Tracy Danoff

When one hears the word hero, many adjectives come to mind such as brave, adventurous and true.  They are individuals who garner admiration and even love. However, a hero can also be flawed. Occasionally those shortcomings are a result of their own self-importance and sometimes they are born from a bigger and more difficult situation outside of their control. Suzan-Lori Parks has created just such a hero in her play, Father Comes Home from the Wars (Parts 1, 2 & 3).  The play, that presents the first three in a nine-part series, is currently making its home at Round House Theatre in Bethesda, Maryland.

Michael Kevin Darnall (as Smith), JaBen Early (as Hero), and Tim Getman (as Colonel) in Round House Theatre’s production of Father Comes Home From The Wars (Parts 1, 2 & 3) by Suzan-Lori Parks. (Photo: Cheyenne Michaels)

Using Homer’s Odyssey as inspiration, Ms. Parks tells the story of the aptly named Hero. Hero is a much admired African-American slave who accompanies his master to the battlefields of the Civil War. This is no simple war story or even a straightforward retelling of the horrors of slavery. It goes beyond being a morality tale. While it certainly shows the injustices of slavery, the play explores the complexity of human emotion and human frailty.  In going off to war, Hero has much to contend with – the feelings of his fellow slaves, leaving his love behind and his complicated feelings about both his master and his place in the world. 

Ms. Parks has written a thoughtful play with language this is almost musical at times. And music is used beautifully in this production in the form of blues musician Memphis Gold (The Musician). His soul-stirring voice creates just the right tone for the piece.

Joining him, is a wonderfully cast ensemble led by Jaben Early as Hero.  Simply put, Mr. Early is superb. All at once he conveys strength and vulnerability, bravery and cowardice and inconstancy while still managing to be true. His presence on stage is so palpable, that even during the times when his character is not at the forefront, he never fully disappears.

As Hero’s love interest, Valeka J. Holt (Penny) is nothing short of fierce. She takes over the moment she walks on the stage. She is the kind of actress that makes you want to know more about the character she is playing.

The remainder of the ensemble are equally compelling but special mention should be made of Craig Wallace (The Oldest Old Man/Odyssey) and Michael Kevin Darnall (Smith). Both deliver layered performances that make them interesting to watch.

Even though the pace can be a bit slow at times, the direction by Timothy Douglas is on point. He is joined by an outstanding creative team.

Tony Cisek (Scenic Designer) is especially notable for his effective set design. His set tells a story without one word being uttered on stage. Particularly striking is his use of a ramp that leads to an elevated path.  The path is supported by what looks to be tree roots.  However, a closer look at those roots reveal that they actually look like a human form with arms held high, carrying their loads.

There are so many ways to describe Father Comes Home from the Wars. It is certainly true that the play serves as a reminder of a dark time in American history and that it is a commentary on the weakness of man. It can also be seen as call to society to not repeat its past mistakes. It is all of those things but in the end it is about one man’s journey and the choices he makes.

Father Comes Home from the Wars (Parts 1, 2 & 3) has been extended through February 28th 2016.  Ticket and show information may be found at roundhousetheatre.org

Michael L. Quintos

I must say, right off the bat, that after experiencing the most recent, rather disappointing, alarmingly less-Disney-like non-equity national tour of BEAUTY AND THE BEAST that came through Orange County and Los Angeles in the past few years, I am thrilled to exalt that there is currently a brand-new, splendid regional production of this now classic family-friendly musical worth checking out here in Southern California that easily bests that traveling iteration ten-fold.  

Not surprisingly, leave it to the creative folks over at 3-D Theatricals, Orange County's award-winning Broadway-caliber theatrical company, to be the entity responsible for it. Thank the local theater gods, because 3-DT's staging of DISNEY's BEAUTY AND THE BEAST—the 1994 expanded stage adaptation of the studio's gorgeous Academy Award-winning 1991 animated film—is a lovely, admirable production of the musical hit that features music by Alan Menken and lyrics by the late Howard Ashman, with additional new lyrics by Tim Rice.

While smartly not a total carbon copy of the original mouse-house production that enthralled huge audiences on Broadway and its subsequent Disney Theatricals-backed first national tours, 3DT’s rather complex new mounting—directed by 3-DT co-founder and artistic director TJ Dawson—is nonetheless a marvelously-enchanting reboot, even despite the myriad of unfortunate opening night technical gaffes and (almost) forgotten/missed lines of dialogue that occasionally interrupted some of the wonderment. 

With lots of innovative moving parts, clever theatrics, and dazzling special effects all criss-crossing at any given second, the show perhaps could have used another week of rehearsals and run-throughs before bowing on its scheduled opening night. Of course, surely the kinks will be ironed out for the remainder of its scheduled run at the Plummer Auditorium in Fullerton through February 21 (which will then transfer for a weekend of shows at the Redondo Beach Performing Arts Center from February 26-28).

But be that as it may, this still entertaining new production—which includes impressive visual and technical designs, a remarkably talented cast, and some lively, rather spirited new choreography by Billy Sprague, Jr.—should be another proud moment in 3-DT's history, and is a definite must-see for those few who still have yet to experience the movie's effervescent stage adaptation.

Even for newbies to this "tale as old as time"—derived from French fairy tales and folklore and have since been adapted and re-fashioned into hundreds of stories and formats in countless mediums—BEAUTY AND THE BEAST's narrative is a familiar one. For Disney's animated musical and, of course, its stage adaptation (both written by Linda Woolverton), the show tells the classic story of a vain, selfish, and unkind Prince who is magically transformed into a monstrous Beast (the laudable Alexander Mendoza) as punishment for his rotten behavior. The curse placed on him also enchanted his entire castle and its many inhabitants who themselves were transformed into various household items and knick-knacks closely related to their previous human roles.

But, huzzah, there is a way to break the spell! If the Beast manages to learn to love another and genuinely have that love reciprocated before his 21st birthday (which is right around the time the last petal remains in an enchanted rose), then the spell will be reversed. If he fails, however, he and his fellow inhabitants of the cursed castle will be doomed to remain in their current non-human forms forever.

As fate would have it, though, a smart, adventure-seeking young girl named Belle (a glowing Afton Quast), a resident of the neighboring provincial town who dreams of venturing outside the confines of her rural surroundings, has stumbled into the Beast's castle in search of her lost father Maurice (Norman Large). By sheer coincidence, the Beast had imprisoned Maurice in his dungeons days earlier for alleged trespassing. She bravely negotiates his father's release by offering herself up for a prisoner exchange, an offer the Beast accepts.

Her arrival, naturally, has the entire enchanted castle staff—which includes snarky candelabra Lumière (Dennis Kyle), uppity mantle clock Cogsworth (Joey D'Auria), flirty feather duster Babette (Melina Kalomas), over-dramatic wardrobe Madame de la Grande Bouche (the very funny Bree Murphy), and motherly teapot Mrs. Potts (Tracy Lore) and her son, teacup Chip (Bradley Bundlie)—all excited for the possibility that she may be the one to finally break the spell. 

But, alas, the pairing (at least, initially) is not looking too great: the Beast's temper and stubborn, demanding ways are just not compatible with Belle's strong-willed, free-spirited nature, and natural kindness. Then again, as we already know, these two are totally meant for each other... the prologue's question, "who could ever learn to love a Beast?" is answered within seconds.

Meanwhile back at the village—where the townsfolk have already branded Belle and her father as "odd" and "different"—the resident hunky, egotistical (and "positively primeval") bad boy Gaston (scene-stealing Cameron Bond) is hell-bent on marrying Belle, whether she likes it or not. Gaston's pint-sized lackey Lefou (Robert Ramirez) is more than willing to help with the scheme, including having Maurice forcibly committed to an insane asylum because of his hysterical rantings about a so-called Beast living in a castle deep in the forest with Belle as its hostage. 

Beautifully-mounted with marvelous musicality, familiar Disney-fied touches, dazzling production numbers, and top notch visuals, 3-DT's strong production is enhanced not only by its eye-popping, high-quality sets on loan from Gateway productions lit by designer Jean-Yves Tessier, but also Mela Hoyt-Heydon's opulent costumes—a fun mix of old-world charm and Disney-esque ornamentation (Belle's infamous gold evening gown provides a well-earned wow moment). 

In what is becoming the frequent go-to solution for show backgrounds nowadays, this production also utilizes animated projections—here designed by Andrew Nagy—to convey locales and environments, reiterating, in a way, the musical's animated movie roots. Though, while I was wowed by the spooky forests, the falling snow, and the animated flickering candles in the pub where Gaston's assets were musically celebrated, I was, admittedly, a little jarred seeing Belle and Maurice's humble home in the middle of Napa Valley Wine Country for some reason (maybe it was just me, I digress). 

Smack-dab in the center of the production is its dramatic, towering show-piece: a multi-level, multi-use castle set that spins 360-degrees all throughout the show to represent various parts of the Beast's enchanted home. The cleverly-designed set is used so dynamically and with methodical forethought—morphing into different, believable new spaces with every turn—that it almost felt like another character itself (extra kudos to the its library transformation—totally bought into the magic!). 

Sound-wise, this show's musicians didn't feel as "muzzled" from the pit as previous productions. The sound mix provided by Julie Ferrin, despite a few mic and sound hiccups, allowed the lushness of the show's 18-piece orchestra under the guiding baton of musical director Julie Lamoureux to lovingly envelope the cast's lovely voices in glorious harmony.

And speaking of the cast, besides its well-cast leading principal actors led by Quast and Mendoza (each blessed with beautiful singing voices), BEAUTY AND THE BEAST's supporting cast is also populated by immensely talented performers. Lore's solo work in the show's title ballad had me tearing up a little, while Bond's go-for-broke outrageous portrayal of Gaston is so gosh-darn winning that it's actually enjoyable to keep rooting for his villainy. The comedy stylings of Murphy, Ramirez, D'Auria, and Kyle are also highlights and provide well-timed levity with their scenes. Romantic in the right places and downright hilarious in others, this kid- and adult-friendly production is satisfying entertainment.

Overall, 3-DT's regional production of this Disney staple is definitely a well-done production worthy of the similarly loud cheers that have already been showered on this company for more than six years. With the shocking recent news that 3-D Theatricals will soon be vacating its Fullerton home after this season ends to become Cerritos' resident theater company starting this fall, it's a little sad to think their Broadway-caliber productions won't be "OC-based" for much longer. OC's loss is certainly Cerritos' gain, and I'm pretty confident that 3-DT fans will surely drive the extra quarter hour to check out their future productions if BEAUTY AND THE BEAST is any indication.

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

Photos of 3-D Theatricals' presentation of DISNEY's BEAUTY AND THE BEAST by Isaac James Creative. Review originally published for BroadwayWorld.

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Performances of 3-D Theatricals' Production of Disney's BEAUTY AND THE BEAST continue at the Plummer Auditorium in Fullerton through February 21, 2016, then transfers to the Redondo Beach Performing Arts Center for a limited engagement February 26 - February 28, 2016. For tickets or more information, call 714-589-2770 or visit 3DTheatricals.org.

Vicki Trask

It seemed like such a good idea at the time. You see them across the read-though table and they smile at you. Before you know it, you’re exchanging numbers and texting through rehearsal. Then tech week comes and tension grows as the sleepless nights become more frequent. By opening night you’re excited again; you’re doing a show with your significant other! That’s awesome because you get to spend all your time with them without having to shell out for date night. Besides, acting out that dramatic love scene is so much easier when you have that chemistry backstage. But half way through the run something changes. That on-stage chemistry is just a little bit off. You start avoiding each other in the green room. All that PDA that everyone complained about is replaced with arguments or bitter glances. The relationship is ended but you still have a show to get through so you either become an on-again-off-again couple or you try damn hard to step on to that stage and leave all the drama behind.

This is an exaggeration, of course, but what I just described is a “show-mance”. That ever-debated relationship that tends to begin and end within the rehearsal and run of a show. It’s the crush on your fellow cast mate that fades away whenever you’re not in the same room. The sexual tension that boils up when you spend every day with the same people. It seems like such a good idea until it all falls apart.

I’m speaking to you as a cast member who has seen her friends go through all the many stages of show-mance, sometimes multiple times per show. The gushing and stumbling, the public fights, the hand holding backstage; I just have one request:

Be careful.

In high school, it was almost expected that when you get a bunch of teenagers in a room and allow them to explore their emotions and their bodies, someone is going to have a crush or have sex or get their heart broken. But you’re not in high school anymore. You’re an adult working with other adults who are presumably here because they want to put on a good show – just like you.

Absolutely; find someone attractive, develop a crush (do all that dramatic stuff) but maybe wait to explore a relationship. When you’re with the same people day in and day out and you’re in a position where you’re required to be emotionally vulnerable, you’re not always thinking clearly.

My first piece of advice is to wait until a show is over to pursue anything real. A lot can happen between that initial crush and strike, and there’s nothing worse than ending a relationship and then having to do a scene together. But if you are going to go after that dream date a month into the rehearsal process, please be professional. Whether it works out or it doesn’t you still have a show to do and as much as we hate to admit it, our personal lives absolutely affect our performance on a day-to-day basis. I think if you are going to go after a show-mance, be kind to each other. Don’t forget that there are two of you in a highly emotional profession. Don’t let tech week stress get to you and keep the PDA to a minimum – there are two of you in this relationship, not twenty-two.

It really comes down to keeping a clear head. Use your best judgement then take a leap of faith and pray to god you don’t screw it up.

Oh and Happy Valentine’s Day.

Photo: Shakespeare Theatre Company

Thomas Burns Scully

Charles Manson. Even to this day, nearly forty years after the events that made him infamous, the name still speaks to media outrage, the decrying of humanity, and sheer unheeded brutality. Manson has been immortalized in pop-culture as an ultimate boss-fight villain, be it by Duchovny, Harrelson or Marilyn, we all know the name and we all know what he did. But we often forget that he wasn’t a solo act. Manson was an intensely charismatic man who garnered a devout phalanx of zealots around him. He may have been the centre that couldn’t hold, but he never did what he did alone. This is where new play ‘You Are Perfect’ picks up the story, in the jail cell of Manson’s own ‘Sexy Sadie’: Susan Atkins. Her real-life story, historically, is very interesting, and this new play aims to tell it. She testified originally that she had never committed murder during the ‘Helter Skelter’ killings, but later, after a meeting with Manson, recanted her testimony and insisted that she did. Then later re-confirmed that she had been present and assisted in detaining the victims, but never actually committed murder herself. She spent forty years in prison, appealing regularly for parole on these grounds, but never won it, even at her final appeal when she was in the final stages of terminal cancer. So what does the play lend to this story?

‘You Are Perfect’ is a fictionalized account of Susan Atkins, in her jail cell, alone with a good samaritan, an older women encouraging her to stick to her original testimony. They spend hours talking and trying to get to grips with Susan’s decision to recant her testimony and, in doing so, earn a life sentence. Susan tells the stranger the story of her seduction by Charlie, life with the Manson family, and why she could never betray them. All the while, the apparition of Manson (and occasionally Jesus) appears to Susan, and pushes her right back in to the pit of her loyalty.  The unidentified woman keeps trying to convince her to betray the family, but Susan’s attachment to them is strong. Gradually the world of the play dissolves more and more into the unreality of Susan’s mind, and the conclusions seem to reflect more on the mysterious woman in the jail cell than they do on Susan, or even Manson…

There’s a fair amount to like here. The performances, on the whole, are good, made more profound by the casting choices. The young Susan Atkins (ably performed by Carlotta Brentan) faces off against Nancy Wolfe as the mysterious woman. Nancy Wolfe may be know to some of you as the woman who played Susan Atkins in the 1970s TV movie ‘Helter Skelter’. So onstage you, quite literally, have two Susan Atkins facing off against each other. That’s juicy for a start. Brad Burgess is suitably sinister and koo-koo-bananas as Manson, but the meat of the play is between the two women in the jail cell. Manson, for once, takes back seat. The set is also interesting, though a little underutilized. The jail cell is minimalist and placed on a slightly raised rostrum. It is marooned amid a sea of red sand, with white projection panels in the back and to the sides. It all looks good, but the panels are used actively a precious once during the play, I was expecting a ‘Natural Born Killers’ ode of moving rear-projection and dystopian imagery, but alas. It all still looked good, but, oh, the possibilities…

Cyndy A. Marion’s writing of the play is interesting. She has clearly researched the material thoroughly. If anything, maybe a little too thoroughly. She assumes a level of knowledge that the audience may not necessarily have. I was certainly behind on a few of the events preceding the play, and could have done with a few more cliff-notes. That said, her knowledge allows an entry level of understanding in to the characters as people (and not historical figures) that perhaps a more educationally concerned production wouldn’t allow. It’s all about balance, and, while not wrong, I feel like the balance of fact and inference could have used a slight shift for the audience’s benefit. That said, all that was on stage I found engaging and interesting, if occasionally confusing. So there is that.

On the whole, I would say the play works as a 21st century look at the Manson story, and the female presence involved therein. I think it explores some territory narratively in a way that hasn’t quite been done before. Mainly by, as I said before, taking the focus of Manson, who, Jesus and Sonic the Hedgehog knows, has already had far too much of the limelight for anyone’s taste. I definitely found that refreshing about the play. That said, my main complaint is that, while it is good, it doesn’t go far enough. Despite its movement to probe deeper in to the mind of Susan Atkins and the mentality of someone brainwashed by a charismatic psychopath, it didn’t leave me with a particularly fresh insight into manipulation or cult mentality. I really wanted the play to twist what my sense of right and wrong was. I wanted, for want of a better phrase, for the play to make me believe in the message of Charles Manson, so that I could really, truly empathize with a woman who had her life ruined life by a flagrant psychopath. However, Susan’s relationship with Charlie is never portrayed as anything other than toxic, occasionally sexy, and obviously sadistic. There’s nothing wrong with that, and certainly I’m not looking for someone to write a story that makes Manson out to be a hero. But a little more moral ambiguity would have just offset my internal organs enough to make me feel uncomfortable looking myself in the mirror, and I like it when plays make me do that.

So, the overall verdict? ‘You Are Perfect’ is not perfect, but it is also far from bad. There’s certainly enough drama here for a regular theatergoer, certainly enough tainted hearts for a nihilist to enjoy, and definitely enough weirdness for the freak in most of you. It occasionally lacks in providing historical context, and where I wanted it to go full ‘Clockwork Orange’, it instead only went ‘Da Vinci Code’ (Controversial in theory, but in practice fairly tame), but I can forgive that for the intrigue it stirs up regardless. More could have been done visually, but it is also not visually dull. Worth a punt if you’re into murder, Manson and muliebrity. If you’re not, you might still get a kick out of it, try it and see.

‘You Are Perfect’ runs at the WorkShop Theater (312 W 36th St), produced by White Horse Theatre Company, until February 19th. Tickets start at $18. For more info see: whitehorsetheater.com

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 and other smaller organizations too numerous to mention. His writing has been performed on three continents. He is generally considered to be the thrifty person’s Renaissance man. 

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

Amanda Christine

Following in their recent tradition of presenting theatrical adaptations of iconic literature, the Downtown Cabaret Theatre's latest foray is F. Scott Fitzgerald's The Great Gatsby. 

The casting in this production is near perfect, not only in look but talent. It's just a shame that Simon Levy's adaption constantly gets in the way. Levy's distillation of the language of the text might make it easier for audiences to understand, but in effect, also muddles the narrative. 

But the cast and design team of this production are not at fault for this and thankfully, it doesn't get much in the way. While he is not the title character, this show's weight is on the shoulder of Eric Regan as Nick Carraway. Regan delivers on just about every note here. He's fantastic in both providing the narrative and showing the duality of feelings towards Gatsby that Carraway has. 

Chris Kozlowski is also wonderful as Gatsby. Visually, he's everything you would imagine Jay Gatsby to be, and thankfully Kozlowski has the talent to breathe life into the role. Chelsea Dacey is also quite striking as Daisy Buchanan. She skillfully brings out Daisy's energy while teetering on the edge of a breakdown. 

The entire cast is excellent, so finding standouts is more a challenge than usual. However praise must be mentioned for Kristin Gagliardi, Stanley Geter, Kevin McNair and Lisa DeAngelis who were perfect in their roles. 

The rest of this incredibly strong company of actors includes T. Sean Maher, Lindsay Johnson, Travis James, Kitty Robertson, Qesar Veliu, Audrey Burns, Lucas Cafaro, Jessica D’Amato, Hyten Davidson, Shalina Grenardo, Emma LaPlace, April Lichtman, Jessica Mount, Jason Parry and Cynthia Rivera. 

This production is a perfect example of what we've come to expect from director Julie Bell Petrak. From casting tendencies, pacing, emphasis and even original music from Christopher Cavaliere, which works very nicely here. 

The design elements here are also some of the best DCT has displayed. The costumes by Jessica Camarero might as well have been another character. Phil Hill's lighting and Christopher Gensur's sound designs were timely and set the tone perfectly. I also have to commend Josh Cardozo on his choreography during the party scenes. 

While some Fitzgerald purists might not love the text, there's no denying that this is a strong overall production and I certainly recommend seeing it. 

The show runs thru Feb 21st. For tickets and information visit MyCabaret.org or call the box office Mon - Fri, 10am – 5pm, (203) 576-1636 Option 0.

Nancy Sasso Janis

The students in the Warner Theatre’s Performance Lab presented their opening night performance of ‘Play On!’ on Friday evening at the Nancy Marine Studio Theatre, down the block from the Warner Theatre in Torrington. This comedy in three acts was written by Rick Abbot as what director Isabel Carrington calls a kind of “love letter to community theatre.” It is a play about putting on a play that is a unique and fun look behind the scenes. Every crazy episode, reference, and line seemed perfectly accurate, even to someone who has a limited number of credits on their theatrical resume. It follows the journey that a group of present day community actors takes while trying to produce a mediocre mystery entitled ‘Murder Most Foul.’ If you think the dress rehearsal runs badly, wait until you get to see their opening night. 

The best part of P-Lab productions are always the admirable performances of the teens involved in this class at the Warner Theatre’s Center for Arts Education. I probably have said it before, but I enjoy watching Ms Carrington watch the performances of her teenaged thespians. I never get tired of hearing her laugh at the very funny lines as she sits next to the sound technician; it is probably how I would react if I ever were to serve as a director of a productions by young actors.

So high school freshman Meghan Sullivan makes her P-Lab debut and plays Aggie the harried stage managers to HS freshman Jessica Lay as the director of ‘Murder Most Foul.’ Junior Catherine MacKay is perfectly cast as the kooky playwright Phyllis and freshman Aspyn Bean is her vapid assistant named Dahlia. 

Junior Connor Picard, who I am convinced can do anything, is Henry Benish who plays Lord Dudley. His plump wife Polly, who tries mightily to play Lady Margaret, is brought to life by Sacred Heart University junior Emily Creighton. Freshman Allison Rau is quite cute as the young student playing Doris the Maid.
 
High school junior Charlie Rau is an actor named Saul who plays Dr. Rex Forbes. Sophomore Nicholas Calabrese plays Billy who appears in the play as Stephen Sellers. Sophomore Hannah Begley plays Louise Perry and Morgan Rinaldi, a freshman, plays Violet/socialite Diana Lassiter. 

The set that grows into a full English drawing room was designed by Les Ober and Ms. Carrington, with the director and her husband Bif Carrington serving as set dressers. Costumes (both street clothes and period costumes) were designed by Johanna DeZurik and Ms. Carrington. Mr. Ober also did the lighting design; I was pleased to sit near both Mr. Carrington and Mr. Ober on opening night, while everyone else was next door rocking out with the cast of ‘Rock of Ages.’ The volunteer ushers carefully checked to make sure that every patron was showing up at the correct venue, something they probably do whenever the Warner is running shows on both of their stages. 

Come see the hysterical "love letter to community theatre", PLAY ON!, presented by the WTCAE Performance Lab troupe. This weekend only at the Warner's Nancy Marine Studio Theatre. For anyone who loves theatre, this madcap farce is a blend of ‘Noises Off,’ ‘Clue,’ and ‘Waiting For Guffman.’ I promise you'll laugh... a LOT! For tickets, visit www.warnertheatre.org.
 
Photos courtesy of WTCAE

Thomas Burns Scully

Children’s entertainment is a tricky thing to pull off. Even today, the biggest companies in the world, with the most money to spend, and the best talent you can buy with that money, can still get it wrong. I’m looking at you ‘The Good Dinosaur’. Children’s theatre is even harder. Take a tiny human with a limited understanding of social discipline, and more concentrated energy coursing through them than a can of Red Bull, and then get them to sit still, in the dark, surrounded by colorful stimuli and loud noises? That’s a tough gig. I’ve worked in kids’ theatre a fair bit, I know the challenges, so when I knew I was told I was going to a kids’ sock puppet show, I was a little skeptical. However, I was pleasantly surprised by what I witnessed, and will now describe to you why ‘A Sock’s Fables’ by the Paper Canoe Theater Company is worth going to see.

What is ‘A Sock’s Fables’? As the title suggests, it is a retelling of two of Aesop’s fables as acted by socks. Namely: ‘The Ant and the Chrysalis’ and ‘Androcles and the Lion’. Nimble sock puppetry, and the fast work of literal stage-hands brings these stories to life, accompanied by light acoustic music (provided by Billy Bouchard). Sing-alongs, video projections, and even stand-up comedy interludes by Sarah Silver-sock fill out the distinctly un-padded forty-five minute runtime. Everything holds together nicely, the seemingly makeshift stage is surprisingly functional, the stories don’t lag, attention is held, and children are entertained. And so was I. Essentially, everything you need.

Everything about this show is simple, but effective. The puppets are simply made, but used well. The songs are uncomplicated, but performed with heart. The sets are basic, but also colorful and inventive. I can’t really find a fault with Greg Steinburner’s writing, Tami Stronach’s choreography (who you may know as the Childlike Empress from ‘Neverending Story’), or any of the performers’ work. Maybe one or two sound problems hearing the actors from behind their puppet-stage, but those issues were limited, and only really a problem when the children in the audience were being noisy. (As usual, the most frustrating thing about children’s entertainment is actual children). I had a very pleasant forty-five minute show and I’m struggling to find more to say. All is well here.

I suppose if I were to wax on about something it would be Tami Stronach’s ‘Sweet Potato Legs Dance’. Again, it’s simple, but joyful. Like a more evolved version of Charlie Chaplin’s famous ‘dinner-roll’ dance, she uses two sweet potatoes on lightly trousered stick legs to perform a semi-acrobatic dance while the Androcles puppet (Argyocles) sings the ‘Mr. Bojangles’ song. A standout moment in this compact little show, delightful in its own little way. 

If you want to get your child interested in theatre, this could be a very good place to start, particularly if your child is very young. There are no difficult demands made of them, they are allowed to sit or stand on play mats just in front of the stage, or on parents’ laps, whatever’s easiest. The performance is stimulating and fun, enough jokes thrown in for adults without pandering to them, enough color to be visually stimulating, but not overstimulating, and it’s all over in forty-five minutes, about the length of a young-child’s attention span. On top of that, the children are free to interact with the performers following the show and take part in a puppet-making workshop. I didn’t stick around for this, because I get competitive when I do arts and crafts around other children. This was bashful when I was seven, now that I’m in my twenties it’s considered churlish. That said, I’m sure it was very fun, and almost certainly a good move to get kids actively involved in the practice of what they just saw. 

So, all-in-all, this is a nice little contribution to children’s theatre in Brooklyn, and an ideal show for theatre-conscious parents who want to instill those values in their children. If you’re over twelve and not accompanying someone younger, this is probably not for you, but if you are accompanying a child you will almost certainly enjoy yourself. I can’t speak personally for the children who saw it, but they all seemed to be having a good time. The moral of this story is that ‘A Sock’s Fables’ is worth a look.

Triskelion Arts presents Paper Conoe’s ‘A Sock’s Fables’. The show runs every Saturday and Sunday from February 6th - March 13th at 10:30am at the Muriel Schulman Theater, 106 Calyer Street, Brooklyn. Tickets are $15 online and $20 on the door. The Puppet Workshop is included in price of admission. For tickets go to triskelionarts.org, for information on the show go to papercanoecompany.com.

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 and other smaller organizations too numerous to mention. His writing has been performed on three continents. He is generally considered to be the thrifty person’s Renaissance man. 

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

Erin Karll

I have never been to the Act Two Theatre, but like many regional shows I have attended the atmosphere was warm and welcoming. The building was easy to find as it is attached to the city hall. They had friendly staff everywhere to lead the new comers like myself in the right direction.  I am happy to say that they are hosting a Deaf Night at the Theatre on February 20th with interpreters for the show and volunteer signers around the theatre for any needs! It should be a fun filled night for everyone with access for all! Check out acttwotheatre.com for details on this event and other shows for this season. 

Now on to the bee! I found this production is funny and fresh, and enjoyed the audience participation. The last minute spellers were all wonderful sports and had a blast onstage. Much of the choreography (Rachel Lampert) was designed so the actors could interact with the audience, sometimes very personally (looking at you two “Chip” and “Marigold”).  This is one of those shows where you need to keep your eyes peeled all over the house. The action is fast paced and fills the room, flowing off the stage and into the seats, adding to the excitement.  The set was filled the stage and was fully used. I caught myself watching for all the moving parts as the actors played other characters in flashbacks.

The harmonies from this cast were stunning in the opening number and in “The I Love You Song”.  Ryan Wood and Theresa Hermann added to “Olive’s” beautiful voice.  Nathan Robert Hinds (William Barfee) kept my attention with just a facial move and a simple “I know.” Kurtis Heinrich (Leaf Coneybear) hit the jokes without going overboard and had the best exit I have seen in a while. Lindsay Gingrich (Olive Ostrovsky) was sweet, with an air of confidence that matured her character in a believable way. Michael Barrows-Fitzgerald (Vice Principal Panch) and Grace Langford (Marcy Park) had amazing delivery on some favorite lines of the show.

Alex Dyer (Logainne Shwartzandgrubenierre) had the perfect mix of humor and sadness to show her characters layers.

There were some technical issues with microphone feedback and a light cue. They were small and handled quickly by this wonderful group.  Live theatre people!  It is almost like magic seeing this well-rehearsed crew trouble shoot on the fly. Working with the unknown is where theatre people thrive and the Act Two theatre did an amazing job with this charming and hilarious show.  Bravo to the whole cast and crew.  

David Roberts

There is nothing better than listening to an actor deliver Shakespeare’s lines with unbridled passion and the natural “heartbeat” rhythms inherent in the Bard’s iambic pentameter. And that is precisely the way veteran actor Len Cariou delivers important scenes from “Twelfth Night,” Henry V,” Richard II,” “Love’s Labour’s Lost,” “Othello,” “Taming of the Shrew,” Much Ado About Nothing,” “Julius Caesar,” “King Lear,” “As You Like It,” and “The Tempest.” Mr. Cariou pairs Shakespeare with songs from Broadway composers that either resonate with Shakespeare’s texts or provide an interesting contrast with the thematic content of the lines from the plays.

With Mark Janas at the piano, Tony Award-winning actor Len Cariou stars in the Amas Musical Theatre World Premiere production of Broadway and The Bard, an evening of Shakespeare & song, presented in association with Alan Siegel Entertainment.  The limited six-week engagement continues through March 6, 2016 at the Lion Theatre at Theatre Row.  Photo credit:  Carol Rosegg.

Highlights of these pairings are Henry V’s soliloquy (“Henry V, Act III, Scene 1) with “Applause” (from “Applause,” Charles Strouse/Lee Adams); Richard II’s soliloquy (“Richard II,” Act III, Scene 2) with “If I Ruled the World” (from “Pickwick,” Cyril Ornadel/Leslie Bricusse); Benedick (“Much Ado About Nothing,” Act II, Scene 1) with “Nice Work If You Can Get It” and “How Long Has This Been Going On” (“Funny Face”), both songs by George and Ira Gershwin; and the fortuitous pairing of Shakespeare’s Sonnet 29 (“When, in disgrace with fortune and men's eyes”) with Leonard Bernstein’s “Middle C.”

Mr. Cariou and Mr. Janas are a successful team and have a genuinely good time working together. This authenticity and pure honesty translate to the audience in remarkable ways. This synergy is perhaps most evident in the stunning pairing of Jacque’s soliloquy from “As You Like It” (Act II, Scene 7 – All the world’s a stage) with “September Song” (Kurt Weill/Maxwell Anderson). The iconic stage actor and accompanist, in collaboration with director Barry Kleinbort, triumph in achieving Mr. Cariou’s idea of combining his two great loves – Shakespeare and the American Musical. The eighty-minute melding of superb soliloquy and memorable song could not be finer.

One wishes that the abovementioned pairing would have served as the fitting conclusion to the evening’s enchanting offerings. Instead, the team chooses to close with a more comedic pairing of Prospero’s soliloquy from “The Tempest” (Act IV, Scene 1) with Cole Porter’s “Brush Up Your Shakespeare” from “Kiss Me Kate.” It might have been a “far, far better thing” (Dickens indeed!) to have placed that pairing earlier in the program. Fortunately, this does not detract from the overall effectiveness of the team’s clever convention. 

“Broadway and the Bard” has a short run that is scheduled to close on March 6. It would be a good thing to secure tickets now.

BROADWAY AND THE BARD

The creative team for “Broadway and the Bard” is: Josh Iocavelli (sets), Matt Berman (lights and sound), and Karen Parlato (Production Stage Manager). Production photos by Carol Rosegg.

The performance schedule for “Broadway and the Bard” at the Lion Theatre (410 West 42nd Street) is: Tuesday at 7:00 p.m., Wednesday at 8:00 p.m., Thursday and Friday at 8:00 p.m., Saturday at 2:00 p.m. and 8:00 p.m., Sunday at 3:00 p.m. Tickets are $70.00 and available at Telecharge.com/ (212) 239-6200. Running time is 80 minutes without intermission

Angelica Potter

Tinker to Evers to Chance by Mat Smart and directed by Sean Daniels is a captivating story about love, loss and baseball, but most of all hope. The hope felt by a diehard Cubs fan in 2003 when she believes that this will be the year the baseball team will finally make it to the World Series and win for the first time since 1908. The hope felt by a daughter wishing for her mother to come home. The hope of a caretaker praying that he didn’t cross the line and longing to make things right. While this play explored a variety of emotions, time periods and connected characters, the most prominent piece that tied it all together was hope. 

James Craven and Emily Kitchens. Photo by Meghan Moore.

In the fall of 2003, Lauren, played by Emily Kitchens, travels to her mother’s home in Chicago from her home in New York City so the two of them can attend a pivotal playoff game of their beloved Chicago Cubs. She arrives at the apartment, with a view of Wrigley field, to find not her mother, but her mother’s personal care assistant RJ, played by James Craven. They soon discover Nessa, Lauren’s mother, has disappeared without a trace and they have no idea why she left or where she went. The only clues they find are those in a play she has written about Johnny Evers, the Cubs’ second baseman. Over the next six months Lauren forms a bond with RJ keeping him in the loop on discoveries she makes in regards to her mother’s disappearance. Even when it’s clear to them that Nessa is never coming home, Lauren never gives up hope that her mother will one day return to her. 

The cast of two portray multiple characters throughout the play including Nessa (Lauren’s mother), Florence (Nessa’s Grandmother), Johnny Evers, and Mrs. Spoor (Johnny Evers’ Nurse). Using various costume pieces the two actors transform to portray the other characters over a 97-year time span. Both Kitchens and Craven are dynamic actors who bring life in colorful, emotional, and at times amusing ways to the variety of characters they play. One of my favorites was Craven’s dainty portrayal of Florence as she meets Johnny Evers in 1906 while working in a drugstore on the South Side of Chicago. Donned in a white apron his mannerisms and vocals wonderfully portrayed the young Florence who Evers gave his baseball jersey to. Evers, in this scene, was played by Kitchens who later portrayed him again after his stroke. Kitchens’ portrayal of Evers in both scenes was interesting to watch, but my favorite character she portrayed was Nessa in a scene where she meets Evers (played here by Craven) for the first time and he signs the jersey he had given to her grandmother many years earlier. This scene was poignant and very well done by both actors.  

This play draws the audience in from the beginning and is able to keep their attention throughout. One noteworthy sequence occurred when neither actor was on stage and all the audience heard for a few minutes was an audio recording of the 2003 NLCS Game 6: the Cubs against the Marlins. It was a well done addition to the play that brought to life the baseball theme and how important it and this particular game was in the lives of Lauren and Nessa. 

While this play was not my favorite of MRT’s season, its’ message of hope and never giving up on someone or something, is one that has stayed with me.

Tinker to Evers to Chance plays at Merrimack Repertory Theatre (Lowell, MA) until March 6th with performances Wednesdays through Sundays. Tickets range from $60- $23 and can be purchased online at www.mrt.org or by calling 978-654-4678. 

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

Alexandra Bonifield

Eric Bogosian is a blast. If you miss the chance to see him perform BITTER HONEY: The Best of 100(Monologues) at the Wyly Theatre, with two shows concluding the solo run on 2/13 (7pm and 10pm), you just missed the chance to see one of the best performances to grace any Dallas Arts District stage to date…Dallas doesn’t recognize its good fortune. Bogosian doesn’t tour any more. Dallas got the nod, out of his fondness for the burg from Talk Radio filming days in Las Colinas.

Four different shows create unique, jaw-dropping evenings, each carefully constructed out of this Pulitzer-nominated playwright-monologist’s seminal compendium of contemporary monologues, replete with well-integrated verbal and visual vulgarity. Structured to look improvised but not…nary a comma, raised eyebrow, or pause appears out of congruence. It’s genius at play. Like he’s just some dude who wandered in from the street and decided to engage an audience by enacting a story he just made up. Or maybe he’s actually one of those weird guys he portrays, or seven of them, or all one hundred. No wonder Joseph Papp and Oliver Stone got behind this artist when they encountered him in the 80’s.

Witness a virtuoso, snapshot immersion in satire and sardonic life perspective that reveals a helluva lot about the human condition and social convention…one that will make you wince, laugh, cry, tingle, start, and wonder about the permeable boundaries between life and art. Every so often during each show, Bogosian shares a brief glimpse of himself, that manic man peering out from behind a curtain of mask and magic, eyes shining like a small boy about to share the best secret ever. With every single person in the audience, privately.

Tonight’s shows: At 7pm his performance focuses on material from Pounding Nails In the Floor with My Forehead (1994). His 10pm late night set, adult-oriented and the most controversial in content, will draw from material from all four shows, plus a bit extra thrown in for spice. “I like to perform off balance, not get tied down too neatly. Saturday night late you’ll see all the bits I have the most fun with. My solos are always about the core element in theatricality, raw and visceral.” Maybe I’ll see you there.

Eric Bogosian: Bitter Honey The Best of 100(Monologues), directed by Jo Bonney, runs February 11 and 12 at 8pm, and February 13 at 7pm and 10pm at The Wyly Theatre, 2400 Flora Street, Dallas TX. Part of the “Off Broadway on Flora” Series.

Kris Neely

By Kris Neely

These commentaries are primarily focused on the production, direction, and technical aspects of theater and performing arts.

According to the program for this show, “Margie Walsh is barely getting by on her Dollar Store salary. When she loses her job and faces eviction, she takes a chance by rekindling things with an old flame, hoping for a fresh start. Quirky, unpredictable, and grounded in a genuine humor that comes from hitting rock bottom, Good People will have you laughing one moment and crying the next as it explores the natures of our loyalties and our hopes.”

Mr. Linday-Abaire’s script shows us characters we easily recognize, and it is character that underpins this play. We know Maggie is on the ropes practically from the tenth line of dialog and watching her trying to keep her financial head above water tells us much about her, her workmates, and her “friends.” It’s familiar territory we’ve all seen before, yet the script avoids the clichéd, the predictable, and the obvious moments when lesser writers would have played on our heartstrings. What you see is what you get and what you get is a realistic, naturalistic view into everywhere, everyday lower-middle class life, character, and motivations.

As rendered by Role Players Ensemble (RPE), the production was competent and for the most part well rendered.  An increase in tempo and a bit more drive, combined with a little more attention to some technical shortcomings would have gone a long way to making this play as funny/quirky/hard-hitting in person as it is on the page.

***

Scenic Design

Set designer Robert B. Golden and director Eric F. Hayes chose to use projection of various indoor and outdoor images against the upstage wall where other theaters might have relied on built sets. When done with taste and serious attention to the selection of imagery—as was the case here—this method can add dimension to staging while helping rein in the production’s budget. The rest of the set consisted primarily of various rotating wall units that showed the exterior wall in an alley, the interior wall of a professional’s office, and so on.   (Score: 7/10)

Set Construction

Overall, the constructed units for this show were adequate. One wonders if using three-sided units might have permitted faster scene changes.  (Score: 7/10)

Stage Management

Randal Chun, assisted by Jessica Riley, stage managed the show. Entrances were crisp, cues were universally tight, but set changes were much too slow—a common problem in local and regional theater today. When the audience is wrapped up in the story and characters, trying to puzzle out the latest plot device or enjoy a stitch-inducing laugh line, a slow set change lets the air out of the balloon, and the audience has to reset. It’s understandable that some set changes need to be stretched a bit to accommodate quick costume changes, but these too must be rehearsed to minimize the time involved.    (Score: 7/10)

Sound           

Ron Evans was responsible for the competent sound design. A bit more refinement in sound effects selection or in re-mixing the ball sounds might have underscored the crispness of the bingo scene. Ditto the bingo announcer sound effects. There were obvious comic cues in the character’s dialogue that went unmined.   (Score: 7/10)

Props and Costumes

Lisa Danz is a backstage veteran with a lengthy resume to her credit. Props were wisely limited to essentials and were well selected and presented. Similarly, costume selection was competent, albeit a bit too predictable. Also, the telephone used should have had a cord between handset and base. (Props score: 7/10. Costume Score: 7/10)

Direction

The show was directed by RPE Artistic Director Eric F. Hayes. Overall direction was solid, professional, and experienced. That said, more crispness in both the overall pacing of the show and in the aforementioned set changes would have added zest.  I’m also not a huge fan of accents in local or even regional theater unless absolutely required by the part/production or from a native speaker. Even with the best dialog coach—and this production enjoyed the expertise of Robin Taylor—accents add a 5-10 percent tardiness factor to each line/scene/act. Blocking could have had some natural activity added to give the play a bit more motion. (Score: 8/10)

Lights

Stephanie Lutz was the lighting designer for this production. Ms. Lutz is a journeyman-level lighting designer and it showed in this production. This theater enjoys an abundance of lighting instruments with which to light a scene. Unless there was some technical issue rendering the other instruments unavailable for use, there was no reason for dim spots between actors. This is especially true in set pieces where actors don’t move about a great deal, such as the bingo scene. Combining traditional lighting design with image projection to the rear, as opposed to rear projection of images, can make maintaining correct light levels and mixes tricky, to be sure. But dim spots are devoutly to be avoided at all costs. (Score: 5/10)

Casting

Mr. Hayes selected an able cast for his show. Of particular note was Bonnie Dechant in the role of Jean, a solid, skillful performance.

Melanie Dupuy was very competent as Margaret—a role originated on Broadway by Frances McDormand. A recent transplant from Los Angeles, we look forward to seeing more work from this solid talent. As Mike, Ed Nattenberg created a nicely nuanced character.   (Score: 7.5/10)

Overall Production

As a whole, this production was competently mounted and presented. The book, by an obviously gifted playwright, will no doubt become a stalwart in local and regional theaters. Casting had some notable bright spots. A bit more pacing, tighter lighting design, and faster set changes would have resulted in a higher score.  (Score: 7/10)

Overall Theater Tech Score: (69.50/100) -- Good.

Good People by David Lindsay-Abaire

Directed by Eric F. Hayes

Role Players Ensemble, Village Theater, Danville, CA

Tickets for RPE productions available online at vtboxoffice@ci.danville.ca.us.

Run time: 2 hours, with one 15-minute intermission.

Kris Neely is a member of the San Francisco Bay Area Theater Critics’ Circle and an award-winning stage director. In 2013 Neely earned an SFBATCC Best Director award for Lend Me a Tenor (Ross Valley Players) and his direction of Leading Ladies for Novato Theater Company was listed as one of the 10 Best Plays of 2014 in the North Bay by the Marin Independent Journal newspaper. He was also nominated for a 2013 Outstanding Production Shellie Award for directing A Case of Libel for the Pittsburg Community Theater.

Mr. Neely’s blogs on theater and performing arts are found online at Aisle Seat Reviews https://aisleseatreview.wordpress.com/, For All Events (www.forallevents.com), Marin Onstage (http://backstage.marinonstage.org), and nationally at OnStage (www.onstageblog.com).

Nancy Sasso Janis

The young actors in the Torrington High School Student Theatre are presenting David Rimmer’s engrossing play ‘New York’ this weekend at the THS Little Theatre on their campus. Mary McVerry, a mainstay at this theatre, came out of semi-retirement to direct this important and timely piece that explores the aftermath of that horrific day in September that forever changed the city.

The play was originally written by Mr. Rimmer to raise funds for volunteer psychiatrists dedicated to helping the overwhelming number of patients psychologically affected by 9/11. It depicts the reactions of 15 individuals to the events of that day as the characters individually speak to the same psychiatrist. Ms. McVerry writes in her director’s note in the program, “This play is about the survivors--those who worked in the twin towers, those who were first responders, those who lost relatives and friends, and those who are profiting from the horrific event.” The director chose it around the time of the bombings in Paris and two weeks later, the shootings in California; it is a timely piece that “would show the impact that various events have made on us as humans.” Parenthetically, there was also a very nice thank you to this reviewer on the “Special Thanks” page of what was an information-packed  program. 

For those who remember 9/11 like it was yesterday, it is at times heart wrenching and almost hard to watch these scenes. I could relate to so many of the feelings expressed, especially when they were presented by the talented members of this cast.  Each and every one of the characters were clearly drawn, and the teens were obviously well-rehearsed and carefully trained by their beloved director. She was assisted by tech teacher Thomas Lutka as Technical Director, director of choral music Brittany Rondeau as Producer and a host of students as stage managers, producers, light and sound, key grip, prop and make up mistresses and the brilliant student costumer Julianna Provenzano who graduates this year! The amazing set of the doctor’s office (with a fireplace!) was built by many of these same students. 

Each young actor nailed their sometimes complicated monologues with conviction. THS senior Nicolette Marinelli opened the show as a teacher trying to explain 9/11 to her young students and teach at same time (achingly accurately, I might add.) Gina Pirla, another senior who played Lady Larkin in ‘Once Upon a Mattress,’ played the beautiful psychiatrist, who had a couple monologues of her own as she dealt with the trauma of others. 

Senior Delilah Bourque made her Little Theatre debut as a firefighter who made it out alive and suffers survivor’s guilt. Rachel Inman, a senior, appeared onstage for the first time to play a pilot and Emily Vasquez was spot on in her first high school play as a teen-aged stepdaughter. Nathan Kopler, a senior, played Jed, a worker from Oklahoma who referenced the Federal Building bombing and senior Victoria Rooney played another caregiver helping clients cope. Justin Torres, a sophomore, played an alcoholic named Duff and Spencer Miers, a sophomore, played a newswoman who was in the right place at the right time in her career, but longs to return to the Hartford Courant. 

Freshman Natalie Galan returned to the Little Theatre stage for the second time to play an elderly lady and sophomore Shaisck Cornejo was a misguided “Plane Guy.” Amore Berger (‘Once Upon A Mattress’ at THS) was a teenaged babysitter and in her bio graciously thanks Ms. McVerry “for staying for theatre and dedicating her time for our performance.” Rebekah Smith, class of ‘18, was a restaurant worker. Andrew Schimanski, a junior, was a standout as a police detective, as was Maria Santos, a senior, as an unmarried woman named Mary needing help with her grief. Ms. Marinelli as Miss Parker closed the show on an upbeat note back at work teaching her kids. 

Torrington HS shows always begin with the playing of the National Anthem and it seemed all the more appropriate at the beginning of this particular play. Some minor lighting issues at the beginning worked themselves out. Kudos to all the students involved in this fine production and the dedicated adults who work with them. 
Remaining Performances are February 19 and 20 at 7 P.M.in the Torrington High School Little Theatre. The play is suitable for middle school and older. 

Program cover design by Devyn Bartosiewicz, Morgan Kolukisa and Gina Hoa Lam Photos by Nancy Sasso Janis

Joseph Verlezza

“Here’s to the chaos/The heartache and strain/Three cheers for agony/A toast to the pain/Hats off to everything that leaves a scar/For reminding me who my friends are” (“The Reminder Song” by Shaina Taub)

“Old Hats,” the captivating theater piece created and performed by Bill Irwin and David Shiner, is back at the Signature Theater after a sold out successful run in 2013 and might possibly be even better this time around with the addition of musician, lyricist, and singer Shaina Taub. The two veterans give remarkable performances as they clown, mime, mimic, dance, and contort their supple bodies to communicate their silent stories. Their willowy frames, exaggerated facial expressions, and animated movements capture the souls of their characters. The routines run the gamut from endearingly classic, cleverly comedic, simply silly, or gambling on audience involvement. Regardless of the choice, at this performance all were successful as was proven by the sheer delight evidenced in the audience’s reaction. 

The routines are interspersed with songs written and performed by Ms. Taub and her band with lyrics that may well serve as an overture to the master’s unspoken allegory. The music may at times concoct a vaudevillian flair but the message of the lyrics is responsive to current themes resulting in an upbeat, uplifting effect, which seizes the content of the piece that follows and causes an effortless flow. The songs produce an intelligent perspective that support the material and Ms. Taub’s entertaining delivery is a joy to hear and experience. Highlights are “Make A Mess,” “Die Happy,” “The Reminder Song,” “Let’s Dream,” and “Lighten Up” during which the clowns join Ms. Taub in singing “Don’t worry ‘bout the gloom and doom advancing/If we’re all going down, wouldn’t you rather go down dancing?”

Mr. Irwin and Mr. Shiner are nothing less than brilliant with impeccable timing and indomitable energy. 

They have managed to incorporate modern day technology into the opening number as they are chased by a huge rolling boulder and we are thrown into the middle of a 3 D movie. “Mr. Business” deals with the interminable interaction between humans and their high tech devices until realizing what they are missing. “The Hobo” takes a classic turn, heartwarming in simplicity and stunning in execution. “The Encounter” deals with two grumpy men waiting for a train taking on the subject of growing old and demonstrates incredible physical prowess. “The Magic Act” is a hysterical rendition of an incompetent magician and his distinctive, outlandish assistant (wife). Mr. Irwin as the assistant soars, exhibiting an enormous comic flair and the ability to produce facial images that speak volumes, all while sauntering around the stage in high heeled pumps. He certainly does not steal the scene, as Mr. Shiner is equally competent as the washed up magician performing old tricks without much success.

This is one of those exemplary evenings of theatre with flawless performances by all. It is a tribute to genres often overlooked and taken for granted rather than explored and savored for the discipline they require. It is graced by two consummate artists who excel in their craft, love their work, respect their audience and appear much younger physically and mentally, than their experienced years. If you missed it the first time around, now is not the time to hesitate. Make some time to sit back and enjoy a remarkable entertaining evening of theater.

OLD HATS

The design team includes G.W. Mercier (Scenic and Costume Design), Scott Zielinski (Lighting Design), John Gromada (Sound Design), Wendall K. Harrington (Projection Design), Mike Dobson (Foley Design). David H. Lurie is the Production Stage Manager. Casting by Telsey + Company, William Cantler, CSA.

The production will play through April 3, 2016 with in The Irene Diamond Stage at The Pershing Square Signature Center (480 West 42nd Street between 9th and 10th Avenues). The performance schedule is as follows: Tuesday – Friday at 7:30 p.m.; Saturday at 2:00 p.m. and 8:00 p.m.; and Sunday at 2:00 p.m. There are Wednesday performances at 2:00 p.m. on February 27 and March 2 and 9.

Tickets start at $45. To purchase tickets for all Signature productions, call Ticket Services at 212-244-7529 (Tues. – Sun., 11am – 6pm) or visit www.SignatureTheatre.org. Signature Theatre has also just announced that, subject to availability, Student Rush tickets will be sold for $30 when the ground floor Box Office opens each day up until performance time. The tickets are only available in person. The number of tickets varies from performance to performance. Limit two tickets per person. Valid student ID must be presented at the time of purchase. Running time is 2 hours including one intermission

Michael L. Quintos

Unquestionably one of musical theater's most beloved, iconic classics, WEST SIDE STORY—the stirring Broadway musical that features a book by theater titan Arthur Laurents, music by the incomparable Leonard Bernstein, and lyrics by living legend Stephen Sondheim—remains a still-resonant masterpiece of song, dance and story that explores themes still quite relevant even in modern times. Loosely inspired by William Shakespeare's tragic drama about star-crossed lovers, "Romeo and Juliet," the musical is cleverly reset in the tough mean streets of early 20th Century New York City, where two warring teenage street gangs—the Jets, a Caucasian gang, and their rivals, the Sharks, comprised of Puerto Rican immigrants—clash for dominion over their working-class neighborhood.

This monumental piece of stage craft—originally directed and choreographed by Jerome Robbins—is buoyed by its gorgeous, enchanting score, believably vivid characters, important socio-political motifs, and timeless, inescapable songs like "I Feel Pretty," "Maria," "America," "Tonight," "Somewhere," (and many more) that all contribute to the show's enduring brilliance, and continues to stir the emotions of repeat audiences decades later and create new fans with each incoming generation that newly discovers it.

This is perhaps why it is no surprise, then, to learn that Musical Theatre West's brand new local revival of this beautiful stage classic is also, reportedly, the 63-year-old theater company's fastest-selling title to date. Now continuing its nearly sold-out run at the Carpenter Performing Arts Center in Long Beach through February 28, MTW's admirable, epic production will surely endear itself to every single audience member fortunate enough to experience it. And... if you turn into someone like how I reacted to the show on opening night, you too will still be utterly moved to tears... even with this umpteenth viewing.

Right off the bat—in what would end up being a smart albeit safe move—MTW chose to present a rather nostalgic iteration that closely harkens back to the mood and feel of the original 1957 stage production (plus hints of its Academy Award-winning 1961 film adaptation), rather than offer its local regional audience a production that mimics the grittier 2009 bilingual Broadway reboot (whose national tour extension visited Southern California around five years ago to much-deserved fanfare). 

While that latter revival was indeed fresh and spectacular, nothing beats going to back to the power and intentions of the Robbins-helmed original, which this production—directed with grand gestures by Joe Langworth—successfully honors and emulates. In essence, this WEST SIDE STORY is a satisfying trip down memory lane, reaching back far enough to allow the original material to shine and reverberate.

While sometimes this approach may come off as an easy cop-out and a quicker solution to produce an existing, familiar show, in this case, MTW does so in spectacular, nostalgia-baiting fashion, hitting every quintessential touchstone of the show with great results. The actors even occasionally manage to give fresh reads to their lines—with more impact, in some instances. 

And, of course, as soon as that infamous opening prologue begins—still to this day, one of the coolest opening numbers in musical theater history—I always get goosebumps. 

Here, Bernstein's iconic, sweeping score comes alive even more vividly thanks to this production's use of the original Broadway orchestrations performed by a phenomenal 30-piece orchestra under the expert direction of David Lamoureux. Full, huge pit orchestras are now a rarity (if there at all) in these budget-conscious times, so to hear the full, glorious range of what Bernstein intended right here in a regional, Broadway-comparable theater in Long Beach is such a wonderful treat. 

Visually, the production utilizes serviceable if unremarkably spare sets that satisfy in conveying locales and spaces. Much of the action is mostly concentrated on a spinning structure that houses Doc's store, the dress shop, Maria's bedroom, as well as the infamous balcony/fire escape where the two young impulsive lovers declare their love for each other in heartfelt song. In all honesty, though, this structure merely exists as a muted canvas for Jean Yves Tessier's lighting design and Karen St. Pierre's colorfully diverse costumes that drape this impressive cast. 

Yes, center stage of MTW's WEST SIDE STORY is an excellent assemblage of talented young actors, all of whom have an authentic resemblance to the ages of the characters they are portraying. Oh, and um... they're pretty amazing singers and dancers to boot. 

And much like Shakespeare's tale of two opposing households embroiled in a bitter tug-of-war, WEST SIDE STORY, too, finds two factions on opposing sides. 

As Riff, the leader of the paler-hued Jets, Tyler Matthew Burk is effectively charismatic and exudes cool and confidence with every appearance. His ardent apostles, a crew of charming, delightfully rambunctious delinquents played by Adam Trent (hothead Action), Daniel Kermidas (volatile A-Rab), Dylan Hoffinger (adorkable Baby John), Jeffrey Scott Parsons (Snowboy), Colby Hamann (Big Deal), Tyler Scherer (Diesel), and Andrew Koslow (Gee-Tar) all create a convincing make-shift family of tight-knit brothers, and are all absolutely terrific in their energetic ensemble numbers together ("Cool" and "Officer Krupke" are show highlights). 

Extra kudos to Kristin M. Morris who plays eager, gender-bending Anybodys, who ably goes toe-to-toe with his cooler, testosterone-heavy idols, even if they don't necessarily want her around.

Across town is the territory ruled by the Puerto Rican Sharks, with Cooper Howell's strong-willed Bernardo seated at the head of the (war council) table. His loyal squad with killer dance moves includes Julian Marcus De Guzman (who plays Bernardo's right-hand-man Chino), Jonathon Grant (Pepe), Julio Catano-Yee (Indio), Benjamin Roeling (Luis), Steven Rad (Anxious), and Eddie Gutierrez (Nibbles). Because author Laurents did not really allow for further character exploration of Bernardo's minions like he affords each individual Jet, we do get to spend a bit more time with the women in this side of town, particularly Bernardo's sassy, self-assured girlfriend Anita—played with palpable ferocity by the outstanding Lauren Boyd. 

While the two gangs continue their on-going feud, bubbling just underneath the surface is the story's central tragedy. 

We soon meet Riff's best friend (and former Jets co-leader) Tony, played by the very likable Michael Spaziani, who has decided to abandon the street gang and get a—gasp—job! Spaziani seemed slightly tentative in his first song, the optimistic "Something's Coming," but soon becomes more confident vocal-wise as the show moves forward (a nice, if coincidental parallel to his own character's mandatory maturation). Tony later has an instant meet-cute across the gymnasium dance floor with sweet ingénue Maria (Bernardo's newly-immigrated kid sister!), played by the lovely-voiced Ashley Marie. This romantic "incident" triggers a chain reaction of increased violence between the Jets and the Sharks, just as Tony and Maria fall madly, sky-high in love with each other in secret (well, okay, probably the worst kept secret ever).

Sprinkled amongst the angst and hormones are the few adult characters, each presented as an outsider incapable of truly understanding the volatile, highly-emotional nature of being a young person—which, apparently, never really changes no matter what era you grow up in. As the authority-abusing (and creepily racist) Lt. Schrank, Gregory North gives his role a convincingly towering, eerie presence that easily justifies why both the Jets and the Sharks hates him. Beside him is Kevin F. Story who does a great job playing Schrank's lackey, the plump, bumbling Officer Krupke. On the less threatening side is Stephen Weston, who plays super-square, out-of-touch school official Glad Hand, who tries in vain to curb the conflict at the school dance by forcing a co-mingling of the two factions. Poor guy just gets insulted for this efforts. And finally, there's Doc, owner of the local drug store where Tony works and the one true ray of reason and compassion in the narrative. Played with heart and endearing empathy by Paul E. Zegler, Doc watches helplessly as the teens implode all around him.

In keeping with the smart mounting of a very "traditional" version of WEST SIDE STORY, MTW has also put in place the recognizable choreography that is instantly reminiscent of Robbins' signature work in the original stage production as well as the motion picture. Recreated by choreographer Hector Guerrero, the cast tackles these iconic, picture-perfect dance moves with bold tenacity and great aplomb. Seeing it come alive on stage once again reminds us all not only how beautiful Robbins' work is even by today's highly-acrobatic standards, but also the fact that it takes a certain kind of "triple-threat" performer to pull off such an undertaking. WEST SIDE STORY is a performance-demanding show that requires strength in all three musical theater disciplines, and this company appears to be blessed with a lot of them. Besides the rousing "Dance at the Gym" and the memorable "America," the show also presents a lovingly ethereal "Somewhere" ballet that will touch your heart.

Simply put, MTW has once again produced another genuine must-see winner. Their WEST SIDE STORY is a top-notch, classically-reverent, emotionally-satisfying revival that will remind us all about how wonderful this show was... and continues to be. 

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

Photos © Caught In The Moment Photography/Musical Theatre West. Review originally published for OnStage.

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Final remaining performances of Musical Theatre West's production of WEST SIDE STORY continue through Sunday, February 28, 2016 and are scheduled Friday and Saturday at 8 p.m., with Saturday and Sunday matinees at 2 p.m. MTW has also added an extra performance on its final day at 7pm. WEST SIDE STORY is performed at the Carpenter Performing Arts Center located at 6200 E. Atherton Street in Long Beach, CA. For tickets or for more information, please call 562-856-1999 x4 or visit online at www.musical.org.

Angelica Potter

Carrie: The Musical is based on the Stephen King novel and classic horror movie. While both the novel and the movie highlighted the paranormal, this version produced by the Mask and Dagger Dramatic Society at University of New Hampshire was designed to focus more on the bullying facets while downplaying the paranormal. Subsequently, the technical aspects surrounding the paranormal events were weak and left the audience underwhelmed.  

This bare bones production featured a number of strong ensemble pieces including the opening number which had the cast coming out from the audience. Unfortunately, they later retreated to their seats in the audience where more than one broke character whilst they also used that space to change their clothes, as if the rest of the audience couldn’t see them, detracting from the scene occurring on stage. The special lighting on Sue during her interrogation scenes should have been placed more on her face rather than above/behind her especially considering, in one of her lines, she requests that the light be removed from her face because she couldn’t see. It is here that I look to the creative team and suggest that they pay more detailed attention to lines in the script that specify lighting or scenic aspects. 

The three piece band was located off stage behind the scenes yet many of the female singers were drowned out by the band on their solos unlike the male vocalists who were strong throughout. Projection in the small black box theatre space should not have been a problem. Nevertheless, several of the performers struggled with their pitch, projection and diction throughout the performance. 

Thankfully two of the lead characters were perfectly cast and acted as the glue that held the production together. Sue, played by Teghan Kelly, and Tommy, played by Taylor Morrow, were on point with their characters and vocals throughout the production. They had a believable and well developed connection that culminated in their duet in Act 2 that was heartfelt and beautifully sung. Marrow’s voice was also showcased in his short solo number in Act 1: “Dreamer in Disguise”.  Kelly, who almost never (if ever) left the stage in the two hour production, was in character and engaged with each scene as they played out; even those she was not directly in. Her voice was vibrant and commanding each time she sang and she clearly embodied her complex character.  

The director, Brooke Snow, explained in the production sheet that “Carrie: The Musical” is “really a story about the effects that bullying can have on someone’s life”.  While they did downplay the paranormal, they did not downplay the "religious fanaticism" of the mother.  The mother, played well by Rachel Noland, was a strong religious fanatic whose warped knowledge of Christianity offered her justification for abusing her daughter.  Carrie was played by Sam Trottier who effectively showed Carrie as a mousey, naïve girl but missed the mark when expressing an enraged, out of control victim getting her revenge in the prom scene. The caring and sympathetic gym teacher was played competently by Hadley Withington, though her costume and hair style did not differentiate her as older and more mature than the students she reprimanded.

In the book and the movie, Carrie’s demonic paranormal powers are a direct response to her mother’s controlling, irrational, extreme view of religion.  In my opinion, the two extremes go hand in hand.  To lessen the focus on Carrie’s paranormal abilities, which culminate in the terrifying and deadly prom scene, risks giving the musical an uneven feel.  The way the power was presented at the prom was underwhelming and anticlimactic.  The room went dark when the bucket of blood was to be spilt over Carrie and the lights returned to find her wet with a very light colored liquid that did not resemble blood at all.  It was then literally difficult to watch Carrie’s rage unfold with the addition of the strobe lighting which did not enhance the scene as was perhaps intended.  

Mask & Dagger’s goal as stated in their production sheet is “to use these works of theatre to provoke thought, test ideas, and broaden perspectives on the UNH campus”.  To that end, with this performance as a public service piece, they have met their goals.

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

Stephanie C. Lyons-Keeley and Wayne J. Keeley

He Said:

What do you do to make an iconic Shakespeare play like Romeo & Juliet seem fresh and original? Especially one that we all hated to read in eighth grade, and then many of us like myself came to enjoy and appreciate in later years? One that has been parodied and satirized to hell in every medium from cartoons to video games? One that has been updated and modernized in plays and movies via what has come to be another classic, West Side Story?  And finally, one that has a classic cinematic treatment in Franco Zeffirelli’s screen adaptation of Romeo and Juliet?

The task of breathing new life into Romeo & Juliet seems comparable to Man of La Mancha’s “Impossible Dream.” Nevertheless, director Darko Tresnjak has succeeded in Hartford Stage’s new production of Romeo & Juliet. In order to determine why it succeeds, it is necessary to analyze the various components of the production.

First, the scenic design (by Tresnjak as well) hits you immediately upon entering the theatre: a wall of crypts from floor to light grid. Each one is engraved with an Italian name, lit with a candle and decorated with a glass vase and flowers. I touched the set wall after the show and it felt like a real engraved tombstone. After I was reprimanded by security for touching it (I’m such a child, just ask my wife), I was told that each name on the crypts was picked out of a Verona directory and engraved on the set panels. My first thought was where the heck is the balcony? The only other real set piece was a rectangular pit with gravel in it that crunched under the actors’ feet. Unlike the lavish sets in Zefirelli’s film or the set dressing pieces found in a typical Shakespearean work, this set cast a somber pall of death over the stage. And what about that gravel pit? Perhaps it was to be a metaphor for the saying that true love travels on a gravel road?

Another component of any successful production is good casting. In Zefirelli’s film version, Olivia Hussey, then 15, WAS Juliet. Tresnjak selected his cast wisely with the aid of Binder casting. Relative newcomer and handsome Yale grad Chris Ghaffari made the perfect love struck Romeo, mixing just the right blend of vulnerability, machismo and comic timing. Experienced actress Kaliswa Brewster set the perfect tone as the doe-eyed innocent yet fiercely independent Juliet. They had great chemistry together as the doomed couple. (Don’t worry, there was a great balcony scene as well as a morning after scene.)

Photos by T. Charles Erickson.

Kudos to the supporting cast as well. Veteran stage actor Charles Janasz was spot on as the well-intentioned but misguided Friar Laurence (the great actor Milo O’Shea played the role in Zeffirelli’s film). Celeste Ciulla, an oft-used Shakespearean actress in Tresnjak’s plays (this was their seventh collaboration) gave new life and breadth to the often one-note portrayal of Lady Capulet seen in other productions. Timothy D. Stickney was persuasive as Capulet, doting father yet strict and demanding disciplinarian. (As a father of a fourteen year-old girl, I could certainly relate to Stickney’s character mood swings.) Kandis Chappell was compelling as Juliet’s nurse, torn between her love for her charge and her loyalty to the house of Capulet. Wyatt Fenner as Mercutio and Jonathan Louis Dent as Tybalt were the perfect dueling hotheads that set the fate train in motion (nice fight sequences courtesy of fight choreographer Steve Rankin). Bill Christ as Prince Escalus and Chorus, Robert Hannon Davis as Montague, Cousin Capulet and Apothecary, Alex Hanna as Benvolio and Friar John, Stephen Mir as Balthasar, Julien Seredowych as Paris, and Callie Beaulieu as Lady Montague and Servant rounded out the talented cast. A final shout out must go to Raphael Massie who doubled as the illiterate Gregory and Peter and stole his scenes in both character portrayals.

I remember seeing Richard Dreyfuss and René Auberjonois in BAM Theater Co.’s Julius Caesar in 1978 (definitely dated myself with that one) – a production with period costumes and very little extrapolation and/or interpretation of the original dialogue and thinking this is how Shakespeare should be performed!  How far I’ve come. I thoroughly enjoyed the fact that the costumes in Hartford’s production consisted for the most part of muted contemporary dress (thanks to costume designer Ilona Somogyi). The only time we saw any color was when Juliet was first introduced. Otherwise, the muted colors and shades of black, white and gray dress, combined with the minimalist set and the light and dark lighting all enhanced the overall somber atmosphere. Indeed, the use of flashlights at certain points and well directed spots (thank you lighting designer Matthew Richards) creating grotesque shadows on the wall was quite effective in creating an eerie feel, particularly in the final scene.

And the touches of originality and creativity were brilliant (and I am quite certain that even Shakespeare would approve of them). Mercutio’s bicycle was a great touch. The dance at the Capulet’s coming out party for Juliet was an engaging scene, as was the coy playfulness of the balcony scene. And the hint of necrophilia by Paris at Juliet’s presumed deathbed was priceless (you’ll know what I mean when you see it).

Finally, just as the classic cinematic treatment of Romeo and Juliet had the great Zeffirelli at the helm, in order to succeed this play version needed a great director. Fortunately, it had one in veteran Shakespearean director and Artistic Director of the Hartford Stage, Darko Tresnjak. Mr. Tresnjak’s CV is longer than my arm and his award list is longer than my leg (I’m so jealous).

All of the above elements were nimbly crafted and exploited to the max. Put them all together and you have a great piece of exciting theatre – even if it is just another production of Shakespeare’s Romeo & Juliet. This is a play for all ages and a great intro into the classics for the young culture vultures of tomorrow. Wherefore art thou Romeo? At the Hartford Stage, of course.

She Said:

Why, oh why do I do it to myself? And won’t I ever learn? Albert Einstein has been credited with saying, “The definition of insanity is doing the same thing over and over again, but expecting different results.” So I guess seeing Romeo & Juliet, in any version, and hoping for a Hollywood ending is futile at best – “A fool thinks himself to be wise, but a wise man knows himself to be a fool,” said the illustrious Shakespeare.

But that aside (and prepared with tissues in my pocket), Wayne and I had the grand opportunity to see the epic production at Hartford Stage – what has become one of my very favorite venues. There isn’t a bad seat in the house and it feels like a bit of Broadway smack in the middle of Connecticut. As we filed in to the packed house and saw the illuminated, empty stage designed to represent the tombs of those who’d passed before, I was grinning ear-to-ear. There was a center pit of white stones, its use later to be revealed. The set’s simplicity was contrasted by a gravity and an intensity – and it was fabulous. I later went on to read in the program that the inspiration for the set design and other aspects of the production was Italian neorealism, or the Golden Age of Italian Cinema – its emphasis on the artistic representation of Post-War Italy. Darko Tresnjak, artistic director of Hartford Stage, both directed Romeo & Juliet as well as created the scenic design.

I only have vague recollections of prior productions of this archetypal tale of the idealistic, star-crossed lovers and I was looking forward to Tresnjak’s interpretation. As soon as the actors took the stage, it became clear that there was to be a twist on the traditional – it wasn’t just set design that encapsulated neorealism, but also costumes, lighting, and other elements of the aesthetic. And what’s more, there was a beautiful diversity to the stellar cast who collectively represented multiple races and ethnicities.

The Capulet/Montague story needs no retelling here, so I instead will focus on the pieces of the gestalt. The acting was top-notch and what I would expect at Hartford Stage. Shakespeare is a beast to many, but each player in this dynamic troupe was spot-on – no word missed or line dropped. Chris Ghaffari as Romeo was the handsome heartthrob; funny, endearing, and he took the physicality of the role to a new level. Kaliswa Brewster as Juliet was flawless in her portrayal of the demure, love-struck protagonist. And the extraordinary, impassioned love between them? It was authentic to the point of goosebumps. 

Kandis Chappel (a veteran of the stage including Broadway and Off-Broadway) as Nurse was intermittently funny and warm as the doting caregiver to Juliet. Wyatt Fenner as the mercurial Mercutio delivered a staggering Queen Mab monologue, stealing scenes oftentimes, including when he rode his bicycle round and round in circles on stage. Jonathan Louis Dent as Tybalt had the perfect blend of macho aggression and family loyalty. Charles Janasz completely delivered as the well-meaning Friar Laurence.

With a cast of 23, it is too hard to mention each by name, but other notables include Alex Hanna as Benvolio, Romeo’s attentive and caring friend; Raphael Massie injected humor as Capulet servant Peter who also doubled as Gregory; and Julien Saredowych as the presumptuous Paris, suitor to Juliet. The young Juliet’s parents, Timothy D. Stickney as Capulet and Celeste Ciulla as Lady Capulet illustrated the fine line that exists between love and hate – even of one’s own progeny. Robert Hannon Davis as Montague and Callie Beaulieu as Lady Montague brought life to these somewhat muted characters.

For choreography of the incredible fight scenes, kudos to Steve Rankin assisted by Sean Chin. Matthew Richards, assisted by Jane Chan provided incredible lighting design, making wonderful use of flashlights to create large, looming and purposeful shadows. Other delightful elements included the vibrant dance sequence at the Capulet masquerade ball and the perfection of the moving set pieces, including the balcony and Romeo’s acrobatics in the classic scene.

The simple, garb – contemporary by Shakespearean standards yet seemingly undated, designed by Ilona Somogyi – injected a delightfully distinctive tone to Tresnjak’s production. It is clear that his vision ultimately was realized through his smooth incorporation of classic with modern. 

I continue to be impressed with the quality of the work at Hartford Stage and look very forward also to seeing more of Tresnjak’s stellar direction. This is one incredible and elegant piece of stage work – one I would highly recommend!

Romeo & Juliet continues through March 20, 2016 with a running time of 2 hours, 45 minutes with one 15-minute intermission. For more information about this production and about Hartford Stage, please visit www.hartfordstage.org. 

Nancy Sasso Janis

Two Planks Theater Company is sharing a wonderful production of the Tony Award winning musical ‘The 25th Annual Putnam County Spelling Bee’ through March 6. The company’s winter performances are presented in the United Methodist Church in Monroe and the venue lends a little more of a community feel to the elementary school spelling bee that happens during this always fun musical.

Two Planks is using this show to bring attention to the Newtown-based organization The Jesse Lewis Choose Love Movement. The Choose Love Movement’s mission is to provide free social and emotional learning curriculum to school districts worldwide and was named for one of the children killed at Sandy Hook Elementary School on 12/14. Jesse’s mother Scarlett Lewis, the founder of the organization, was in attendance on opening night and noted that the timing of this partnership with Two Planks was perfect because it follows on the heels of the second Annual Social and Emotional Learning Awareness Week in the state of CT proclaimed by Governor Malloy. Kudos to this theatre company for bringing attention to an important issue and giving back to the community with a show that focuses on the social and emotional challenges that the young spellers face as they grow up. 

Susan Halliwell directed one of my favorite musicals with a book by Rachel Sheinkin that was conceived by Rebecca Feldman with music and lyrics by William Finn. Dan Koch (‘Ragtime’ at the Warner and many, many others) told me that this is the fifth time that he has done this show and served as Music Director, conductor and keyboard one. Charles Smith manned the other keyboard and Scott Kellogg rocked on the electric drums. The production is presented without intermission for “snack break” but I was too busy laughing to miss it.

So on to the spellers.. NCC college student.Nathan Borum (Rod in TP’s ‘Avenue Q’) was an endearing (if a bit low key) Leaf Coneybear and one of Logainne’s two dads. I loved watching Catherine Gomez making her Connecticut theatre debut as Olive Ostrovsky; what a singing voice this young lady has! Amanda Friedman (Christmas Eve in ‘Avenue Q’) nailed the role of the driven Marcy Park. Jason Michael Maur had fine comic timing as William Barfee and Alexandra Petrova trumped her previous dramatic roles with the comedy in the role of Logainne. 

I was thrilled to see the wonderfully talented C.J. Landgrebe from Newtown in a community theatre production. He was a standout as Theseus in the magical ‘A ROCKIN’ Midsummer Night’s Dream’ with the 1214 Foundation and I also remembered him in ‘Liberty Smith.’ So it was no surprise that he was excellent in the role of Boy Scout Chip Tolentino. It was a joy to hear the voice that I often listen to on the ROCKIN’ CD singing so well on every one of his numbers; I missed him when his character was eliminated until he returned in a more Heavenly role. 

As the adults, Michael Cartwright was a riot as Vice Principal Douglas Panch in his TP debut. Theatre veteran Priscilla Squiers was perfect as spelling bee host Rona Lisa Peretti, while Torrey Thomas (Angel in TBTA’s RENT) brought his amazing pipes to sing as “comfort counselor” Mitch Mahoney and Olive’s tardy dad. 

Two Planks smartly invited area celebrities to join the cast onstage as “guest spellers” that include local politicians, school administrators and US Senator Richard Blumenthal. Rest assured that there is still room on the “missing spellers” list for other brave audience members. For me, ‘Spelling Bee’ never gets old and this is a great production featuring lots of talented performers. This venue is easy to find and this show is worth the trip to Monroe. 

Photos of the cast by Technical Director Robert Primorac

William Goldberg

Light Up the Sky is one of those plays that I don't understand why it's not performed more. It's a wonderful play-within-a-play comedy style, featuring crazy characters in a classic setting. The, now closed production, which ran at the Westport Community Theatre was a perfect example of why this show needs to appear on more stages. 

The comedy revolves around a group of New York theatre-folk who attend the opening of their new play in Boston. The lead actress, the backer, and several others, are in seventh heaven at the prospect of a tremendous success which they hope for in the work of a young unknown writer. The opening of the play, which is a very earnest and experimental work, is such as to lead the cast, director and backer to believe it a flop. Instantly they turn against themselves, the production, the author and savagely proceed in what looks like an attempt to destroy themselves and all their former hopes.

It turns out, however, that in spite of the curious reception by the first night audience, the play has made a deep impression, and when news spreads that the reviews are on the whole favorable, the tables are turned. 

The cast here was particularly strong. They held a firm grasp of Hart's 1940's wit and pace of a dialog which made the show feel all the more genuine. Director Ruth Anne Baumgartner more than proved her understanding of the genre. The excellent ensemble cast included Timothy Brandt, John Fatteross, Bia Hittman, Cindy Hartog ,Mark Lambeck, Phillip Lorenzo, Jonathan Jacobson, Leigh Katz, Sunny Makwana, P.J. Morello, Rosanne Nelson, Tom Rushen and Ward Whipple. All gave top-notch performances.

This play was not a bad way to spend an amusing two hours experiencing what really goes on before the curtain rises in a theater. Westport Community Theatre has had a very strong season thus far. I'm looking forward to seeing what else is in store. 

This show has now closed. Westpost's next show is Private Lives which opens on April 8th. 

David Roberts

 “The world is accident prone, no use attempting correction. After all, the loss of one fool makes room for another.” – Mme. Le Mode

In the 1980s, the Vietnam Veterans Memorial in Washington DC is dedicated and Americans are ready to put the Vietnam War behind them. Interest rates reach an all-time high and Americans cash in on high-yielding Certificates of Deposit. PresidentRonald Reagan unashamedly proclaims that “greed is good.”During the same decade, around 700,000 demonstrators gather in New York City's Central Park protesting the proliferation of nuclear weapons and the United States is the epicenter of the AIDS epidemic.

Amidst the prosperity of this memorable decade, the matrix of “fears and angers, suspicions and vanities, and [humankind’s]appetites, spiritual and carnal”(Tennessee Williams, from His Memoirs)crouch and Mr. Williams’ pair of plays presented currently stage at Walkerspace by The Playhouse Creatures Theatre Company are a theological and psychological tour de force that exposes the underbelly of humankind's search for meaning, stability, and salvation amidst the victimization, immobilization, and powerlessness.

The first of the pair, “A Recluse and His Guest,”has its first performance by the Playhouse Creatures Theatre Companyat the Walkerspace in New York City. The second, “The Remarkable Rooming-House of Mme. Le Monde,”was firstperformed by the Beau Jest Moving Theater at the ProvincetownTennessee Williams Theater Festival on September 25, 2009. In “A Recluse and His Guest” a Woman named Nevrika (Kate Skinner) ingratiates herself into the reclusive life of Ott (Ford Austin) an individual who claims “to live under circumstances,” and declares to his imposing guest that “a man is safe in his house, not on the street.” Despite his discomfort, Ott ultimately allows the Woman to stay and even offers her money to “buy a good trapler” at the market which prompts her response, “No, no! Don’t give me money. Look, I took no money! Dear, Ott, you must never let a woman touch money. She’ll take advantage of your— too trustful— nature.”

In “The Remarkable Rooming-House of Mme. Le Monde (Kate Skinner), Hall (Patrick Darwin Williams) serves as ringmaster of her torture chamber where the incapacitated Mint (Jade Ziane) is repeatedly raped by her Son (Declan Eells). During one of the Boy’s atrocities, Mint – knowing his fate – cries out,“Oh, no, no, no! Well, maybe, since you’ve come with—Lubricant is it?” The Boy replies, “Astringent.” In both of these challenging plays, Mr. Williams highlights the characters struggling against their positions as powerless, immobilized victims. Obviously this is not a struggle confined to the decade of the 1980s.

Much has been made to distinguish Tennessee Williams’ earlier works (“A Streetcar Named Desire,” “The Glass Menagerie,” etc.) from those penned just before his death in 1982 including the pair in this production. However, to make this distinction is flawed and disregards many of Mr. Williams’ early works like “Desire and the Black Masseur” written in 1948 – works that are as grotesque and troublesome as this pair in “Tennessee Williams 1982.”

Under Cosmin Chivu’s serviceable but inconsistent direction, the ensemble cast of “Tennessee Williams 1982” tackles the pair of late and rare plays with a respectable zeal. The performances are unfortunately not as even as one would expect or desire. While most of the cast deliver authentic and honest performances, some appear not to be as connected to their characters and their engaging conflicts. In “A Recluse and his Guest,” the Recluse Ott (Ford Austin) appears unable to effectively spar with The Woman Nevrika (Kate Skinner). And in “The Remarkable Rooming-House of Mme. Le Monde,” Hall (Patrick Darwin Williams) engages better with Mme. Le Monde (Kate Skinner) on the grainy monitors than he does when she is present on stage.

Justin West’s scenic design is appropriately remote and morose and John Eckert’s lighting design exacerbates the matrix of sadness, danger, and despair extant on the stage. Angela Wendt’s costumes are spot on and are indeed characters in and of themselves.

It is always good to see Tennessee Williams on the New York Stage and The Playhouse Creatures Theatre Company is to be commended for bringing this pair of rare plays by the iconic playwright who never fails to challenge audiences to examine reality from a different and often chilling point of view. And whether we attempt a correction after we see these two plays remains our choice and our legacy.

TENNESSEE WILLIAMS 1982

“Tennessee Williams 1982” is presented by The Playhouse Creatures Theatre Company (Joseph W. Rodriguez, Producing Artistic Director). The ensemble castincludes Ford Austin, Declan Eells, Kate Skinner, Anne Wechslerand Jade Ziane. The creative team includesJustin West (set design), Brooke VanHensbergen (Associate set design), Angela Wendt (costume design), and John Eckert (lighting design), who join Joseph W. Rodriguez(Producing Artistic Director, Playhouse Creatures Theatre Company), Thomas Keith (Creative Producer), Olivia D’Ambrosio(Managing Director, Playhouse Creatures Theatre Company), Dana Greenfield (Associate Director) and Scott Davis (Assistant Director). Production photos byAntonis Achilleos.

Performances of “Tennessee Williams 1982” run throughMarch 13at Walkerspace (46 Walker Street, Manhattan on the following schedule:February 24–28, March 2-6, 9-13 at 7:30 p.m.; February 27, March 5, 12 at 3:00 p.m.Tickets, priced at $40.00 for general admission and $50 for premium seats, can be purchased by visiting http://www.playhousecreatures.orgor by calling 800-838-3006.The running time is 90 minutes with one intermission.

Photo: left to right: Patrick Darwin Williams, Kate Skinner, Declan Eells, Jade Ziane

photo by AntonisAchilleos