The premier of "Piecemeal" is an impressive original production
EAST WINDSOR - The Opera House Players have launched a terrific new musical called "Piecemeal." With 14 actors playing 24 parts, this musical is a darkly funny, often macabre, impressive show.
If your taste runs towards shows like "Sweeney Todd" you will enjoy this original production by Howard R. Odentz, with impressive orchestration by Bruce Zimmerman.
The story is an imaginative pre-quel to Mary Shelley’s Frankenstein. Set in Victorian England, Odentz looks at what Victor Frankenstein’s life and particularly his hunch-backed assistant Igor’s life was like before they became the characters depicted in the novel.
Odentz, who lives in Western Mass. previously wrote the musical "In Good Spirits" which premiered in 2004 at the Opera House. This is no fly-by-night amateur production, but an entertaining, high-quality, finely produced and directed musical.
The large ensemble cast, under the sure direction of Sharon FitzHenry, kept the show moving at a lively pace. Between scenes the actors all seamlessly and quickly changed the simple but effective sets, designed by David Gilfor.
In the tradition begun by "Thing" from "The Addams Family" 1964 television show, an enthusiastic thumbs up (no pun intended) to the highly entertaining acting hands in formaldehyde jars. Very clever. The cat and dog puppets were also a terrific addition to the show.
Asher, the undertaker and father of Igor, played with requisite stiffness by Jim Metzler, sings about the joys of cannibalism as - a delicious dish if it is cooked well-a leg and thigh will make a pie "a culinary treat," and then goes on to say that necrophilia is not a sin in his trade.
There were many excellent songs, well enunciated, in this musical. Of particular note was the complicated "12 Card Carlotta" pulled off by the trio of Taber’s Gerta, and her friends Esme played by Marge Stepansky, and Nedra played by Reva Klepp.
Also terrific was Frankenstein’s song, "I Love to Sew," which was one of the most memorable in the show, along with the love song "Every Now and Then," sung by Landry’s Igor and the lovely duet "Victor and Elizabeth," with Igor and Elizabeth Lavenza, played by the savvy and funny Megan Fish. Fish’s voice was a standout in the show - tuneful and with plenty of power.
The seven-piece orchestra, led by Amy Roberts-Crawford, was outstanding. Musicians can and do unintentionally overpower the vocal artists, but this was never the case in "Piecemeal."
Some of the voices were stronger than others, but clearly outstanding was Igor’s delectably horrid mother, Gerta, played with evil, self-centered abandon by Jaime Taber, as was the Ralph Lauren-wannabe dandy Victor Von Frankenstein, played by Dallas Hosmer.
Truly the talent and skill of all involved was awe-inspiring on every level and in every aspect of the show. If you enjoy musicals and don’t mind seeing a few gruesome body parts along the way, do what you can to see the world premiere of "Piecemeal."
Three Stars
Theater: Opera House Players
Location: Broad Brook Opera House, 107 Main Street, Broad Brook
Production: Book, lyrics, and music by Howard R. Odentz. Orchestration by Bruce Zimmerman. Directed by Sharon FitzHenry. Musical direction by Amy Roberts-Crawford. Producer and set design by David Gilfor. Costumes by Ronnie Cooley and Solveig Pflueger. Lighting design by Diane St. Amand and Sharon FitzHenry. Sound by Jeff Clayton and Meghan Lynn Allen. Props by Ed Reed III.
Running time: About 2 1/4 hours, with a 20-minute intermission
Show Times: Friday and Saturday at 8 p.m., Sundays at 2 p.m. through May 18.
Tickets: $20, seniors over 60 and youth under 12 pay $16. Call 860-292-6068 or visit their Web site at www.operahouseplayers.org
ACTOR ... CHARACTER
Erik Landry ... Igor
Dallas Hosmer ... Victor Von Frankenstein
Megan Fish ... Elizabeth Lavenza
Jim Metzler ... Asher
Jaime Taber ... Gerta
Benjamin VanDine ... Young Igor
David Chivers ... Professor Krempe
Tom Nunes ... Gravedigger/Chemistry Professor/Gardener
James Rhone ... Jeremy/Byron
Marge Stepansky ... Nurse/Esme
Julianne Thouin ... Nicolette/Puppeteer/Mary Shelley
Reva Kleppel ... Grandmother/Nedra/Pollidore
Corey Buckley ... Nicholas/Shelley
David Gilfor ... Gravedigger #2/Anatomy professor/Puppeteer
Monday, April 28, 2008
CRT’s “The Threepenny Opera” a sharp, devilish morality tale
STORRS - Bertolt Brecht's "The Threepenny Opera," playing at the Connecticut Repertory Theater at the University of Connecticut, is an energetic and exuberant production of the dark and devilish morality tale about society’s evils.
Originally produced in Berlin, Germany, in 1928, the show is the precursor to such modern musicals such as “Sweeney Todd” and “Cabaret.” Yesterday’s innovations are today’s standards, and Bertoldt Brecht’s “The Threepenny Opera” is no exception to that rule. What was so original and groundbreaking and shocking in its day, today is the norm.
Brecht’s idea about art and theater was not just to entertain, but first and foremost to instigate real social change through the medium of artistic expression. He chose to abandon realism and delve into the meta-theater of ideas. In this he was a theatrical innovator.
Even if you have never heard of “The Threepenny Opera” you have likely heard of the song “Mack the Knife,” the definitive rendition which was recorded by Bobby Darin in 1959, as well as Frank Sinatra and Dean Martin. It’s a catchy tune, but the words and their meaning are pretty nasty. Macheath is no good guy, which in itself was unusual, to have an anti-hero as the center of the show. Macheath is played with requisite smiling charm and charisma by Michael Hanson.
Set in the dark underworld of London, England — all the characters are a pretty bad lot. Macheath is a player with a couple wives and numerous lovers. He marries Polly Peachum, played with Cupie-doll innocence tinged with some backbone by Heddy Lahmann.
Peachum’s parents, Mr. J. J. Peachum and Mrs. Peachum, played by Christopher Hirsh and Lauretta Pope, are none too pleased about the nuptials and set out to get Macheath hanged.
Peachum is in the profession of selling beggars’ licenses to beg, and collects half their earnings. A seemingly prosperous endeavor in this dark, mean place, where one of the characters says, “money rules the world.”
Hirsh’s Peachum is a broad, blustering, wild thing, with a voice reminiscent of Snidely Whiplash from the old Dudley Doright cartoons. He stomped about with thick-soled boots wearing cockeyed broken eyeglasses that must have been a challenge to his depth perception, particularly on the forward-slanting stage. His was a well-realized character for the show, as was his nasty wife, played with zeal by Lauretta Pope.
Some adult situations and graphic implied sexual acts make this show inappropriate for children.
In the first act the orchestra, located in the rear of the stage, overpowered some of the actors, and early on some of the dialog was difficult to hear. This improved as the show progressed.
The second act introduces Lucy Brown, Macheath’s other wife, played by Rachel Leigh Rosado. She performed with style and sang “Barbara Song,” with power and grace.
The duet following, “Jealousy Duet,” with Lucy and Polly is also a standout number. What these women see in the philandering player Macheath, Lord only knows, but the attraction of bad boys transcends time.
Between some of the scenes a projection describing events is flashed on various objects — harking back to the silent movie era, and helping advance the plot, to fine effect.
The costumes designed by Dragana Vucetic were inspired ragged punk rock style outfits, which worked well with the asymmetrically-applied kohl black and white stylized makeup.
“The Threepenny Opera” is a stirring spirited production and a fine conclusion to a strong season for the Connecticut Repertory Theater.
Three Stars
Location: Harriet S. Jorgensen Theatre, Jorgensen Road, Storrs.
Production: Book and Lyrics by Bertolt Brecht. Music by Kurt Weill. English adaptation by Marc Blitzstein. Directed by Dave Dalton. Musical director Ken Clark. Scenic designer Isaac Ramsey. Costume designer Dragana Vucetic. Lighting designer Mike Billings. Sound designer Emily Tritsch. Technical director Scott Bartley.
Running time: About 2 1/2 hours with one intermission.
Show Times: Wednesday, and Thursday at 7:30 p.m., Friday and Saturday at 2 p.m. and 8 p.m. through May 3.
Tickets: Range in price from $11 to $28. Call 486-4266 of visit their Web site at www.crt.uconn.edu.
ACTOR...CHARACTER
Michael Daly... Tiger Brown
Rob Rosado ...Street Singer
Christopher Hirsh ...Mr. J.J. Peachum
Lauretta Pope ...Mrs. Peachum
Brian Michael Hoffman ... Fitch
Heddy Lahmann ... Polly Peachum
Michael Hanson ...Macheath
Hillary Parker ...Jenny
Timothy Byrne ... Reverend Kimball
Michael Morales ... Smith
Rachel Leigh Rosado ... Lucy Brown
Joseph Gallina ... Readymoney Matt
James McMenamin... Crookfinger Jake
Luke Daniels ... Bob the Saw
Jeremy Garfinkel ... Walt Dreary
Meghan O'Leary ... Betty
Mary-Elizabeth Murray ...Dolly
Rebecca Ricker-Gilbert ... Molly
Catherine Yudain ... Coaxer
Carolyn Cumming ... ensemble
Noah Weintraub ... ensemble
STORRS - Bertolt Brecht's "The Threepenny Opera," playing at the Connecticut Repertory Theater at the University of Connecticut, is an energetic and exuberant production of the dark and devilish morality tale about society’s evils.
Originally produced in Berlin, Germany, in 1928, the show is the precursor to such modern musicals such as “Sweeney Todd” and “Cabaret.” Yesterday’s innovations are today’s standards, and Bertoldt Brecht’s “The Threepenny Opera” is no exception to that rule. What was so original and groundbreaking and shocking in its day, today is the norm.
Brecht’s idea about art and theater was not just to entertain, but first and foremost to instigate real social change through the medium of artistic expression. He chose to abandon realism and delve into the meta-theater of ideas. In this he was a theatrical innovator.
Even if you have never heard of “The Threepenny Opera” you have likely heard of the song “Mack the Knife,” the definitive rendition which was recorded by Bobby Darin in 1959, as well as Frank Sinatra and Dean Martin. It’s a catchy tune, but the words and their meaning are pretty nasty. Macheath is no good guy, which in itself was unusual, to have an anti-hero as the center of the show. Macheath is played with requisite smiling charm and charisma by Michael Hanson.
Set in the dark underworld of London, England — all the characters are a pretty bad lot. Macheath is a player with a couple wives and numerous lovers. He marries Polly Peachum, played with Cupie-doll innocence tinged with some backbone by Heddy Lahmann.
Peachum’s parents, Mr. J. J. Peachum and Mrs. Peachum, played by Christopher Hirsh and Lauretta Pope, are none too pleased about the nuptials and set out to get Macheath hanged.
Peachum is in the profession of selling beggars’ licenses to beg, and collects half their earnings. A seemingly prosperous endeavor in this dark, mean place, where one of the characters says, “money rules the world.”
Hirsh’s Peachum is a broad, blustering, wild thing, with a voice reminiscent of Snidely Whiplash from the old Dudley Doright cartoons. He stomped about with thick-soled boots wearing cockeyed broken eyeglasses that must have been a challenge to his depth perception, particularly on the forward-slanting stage. His was a well-realized character for the show, as was his nasty wife, played with zeal by Lauretta Pope.
Some adult situations and graphic implied sexual acts make this show inappropriate for children.
In the first act the orchestra, located in the rear of the stage, overpowered some of the actors, and early on some of the dialog was difficult to hear. This improved as the show progressed.
The second act introduces Lucy Brown, Macheath’s other wife, played by Rachel Leigh Rosado. She performed with style and sang “Barbara Song,” with power and grace.
The duet following, “Jealousy Duet,” with Lucy and Polly is also a standout number. What these women see in the philandering player Macheath, Lord only knows, but the attraction of bad boys transcends time.
Between some of the scenes a projection describing events is flashed on various objects — harking back to the silent movie era, and helping advance the plot, to fine effect.
The costumes designed by Dragana Vucetic were inspired ragged punk rock style outfits, which worked well with the asymmetrically-applied kohl black and white stylized makeup.
“The Threepenny Opera” is a stirring spirited production and a fine conclusion to a strong season for the Connecticut Repertory Theater.
Three Stars
Location: Harriet S. Jorgensen Theatre, Jorgensen Road, Storrs.
Production: Book and Lyrics by Bertolt Brecht. Music by Kurt Weill. English adaptation by Marc Blitzstein. Directed by Dave Dalton. Musical director Ken Clark. Scenic designer Isaac Ramsey. Costume designer Dragana Vucetic. Lighting designer Mike Billings. Sound designer Emily Tritsch. Technical director Scott Bartley.
Running time: About 2 1/2 hours with one intermission.
Show Times: Wednesday, and Thursday at 7:30 p.m., Friday and Saturday at 2 p.m. and 8 p.m. through May 3.
Tickets: Range in price from $11 to $28. Call 486-4266 of visit their Web site at www.crt.uconn.edu.
ACTOR...CHARACTER
Michael Daly... Tiger Brown
Rob Rosado ...Street Singer
Christopher Hirsh ...Mr. J.J. Peachum
Lauretta Pope ...Mrs. Peachum
Brian Michael Hoffman ... Fitch
Heddy Lahmann ... Polly Peachum
Michael Hanson ...Macheath
Hillary Parker ...Jenny
Timothy Byrne ... Reverend Kimball
Michael Morales ... Smith
Rachel Leigh Rosado ... Lucy Brown
Joseph Gallina ... Readymoney Matt
James McMenamin... Crookfinger Jake
Luke Daniels ... Bob the Saw
Jeremy Garfinkel ... Walt Dreary
Meghan O'Leary ... Betty
Mary-Elizabeth Murray ...Dolly
Rebecca Ricker-Gilbert ... Molly
Catherine Yudain ... Coaxer
Carolyn Cumming ... ensemble
Noah Weintraub ... ensemble
Thursday, April 24, 2008
Intense "Blackbird" at TheaterWorks in Hartford Dissects Aftermath of Child Abuse
Three Stars (good)
Theater: TheaterWorks
Location: 233 Pearl St. Hartford.
Production: by David Harrower. Directed by Amy Saltz. Set design by Luke Hegel-Cantarella. Costume design by Anne Kenney. Lighting design by Mary Jo Dondlinger. Sound design by J. Hagenbuckle. Fight direction by Matthew Campbell.
Running time: 90 minutes, 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 May 11.
Tickets: $37, except Friday and Saturday nights, $47, and are unassigned. Center reserved seats $11 extra. $10 student rush tickets at showtime with valid ID (subject to availability). For tickets call 527-7838 or visit their Web site at www.theatreworks.org.
ACTOR…CHARACTER
Beth Wittig...Una
J. Tucker Smith...Ray
(Published in the Journal Inquirer April 24, 2008)
The intense, gut-wrenching production of "Blackbird" at TheaterWorks is a riveting, tormented story of the aftermath of child abuse.
Written by David Harrower, the play examines the cathartic nature of seeking some kind of understanding of an unforgivable act. This show is clearly an adult topic for adult audiences only.
Una, played with compelling fear and intensity by Beth Wittig, is in her late twenties. When she was 12 Una had a sexual relationship with a 40-year-old man who at the time was named Ray. Ray, played by J. Tucker Smith, has changed his name to Peter and started a new life elsewhere.
Una has found where he moved, by chance and confronts him at his place of employment.
Set in the present in a trash-filled break room where Ray works, the two talk about their equally trashed lives since they last saw each other 15 years ago.
The play has its sympathy and empathy understandably with the damaged young woman whose life is forever compromised. It is a non-judgmental examination of pain and loss, love and fury, attraction and repulsion, fear and disgust.
Both actors were excellent and believable. The dialog is written and delivered in fits and starts, seeking answers to questions where none exist.
Wittig’s Una veritably seethes with self-doubt and rage at the man who molested her, while Smith’s Ray convincingly portrays a tormented haunted man carrying a guilty secret he’d like to change as easily as he changed his name.
Ray says she was the only one, the only child he ever slept with, which can’t be a good thing for her. Actually either scenario would be horrible. It’s clearly a no win situation.
Not much room for humor here - with heavy accusations and recriminations flung on both sides, except when Ray is concerned about what she has in her pocketbook and Una derisively says, "I was going to Kleenex you to death."
There are twists and turns in the plot, as well as an unanticipated ending, which won’t be given away here, but suffice it to say this is one compact, raw, revelatory play.
Monday, April 21, 2008
Intense “Blackbird” at TheaterWorks is riveting
Three Stars
Theater: TheaterWorks
Location: 233 Pearl St. Hartford.
Production: by David Harrower. Directed by Amy Saltz. Set design by Luke Hegel-Cantarella. Costume design by Anne Kenney. Lighting design by Mary Jo Dondlinger. Sound design by J. Hagenbuckle. Fight direction by Matthew Campbell.
Running time: 90 minutes, 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 May 11.
Tickets: $37, except Friday and Saturday nights, $47, and are unassigned. Center reserved seats $11 extra. $10 student rush tickets at showtime with valid ID (subject to availability). For tickets call 527-7838 or visit their Web site at www.theatreworks.org.
ACTOR…CHARACTER
Beth Wittig … Una
J. Tucker Smith … Ray
By Kory Loucks
Journal Inquirer
The intense, gut-wrenching production of “Blackbird” at TheaterWorks is a riveting, tormented story of the aftermath of child abuse.
Written by David Harrower, the play examines the cathartic nature of seeking some kind of understanding of an unforgivable act. This show is clearly an adult topic for adult audiences only.
Una, played with compelling fear and intensity by Beth Wittig, is in her late twenties. When she was 12 Una had a sexual relationship with a 40-year-old man who at the time was named Ray. Ray, played by J. Tucker Smith, has changed his name to Peter and started a new life elsewhere.
Una has found where he moved, by chance and confronts him at his place of employment.
Set in the present in a trash-filled break room where Ray works, the two talk about their equally trashed lives since they last saw each other 15 years ago.
The play has its sympathy and empathy understandably with the damaged young woman whose life is forever compromised. It is a non-judgmental examination of pain and loss, love and fury, attraction and repulsion, fear and disgust.
Both actors were excellent and believable. The dialog is written and delivered in fits and starts, seeking answers to questions where none exist.
Wittig’s Una veritably seethes with self-doubt and rage at the man who molested her, while Smith’s Ray convincingly portrays a tormented haunted man carrying a guilty secret he’d like to change as easily as he changed his name.
Ray says she was the only one, the only child he ever slept with, which can’t be a good thing for her. Actually either scenario would be horrible. It’s clearly a no win situation.
Not much room for humor here — with heavy accusations and recriminations flung on both sides, except when Ray is concerned about what she has in her pocketbook and Una derisively says, “I was going to Kleenex you to death.”
There are twists and turns in the plot, as well as an unanticipated ending, which won’t be given away here, but suffice it to say this is one compact, raw, revelatory play.
Three Stars
Theater: TheaterWorks
Location: 233 Pearl St. Hartford.
Production: by David Harrower. Directed by Amy Saltz. Set design by Luke Hegel-Cantarella. Costume design by Anne Kenney. Lighting design by Mary Jo Dondlinger. Sound design by J. Hagenbuckle. Fight direction by Matthew Campbell.
Running time: 90 minutes, 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 May 11.
Tickets: $37, except Friday and Saturday nights, $47, and are unassigned. Center reserved seats $11 extra. $10 student rush tickets at showtime with valid ID (subject to availability). For tickets call 527-7838 or visit their Web site at www.theatreworks.org.
ACTOR…CHARACTER
Beth Wittig … Una
J. Tucker Smith … Ray
By Kory Loucks
Journal Inquirer
The intense, gut-wrenching production of “Blackbird” at TheaterWorks is a riveting, tormented story of the aftermath of child abuse.
Written by David Harrower, the play examines the cathartic nature of seeking some kind of understanding of an unforgivable act. This show is clearly an adult topic for adult audiences only.
Una, played with compelling fear and intensity by Beth Wittig, is in her late twenties. When she was 12 Una had a sexual relationship with a 40-year-old man who at the time was named Ray. Ray, played by J. Tucker Smith, has changed his name to Peter and started a new life elsewhere.
Una has found where he moved, by chance and confronts him at his place of employment.
Set in the present in a trash-filled break room where Ray works, the two talk about their equally trashed lives since they last saw each other 15 years ago.
The play has its sympathy and empathy understandably with the damaged young woman whose life is forever compromised. It is a non-judgmental examination of pain and loss, love and fury, attraction and repulsion, fear and disgust.
Both actors were excellent and believable. The dialog is written and delivered in fits and starts, seeking answers to questions where none exist.
Wittig’s Una veritably seethes with self-doubt and rage at the man who molested her, while Smith’s Ray convincingly portrays a tormented haunted man carrying a guilty secret he’d like to change as easily as he changed his name.
Ray says she was the only one, the only child he ever slept with, which can’t be a good thing for her. Actually either scenario would be horrible. It’s clearly a no win situation.
Not much room for humor here — with heavy accusations and recriminations flung on both sides, except when Ray is concerned about what she has in her pocketbook and Una derisively says, “I was going to Kleenex you to death.”
There are twists and turns in the plot, as well as an unanticipated ending, which won’t be given away here, but suffice it to say this is one compact, raw, revelatory play.
Monday, April 14, 2008
A lot to "like" in "The Scene" at Hartford Stage Company
HARTFORD - Is saying 'like" still a totally cool way to like, talk these days? Because if it is, then "oh-my-god" nothing much has changed in at least two decades.
That’s how fresh-faced 20-ish Clea, six months of the bus from Ohio, communicates with everyone and anyone who will listen in this taught, tight, cleverly realized production of "The Scene" at the Hartford Stage Company.
Clea, played in perpetual motion by Christy McIntosh, is the "scene machine," with as much ambition as cleavage. is one quick study when it comes to meteoric upward mobility in that lipstick jungle known as New York City.
She may talk like a total ditz, but never underestimate the power of youthful ambition without a shred of introspection.
She meets Charlie and his friend Lewis, played by Matthew Arkin and Liam Craig at a party. Charlie is an out-of-work actor, and Lewis is his friend who has a thing for the blonde Clea.
Clea says she "so doesn’t drink" because her mother is an alcoholic, but it doesn’t take much to get her to inhale some vodka. She appears out of control, but really is the coolest most calculating character of them all.
What she has is backbone - something the down and out Charlie clearly lacks.
When Charlie mocks her, Clea makes it clear she will not be intimidated by saying, "I will not be treated like a stupid person" - Not bad for hick from Ohio.
Charlie, played with determined hostility and self-loathing by Arkin, is married to a successful high-strung businesswoman named Stella, played with the requisite "perfection" by Henny Russell.
They are ostensibly working on adopting a baby from China, but really it is Stella who is doing all the leg work, while Charlie is feeling none to good about his prolonged unemployment.
The crazy world of appearances looms large in this sharply written show by Theresa Rebeck.
It really all boils down to time, sex, and money. Charlie has too much of the first, not enough of the second, and none of the third, while his wife Stella has just the opposite - she makes tons of cash, but has no time for Charlie, and no energy for sex. A combustible combination just waiting for a catalyst in Clea.
Charlie observes, "Rich people’s apartments are so comforting," then asks, "Why is it that real art makes real people feel fake?"
Meanwhile Charlie reads a television pilot outline from his former school chum Nick, who is "a skinny skull version of what he used to be." Charlie comments that the rumored pilot is "so unredeemably awful" that it is probably true.
The question Charlie deals with is how much is he willing to compromise his principles onto the auction block, and kiss up to people like Nick, who represents everything he hates, in order to get a part in a play.
This show is for mature audiences only, with some sexual situations and a liberal amount of profanity.
The slick sets by Kris Stone transition from a rooftop, to the living rooms of Charlie and Stella, and Lewis, and then to Clea’s bedroom.
They slide smoothly in and out of view, with the skyline of New York City, featuring the Empire State and Chrysler buildings, forever in the background.
The lighting by Robert Wierzel uses well-time spotlight exclamation points that grind scenes to a screeching halt at crucial times.
The story examines the pace of life today, and how uncool it is to seek enlightenment and self-knowledge an idea that used to have some integrity, but seems somehow at odds in the material world.
Three Stars
Theater: Hartford Stage Company
Location: 50 Church Street, Hartford
Production: By Theresa Rebeck. Directed by Jeremy B. Cohen. Scenic design by Kris Stone. Costume design by Miranda Hoffman. Lighting design by Robert Wierzel. Sound design by Lindsay Jones. Production manager Bryan T. Holcombe.
Running time: About 2 hours, with one intermission
Show Times: Tuesday, April 22 at 7:30 p.m., Thursdays at 7:30 p.m., and Sunday April 20 at 7:30 p.m., Friday and Saturday performances at 8 p.m., with matinee performances Sunday and selected Wednesdays and Saturdays at 2 p.m. through May 4.
Tickets: $23 to $64. For further information call their box office at 860-527-5151, or visit their website a www.hartfordstagecompany.org.
ACTOR...CHARACTER
Christy McIntosh ... Clea
Liam Craig ... Lewis
Matthew Arkin ... Charlie
Henny Russell ... Stella
HARTFORD - Is saying 'like" still a totally cool way to like, talk these days? Because if it is, then "oh-my-god" nothing much has changed in at least two decades.
That’s how fresh-faced 20-ish Clea, six months of the bus from Ohio, communicates with everyone and anyone who will listen in this taught, tight, cleverly realized production of "The Scene" at the Hartford Stage Company.
Clea, played in perpetual motion by Christy McIntosh, is the "scene machine," with as much ambition as cleavage. is one quick study when it comes to meteoric upward mobility in that lipstick jungle known as New York City.
She may talk like a total ditz, but never underestimate the power of youthful ambition without a shred of introspection.
She meets Charlie and his friend Lewis, played by Matthew Arkin and Liam Craig at a party. Charlie is an out-of-work actor, and Lewis is his friend who has a thing for the blonde Clea.
Clea says she "so doesn’t drink" because her mother is an alcoholic, but it doesn’t take much to get her to inhale some vodka. She appears out of control, but really is the coolest most calculating character of them all.
What she has is backbone - something the down and out Charlie clearly lacks.
When Charlie mocks her, Clea makes it clear she will not be intimidated by saying, "I will not be treated like a stupid person" - Not bad for hick from Ohio.
Charlie, played with determined hostility and self-loathing by Arkin, is married to a successful high-strung businesswoman named Stella, played with the requisite "perfection" by Henny Russell.
They are ostensibly working on adopting a baby from China, but really it is Stella who is doing all the leg work, while Charlie is feeling none to good about his prolonged unemployment.
The crazy world of appearances looms large in this sharply written show by Theresa Rebeck.
It really all boils down to time, sex, and money. Charlie has too much of the first, not enough of the second, and none of the third, while his wife Stella has just the opposite - she makes tons of cash, but has no time for Charlie, and no energy for sex. A combustible combination just waiting for a catalyst in Clea.
Charlie observes, "Rich people’s apartments are so comforting," then asks, "Why is it that real art makes real people feel fake?"
Meanwhile Charlie reads a television pilot outline from his former school chum Nick, who is "a skinny skull version of what he used to be." Charlie comments that the rumored pilot is "so unredeemably awful" that it is probably true.
The question Charlie deals with is how much is he willing to compromise his principles onto the auction block, and kiss up to people like Nick, who represents everything he hates, in order to get a part in a play.
This show is for mature audiences only, with some sexual situations and a liberal amount of profanity.
The slick sets by Kris Stone transition from a rooftop, to the living rooms of Charlie and Stella, and Lewis, and then to Clea’s bedroom.
They slide smoothly in and out of view, with the skyline of New York City, featuring the Empire State and Chrysler buildings, forever in the background.
The lighting by Robert Wierzel uses well-time spotlight exclamation points that grind scenes to a screeching halt at crucial times.
The story examines the pace of life today, and how uncool it is to seek enlightenment and self-knowledge an idea that used to have some integrity, but seems somehow at odds in the material world.
Three Stars
Theater: Hartford Stage Company
Location: 50 Church Street, Hartford
Production: By Theresa Rebeck. Directed by Jeremy B. Cohen. Scenic design by Kris Stone. Costume design by Miranda Hoffman. Lighting design by Robert Wierzel. Sound design by Lindsay Jones. Production manager Bryan T. Holcombe.
Running time: About 2 hours, with one intermission
Show Times: Tuesday, April 22 at 7:30 p.m., Thursdays at 7:30 p.m., and Sunday April 20 at 7:30 p.m., Friday and Saturday performances at 8 p.m., with matinee performances Sunday and selected Wednesdays and Saturdays at 2 p.m. through May 4.
Tickets: $23 to $64. For further information call their box office at 860-527-5151, or visit their website a www.hartfordstagecompany.org.
ACTOR...CHARACTER
Christy McIntosh ... Clea
Liam Craig ... Lewis
Matthew Arkin ... Charlie
Henny Russell ... Stella
Somers Village Players’ production of “Don’t Be Afraid of the Dark” a fun farce
SOMERS — Who knew murder could be such fun? The Somers Village Players 30th production “Don’t Be Afraid of the Dark” is a clever who-done-it farce, with plenty of twists and turns to keep you guessing throughout the show.
This is community theater in its truest form, with everyone pitching in and wearing multiple hats — Dorrie Mitchell directed the show and designed the set; Betty Domer produced and plays Sylvia Frye; David Crowell plays Zip Whittle and worked on the set construction; Joyce Benson plays Miranda Winkler and designed the costumes, Sherry Samborski manages the stage and plays Molly Devine — to name just a few.
The story is set in a decrepit old mansion in upstate New York. Cousins of a deceased playwright, Sebastian Sly, whom no one has ever seen, left the estate to them in his will, if they can last the night.
The cousins are played by Crowell as Zip Whittle and Trish Urso as Lilac Cooper. The two are convincing as the curious and ultimately frightened relatives who hang in for his dream of using the inheritance to open a restaurant hers of owning a hair salon.
Across the way from the mansion is an insane asylum from where a murderous lunatic called “The Creeper” has escaped.
A host of people inhabit the mansion, including the requisite butler, named Skull, played by Peter DeSaulniers, and the maid, Mrs. Bones, played by Joan Perkins-Smith.
Other residents include the fabulously theatrical actress Velma Cringe, played to the hilt by Wendy Peterson, and the mousy secretary Miranda Winkler, played by Joyce Benson.
Also invited to the proceedings was the hated drama critic, Sylvia Frye, who evidently single-handedly ruined the playwright’s career because of her scathing reviews of his work.
Having learned from past experience, she says she always carries a gun, just in case she runs into a disgruntled actor or playwright. (Evidently an occupational hazard.)
Played with devilish glee by Domer as Frye, she also said, “I took considerable pleasure in driving him from the stage.”
The drama critic came to the house in response to an invitation because she said she wanted to find a picture of the playwright, who had never been seen because he always wore a handkerchief over his face.
At one point in the second act a number of the actors with flashlights roamed the audience searching for The Creeper — a nice touch by the director Mitchell.
This is the second production the Village Players have performed at Joanna’s Café banquet hall, located behind the restaurant. They have raised the stage and moved it from one end of the hall to the other, which works better for everyone.
Two and a half stars
Location: Joanne’s Café and Banquet House, 145 Main Street, Somers
Running time: About 1 ½ hour with one intermission.
Show Times: April 18 and 19. Social hour starting at 6 p.m. Dinner at 7 p.m. Show at 8 p.m.
Tickets: $33, including dinner, with cash bar. Call 749-0245 for reservations.
Production: Written by Tim Kelly. Directed and set design by Dorrie Mitchell. Produced by Betty Domer. Stage Manager Sherry Samborski. Assistant stage manager and props by Diane Preble. Lighting design by Dick Oswald. Sound design by Justin Martin. Costumes by Joyce Benson. Set construction by David Crowell.
Actor ... Character
Alexander Crowell ...The Creeper
Peter DeSaulniers ... Skull
Joan Perkins-Smith ... Mrs. Bones
David Crowell ...Zip Whittle
Trish Urso ...Lilac Cooper
Tyler J. Anderson ... Ralph
Joyce Benson ... Miranda Winkler
Wendy Peterson ... Velma Cringe
Darlene LaPointe ... Gloria Parr
Dana T. Ring ... Deputy Graves
Betty Domer ... Sylvia Frye
Sherry Samborski ... Molly Devine
James Stoughton ... Radio Voice
SOMERS — Who knew murder could be such fun? The Somers Village Players 30th production “Don’t Be Afraid of the Dark” is a clever who-done-it farce, with plenty of twists and turns to keep you guessing throughout the show.
This is community theater in its truest form, with everyone pitching in and wearing multiple hats — Dorrie Mitchell directed the show and designed the set; Betty Domer produced and plays Sylvia Frye; David Crowell plays Zip Whittle and worked on the set construction; Joyce Benson plays Miranda Winkler and designed the costumes, Sherry Samborski manages the stage and plays Molly Devine — to name just a few.
The story is set in a decrepit old mansion in upstate New York. Cousins of a deceased playwright, Sebastian Sly, whom no one has ever seen, left the estate to them in his will, if they can last the night.
The cousins are played by Crowell as Zip Whittle and Trish Urso as Lilac Cooper. The two are convincing as the curious and ultimately frightened relatives who hang in for his dream of using the inheritance to open a restaurant hers of owning a hair salon.
Across the way from the mansion is an insane asylum from where a murderous lunatic called “The Creeper” has escaped.
A host of people inhabit the mansion, including the requisite butler, named Skull, played by Peter DeSaulniers, and the maid, Mrs. Bones, played by Joan Perkins-Smith.
Other residents include the fabulously theatrical actress Velma Cringe, played to the hilt by Wendy Peterson, and the mousy secretary Miranda Winkler, played by Joyce Benson.
Also invited to the proceedings was the hated drama critic, Sylvia Frye, who evidently single-handedly ruined the playwright’s career because of her scathing reviews of his work.
Having learned from past experience, she says she always carries a gun, just in case she runs into a disgruntled actor or playwright. (Evidently an occupational hazard.)
Played with devilish glee by Domer as Frye, she also said, “I took considerable pleasure in driving him from the stage.”
The drama critic came to the house in response to an invitation because she said she wanted to find a picture of the playwright, who had never been seen because he always wore a handkerchief over his face.
At one point in the second act a number of the actors with flashlights roamed the audience searching for The Creeper — a nice touch by the director Mitchell.
This is the second production the Village Players have performed at Joanna’s Café banquet hall, located behind the restaurant. They have raised the stage and moved it from one end of the hall to the other, which works better for everyone.
Two and a half stars
Location: Joanne’s Café and Banquet House, 145 Main Street, Somers
Running time: About 1 ½ hour with one intermission.
Show Times: April 18 and 19. Social hour starting at 6 p.m. Dinner at 7 p.m. Show at 8 p.m.
Tickets: $33, including dinner, with cash bar. Call 749-0245 for reservations.
Production: Written by Tim Kelly. Directed and set design by Dorrie Mitchell. Produced by Betty Domer. Stage Manager Sherry Samborski. Assistant stage manager and props by Diane Preble. Lighting design by Dick Oswald. Sound design by Justin Martin. Costumes by Joyce Benson. Set construction by David Crowell.
Actor ... Character
Alexander Crowell ...The Creeper
Peter DeSaulniers ... Skull
Joan Perkins-Smith ... Mrs. Bones
David Crowell ...Zip Whittle
Trish Urso ...Lilac Cooper
Tyler J. Anderson ... Ralph
Joyce Benson ... Miranda Winkler
Wendy Peterson ... Velma Cringe
Darlene LaPointe ... Gloria Parr
Dana T. Ring ... Deputy Graves
Betty Domer ... Sylvia Frye
Sherry Samborski ... Molly Devine
James Stoughton ... Radio Voice
Monday, April 07, 2008
Vaudevillian "Chicago" a razzling, dazzling, jazzy hit
MANCHESTER - Whoever said vaudeville is dead has not seen the musical "Chicago." Produced by the Manchester Musical Players and running through Sunday at Cheney Hall, this show is all one could hope for in a musical - with slues of pizzazz, panache, and pop.
This is a "Chicago" that Bob Fosse himself would have been pleased with. Fosse was the original choreographer and co-writer for the show, which opened on Broadway in 1975. With spread fan fingers and sexy poses, this show’s choreography, by Darlene Zoller, stays close to Fosse’s jazzy, showy, winning style.
Set in the 1920s in Chicago, the musical centers on an adulterous woman, Roxie Hart, played with dynamic ambition by Amy Facey, who kills her lover in a fit of rage and then hires a locally famous lawyer, Billy Flynn, played with just the right degree of cynical hubris by Michael Forgetta.
As way of introduction Flynn suggests that, "if Jesus Christ were alive today, things would have turned out differently," if Flynn was the Lord’s lawyer. That is one heck of an ego.
In jail, Hart runs up against another accused murderess, Velma Kelly, played by Mona Tiglio who is fine as the frustrated usurped former center of attention.
The show follows the two women as their fortunes ebb and flow with the fickle media’s focus, where today’s darling quickly becomes yesterday’s news. Each time they begin to fade from the spotlight, one or the other ups the ante in the ambitious fame game.
Almost every number had intricately precise dance steps, with either two or three or 10 dancers. When the numbers get that large, if anyone skips one beat or miss-times one leg kick, it is glaringly obvious - but consistently throughout this almost 3 hour show everyone was in unison - quite an achievement.
What makes this show timeless and gives it it’s depth is not just the songs and dance numbers, which really are terrific, but the darkly funny, sardonic view of this crazy world, where murder and mayhem is our collective entertainment, as the jail house Matron Mama Morton, played with sassy gusto and plenty of cleavage by Danielle Matrow, so aptly observes.
Other standouts include the riveting Nancy-Jo Himhelwhite in what can only be called an inspired casting choice, as Mary Sunshine, the operatically theatrical naïve reporter and Randy Boyd as Roxy’s self-effacing, dimwitted husband, Amos Hart, who sings the terrific "Mister Cellophane."
Songs including "All that Jazz," "Cell Block Tango," "Razzle Dazzle," were memorable, and the orchestra, conducted by Tony B. Romeo was top-notch.
The real crime here is that this show is closing Sunday. If you enjoy music, dancing, and dark humor, then beg, borrow, or steal tickets to Manchester Musical Player’s production of "Chicago."
CHICAGO
Three and ½ Stars
Location: Manchester Musical Players, Cheney Hall, 177 Hartford Road, Manchester
Production: Book by Fred Ebb and Bob Fosse. Music by John Kander. Lyrics by Fred Ebb. Artistic director Jane Cerosky. Musical director Tony B. Romeo. Choreographer Darlene Zoller. Stage manager Heidi J. Bengraff. Props Linda Lydon. Lighting design by Vince Ponce. Set design by Leslie Allison. Wigs and hair design by Joel Silvestro.
Running time: 2 1/2 hours, with one intermission
Show Times: Thursday, Friday, and Saturday at 8 p.m. Sunday at 2 p.m. through April 13.
Tickets: $20 general admission, $17 students and seniors - $28. Call the box office at 860-875-1727, or visit their website at www.mmplayers.org
ACTOR...CHARACTER
Marge Kelly ... Announcer
Mona Tiglio ... Velma Kelly
Amy Facey ... Roxie Hart
Bob Forker ... Fred Casely/Doctor/Roxy’s Boy/Reporter
Dave Gorman ... Sgt. Fogarty/Tailor/Aaron/Foreman/Roxy’s Boy/Reporter
Randy Boyd ... Amos Hart
Marguerite Kelly ... Liz/Fan Dancer/Reporter
Lisa Garofalo ... Annie/Fan Dancer/Reporter
Kate Ingram ... June/Fan Dancer/Reporter
Marissa Giglio ... Hunyak/Fan Dancer/Reporter
Stella Demand ... Mona/Fan Dancer/Reporter
Danielle Matrow ... Matron Mama Morton
Michael Forgetta ... Billy Flynn
Nancy-Jo Himhelwhite ... Mary Sunshine
Martina Desnoyers ... Go-to-Hell Kitty
Larry Lizardi ... Harry/Clerk/Bailiff/Roxy’s Boy/Reporter
Marc Mirizzi ... Martin Harrison/Roxy’s Boy/Reporter
Pierre Marteney ... The Judge
Jaime-Lynn Fontaine ... Fan Dancer/Reporter
Ross Hoel ... Roxy’s Boy/Reporter
MANCHESTER - Whoever said vaudeville is dead has not seen the musical "Chicago." Produced by the Manchester Musical Players and running through Sunday at Cheney Hall, this show is all one could hope for in a musical - with slues of pizzazz, panache, and pop.
This is a "Chicago" that Bob Fosse himself would have been pleased with. Fosse was the original choreographer and co-writer for the show, which opened on Broadway in 1975. With spread fan fingers and sexy poses, this show’s choreography, by Darlene Zoller, stays close to Fosse’s jazzy, showy, winning style.
Set in the 1920s in Chicago, the musical centers on an adulterous woman, Roxie Hart, played with dynamic ambition by Amy Facey, who kills her lover in a fit of rage and then hires a locally famous lawyer, Billy Flynn, played with just the right degree of cynical hubris by Michael Forgetta.
As way of introduction Flynn suggests that, "if Jesus Christ were alive today, things would have turned out differently," if Flynn was the Lord’s lawyer. That is one heck of an ego.
In jail, Hart runs up against another accused murderess, Velma Kelly, played by Mona Tiglio who is fine as the frustrated usurped former center of attention.
The show follows the two women as their fortunes ebb and flow with the fickle media’s focus, where today’s darling quickly becomes yesterday’s news. Each time they begin to fade from the spotlight, one or the other ups the ante in the ambitious fame game.
Almost every number had intricately precise dance steps, with either two or three or 10 dancers. When the numbers get that large, if anyone skips one beat or miss-times one leg kick, it is glaringly obvious - but consistently throughout this almost 3 hour show everyone was in unison - quite an achievement.
What makes this show timeless and gives it it’s depth is not just the songs and dance numbers, which really are terrific, but the darkly funny, sardonic view of this crazy world, where murder and mayhem is our collective entertainment, as the jail house Matron Mama Morton, played with sassy gusto and plenty of cleavage by Danielle Matrow, so aptly observes.
Other standouts include the riveting Nancy-Jo Himhelwhite in what can only be called an inspired casting choice, as Mary Sunshine, the operatically theatrical naïve reporter and Randy Boyd as Roxy’s self-effacing, dimwitted husband, Amos Hart, who sings the terrific "Mister Cellophane."
Songs including "All that Jazz," "Cell Block Tango," "Razzle Dazzle," were memorable, and the orchestra, conducted by Tony B. Romeo was top-notch.
The real crime here is that this show is closing Sunday. If you enjoy music, dancing, and dark humor, then beg, borrow, or steal tickets to Manchester Musical Player’s production of "Chicago."
CHICAGO
Three and ½ Stars
Location: Manchester Musical Players, Cheney Hall, 177 Hartford Road, Manchester
Production: Book by Fred Ebb and Bob Fosse. Music by John Kander. Lyrics by Fred Ebb. Artistic director Jane Cerosky. Musical director Tony B. Romeo. Choreographer Darlene Zoller. Stage manager Heidi J. Bengraff. Props Linda Lydon. Lighting design by Vince Ponce. Set design by Leslie Allison. Wigs and hair design by Joel Silvestro.
Running time: 2 1/2 hours, with one intermission
Show Times: Thursday, Friday, and Saturday at 8 p.m. Sunday at 2 p.m. through April 13.
Tickets: $20 general admission, $17 students and seniors - $28. Call the box office at 860-875-1727, or visit their website at www.mmplayers.org
ACTOR...CHARACTER
Marge Kelly ... Announcer
Mona Tiglio ... Velma Kelly
Amy Facey ... Roxie Hart
Bob Forker ... Fred Casely/Doctor/Roxy’s Boy/Reporter
Dave Gorman ... Sgt. Fogarty/Tailor/Aaron/Foreman/Roxy’s Boy/Reporter
Randy Boyd ... Amos Hart
Marguerite Kelly ... Liz/Fan Dancer/Reporter
Lisa Garofalo ... Annie/Fan Dancer/Reporter
Kate Ingram ... June/Fan Dancer/Reporter
Marissa Giglio ... Hunyak/Fan Dancer/Reporter
Stella Demand ... Mona/Fan Dancer/Reporter
Danielle Matrow ... Matron Mama Morton
Michael Forgetta ... Billy Flynn
Nancy-Jo Himhelwhite ... Mary Sunshine
Martina Desnoyers ... Go-to-Hell Kitty
Larry Lizardi ... Harry/Clerk/Bailiff/Roxy’s Boy/Reporter
Marc Mirizzi ... Martin Harrison/Roxy’s Boy/Reporter
Pierre Marteney ... The Judge
Jaime-Lynn Fontaine ... Fan Dancer/Reporter
Ross Hoel ... Roxy’s Boy/Reporter
Sunday, April 06, 2008
Chicago
Three and ½ Stars (very good)
Location: Cheney Hall, 177 Hartford Road, Manchester, Connecticut
Production: Book by Fred Ebb and Bob Fosse. Music by John Kander. Lyrics by Fred Ebb. Artistic director Jane Cerosky. Musical director Tony B. Romeo. Choreographer Darlene Zoller. Stage manager Heidi J. Bengraff. Props Linda Lydon. Lighting design by Vince Ponce. Set design by Leslie Allison. Wigs and hair design by Joel Silvestro.
Running time: 2 1/2 hours, with one intermission
Show Times: Thursday, Friday, and Saturday at 8 p.m. Sunday at 2 p.m. through April 13.
Tickets: $20 general admission, $17 students and seniors - $28. Call the box office at 875-1727, or visit their Web site at www.mmplayers.org
ACTOR…CHARACTER
Marge Kelly … Announcer
Mona Tiglio … Velma Kelly
Amy Facey … Roxie Hart
Bob Forker … Fred Casely/Doctor/Roxy’s Boy/Reporter
Dave Gorman … Sgt. Fogarty/Tailor/Aaron/Foreman/Roxy’s Boy/Reporter
Randy Boyd … Amos Hart
Marguerite Kelly … Liz/Fan Dancer/Reporter
Lisa Garofalo … Annie/Fan Dancer/Reporter
Kate Ingram … June/Fan Dancer/Reporter
Marissa Giglio … Hunyak/Fan Dancer/Reporter
Stella Demand … Mona/Fan Dancer/Reporter
Danielle Matrow … Matron Mama Morton
Michael Forgetta … Billy Flynn
Nancy-Jo Himhelwhite … Mary Sunshine
Martina Desnoyers … Go-to-Hell Kitty
Larry Lizardi … Harry/Clerk/Bailiff/Roxy’s Boy/Reporter
Marc Mirizzi … Martin Harrison/Roxy’s Boy/Reporter
Pierre Marteney … The Judge
Jaime-Lynn Fontaine … Fan Dancer/Reporter
Ross Hoel … Roxy’s Boy/Reporter
MANCHESTER – Whoever said vaudeville is dead has not seen the musical “Chicago.” Produced by the Manchester Musical Players, this show is all one could hope for in a musical – with slues of pizzazz, panache, and pop.
This is a “Chicago” that Bob Fosse himself would be pleased with. Fosse was the original choreographer and co-writer for the show, which opened on Broadway in 1975. With spread fan fingers and sexy poses, this show’s choreography, by Darlene Zoller, stays close to Fosse’s jazzy showy style.
Set in the 1920s in Chicago, Illinois the show centers on an adulterous woman, Roxie Hart, played with dynamic ambition by Amy Facey, who kills her lover in a fit of rage and then hires a locally famous lawyer, Billy Flynn, played with just the right degree of cynical hubris by Michael Forgetta.
As way of introduction Flynn says, “if Jesus Christ were alive today, things would have turned out differently,” with Flynn as the Lord’s council. Funny stuff.
In jail, Hart runs up against another accused murderess, Velma Kelly, played by Mona Tiglio, who bears a striking resemblance to Liza Minnelli, which works well for her role and the usurped former center of attention.
The show follows the two women as their fortunes ebb and flow with the fickle media’s focus, where today’s darling quickly becomes yesterday’s news. Each time they begin to fade from the spotlight, one or the other ups the ante in the ambitious fame game. Does the name Britney Spears ring a bell?
Almost every number had intricately precise dance steps, with either two or three or 10 dancers. When the numbers get that large, if anyone skips one beat or miss-times one leg kick, it is glaringly obvious – but consistently throughout this almost 3 hour show everyone was in unison - quite an accomplishment.
What makes this show timeless and gives it it’s depth, is not just the songs and dance, which really are terrific, but the darkly funny, sardonic view of this crazy world, where murder and mayhem is our collective entertainment, as the jail house Matron Mama Morton, played with sassy gusto by Danielle Matrow, so aptly observes.
Other standouts include the riveting Nancy-Jo Himhelwhite, in what can only be called an inspired casting choice, as Mary Sunshine, the operatically theatrical naïve reporter and Randy Boyd as Roxy’s self-effacing, dimwitted husband, Amos Hart, who sings the terrific “Mister Cellophane.”
Other songs, like “All that Jazz,” “Cell Block Tango,” “Razzle Dazzle,” were memorable, and the orchestra, conducted by Tony B. Romeo was just top-notch, and worth hearing all by themselves.
It’s a crime that this show is closing Sunday. If you like music, dancing, and dark humor, Manchester Musical Player’s production of “Chicago” is not to be missed.
Three and ½ Stars (very good)
Location: Cheney Hall, 177 Hartford Road, Manchester, Connecticut
Production: Book by Fred Ebb and Bob Fosse. Music by John Kander. Lyrics by Fred Ebb. Artistic director Jane Cerosky. Musical director Tony B. Romeo. Choreographer Darlene Zoller. Stage manager Heidi J. Bengraff. Props Linda Lydon. Lighting design by Vince Ponce. Set design by Leslie Allison. Wigs and hair design by Joel Silvestro.
Running time: 2 1/2 hours, with one intermission
Show Times: Thursday, Friday, and Saturday at 8 p.m. Sunday at 2 p.m. through April 13.
Tickets: $20 general admission, $17 students and seniors - $28. Call the box office at 875-1727, or visit their Web site at www.mmplayers.org
ACTOR…CHARACTER
Marge Kelly … Announcer
Mona Tiglio … Velma Kelly
Amy Facey … Roxie Hart
Bob Forker … Fred Casely/Doctor/Roxy’s Boy/Reporter
Dave Gorman … Sgt. Fogarty/Tailor/Aaron/Foreman/Roxy’s Boy/Reporter
Randy Boyd … Amos Hart
Marguerite Kelly … Liz/Fan Dancer/Reporter
Lisa Garofalo … Annie/Fan Dancer/Reporter
Kate Ingram … June/Fan Dancer/Reporter
Marissa Giglio … Hunyak/Fan Dancer/Reporter
Stella Demand … Mona/Fan Dancer/Reporter
Danielle Matrow … Matron Mama Morton
Michael Forgetta … Billy Flynn
Nancy-Jo Himhelwhite … Mary Sunshine
Martina Desnoyers … Go-to-Hell Kitty
Larry Lizardi … Harry/Clerk/Bailiff/Roxy’s Boy/Reporter
Marc Mirizzi … Martin Harrison/Roxy’s Boy/Reporter
Pierre Marteney … The Judge
Jaime-Lynn Fontaine … Fan Dancer/Reporter
Ross Hoel … Roxy’s Boy/Reporter
MANCHESTER – Whoever said vaudeville is dead has not seen the musical “Chicago.” Produced by the Manchester Musical Players, this show is all one could hope for in a musical – with slues of pizzazz, panache, and pop.
This is a “Chicago” that Bob Fosse himself would be pleased with. Fosse was the original choreographer and co-writer for the show, which opened on Broadway in 1975. With spread fan fingers and sexy poses, this show’s choreography, by Darlene Zoller, stays close to Fosse’s jazzy showy style.
Set in the 1920s in Chicago, Illinois the show centers on an adulterous woman, Roxie Hart, played with dynamic ambition by Amy Facey, who kills her lover in a fit of rage and then hires a locally famous lawyer, Billy Flynn, played with just the right degree of cynical hubris by Michael Forgetta.
As way of introduction Flynn says, “if Jesus Christ were alive today, things would have turned out differently,” with Flynn as the Lord’s council. Funny stuff.
In jail, Hart runs up against another accused murderess, Velma Kelly, played by Mona Tiglio, who bears a striking resemblance to Liza Minnelli, which works well for her role and the usurped former center of attention.
The show follows the two women as their fortunes ebb and flow with the fickle media’s focus, where today’s darling quickly becomes yesterday’s news. Each time they begin to fade from the spotlight, one or the other ups the ante in the ambitious fame game. Does the name Britney Spears ring a bell?
Almost every number had intricately precise dance steps, with either two or three or 10 dancers. When the numbers get that large, if anyone skips one beat or miss-times one leg kick, it is glaringly obvious – but consistently throughout this almost 3 hour show everyone was in unison - quite an accomplishment.
What makes this show timeless and gives it it’s depth, is not just the songs and dance, which really are terrific, but the darkly funny, sardonic view of this crazy world, where murder and mayhem is our collective entertainment, as the jail house Matron Mama Morton, played with sassy gusto by Danielle Matrow, so aptly observes.
Other standouts include the riveting Nancy-Jo Himhelwhite, in what can only be called an inspired casting choice, as Mary Sunshine, the operatically theatrical naïve reporter and Randy Boyd as Roxy’s self-effacing, dimwitted husband, Amos Hart, who sings the terrific “Mister Cellophane.”
Other songs, like “All that Jazz,” “Cell Block Tango,” “Razzle Dazzle,” were memorable, and the orchestra, conducted by Tony B. Romeo was just top-notch, and worth hearing all by themselves.
It’s a crime that this show is closing Sunday. If you like music, dancing, and dark humor, Manchester Musical Player’s production of “Chicago” is not to be missed.
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