“Shakespeare’s R&J” the gay Romeo and Juliet at TheaterWorks
HARTFORD — Young passion, forbidden love, tragedy, and self-discovery are all intertwined in “Shakespeare’s R&J” — a provocative, energetic all male adaptation of Shakespeare’s famous tragedy of star-crossed lovers at TheaterWorks.
I hope I’m not spoiling the ending for anyone by saying that in this play as in the original, Romeo and Juliet don’t make it out alive. In this show adapted by Joe Calarco, a group of four students read Shakespeare’s “Romeo and Juliet” a la “Dead Poet’s Society.”
They start out using the script and then evolve into acting the parts, sans costumes, wearing their gray school uniforms throughout.
The story of Romeo and Juliet is about two teenagers who meet and fall instantly in love. Their families, the Montegues and the Capulets, are sworn enemies. Juliet’s parents have an arranged marriage in mind for her, and it isn’t Romeo. She and Romeo secretly marry.
In self defense, Romeo kills Tibalt, Juliet’s cousin, in a street fight, and he is banished from the land.
The Friar devises a plan where Juliet takes a potion that makes her appear dead. He tries to get a message to Romeo of the scheme, but it doesn’t get to Romeo in time (no texting available in those Medieval days) and he believes her dead. He sees her apparently dead, kills himself and when Juliet awakens to find Romeo dead, she stabs herself to death.
They say youth is often wasted on the young, but not in “Shakespeare R&J,” where the sheer energy and exuberance and acting ability of the four actors is a delight..
Any opportunity to hear Shakespeare’s remarkably glorious language is a welcome treat, here confidently directed by Rob Ruggiero, the actors visually exaggerate the dialog’s intent without overdoing it.
And what language. Here is some of the most beautiful, simple, and elegant words about romantic love ever written.
“Love is a smoke made with the flame of sighs…a madness most discontent.”
“Love is not love that alters when alteration finds.”
“What ’s in a name? That which we call a rose by any other name would smell as sweet.”
In a world where profanity has become just another adjective, it’s illuminating to note that in all of Shakespeare’s plays he only used few truly profane oaths, although sexual and bawdy innuendo abounds.
It isn’t the language that is provocative here, nor the subject matter, but the fact that the lovers are both men. I suppose that will bother some, but I look at the acting, not the biology, and in that they are terrific.
It’s a great premise too, because, with a different setting and a different type of cast, the language, which is all so familiar, takes on a new life.
That being said, it is never easy to say lines that have been etched into our social subconscious till they are cliches, and make them sound fresh.
When Ashley Robinson, who plays Juliet, says, “Romeo, Romeo, where for art thou Romeo,” it feels like he is trying to manipulate the lines to not sound so familiar, making if feel forced.
There are some amusing lines that I didn’t recall from other productions, such as when Juliet is frustrated by the Nurse, played by TJ Linnard, when she won’t talk, and says, “How can you be out of breath if you have breath to say you are out of breath?”
Linnard’s Nurse is the least successful of the characters, with an exaggerated falsetto that is difficult to understand at times.
Adam Barrie’s Romeo is as tender and as passionate as one could wish for in the romantic hero.
Paul Terzenbach as Mercutio delivers his dying lines with unexpected depth and then humor when he says, “Ask for me tomorrow and you shall find me a grave man.”
Set in a Catholic boy’s boarding school, with four chairs and a gray stone backdrop with red votive candles, the single set is a sublime study in austere minimalism that works beautifully, by Brian Prather.
So, TheaterWorks, how about next time you do something really provocative and produce “Shakespeare’s R&J” with an all woman cast.
SHAKESPEARE'S R&J
3 Stars
Theater: TheaterWorks
Location: 233 Pearl St. Hartford.
Production: Adapted by Joe Calarco. Directed by Rob Ruggiero. Set design by Brian Prather. Lighting design by Matthew Richards. Sound design by Vincent Olivieri.
Running time: Two hours, one intermission
Show Times: Tuesdays, Wednesdays, and Thursdays at 7:30 p.m. Fridays and Saturdays — 8 p.m. Matinees on Saturdays and Sundays — 2:30 p.m. Extra Sunday evening shows — 7:30 p.m. (later weeks of most runs). The show will run through Dec. 20.
Tickets: Unassigned seating is $38; $48 on Friday and Saturday nights. Center reserved seats $12 extra. $12 student rush tickets at show time with valid ID (subject to availability). For tickets call 860-527-7838 or visit their Web site at www.theaterworks.org.
ACTOR…CHARACTER
Adam Barrie … Student 1
Ashley Robinson … Student 2
Paul Terzenbach … Student 3
TJ Linnard … Student 4
Monday, November 23, 2009
Monday, November 16, 2009
"The Full Monty" raunchy little studfest
EAST WINDSOR — “The Sound of Music” it ain’t, but still, “The Full Monty” a “raunchy little studfest” of a musical playing at the Opera House Players, like the Oscar and Hammerstein musical, is at it’s heart about family and what people will do for love.
Based on the film by the same name, it’s a timely show about laid off male blue-collar workers in Buffalo, New York, whose self-esteem has taken a serious knock because there is no work and slim prospects of anything much better than being Wal-Mart security guards.
Jerry Lukowski, played by Christopher deJongh, is one of the down-and-outs, who is about to lose visitation rights to see his son, Nathan (Seanan Ellis) because he is arrears in child support to his ex-wife Pam (Sara Steiner).
Jerry learns that the male Chippendale dancers make great money and hatches a scheme with his buddy, Dave Bukatinsky (Ty Pearsons) to stage a strip show with local guys, calling themselves “Hot Metal.”
And so it goes. deJongh has a rockin’ voice that shines when he sings “Man” with the equally fine Pearsons, who is surprisingly light on his feet for a big guy.
Melissa Dupont as Georgie Bukatinsky along with Kathi Such as Vicki Nichols can really belt out tunes and sound terrific together in the powerful duet “You Rule My World,” which Dave and Harold sing earlier.
When Davie and Harold sing the same song, it is supposed to be a dream sequence, but for some reason the two separate couples’ beds are place right next to each other. It would be much better to have them on separate sides of the stage.
When Jerry sings the sweet ballad “Breeze off the River” to his sleeping son, he doesn’t stay next to the boy, but gets up and walks towards the audience to sing, which diminishes the sweet intimacy between father and son.
Although only 10 years old, Ellis, plays the 12-year-old son, Nathan, with amazing realism and maturity — practically stealing the show in the process with his naturalness and confidence.
Unlike the film, in the musical Terrance McNally added an aged accompanist from the old vaudeville circuit, Jeanette Burmeister, to fine effect, here played with snazzy panache by Moonyean Field.
The choreography by Lesley Gallagher is top notch, with some well-coordinated moves, such as the basketball number, “Michael Jordan’s Ball” by the ensemble.
The band led by musical director Tom Slowick is jazzy and great, and really worth coming to hear just on it’s own.
The miked sound of the singers isn’t terrific. Here’s hoping they can get a new sound system. The cast did their best and have good projection on their own, but really they need better amplification, especially when they are competing with amplified instruments.
There is a lot of strong language and brief nudity, so this is not a show for the kids. Honestly I was uncomfortable with a 10-year-old being exposed to and using profanity.
You have got to give these guys credit — they are normal, everyday blokes who walk around half naked and then some for a good part of the show. From the beginning until the end, I found myself involuntarily blushing like I haven’t for years.
If you don’t mind some earthly language and some brief nudity, “The Full Monty” offers a grown up night full of fun.
THE FULL MONTY
3 Stars
Theater: Opera House Players
Location: 107 Main Street, Broad Brook
Production: Music and lyrics by David Yazbeck. Book by Terrance McNally. Direction by Philip D. Vetro. Musical direction by Tom Slowick. Choreography by Lesley Gallagher. Stage managers Aslynn Brown and Heather Maloney. Lighting designer Diane St. Amand. Set designer Clark Bowen.
Running time: 3 hours, with a 15-minute intermission
Show Times: Friday and Saturday at 8 p.m., Sundays at 2 p.m. through Nov. 22.
Tickets: $20, $12 for seniors over 60. Not recommended for children. Call 860-292-6068 or visit their Web site at www.operahouseplayers.org
ACTOR…CHARACTER
Christopher deJongh … Jerry Lukowski
Ty Pearsons … Dave Bukatinsky
Michael Gowdy … Malcolm MacGregor
Paul DiProto … Harold Nichols
Stephen Jewell … Ethan Girard
Foster Evan Reese … Noah “Horse” T. Simmons
Seanan Ellis … Nathan Lukowski
Melissa Dupont … Georgie Bukatinsky
Kathi Such … Vicki Nichols
Moonyean Field … Jeanette Burneister
Sara Steiner … Pam Lukowski
Stacy Constantine … Estelle Genovese
Dallas Hosmer … Buddy “Keno” Walsh
Khara Hoyer … Susan Hershey
Erin Maloney … Joanie Lish
Tony Palmieri … Teddy Slaughter
Mark Wantroba … Reg Willoughby
Kim Wantroba … Molly MacGregor
Brent White … Marty, repo man
Brianna Mello … Dolores
Sara Papa … Dance instructor
Jonathan Escobar … Stripper, repo man
Ben Chayes … Minister, Tony Giordano
Andrew Holl … Gary Bonasorte, police sergeant
EAST WINDSOR — “The Sound of Music” it ain’t, but still, “The Full Monty” a “raunchy little studfest” of a musical playing at the Opera House Players, like the Oscar and Hammerstein musical, is at it’s heart about family and what people will do for love.
Based on the film by the same name, it’s a timely show about laid off male blue-collar workers in Buffalo, New York, whose self-esteem has taken a serious knock because there is no work and slim prospects of anything much better than being Wal-Mart security guards.
Jerry Lukowski, played by Christopher deJongh, is one of the down-and-outs, who is about to lose visitation rights to see his son, Nathan (Seanan Ellis) because he is arrears in child support to his ex-wife Pam (Sara Steiner).
Jerry learns that the male Chippendale dancers make great money and hatches a scheme with his buddy, Dave Bukatinsky (Ty Pearsons) to stage a strip show with local guys, calling themselves “Hot Metal.”
And so it goes. deJongh has a rockin’ voice that shines when he sings “Man” with the equally fine Pearsons, who is surprisingly light on his feet for a big guy.
Melissa Dupont as Georgie Bukatinsky along with Kathi Such as Vicki Nichols can really belt out tunes and sound terrific together in the powerful duet “You Rule My World,” which Dave and Harold sing earlier.
When Davie and Harold sing the same song, it is supposed to be a dream sequence, but for some reason the two separate couples’ beds are place right next to each other. It would be much better to have them on separate sides of the stage.
When Jerry sings the sweet ballad “Breeze off the River” to his sleeping son, he doesn’t stay next to the boy, but gets up and walks towards the audience to sing, which diminishes the sweet intimacy between father and son.
Although only 10 years old, Ellis, plays the 12-year-old son, Nathan, with amazing realism and maturity — practically stealing the show in the process with his naturalness and confidence.
Unlike the film, in the musical Terrance McNally added an aged accompanist from the old vaudeville circuit, Jeanette Burmeister, to fine effect, here played with snazzy panache by Moonyean Field.
The choreography by Lesley Gallagher is top notch, with some well-coordinated moves, such as the basketball number, “Michael Jordan’s Ball” by the ensemble.
The band led by musical director Tom Slowick is jazzy and great, and really worth coming to hear just on it’s own.
The miked sound of the singers isn’t terrific. Here’s hoping they can get a new sound system. The cast did their best and have good projection on their own, but really they need better amplification, especially when they are competing with amplified instruments.
There is a lot of strong language and brief nudity, so this is not a show for the kids. Honestly I was uncomfortable with a 10-year-old being exposed to and using profanity.
You have got to give these guys credit — they are normal, everyday blokes who walk around half naked and then some for a good part of the show. From the beginning until the end, I found myself involuntarily blushing like I haven’t for years.
If you don’t mind some earthly language and some brief nudity, “The Full Monty” offers a grown up night full of fun.
THE FULL MONTY
3 Stars
Theater: Opera House Players
Location: 107 Main Street, Broad Brook
Production: Music and lyrics by David Yazbeck. Book by Terrance McNally. Direction by Philip D. Vetro. Musical direction by Tom Slowick. Choreography by Lesley Gallagher. Stage managers Aslynn Brown and Heather Maloney. Lighting designer Diane St. Amand. Set designer Clark Bowen.
Running time: 3 hours, with a 15-minute intermission
Show Times: Friday and Saturday at 8 p.m., Sundays at 2 p.m. through Nov. 22.
Tickets: $20, $12 for seniors over 60. Not recommended for children. Call 860-292-6068 or visit their Web site at www.operahouseplayers.org
ACTOR…CHARACTER
Christopher deJongh … Jerry Lukowski
Ty Pearsons … Dave Bukatinsky
Michael Gowdy … Malcolm MacGregor
Paul DiProto … Harold Nichols
Stephen Jewell … Ethan Girard
Foster Evan Reese … Noah “Horse” T. Simmons
Seanan Ellis … Nathan Lukowski
Melissa Dupont … Georgie Bukatinsky
Kathi Such … Vicki Nichols
Moonyean Field … Jeanette Burneister
Sara Steiner … Pam Lukowski
Stacy Constantine … Estelle Genovese
Dallas Hosmer … Buddy “Keno” Walsh
Khara Hoyer … Susan Hershey
Erin Maloney … Joanie Lish
Tony Palmieri … Teddy Slaughter
Mark Wantroba … Reg Willoughby
Kim Wantroba … Molly MacGregor
Brent White … Marty, repo man
Brianna Mello … Dolores
Sara Papa … Dance instructor
Jonathan Escobar … Stripper, repo man
Ben Chayes … Minister, Tony Giordano
Andrew Holl … Gary Bonasorte, police sergeant
"The Sound of Music Soars" at LTM
EAST WINDSOR — “The Sound of Music” it ain’t, but still, “The Full Monty” a “raunchy little studfest” of a musical playing at the Opera House Players, like the Oscar and Hammerstein musical, is at it’s heart about family and what people will do for love.
Based on the film by the same name, it’s a timely show about laid off male blue-collar workers in Buffalo, New York, whose self-esteem has taken a serious knock because there is no work and slim prospects of anything much better than being Wal-Mart security guards.
Jerry Lukowski, played by Christopher deJongh, is one of the down-and-outs, who is about to lose visitation rights to see his son, Nathan (Seanan Ellis) because he is arrears in child support to his ex-wife Pam (Sara Steiner).
Jerry learns that the male Chippendale dancers make great money and hatches a scheme with his buddy, Dave Bukatinsky (Ty Pearsons) to stage a strip show with local guys, calling themselves “Hot Metal.”
And so it goes. deJongh has a rockin’ voice that shines when he sings “Man” with the equally fine Pearsons, who is surprisingly light on his feet for a big guy.
Melissa Dupont as Georgie Bukatinsky along with Kathi Such as Vicki Nichols can really belt out tunes and sound terrific together in the powerful duet “You Rule My World,” which Dave and Harold sing earlier.
When Davie and Harold sing the same song, it is supposed to be a dream sequence, but for some reason the two separate couples’ beds are place right next to each other. It would be much better to have them on separate sides of the stage.
When Jerry sings the sweet ballad “Breeze off the River” to his sleeping son, he doesn’t stay next to the boy, but gets up and walks towards the audience to sing, which diminishes the sweet intimacy between father and son.
Although only 10 years old, Ellis, plays the 12-year-old son, Nathan, with amazing realism and maturity — practically stealing the show in the process with his naturalness and confidence.
Unlike the film, in the musical Terrance McNally added an aged accompanist from the old vaudeville circuit, Jeanette Burmeister, to fine effect, here played with snazzy panache by Moonyean Field.
The choreography by Lesley Gallagher is top notch, with some well-coordinated moves, such as the basketball number, “Michael Jordan’s Ball” by the ensemble.
The band led by musical director Tom Slowick is jazzy and great, and really worth coming to hear just on it’s own.
The miked sound of the singers isn’t terrific. Here’s hoping they can get a new sound system. The cast did their best and have good projection on their own, but really they need better amplification, especially when they are competing with amplified instruments.
There is a lot of strong language and brief nudity, so this is not a show for the kids. Honestly I was uncomfortable with a 10-year-old being exposed to and using profanity.
You have got to give these guys credit — they are normal, everyday blokes who walk around half naked and then some for a good part of the show. From the beginning until the end, I found myself involuntarily blushing like I haven’t for years.
If you don’t mind some earthly language and some brief nudity, “The Full Monty” offers a grown up night full of fun.
THE SOUND OF MUSIC
3 Stars
Theater: Opera House Players
Location: 107 Main Street, Broad Brook
Production: Music and lyrics by David Yazbeck. Book by Terrance McNally. Direction by Philip D. Vetro. Musical direction by Tom Slowick. Choreography by Lesley Gallagher. Stage managers Aslynn Brown and Heather Maloney. Lighting designer Diane St. Amand. Set designer Clark Bowen.
Running time: 3 hours, with a 15-minute intermission
Show Times: Friday and Saturday at 8 p.m., Sundays at 2 p.m. through Nov. 22.
Tickets: $20, $12 for seniors over 60. Not recommended for children. Call 860-292-6068 or visit their website at www.operahouseplayers.org
ACTOR…CHARACTER
Christopher deJongh … Jerry Lukowski
Ty Pearsons … Dave Bukatinsky
Michael Gowdy … Malcolm MacGregor
Paul DiProto … Harold Nichols
Stephen Jewell … Ethan Girard
Foster Evan Reese … Noah “Horse” T. Simmons
Seanan Ellis … Nathan Lukowski
Melissa Dupont … Georgie Bukatinsky
Kathi Such … Vicki Nichols
Moonyean Field … Jeanette Burneister
Sara Steiner … Pam Lukowski
Stacy Constantine … Estelle Genovese
Dallas Hosmer … Buddy “Keno” Walsh
Khara Hoyer … Susan Hershey
Erin Maloney … Joanie Lish
Tony Palmieri … Teddy Slaughter
Mark Wantroba … Reg Willoughby
Kim Wantroba … Molly MacGregor
Brent White … Marty, repo man
Brianna Mello … Dolores
Sara Papa … Dance instructor
Jonathan Escobar … Stripper, repo man
Ben Chayes … Minister, Tony Giordano
Andrew Holl … Gary Bonasorte, police sergeant
EAST WINDSOR — “The Sound of Music” it ain’t, but still, “The Full Monty” a “raunchy little studfest” of a musical playing at the Opera House Players, like the Oscar and Hammerstein musical, is at it’s heart about family and what people will do for love.
Based on the film by the same name, it’s a timely show about laid off male blue-collar workers in Buffalo, New York, whose self-esteem has taken a serious knock because there is no work and slim prospects of anything much better than being Wal-Mart security guards.
Jerry Lukowski, played by Christopher deJongh, is one of the down-and-outs, who is about to lose visitation rights to see his son, Nathan (Seanan Ellis) because he is arrears in child support to his ex-wife Pam (Sara Steiner).
Jerry learns that the male Chippendale dancers make great money and hatches a scheme with his buddy, Dave Bukatinsky (Ty Pearsons) to stage a strip show with local guys, calling themselves “Hot Metal.”
And so it goes. deJongh has a rockin’ voice that shines when he sings “Man” with the equally fine Pearsons, who is surprisingly light on his feet for a big guy.
Melissa Dupont as Georgie Bukatinsky along with Kathi Such as Vicki Nichols can really belt out tunes and sound terrific together in the powerful duet “You Rule My World,” which Dave and Harold sing earlier.
When Davie and Harold sing the same song, it is supposed to be a dream sequence, but for some reason the two separate couples’ beds are place right next to each other. It would be much better to have them on separate sides of the stage.
When Jerry sings the sweet ballad “Breeze off the River” to his sleeping son, he doesn’t stay next to the boy, but gets up and walks towards the audience to sing, which diminishes the sweet intimacy between father and son.
Although only 10 years old, Ellis, plays the 12-year-old son, Nathan, with amazing realism and maturity — practically stealing the show in the process with his naturalness and confidence.
Unlike the film, in the musical Terrance McNally added an aged accompanist from the old vaudeville circuit, Jeanette Burmeister, to fine effect, here played with snazzy panache by Moonyean Field.
The choreography by Lesley Gallagher is top notch, with some well-coordinated moves, such as the basketball number, “Michael Jordan’s Ball” by the ensemble.
The band led by musical director Tom Slowick is jazzy and great, and really worth coming to hear just on it’s own.
The miked sound of the singers isn’t terrific. Here’s hoping they can get a new sound system. The cast did their best and have good projection on their own, but really they need better amplification, especially when they are competing with amplified instruments.
There is a lot of strong language and brief nudity, so this is not a show for the kids. Honestly I was uncomfortable with a 10-year-old being exposed to and using profanity.
You have got to give these guys credit — they are normal, everyday blokes who walk around half naked and then some for a good part of the show. From the beginning until the end, I found myself involuntarily blushing like I haven’t for years.
If you don’t mind some earthly language and some brief nudity, “The Full Monty” offers a grown up night full of fun.
THE SOUND OF MUSIC
3 Stars
Theater: Opera House Players
Location: 107 Main Street, Broad Brook
Production: Music and lyrics by David Yazbeck. Book by Terrance McNally. Direction by Philip D. Vetro. Musical direction by Tom Slowick. Choreography by Lesley Gallagher. Stage managers Aslynn Brown and Heather Maloney. Lighting designer Diane St. Amand. Set designer Clark Bowen.
Running time: 3 hours, with a 15-minute intermission
Show Times: Friday and Saturday at 8 p.m., Sundays at 2 p.m. through Nov. 22.
Tickets: $20, $12 for seniors over 60. Not recommended for children. Call 860-292-6068 or visit their website at www.operahouseplayers.org
ACTOR…CHARACTER
Christopher deJongh … Jerry Lukowski
Ty Pearsons … Dave Bukatinsky
Michael Gowdy … Malcolm MacGregor
Paul DiProto … Harold Nichols
Stephen Jewell … Ethan Girard
Foster Evan Reese … Noah “Horse” T. Simmons
Seanan Ellis … Nathan Lukowski
Melissa Dupont … Georgie Bukatinsky
Kathi Such … Vicki Nichols
Moonyean Field … Jeanette Burneister
Sara Steiner … Pam Lukowski
Stacy Constantine … Estelle Genovese
Dallas Hosmer … Buddy “Keno” Walsh
Khara Hoyer … Susan Hershey
Erin Maloney … Joanie Lish
Tony Palmieri … Teddy Slaughter
Mark Wantroba … Reg Willoughby
Kim Wantroba … Molly MacGregor
Brent White … Marty, repo man
Brianna Mello … Dolores
Sara Papa … Dance instructor
Jonathan Escobar … Stripper, repo man
Ben Chayes … Minister, Tony Giordano
Andrew Holl … Gary Bonasorte, police sergeant
“The Sound of Music” soars at LTM
MANCHESTER — Chances are you going to have a tough time getting a ticket to see “The Sound of Music,” at the Manchester Little Theatre, running through Sunday, and that’s a shame, because if you enjoy musicals, this is one to see.
A perennial favorite among community theaters, this show has more hits per minute than any I can think of, including, of course, “The Sound of Music,” “How do you Solve a Problem Like Maria,” “Lonely Goatherd,” “I have Confidence,” “My Favorite Things,” “Going on Seventeen,” and the list goes on.
Maria, played by Jessica Cutino, has a lovely voice that is most comfortable in the mezzo-soprano range, while Mike Zizka plays Capt. von Trapp with a strict but kind demeanor. Comparisons to the 1966 film are difficult to avoid, and here Zizka’s Captain has more depth and less creepiness than Christopher Plummer’s von Trapp.
The von Trapp kids are all fantastic, managing complex choreography, such as the delightful adaptation of “Lonely Goatherd” with choreography by Todd Santa Maria.
It’s a shame not to mention each child, because they are all great from Leisl, played by the graceful and lithe Jenna Vezina, to the empathic Brigitta (Maria Meier), to the cutest little peanut to grace the stage, Jenna Mitchell playing Gretl.
Timothy Russell as the young lover Rolf Gruber has a fine clear voice and makes a smaller part pop.
John Michael Whitney as the theater producer Max Detwiller has the self-depreciating smarmy cynical charm that’s irresistible. He’s honest when he says, “I like rich people. I like the way they live and I like the way I live when I am with them.”
Diane L. AmEnde plays Elsa Schraeder with less cattiness than in the film version, making her harder to dislike, but more realistic.
Unfortunately the two songs that Elsa and Max sing, which they do an admirable job delivering, drag down the momentum of the show and could easily have been dropped without being missed. No reflection on the actors, but the songs just aren’t that tuneful or memorable.
The nuns who kick off the show in harmonious A Capella, and then later in the marriage ceremony, are excellent and set the tone for the rest of this musical.
As fine as the entire cast is, the show stopper belongs to Mary deManbey as the Mother Abbess, singing to perfection “Climb Ev’ry Mountain.” It is one of the most beautiful, moving, powerful songs ever written for the stage, and deManbey commandingly, confidently, and lovingly catapults this show to another level all together.
The set is solidly minimal, with a massive movable sweeping staircase, which, when turned around becomes an exterior wall. Cleverly conceived by Greg Cerosky and Leslie Mills, and designed and constructed by Fred T. Blish with help from the shop crew.
The costumes are a dream, designed by Vivana Lamb. The kids in particular, in their lovely party clothes, their wedding garb, their travel outfits, and their uniforms, really could not be better. I would have preferred Maria’s play outfit to be of a different material than the children’s, because she should stand out from them, not look like one of them.
How they manage to make all those costume changes so quickly and seamlessly is a tribute to those unsung heroes, the backstage crew.
Directed by Michael Forgetta with a strong and confident hand, this cast is well rehearsed. Every single word is understandable, even with the children, which is quiet an accomplishment.
Mother Abbess tells Maria, “You have to find the life you were born to live.” Isn’t that what we all seek? It’s the most important thing and “The Sound of Music” is a dear reminder of what truly matters more than anything else, and despite all the odds — love.
THE SOUND OF MUSIC
Three Stars
Location: Little Theatre of Manchester at Cheney Hall, 177 Hartford Road, Manchester
Production: Music by Richard Rodgers. Lyrics by Oscar Hammerstein II. Book by Howard Lindsay and Russel Crouse. Directed by Michael Forgetta. Musical direction by Paul Coffill. Set concept by Greg Cerosky and Leslie Mills. Stage manager Tom Goodin. Set designed by Fred T. Blish. Sound and lighting designed by Glen Aliczi. Costumes by Viviana Lamb. Choreographed by Todd Santa Maria. Produced by Jennifer Lysomirski.
Running time: 3 hours, including one 15-minute intermission
Show Times: Thursday, Friday, and Saturday at 8 p.m. Sunday at 2 p.m. through Sunday, Nov. 22.
Tickets: $21 — $28. Seniors over 60 and students receive a discount. Call the box office at 860-647-9824, or visit their website at www.cheneyhall.org
ACTOR…CHARACTER
Jessica Cutino … Maria Rainer
Mike Zizka … Capt. Georg von Trapp
Jenna Vezina … Liesl
Tommy Curtis … Friedrich
Katie Emery … Louisa
Sawyer Gaunt … Kurt
Maria Meier … Brigitta
Kellen Mitchell … Marta
Jenna Mitchell … Gretl
Diane L. AmEnde … Elsa Schraeder
John-Michael Whitney … Max Detweiller
Timothy Russell … Rolf Gruber, party guest
Mary deManbey … The Mother Abbess
Melissa Paul … Sister Berthe, Mistress of Novices
Jenna Levitt … Sister Margaretta, Mistress of Postulants
Sarah Jane Hayes … Sister Sophia
Douglas Ross … Franz, the butler
Lynn Ross … Frau Schmidt, the housekeeper
Ann Azevedo … Ursula, the maid, nun, party guest
William “Leo” Reaves … Herr Zeller
Alex Pazda … Baron Elberfeld, party guest
Sarah Logan … Baroness Elberfeld, Fraulein Schweiger, nun, party guest
Don DiGenova … Admiral von Schreiber, party guest
Kristen Shaw … A new postulant, nun
Susan Bailey, Laura Benson, Jen Berlin, Teresa Bonavita, Pat Covino, Aggie Dorio, Denise Gagne, Yvonne Jacques, Jennifer Lane, Donna Merceir, Joan Notghi, Nancy Rosenzweig, Sherrie D. Schallack … The Nuns of Nonnberg Abby
Jennifer Lane, Aggie Dorio, Yvonne Jacques, Pat Covino, George Pappas, Frank Dorio … party guests
MANCHESTER — Chances are you going to have a tough time getting a ticket to see “The Sound of Music,” at the Manchester Little Theatre, running through Sunday, and that’s a shame, because if you enjoy musicals, this is one to see.
A perennial favorite among community theaters, this show has more hits per minute than any I can think of, including, of course, “The Sound of Music,” “How do you Solve a Problem Like Maria,” “Lonely Goatherd,” “I have Confidence,” “My Favorite Things,” “Going on Seventeen,” and the list goes on.
Maria, played by Jessica Cutino, has a lovely voice that is most comfortable in the mezzo-soprano range, while Mike Zizka plays Capt. von Trapp with a strict but kind demeanor. Comparisons to the 1966 film are difficult to avoid, and here Zizka’s Captain has more depth and less creepiness than Christopher Plummer’s von Trapp.
The von Trapp kids are all fantastic, managing complex choreography, such as the delightful adaptation of “Lonely Goatherd” with choreography by Todd Santa Maria.
It’s a shame not to mention each child, because they are all great from Leisl, played by the graceful and lithe Jenna Vezina, to the empathic Brigitta (Maria Meier), to the cutest little peanut to grace the stage, Jenna Mitchell playing Gretl.
Timothy Russell as the young lover Rolf Gruber has a fine clear voice and makes a smaller part pop.
John Michael Whitney as the theater producer Max Detwiller has the self-depreciating smarmy cynical charm that’s irresistible. He’s honest when he says, “I like rich people. I like the way they live and I like the way I live when I am with them.”
Diane L. AmEnde plays Elsa Schraeder with less cattiness than in the film version, making her harder to dislike, but more realistic.
Unfortunately the two songs that Elsa and Max sing, which they do an admirable job delivering, drag down the momentum of the show and could easily have been dropped without being missed. No reflection on the actors, but the songs just aren’t that tuneful or memorable.
The nuns who kick off the show in harmonious A Capella, and then later in the marriage ceremony, are excellent and set the tone for the rest of this musical.
As fine as the entire cast is, the show stopper belongs to Mary deManbey as the Mother Abbess, singing to perfection “Climb Ev’ry Mountain.” It is one of the most beautiful, moving, powerful songs ever written for the stage, and deManbey commandingly, confidently, and lovingly catapults this show to another level all together.
The set is solidly minimal, with a massive movable sweeping staircase, which, when turned around becomes an exterior wall. Cleverly conceived by Greg Cerosky and Leslie Mills, and designed and constructed by Fred T. Blish with help from the shop crew.
The costumes are a dream, designed by Vivana Lamb. The kids in particular, in their lovely party clothes, their wedding garb, their travel outfits, and their uniforms, really could not be better. I would have preferred Maria’s play outfit to be of a different material than the children’s, because she should stand out from them, not look like one of them.
How they manage to make all those costume changes so quickly and seamlessly is a tribute to those unsung heroes, the backstage crew.
Directed by Michael Forgetta with a strong and confident hand, this cast is well rehearsed. Every single word is understandable, even with the children, which is quiet an accomplishment.
Mother Abbess tells Maria, “You have to find the life you were born to live.” Isn’t that what we all seek? It’s the most important thing and “The Sound of Music” is a dear reminder of what truly matters more than anything else, and despite all the odds — love.
THE SOUND OF MUSIC
Three Stars
Location: Little Theatre of Manchester at Cheney Hall, 177 Hartford Road, Manchester
Production: Music by Richard Rodgers. Lyrics by Oscar Hammerstein II. Book by Howard Lindsay and Russel Crouse. Directed by Michael Forgetta. Musical direction by Paul Coffill. Set concept by Greg Cerosky and Leslie Mills. Stage manager Tom Goodin. Set designed by Fred T. Blish. Sound and lighting designed by Glen Aliczi. Costumes by Viviana Lamb. Choreographed by Todd Santa Maria. Produced by Jennifer Lysomirski.
Running time: 3 hours, including one 15-minute intermission
Show Times: Thursday, Friday, and Saturday at 8 p.m. Sunday at 2 p.m. through Sunday, Nov. 22.
Tickets: $21 — $28. Seniors over 60 and students receive a discount. Call the box office at 860-647-9824, or visit their website at www.cheneyhall.org
ACTOR…CHARACTER
Jessica Cutino … Maria Rainer
Mike Zizka … Capt. Georg von Trapp
Jenna Vezina … Liesl
Tommy Curtis … Friedrich
Katie Emery … Louisa
Sawyer Gaunt … Kurt
Maria Meier … Brigitta
Kellen Mitchell … Marta
Jenna Mitchell … Gretl
Diane L. AmEnde … Elsa Schraeder
John-Michael Whitney … Max Detweiller
Timothy Russell … Rolf Gruber, party guest
Mary deManbey … The Mother Abbess
Melissa Paul … Sister Berthe, Mistress of Novices
Jenna Levitt … Sister Margaretta, Mistress of Postulants
Sarah Jane Hayes … Sister Sophia
Douglas Ross … Franz, the butler
Lynn Ross … Frau Schmidt, the housekeeper
Ann Azevedo … Ursula, the maid, nun, party guest
William “Leo” Reaves … Herr Zeller
Alex Pazda … Baron Elberfeld, party guest
Sarah Logan … Baroness Elberfeld, Fraulein Schweiger, nun, party guest
Don DiGenova … Admiral von Schreiber, party guest
Kristen Shaw … A new postulant, nun
Susan Bailey, Laura Benson, Jen Berlin, Teresa Bonavita, Pat Covino, Aggie Dorio, Denise Gagne, Yvonne Jacques, Jennifer Lane, Donna Merceir, Joan Notghi, Nancy Rosenzweig, Sherrie D. Schallack … The Nuns of Nonnberg Abby
Jennifer Lane, Aggie Dorio, Yvonne Jacques, Pat Covino, George Pappas, Frank Dorio … party guests
Monday, November 09, 2009
“A Curious Savage” a gentle, sweet comedy at the Valley Repertory Company
ENFIELD — The lovely thing about community theater is you get a chance to see shows that rarely see the light of day.
Take “The Curious Savage,” written about 50 years ago by John Patrick and running at the Valley Repertory Theater in the Thompsonville section of Enfield.
The play is set in the 40’s, presumably after World War II, but before the invention of the radio.
A wealthy widow, Mrs. Savage, played with magnanimity by Jane Maulucci, has been committed to a private asylum by her greedy step-children — the U.S. Senator, Titus; Lily Belle; and Samuel, played by Mark Vogel, Lisa Coleman Hasty, and Eddie Burke respectively.
Savage says of Titus that the only reason the voters elect him to the U.S. Senate is to keep him out of the state.
The three want the $10 million in bonds that Mrs. Savage has squirreled away somewhere, and they won’t take ‘no’ for an answer, while she does her best to use their greed to her advantage.
Why have they done such a heinous act of placing her in a mental institution? Because she wants all the money to go to her memorial fund which she calls her “happiness fund,” where she gives away grants for acts of random kindness, like giving an Italian man $200 to buy a gravestone for his beloved dead horse.
The characters in the asylum are revealed one by one, and each has a charm and sweetness to them, which, compared to the greedy threesome, brings up the obvious question, who are the crazy ones?
There’s the war survivor Jeffrey, sensitively played by Logan Lopez; the high strung violinist, Hannibal (Charles Schoenfeld); the forlorn mother, Florence (Lisa Eaton); the angry and silent Mrs. Paddy (Jan Albetski); the assistant with a secret Miss Willie (Lorrie Bacon); and the delightful Fairy May played with fragile delicacy and superb comic timing by Janine Flood.
When plain, sweet Fairy May learns a new resident is on the way she says with a sigh, “I hope she isn’t beautiful. Competition exhausts me.” She later says to Savage, “You’re very generous for your size and weight.” It’s really funny and all character driven.
Vogel and Burke are great as the nasty selfish sons, but Hasty as Lily Belle has spoiled rotten down to a science. And can that woman scream and swoon and be mean as only the ultra-rich can afford to be. She borders on the edge of camp, but keeps it believable.
At one point Lily Belle cries out in abject dejection and defeat, wailing, “I don’t know how to be poor,” when she learns that all the money is gone. Or is it? That’s part of the fun in this terrific play that should not be missed.
The set by Eric Albetski, is a solid and well-appointed living room in the asylum, and the actors all move about naturally and comfortably in the space, with confident direction by Patty Coope Piellucci.
Just when you start thinking that an asylum might be a nice world to retreat to, the resident physician, Dr. Emmett, played with authority by Sue Reese, says, “They have found refuge in an eggshell world. ” Then you know that hiding from the world is not the answer, as tempting as it might appear.
The play is a clever and interesting who-done-it that keeps you guessing throughout. But the real delight of this precious play is in the language and the gentle, subtle, and sweet acting, with loving direction by Piellucci.
Time and again Valley Repertory Theater comes up with unusual and touching shows, as they have once again with “A Curious Savage.”
A CURIOUS SAVAGE
3 Stars
Theater: Valley Repertory Company
Location: 100 High Street, Enfield
Production: Written by John Patrick. Directed by Patty Coope Peillucci. Produced by Jan Albetski. Stage manager Jason Fregeau. Set and lighting design and technical direction by Eric Albetski.
Running time: 2 ½ hours, with one intermission
Show Times: Friday and Saturday at 8 p.m. through Nov. 21.
Tickets: $12, $10 for seniors over 60 and youth under 12. Call 860-749-4665 or visit their website at www.valleyrep.com
ACTOR…CHARACTER
Jane Maulucci … Mrs. Savage
Lisa Eaton … Florence
Charles Schoenfeld … Hannibal
Janine Flood … Fairy May
Logan Lopez … Jeffrey
Jan Albetski … Mrs. Paddy
Lorrie Bacon … Miss Willie
Mark Vogel … Titus
Lisa Coleman Hasty … Lily Belle
Eddie Burke … Samuel
Sue Reese … Dr. Emmett
ENFIELD — The lovely thing about community theater is you get a chance to see shows that rarely see the light of day.
Take “The Curious Savage,” written about 50 years ago by John Patrick and running at the Valley Repertory Theater in the Thompsonville section of Enfield.
The play is set in the 40’s, presumably after World War II, but before the invention of the radio.
A wealthy widow, Mrs. Savage, played with magnanimity by Jane Maulucci, has been committed to a private asylum by her greedy step-children — the U.S. Senator, Titus; Lily Belle; and Samuel, played by Mark Vogel, Lisa Coleman Hasty, and Eddie Burke respectively.
Savage says of Titus that the only reason the voters elect him to the U.S. Senate is to keep him out of the state.
The three want the $10 million in bonds that Mrs. Savage has squirreled away somewhere, and they won’t take ‘no’ for an answer, while she does her best to use their greed to her advantage.
Why have they done such a heinous act of placing her in a mental institution? Because she wants all the money to go to her memorial fund which she calls her “happiness fund,” where she gives away grants for acts of random kindness, like giving an Italian man $200 to buy a gravestone for his beloved dead horse.
The characters in the asylum are revealed one by one, and each has a charm and sweetness to them, which, compared to the greedy threesome, brings up the obvious question, who are the crazy ones?
There’s the war survivor Jeffrey, sensitively played by Logan Lopez; the high strung violinist, Hannibal (Charles Schoenfeld); the forlorn mother, Florence (Lisa Eaton); the angry and silent Mrs. Paddy (Jan Albetski); the assistant with a secret Miss Willie (Lorrie Bacon); and the delightful Fairy May played with fragile delicacy and superb comic timing by Janine Flood.
When plain, sweet Fairy May learns a new resident is on the way she says with a sigh, “I hope she isn’t beautiful. Competition exhausts me.” She later says to Savage, “You’re very generous for your size and weight.” It’s really funny and all character driven.
Vogel and Burke are great as the nasty selfish sons, but Hasty as Lily Belle has spoiled rotten down to a science. And can that woman scream and swoon and be mean as only the ultra-rich can afford to be. She borders on the edge of camp, but keeps it believable.
At one point Lily Belle cries out in abject dejection and defeat, wailing, “I don’t know how to be poor,” when she learns that all the money is gone. Or is it? That’s part of the fun in this terrific play that should not be missed.
The set by Eric Albetski, is a solid and well-appointed living room in the asylum, and the actors all move about naturally and comfortably in the space, with confident direction by Patty Coope Piellucci.
Just when you start thinking that an asylum might be a nice world to retreat to, the resident physician, Dr. Emmett, played with authority by Sue Reese, says, “They have found refuge in an eggshell world. ” Then you know that hiding from the world is not the answer, as tempting as it might appear.
The play is a clever and interesting who-done-it that keeps you guessing throughout. But the real delight of this precious play is in the language and the gentle, subtle, and sweet acting, with loving direction by Piellucci.
Time and again Valley Repertory Theater comes up with unusual and touching shows, as they have once again with “A Curious Savage.”
A CURIOUS SAVAGE
3 Stars
Theater: Valley Repertory Company
Location: 100 High Street, Enfield
Production: Written by John Patrick. Directed by Patty Coope Peillucci. Produced by Jan Albetski. Stage manager Jason Fregeau. Set and lighting design and technical direction by Eric Albetski.
Running time: 2 ½ hours, with one intermission
Show Times: Friday and Saturday at 8 p.m. through Nov. 21.
Tickets: $12, $10 for seniors over 60 and youth under 12. Call 860-749-4665 or visit their website at www.valleyrep.com
ACTOR…CHARACTER
Jane Maulucci … Mrs. Savage
Lisa Eaton … Florence
Charles Schoenfeld … Hannibal
Janine Flood … Fairy May
Logan Lopez … Jeffrey
Jan Albetski … Mrs. Paddy
Lorrie Bacon … Miss Willie
Mark Vogel … Titus
Lisa Coleman Hasty … Lily Belle
Eddie Burke … Samuel
Sue Reese … Dr. Emmett
Monday, November 02, 2009
Ivoryton’s “Jerry’s Girls” an evening of song and celebration
IVORYTON — Although the five women who sang their individual hearts out with Broadway songs ranging from “Bosom Buddies” to “Hello Dolly,” and many in between, the real star of this show is Jerry Herman, the best, most prolific songster you might never have heard of.
I certainly never did. Based on the litany of songs he wrote I think his name should come trippingly off the tongue just as other Broadway legends do — Rodgers and Hammerstein and Steven Sondheim come to mind.
There’s nary a plot to be found in this musical review, but just like a night club act, it’s an evening of song, sass, and the old soft-shoe.
All five of the gals are super in their own way, with Elizabeth Talbot the only non-equity actor in this show. Her voice is lovely and lyrical, but a little soft, and at times the small orchestra in the back of the stage on the second level overpowered her.
Jackie Sidle is dynamic and charismatic channeling the funny Fanny Brice in “Put it Back On.” In the beginning of the evening Sidle’s voice was straining and harsh, but as she warmed up, she bloomed.
Amy D. Forbes is funny and pretty, although her voice too is a little soft, when she sings “Just Go to the Movies.” There is a strobe light during this song that goes on too long and is difficult, bordering on painful to watch. They could loose that effect.
MaryAnne Piccolo has the most powerful voice in the cast, and is memorable in her stark and piercing duet with Julia Kiley called “Kiss Her Now.”
Kiley, who also directed and staged the show, looks much like a red headed Debbie Reynolds, and has a terrific stage presence and sings one of the most dramatic and best songs of the embarrassment of musical riches, “If He Walked into my Life.”
These songs, ranging from torch to camp, are romantic, dreamy, and thoroughly enjoyable.
The Art Deco set by Rachel Reynolds fits the mood to a “T.” It harkens back to a time when the world was a simpler place — and the women are feisty, gorgeous, and powerful.
The costumes are variations of little black dresses as the base, with multiple fast changes that must be a backstage show in itself, with costumes by Pam Puente.
Don’t come looking for a plot, because there isn’t any, but if you are interested in a delightful, fast-paced, evening of entertainment, with some of the best songs ever to grace the musical stage, sung by five dynamic divas, then “Jerry’s Girls” at the Ivoryton Playhouse is for you.
JERRY'S GIRLS
3 Stars
Location: Ivoryton Playhouse, 103 Main Street, Ivoryton
Production: Music and Lyrics by Jerry Herman. Directed and staged by Julia Kiley. Musical direction by Steven Oliveri. Set Design by Rachel Reynolds. Costume design by Pam Puente. Lighting design by Doug Harry.
Running time: 2 hours including one 15-minute intermission.
Show Times: Wednesday and Thursdays at 7:30 p.m., Friday and Saturdays at 8 p.m., with Wednesday and Sunday matinees at 2 p.m. through Nov. 15.
Tickets: $35 for adults, $30 for previews and seniors, $20 for students, and $15 for children 12 and under. Call the box office at 860-767-7318, or visit their website at www.ivorytonplayhouse.org
ACTOR…CHARACTER
Amy D. Forbes … Herself
Julia Kiley … Herself
MaryAnne Piccolo … Herself
Jackie Sidle … Herself
Elizabeth Talbot … Herself
IVORYTON — Although the five women who sang their individual hearts out with Broadway songs ranging from “Bosom Buddies” to “Hello Dolly,” and many in between, the real star of this show is Jerry Herman, the best, most prolific songster you might never have heard of.
I certainly never did. Based on the litany of songs he wrote I think his name should come trippingly off the tongue just as other Broadway legends do — Rodgers and Hammerstein and Steven Sondheim come to mind.
There’s nary a plot to be found in this musical review, but just like a night club act, it’s an evening of song, sass, and the old soft-shoe.
All five of the gals are super in their own way, with Elizabeth Talbot the only non-equity actor in this show. Her voice is lovely and lyrical, but a little soft, and at times the small orchestra in the back of the stage on the second level overpowered her.
Jackie Sidle is dynamic and charismatic channeling the funny Fanny Brice in “Put it Back On.” In the beginning of the evening Sidle’s voice was straining and harsh, but as she warmed up, she bloomed.
Amy D. Forbes is funny and pretty, although her voice too is a little soft, when she sings “Just Go to the Movies.” There is a strobe light during this song that goes on too long and is difficult, bordering on painful to watch. They could loose that effect.
MaryAnne Piccolo has the most powerful voice in the cast, and is memorable in her stark and piercing duet with Julia Kiley called “Kiss Her Now.”
Kiley, who also directed and staged the show, looks much like a red headed Debbie Reynolds, and has a terrific stage presence and sings one of the most dramatic and best songs of the embarrassment of musical riches, “If He Walked into my Life.”
These songs, ranging from torch to camp, are romantic, dreamy, and thoroughly enjoyable.
The Art Deco set by Rachel Reynolds fits the mood to a “T.” It harkens back to a time when the world was a simpler place — and the women are feisty, gorgeous, and powerful.
The costumes are variations of little black dresses as the base, with multiple fast changes that must be a backstage show in itself, with costumes by Pam Puente.
Don’t come looking for a plot, because there isn’t any, but if you are interested in a delightful, fast-paced, evening of entertainment, with some of the best songs ever to grace the musical stage, sung by five dynamic divas, then “Jerry’s Girls” at the Ivoryton Playhouse is for you.
JERRY'S GIRLS
3 Stars
Location: Ivoryton Playhouse, 103 Main Street, Ivoryton
Production: Music and Lyrics by Jerry Herman. Directed and staged by Julia Kiley. Musical direction by Steven Oliveri. Set Design by Rachel Reynolds. Costume design by Pam Puente. Lighting design by Doug Harry.
Running time: 2 hours including one 15-minute intermission.
Show Times: Wednesday and Thursdays at 7:30 p.m., Friday and Saturdays at 8 p.m., with Wednesday and Sunday matinees at 2 p.m. through Nov. 15.
Tickets: $35 for adults, $30 for previews and seniors, $20 for students, and $15 for children 12 and under. Call the box office at 860-767-7318, or visit their website at www.ivorytonplayhouse.org
ACTOR…CHARACTER
Amy D. Forbes … Herself
Julia Kiley … Herself
MaryAnne Piccolo … Herself
Jackie Sidle … Herself
Elizabeth Talbot … Herself
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