirs of Gypsy Rose Lee. Ms. Ziemba takes on the challenging role of the ultimate stage mother and was perfect in every way. Her pushiness is unrelenting but the fierce love she has for her daughters also comes through in this gifted actress’ performance. “Rose’s Turn” was a highlight for me.

Rufus Collins, who played Henry Higgins himself in last summer’s ‘My Fair Lady’ in Sharon, was endearing as Rose’s long time betrothed, Herbie. Kyra Kennedy made her Sharon Playhouse debut in the role of Louise; she managed to have a glow about her even when she was in the background for most of the first act. 

Many of the members of the Collegiate Company are pursuing their higher education at Penn State University. Senior Alex Dorf danced very well as Tulsa and junior Julia Hemp was Louise’s more talented sister June. Junior Joseph Allen played Angie and Penn transfer student Nick Case played the role of L.A. Junior Johnathan Teeling played a newsboy and served as dance captain. All these young men were fine singers and dancers. 

Dave Cadwell appeared in his twelfth Sharon production as Cigar and John Champion (Joe Boyd the elder in ‘Damn Yankees’ and a Board member of the playhouse) played Mr. Weber/Mr. Goldstone quite well. UCONN grad Mac Cherny played Yonkers and David Fanning was both Uncle Jocko and Mr. Kringelein. Tom Schindler played Rose’s Pop. 

NYU’s Tisch School of the Arts junior Sarah Anne Fuller Hogewood made her Sharon debut as Lily, while NYU sophomore Jacqueline Minogue played Marjorie May. Lily Autumn Page of Marymount Manhattan College played Geraldine while Libby Rosenfield of Penn State was Agnes. 

The strippers were played by Sarah Cline as Tessie Tura, Carly Sakolove as Mazeppa and Emily Soell as Electra in her light up costume. Board member Ms. Soell also was cute as secretary Miss Cratchitt. 

Karen Ziemba, Rufus Collins Photo: Randy O'Rourke

The youth ensemble included Serafina Fauci as Baby June, Evan Fine as Clarinet Boy, Joseph Lamberti as Tapping Boy, Jane Langan as Balloon Girl, Shane Ravi Lischin as Ventriloquist and Olivia Santiago as Baby Louise. All did well in their brief roles at the beginning of the first act and then got to go home. 

‘Gypsy’ was directed and choreographed by Richard Stafford, the director of last season’s ‘My Fair Lady.’ John Simpkins, the head of musical theatre at Penn State University, is the Artistic Director of Sharon Playhouse. Costumes designed by resident costumer Michelle Eden Humphrey, designing her fourth season in Sharon, were plentiful and quite beautiful; the gowns worn by Louise when she has become Gypsy Rose Lee were pretty spectacular. The wide range of locations demanded lots of changes and the cast members managed them well. The projection at the top of the stage worked intermittently at best and attempts to fix the problem were mostly distracting. The rest of the lighting designed by Jack Mehler was fine, especially  during the overture. The orchestra under the direction of  music director Joshua Zecher-Ross did a great job with the fabulous score.

‘Gypsy’ continues at Sharon Playhouse (GPS systems may still list it under TriArts Sharon Playhouse) through July 3. It is over an hour to commute to Sharon from the Waterbury area but I will be back again to see most of the upcoming season that also includes ‘Judge Jackie’ with the amazing Klea Blackhurst, ‘Quartet’ with Elizabeth Franz and ‘I Love You, You’re Perfect, Now Change.’

Angelica Potter 

• OnStage New England Critic

Meredith, NH - Opening Winnipesaukee Playhouse’s Summer Season is Peter and the Starcatcher, a play by Rick Elice, with music by Wayne Barker and based on the novel by Dave Barry and Ridley Pearson. It tells the story of a young starcatcher, Molly, her father, Lord Aster, their mission and the friends and enemies they make along the way. One of these friends is an orphaned boy who just wants “to be a boy for a while”; and who comes to be known as Peter Pan. 

Superbly directed by Neil Pankhurst, this imaginative and heartwarming production features both Playhouse veterans and first-timers. In the few musical numbers, (led by musical director and keyboardist Judy Hayward, with choreography by Lisa Travis), the cast excitedly sang and danced about the stage to the great amusement of the audience. One such highlight was the fantastically funny mermaid number at the top of act two. 

Photo Credit: Cast of Peter and the Starcatcher courtesy The Winnipesaukee Playhouse

As if a nod to Monty Python, the cast creatively performed as set pieces, such as walls and doors of the ship as well as generated their own sound and lighting effects.  The simplicity of the set (designed by David Towlun) provided the perfect backdrop for showcasing the strength of the cast’s physical comedy skills. The cast was fully committed to their characters and together they brought life and magic to the play.

Playing Molly is the only female in the cast: Katrina Michaels. Full of energetic spunk she dominated the stage. Pirate Black Stashe was played by Playhouse favorite, Nicolas Wilder, with impeccable comedic timing. The lost boys: Ted, adorably played by John-Michael Breen, Prentiss, well played by Kristian Sorensen and Will Champion, engaging as Boy, who, through the course of the play, discovers his capabilities, learns the meaning of family and becomes Peter Pan.  Each cast member provided memorable, playful moments and not a weak link was found among them. Rounding out the cast was Charles Baran, Versee Damien, Kevin Killavey, Mike Newman, Ty Pearsons, William Vaughn, and Mark Stephen Woods as Lord Aster.  

A well-deserved, rousing, standing ovation ended the evening after a quick two hours and a 15 minute intermission.  The Playhouse has added a symposium presentation on June 21st and a “Talk-Back Wednesday” on June 22nd for added enjoyment.

Peter and the Starcatcher is playing at the Winnipesaukee Playhouse until July 2nd and is a fun family friendly production. For additional information and tickets visit winnipesaukeeplayhouse.org

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

Nancy Sasso Janis

• OnStage Connecticut Critic

“Tengo famiglia.”

‘Over the River and Through the Woods’ is a very funny family comedy written by Joe DiPietro. The Warner Stage Company presented a wonderful production for two weekends under the direction of Lynn Paulella Beard in their stage two, the intimate Nancy Marine Studio Theatre. 

The title of the piece is from the song of the same name which begins “Over the river and through the woods to Grandmother’s house we go. The horse knows the way to carry the sleigh through the white and drifted snow.” The theme of the love of family runs throughout this warm-hearted comedy. The play takes place in Hoboken, NJ and follows the lives of an Italian-American family. Marketing executive Nick Cristano visits his four grandparents every Sunday for a traditional Italian dinner that are governed by the three “F’s” - family, faith and food.  

When Nick is offered a promotion that requires a move to Seattle, the two sets of grandparents come up with a plan to keep their last remaining relative in New Jersey. As he wrestles with his decision to stay or go, he faces the tough question of “How much do you owe the people who care for you? How much is enough?” He ultimately learns not only how much he is loved by his grandparents, but also how much they mean to him and he also recognizes the difference between each generation’s concept of family and home.

As the audience met the two sets of grandparents in the first act, the laughs came as fast at the courses of the meals. The second act was a bit more dramatic, but was seasoned with a relieving laugh in the right places. I was fascinated with the relationships of the two couples who have been together so long; the performances of the four veteran actors portraying the grandparents were so strong that we felt like they were related to us.

The references to Italian heritage made it even funnier for me, but this family could easily be of any nationality. Some of the pop culture references to an unused VCR or a game of Trivial Pursuit might have been missed by the youngest members of the audience, but most of us couldn’t help but laugh at the memory of them.

Photos by Mandi Martini. ©2016 The Warner Theatre

Christopher Franci (Johnny in ‘Green Day’s American Idiot’) as Nick/Nicholas/Nicky got the first monologue; great comic timing and hysterical reaction shots served him well in the first act and his strong acting made the second act even better. The other young adult in the cast was Chanel Erasmus, who is originally from Cape Town South Africa, as one grandmother’s beautiful secret weapon. 

Len Fredericks was the very Italian Frank Gianelli in his Warner Stage debut. He gave such a strong performance that he made me miss my grandpa Nick dearly. His wife Aida was played to perfection by Kathi Walker in her community theatre debut. She was a natural in every way. 

The paternal nonni were played by the always endearing Scott Stanchfield (Andy Gorski in Goshen Player’s ‘Greetings’) as Nunzio Cristano and Lea Dmytryck as his wife Emma. It was so much fun to watch these two interact as a long-time married couple who may complain about each other but are still very much in love. Emma firmly believes that a Mass card is the answer to just about anything. 

The set of the home built by one of Nick’s grandfathers that was designed by Steve Houk was decorated to accurate perfection, complete with a working front door, crocheted afghan, a garden statue of the Virgin Mary and a seemingly working kitchen. The actors got to enjoy plenty of edible props brought out on trays by the resident nonna. Renee C. Purdy chose the accurate costumes for the six actors and everything was lovingly lit by Matthew R. Delong. 

David Roberts

• OnStage Chief New York Theatre Critic

Marie-Belle (played with a coy bravado by Francesca Choy-Kee) is the last wife of the recently deceased one-hundred-year-old man who – though unnamed – could easily be the protagonist of Israel Horovitz’s new play “Out of the Mouths of Babes” currently playing at the Cherry Lane Theatre. After his death, Marie-Belle invites two of her husband’s former wives-lovers to the Paris apartment where they all spent years with the man who taught at the Sorbonne and who collected lovers and wives like art to excess. Joining Evelyn (played with a stoic vulnerability by Estelle Parsons) and Evvie (played with jilted indifference by Judith Ivey) is former wife Janice (played with clever innocence by Angelina Fiordellisi) who, though not invited, learns of her former husband’s death in the obituaries. It is out of the mouths of these innocents that the audience learns who they are, why they are there, what they thought of the deceased, and how their American views on love and marriage differ from those of their French host Marie-Belle.

Israel Horovitz’s new play is the perfect platform for these four actors. Think Susan Harris’s television sit-com “The Golden Girls” on steroids. Mr. Horovitz is a prolific writer with many successful projects to his credit. This new play allows acting to trump writing with or without intention on the part of the playwright. It is enough to say that with a different cast – and this one is stellar – the piece might not make it past the first act.

Evelyn, Evvie, and Janice banter, bicker, brag, bargain, and often betray their true feelings of abandonment and their mistrust of the newest young French wife who seems to be able to transcend all of their sexual conquests and hang-ups with her stories of openness in relationships and sexual freedom. The exchanges are often quite funny but because the object of their affection was seemingly such a scoundrel, it all falls rather flat. If he was as feckless as their stories reveal, a dip in the canal below the apartment would be a refreshing escape throughout the decades of his decadence. 

Judith Ivey and Estelle Parsons. Photo by Carol Rosegg

Estelle Parsons, Judith Ivey, and Angelina Fiordellisi turn the “everyone comes clean” scene late into the second act into an irreverent group confessional with each, in turn, presiding as the recalcitrant priest offering fragments of forgiveness. Francesca Choy-Kee transforms Mr. Horovitz’s magical realism into delightful comedic fare.

Under Barnet Kellman’s sit-com direction – and there’s nothing wrong with a good sit-com – the stellar cast keeps everything moving throughout although when Mr. Horovitz’s script begins to wobble to far too the magical, the acting has a more difficult time rising to the surface. Neil Patel’s set is portrait-perfect and arguably among the best use of the performance space at the Cherry Lane Theatre main stage. Joseph G. Aulisi’s costumes are splendid and wear well dry, wet, or slightly damaged from a fall into an open grave (guess who?).  Paul Miller’s lighting design works well with Leon Rothenber’s sound design to complement the setting for this new play. Watch for the delicious subtle lighting changes throughout the evening.

“Out of the Mouths of Babes” gives the audience the rare opportunity to see the highest caliber of acting all in one sumptuously decorated package. How could this not be worth the visit?

OUT OF THE MOUTHS OF BABES

The creative team for “Out of the Mouths of Babes includes scenic design by Neil Patel, costume design by Joseph G. Aulisi, lighting design by Paul Miller, and sound design by Leon Rothenberg. Production photos by

For performance and ticket information go to www.cherrylanetheatre.org or call OvationTix at 866-8111-4111 or in person at the Cherry Lane box office at 38 Commerce Street in Manhattan’s West Village. Running time is 2 hours and 5 minutes including a 15-minute intermission.

WITH: Francesca Choy-Kee, Angelina Fiordellisi, Judith Ivey, and Estelle Parsons.

Anne Collin

• OnStage Connecticut Critic

Doubt (a parable) is a story of a priest whose behavior is called into question. As it opens, Father Flynn addresses a congregation regarding the topic of collective grief versus individual doubt or guilt. The topic resonated with me, given the recent tragedy in Orlando. Father Flynn asserts that we are all connected, whether our grief is collective as a society, or whether we are facing down our own demons, because we all have them. We are never alone. We are all the same. But are we, really?

Sister Aloysius Beauvier, the principal of St. Nicholas School, fears that something is amiss between Father Flynn and one of the male students, and plants the seed of doubt with the classroom teacher, young and idealistic Sister James. Despite the younger nun’s uncertainty, the two set out to determine the priest’s guilt or innocence.

Linda MacCluggage gives a standout performance as Sister Aloysius. Her rigid demeanor belies a fierce protective nature that befits any capable mentor, and as an audience member, I believed that she truly cared about what was best for the students above all else, despite some of her overly conservative and outdated viewpoints about secular music and ballpoint pens. 

Linda MacCluggage and Patrick Robinson Photo: Chestnut Street Playhouse

Casey McDougal is equally convincing as naïve Sister James, who prefers to see the best in everyone and assume that all is well. Her desire to look on the bright side sometimes clouds her judgment, and the pain of her uncertainty is visible on her face. 

Patrick Robinson takes on a difficult task as Father Flynn, a character who is unsympathetic but must come across as sympathetic enough to be believed innocent. His sermons to the congregation and his scene addressing the students on the basketball court are his strongest, because in these he comes across as benevolent and even-tempered. In his scenes with the sisters, I felt that he perhaps seemed a bit too contentious, which makes him seem guilty. The interesting (and tricky) part of this play is that Father Flynn must be likable, so that the burden of proving him guilty is greater. At one point, Sister Aloysius says to Sister James (and I may be paraphrasing), “You must try to picture a person very unlike yourself.” Mr. Robinson gave a great portrayal of a kindly priest in the pulpit, but I thought that he seemed to panic a bit too quickly when confronted about his wrongdoings, perhaps because it must be very hard to imagine that you are a person who sees little wrong with exploiting children. However, no villain believes himself to be a villain. As I’ve said, Robinson has taken on an extremely challenging role, and gives a solid performance. That said, I felt that the calm and certain delivery he gave his sermons could be carried over into his scenes with the nuns a bit more in order to give his character more credibility.

Aurelia Clunie is incredible in her one scene as Mrs. Muller, mother of Donald Muller, the student who is Father Flynn’s alleged victim as well as the school’s first African American student. Her struggle as a mother stood out to me as an allegory of the current ongoing debate about gun control. What is more important—that her son be safe from exploitation, or that he receive an education? That he be safe from his father’s wrath, or his mentor’s lasciviousness? She struggles with these questions just as we currently struggle with how to prevent further senseless acts of violence, whether it is through simple prayer or stricter regulations.

Chestnut Street Playhouse is a small space, and seating is located to the left, right, and front of the stage. I was seated to the left, and from my vantage point, the cast did a fine job of presenting themselves at various angles so that all audience members got a sufficient view of their faces. I might suggest not sitting too far toward the upstage wall if there is a choice in seating.

Doubt continues its run this Thursday, June 23rd, through the 26th. All performances begin at 7:30 p.m. Tickets are $20 and can be purchased online at http://www.chestnutstreetplayhouse.tix.com, or by calling (860) 886-2378.

James Cooper

• OnStage Connecticut Critic

The Westport Country Playhouse has imported the off-Broadway production of Fairfield resident Jonathan Tolins’ “Buyer and Cellar,” including the set, the director (Stephen Brackett) and the fabulously talented star Michael Urie. This comic semi-fantasy was inspired by Barbra Streisand’s book My Passion for Design, in which her photographs show her gorgeous Malibu estate (much of which looks like it belongs in New England).

But, in reading her book, people discovered that she had created a mini-mall of “shoppes” in her basement, each one displaying collections of her “stuff,” including costumes, knick-knacks, and dolls, as well as a frozen yoghurt machine and a popcorn machine. This led to any number of snarky comments about this mall, including who exactly is/are its customer(s). Presumably just Ms Streisand.

Michael Urie in “Buyer & Cellar,” written by Jonathan Tolins, and directed by Stephen Brackett, at Westport Country Playhouse, now playing through July 3.  (203) 227-4177.  www.westportplayhouse.org      Photo by Carol Rosegg

Tolins’ play is a monolog, ably performed by Urie, in which standing outside the proscenium, he explains that this is a work of fiction and begs Barbra not to sue them. Then he steps into the frame, playing Alex More, an actor recently dismissed from playing a character (Mayor of Toonville) at Disneyland. Feeling sorry for dismissing him, the Disney casting director lets him know of a role he could take on in Malibu, which turns out to be the shopkeeper for all the stores in Barbra’s mini-mall.

That’s the premise, and to a large degree the only joke that Urie has to riff on. He hangs around and eventually gets to actually meet Barbra and sells her some of her stuff. Since he notes that there is no cash register or cash drawer, you are left to puzzle out what happens to Streisand’s cash.

Alex More is gay and has a boyfriend he refers to, but this is just Urie’s show, and he chooses to be so flamboyantly gay, prancing about, waving his arms and so forth, that it is distracting from what little comedy there is, and just adds to the show’s running time.

Much of the audience laughed at the quips that Urie is given, but some did not, and I started looking at my watch about 9 pm, when a few people began to leave. While the show is billed as 90 minutes without intermission, it actually ended about 9:50, by which time a few others had left as well.

One of the fantasies Tolin gives Alex is that he suggests to Barbra that she would make a great Mama Rose in Gypsy, and she asks him to rehearse her in the part, even though, as Alex admits, it is hardly credible that a seventy-year old lady would have a 5 year old daughter. In a case of life imitating art, it appears that such a movie is now in the works.

Buyer and Cellar is a mildly amusing play based on the missing Ms Streisand and ably performed by Mr Urie, but it is not great theater despite its Off-Broadway awards. You may enjoy it, though because of its preposterous premise. 

It runs through July 3 at the Westport Country Playhouse, and tickets are available on their web site.

John P. McCarthy

• OnStage NY/CT Critic

Garrison, NY – Shakespeare was certainly familiar with single-sex casts. Men and teenage boys played every part on Elizabethan stages up until 1660. Nowadays, all-female casts are a fairly common way directors try to scramble the dynamics and boost the relevance of his plays. Phyllidia Lloyd’s all-female production of “Taming of the Shrew,” currently at the Delacorte Theater in Central Park, is a fascinating example and a must-see for numerous reasons, not least being the chance to watch the great Janet McTeer limn Petruchio.

When “Macbeth” opened last Friday night at the Hudson Valley Shakespeare Festival, it was remarkable how much the stormy atmosphere and dark incantations of the first scene contrasted with the majestically balmy weather and the giddy mood of audience members, most of whom were picnicking on Boscobel House’s beautiful lawns minutes before entering the tented performance space. Still, it wasn’t necessary to douse one’s imagination in Rose to see beyond the actual meteorological conditions and serenely pastoral setting and conclude that the bluffs overlooking the mighty Hudson were ideal stand-ins for the Scottish highlands. 

As for acclimating to the fact that an all-female cast performs the tragedy, encountering the witches at the outset is helpful. No, the problematic feature of this production isn’t the single-sex cast or the climate, topography or relaxed vibe of the venue. It’s the decision to mount the play using only a three-person ensemble. It’s the number of actors, not their gender--and definitely not the abilities of Maria-Christina Oliveras, Nance Williamson, and Stacey Yen--that holds this “Macbeth” back. 

Photo: T. Charles Erickson

The underlying concept is traceable to the idea of a female chorus, which is partly the role served by the three witches, “the wayward sisters”. In her Director’s Note, Lee Sunday Evans writes, “Women are often outside the cycle of violence.” While “capable of violence” they “are more often witnesses to it” because they are less likely to be in positions of power. They tend to be the victims of violence or the ones left behind to deal with its aftermath and therefore in a position to observe and comment on events. 

Setting aside the validity of this proposition, hinging a production of the Scottish play on it seems somewhat counterintuitive. No doubt the witches are outsiders, but they are more than mere spectators, wrinkled chorines; they are catalysts of the action via their prophecies and encounters with Macbeth. Even more strikingly, the character of Lady Macbeth belies the notion that women are typically bystanders and rarely authors of violence. 

Evans might argue that “Macbeth” offers exceptions that prove the rule and thus lends itself to unisex casting. If so, her further claim that women gain a special understanding by primarily functioning as witness and chronicler is crucial. In fact, it’s the key to deciding whether her version works. According to her hypothesis, the female perspective, one step removed from the action, gives women deeper insight into the “violent pursuit of power” than those who seek it, i.e., men. The point is not that gender distinctions are fluid or mutable and so don’t matter. Just the opposite. Having females embody male characters and utter their lines should yield unique wisdom about the mayhem that springs from unbridled ambition. 

Unfortunately, it’s difficult to determine whether or not that occurs. First off, it’s asking a lot since it should entail close readings of the text and detailed comparative analysis with other performances. Second, it’s not easy to embark on that interpretive process when, initially at least, you spend so much effort sussing out who is who and keeping up with the story. That’s not to say the company doesn’t do a decent job of guiding the audience. The ensemble members often, but not always, announce the name of the major character or utter a stage direction in unison—for example, “Enter Banquo.”  And remembering, or apprehending for the first time, the broad outlines of the plot doesn’t take too long. But comprehension isn’t the main casualty. 

The chief drawback with this production is that doesn’t engage or involve the audience as much as it ought due to its scale. By having three actresses perform all the parts, the play feels severely pared down, almost shrunken and borderline muddled. Already Shakespeare’s shortest tragedy, this “Macbeth” seems rushed and condensed, like its only hitting the highlights of the play. This has the virtue of expediency—the running time, including intermission, is a mere two hours—but it makes it harder for audience members to become engrossed emotionally, to appreciate the poetry, and to interpret and analyze. In the production’s defense, the majority of the killing happens off-stage, so the seeming dearth of incident and spectacle is organic to a degree. Yet the staging doesn’t have enough energy or provide a big enough visceral impact to compensate for the rather shapeless narrative. 

Now the good news. All this pertains to the first half of the play more than to the second. In other words, it gets better and finishes strong. Prior to intermission, the blocking is mechanical and the movements are formalized; the actors appear confined and restricted, perhaps to illustrate the idea of woman as having no choice but to remain still and bear witness. But if they are stuck at one remove from the action, then the audience is pushed even further away. And at two removes, we feel shut out. Not until the second half when the emotional fallout of the Macbeth’s brutality is dramatized do things loosen up. The actors do their best work and the play demands your full attention. Oliveras gives the character of Macbeth a modern, colloquial sense of humor that works surprisingly well. Yen is aptly conniving and then believably deranged as Lady Macbeth. And Williamson communicates Macduff’s grief and anger with a graceful fierceness that is absolutely riveting.  

The production has other virtues. Since the performers often break into song, it highlights how integral singing and music are to “Macbeth”. And one can’t deny that the basic device gives certain themes and particular lines greater, often ironic meaning. “Unsex me here!”; Lady M’s interrogation of her husband’s manhood (“Are you a man?”); and the prophecy concerning Macbeth’s capitulation to one not “born of woman” are three examples.  

On the technical side, sound and lighting are relied upon to help delineate the action and designers Eric Southern and Stowe Nelson are up to the challenge. By placing six light strips on stools at the back of the tent, Southern accentuates the artificiality of the proceedings and the impression that everyone’s identity is being cross-examined, audience members included; and the use of a portable spot at the end of the play is quite brilliant. Nelson has created precise, evocative sound effects that sometimes serve as de facto scene changes and frequently denote essential comings and goings. 

In general, Evans and HVSF deserve credit for presenting an interpretation of the play that dares to be intimate and small-scale. It whets the appetite for seeing the tragedy performed by a full compliment of female actors. A bigger production would stand a better chance of achieving Evans’ goal of a “communal reckoning with the devastation and destruction in the story of Macbeth”. As they are deployed here, three actors, no matter how talented, cannot bring about the inter-subjective moment of clarification she seeks. 

To paraphrase Lady Macbeth, both the concept and the attempt to execute it are confounding. One unfortunate result is that it risks further marginalizing the female perspective by feeding the stereotype that women are best suited to bemoaning the costs of violence and are ill-equipped to take steps that might prevent violence from happening in the first place.  

Hudson Valley Shakespeare Festival’s production of “Macbeth” runs through August 26, 2016 at Boscobel House and Gardens, 1601 Route 9D, Garrison, NY.

Erin Conley

• OnStage Los Angeles Critic

LOS ANGELES CA - What happens when you mix four people from vastly different ethnic and religious backgrounds, a lot of alcohol, and a multitude of hurtful secrets? The answer is a disaster of a dinner party, and also the 2013 winner of the Pulitzer Prize for Drama, Disgraced, which opened this weekend at Center Theatre Group’s Mark Taper Forum in Los Angeles. 

Written by Ayad Akhtar, Disgraced is a powerful and topical examination of societal racism and identity. The play first premiered in Chicago in 2012, followed by runs both Off-Broadway and Off West End prior to a Broadway transfer in 2014. Unfolding slowly over the course of an intense 90 minutes, the events that occur left the Los Angeles audience audibly gasping in shock as tensions boiled over to a point of no return. 

Amir (Hari Dhillon, who previously played the role on Broadway), the main character, was born in America and raised Muslim. Now a successful lawyer, he has taken rather extreme measures to distance himself from his Pakistani heritage, including changing his name and denouncing the Islamic faith. His wife, Emily (Emily Swallow) is a WASP and an artist who has made a name for herself by creating pieces inspired by Islamic culture. When the play begins, Amir’s nephew, Abe (Behzad Dabu), recruits Emily’s help in convincing Amir to appear in court in support of a local imam whom he believes was arrested without cause. Amir has serious concerns about associating himself with someone accused of financing terrorists, but ultimately agrees to help. 

A few months later, Amir’s colleague, an African-American woman named Jory (Karen Pittman) and her husband, Isaac (J Anthony Crane), a Jewish art dealer interested in Emily’s work, come over for dinner. As cocktails flow and secrets come out, their four contrasting worldviews and Amir’s increasing paranoia over how the incident with the imam will affect his career lead to a shocking confrontation. 

 Photo Credit: Craig Schwartz

While Disgraced is specifically a look at Islamophobia in post 9/11 America, its smart, complex messages about race and self-acceptance can easily be applied to many situations in today’s volatile political climate. Amir is not a likable protagonist. He has spent his life struggling to separate himself from a racial and religious identity he resents, and as a result, has a lot of deeply internalized self-hatred that ultimately manifests itself in the way he interacts with the world, particularly with those who are different from him. When Amir goes through airport security, he volunteers himself every time to be singled out and searched in a misguided attempt to embrace what he sees as inevitable. He resents his female, African-American colleague for having what he perceives to be an easier path to the top of their profession. He refuses to accept himself as Muslim-American, and in the process projects his fears and hatred onto others. 

It is incredibly easy to see why Disgraced won the Pulitzer. Directed by Kimberly Senior, its one act is meticulously constructed to masterfully build tension, and the characters manage to avoid stereotypes, even while representing specific racial and religious archetypes. Just when you think things have reached the ultimate boiling point, the plot has more tricks up its sleeve, just waiting to surprise you. While I could have done without one specific twist involving Emily that felt a bit too contrived and expected for such a smart play, Akhtar’s pacing and dialogue are smart and loaded. The cast, led by Dhillon’s powerful, difficult performance, is top notch, creating an intimacy that makes the audience feel like an uninvited guest in someone else’s home. 

In light of recent events and the abundance of hatred that seems to exist in the world these days, this production could not be better timed. It is a crucial reminder about the importance of embracing your identity and not making assumptions about others that is all too needed. 

Disgraced runs at Center Theatre Group’s Mark Taper Forum through July 17th. Tickets range from $25-$85 and can be purchased at www.centertheatregroup.org. 

Nancy Sasso Janis & Jim Cooper

• OnStage Connecticut Critics

From Nancy Sasso Janis - 

"(BARE) can very easily hold its own against 'RENT' and 'Spring Awakening'. While it doesn't share the commercial success and notoriety, it definitely soars regarding storyline, music, universal themes and relatable characters. It takes a snapshot of the trials and tribulations of adolescent life." - Todd Santa Maria, Director of "BARE"

Brookfield, CT - So ‘bare: A Pop Opera’ is a show that I knew nothing about, but I was intrigued with the pop opera tagline. I have enjoyed the previous productions I have seen at The Brookfield Theatre for the Arts, but this one will stay with me for a long time for many reasons. 

The book by Jon Hartmere, Jr. and Damon Intrabartolo with lyrics by Mr. Hartmere and music by Mr. Intrabartolo is heavy on adolescent angst and director/choreographer Todd Santa Maria highlights in his program note its themes of self-discovery, identity and acceptance. The teen-aged characters attending St. Cecelia’s Catholic HS deal with peer pressure, body issues, gender inequalities and ignorance and realize in the end that they absolutely must love one another as articulated in John 13:34. TBTA’s President Lou Okell points out that the sung-through script for ‘bare’ was written more than a decade ago but “the themes it addresses could not be more current” and I would certainly agree.

Photos by Stephen Cihanek

The piece is clearly the perfect showcase for this talented group of young performers gathered by Mr. Santa Maria and his producers Desirae Carle, Janice Gabriel and Nicole Veach. This script absolutely requires a young cast. While these singing actors appeared young enough for their roles, they all had talent beyond their years. 

William Sandercox from Newtown took on the lead role of Peter before he heads to college in the fall. I remembered him as Lysander in ‘A ROCKIN’ Midsummer Night’s Dream’ with NewArts in Newtown, so I was pleased to see that he got to do Shakespeare again when the teens prepare a production of ‘Romeo and Juliet.’ His ‘ROCKIN’’ castmate Aidan Petershack joined him onstage in the supporting role of Zack for Mr. Petershack’s Brookfield debut. Both young men have amazing voices that they used well and Mr. Sandercox gave a heartfelt and heartbreaking performance in every way. 

Stephen Moores played Jason, a teen struggling with his sexuality. His TBTA debut was an impressive one. The role of Ivy, a very important one, was played well by Newtown High School grad Victoria Madden in her TBTA debut. Kate Valiska, who I saw in ‘Company’ and ‘Godspell,’ returns to this stage to play Jason’s sister Nadia and she nailed it! Western CT State University student Nathan Clift did well as student Matt Lloyd; other students at St. Cecilia’s included Tyler Carey (as the rapping Lucas,) Andrew Olson, Victoria Rojas, Emily Crebbin, Josie Harding, Sara Gardner and Aia Lopez. 

At the senior citizen final dress rehearsal, the role of the sassy sister, as in nun, was played with plenty of attitude by Loretta Fedrick in her TBTA debut. The character of Sister Chantelle definitely had some of the most memorable (and funny) lines, but also did her share of nurturing.  Mrs. Fedrick, who shares the role with Renee Sutherland, brought some needed comic relief and rocked her “911 Emergency” solo with her back up singing angels played by Ms. Rojas and Ms. Harding. The only other adult members in the cast included Stephen Dickson as the priest and Shannon Denihan in the role of Peter’s mother, Claire. Ms. Gabriel, who also served as fight choreographer for the show, will step out of her producer role to cover the latter role for one performance.  By day she is a Theatre/English teacher at Newtown HS and she gets to work with some former students in this production. 

Mr. Santa Maria directed this piece with lots of loving care and his choreography was effective. The simple set was designed by Robert Lane and Jessica D’Aquila designed the Catholic school wardrobe and a few “Heavenly” pieces. Joyce Flanagan was the musical director and the small band sounded full without overpowering the voices. I had a little trouble understanding some of the lyrics at times, but it may have been because of where I was sitting in the audience. 

There were some parallels to ‘Spring Awakening’ and the students singing “Confession” was the best of them. There was a nice crowd for the free preview, and the seniors did not seem too offended by any of the foul language and adult content. While the tale may have been a bit predictable, the numerous musical numbers drove the action and held our interest until the tear-inducing ending. 

Photos by Stephen Cihanek

‘bare’ is presented with one fifteen minute intermission. The site for tickets warns: “Not intended for young audiences - minimum suggested age 16. Note for parents: Younger audiences members are welcome. Please know that "BARE" includes sensuous dancing, coarse humor, and depictions of alcohol & drug use. With the growing number of opiate deaths in Connecticut, we feel these are important topics for community discussion. Please decide if you are ready to discuss these topics with your student.”

~~~~~~~

From Jim Cooper - 

“Bare” opened Friday, July 8 at the Brookfield Theater in Brookfield, CT, featuring a lively 16-member cast and, amazingly, a six piece orchestra of keyboard, guitar, bass, viola, flute and percussion (the original orchestration). The cast worked very hard to tell the story of six graduating seniors from a small Catholic boarding school, two of whom struggle with whether they are gay.

The two boys, Peter and Jason, are played ably by William Sandercox and Stephen Moores, who are also apparently roommates. The two contrasting women are Ivy and Nadia. Ivy is the class beauty, played exceptionally well by Victoria Madden. Her roommate Nadia (Kate Valiska) admirably plays the comic foil who is also Jason’s sister.

Sandercox plays Peter as uncertain, but surely gay, while Moores plays Jason as a class leader who is just finding out he is probably gay. Both carry off these roles with aplomb.

The show, by Jon Hartmere, Jr and Damon Intrabartolo, premiered off-Broadway in 2004, and the coming of age and coming out story is not as new nor as persuasive as it was 12 years ago, but director Todd Santa Maria, music director Joyce Flanagan and the entire cast throw themselves energetically into making this an entertainment worth your attention.

The rock ballads and ensemble numbers are more or less generic rock, but some of the solos are excellent, and the choral sound when the ensemble sings as a chorale is astonishingly beautiful. To me, the standout number of the night takes place after Peter calls his mother (Claire) to try to tell her he is gay, but she keeps interrupting him and putting him off, finally hanging up on him. The point was that she knew exactly what he was trying to tell her and sings about it in the poignant ballad “Warning.”

Kate Valiska as Nadia has a lovely and sad little Act I ballad “A Quiet Night at Home,” sung when she was the only one not asked out that evening. Earlier she also has a great comic number, “Plain Jane Fat Ass.” 

Photos by Stephen Cihanek

Ivy, the beauty queen, does not know of Jason and Peter’s attraction and seduces Jason at a drug and alcohol-fueled party where they apparently have sex. She is convincing as a privileged girl as well as the girl who really is attracted to Jason.

Kudos also need to go to Matt, the side-kick character, played ably by Nathan Clift, who is Peter’s confidant and is the first to learn of Peter and Jason’s affair. He sings well and is his acting is outstanding.

Loretta Fedrick as Sister Chantelle (two actresses alternate in this role) has a commanding presence as the drama coach, and sings an amusing Diana Ross parody in a dream sequence, and what would be the 11 o’clock number if it came a bit later in the second act, the gospel-inflected “God Didn’t Make No Trash.”

And Stephen Dickson as the Priest is admirably bland and noncommittal when the characters would have preferred more understanding. Near the end Jason ironically says he “absolves” the priest.

Bare, the musical, has a 16-member cast, 14 of whom are on stage much of the show, singing 36 musical numbers. The work the cast and directors put into learning this huge show is apparent and they all should be praised for their success at this enormous undertaking.

Like most rock shows, this show is miked with all 16 characters wearing body mikes. In a 150-seat theater this shouldn’t be necessary, but these are young voices still learning their craft, and this probably helped balance out their volumes. In one amusing spot, when Ivy takes off her blouse to reveal a very demure bra, she also reveals her transmitter taped to her back. 

“Bare” runs Friday and Saturday nights at 8pm in Brookfield, with Sunday matinees on July 17 and 24th. Tickets are available on line at the Brookfield Theater.

Erin Karll

• OnStage St. Louis Critic

St Louis MO - Summer in St. Louis means another amazing season at the Muny in Forest Park. The most recent production was the classic “The Music Man”.  Sitting in the seats and feeling the wind brought back some wonderful memories from my high school senior year production. The crowd was excited and happy for the show and the decent weather.

The staging, I have to confess, was not my favorite. It took a while for me to see where they (Michael Schweikardt -scenic design and Rob Ruggiero-director) were going with the set. The Muny stage is large and known for the turntable. Many sets are built back to back and the turntable takes care of the scene change. Most of the time this system works out perfectly, creating Muny magic. The timing just seemed off in some scenes, and at one time Harold Hill (Hunter Foster) led the children through the Paroo house and up the staircase to reach the other part of town. Normally the runway that circles the pit would have been use, but it was taken out for this production. Another time Mayor Shinn (Mark Linn-Baker) began to speak and turntable made a complete stop and was visible from my seat. These issues did take me out of the show a few times.  But even with the timing trouble, the set looked amazing and fit the story well. My favorite part was the forest behind the footbridge in act two. And the backdrop video screen (Rob Denton) looked beautiful in that Iowa sort of way.  

Photo: Jon Gitchoff

The cast was wonderful. Foster brought a fresh take on Hill’s con style, and his energy could be felt all the way in the free seats. Elena Shaddow (Marian Paroo) and Foster had great chemistry. The arc of their relationship was easy to feel. The Quartet (J.D. Daw, Adam Haplin, Ben Nordstrom, and Joseph Torello) gave me goosebumps. They worked the harmonies and gave a new air to the classic barbershop sound. I must add that Owen Hanford (Winthrop) and Gretta Leigh Clark (Amaryllis) were stand outs. They handled the dramatic and comedic scenes with ease earning laughs and sighs from the audience. Of course I cannot forget the Muny kids and teens. These young talents proved they were ready for the big stage doing the large group songs.

Overall this was a wonderful production. The costumes (Amy Clark) popped on the stage and worked well with the choreography (Chris Bailey). The cast fit together perfectly and the harmonies were amazing. I would recommend a trip to River City, via Forest Park in St. Louis. Check out Muny.org for ticket information and show details. 

Nancy Sasso Janis

• OnStage Connecticut Critic

Storrs, CT - Connecticut Repertory Theatre at the University of Connecticut presents their Nutmeg Summer Series at the Harriet S. Jorgensen Theatre on the campus in Storrs. The 2106 series began in June with ‘How to Succeed in Business Without Really Trying!’ and “Peter and the Starcatcher.’ One of my favorite musicals, ‘West Side Story’ with music by Leonard Bernstein and lyrics by Stephen Sondheim, is the final production in the series and it runs through July 17. 

CRT is the professional producing arm of the Department of Dramatic Arts at UCONN, Storrs and their productions are directed, designed by, and cast with visiting professional artists, including Equity actors, faculty members, and the department’s most advanced student artists. The university proclaims in their press releases that the synergy between professional and advanced student artists creates extraordinary theatre and a unique learning environment. 

So my expectations were incredibly high as I made the ninety-minute trek to Storrs. My first visit to the massive campus was during a time of major construction projects, but I still managed to find the commuter parking lot positioned relatively close to the theatre. The theatre itself is an older building that is well-maintained and the smallish stage fits nicely the approximately 350-seat house.  In the same building there was a wonderful fashion exhibit featuring women’s clothes from the 1980s entitled ‘The Eccentric The Evolution of the Eighties.’

Cassie Abate, who staged last summer’s ‘Peter Pan,’ directed this mix of professional actors and upcoming students (with only a few from UCONN) for this iconic story of Romeo and Juliet transported to New York City and entwined in rival street gangs. The music is soaring, the tension is high and the story is timely. In fact, I took a photo of a rock painted with a rainbow and a message for Orlando that I noticed on my walk to the box office. 

Cassidy Stoner (Anita) and Yurel Echezarreta (Bernardo) in WEST SIDE STORY onstage at Connecticut Repertory Theatre July 7-17, 2016.  Info at crt.uconn.edu.  Photo by Gerry Goodstein.

The production fit well on this intimate stage and the musical fit snugly within two hours, so I suspect that some trimming was done. The show started strong with the iconic prologue; the dancing was great even though it felt shorter in length than usual. On the flip side, I have never seen a stronger staging of “Cool;” the choreography by the director was excellent overall. Music Director NDavid Williams ensures that the band of a dozen musicians sounded fantastic; some of the numbers seemed more lyrical than usual with beautiful violin strains that I appreciated. Thomas McDonough served as conductor/pianist. 

I do have high expectations when it comes to this show, and this cast gave good performances with a few actors going to the next level. The Jets girls included the talents of Olivia Benson, Alyssa Sarnoff and Caroline Iliff, and the Sharks girls were Tori Gresham, Susie Carroll, Ms. Iliff, Janayla Montes and Rebekah Morgan Berger. All of these young ladies danced extremely well.

The adults were played by Equity actors Nick Lawson as Officer Krupke and John Bixler as Schrank and a hysterical Principal Gladhand. The best of the all was Dale AJ Rose as an ethnic Doc, the owner of the teen-aged hangout. His accent was spot on and his acting superb; I was not surprised to read that Mr. Rose is the Director of Performance Training at UCONN.

The Jets boys were played by Ty Taylor, Aaron Bennett Miller, Dalton Bertolone, Ross Thompson, Jacob Burns, Liam Johnson and Adria Swan as Anybody’s. 

Bentley Black did a really great job in the role of Riff and Luke Hamilton played an earnest Tony, although some of his notes seemed off on opening night. 

On the opposing team of the Sharks were Gabriel Bernal, Brian Binion, Jose Luaces, Gerald Caesar, and TJ Newton as Chino. I liked Cassidy Stoner in her CRT debut in the role of the strong Anita and Yurel Echezarreta was a dark, handsome and menacing Bernardo. Julia Estrada used her perfect soprano to nail every one of her solos, although her Spanish accent could have been more consistent. 

The tech aspects of the show were top notch. The urban scenery was designed by Tim Brown and it was nicely lit by Michael Chybowski. Costume Designer Christina Lorraine Bullard provided colorful period costumes for most of the scenes, with more muted tones for the ballet. 

CRT Artistic Director Vincent J. Cardinal did an outstanding job in his curtain speech of making all of the audience members feel welcomed and appreciated. The opening night audience cheered throughout and were on their feet for curtain call. An opening night reception was held following the performance where patrons were able to mingle with the cast and crew. ‘West Side Story’ runs in Storrs through next Sunday. 

Nancy Sasso Janis

• OnStage Connecticut Critic

Thomaston, CT - ‘Billy Elliot The Musical’ is the story of a motherless young boy named Billy, who trades boxing gloves for ballet shoes. The story of his personal struggle to do so takes place during the strife of a miner’s strike in England in the 1980s. Landmark Community Theatre opened their production of this musical that features a book and lyrics by Lee Hall and music by Sir Elton John this weekend. Katherine Ray directed the multi-aged cast and also designed the lovely set; she summarizes the story as one of “love, acceptance and unity” that does not require the technically difficult bells and whistles to “create a truly magical theatre experience.” 

I found Billy’s story and that of his working class family and community to be engrossing; the juxtaposition of the gritty mine workers and the lyrical ballet dancers worked well. The music also worked well, even if it wasn’t particularly memorable. My favorite numbers included the company’s “Solidarity” and “Grandma’s Song” that involved Billy, Billy’s grandmother and a piece of dancing by Cailtin Barra (the show’s dance captain) and Jake Finch that told her story. 

Amy LeBlanc convincingly portrayed Billy’s (dead) mum via video. Mr. Finch also danced the lyrical choreography of Jerri Kansas beautifully in the role of the adult Billy. 

The striking workers included Daniel Wagoner as George the boxing coach and Steven Taliaferro as Big Davey. Jake Finch, Chris Gilbert, Marc Crawford Leavitt, Collin Larson, Allen Marko, Matt Monitto and the ubiquitous Cole Sutton. The female ensemble Ms. Barra and Jodi Tryzna, in addition to the younger ballet girls, played by Jillian Alena, Allison Coney, Olivia Cotter, Kati Seppa and Yumeko Stern as Debbie.

All of the adults turned in very strong performances. Eve VanSyckle was a standout in the role of Grandma. Thomas Netter made the most of the role of the ballet school’s pianist in his LCT debut. It was great to see Suzanne Powers in another memorable role as Mrs. Wilkinson, the ballet teacher who sees the potential in Billy. Shawn Wodraska did well in his community theatre debut as the older brother of Billy and the booming voice of Joe Harding played well as Billy struggling father. Mr. Harding made clear his character’s arc and also did some very funny ad libbing when the curtain refused to fully close. 

Now can we talk about the Waterbury Arts Magnet School students? Eric Canfield, who will enter eighth grade at WAMS, was in their outstanding production of ‘Grand Hotel.’ Here he played Billy’s cross-dressing friend with aplomb and lots of talent. Rising seventh grade WAMS student Cailee Harvey, who played a ballet girl, has performed in the 1214 Foundation productions of ‘Liberty Smith,’ “The Lion King’ and ‘101 Dalmatians.’ Sophia Dadamo, another rising eighth grader at WAMS and another Grand Hotel cast member, did well as a ballet girl.

Her brother Vincent, who will begin his sophomore year in high school at WAMS and played Erik in ‘Grand Hotel,’ began the show with a solo and was a strong member of the male ensemble. 

Billy himself was played to perfection by Charlie Pelletier, who will move up to eighth grade at WAMS in the fall. His strong acting skills were evident as he played the title character and his dancing was equally as impressive. Congratulations to all of these talented WAMS students who represented their school well in this production in Thomaston. 

Jeffrey Dunn was the producer and Michael Berkeley, who was artistic director for many years at  (TriArts) Sharon Playhouse, served as musical director/conductor. The nine-piece orchestra was seated backstage and did well with the varied score. Jerri Kansas, a Musicals at Richter director/choreographer, did some fine work as the show’s choreographer. Taryn Glasser, who one usually finds at the Warner Theatre, gets the credit for some fine projections. The sometimes tricky costumes were designed by partners Renee Purdy and Aurora Montenero.

Jim Luurtsema produced the video and designed the sound. Matt Delong did the fine lighting design.

On opening night, LCT honored Kelley Hutton with a Volunteer Spotlight Award for her work as volunteer coordinator, resident stage manager for their teen drama program, and stage managing many other LCT production. At the first matinee, which was an almost full house, Juan Cardona entertained the audience on the pipe organ with many selections from the 1980s. 

This was another outstanding production by Landmark Community Theatre that is definitely worth the trip to Thomaston. ‘Billy Elliot’ runs at the Thomaston Opera House through July 24. 

Angelica Potter

• OnStage Massachusetts Critic

Waltham MA - Thoroughly Modern Millie takes place in New York City during the Jazz Age of the 1920’s. It is the story of a small-town girl who moves to the big city longing to live a thoroughly modern life. The orchestra, conducted by Jeffrey Leonard, was entertaining from the overture through the bows; though at times, they overpowered the vocals. Choreography by Susan Chebookjian was overall, well executed by the energetic cast. The tap sections were clear and highly enjoyable to watch. The dance numbers were standout, crowd-pleasers throughout the production. 

Photo Credit: Full Company of Thoroughly Modern Millie. Courtesy Reagle Music Theatre/©Herb Philpott

Gabrielle Carrubba as Millie Dillmount was fresh and fun, delivering solid vocals. Still a college student, (rising Junior at Boston Conservatory) Gabrielle continues to learn and hone her craft, but she has the potential for big things if her performance as Millie is any indication. A number of times during the performance she reminded me of Sutton Foster who originated the role on Broadway in 2002. I look forward to seeing more from Gabrielle in the future. Caitlyn Oenbrink and her lovely soprano vocals were wonderfully showcased as Millie’s friend, Miss Dorothy Brown. The duet between Carrubba and Oenbrink, “How the Other Half Lives”, was a highlight of act one. Their vocals and characterizations balanced each other nicely. Andrew Tighe as Jimmy Smith was likeable and delivered strong vocals and acting throughout. His scenes with Carrubba were charming and believable. “The Speed Test”, performed by Mr. Trevor Graydon (Mark Linehan), Millie Dillmount, Miss Flannery (Molly Keane-Dreyer) and the office workers, was another highlight in act one. 

Unfortunately, this opening night performance was not without its’ mishaps. The most jarring technical difficulties of the performance occurred in the sound department as actors’ microphones were left on while they were backstage, thus decreasing what could be heard from those on stage. Additionally, from what I could tell, not everyone was wearing a microphone so the group numbers often consisted of muffled and difficult to understand lyrics. 

Overall, this production, directed by Cynthia Thole, was an over the top, fun musical that the audience thoroughly enjoyed. Thoroughly Modern Millie plays from July 7-17, 2016 at the Robinson Theatre (617 Lexington Street, Waltham, MA). For information and tickets visit www.reaglemusictheatre. 

For more of my reviews and theatrical thoughts check out: 

Asya Danilova

• OnStage New York Critic

With the decline of the Yiddish speaking population around the world there are only five professional theater companies that are consistently producing Yiddish plays or plays translated to Yiddish; the Folksbiene is one of them. Founded in 1915 it is considered the oldest theater company in New York, Yiddish and English. For the sound of Yiddish language alone this musical would be worth seeing and hearing as it is, unfortunately, a rare cultural experience. The show is accompanied by English and Russian supertitles so no need to worry about catching up with the plot. Especially since it is so charmingly naïve and straight forward. 

Goldele (Rachel Policar), a girl abandoned in childhood, living in a Shtetl (a Jewish settlement) in Russia receives the news about inheriting a fortune from her father. Her American uncle Benjamin (Bob Adler) comes to the village to accompany his nice to the New World. Every young men in town is exited and wants to marry “the golden bride”, and every girl is ecstatic with joy for her lucky friend. The story is a pure joyful immigrant fantasy featuring the loving community of the Shtetl and exuberant life in America.  

The cast of 20 with their strong voices and orchestra of 14, conducted by Zulmen Mlotek, bring up a hurricane of sounds so sweet and rich it grabs you immediately. The lightness of the music and the subject matter is combined with opera arias, which gives a genre of operetta its distinct style and fills the audience of different tastes and backgrounds with warmth and satisfaction. The duet of Rachel Policar (simpleminded and sweet Goldele) and Cameron Johnson (Disney-prince-like Misha) was especially strong. 

The Golden Bride (Yiddish: Die Goldene Kale) is a 1923 operetta with music by Joseph Rumshinsky, lyrics by Louis Gilrod and a book by Frieda Freiman. It was last produced in 1948 and than forgotten until the Folksbiene, the National Yiddish Theatre in New York revived it in December 2015. The show was nominated for two Drama Desk Awards and now is enjoying its second run at the Museum of Jewish heritage.    

The Golden Bride runs through August 28, 2016 on the following schedule: Mondays at 7:30pm; Wednesdays at 2pm & 7:30pm; Thursdays at 2pm; and Sundays at 2pm & 6pm. There are also additional performances July 14 at 7:30pm, July 15 at 1pm, August 9 at 2pm, August 11 at 7:30pm. The Museum of Jewish Heritage is located at 36 Battery Place at First Place -- accessible from the 4/5 trains at Bowling or the 1/R at Rector Street. Tickets are $40 at (866) 811-4111 or nytf.org.

Angelica Potter

• OnStage New England Critic

Peterborough, NH - In Annapurna, a play by Sharr White, Emma (Lisa Bostnar) shows up at her ex-husband Ulysses’ (Gus Kaikkonen) trailer in Paonia, Colorado after leaving him 20 years earlier and the two finally have a chance to discuss their complicated past, their son, and the uncertain future.  Ulysses insists he cannot remember why Emma took their son in the middle of the night and left him and he doesn’t understand why she has come back after all this time. During the 80 minutes that follow we learn how this pair grew together, then apart, all the while holding on to love. 

Lisa Bostnar and Gus Kaikkonen in ANNAPURNA. Courtesy Peterborough Players.

Annapurna is a portion of a mountain range in the Himalayas in north-central Nepal. Its peaks are known to be some of the most dangerous in the world to climb. Many lives have been lost or deeply changed by Annapurna. In the play, Ulysses refers to Emma as his Annapurna and it seems, though it was not directly stated, that Emma feels the same about Ulysses. They’ve impacted each other’s lives in such a way that they are forever changed. 

Directed by Keith Stevens the story unfolds in and around a small, confined trailer, (set designed by Charles Morgan). Cluttered with books and papers, it mirrors the muddled mind of its owner, poet and former professor Ulysses. Gus Kaikkonen as Ulysses delivers a raw and riveting performance. The connection between him and Lisa Bostnar as Emma was completely authentic and they intensely captivated the audience from start to finish. As Emma, Bostnar showed both strength and vulnerability. Throughout the play a myriad of emotions were experienced by both the actors and the audience. These incredibly well-rounded and engaging actors brought to life two well-written and complex characters to tell a story that was at times funny, while at other times gut-wrenching. In the small, intimate theatre neither actor lost focus nor allowed the reactions of the audience to break through their fourth wall. It was as if the audience was merely a fly on the wall of Ulysses’ trailer watching their interaction take place.  
 
This production is rated R due to strong language, adult themes and partial nudity. The New England premiere of Annapurna plays on the Peterborough Players stage, 55 Hadley Road, Peterborough, NH, until July 17th. For tickets call the box office at 603-924-7585 or check out www.PeterboroughPlayers.org

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

John P. McCarthy 

• OnStage New York Columnist

Garrison, NY – Giddy describes the dizzying swirl of emotions most of us experience when in the throes of love. Not knowing whether the feeling is mutual only adds to the excitement, heightening the sense of disorientation as we seesaw between dread and ecstasy.

Shakespeare both revels in and mocks this symptom of romantic love in his pastoral comedy “As You Like It,” so it’s appropriate that giddiness is the main sensation engendered by Hudson Valley Shakespeare Festival’s new production of the play. Perhaps it achieves this at the expense of articulating the more cerebral and less effervescent phenomena associated with love that the Bard addresses. But it never loses sight of how painful and difficult being in love can be. 

Moreover, this humane and warmly compassionate production directed by Gaye Taylor Upchurch does an admirable job of highlighting the other types of love that Shakespeare has the perspicacity and breadth of imagination to consider in “As You Like It.” 

No character is so besotted that they don’t question their amorous feelings; and yet this only adds to their giddiness. Everyone is in a state of disbelief, unsure whether to dive headlong into love or to proceed with caution. Orlando (LeRoy McClain), who has been disinherited and driven away from home by his older brother Oliver, has the fewest doubts. Just before going into the forest he sets eyes on Rosalind and instantly falls for her. “Neither rhyme nor reason can express how much” in love Orlando is. “I am he that is so love-shaked,” he later admits. 

photos by T. Charles Erickson

Rosalind also falls in love at first sight. But, unable to ignore her queasiness, she won’t allow her feelings to take over. She gives her uncertainty a full hearing, making the path to her inevitable union with Orlando more complicated. Banished by her uncle Duke Frederick, she retreats to the same forest—along with her cousin and best friend Celia, and Frederick’s jester Touchstone—disguised as a country boy. As Rosalind, the aptly surnamed Jessica Love is winsomely attractive and buoyantly clever, adept at communicating the debate between Rosalind’s head and heart, her struggle to choose a path to happiness. 

Three other couples become entangled and provide vehicles for Shakespeare’s musings on romantic love. And he also paints vivid portraits of other kinds of love. The devotion cousins Rosalind and Celia have for one another is held up as a model of friendship. And the bonds of sibling love—between Oliver and Orlando, and between Duke Frederick and Duke Senior—are broken and then mended, which introduces another major theme of the play, forgiveness. 

Director Upchurch is intent upon emphasizing a third type of non-romantic or platonic love in “As You Like It.” At the risk of putting too moral a point on it, call it love for one’s fellow man or love for thy neighbor. In this context, that means care for displaced persons—castaways from the court—and anyone needing food, shelter and/or the sustenance of human interaction while in the wilderness. Orlando has traveled into exile with his father’s loyal servant Adam (Stephen Paul Johnson). Though old and infirm, Adam insists on accompanying him because he can’t abide Oliver’s mistreatment of Orlando. (The fealty of a servant for his master, and vice versa, is yet another kind of love.) But the arduous journey and lack of food in the harsh environment brings Adam close to death. Desperate to secure food for he who “after me hath many a weary step limped in pure love,” Orlando accosts Duke Senior and his entourage as they are about to have a meal. 

The generous Duke’s willingness to share what they have and feed Adam is the occasion for Upchurch to stage what can be described as a Eucharistic moment in which baskets of bread are passed around and shared with audience members in the first few rows. Later in the play, the love and compassion this communal experience of breaking bread signifies is linked to romantic love in a line Rosalind delivers about Orlando, “And his kissing is as full of sanctity as the touch of holy bread.” 

Don’t worry. There’s little chance this or any production of “As You Like It” will become preachy or get bogged down in biblical allusions or religious import. The bawdy, lusty side of romance gets a full airing, as does the ridiculous behavior love can trigger. Mark Bedard and Nance Williamson steal the show as the supercilious fool Touchstone and the dimwitted object of his affection, a goatherd named Audrey. Meanwhile, the unlikely way love blossoms between the two other couples destined for the altar—Celia and Oliver, and the shepherd Silvius and the shepherdess Phoebe—defies all logical explanation. It also indicates Shakespeare was not overly concerned about plot. 

The production falters somewhat when it comes to Jacques, the dyspeptic courtier who has fled so-called civilization to live in the woods and whose skepticism about love should provide a counterbalance to the giddiness that develops. Casting a woman in the role doesn’t add a great deal, despite Rosalind’s cross-dressing and any other gender indeterminacy in the play. Maria-Christina Oliveras delivers a gruff, cantankerous, raspy-voiced Jacques whose commentary is too easily dismissed as the complaints of a world-weary grouch. That said, Oliveras rises to the occasion and delivers the “All the World’s a stage” speech with a clarity and incisiveness that demands attention. 

Everything about the play—its skepticism as well as its pleasurable, heartwarming affects—would be enhanced if the befuddlement that afflicts the lovers didn’t bleed into the production design, especially the costumes and music, which are a bit of a hodge-podge. Charlotte Palmer-Lane’s wardrobe includes some lovely pieces—the dresses worn by the women of Duke Frederick’s court, for instance—but it’s hard to see much continuity in her overall plan. The majority of outfits are betwixt and between the sophisticated elegance of the urbane court, on the one hand, and the earthy and supposedly more natural and liberating mode of the bucolic countryside on the other. More consistent whimsy and flare are called for on both fronts. 

Likewise, the music composed by Heather Christian for one of Shakespeare’s most music-filled works is a cross between soulful jazz and country bluegrass. The production would be better served by a more precise, less fusion idiom. And the hip-hop version of the song “What Shall He Have That Killed the Deer” feels forced and doesn’t scan at all. Not helping matters, the ensemble doesn’t always appear comfortable when they sing and dance. This unintended awkwardness is less a reflection on their talents or abilities as it is on the general fuzziness of the overarching design concept, including the time period. The hicks-in-the-sticks accents adopted by some of those portraying country folk rather obvious, especially when they aren’t matched by hoity-toity tones amongst the aristocratic set. 

Another example of randomness concerns the curate Sir Oliver Martext, who is to officiate over the marriage of Touchstone and Audrey. Played by Stacey Yen, he’s a pot-bellied Elvis impersonator who drives a golf cart that serves as his mobile wedding chapel. It’s a hilarious, crowd-pleasing bit that spawns great merriment and fits with the general thrust of the scene. But it’s such a specific modern allusion that it threatens to take you out of the play. Who knew this “As You Like It” was set in the Nevada desert, somewhere outside of Vegas? 

A version of this production of is slated to open at the Folger Theatre in Washington, DC in January. Maybe some of these design issues will be addressed when it’s reconfigured for an indoor stage and if the budget grows. Generous and sympathetic, it has the potential to be an important imagining of Shakespeare’s celebration of “rustic revelry” and a decent attempt at making sense of this multifaceted thing called love. 

Hudson Valley Shakespeare Festival’s production of “As You Like It” runs through August 27, 2016 at Boscobel House and Gardens, 1601 Route 9D, Garrison, NY.

Christian Jost

• OnStage Washinton D.C./L.A. Critic

This past weekend was the opening for the Mclean Community Player’s production of Footloose; which, as many of you know, is an adaptation of the beloved 80’s teen movie of the same name. The show was adapted for the stage by Dean Pitchford and Walter Bobbie. Original music came from Tom Snow and lyrics from Dean Pitchford. Footloose follows the story of Ren McCormack as he transitions from city life in Chicago to small town life in Bomont. Conflict arises when Ren realizes that Bomont has very strict laws against teenage activities, specifically dancing. These laws were created and are upheld by the town’s Reverend, who lost his son in a tragic accident years prior. The Reverend’s attempts to keep the town’s youth safe backfire, and it pushes his own daughter Ariel farther and farther away.

Ok, let’s move on to the topic at hand: The McLean Community Players production of Footloose, Directed and Choreographed by Shaun Patrick Moe. I'll admit that I had my reservations about seeing this show but I was excited to see what this cast would do with it. This production provided many solid performances, many from its supporting cast. Sara Talebian gave an excellent performance as Ariel’s best friend Rusty.  She gave a very honest portrayal of a confident small town girl trying to get the guy of her dreams and protect her friends. Sierra Hoffman and Tori Garcia also gave great performances as Ariel’s friends Wendy Jo and Urleen; they had great chemistry together and excelled comically and musically. Jon Simmons also stood out as Ren’s best friend Willard, he provided us with huge laughs and really won the affection of the audience. The best performance of the night was undoubtedly given by Nikkie Culbreth as Ariel. She sang beautifully, and her acting couldn’t be topped. She showed us humor, sensuality, rebellion, hatred, acceptance, and humanity in this flawless performance.  She was always in the moment, and as a result, completely stole the show. 

While Morgan DeHart had looked the part, and surely had his moments as Ren McCormack, something didn’t click.  As far as I could tell, it was inexperience that hindered DeHart. He seemed very uncomfortable and nervous on stage, speaking way too quickly and not very convincingly. That being said, it actually allowed for an interesting dynamic because Ariel became the lead character of the show, making us care about her story over all others; whether that is good or not is debatable, but it was indeed different perspective and an overall triumph for Culbreth. 

The choreography was also a triumph is this show, being just simple enough that everyone on stage could pull it off and difficult enough that the audience was impressed. The ensemble excelled at the choreography, and if they made any mistakes I sure couldn’t tell. The ensemble was what really kept this audience engaged, they all seemed to click together and made great character choices. Everything the ensemble did seemed fresh and new, like they were showing it to us for the first time. The strongest ensemble members were Franklin Williams, Michael Ferry, Megan Khaziran, and Clair Baker. The best ensemble performance and the best song in general was the classic “Holding Out for a Hero”. Of all the songs Dean Pitchford brought over from the movie, this one works the best in the Musical and this cast pulled it off flawlessly. 

The set design by Bill Brown also stood out; it managed to give us everything we needed to get lost in the scenes without having a completely cluttered stage.  Although at times some songs seemed too high for certain characters; they never let that stop them and sang their hearts outs. Praise to Music Director Lori Roddy for that and the other great music in the show. Matt Robotham also did an outstanding job on percussion for the show and that goes for the entire pit orchestra who all did great. Their were a couple sound issues but other than that the tech for this show seemed to run smoothly, kudos to the crew for that.

Despite a few of this production's setbacks, I can’t deny the fact that it is entertaining. The cast is truly having fun on stage and the audience can tell. We root for them. This show is up for two more weekends in McLean Virginia, a suburb of Washington D.C.! Tickets and info can be found here.  

David Roberts

• OnStage Chief New York Theatre Critic

“In short, it is much easier to see a thing through from the point of view of abstract principle than from that of concrete responsibility.” ― Dietrich Bonhoeffer, “Letters and Papers from Prison”

When under stress, Professor John Halder (Michael Kaye) hears songs of comfort that no one else can hear. Numbed by fantasy fueled by denial – like many “good” people during the rise of Nazism in post-World War I Germany – Halder refuses to understand the menace of Hitler’s racialist programs and colludes with Hitler’s regime believing because “Hitler’s racialist program is not practical they’ll have to drop it.” “They” do not drop it and exterminate over six million Jews and other members of humankind the Nazis deem undesirable. 

C. P. Taylor’s important and dauntingly relevant “Good,” currently running at PTP/NYC 2016 at Atlantic Stage 2, chronicles how this good person Professor Halder becomes an ally of all that is not good about Nazi Germany. It is a compelling and engaging look into the dynamics of delusional behavior and how easy it is to do the wrong thing in times of crisis.  Throughout the play, Halder slowly begins to face reality until, when he finally visits Auschwitz, the music he hears – no longer in his head – is played by those ready to be exterminated. 

Michael Kaye and Adam Ludwig. Credit Stan Barouh

No matter how much Halder’s Jewish friend Maurice (Tim Spears) tries to dissuade Halder from supporting “abstract principles” and to instead embrace “concrete responsibility,” Halder spirals further into delusion and condones Eichmann’s (Adam Ludwig) “common interest” point of view. The more the regime asks him to participate in their “mercy killing” experiments, the easier it becomes for him to comply – matching the music in his head, his delusional understanding of the evils of Hitler and the SS.

The Nazis become interested in Halder after discovering his novel that deals with euthanasia, a concept that fascinates Halder as he watches his mother (Judith Chaffee) decline into the depths of dementia and becomes more as more difficult to care for. At one point Halder’s mother asks, “Do you think I’m going out of my mind? If I’m going out of my mind. . .that’s a bad business.” Additionally, Halder’s center is not holding well as he drifts from his wife Helen (Valerie Leonard) and takes up with Anne one of his students at the University (Caitlin Rose Duffy).

Under Jim Petosa’s deft direction, the ensemble cast grapples successfully with Mr. Taylor’s script to reveal important themes that raise rich and enduring questions that are as relevant currently as they were in the past. When does self-interest conflict with interest in the common good? Which is more important to the individual? What are neuroses and how do these affect one’s performance in the service of the public? What is reality for politicians? What happens when “their” reality is pathological? What exactly is the difference between good and evil? What is good? What is evil? Mr. Petosa’s staging effectively collides reality with illusion with scenes that collide into one another with gripping ferocity.

Mark Evancho’s set and Hallie Zieselman’s lighting mirror the caverns of Halder’s mind and Jessica Vankempen’s costumes are period perfect and hauntingly realistic. PTP/NYC’s Co-Artistic Director Cheryl Faraone introduces “Good” with the hope “the work will become part of [our] conversation” about the current political and socio-economic environment where – as in the early 1930s – the center is not holding and where again “it [has become] much easier to see a thing through from the point of view of abstract principle than from that of concrete responsibility.” Audiences have only through August 7 to see “Good” at Atlantic Stage 2. It would be fascinating to see “Good” played in repertory with Aaron Loeb’s “Ideation.”

GOOD

The cast for “Good” includes Michael Kaye, Tim Spears, Valerie Leonard, Christo Grabowski, Judith Chafee, Adam Ludwig, Noah Berman, Caitlin Rose Duffy, Amanda Whiteley and Jesse Garlick.

The production team includes Hallie Zieselman (Set Design), Mark Evancho (Lighting Design), Jessica Lee Vankempen (Costume Design) and Evangeline Rose Whitlock (Production Stage Manager). Production photos by Stan Barouh.

Performances are Tuesdays - Sundays at 7:00 p.m., and Wednesdays, Saturdays and Sundays at 2:00 p.m. The schedule varies - for exact days and times visit http://PTPNYC.org. Tickets are $35.00, $20.00 for students and seniors, $17.50 for previews, and can be purchased online at http://PTPNYC.org or by calling 1-866-811-4111. For info visit http://PTPNYC.org, follow on Twitter at @ptpnyc, and Like them on Facebook at https://www.Facebook.com/pages/Potomac-Theatre-Project-PTP/32709392256. Running time is 2 hours and 15 minutes including a 10-minute intermission.

David Roberts

OnStage Chief New York Theatre Critic

“I want us to start over. I don’t want to fight any more. I don’t want to be angry, all the time. I just want us to be happy, just you and me. No one else.” – Patsy to Trevor, Part 3 “And a garden [for our two dogs] to play in.” – Trevor to Patsy, Part 3

There are very few who would argue with Patsy (Anna Nemetz) that seeking redemption and release from the world’s pain – specifically America’s apparent long-term dysfunctional state – would be a very good thing. And few would take umbrage at Trevor’s (Simon Henriques) suggestion that a retreat to Voltaire’s “tending one’s own garden” might be one source of surcease from the center not holding in the land of the brave.

Production photos by Cheno Pinter.

Foxy Henriques and Circuit Theatre have decided to resurrect their 2014 production of John Kuntz’s “The Annotated History of the American Muskrat,” currently running at Ice Factory 2016 at the New Ohio Theatre, to address the nation’s perennial brokenness. In a series of “Saturday Night Live” skits loosely structured around several through stories (the muskrat experiment, Trevor (Simon Henriques) and Patsy (Anna Nemetz) and others) playwright John Kuntz utilizes an extended metaphor counterpointing the escapades of eight muskrats with the history of the United States.

The skits include conversations between Richard Nixon and Henry Kissinger, Pat Nixon (Justin Phillips) and Betty Ford (Molly Jones), Daryl Dragon and Toni Tennille, the “Pilgrims” and the Original Americans and “appearances” from Queen Elizabeth II (Sam Bell-Gurwitz), Little Debbie, Mary Todd Lincoln, President Gerald Ford (Jared Bellot), and Jane Pierce – to name but a few.

All of this chicanery is – or is not – meant to expose the questionable underbelly of the history of America and perhaps – or not – challenge the audience to rethink history in a new way. The audience is also challenged to explore “Big Brother” in different ways. Who is watching whom? And where does the string of “watchers” begin or end?

Of the many “skits,” two stand out – one because of its cleverness and the other because of its relevance. The retelling of the Iroquois creation myth is marvelous.  Teharonhiawako, creator of the Earth, depends on the diving skills of the muskrat to retrieve the matter needed to complete creation. The ensemble cast does well here and handily engage the audience in the muskiness of mythos. And when Trevor (Simon Henriques) and Patsy (Madeline Boles) pressure Keith (Jared Bellot) to rehearse “The History of Black People in America,” the audience falls into attentive and blessed silence for the first and only time throughout the otherwise laugh-track-filled time.

The rest – most from the precarious American 1970s – work too hard for laughs. If the Circuit Theatre is hoping to re-connect audiences with the foibles of America in the hopes of redemption or at least catharsis, then silliness needs to be balanced with thoughtful exposition. Even if the Company has no agenda at all – and there’s not necessarily anything wrong with that – there needs to be some purpose in asking the audience to sit through almost three hours of flying feathers, gales of glitter, Little Debbie treats (why weren’t those sold at the concession stand?), and a frenzy of farce.

That said, if the revival of “The Annotated History of the American Muskrat” fosters a discussion about the serious racial divide in the United States and the serious deterioration of individual rights, the endeavor is worth the effort. Only two of Ice Factory 2016 shows are open to press for review. See the schedule below for the remaining shows in performance through August 13.

THE ANNOTATED HISTORY OF THE AMERICAN MUSKRAT

The cast of “The Annotated History” includes Sam Bell-Gurwitz, Jared Bellot, Madeline Boles, Christopher Fitzsimmons, Simon Henriques, Molly Jones, Anna Nemetz, and Justin Phillips.

The production team includes Scenic Design by Adam Wyron, Costume Design by Corina Chase, Lighting Design by Christopher Annas-Lee, Props Design by Amalia Sweet, Production Stage Manager Lida Richardson, and Executive Produced by Jenny Gorelick. Produced in association with Foxy Henriques, The Circuit Theatre Company, and The Ice Factory Festival at New Ohio Theatre. Production photos by Cheno Pinter.

Performances are at New Ohio Theatre at 154 Christopher St. on Wednesday July 13 at 7:00 p.m., Thursday July 14 at 7:00 p.m., Friday July 15 at 7:00 p.m., and Saturday July 16 at 7:00 p.m.

Tickets are available at web.ovationtix.com/trs/pr/958131 or by calling 212-352-3101. Tickets are $18.00 general admission and $15.00 for students and seniors. For the full Ice Factory 2016 lineup, visit newohiotheatre.org/icefactory2016.htm. Follow the muskrats on twitter @foxyhenriques. For more information about Foxy Henriques, visit foxyhenriques.com. Running time is 3 hours including two 10-minute intermissions.

Liz Chirico

• OnStage Massachusetts Critic

In the year of Hamilton I feel a touch of pity for any new show opening on the Great White Way. Waitress won’t have any problems creating a legacy for itself though. It gives you everything you could want- heart, laughs, a good cry (this was a one tissue show for me, a two tissue show for my friend), wonderful performances and songs that will firmly lodge themselves into your iPod’s most played list. 

I had the good fortune to see Waitress yesterday at the Brooks Atkinson Theater in New York. From the moment you enter the theater, you know you’re in for a treat. Literally- they sell the most delicious mini-mason jar pies (how is that not on my Pinterest board?!) and the entire lobby smells like a bakery. 

Jessie Mueller

From what I remember the show sticks pretty faithfully to the movie. As a performer myself I’m always watching shows thinking, “what theatre group near me could pull this off?” This is one of those shows that a company focused on the acting vs. spectacle would love to sink their teeth into. The orchestra is small and on-stage the entire time (though not always visible) and I loved that at times they interacted with the cast. The set isn’t flashy as there’s really only four locations to dress. That simple approach allows you to focus on the actors and the action at hand. With this powerful cast that’s exactly what you want to do. 

Everyone in this show shines and I’m not just saying that. Everyone plays up parts of their character for laughs without becoming caricatures. Nick Cordero as Earl is the right blend of jerk and something that prevented me from booing his character during the curtain call. Drew Gehling is like a bumbling, adorable cartoon character brought to life and his chemistry with Jessie was spot on. Kimiko Glenn and Keala Settle are the kind of friends every woman wants by her side and are amazingly talented actresses/singers to boot. The ensemble doesn’t speak much but they were an integral part of every scene. In fact, one of my favorite moments in the show features the ensemble women in the “Contraction Ballet”. 

For all the buzz about Jessie Mueller, which is completely deserved, Christopher Fitzgerald had hands-down the most fun with his song, “Never Ever Getting Rid of Me”. I won’t give anything away but, for those of you like me who participated in the online dating scene, some of his lines are scary close to some of what’s out there… Be ready to laugh till you cry and scream yourself hoarse at his antics. I practically jumped out of my seat to give him a well-deserved standing-o at curtain call.

Again in any other year, Sara Bareilles’ music and lyrics would have won some serious hardware. The songs have a sound that can’t be categorized as merely pop or rock or musical theater. It’s all of that and none of that and it’s just beautiful to watch and hear. “A Soft Place to Land” is a wonderful moment sung between Jenna, Dawn and Becky with one simple guitar behind them. The harmonies and blend of these voices will give you chills. I know the chills were from the song because it was 90 degrees yesterday, the theater was sold out and I was in the mezzanine where heat collects. 

By now you’ve seen or heard “She Used to Be Mine” (if you haven’t go to YouTube NOW, this article can wait) and I will tell you that while simply listening to it is powerful and good in its own right, what Jessie Mueller does live on stage is like nothing I’ve ever seen. The emotion written on her face is poured into every note she sings, every breath she takes. (Seriously that girl can hold and belt notes like nobody’s business. I don’t know where she stores that air but dang). How she manages to put herself out there like that 8x a week will stay with and inspire me for quite a while to come. 

In short don’t make the mistake I did and wait a year before seeing Waitress. While I’m sure it will run for many, many months, see it now. See it with your significant other, make a girls day of it like I did, go by yourself and make a friend at the theater even but just see it. I promise you won’t be disappointed.