"Happy Days - A New Musical" much like the sit-com at Goodspeed

EAST HADDAM - What you see is what you get at the Goodspeed Opera House’s production of "Happy Days - A New Musical."
The musical, written by Garry Marshall, with music and lyrics by Paul Williams, is much as one would expect, based on the successful television show by the same name. The theme song from the sitcom "Happy Days," which kicks off and closes the show, is the most memorable of the many perky tunes in the production.
All the characters you knew and loved from the original television show are there, including Richie (played Saturday night by David Larsen), Potsie, Ralph, Chachi, Joanie, Mr. and Mrs. Cunningham, Arnold and of course, what "Happy Days" show would be complete without the Fonz.
The story line was pretty weak, with just enough structure to support the real attractions to this show, which are the relationships these beloved characters have with each other, and the nostalgia factor for the audience.
Arnold’s diner in Milwaukee, Wisconsin, is slated for demolition by developers, unless the town can raise money to save it from destruction. In comes Fonzie to save the day, and others pitch in to help.
As in the TV show, The Fonz was the pivotal character. Joey Soucy plays the role of Fonzie as if he were born to it, perfectly capturing the essential king of cool attitude.
Pinkie, his ex-girlfriend, comes back to town and sparks fly between the two, but it is clear they are meant to be together. Sandra DeNise plays Pinkie with an appealing Brooklyn accent, although why someone from Milwaukee speaks with a Brooklyn accent is never explained. Nevermind - DeNise’s Broadway-belting voice, which was strong and fine.
Besides, logic is not what this show is about - as the title suggests, this musical is all about happy days, not depressing nights.
The Dial-Tones, an A Cappella quartet made up of Richie, Potsie, Chachi, and Ralph singing "The Thing About Girls" was harmonic and pleasant, while the trio of Marion, Pinkie, and Joanie singing "What I dreamed Last Night (reprise)" was quite good. Savannah Wise plays Joanie Cunningham with lots of spunk and energy.
The show has everything one could wish for in a musical - plenty of athletic swing dancing, with choreography by Michele Lynch, some impressive tap dancing by Cynthia Ferrer as Marion Cunningham and ensemble, a bit of acting, and lots and lots of singing.
What show set in 1959 wouldn’t be complete without big poodle skirts? - David C. Woolard designed the colorful period costumes.
Even though the actor’s voices were amplified, the band, directed by Michael O’Flaherty, was a trifle loud at first, and ran over Richie, played by David Larson, who was filling in for Rory O’Malley Saturday night. But they settled down as the show progressed.
The sets, which change between Arnold’s diner, the Cunningham’s Bakelite yellow and blue kitchen, to the entrance of Fonzie’s apartment, and the garage he works at, are simple but effective, designed by Walt Spangler.
Perhaps this is the start of a new genre - nostalgic musicals based upon nostalgic television series. Maybe we can someday look forward to musicals about classic television shows such as "The Brady Bunch," "The Munsters," "Green Acres," "The Beverly Hillbillies," and "I Dream of Jeanie" to name just a few.
In the meantime, there’s "Happy Days - A New Musical" to enjoy at the Goodspeed Opera House through June 29.

Location: Goodspeed Opera House, Route 82, East Haddam
Production: Book by Garry Marshall. Music and lyrics by Paul Williams. Directed by Gordon Greenburg. Choreography by Michele Lynch. Music supervisor John McDaniel. Music director Michael O’Flaherty. Scenery design by Walt Spangler. Costume design by David C. Woolard. Lighting design by Jeff Croiter. Sound by Jay Hilton.
Running time: 2 ½ hours with one intermission
Show Times: Performances are Wednesdays at 2 and 7:30 p.m.; Thursdays at 7:30 p.m.; Fridays at 8 p.m.; Saturdays at 3 and 8 p.m.; and Sundays at 2 p.m. through June 29. There will be performances on select Thursdays at 2 p.m. and Sundays at 6:30 p.m.
Tickets: $26 - $63. Call the box office at 860-873-8668 or visit their Web site at www.goodspeed.org
ACTOR... CHARACTER
Joey Sorge ... Fonzie
Rory O’Malley ... Richie Cunningham
Sandra DeNise ... Pinky
Cynthia Ferrer ... Marion Cunningham
Kevin Carolan ... Howard Cunningham
Stanley Bahorek ... Ralph
Billy Harrigan Tighe ... Potsie
Savannah Wise ... Joanie Cunningham
Lannon Killea ... Chachi
Bob Amaral ... Arnold
Hanna-Liina Vosa ... Lori Beth

Manchester Little Theatre's production of Noel Coward's "Blithe Spirit" sophisticated witty fun

Three Stars (good)

Location: Cheney Hall, 177 Hartford Road, Manchester, Connecticut

Production: by Noel Coward. Directed by Joseph Keach-Longo. Stage manager Tom Goodin. Set design by Fred T. Blish. Lighting design by Lee Hammitt. Sound design by Jared Towler. Costumes by Pam Puente and Solveig Pflueger.

Running time: 2 ½ hours, with one 15-minute intermission.

Show Times: Thursday, Friday, and Saturday at 8 p.m. Sunday at 2 p.m. through May 18.

Tickets:$16 - $23 Seniors over 60 and students receive a discount. Call the box office at 647-9824, or visit their Web site at www.cheneyhall.org

ACTOR…CHARACTER

Alyson Orenstein … Edith

Nicole Giguere … Ruth

Brian Ballou … Charles

Nick Demetriades … Dr. Bradman

Betty L. Olson … Mrs. Bradman

Karen Sidel … Madame Arcati

Christy Donahue … Elvira

By Kory Loucks

Published May 6, 2008 in the Journal Inquirer

MANCHESTER

— If you enjoy listening to urbane sophisticates engage in witty repartee and ribald banter over a few dry martinis, then you'll love "Blithe Spirit," in production at the Little Theatre of Manchester through May 18.

This very English drawing room comedy was written by that apparently supercilious bon vivant, Noel Coward, during World War II in 1941.

Coward, who reportedly wrote the play in five days after his London office and apartment were bombed in a German blitz, said in his autobiography that he decided to write an escapist comedy for the war-torn populous. The show was a huge hit, running for over 2,000 performances.

Coward may have dashed off the play in five days, but memorizing the intricate, voluminous, rapid-fire dialog undoubted required intensive weeks of preparation by the Manchester Little Theatre cast, who fortunately were up to the task.

Set in 1941 in a country home in Kent, England, the plot concerns a novelist, Charles Condomine, played with delightful urbane wit by Brian Ballou, who with his second wife, Ruth, played with a knowing sophistication by Nicole Giguere, invites some guests to dinner, along with a clairvoyant, Madam Arcati, to conduct a séance.

The guests are the Dr. Bradman and his wife, convincingly played by Nick Demetriades and Betty L. Olson, while Karen Sidel played Madam Arcati.

All are highly dubious in their own way of the otherworldly proceedings, except Mrs. Bradman, but Arcati is used to such skepticism. Sidel portrays the spiritualist with a matter-of-fact earthy practicality and conviction, giving an air of possibility to the otherwise unbelievable events.

The contemplative ever-professional Arcati at one point advises Charles, quoting Shakespeare's "Hamlet," that "there are more things in heaven and earth than are dreamt of in your philosophy," while at another time says she has some Ovaltine at home in a saucer just waiting for "hotting up."

Charles Condomine's first wife, Elvira, who has been dead for 7 years, returns as a result of the séance, but only Charles can see and hear her. Christy Donahue plays the ethereal, petulant, and manipulative Elvira with a winning grace and wicked charm.

The young, flighty, fluttering maid, Edith, whose actions turn out to be the story's linchpin, is played with a sweet daftness and earnestness by Alyson Orenstein.

There is something peculiarly satisfying about hearing smart people argue intelligently about silly things, such as when Charles tells his second wife Ruth that she is so controlling she won't even allow him to have a simple hallucination after she accuses him of being didactic and puerile.

The pyrotechnic barbs are so witty and brilliant, one can almost forgive Coward his blatantly misogynistic perspective.

The costumes, by Pam Puente and Solveig Pflueger, fit the period well, while the set designed by Fred T. Blish is a sturdy and appropriately elegant English country manor.

"Blithe Spirit" has been a perennial favorite of community theater company's for decades. Coincidentally this same play is concurrently in production at the Suffield Players, allowing lucky theatergoers a choice of two venues to enjoy this hypnotic and clever play.

Vally Rep's Production of Lust 'n Rust The Trailer Park Musical fine fun new show

Three Stars (good)

Theater: Valley Repertory Theater

Location: 100 High Street, Enfield

Production: By Frank Haney, Carol Kimball, and Dave Stratton. Direction, technical direction, and lighting design by Eric Albetski. Musical direction by Boyd Wood. Produced by Jan Albetski. Stage manager Lisa Eaton. Costumes by Aya D'Amato.

Running time: 2 1/2 hours, including a 15-minute intermission

Show Times: Friday and Saturday at 8 p.m., through May 17.

Tickets: $12, seniors over 60 and youth 18 and under $10. Call 860-749-4665 or visit their Web site at

www.valleyrep.com

ACTOR…CHARACTER

Gary Turrel … Red

Gaetan "Jay" Michaud … Steve Morgan

Lisa Eaton … Henderson

Janine Flood … Connie Kroesser

Chris Kibbe … Duane Kroesser

Melissa Styche … Janette

Rhonda Oliver ... Latisha Washington

Brendan Albetski … Buzz

Cassie Wood … Tanya

Brent Alexander … Junior

By Kory Loucks

published May 7, 2008 in the Journal Inquirer

ENFIELD— Although tried-and-true classics like "Oklahoma!" and "The Music Man" are always dependable and popular shows for community theaters, it's certainly refreshing and exciting to see a new musical, especially one as fine and fun as "Lust 'n Rust — The Trailer Park Musical," now playing at the Valley Repertory Theater.

Their production is the New England premier of "Lust 'n Rust — The Trailer Park Musical" by Frank Haney, Carol Kimball, and Dave Stratton, who hail from the Chicago area.

The plot involves an ambitious manager, Steve Morgan, played with ease by Gaetan "Jay" Michaud, who works for a company called "AgriBig." Morgan moves into a local trailer park in Twister Plaines, Illinois called the Redbud Mobile Estates, where an interesting collection of characters resides.

The owner of the trailer park, Red, is a easy-going tai chi practicing, folding chair philosopher, played with laid-back casualness by Gary Turell.

There is the requisite waitress with a big heart, Connie Kroesser, played by Janine Flood, who is in the process of divorcing her childhood sweetheart husband, the easily angered Duane, played by Chris Kibbe.

Other trailer park residents include the black beautician specializing in Caucasian women's hair styling, Latisha Washington, played by Rhonda Oliver; Janette, a young mother with twins from two different fathers, played by Melissa Styche, and Tanya, a young flirtatious woman, played by Cassie Wood, who is married to Junior, played by Brent Alexander, but is carrying on a casual affair with Buzz, played by Brendan Albetski.

The characters could have easily regressed into stereotypes, but the actors imbued their roles with tenderness and feeling giving the musical an appealing sweetness.

Certainly not excessive, nor inappropriate, still it should be noted that profanity looms large in the show's dialog.

While some of the songs were better than others, they were mostly country tunes, with a spicy Cajun duet called "Cajun Cooking," with Rhonda Oliver's Latisha and Brendan Albetski's Buzz, and a bouncy rap song sung by Oliver and Cassie Wood's Tanya called "Caucasian Hair." Oliver has sung professionally as a gospel vocalist and was terrific.

Wood's Tanya hits just the right tone of sassy sexiness, while Albetski's Buzz transitioned from sad loser hanging onto the past to focusing on the future in a funny turn with Latisha about back hair waxing.

The singers' voices were not amplified, which worked well most of the time, but occasionally they were overpowered by the three-piece band called "The Markley Brothers Band."

Comprised of Boyd Wood on keyboards, Bill Drouin on guitar, and Erin Moody on fiddle, the band was worth the price of admission.

Outstanding was the heartfelt lament "Let Her Go" by Chris Kibbe's Duane. According to the program notes, Kibbe has toured professionally as a country music, southern gospel, and bluegrass singer, and it shows. His rendition could easily be a song heard on any country music station.

"Once Upon a Time" sung by Michaud, was a standout too, as was the beautifully haunting duet between Michaud and Kibbe called "Off to Mexico," about the "AgriBig" plant closing and moving to Mexico, even though the company was profitable. The plant is the major employer in town, leaving just about everyone out of a job

— a pointed comment on corporate greed.
"Lust 'n Rust— The Trailer Park Musical" is a fine, fun, earthy musical and at only $12 a ticket-a terrific bargain.

A side note — The Valley Repertory Company always puts a hard candy on each patron seat, and for this show, they even have little "Lust 'n Rust — The Trailer Park Musical" press on tattoos on the seats.

For an excellent night of entertainment with a remarkable collection of talent under one roof, see the Valley Repertory Company's production of "Lust 'n Rust — The Trailer Park Musical."

Fine and fun "Lust ‘n Rust - The Trailer Park Musical," at the Valley Rep.

ENFIELD - Although tried-and-true classics like "Oklahoma!" and "The Music Man" are always dependable and popular shows for community theaters, it’s certainly refreshing and exciting to see a new musical, especially one as fine and fun as "Lust ‘n Rust - The Trailer Park Musical," now playing at the Valley Repertory Theater.
Their production is the New England premier of "Lust ‘n Rust - The Trailer Park Musical" by Frank Haney, Carol Kimball, and Dave Stratton, who hail from the Chicago area.
The plot involves an ambitious manager, Steve Morgan, played with ease by Gaetan "Jay" Michaud, who works for a company called "AgriBig." Morgan moves into a local trailer park in Twister Plaines, Illinois called the Redbud Mobile Estates, where an interesting collection of characters resides.
The owner of the trailer park, Red, is a easy-going tai chi practicing, folding chair philosopher, played with laid-back casualness by Gary Turell.
There is the requisite waitress with a big heart, Connie Kroesser, played by Janine Flood, who is in the process of divorcing her childhood sweetheart husband, the easily angered Duane, played by Chris Kibbe.
Other trailer park residents include the black beautician specializing in Caucasian women’s hair styling, Latisha Washington, played by Rhonda Oliver; Janette, a young mother with twins from two different fathers, played by Melissa Styche, and Tanya, a young flirtatious woman, played by Cassie Wood, who is married to Junior, played by Brent Alexander, but is carrying on a casual affair with Buzz, played by Brendan Albetski.
The characters could have easily regressed into stereotypes, but the actors imbued their roles with tenderness and feeling giving the musical an appealing sweetness.
Certainly not excessive, nor inappropriate, still it should be noted that profanity looms large in the show’s dialog.
While some of the songs were better than others, they were mostly country tunes, with a spicy Cajun duet called "Cajun Cooking," with Rhonda Oliver’s Latisha and Brendan Albetski’s Buzz, and a bouncy rap song sung by Oliver and Cassie Wood’s Tanya called "Caucasian Hair." Oliver has sung professionally as a gospel vocalist and was terrific.
Wood’s Tanya hits just the right tone of sassy sexiness, while Albetski’s Buzz transitioned from sad loser hanging onto the past to focusing on the future in a funny turn with Latisha about back hair waxing.
The singers’ voices were not amplified, which worked well most of the time, but occasionally they were overpowered by the three-piece band called "The Markley Brothers Band."
Comprised of Boyd Wood on keyboards, Bill Drouin on guitar, and Erin Moody on fiddle, the band was worth the price of admission.
Outstanding was the heartfelt lament "Let Her Go" by Chris Kibbe’s Duane. According to the program notes, Kibbe has toured professionally as a country music, southern gospel, and bluegrass singer, and it shows. His rendition could easily be a song heard on any country music station.
"Once Upon a Time" sung by Michaud, was a standout too, as was the beautifully haunting duet between Michaud and Kibbe called "Off to Mexico," about the "AgriBig" plant closing and moving to Mexico, even though the company was profitable. The plant is the major employer in town, leaving just about everyone out of a job - a pointed comment on corporate greed.
"Lust ‘n Rust - The Trailer Park Musical" is a fine, fun, earthy musical and at only $12 a ticket-a terrific bargain.
A side note - The Valley Repertory Company always puts a hard candy on each patron seat, and for this show, they even have little "Lust ‘n Rust - The Trailer Park Musical" press on tattoos on the seats.
For an excellent night of entertainment with a remarkable collection of talent under one roof, see the Valley Repertory Company’s production of "Lust ‘n Rust - The Trailer Park Musical."

Theater: Valley Repertory Theater
Location: 100 High Street, Enfield
Production: By Frank Haney, Carol Kimball, and Dave Stratton. Direction, technical direction, and lighting design by Eric Albetski. Musical direction by Boyd Wood. Produced by Jan Albetski. Stage manager Lisa Eaton. Costumes by Aya D’Amato.
Running time: 2 1/2 hours, including a 15-minute intermission
Show Times: Friday and Saturday at 8 p.m., through May 17.
Tickets: $12, seniors over 60 and youth 18 and under $10. Call 860-749-4665 or visit their website at www.valleyrep.com

ACTOR...CHARACTER
Gary Turrel...Red
Gaetan "Jay" Michaud...Steve Morgan
Lisa Eaton...Henderson
Janine Flood...Connie Kroesser
Chris Kibbe...Duane Kroesser
Melissa Styche ...Latisha Washington
Brendan Albetski ...Buzz
Cassie Wood ...Tanya
Brent Alexander ... Junior

HEADLINE: Manchester Little Theatre’s production of "Blithe Spirit" sophisticated witty fun

MANCHESTER - If you enjoy listening to urbane sophisticates engage in witty repartee and ribald banter over a few dry martinis, then you’ll love "Blithe Spirit," in production at the Little Theatre of Manchester through May 18.
This very English drawing room comedy was written by that apparently supercilious bon vivant, Noel Coward, during World War II in 1941.
Coward, who reportedly wrote the play in five days after his London office and apartment were bombed in a German blitz, said in his autobiography that he decided to write an escapist comedy for the war-torn populous. The show was a huge hit, running for over 2,000 performances.
Coward may have dashed off the play in five days, but memorizing the intricate, voluminous, rapid-fire dialog undoubted required intensive weeks of preparation by the Manchester Little Theatre cast, who fortunately were up to the task.
Set in 1941 in a country home in Kent, England, the plot concerns a novelist, Charles Condomine, played with delightful urbane wit by Brian Ballou, who with his second wife, Ruth, played with a knowing sophistication by Nicole Giguere, invites some guests to dinner, along with a clairvoyant, Madam Arcati, to conduct a séance.
The guests are the Dr. Bradman and his wife, convincingly played by Nick Demetriades and Betty L. Olson, while Karen Sidel played Madam Arcati.
All are highly dubious in their own way of the otherworldly proceedings, except Mrs. Bradman, but Arcati is used to such skepticism. Sidel portrays the spiritualist with a matter-of-fact earthy practicality and conviction, giving an air of possibility to the otherwise unbelievable events.
The contemplative ever-professional Arcati at one point advises Charles, quoting Shakespeare’s "Hamlet," that "there are more things in heaven and earth than are dreamt of in your philosophy," while at another time says she has some Ovaltine at home in a saucer just waiting for "hotting up."
Charles Condomine’s first wife, Elvira, who has been dead for 7 years, returns as a result of the séance, but only Charles can see and hear her. Christy Donahue plays the ethereal, petulant, and manipulative Elvira with a winning grace and wicked charm.
The young, flighty, fluttering maid, Edith, whose actions turn out to be the story’s linchpin, is played with a sweet daftness and earnestness by Alyson Orenstein.
There is something peculiarly satisfying about hearing smart people argue intelligently about silly things, such as when Charles tells his second wife Ruth that she is so controlling she won’t even allow him to have a simple hallucination after she accuses him of being didactic and puerile.
The pyrotechnic barbs are so witty and brilliant, one can almost forgive Coward his blatantly misogynistic perspective.
The costumes, by Pam Puente and Solveig Pflueger, fit the period well, while the set designed by Fred T. Blish is a sturdy and appropriately elegant English country manor.
"Blithe Spirit" has been a perennial favorite of community theater company’s for decades. Coincidentally this same play is concurrently in production at the Suffield Players, allowing lucky theatergoers a choice of two venues to enjoy this hypnotic and clever play.

Theater: The Little Theatre of Manchester
Location: Cheney Hall, 177 Hartford Road, Manchester
Production: by Noel Coward. Directed by Joseph Keach-Longo. Stage manager Tom Goodin. Set design by Fred T. Blish. Lighting design by Lee Hammitt. Sound design by Jared Towler. Costumes by Pam Puente and Solveig Pflueger.
Running time: 2 ½ hours, with one 15-minute intermission.
Show Times: Thursday, Friday, and Saturday at 8 p.m. Sunday at 2 p.m. through May 18.
Tickets: $16 - $23. 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
Alyson Orenstein ... Edith
Nicole Giguere ... Ruth
Brian Ballou ... Charles
Nick Demetriades ... Dr. Bradman
Betty L. Olson ... Mrs. Bradman
Karen Sidel ... Madame Arcati
Christy Donahue ... Elvira

Connecticut Repertory Theatre's "The Threepenny Opera" a sharp, devilish morality tale

Three Stars (good)

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

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 Daly* … Tiger Brown
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

* Appears courtesy of Actor's Equity Association

By Kory Loucks

ran in the Journal Inquirer, May 1, 2008

STORRS, CONNECTICUT

"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.

The world premier of "Piecemeal" is an impressive original local Connecticut production

Three Stars (g00d)

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 1/2 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

By Kory Loucks

published in the Journal Inquirer May 1, 2008

EAST WINDSOR, CONNECTICUT

— 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."