Joseph Verlezza

• OnStage New York Critic

A tiny foreign nation, a people’s princess, a gay prince, an arranged marriage, a scandal, a revolution, and a fire that destroys lovers’ hopes and dreams certainly makes interesting material for good old-fashioned musical theater. “Perfect,” the opening number of the new musical “Icon,” is derivative of Kander and Ebb in style and tempo and explodes onto the stage to set an exciting tone for the story of Princess Constance - a cross between Princesses Diana and Grace. Unfortunately, about halfway through the first Act, the book by Sebastian Michael seems to lose energy and becomes disjointed and uneven in paralleled storylines and the surprise ending too easily deduced. The music and lyrics by Jonathan Kaldor seem to waver in the direction of an Operetta. The beautiful, lush orchestrations by Igor Kogan and Athan Gousios, match the royal setting and elegant costumes by Liene Dobraja, but it is difficult not to crave the romantic sounds of a string section which is missing.

 Photo by Shira Friedman.

The overall cast is superb and does what they can to keep the plot moving at a good pace, but at times they are derailed by the hesitant direction of Paul Stancato, who fairs better with some entertaining choreography that livens up the production.

Charlotte Maltby gives a believable performance as the princess, with regal stature and a strong, clear voice exhibiting pure tonal quality. Sam Simahk has that vigorous quality of an operetta character, with a beautiful, full, dramatic and romantic vocal range. Tony Sheldon serves the character of Gualtieri with equal candor and discretion. Donna McKechnie gives us a respectful Miss Vine filled with charm, confidence and vulnerability but waiting nearly two hours to hear her wonderful familiar voice is unjustified with plenty of missed opportunities for musical numbers that could easily convey her emotional performance. At this stage of development there is a glimpse of a fine piece of musical theater but that comes with a great deal of work and many revisions. See for yourself and try to catch one of the final performances as part of the New York Musical Festival. 

ICON
“ICON” is an Official Selection of the 2016 New York Musical Festival. Executive Producer/General Manager: Simpson & Longthorne Theatricals; Music Director: Jesse Warkentin; Lighting Designer: Isabella Byrd; Costume Designer: Liene Dobraja; Media Designer: Kevan Loney; Casting Director: Michael Cassara, CSA; Production Stage Manager: Lily Perlmutter; Assistant Stage Manager: Hai Alvarez-Millard; Production Assistants: Samantha Stevens; Publicist: Paul Siebold/Off Off PR.

“ICON” plays on the following schedule: Tuesday, July 26, 2016 at 4:00 pm.
Tickets are $27.50 and can be purchased online at nymf.org or by calling 212-352-3101. For more information, including the full cast, please visit http://www.nymf.org. The runtime for “ICON” is two hours, which includes one 15-minute intermission.

Michael L. Quintos

• OnStage Los Angeles Critic

Costa Mesa CA - It's pretty safe to say that Richard Rodgers and Oscar Hammerstein II's ubiquitous masterwork 'THE SOUND OF MUSIC' is one of the most popular Broadway musicals—heck, one of the most popular musicals, period—of all time. 

That is a distinction, of course, that has certainly been cemented in large part thanks to the stage show's globally popular, Oscar-winning 1965 film adaptation starring Julie Andrews and Christopher Plummer and directed by Robert Wise. That film—a staple among household movie collections and holiday TV viewing—made showtunes like "My Favorite Things," "Do-Re-Mi," "Edelweiss," "Sixteen Going on Seventeen," and many more into inescapable earworms that had the entire world and subsequent generations warbling like a nun-turned-nanny in love with a retired sea captain with seven children living in an Austrian mansion on the eve of Nazi occupation.

With the musical basically preserved on celluloid in, perhaps, a version that's closest to its desired perfection, why then would anyone even dare attempt to mount yet another national tour of the original 1959 stage show (which also features a book by Howard Lindsay and Russel Crouse)? 

Well, if you are Tony Award-winning director Jack O'Brien, it is apparently still rife with theatrical splendor.

Remarkably, he's quite right. A surprisingly well-done, beautifully-paced production that feels like a truly fresh revival of something many of us have forever seared in our brains, this brand new presentation of THE SOUND OF MUSIC—now on stage at Orange County's Segerstrom Center for the Arts in Costa Mesa through July 31—is a resplendent enterprise that is equal parts heartwarming nostalgia and entertaining, feel-good theater. Say what you will about how hokey and old-fashioned this show may be now... but I, for one, truly adore it.

Entering the theater with no specific expectations, seeing this new production of this well-known classic was, genuinely, a delightful experience that reminds one why the show, even in its barest structure, is still a smile-inducing, wonderful piece of musical theater. While it has no prospects in overtaking the film version for greatness, O'Brien's beguiling revival does make the case for being the best version of this Rodgers and Hammerstein classic that I have seen in this current millennium.

Obviously, a show as iconic as THE SOUND OF MUSIC should probably feature actors that can take on the daunting task of essaying characters many of us know vividly as if they're a part of our own extended families. Luckily, the casting gods (well, in this case, Telsey + Company) have made a wonderful discovery in Kerstin Anderson, who plays a spunky, utterly charming Maria, the rebellious postulant sent over to be the governess for the seven young children of retired Naval Captain Georg Von Trapp, here played by the regal Ben Davis. 

No doubt, there will be expected immediate comparisons to previous Marias (yes, even the one that played a magical governess in another film musical), but Anderson's take on the role is a truly enjoyable one, and she effortlessly sells the idea why the formerly naughty children and their curmudgeonly daddy all instantly take a liking to her—she's an easily likable young woman that inspires excitement, and Anderson just beams it. The way she interacts with the kids—essentially not much younger than she is, let's be honest—is totally natural and believably realistic. She is a joyful person, and, therefore, the kids learn to let out that joy, too.

Anderson and Davis lead a remarkable supporting cast that also include Teri Hansen as the posh Elsa Schraeder, the woman betrothed to Georg; the swoon-worthy Dan Tracy as Nazi-wannabe/telegram dispatcher Rolf, who (yikes) happens to be in love with eldest Von Trapp daughter Liesl, played by the spirited Paige Silvester; Merwin Foard as the deliciously overbearing music impresario Max Detweiler, whose cavalier attitude over the coming Anschluss and his determination to get the Von Trapp children in the national music festival infuriate Georg; and, finally, the glorious Melody Betts, who plays the Reverend Mother Abbess. Here, too, Betts offers a fresh take on the convent's figurehead: an older, wiser surrogate mom/BFF for orphan Maria. Their interactions feel more like an older best friend dispensing life advice to a naive younger friend. And, my gosh, her epic rendition of "Climb Ev'ry Mountain" gave me goosebumps during the show's press opening night performance.

Of course, we cannot forget about the children. Besides Silvester, the kids—who all look remarkably authentic to the ages of their characters—make for a happily rambunctious bunch that each get their brief chances to shine: Jeremy Michael Lanuti (Friedrich), Ashley Brooke (Louisa), Austin Levine (Kurt), Iris Davies (Brigitta, a role that gets a cute, story-driven expansion here), Kyla Carter (Marta), and Audrey Bennett (as youngest Gretl). 

On the technical side, this new grand-scale production of THE SOUND OF MUSIC is pleasantly high-caliber and a visual stunner. I especially love the show's simply-executed but still contextually gorgeous set designs and backdrops by scenic designer Douglas W. Schmidt—particularly the morphing flat panels that transform the theater space into different darkened rooms of the Nonnberg Abbey or the bright pop of the Von Trapp Villa. The grand wedding that is featured in the second act is simply staged yet looks about as grand as it can be, thanks to a well-illustrated backdrop coupled with Natasha Katz's expert lighting that mimics the interiors of a grand church one would expect for a Von Trapp affair. And when the towering huge red curtains with the Nazi swastika emblazoned on them drop down for the Salzburg music festival, they feel like a stunning shock to the system. 

For his part, Danny Mefford offers some dynamic choreography, particularly for Rolf and Liesl's backyard Pas de duex. Jane Greenwood's richly tailored costumes harken back to some familiar couture from the film but amps them up with a sense of luxuriance for the stage (except for the nuns and Maria's convent hand-me-down postulant frocks, of course). Most tours, sadly, skimp on such accoutrements. But in this stage show, every visual detail feels like they were customized for a Broadway house that now has hit the road.  

And this enjoyable new touring production not only looks appealing, it also sounds appealing, too. The show's 18-piece orchestra, under the baton of musical director Jay Alger, sounds lush and heavenly, bringing Rodgers and Hammerstein's magnificent score to full volume that tours rarely get to hear. Although I wish the production incorporated an opening grand overture, the luxury of hearing this orchestral music performed in this manner is enough of a perk to justify experiencing THE SOUND OF MUSIC live in a theater again.

Those in the audience scratching their heads as to why there are two "extra" songs in the production and why certain songs are sung in strange places (often by different characters) are, of course, probably unaware that their favorite movie musical of all time first existed on the stage. This touring production retains that idea, following the Broadway model much more, which involves the inclusion of two of three Broadway songs that were left off the film version: "How Can Love Survive?" and "No Way To Stop It." Honestly, the show does remind audiences why these two songs were left off in the first place. Oy. This new production does, however, include a revised version of the written-for-the-film love duet "Something Good" (replacing the bland love duet "An Ordinary Couple" from the original stage version) which is a much more welcome revision.

Overall, O'Brien's confident new take on THE SOUND OF MUSIC is a sincere, beautifully-realized production that offers up sweeping scope with the nostalgic comforts of familiarity mashed together. It moves along swiftly through various story points without a single lag, taking care to highlight its musical numbers with the historical reverence they deserve. What could have been a lazily put-together affair is instead a genuinely delightful new production that both purists and newbies can both enjoy together.

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

Photos from the National Tour of THE SOUND OF MUSIC by Matthew Murphy, courtesy of Segerstrom Center for the Arts. 

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Performances of the National Tour of THE SOUND OF MUSIC at Segerstrom Center for the Arts continue through Sunday, July 31, 2016. Tickets can be purchased online at www.SCFTA.org, by phone at 714-556-2787 or in person at the SCFTA box office (open daily at 10 am). Segerstrom Center for the Arts is located at 600 Town Center Drive in Costa Mesa. For tickets or more information, visit SCFTA.org.

Erin Karll

• OnStage St. Louis Critic

Mama Mia, here we go again!  The most recent production of the Muny season was the ABBA jukebox musical “Mama Mia”. A beautiful beach and disco ball lights filled Forest Park. The crowd was dancing and singing along to the classic songs.

Photo: Michael Thomas

Stand outs of the cast for me were Julia Murney (Donna Sheridan), Justin Guarini (Sam Carmichael), Ann Harada (Rosie), Mike Mcgowan (Bill Austin), Brittany Zeinstra (Sophie Sheridan), Jason Gotay (Sky), and Alexander Aguilar (Peper).  I know that is a lot of stand outs, but it was a great show. Murney and Gaurini had amazing chemistry and duets were filled with emotion, but only half as heartbreaking as their solos. Guarini’s voice has an edge and youth to it. When I first heard about his casting I thought that he seemed a bit young to be one of the fathers. Guarini did not disappoint and showed maturity that fit the character. Murney powerfully held the stage during her characters emotional roller-coaster. Harada and Mcgowan hit the comedy jackpot, and “Take a Chance on Me” received laughter and applause all throughout the scene. Zeinstra and Gotay helped keep the show focused and the story moving, making it more than just an ABBA cover concert. Aguilar only had a few scenes, but stole the stage each time. “Does Your Mother Know?” was funny and the dancing was impressive.

The set was beautifully done. Using the turntable to their advantage director Dan Knechtges and scenic designer Tim Mackabee created a gorgeous Greek resort; seriously I want to go there. Jessica Hartman’s choreography was wonderful. The large ensemble numbers filled the stage, but still drew your eye to certain couples or a group. The finale was amazing. Leon Dobkowski’s costumes were fantastic in the finale and a special nod for the quick change that took place after the bows.

The one issue I had with the production was the sound. I have mentioned it before, but this season the volume is quite loud. Also there were some feedback issues when a few songs were just starting. Controlling the sound for such a large outdoor space cannot be easy, but I have never seen so many shows in a row have this technical issue. The show went on and the glitches were just that, a quick few seconds of feedback.

This was a wonderful, fun, and enchanting show. The power of family and knowing yourself set to the sounds of disco works in this production. I look forward to the rest of the season from The Muny. If you attend, do not forget to vote for next seasons shows. Looks like a lot of great choices coming up. 

David Roberts

OnStage Chief New York Theatre Critic

“Do I dare/Disturb the universe?/In a minute there is time/For decisions and revisions which a minute will reverse.” T. S. Eliot, “The Love Song of J. Alfred Prufrock”

After a successful run at the Huntington Theatre in Boston, “A Confederacy of Dunces” is possibly heading to Broadway. John Kennedy Toole’s picaresque novel was published in 1980 eleven years after his suicide and the novel was awarded the Pulitzer Prize for Fiction posthumously in 1981. What an auspicious time to bring to the stage a new play that focuses on the life of John Kennedy Toole and the publishing of his now iconic novel. 

Playwright Vivian Neuwirth was Toole’s student at St. Mary's Dominican College in New Orleans and the events of her play “Mr. Toole” are inspired by that experience. In her play Lisette (Laura Butler) a fictional student of Mr. Toole (Todd d’Amour) – at St. Mary’s in New Orleans – confesses her love for her teacher and narrates the story of how the script for his novel eventually got published after his untimely death.

Photo: Todd d'Amour and Laura Butler in "Mr. Toole." Photo by Mike Dote.

Ms. Neuwirth uses an engaging trope to encapsulate the life of John Kennedy Toole – T. S. Eliot’s “The Love Song of J. Alfred Prufrock.” Mr. Toole teaches Eliot’s poem, the poem that parallels his own struggles with self-worth and self-understanding and his efforts to “dare” to disturb the universe which is his domineering and manipulative mother Thelma Toole (Brenda Currin) who refuses to accept his sexual status and blocks her son’s every effort to separate from her and individuate in the privacy of his own space. Todd d’Amour delivers an authentic and honest performance as Toole and successfully portrays the novelist’s deep longing and hunger for acceptance. His performance is the anchor for this production and provides the soul needed to capture Toole’s depression and deep sadness.

Mr. Toole tries unsuccessfully to get his novel published by Simon and Schuster and much of the play revolves around the series of rejection letters he receives, his attempts to travel to New York City to work with the publisher, and his disappointment at his mother’s insistence that he remain in New Orleans and keep his teaching position to support her and his father John (Richard Vernon) who apparently shows signs of dementia. 

The play uses flashbacks to Toole’s childhood as well as scenes at St. Mary’s, Toole’s home, the bars frequented by Toole in New Orleans, and Thelma Toole’s brother Arthur Ducoing’s (Lou Liberatore) home. George Allison’s scenic design features five LED screens that function well to establish these settings.

Director Cat Parker keeps the action moving early on in the performance, but seems to falter near the end when things begin to wobble and it is not clear whether Ms. Currin and John Ingle (who plays the writer Walker Percy who is eventually responsible for publishing Toole’s novel) are having difficulty with their lines or were not given helpful direction in rehearsal. Their important scene together in Percy’s office is not as powerful as it needs to be nor is the play’s final scene with Lisette when the LED screens seem to fail.

That said, “Mr. Toole” is an interesting look into the life of an iconic figure in American Literature and deserves a look at the Midtown International Theatre Festival.

MR. TOOLE

The cast of “Mr. Toole” includes Todd d'Amour, Laura Butler, Brenda Currin, John Ingle, Lou Liberatore, and Richard Vernon.

The creative team includes set design by George Allison, lighting design by Kia Rogers, video design by Eric Siegel, stage management by Earline Stephen, assistant director and stage manager Becky Abromowitz, dialect coach Charley Layton, and co-produced by Vincent Marano. Production photos by Mike Dote.

Performances take place at the WorkShop Theater Company, 312 West 36th Street (between 8th & 9th avenues), 4th Floor, New York, New York 10018. Subways: 1, 2, 3, 7, A, C, E, N, R, Q, W to 34th Street. Tickets are $18.00 and are available at www.midtownfestival.org  or by calling 866-811-4111 – Running time: 90 minutes.

Asya Danilova

OnStage New York Critic

The life, works and myths of Lewis Carroll laid the groundwork for Then She Fell. Written, directed, designed and choreographed by Zach Morris, Tom Pearson and Jennine Willett, the show first opened in New York in 2012 and has been on the list of the unique and most popular theater attractions ever since. This piece of sight-specific immersive theater by Third Rail Projects invites only 15 audience members per performance, which makes the experience very personal. You have to be curious and brave enough to jump down this rabbit hole, but if you do, you will be rewarded with a journey full of theater magic.  

When you enter the Kingsland Ward “hospital facility” in Williamsburg, one of the staff members gives you a set of instructions and checks your ID. You are invited to the waiting area where a nurse checks your belongings, hands you a vial of dark herbal elixir and a set of three keys. According to the facility rules, you are welcome to investigate locked cabinets and dark corners of the rooms but not allowed to open any closed doors. 

As the Doctor (Charley Wenzel) does the introduction, members of the audience are being pulled out of the room in groups of as many as four and few as one. Hospital staff and characters inspired by “Alice In Wonderland” and “Through the Looking Glass” inhabit the house and lead you from one room to another. With the help of the original music and sound design by Sean Hagerty and the lighting design by Kryssy Wright, the audience is transported to a zone of the unconscious where dreams and desires meet. 

The order of the scenes is different for everybody. I start my journey alone with Alice (Julia Kelly) in her walk-in-closet. She shows me her doll collection and asks to select my favorite one. She asks me when was the first time that I fell in love and if I ever had to tell a person that I don’t love them even if I did at least a little bit. She asks me to brush the back of her hair. 

This extreme artistic device of putting you in the scene by making you speak, do things or simply make a choice provides you with a different kind of theater experience. It certainly engages you and doesn’t allow the mind to drift away. It also makes the fourth wall thin and fragile especially in the moments when the actors are piercing you with their eyes. The effect gets only stronger when you are alone with the person in a tiny room. For me, the main event of the evening became the gaze that cast members wear, as though part of their wardrobe. This calm and steady staring is disarming and paralyzing. It has a seducing intensity but there is no object and no subject of desire, just the gaze. 

There are scenes where you are invited to assume the position that is more familiar for a theatergoer, the position of a voyeur. I’ve been told to wait in the hallway by the Doctor’s office. The door is open and I see the Doctor going through her paperwork and cabinets filled with files and tools. As she does it, she dances around the room, on the cabinets, chairs and window cell. 

Then She Fell contains numerous beautifully choreographed scenes such as this one, where dancers give the space new dimensions by employing every single surface in the room. Sometimes they literarily turn the space upside down and outside out making the familiar architectural and interior objects look like M. C. Escher’s drawings. The most spectacular illustration to my words is a duet of Lewis Carroll (Samuel Swanton) and the second Alice (Kim Savarino) on the staircase where the dancers were going up sideways, almost parallel to the ground, using the space between the staircase and the wall. 

There are other stunning visuals in the show, a lot of them build around the mirror as an object and as a metaphor of duality. I could watch the hypnotizing dance of both Alices with a semi-translucent mirror between them forever. Then She Fell engages not only your sight and your hearing, but also your smell and taste. You are offered a vial of alcoholic potion here and there, occasionally a fruit, a tiny cup of tea.            

The connection between the hospital entourage and Charles Lutwidge Dodgson’s (aka Lewis Carroll’s) story remained a mystery to me. As I was guided through the rooms and hallways of the three-story house, it seemed like two worlds exist in parallel universes and you are standing in the doorway between them. Are the characters of the novels patrons of the hospital? Are you the patient that is hallucinating the imaginary romance between the writer and his 11-year old muse? The best way to find out is to jump down the rabbit hole. After all, Then She Fell is a mirror held to you, and everybody sees something different in there.      
 
Then She Fell by Third Rail Projects runs Tuesday - Sunday at 7:30pm & 10:30pm.  Tickets are $95 - $200, available at www.thenshefell.com through September 25. Private events are also available; visit the website for more information. The Kingsland Ward at St. Johns is located 195 Maujer Street in Williamsburg, Brooklyn. For more information call 718-374-5196.

Angelica Potter

• OnStage Massachusetts Critic

Jiehae Park’s exceptionally well written play peerless offers a unique look into the college application and acceptance process that affects so many people every year. In the play we meet Asian-American twin sisters who’ve devised a plan to ensure they both make it into “the college”. It starts with them attending a new high school where they will enroll in different grades so as to not compete with each other for the coveted college spot. “M”, played by Sasha Diamond, would apply and start college first, while “L”, played by Laura Sohn, would apply the following year. Their plan seems flawless, until they find out that someone else was accepted instead of M. It is there they devise a new plan to do whatever it takes to make sure M gets that spot. As the play progresses we see that they are willing and capable of doing anything to make their plan succeed. 

In the intimate theatre space, which was easily consumed by darkness (aiding the mood of the play), the audience sat intrigued by Dirty Girl, Adina Verson, who appeared with dreadlocks and grungy looking clothes to begin the show. The obvious outsider of the school where the twins hoped to carry out their plans, she appeared and disappeared throughout the show offering disturbing insight into the twins’ future. When the twins first appear, they stand in front of their lockers spouting off about their plan. The quickness of their speech further captivated the audience. For the remainder of show we were hooked on the story described to us as “a comedy until it isn’t”. 

Photo credit: (l-r): Sasha Diamond (M) and Laura Sohn (L). Photo credit: Justin Allen

Laura Sohn and Sasha Diamond as the twin sisters L and M were fantastic. Their dialogue was unbelievably fast, but their diction was flawless and every word was clearly understood. They fully embraced their roles, diving head first into the complexity of these characters, their logic and their interpretation of reality. The actors’ connection to each other, ability to finish each other’s sentences and to seemingly have the same thought process was uncanny and made believing them to be twins very easy. Their extensive fight scene late in the play was supremely choreographed by Ryan Winkles. Adina Verson, as previously mentioned, portrayed Dirty Girl for the majority of the show and then in the final scene portrayed Preppy Girl. She was fascinating to watch because we never knew what she was going to do or say. Ronald Alexander Peet played “BF”, an African-American boy who unknowingly posed a threat to the twins’ perfect plan. Ethan Dubin was terrific in his portrayal of fellow classmates “D” and then later as “D’s Brother”. This excellent five person cast was directed by Louisa Proske who helped them find the many characteristics, vocal, physical and emotional dynamics of each character and portray them with passion, honesty and a bit of humor.  

The scenic design by John McDermott is remarkable and includes panels painted various colors that are hung on tracks and moved across the stage to create the various scenes and spaces during the play. The lighting design by Oliver Wason and sound design by Jeremy S. Bloom further transfixed the audience into the world of the play. These three elements worked perfectly together to match the fractured nature of the play and staging from director Louisa Proske. 

This show is unlike anything I have ever seen and is worth a drive that is longer than the show itself. It is insanely brilliant while totally twisted at the same time and in the best possible way. I loved the descent into madness and how it played homage to Shakespeare’s tragedy of Macbeth. This play truly is a comedy, until it isn’t and is not to be missed.  

This phenomenal production of peerless runs about 90 minutes with no intermission and plays on the St. Germain Stage at the Sydelle and Lee Blatt Performing Arts Center until August 6th. For tickets call the box office at 413-236-8888 or visit www.barringtonstageco.org 

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

David Roberts

• OnStage Chief New York Theatre Critic

“General Butler, you are fighting a war because some men saw things differently from some other men.” – Shepard Mallory

Based on true events, Richard Strand’s scintillating “Butler,” currently playing at 59E59 Theaters as part of the successful 5A Series, addresses issues of systemic racism extant in the Civil War Era and in the present – racism that threatens the very moral integrity of our nation. The play also addresses how stereotypes divide and threaten relationships. In the first scene, newly appointed Major General Benjamin Butler (Ames Adamson) receives a “demand” from Shepard Mallory a runaway slave (John G. Williams) who has “illegally” entered Fort Monroe in Virginia. The demand, reports Lieutenant Kelly (Benjamin Sterling) is to speak to Butler and to receive asylum from the Major General. Complicating the challenge is the presence of an additional two runaways who accompanied Mallory to the fort.

These three fascinating characters are developed with precision and real depth. Playwright Strand delineates their conflicts carefully and – with the help of history – creates an admirable level of authenticity. These conflicts, and those of Confederate Major Cary (David Sitler) who arrives at the fort to retrieve his commanding officer’s “property,” drive a complicated and intriguing plot that is rich in imagery and figurative language and includes heartfelt drama as well as endearing comedy. This plot recounts how Benjamin Butler deals with Mallory’s request for asylum and discloses skillfully just why Mallory knew he would win his case for asylum despite all of the legal and military odds against him. To say more would be unfair. It is enough to say Shepard Mallory is not the typical runaway slave and Major General Benjamin Butler is not the typical attorney turned general.

John G. Williams (as Shepard Mallory) and Ames Adamson (as Benjamin Butler) in Richard Strand’s BUTLER, directed by Joseph Discher, at 59E59 Theaters. Photo by Carol Rosegg.

Mr. Strand utilizes the rhetorical devices of repetition and parallelism to his advantage in his well-written script. The first several minutes consist of a prolonged dialogue between Butler and Kelly that serves not only to introduce significant exposition but layers of tropes and bits of dialogue that will reappear throughout the script. Often words like ‘protocol’ and ‘provocation’ are tossed back and forth with the speed of a tennis ball at Wimbledon. “Butler” explores the motivations of individuals who make assumptions about others based on appearance and background and individuals who choose to use stereotypes rather than reason to judge others.

Mr. Adamson (Benjamin Butler) and Mr. Williams (Shepard Mallory) portray two remarkable characters neither of whom claims to be very “likable” and both of whom are “arrogant oddities.” Yet their performances could not be more irresistible. Mr. Adamson portrays a giant of a man who knows what is right and knows he has to find the way to do what is right. Mr. Williams portrays a man in mortal danger who knows he has to use every rhetorical device in his arsenal to survive. Benjamin Sterling’s Lieutenant Kelly is the perfect foil for General Butler’s bluster and these two actors make magic together on stage. Mr. Sterling’s timing is impeccable and he imbues his character with a deep authenticity that resonates with the richness of honesty.

This stage magic could not happen without Major Cary’s visit to Fort Monroe. David Sitler’s comedic performance as the intrusive Major is just what the playwright needs to stir up the developing plot and make it even more difficult for General Butler to simply send the runaway slaves on a journey to escape certain killing. Mr. Sitler gives his character a full range of emotion and believability. Shepard Mallory knows all about the Major and warns Butler that since the visitor is “an expert in artillery” he is coming to the fort to accomplish more than retrieving Mallory for his boss. With Major Cary’s hilarious blindfolded entry and exit, the plot thickens. 

Jessica L. Parks’s set is exquisite and serves well for the action of the play. Especially welcomed is the outer room from Butler’s office. Ms. Parks has also decorated the set appropriately with charming period touches. Patricia E. Doherty’s costumes are perfect in every way, her uniform for Butler almost exactly matching those worn in his portraits. The contrast between the officers’ crisp uniforms and Mallory’s tattered slave clothing is laden with emotion. Jill Nagle’s lighting design establishes
appropriate time and mood changes. Joseph Discher directs with passion and sensitivity and brings out the best in his talented ensemble cast.

“Butler” challenges the audience to reexamine the role of presumption and stereotyping in making judgments about individuals and their worth and to revisit the urgent need to eradicate systemic racism from the fabric of the nation. One expects to see “Butler” beyond its run at 59E59 Theaters.

BUTLER

Produced by special arrangement with Eric Falkenstein, Czekaj Artistic Productions, Ken Wirth, and Catherine Adler/Jamie deRoy, “Butler” is part of the 5A Season at 59E59 Theaters (59 East 59th Street, between Park and Madison Avenues).

The cast features Ames Adamson, John G. Williams, David Sitler, and Ben Sterling. The creative team includes Jessica Parks (scenic design and props); Jill Nagle (lighting design); Patricia Doherty (costume design); Steven Beckel (sound design); and Leah J. Loukas (wig design). The fight choreographer is Brad Lemons. The Production Stage Manager is Rose Riccardi. Production photos by Carol Rosegg.

“Butler” runs for a limited engagement through Sunday, August 28. The performance schedule is Tuesday – Thursday at 7:00 p.m.; Friday at 8:00 p.m.; Saturday at 2:00 p.m. and 8:00 p.m.; Sunday at 3:00 p.m. Single tickets range from $25.00 - $70.00 ($25.00 - $49.00 for 59E59 Members). To purchase tickets, call Ticket Central at (212) 279-4200 or visit www.59e59.org. Running time is 2 hours with one 10-minute intermission.

L-R: John G. Williams (as Shepard Mallory) and Ames Adamson (as Benjamin Butler) in Richard Strand’s BUTLER, directed by Joseph Discher, at 59E59 Theaters. Photo by Carol Rosegg.

Thomas Burns Scully

• OnStage New York Critic

New York, NY - As a child who grew up in the Middle-East, my perspective on the world is different from your typical twenty-something. I won’t say better or more rounded, because there’s no way of quantifying these things, but it’s different, make no mistake. When the headlines are filled with talk of what Muslims are like, what terrorists represent, what extremism means, and how it is birthed… I can’t help but think to my time growing up in Oman and reflecting on how unsubtle the picture is. The shocking truth that travel and experience of other cultures teaches you is that people are just people.

Every society has its saints and bullies, its unfortunates and its fortunates, its lovers and its fighters, its philosophers and its shallow frat boys. Humanization of your enemy is the best prescription anyone can hope for, not because it teaches you that all people are good people, but because it teaches you all people are people. Not some archetype or headline… just a cluster of cells, blood and neuroses. ‘A Man Like You’ is a play that understands that, and Red Soil Productions’ presentation of this play by Silvia Cassini is as eye-opening, moving, and dark, as you can expect it to be. It understands the subtlety of existence and dares to humanize extremists non-tokenistically. For that it should be praised. And so I will, for the next few hundred words or so.

‘A Man Like You’ follows the kidnapping of Patrick North (Matthew Stannah), a British man working in International Relations in Somalia. He is kidnapped by a terrorist group and imprisoned by the sinister Abdi (Jeffrey Marc) and the brutal Hussan (Andrew Clarke). As days turn in to months, he has long and thought-provoking conversations with Abdi about the nature of extremism, the trappings of their various societies, and the parallels between them as people. All the while, we cut back to the North’s house in Nairobi, where North’s wife Elizabeth (Jenny Boote) is dealing with her husband’s absence, and coming to terms with the reality that he may never be returned to her. The whole affair is gritty, honest and unsensational in the best possible way.

Make no mistake, this play is not torture-porn, a plastic manufactured white-guilt play, or a melodramatic Grand-Guignol. So often these are the traps with these works, to make a thing brutal and violent with no regard for reality. But, while it is far from cozy and loving, ‘A Man Like You’ avoids all these pitfalls. Cassini’s writing and Yudelka Heyer’s direction instead speak extensively to cultural misunderstanding, and the parallels of entrapment between privileged and unprivileged cultures. Neither Abdi, nor North is outright villainized or deified, they are instead presented as two individuals, two people who under the circumstances presented to them, became the creatures that they are. Their interactions and understandings within misunderstandings, and vice verse, have to be seen to be fully understood. Suffice to say, the play speaks to honest, common humanity, without painting over either side’s atrocities.

Stannah and Marc’s performances here make the play, one can make no bones about that. They are the meat and potatoes, the ham and eggs, the black bean and chipotle mayo of this show. They are uniquely engaging, unabashedly brave, devoid of pussyfooting, and raucously uncynical, all at the same time. Put shortly, you believe they are the individuals they are pretending to be. These feel like real people having a real conversation under real duress. Also excellent is Jenny Boote as Elizabeth. While one could argue that her role in the play is unnecessary (I would not argue this position very hard, but a more cynical person than me might) she makes her role integral with an emotional performance that pulls no punches. She also never falls in to the trap of being a one-note crying-machine. Boote finds a seemingly infinite variety of ways to play scenes of torturous heartbreak, allowing each one to feel unique, and a logical evolution of the last. The only real disappointment of the play, so far as I can see, is that Andrew Clarke is underutilized. Yes, he is menacing and devilishly violent as Hussan; he plays the role fully and utterly convincingly, but it would be nice to have a human moment with him at some point. Abdi has so many, Hussan could have had one good joke to flesh him out. Anyone who has seen his work knows that Clarke is capable of such feats.

That said, this is a minor inconvenience to the viewer, and, as I have amply and unabashedly outlined above, I enjoyed this play greatly. Humanist political theatre at its finest. The production feels rich, characterful, mucky and hurtful in a real and thoroughly stimulating way. I recommend it to all theatre-goers over the age of fifteen. Younger that that may be pushing it, given the themes explored. Red Soil have done a wonderful thing here. This is probably their most grown-up and groundbreaking show to date. Not that there work was juvenile before, but this particular showing feels like they have found a new depth that their company can explore. It will be thrilling to see what comes next. In the mean time, go and see ‘A Man Like You’, it is excellent.

‘A Man Like You’ plays at the Iati Theatre at 64 E4th St. until July 31st. It is written by Silvia Cassini, directed by Yudelka Heyer and presented by Red Soil Productions. For tickets see redsoilproductions.com. Shows typically start at 8pm and tickets begin at $35.

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 performs improv comedy professionally and plays lead guitar in two bands. He is generally considered to be the thrifty person’s Renaissance man. 

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

Nancy Sasso Janis

• OnStage Connecticut Critic

“Good night ladies, good night ladies…”

Watertown, CT - Whimsicality: A Theatre for Young Actors presents their annual summer camp musical at Watertown High School. Director Devin Brown told the Republican-American that ‘The Music Man’ will be the final such production for “Whimsy.” I was pleased to catch almost all of the first act on opening night on Thursday before I had to leave for Mom Taxi duty.

‘The Music Man’ is a musical with book, music, and lyrics by Meredith Willson, based on a story by Willson and Franklin Lacey. The plot concerns con man Harold Hill, who poses as a boys marching band organizer/leader and sells band instruments and uniforms to the naive Iowa townsfolk, with a promise to train the members of the new band. In reality Harold is not a musician and plans to skip town without giving any music lessons. Prim librarian and part-time piano teacher Marian Paroo sees through him early on, but when Harold helps her younger brother overcome his lisp and social awkwardness, Marian begins to fall in love in spite of herself.

“Rock Island” was a strong opening number and “Sincere” was just a duet, but the “Pickalittle” ladies sounded great. "Marian The Librarian" was made better by fine choreography and movements involving library books, all of which were “left to her.”

What I saw of the production was quite impressive. Lisa Hamel worked her usual magic as choreographer and the young performers carried it off perfectly. The many hours of rehearsal showed in every step and Ms. Brown made lots of smart directorial choices. The large set was executed well and the lighting well done, although the sound was hit or miss for much of the first act. Thankfully, the musical track functioned well. The actors carried on regardless and for the most part, the audience could hear their lines.The costumes evoked the time period well.

Aidan Boisvert played young Winthrop and Rosemarie Mitchell was young Amaryllis. Marissa Ingerson played the mayor’s wife Mrs. Shinn and Jacob Rogotzke stepped out of the role of Shrek (that he nailed last weekend) and turned into Mayor Shinn. Both members of the town’s first family did well.

Danny Nelson played the title character’s old friend Marcellus Washurn with a twinkle in his eye. Victoria Baloni played a friend of the mayor’s wife, Ethel Toffelmier. Nate Davino played anvil salesman Charlie Cowell. 

The rest of the cast included Emily Dowling, Lindsey Dowling, Hannah Jack, Isha Patel and Agon Ismaili, Justin Canada, Kasey Ingerson, Sarah Woermer, Alexa Philippi, Cailin McGuire, Courtney Candee-Zubik, and Laura Sali. Unfortunately the printed programs were not available for opening night, so I cannot name the young actress who played the Widow Paroo; she did a great job with both her singing and her accent. 
The lead role of Howard Hill was brought to life by the talented Christopher Varanko. This young man is a natural in all of the roles that I have seen him play; he can sing, dance and act equally well. The soprano voice of Mary Ryan was such a pleasure to listen to as she sang the songs of Marion the librarian. 

The swan song of Whimsy was a good one. Best wishes to Ms. Brown and Ms. Hamel in wherever life takes them. Whimsicality's production of 'The Music Man' is at Watertown High School at 7 p.m. through Saturday. 

Photos by Whimsicality

Asya Danilova

• OnStage New York Critic

Tiffany (Vanessa Vache) has a lot on her plate on the weekend of 4th of July. She needs to organize a recommitment ceremony of her parents and bring her brother Darryl (Sidney Williams) to the event, which he resists with all the energy, remaining in his depressed and constantly buzzed mind. Tiffany’s girlfriend Jamie (Bethany Geraghty) tag along but her high sensitivity to the mess in the apartment and siblings arguing makes her a terrible help. So here we are, in a small town in Bell County, Texas, trapped in the apartment with three lost soles, watching them helping and terrorizing each other, and it’s not always evident which one it is (is it clear here?)  

Strange Country, produced by New Light Theater Project and Access Theater, is a play written by Anne Adams. She created three complex characters who’s state of being is stagnation jet there is a constant movement in the show which makes it very engulfing (?). Feisty Tiffany, portrayed by Vanessa Vache is like a launched (?) arrow, she has a goal in front of her and she is pushing hard to get there. She is very active on stage, constantly cleaning and packing, smoking in between, firing inspirational lines. Her disturbed other half Jamie played within a broad emotional range by Bethany Geraghty is the one who stirs sibling’s lives. The real dark horse in the play is Darryl brought to life by Sidney Williams. His performance is evenly mellow on the surface throughout the show yet he seems like a different person towards the end of it. 

Three wonderful actors directed by Jay Stull have an amazing chemistry and play off each other very well. Every pause is in its place and even when we are left alone, looking at the stage that everybody left, the anticipation is charged with possibilities.    

The single set designed by Brian Dudkiewicz is a scarily realistically looking apartment with junk crammed (напиханный) everywhere, faded wallpaper and greased lazy-boy. The interior portrays Darryl’s emotional state very well. The lighting design by Michael O'Connor creates seamless transitions between different times of the two days over which the story is unfolding. 

Alcohol and drug abuse, violent temper, broken marriages and children in custody of the ex spouse without visitation rights - Darryl and Jamie have a lot in common. While Tiffany is running around trying to make everything right, the two “most screwed up people in the world” are bonding. Adams doesn’t give us a straightforward answer if they are helping each other or ruining each other’s and theirs futures. Much like in life, there is no black and white, there is a constant struggle for truth and happiness and sometimes people disagree on what is right and their happiness hurts other people. 

Strange Country is running through August 13, Wednesday –Saturday at 8pm. Access Theater is located at 380 Broadway on the 4th floor (at White Street) Tickets are $15 at 630-632-1459 or strangecountry.brownpapertickets.com.

Tara Kennedy

• OnStage Connecticut Critic

Having seen Disgraced at the Long Wharf Theater last season, I was eager to see the Pulitzer-Prize winner Ayad Akhtar’s earlier work.  Akhtar’s ability to discuss Muslim-Americans relations is astute and sometimes disturbing and I was interested to see how his other works compared. For those unfamiliar with the term (like I was), “invisible hand” refers to a term used by early American economist Adam Smith (Wealth of Nations) describing the unintended social benefits of one’s actions in terms of income distribution and production. With Akhtar’s play, we see the many layers of meaning this 18th century term has in the 21st century: the invisible hand can give, take, and slap hard enough to draw blood. 

Photo: Carol Rosegg

I know for many this seems like a boring prospect for a play (financial stuff = ZZZZZZZ), but I assure you that it isn’t. As a person who doesn’t know a bond from James Bond, I found the play riveting. The plot centers on American banker, Nick Bright (Eric Bryant), who is kidnapped by a Pakistani terrorist group in order for them to secure monies for local interests. Knowing that his company won’t be able to (or plain won’t) secure his $10 million ransom (“we don’t negotiate with terrorists”), Bright offers to earn the ransom money through the commodities and futures market. Imam Saleem (Rajesh Bose – who was brilliant in Long Wharf’s Disgraced) agrees to Bright’s plan, but only if his disciple, Bashir (Fajer Kaisi), works alongside Bright to learn how to manage the organization’s finances. Luckily, Bright is a Pakistani futures market expert, so he can earn money quite quickly -  luckily *and* unfortunately. Nick’s agreement to save his skin evolves into something much more sinister; you leave believing more than ever that money is the root of all evil. 

One thing I will say for Akhtar’s writing: he doesn’t write milquetoast characters, which is why his stories are so compelling. They’re fascinating in a rubbernecking sort of way, craning your neck to see what outrageous move they’ll make next. Yet, his characters are authentic enough that we keep circling the accident to see what becomes of them. 

Bryant’s depiction of the hostage-turned-Rumpelstiltskin walked a fine line between honesty and hubris. I was shocked at times at Bright’s egotistic utterances to his captors, whispering to myself, “Don’t say THAT, you idiot!” thinking it’d get him punched, whipped, or shot in the head.  Kaisi’s Bashir was larger than life; his presence and volatility kept me on the edge of my seat.  He played a difficult character in that he had to show a tough exterior despite the chip on his shoulder.   Bose plays a remarkably different character than the one he depicted in Disgraced: Imam Saleem is composed and controlled (to a point). Besides some initial stumbles getting comfortable with accents, the performances were strong and persuasive. 

As you walk in the theater, it’s difficult not to notice the gigantic, lidded, black box on the stage. “Gives a whole new meaning to ‘black box theatre’,” quips my husband. When the show opens, the room darkens and, as if by sorcery, the box is somehow opened to reveal the set: a small cell. During intermission, the imposing box closed and we prowled around it to figure out how it works to uncover the cell of the imprisoned banker. Kudos to Adam Rigg and his clever, thought-provoking design.

Overall, the Westport Country Playhouse’s production of The Invisible Hand does not disappoint with intense performances, smart design, and thoughtful direction.  

Michael L. Quintos

• OnStage Los Angeles Critic

Hollywood, CA—In one of the most gut-wrenching scenes in the 2008 documentary film "Every Little Step"—the behind-the-scenes look at the making of the new 2006 Broadway revival of the groundbreaking stage musical "A CHORUS LINE"—actor Jason Tam is seen giving a searing audition for the role of timid Paul in front of a panel of tear-drenched casting directors. That superb audition that has been captured in the film (which left audiences weeping as well) eventually landed Tam the gig, which he has now wonderfully revived ten years later, this time on the massive stage of the 17,000-seat Hollywood Bowl for this world famous venue's annual big-ticket summer musical playing through Sunday, July 31.

Once again, Tam's beautifully delivered, tearjerking monologue—which unfolds as a young man's heartbreaking confessional recounting the painful moment when his parents decided to let him go, disappointed of his particular life choice—becomes one of the many excellent highlights of a truly sensational fully-staged production, here directed and choreographed by Baayork Lee, herself a distinguished alumnus of the original 1975 Broadway cast. 

Engaging, well-paced, aurally pleasing, and exceedingly entertaining from start to finish, the Hollywood Bowl's "A CHORUS LINE" is an exceptional presentation of this iconic show which celebrates those hard-working, ultra-talented, under-paid men and women who willingly choose a volatile career in which they sing and dance their hearts out in the background of a musical. It is set in the far out mid-70's, hence, the show is a retro-tastic trip down memory lane as it showcases a day of auditions for eight chorus member positions in a brand new musical opening on Broadway.

Much of this production's success is its decision to be as close to the full musical production as possible rather than be a mere symphony orchestra staged concert, which defies many of the rules one associates with the Bowl's summer musical. Normally, their annual production is more of an elaborate staged concert version that is altered and truncated as needed to fit not only the parameters of this venue's larger stage but to pepper it with a roster of famous, big-name actors, who are here trying their hand at doing a live musical theater concert. Most of the time, the stunt casting of A-list stars in key roles produces some pleasant discoveries. Other times, not so much.

Luckily, the opening night audience in attendance Friday night were treated to many fine performances overall that were rightly welcomed with adulation. 

For this Bowl version of "A CHORUS LINE", producers enlisted only a handful of recognizable stars—led by TV host/actor Mario Lopez—filling the rest of the large 17-member cast with a diverse group of proven triple-threat stage professionals. The resulting show is, hands down, one of the most well-performed musical productions that I have seen at the Bowl. From the execution of Lee's Michael Bennett-inspired choreography to the incredible singing performances of Kleban and Hamlisch's memorable classic songs, this is a production of "A CHORUS LINE" that can stand proudly side-by-side with any acclaimed full production of the musical, regional or otherwise.

Besides Lopez (who is no stranger himself to "A CHORUS LINE", since he made his Broadway debut as Zach in the closing company of the Broadway revival), the other big name stars in the cast also include Broadway darling Krysta Rodriguez (Deaf West's SPRING AWAKENING, TV's Smash) who gives, in my opinion, the production's best performance as Puerto Rican spitfire Diana (her exquisite solo in "What I Did For Love" certainly got me teary-eyed); teen heartthrob and R5 frontman Ross Lynch (Disney Channel's Austin & Ally) as the adorable Mark; dashing Tony Award nominee Robert Fairchild (AN AMERICAN IN PARIS) as the limber Mike; the hilarious Sabrina Bryan (Dancing with the Stars, The Cheetah Girls) as well-endowed Val, and So You Think You Can Dance choreographer Spencer Liff (who also choreographed Deaf West's SPRING AWAKENING last year) as Larry.

While much of the show is spent trying to give ample time to certain stories more than others, many of the supporting players managed to effectively make their presence known, even in tiny bits. I was thoroughly impressed by the gorgeously stratospheric voice of Mara Davi (Maggie) as I was with Cornelius Jones Jr.'s rousing riffs as Richie, Justin Michael Wilcox's spunky Al DeLuca, and the lovely "At the Ballet" trio featuring Davi, the snarky aging diva Sheila played by Leigh Zimmerman, and Bebe played by Kelsey Walston.

Also worth noting: pint-sized scene stealer J. Elaine Marcos as age-defying Connie Wong; adorkable Tiana Okoye as erratic Judy Turner; sassy Denis Lambert who amusingly milked every line as Gregory Garner; Courtney Lopez (yes, Mario's bae) as tonally-challenged Kristine; and, lastly, dance phenom Sarah Bowden as Cassie, an ex-lover of Zach's who wants to rejoin the ranks of the chorus despite Zach's insistence that she's too special to just be lost among the crowd. Her extra disco-fied "Music and the Mirror" got the crowd cheering.

And, of course, no matter what... an audience can't resist a coordinated kick-line, and this production doesn't disappoint with theirs. When the entire ensemble emerges from the final brutal cut covered in head to toe gold hues to move as "One Singluar Sensation" for its finalé, it's heavenly nostalgia wrapped in dazzling glitter. Their syncopation is so remarkable, that just yelling "Bravo" doesn't seem to suffice. 

Overall, this one's a real winner.

Follow this reviewer on Twitter: @cre8iveMLQ
 

Photos from the Opening Night Performance of "A CHORUS LINE" at the Hollywood Bowl by © Craig T. Mathew/Mathew Imaging. Review originally published on BroadwayWorld.

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"A CHORUS LINE" features music by Marvin Hamlisch, lyrics by Edward Kleban, book by James Kirkwood, Jr. and Nicholas Dante, musical direction by Patrick Vaccariello, and direction/choreography by Baayork Lee. For information on other performances at the Hollywood Bowl, visit hollywoodbowl.com.

Nancy Sasso Janis

• OnStage Connecticut Critic

“If you open your mind, Oh, the thinks you will find, Lining up to get loose…”

The Warner Theatre Stage Company invited 700 audience members to look “at life through the wrong end of a telescope” for opening night of their splashy summer production of ‘Seussical: The Musical.’ These are the words that Dr. Seuss himself used to describe how fantasy is a necessary ingredient in living and director Richard McKenna, in his main stage directorial debut, has brought fantasy to life in a big way with this whimsical, joyful and very colorful production.

Mr. McKenna got involved with the Warner Theatre when he was “just a kid,” and he never left. In fact, he considers the Warner to be a second home and the people there as a second family. Dressed in a tuxedo, this “much older kid” was bursting with pride for his cast members following the opening night performance.

The first-time director showed a knack for perfectly casting the right person for each role as he filled the large stage with local community theatre talent. He was lucky to have TJ Thompson as musical director/conductor and the pit that played one of my favorite scores included Meric Martin on guitar, Scott Friend on trumpet, Dan Ringuette on keyboard and James Allen on drums. WSC Production Manager Sharon A. Wilcox was responsible for the adorable choreography, and after she and Mr. McKenna did the curtain speech in rhyme, she served as a member of the running crew dressed as Thing 1.

I never tire of hearing the music written by Stephen Flaherty and lyrics of Lynn Ahrens, who also wrote the book for ‘Seussical’ that they co-conceived with Eric Idle. It is based on 19 of the “wubbulous” works of Dr. Seuss, but mostly Horton Hears A Who. The overarching plot reminds us that “a person’s a person, no matter how small” in such a lovely way as Jojo tries to find his way home and Horton the elephant sits on Mayzie’s large egg and watches over the Whos. 

A good-sized group actors of various sizes played the Whos and I loved when they moved together as a tight group. Shout outs to Elisabeth Leifert (‘Ragtime,’) Kerri Morris, NTT’s Alexander Tenbrink, and Claire Roberts, who played Mrs. Mayor in Blessed Sacrament School’s production of ‘Seussical.’ Another group got to play the animal citizens of the Jungle of Nool and there was a fine subset of featured dancers for “It’s Possible” and other numbers. Shout outs to dancer Jake Finch (Landmark’s ‘Billy Elliot,’) Western CT State University sophomore Katie Kelly, and the lovely Kelsey Morris. The smallest cast members were the cadets with General Gengus Kahn Schmitz (sternly played by Conrad Sienkiewicz.)

Jake Kordas was the dog of the green Grinch (Adam Fancher) and Dylan Zawisza played Vlad. Joe Guttadauro judged as Yertle, the Turtle. WCSU sophomore Raymond Cook, Theron Johnson and Michael Newman got to monkey around as updated Wickersham Brothers. Chase Collegiate junior Veronica Johnson, WCSU student Caleigh Lozito, and the talented Kennedy Morris sang backup as anime-inspired Bird Girls. 

AlexaRae Campagna (Regina in ‘Rock of Ages’) nailed the role of the Sour Kangaroo; she raised the roof on her solos and looked amazing in her one piece kangaroo costume. Mary C.Johnson joined her children onstage as the amazing Mayzie La Bird, and was, well, amazing, as usual. 

Sara Wilson, who I remembered from the ensemble of ‘Ragtime,’ did a great job in the role of Mrs. Mayor and JD Bauer was ever at her side as Mr. Mayor. Josh Newey (who was so good as Uncle Fester in ‘The Addams Family) gave a heartfelt performance in the role of the Horton the Elephant as he repeated his plaintive reminders about personhood. Samuel Everett was a bouncy and mischievous Cat in the Hat and Trevor Rinaldi was simply wonderful as young Jojo. 

It was so exciting to see Maggie Gillette in her Warner Stage debut as Gertrude McFuzz. I remembered her as Morticia at Nonnewaug High School and she is now a rising sophomore studying acting at Ithaca College. Ms. Gillette was perfect for the role of the bird who adores her neighbor Horton and goes to extreme lengths to get him to notice her. Kudos to this young actress on a smashing debut on the magnificent Warner stage. 

And then there were the costumes….Renee C. Purdy and Aurora Montenero rose to a new level of brilliance for this show. From the black leather vests for the Wickershams, to the whimsical Who and circus outfits, each ensemble was a work of art. The co-costume designers were also in charge of the spectacular wigs, hair and makeup. The multi-leveled Seuss-inspired scenery designed by Steve Houk was fine, if a bit treacherous. There were a few sound issues, unusual for this venue, but the lighting was well-executed. 

I recommend that you put this on your list of “not to be missed.” ‘Seussical: The Musical’ runs at the Warner through August 7. 

Photos by Mandi Martini.
©2016 The Warner Theatre

Nancy Sasso Janis

• OnStage Connecticut Critic

"In here life is beautiful..."

Meriden, CT - Castle Craig Players are taking packed audiences back to 1930’s Berlin in a stirring production of ‘Cabaret’ through August 7, 2016. The musical was directed keenly by Ian Galligan, with excellent musical direction by Andrew Gadwah and unique choreography by Tessa Grunwald. ‘Cabaret’ features a book by Joe Masteroff that was based on a play called ‘I Am A Camera’ by John Van Druten and ‘Goodbye To Berlin’ by Christopher Isherwood. The iconic music was written by John Kander with lyrics by Fred Ebb, the team that wrote the Tony Award-winning 'Chicago.'

I realized as I became engrossed in the story of Cliff and Sally Bowles that I have never watched the movie version of ‘Cabaret’ to the end. I learned a lot from the page in the program that featured (more than) “a few words from the director.” Mr. Galligan notes that he finds it ironic that Castle Craig is currently producing the classic American musical that he describes as a “cautionary tale... given the volatile political climate we are living in.” He calls this piece “truly moving, yet also unexpectedly disturbing” and appreciates the way “it leads you down a path that is alluring, and then you find yourself in an unexpected place.” 

The show has also evolved over time more so than most musicals, both musically and “reflective of the cultural context of its era.” Only in the most recent incarnations can the character of Cliff be truly gay. In addition, the structure of the play was streamlined for a smaller space (which is a good fit for the Castle Craig space) and has become darker to capture the sordid and decayed state of this period of German history without sugar-coating it, making for a powerful piece indeed. Not for the easily shocked, not for children, but worth the attention to be a camera, passively recording and deciding: “What would you do?”

‘Cabaret’ is presented in the converted storefront space with cabaret seating; patrons were invited to bring snack and beverages to enjoy before and during the performance. Audience members seated at the round tables were probably better able to view the stage than I was from my seat at a rectangular table perpendicular to the stage. I did get to see the fantastic opening number “Willkommen” before the final three patrons seated at my table arrived after the show had begun. 

The Kit Kat Club performers mingled on the stage for a while before the first line was spoken and it was an effective beginning. The music director played piano onstage, with cast members Arthur Canova and Oliver Kochol across the small stage on drums. Cast members Nick Ciasullo, a music teacher by day, masterfully played sax and clarinet for various numbers and the multi-talented Jennifer Del Sole played sax, clarinet, flute and accordion. The Kit Kat Band truly was beautiful. The set, constructed by Bill Westermeyer, was simple and could be rearranged quickly. Costumes were skimpy but not indecent and included many silky robes.

There was not a weak link in the ‘Cabaret’ cast; they were led so well by Mr. Galligan to bring each character to life. Jason Perry commanded the stage as the leering Emcee of the Kit Kat Club who popped up in many scenes for many reasons. Mr. Perry, a Connecticut native, made his CCP debut in what he deems a dream role and he was spectacular in it. Recent CT transplant Jessica Rohe embodied the tragic Sally Bowles and sang beautifully. Ian Lynch-Passarelli gave life to the pivotal role of Cliff Bradshaw.
 
The ubiquitous Wesley Tack nailed another character as Ernst Ludwig and Ms. Del Sole was sassy in the featured role of Fraulein Kost, in addition to dancing as one of the Kit Kat Girls. Deane Poirier was the person in the gorilla suit and Mr. Canova played Max. The Kit Kat Girls included Ms. Del Sole, Lisa DeAngelis, Chelsea Dacey, WCSU student Alex Colavecchio, Emma Czaplinski (in her eighth CCP show!,) and dance captain Allison Koppel. The Kit Kat Boys included CCSU student Jorge Melendez, UCONN senior Oliver Kochol, Nick Ciasullo and CCSU student Arthur Canova.

Special mention must be made of the two mature actors involved in the subplot of Fraulein Schneider and Herr Schultz, both of whom made their CCP debut. Betty McCready gave such a strong performance as the rooming house owner that the audience applauded as she exited one important scene. Caroll Spinney look-alike David E. Schancupp was just as convincing as the Jewish shop owner that falls in love with her. Kudos to both of them on their wonderful performances.

Mr. Galligan will be reprising his role of the disgruntled Macy’s elf in the hilarious one-man show ‘The Santaland Diaries’ that will return to CCP by popular demand in December and I hope to catch it this year. Also on tap for the upcoming season are ‘Blithe Spirit’ in October, ‘The Curse of the Hopeless Diamond’ in February, ‘The Marvelous Wonderettes’ in May and Monty Python’s Spamalot’ in late July through August, 2017.

Photos by Wendy Stephan Manciagli

Christian Jost

• OnStage Washington D.C. Critic

I’ve always had a soft spot for Little Shop of Horrors. It was the first musical I ever saw live and it solidified my dreams of wanting to be a performer. That being said, I try to see it whenever I can, especially when an institution with a reputation like SSMT mounts a production. Little Shop was first introduced to the world with a 1960 “dark comedy” film that was eventually transformed into a stage musical by Alan Menken (Music) and Howard Ashman (Book and Lyrics). It was first mounted in 1982 and reached main stream fame with its 1986 movie adaptation. This production was directed by Robin Higginbotham, with musical direction by John Clanton. This show follows Seymour Krelborn as he begins to find success in his poor community, all thanks to a new breed of plant life he’s discovered. However, things take a turn when his plant reviles it can talk and make all of Seymour’s dreams come true, including winning over the love of Seymour’s life, Audrey. However, like with most things, the plants favors come with a price.

Picture Credit: C. King Photography

This cast consisted of only 8 actors. That’s it. Now I fully understand that this is “traditional”, in the sense that that is how it was done when the show was first put up but it’s hardly ever done that way anymore, and I feel for a good reason. The stage looks so empty when you only have 5 or 6 actors on stage for the large numbers like “Skid Row” and “Suppertime”. It felt like SSMT had spent their budget for actors on the other shows in their summer stock so they decided to do this show with as few people as possible, which is very unlike them. All that being said, with what little cast they had, they still had some good performances. Jeremy Scott Blaustein excelled as the show’s lead, giving us great vocals and a defined character. Lauren Wright also did remarkably well as Audrey, a role that requires serious commitment and focus. The “urchins” were played by Dorian McCorey (Chiffon), Jordan Leigh McCaskill (Crystal) and Adia J. Seckel (Ronnette). All though at times it appeared the group struggled vocally at some points in the show, Mrs. McCaskill never disappointed, acting as the leader of the 3, she definitely gave the strongest performance of the group. Jef Mueller and Russell Rinker both also gave solid performances as Mushnik and Orin/others respectively. 

The real star of this show was the set and lights. The set was beautiful, which is ironic sense it was depicting the worst of America. Every part of the set was used at some point and it just captured the tone of the show so well. I particularly enjoyed the strong uses of green to drive home the main theme of envy/greed in this show. Kudos to Michael “Jonz” Jones for the scenic design in this production. Lighting credit goes to William McConnell Bozman, whose designs really drew the audience in. Plus everyone loved the lightning bolts shaped like plant roots!

Picture Credit: C. King Photography

My biggest issue with this show was the plant, Audrey II, both as a prop and as a character. Now I don’t believe that the plant always needs to be cast as it’s traditional race, but it needs to have that soulful jazzy voice and , in this case, Dan Morton didn’t have it. If you’ve ever seen Little Shop before then you know how important the plant is and this Audrey II felt very wooden, as if he was reading from a script. I also had an issue with how fake the plant looked, now I understand it must, obviously, look a little fake due to its nature but it was so clearly a puppet that it took the audience out of the moment. I think that was a big directing issue with the whole show, it couldn’t decide whether it took itself seriously or not. I appreciate that this show can be slightly cliché at times but the message in it is still important and it felt SSMT comically brushed over the messages to get laughs. Don’t get me wrong, this show had absolutely strong moments, it just didn’t deliver on other aspects. That can be said of all shows. 

Little Shop of Horrors is up through the end of this weekend in Winchester Va. The cast is having fun throughout and the set alone is worth the price of a ticket! Tickets can be found here http://www.ssmtva.org/. 

Asya Danilova

• OnStage New York Critic

Troilus and Cressida, produced by The Public Theater for Shakespeare in the Park has every element of a successful show if you look at them separately. Setting a Shakespearean play in the modern day is never out of fashion and is probably the safest way to do it. Employing the Tony-winning director, Daniel Sullivan was a sure thing, the cast is well picked, and the scenic and costume design by David Zinn is minimalistic and elegant. Yet it didn’t land. Not that it didn’t come together, Troilus and Cressida, is a harmonious show with meticulously staged mise-en-scènes and smooth transitions made possible by the rotating and sliding of the 6 heavy panels of the back wall.    

Although featuring excellent work by every department, the production looks generic and stuck up. The show seems very distant and self-contained. This choice rarely produces epic tragedy/comedy (it’s been attributed differently but certainly the tragic element prevails) and although it seems intriguing, it is in fact strange. 

Photo: Joan Marcus

The story of the war the between the Greeks and Trojans continuing for 7 years has love and treachery, courage and ambition – everything that makes classics timeless. But some of the situations and character’s motivations don’t translate into today’s military, which created a deep dissonance for me. Bringing the action into the modern world, hinting on Iraq and Afghanistan, is therefore completely decorative and leaves an unpleasant aftertaste of a pretentious, self indulging, western theater.    

Public’s production of Troilus and Cressida features some aggressive audio-visual effects like smoke, explosions and gunfire. The helicopters cruising above Central Park were adding some extra sound effects, which was especially appropriate in the end of the final monologue of Pandarus (John Glover). As he limps away he looks up, and his laughter gradually dissolves into the helicopter sound. I love these “reality meets theater” moments. However there was a moment of reality picking through the theater in this production which I absolutely hated and I couldn’t collect myself for a long time after the show. 

The end of the second act has a long combat sequence, which opens up with soldiers creeping toward the front of the stage and then firing machine guns directly at the audience. I was sitting pretty far but the girl next to me screamed and my heart almost jumped out of my chest. Considering recent mass shootings, blank gunshots pointed directly at the audience are not something I would like to experience, even in the theater. The naturalism of the effect is unnecessary, the fact that they are shooting at you is unjustifiably traumatizing. 

With all that said, I still would say that Troilus and Cressida is worth seeing. Shakespeare in Central Park at Delacorte Theater is an important part of New York City theater landscape. As an established brand, it always has productions of high quality, talented performers and free tickets. Just make sure you grab a chair cushion from home because it’s not very likely that you will spend this three-hour show on the edge of your seat.                           

Public’s Troilus and Cressida runs through August 14th. As always, tickets for the productions of Shakespeare in the Park are free and can be acquired one of these ways: 
-    mobile lottery (Today Tix App)
-    in-person at Delacorte Theater at 12pm on the day of the performance
-    in-person lottery downtown at The Public Theater, 425 Lafayette Street at Astor Place
-    Borough distribution
For more information please visit: www.publictheater.org/troilusandcressida/
   

Asys Danilova

• OnStage New York Critic

Presented at New York Musical Festival, Lisa and Leonardo, with music by Donya Lane, lyrics by Ed McNamee and book by McNamee, Lane and Michael Unger, has an half-baked quality to it. This circumstance is acceptable if we are ready to look at it as a showcase with roughly sketched out mise-en-scenes and some elements of scenic design. The show definitely has some potential and I can easily imagine it finding it’s audience in an intimate off-Broadway venue. But everybody, and most of all the director, Michelle Tattenbaum, has a lot of work to do. 

Photo: Matt Montath

The story is set in 16th century Florence with Leonardo Da Vinci in the middle of it. Timothy John Smith portrays the Renaissance genius with humane softness and serious ADD – the artist and inventor has trouble finishing any of his projects. His apprentice and lover, Salai (fiery Ravi Roth), is helping Leonardo organize his life, but the scatter-brained genius only gains focus when Lisa (Lizzie Klemperer) enters his life. The Florentine silk merchant, Francesco (Dennis Holland), commissions Leonardo to paint his young wife, and so the friendship between the artist and the model begins. 

During the duets of Lisa and Leonardo, “Choose One” and “Chicken Doesn’t Fly”, I thought to myself, what a nice solid story of friendship and creative collaboration between a man and a woman. But to my disappointment, towards the end of the first act the friendship quickly turned to passionate kissing on the table and to pregnancy in the second act. This made up story of the relationship between Leonardo and the subject of the famous painting has a scent of the cheap dime-store novel with a tyrant husband, helpful friend, escape and happy reunion. 

There is a second political plot line focusing on war with Pisa. Although the connection to the romance of Lisa and Leonardo is a little loose, this parallel story features some enjoyable characters. Every number with Isabella D’Este (comically vain Marissa M. Miller) is a delightful and funny showstopper. With support of her entourage and the single roll of red fabric for palace décor, Miller created probably the most lively and consistent character in the musical. 

The scenic design by Reid Thompson, as did everything in this show, demonstrated some interesting ideas but didn’t quite come together. Two taut strings above the stage had interior elements hanging from them, marking different settings: a scrap of fabric for silk merchant’s house, sketches for Leonardo’s studio. As actors entered the stage, they pulled the necessary part from the wings allowing for the smooth transitions without extra people involved. I found this quite elegant and inventive, very much in the spirit of Leonardo’s drawings. 

It seemed odd that we don’t see a single painting in a musical about a painter. Instead, we are forced to look at two banners of a cityscape, presumably cropped out from some picture of the period. They eat up a lot of space on the narrow stage and although they did a simple little trick in the end, they were very inefficient and inexpressive.                     

Chris Peterson

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

The summer seems to be the traditional time for most theatre companies to put on their annual Shakespeare productions. Some might attempt outdoor theatre, others will try put different spins on the material. The folks at the Hole in the Wall Theater are doing something a bit different, by presenting a shortened version of A Midsummer Night's Dream. 

Billed as an hour-long presentation of the show, adapted by Bill Arnold, this production contains all the necessary elements you would need to see in the show without losing too much of the content. 

While no one should walk in expecting a serious take on the Bard's work, enough fun is being had here to make it enjoyable. The cast is having a great time up there and the humor is contagious. 

The show isn't without some hiccups here and there. First, the show is far from an hour long. Including a 15 minute intermission, the total run time is just under 2 hours. So for audience members attending under the appeal that it's a quick night out, they're in for a surprise. Secondly, while the cast certainly does air on the humorous side, some of the notes they hit are either a bit too cartoonish or they hit them way too many times that they losing their shock value. 

But other than that, there is a lot working here under Kelley Mountzoures. The design of the show is what we have come to expect from HITW, colorful, vibrant and creative. The cast is also talented to rise to the challenge of the Bard's most famous comedy. 

While it's impossible to list the entire cast here, some standouts include Nick DeCrosta as Puck, Tony Palmieri as Oberon, Anne Collin as Titania and Peter Bailey as Bottom. 

I was also particularly impressed by the work of Paolo Celentano as Demetrius and Kristen Parker and Hermia. But again, the entire ensemble but a lot of fun to watch. 

The production closes this weekend, so if you're in the mood for a fun adaptation of Shakespeare, I certainly recommend this one. 

Eloise Baxter-Moss

• OnStage North Carolina Critic

Will Rogers never met a man he didn’t like.  As embodied by the most affable Jason Aycock in a performance of ineffable sweetness, I’ll wager that Will never met a man who didn’t like him.  This humble cowboy philosopher defined the gung-ho American spirit during the Great Depression as much as did apple pie and baseball.  In 1991, 56 years after his death, that spirit was resurrected on Broadway with the musical The Will Rogers Follies: A Life in Revue.  The production won Tonys for Best Musical and Score, and earned director-choreographer, Tommy Tune, his eighth and ninth Tony Awards.  The music comes courtesy of the eminent Cy Coleman (City of Angels, OHTC’s next production), with lyrics by the venerable team of Betty Comden and Adolph Green (Singin’ In the Rain), and a book by the revered Peter Stone (1776, OHTC’s last production).  In other words, the production came with a pedigree  ̶ 17 Tony’s among the creative team alone.  That proved difficult to live up to.  What struck me as problematic when I saw that original production remains so 25 years hence.

Jason Aycock as Will Rogers.  Photo by Erik Maasch.

As the title suggests, the musical employs the Ziegfeld Follies style of entertainment to tell the life story of one of its brightest stars.  Along with the Follies, Rogers enjoyed various careers as a vaudevillian, newspaper columnist, humorist, radio personality, social commentator, and stage and motion picture actor, the highest paid movie star of his day.  His folksy, rope twirling hominess and rather unremarkable personal life are not a natural fit with the opulent, over the top, camp Follies milieu.  This disconnect leads to Oklahoma’s Favorite Son being increasingly marginalized amongst the chorus girls.  It really is a revue, despite its book musical pretentions (the subtitle was added when it became clear exactly what Mr. Tune had in mind).  Ultimately, it feels as if Will has been shoehorned into a show that wants little to do with him, or perhaps the showgirls have been ill-advisedly inserted into his story.

Whatever the case, we are never given the opportunity to invest in Will emotionally amidst the razzle-dazzle.  His eventual death in a plane crash lands with the power of a chorus girl’s skirt slipping to the floor.  That’s not a spoiler. Will himself mentions the crash at the top of the show and it’s repeatedly foreshadowed by pilot, Wiley Post, seated in a box above the stage, pleading, “Let’s go flyin’, Will!”  The program credits include, “Inspired by the words of Will and Betty Rogers.”  It would seem, within this context, that whatever they had to say was either largely dispensed with or pedestrian at best.

All of that notwithstanding, a musical entertainment need not qualify as a history lesson and this production qualifies as entertainment, indeed.  Opera House Theatre Company has mounted a laudable production of this tricky piece.  Mr. Aycock, a tad youthful and cute to portray the weathered Will, is a charismatic song and dance man (Rogers was neither).  When he croons the inevitable “Never Met a Man I Didn’t Like,” with loads of disarming charm, he manages to put over what is essentially a list song of seemingly every man Will has ever met.  He serves the ballad, “Look Around,” with just the right blend of sincerity and regret without tipping into sentimentality.  The lovely Shannon Playl manages to bring warm conviction to the rather thankless, one-dimensional role of his wife, Betty.  Ms. Playl’s rather incongruent torch song atop a piano, “No Man Left for Me,” is a musical highlight.  Richard Bunting makes an effectively wholehearted, cantankerous impression as Will’s estranged father.  I only wish the score offered more for this fantastic singer.  A full-throated quartet̶̶  ̶ Bradley Barefoot, Gregory Beddingfield, Blaine Allen Mowrer and Christopher Rickert̶̶̶̶ ̶ chime in beautifully, and do some hoofing to boot, when called upon.

Director-choreographer Ron Chisholm keeps everything clipping right along in a well-paced production, greatly assisted by music director Lorene Walsh and her polished band.  Mr. Chisholm has staged this musical before and there is a whiff of carbon paper about it.  His dance routines are largely modeled upon Mr. Tune’s originals, and for the showy “Our Favorite Son,” replicated.  The production lacks the urgency that would free it of a been there, done that vibe.  Still, the ensemble is aces and goes a long way toward putting over this copy of a copy.

Debbie Sheu brings her customary eye for detail to the plethora of eye-catching costumes, with special mention to “Presents for Mrs. Rogers,” during which the Ziegfeld beauties parade representing precious gems.  Set designer Terry Collins gives us original designer Tony Walton’s stage-spanning staircase and nothing more.  Admittedly, it’s difficult to recreate The Ziegfeld Follies on a tight budget.  Greg Gelder’s perfunctory light design sometimes leaves actors in the shadows while never quite lifting the proceedings to suggest that Follies level of magicalism.  Sound designer John Deveaux finds the right balance between the cast and band, rendering the lyrics audible.

Will Rogers Follies: A Life in Revue may not be a musical for the ages.  But if it does a disservice to its subject, OHTC serves the musical well enough with their buoyant production.  Running through August 21st at historic Thalian Hall in downtown Wilmington, NC.

Nancy Sasso Janis

• OnStage Connecticut Critic

“Make a map of NYC, where I’ve been and who I’ll be, and you’ll find me…”

Hartford, CT - ‘If/Then,’ another uniquely punctuated [title of show] for my summer reviews, opened the 2016-2017 Broadway Season at the Bushnell on Wednesday evening. Hartford is the next-to-last stop in the current leg of the tour and welcomes UCONN alumna Jackie Burns (who grew up in Middletown and Ivoryton) back to Connecticut to lead the cast in this new musical with music by Tom Kitt and books and lyrics by Brian Yorkey (‘Next to Normal.’) It tells the moving story of a contemporary 38-year-old woman named Elizabeth who has moved back to New York City for a fresh start after a divorce. 

The plot is all about the choices that Elizabeth (as “Liz” and “Beth) makes that affect the trajectory of her new life. The book has been criticized as being difficult to follow, specifically that the audience has trouble keeping track of the two distinct paths as they unfold. Despite the eyeglasses worn by Liz and changes in the projections for the scenes, there is some validity to that point. I quickly chose to simply enjoy the music (and the humor) and be in the moment for each scene, and in hindsight discovered that I hadn’t mixed up the two possible life tracks at all. The work is like a complicated puzzle that eventually works itself out, punctuated with some excellent music on both of the distinct paths. The orchestra was conducted by Kyle C. Norris and four touring musicians welcomed ten local musicians to the pit to play the beautiful orchestrations by Michael Starobin. 

The set designed by Mark Wendland had the look of a very NYC fire escape and an entire snug city apartment, backed by the helpful projections designed by Peter Nigrini and Dan Scully. Contemporary costumes designed by Emily Rebholz worked well on everyone and lighting by Kenneth Posner improved the look of everything.
 
Ms. Burns is returning to many of the cities where she played Elphaba in Wicked, a role that she subsequently played on Broadway. She was also a member of the original cast of ‘If/Then’ on Broadway as the standby for Elizabeth (Idina Menzel) until it closed in March of 2105. In January of this year, the Idina Menzel lookalike joined the National Tour of If/Then as the full time Elizabeth replacing Ms. Menzel (who played the first seven lucky cities) in Dallas TX. 

I saw Ms. Menzel in her 2012 “Barefoot at the Symphony” concert on the Bushnell stage (well before she became more famous due to the ‘Frozen’ mania,) so I would have loved to experience her performance as Elizabeth if Hartford had been scheduled to be one of the first seven cities. However, Ms. Burns was superb in the leading role, with a powerful voice that sounded eerily similar to that of the very first Elphaba on Broadway and I was not disappointed in the least with anything about this touring company production. Whether singing as Liz or Beth, this singing actress raised the rafters of the Bushnell.

It was so exciting to see Anthony Rapp as Lucas, the featured role that he originated on Broadway. (The only other member of tour that was in the original Broadway cast is Tyler McGee, who plays a street musician with a guitar and other roles.) Mr. Rapp originated the role of Mark Cohen in the Broadway production of ‘Rent’ in 1996 and later reprised the role in the film version and the Broadway Tour of ‘Rent’ in 2009. He was cute and funny, and despite a comment he made on the director’s cut of the film version of ‘Rent’ disparaging his own dance moves, he danced well enough with the other members of the cast. 

Matthew Hydzik brought plenty of warmth and good looks to the role of Army veteran doctor Josh. He also appeared on Broadway as Buddy in ‘Side Show’ and Tony in ‘West Side Story.’ Tamyra Gray appeared in the inaugural season of ‘American Idol’ and also was part of ‘Rent’ on Broadway. Here she sang beautifully as Elizabeth’s friend and kindergarten teacher Kate. Janine DiVita (‘Anything Goes’) played her girlfriend. Jacques C. Smith (‘Rent’ on Broadway) was sublime in the role of Stephen and Marc Delacruz, who was the understudy for the role of David on Broadway, is now full-time in the role of the young doctor.

The other talented and very busy members of the cast included English Bernhardt (in her first national tour as Paulette,) Charissa Bertels, Xavier Cano, Trey Ellett, Kyra Faith, Corey Greenan, Cliffton Hall, Deedee Magno Hall, Mr. McGee, Joseph Morales, Emily Rogers, and Alicia Taylor Tomasko. 

This tour of what is a very ambitious production is completely professional and I loved it. If/Then’ continues at the Bushnell in Hartford through August 7. Be aware that the show contains strong language and mature themes.