Torrential storm doesn’t dampen spirits at Kuan’s HSO debut at Talcott Mountain Fest
by Kory Loucks

SIMSBURY — Conductor Carolyn Kuan certainly got our attention Saturday with her debut at the Hartford Symphony Orchestra’s Talcott Mountain Music Festival in the midst of a mid-summer night’s torrential rainstorm - boardering on a Monsoon.
Not that Kuan, HSO’s music director-designate, had any say in the weather, but she certainly has a flair for the dramatic.
The outdoor concert series, in its 16th season, is held in Simsbury Meadows next to Talcott Mountain, close to downtown Simsbury, attracting people from all around the region to our state’s mini-version of Massachusetts’ Tanglewood.
Before the concert, Allan and Judy Daninhirsch of Bristol were sitting comfortably on the lawn in their folding chairs in anticipation of the performance.
They said they haven’t missed a show since the festival started and recommended that others come and enjoy music under the stars.
“It’s a great way to relax and you don’t have to get dressed up,” Judy Daninhirsch said, adding that she also enjoys the fireworks display at the end of each performance.
And it isn’t just the music and fireworks that brings people to the venue. Before the concert they have crafts for children to create including flute pipes out of plastic straws and decorative pinwheels.
Danka Jara of Wethersfield said she and a group of family and friends from Hartford and Andover get together with their children and have a great time. They even set up a their own portable playscape for the little ones to tumble in before the performance.
When her 5-year-old son, Adam, found out the first performance was canceled Friday, she said he was almost inconsolable. His 7-year-old brother, Alex, said his favorite part of coming to the concerts is dancing to the music.
Lucia Pandolfo of Hartford came prepared with some wine, dessert, and bug spray.
“I love to be outside in the summer,” Pandolfo said.
Many patrons brought their own food and beverages and enjoyed a picnic dinner before and during the festivities.
Kuan opened with the overture to Piotr Ilyich Tchaikovsky’s “Romeo and Juliet.” About half way through the moving and romantic performance, the skies opened up and the rain poured down in buckets.
I don’t know exactly how much rain fell, but my plastic cup had about two inches of water by the time the torrential downpour stopped around half an hour later.
Over half the audience disappeared by that time, which was a shame, because once the skies cleared the performance continued, and it was well worth enduring the downpour.
Scott McIntosh on trumpet was featured in Franz Joseph Haydn’s “Concerto in E-flat Major for Trumpet and Orchestra.” He had a slightly bumpy start with some sharp notes, probably to do with the preceding deluge, but once he warmed up, McIntosh sounded clean and crisp.
Next Kuan led the orchestra in Felix Mendelssohn’s “Incidental Music to ‘A Midsummer Night’s Dream,’” with entertaining and quirky narration by Radio Host and columnist Colin McEnroe.
The few residual raindrops had stopped completely by the time the fireworks kicked in, and they were spectacular, lasting at least 20 minutes and they were a perfect ending to an eventful evening.
The beauty of an outdoor concert is the unexpected variety of sensations, such as the scent of flowers and grass hanging in the humid summer air, birds chirping, and crickets adding their distinctive summer sound once the sun set.
This is the first of five Friday night outdoor concerts in July. Next up is “Celebrate America” July 1, followed by “Big Bad Voodoo Daddy” on July 8; “The Music of Michael Jackson,” on July 15; and “A Symphonic Surfin’ Safari” on July 22.
Single tickets range in price from $20 to $45 and are $5 for children under 13 years old. For more information call their box office at 860-244-2999 or visit their website at:
www.hartfordsymphony.org.
Kuan was simply marvelous, possessing a flowing, graceful, exuberant style and guiding the orchestra to a full, unified, and ultimately moving performance.
She exuded an undeniable humanity and largess that was evident throughout the night. Even after the show, she came into the audience and as the few remaining waterlogged patrons were packing up their soggy belongings, she warmly and sincerely wanted to know how they enjoyed the show.
If this first performance is any indication of what the future portends, the HSO under Kuan’s confident direction will be reaching new heights in the years to come.

Hartford Symphony Orchestra opens summer season with a splash

by Kory Loucks
SIMSBURY-Conductor Carolyn Kuan certainly got our attention Saturday with her debut at the Hartford Symphony Orchestra’s Talcott Mountain Music Festival in the midst of a mid-summer night’s thunderstorm.

Not that Kuan, HSO’s music director-designate, had any say in the weather, but she definitely has a flair for the dramatic.

The outdoor concert series, in its third year, is held at the field right next to Talcott Mountain close to down-town Simsbury, and attracts people from all around the region to our own little version of Tanglewood in Massachusetts.

Before the concert, Allan and Judy Daninhirsch of Bristol said they haven’t missed a performance since the festival started and recommended that others come and enjoy music under the stars.

“It’s a great way to relax and you don’t have to get dressed up” to enjoy the orchestra, Judy Daniahirsch said, adding that she also likes the fireworks display behind at the end of each performance.

And it isn’t just the music that brings people to the event. Before the concert they have crafts for children to make including flute pipes out of plastic straws and decorative pinwheels.

Danka Jara of Wethersfield said she and a group of family and friends from Hartford and Andover get together with the kids and have a great time. They even set up a playscape for the little ones to play in before the performance.

When her 5-year-old son, Adam, found out the first performance was canceled, she said he cried. His 7-year-old brother, Alex, said his favorite part of coming to the concerts is dancing to the music.

“I love to be outside in the summer,” Lucia Pandolfo of Hartford said. She brought some wine, dessert, an umbrella, and bug spray.

The first piece Kuan conducted was the overture to Piotr Ilyich Tchaikovsky’s “Romeo and Juliet.” About half way through the moving and romantic performance, the skies opened up and the rain poured.

I don’t know exactly how much rain fell, but my plastic cup had about two inches of water in it when the rain finally stopped about half an hour later.

At least half the audience disappeared, which is a shame, because once the skies cleared the performance continued.

Scott McIntosh on trumpet was featured in Franz Joseph Haydn’s “Concerto in E-flat Major for Trumpet and Orchestra.” He had a slightly bumpy start, probably to do with the wet weather, but once he warmed up, McIntosh sounded clean and crisp.

Next Kuan led the orchestra in Felix Mendelssohn’s “Incidental Music to ‘A Midsummer Night’s Dream,’” with entertaining and quirky narration by Radio Host and columnist Colin McEnroe.

The rain had stopped by the time the fireworks went off, and they were spectacular, lasting at least 20 minutes, and they were a perfect ending to a dramatic evening.

The beauty of an outdoor concert is the unexpected, such as the scent of flowers and grass in the humid summer air, the birds in the background chirping before the sunset, and then crickets joining in the music once it was dark.

This is the first of five Friday night outdoor concerts in July. Next up is “Celebrate America” July 1, followed by “Big Bad Voodoo Daddy” on July 8; “The Music of Michael Jackson,” on July 15; and “A Symphonic Surfin’ Safari” on July 22.

Single tickets range in price from $20 to $45 and are $5 for children under 13 years old. For more information call their box office at 860-244-2999 or visit their website at www.hartfordsymphony.org.

Kuan was simply marvelous, possessing a flowing, graceful, exuberant style, and guiding the orchestra to a full, unified, and ultimately moving performance. She exuded an undeniable humanity and largess that was evident throughout the night. Even after the show, she came into the audience and as the few remaining waterlogged patrons were packing up their soggy belongings, she asked how they enjoyed the show.

If this first performance is any indication of what the future portends, the Hartford Symphony Orchestra under Kuan’s confident direction, will be reaching new heights in the years ahead.

“Seussical, the musical” family-friendly fun

by Kory Loucks
STORRS-What a lovely, family-friendly musical is "Seussical the Musical," the second of three Summer Nutmeg Series productions at the Connecticut Repertory Theatre.

The Dr. Seuss compendium of children’s books offers rich and fertile story lines to choose from, with his rhyming couplets are tailor-made for lyrics.

In this show, with music by Stephen Flaherty and lyrics by Lynn Ahrens, they combine two stories of Horton the Elephant — "Horton Hears a Who" and "Horton Hatches an Egg."
Steve Hayes plays the much-put-upon pachyderm, Horton. While the other characters dress in neon brights, Hayes is in plain gray. Hayes’ Horton is charming, shy, and sweet, and he has a lovely voice when he sings "Alone in the Universe" and other songs.

This is the kind of show where you should really bring a child along to fully enjoy the production. The children who were in the audience on Saturday night were literally sitting on the edges of their seats. Its fun for adults too, who can marvel at the wonderful details of this show.

The day-glow costumes are gorgeous and extremely detailed, with fanciful hats and bright rainbow hues, by Leslie Neilson-Bowman. I would have like to see all tail feathers for Gertrude McFee, rather than crinoline and tulle. Using nothing but bright boas would have been better and looked more amusing too.

Bradford Scobie does a masterful master-of-ceremonies turn as the Cat in the Hat, complete with many playful voices and just the right amount of mischief to show what a silly troublemaker the Cat in the Hat really is.

Allyssa Schmitt plays an adorable, sweet, and lovelorn Gertrude McFuzz, who does all she can to get Horton to notice her.

Rachel Rosado plays a glamorous Gertrude McFuzz with energy and pizzazz, and Noah Zachary captures the youthful wonder of JoJo who delivers quite a "Yopp" at the end.

The flexible Jamie Goldman along with Charles South and Cody Strand, all play the Wicksham Monkeys with appropriate menace.

Excellent choreography by Cassie Abate, who also directs this fast-paced musical.
Amani Dorn is stunning as the Sour Kangaroo, with a fabulous soulful voice.

Lindsay Andretta plays Mrs. Mayor to Strand’s Mr. Mayor of Whoville and they are both adorable.

The set, by Michael Anania, is apparently simple, but highly functional, with sliding shelves that hold props, and a floral painted floor with a secret compartment that introduces the Cat in the Hat in the most dramatic manner.

Even the backdrop changes colors to match the scenes and adds to the magic. I particularly like the shooting stars in the night scene. Lighting design by Al Crawford.

The live band directed by John Pike, is hidden from view, and they do a stellar job keeping pace with the singers.

For me the stars of the show are the amazing, although too briefly seen, fish puppets that are as innovative as they are imaginative. The actors push, swirl, crank, and flutter the various fish around the stage during the bathtub scene (clever bathtub!), and are remarkably beautiful. Puppet design by Paul Spirito.

It’s a shame that this show is ending Sunday. I would love to see them tour this at every Connecticut State University theater through the summer. More people and especially children should have the opportunity to attend this fine production of "Seussical the Musical" and see this talented cast perform.

4 Stars

(4 stars, excellent, 3 stars, good; 2 stars, fair; 1 star, poor)

Location: Nafe Katter Theatre, 802 Bolton Road, Storrs.

Production: Music by Stephen Flaherty. Lyrics by Lynn Ahrens. Book by Ahrens and Flaherty. Co-conceived by Ahrens, Flaherty, and Eric Idle. Directed and choreographed by Cassie Abate. Music direction by John Pike. Scenic design by Michael Anania. Costume design by Leslie Neilson-Bowman. Lighting design by Al Crawford. Sound design by Nathan Leigh. Puppet design by Paul Spirito. Technical direction by Gordon Sanfacon. Production stage manager Sarah M. Della.

Running time: 75 minutes with no intermission.

Show Times: Thursday at 7:30 p.m., Friday and Saturday at 8 p.m. and Sunday at 2 p.m. through Oct. 26.

Tickets: Range in price from $11 to $28. Call 860-486-4266 of visit their website at www.crt.uconn.edu.

ACTOR…CHARACTER

Bradford Scobie … The Cat in the Hat

Steve Hayes … Horton the Elephant

Allyssa Schmitt …. Gertrude McFuzz

Rachel Rosado … Mayzie LaBird

Noah Zachary … JoJo

Amani Dorn … Sour Kangaroo

Jamie Goldman … Wichersham 1

Charles South … Wichersham 2

Cody Strand … Wichersham 3, Mr. Mayor

Lindsay Andretta … Bird Girl, Mrs. Mayor

Photo: Jojo (Noah Zachary) magically meets The Cat in the Hat (Bradford Scobie) in Connecticut Repertory Theatre’s Summer Nutmeg Series production of Seussical The Musical.

Photo: Horton the Elephant (Steve Hayes) Looks for the tiny Who's only he can hear.

Photo credit: Gerry Goodstein

"Doug Elkins & Friends' Fraulein Maria" a raunchy take on the classic musical at HSC


by Kory Loucks

HARTFORD — Kicking off the Hartford Stage summer season is the raucous, raunchy dance interpretation of the classic musical "The Sound of Music" in "Doug Elkins & Friends’ Fraulein Maria."
This wild and unconventional 60-plus minute version is set to the 1965 film sound track.
There are three Marias (one of whom is a guy) often dancing concurrently, Liesel who is a 6-foot-something guy (the lithe John Sorensen-Jolink) dressed in a pink frock dancing with a shorter black Rolfe, (Therman Christopher) and the Reverend Mother who is a hip-hop boxing, basketball playing gang-banger (Doug Elkins).
Need I say, this version is not your mother’s "The Sound of Music."
The dance movements are earthy and modern, with touches of ballet and the old soft-shoe with bare feet, and just about every other style of dance imaginable, by this capable and athletic dance troupe.
There are plenty of hip thrusts and shimmying reminiscent of the "I Love Lucy" episode when she was stomping grapes in a wine vat, with legs splayed, skirts hiked, and feet bared.
It’s a sexy show, with one particular gesture indicating a whiff of bodily scent during the Liesel and Rolfe "Sixteen Going on Seventeen" number that many in the audience seemed to enjoy, but grossed me out.
This gesture alone makes it an adult show and not for the kids.
I have seen many community theater productions of "The Sound of Music" and of course the film, but have never just listened to the sound track, with all the amazing songs, each one so unique, lovely, and almost perfect.
Here, in this dance version of the original, the songs and the singers, including the amazing Julie Andrews, and the remarkable music and lyrics by the inimitable Richard Rodgers and Oscar Hammerstein II, hold up beautifully.
Michael Preston kick things right off from the start having the audience sing parts of "Do-Re-Mi," which is a clever turn and draws us right into the fun. Much of the show follows the plot and demonstrates how well suited the musical is to sheer dancing, conceived and choreographed by Elkins.
In addition to the songs already mentioned, "Climb E’vry Mountain," "The Lonely Goatherd," "My Favorite Things," "Maria," "So Long, Farewell," and of course the title song "The Sound of Music," are all brought to new life through dance.
Some numbers don’t adhere to the plot at all, such as "Edelweiss" where two men (presumably Capt. Von Trapp and perhaps Max Detweiler) sit on a park bench and do an awkward dance with a hat that doesn’t really go with the song or the show.
Still, its marvelous to see an entire performance devoted to dancing, an art form that doesn’t get enough representation these days. Can a dance interpretation of "Mary Poppins" be next?
Hartford is alive with "The Sound of Music" and the vision of dance at the Hartford Stage Company, through June 26.

3 ½ Stars
Location: Hartford Stage Company, 50 Church St., Hartford.
Production: Music by Richard Rodgers. Lyrics by Oscar Hammerstein II. Conceived and choreographed by Doug Elkins. Directed by Barbara Karger and Michael Preston. Lighting design by James Latzel. Costume designs by Barbara Karger and Robin Staff.Running time: 65 minutes with no intermission.
Show Times: Tuesday, Wednesday, Thursday, and Sunday at 7:30 p.m., Friday and Saturday at 8 p.m., with matinee performances Sundays and selected Wednesdays and Saturdays at 2 p.m. through June 26.
Tickets: $25- $50. Call 860-527-5151 or visit their website at hartfordstage.org.
DANCERS
Hilary Brown, Doug Elkins, Daniel Charon, Therman Christopher, Krista Jansen, Deborah Lohse, Kellie Ann Lynch, Cori Marquis, Meghan Merrill, Donnell Oakley, Joshua Palmer, Michael Preston, John Sorensen-Jolink

“Barefoot in the Park” delightful romance at the Ivoryton Playhouse

by Kory Loucks

IVORYTON-Ain’t love grand? In Neil Simon’s somewhat corny, sweet diversion, “Barefoot in the Park” at the Ivoryton Playhouse is a harmless and entertaining little ditty of a romantic comedy.
Originally opening on Broadway in 1963, and then turned into a movie starring Jane Fonda and Robert Redford, this play is also an amusing time capsule of sorts.
Here a six floor walkup one-bedroom apartment in New York City costs an outrageous $150 a month, while land-lines still have rotary dials and quaint old-fashioned telephone numbers like “Eldorado-58191.” Eldorado representing the “E” and “D” on the telephone dial pad.
It was a time of social upheaval, where women were just starting to come into their own in the workforce, and newlyweds Corie and Paul are part of the transition.
The plot finds the newlyweds setting up shop in a Greenwich Village walkup with a shower and no tub in the bathroom, a stove that doesn’t work, a walk-in closet for a bedroom, and a broken skylight. Corie arranges a blind date for her mom and the Russian Lothario living next door, Victor Velasco. That’s pretty much it for the plot.
Curiously, although they repeated mention that they live on 48th Street, that’s 50 blocks north of Greenwich Village.
Kathleen Mulready plays the effervescent child-woman Corie Bratter, 6 days married and in that lovely honeymoon period where everything is fabulous and the future looks limitless. Mulready, last seen in “The Irish and How They Got That Way,” is full of vim and vigor and invests her role with all the quirky charm necessary.
It doesn’t appear that she has a job, nor any intention of getting one, which brings me back to the time capsule. This was when women were evolving from the old roles of staying at home once they were married and working outside the home.
Sean Patrick Hopkins plays her practical and much put-upon husband and new lawyer, Paul. Hopkins does a fine job playing the straight man to his new wife’s zany antics and sometimes childish, trouble-making behavior.
Katrina Ferguson is lovely and charming as Corie’s mother, Mrs. Banks. She plays the role with a much nicer, sweeter attitude than I’ve seen before, while still being amusing, especially later on when she’s had a couple drinks and Victor insists on taking her home, in her car, to New Jersey.
Buzz Roddy plays Victor Velasco with a fine accent, but I would have like to see him play a more expansive, dramatic, and domineering and theatrical Victor. In other words, overacting fits this role.
Simon is a master of the one-liners and “Barefoot in the Park” is chock full of them. Like when her mother says to Corie, “I remember when you were a little girl you said you wanted to live on the moon. I thought you were joking.”
When the 58-year-old Velasco makes a pass at Corie, he says he wishes he were older because “dirty old men seem to get away with a lot more. I’m still at that awkward stage.”
There’s a funny running bit about people mounting the stairs and bursting into the room in various stages of oxygen depletion. Another quirky recurring bit comes from drinking Ouzo, an anise-flavored aperitif at a restaurant in Staten Island, which doesn’t cause a hangover, but Velasco says the alcohol makes it impossible to make a fist for days.
I also love comedy with clothing. Here Mrs. Banks’ hat twirls skyward after a night on the town. I would have loved to see her dressed in the kimono that they say Velasco wears. Costumes by Vivianna Lamb.
The set by designer Rachel Reynolds is perfect for a walkup, with a terrific, large skylight, that looks like a shabby chic version of the apartment in the television show “Friends.”
Directed with a light comic touch by R. Bruce Connelly, “Barefoot in the Park” is a fun little diversion from everyday life.

3 Stars

Location: Ivoryton Playhouse, 103 Main Street, Ivoryton, CT

Production: Written by Neil Simon. Directed by R. Bruce Connelly. Scenic design by Rachel Reynolds. Stage manager T. Rick Jones. Lighting design by Aaron Breskey. Hair design by Joel Silvestro. Sound design by Jo Nazro. Costume design by Vivianna Lamb.

Running time: 2 ½ hours including a 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 June 26.

Tickets: $40 for adults, $35 for 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

Kathleen Mulready … Corie Bratter

Sean Patrick Hopkins … Paul Bratter

Katrina Ferguson … Corie’s mother, Mrs. Banks

Buzz Roddy … Victor Velasco

Tom Libonate … Telephone repairman

Dan Coyle … Delivery man

Photo:Kathleen Mulready as Corie Bratter and Seawn PAtrick Hopkins as Paul
Bratter in Neil Simon's "Barefoot in the Park" at the Ivoryton
Playhouse.

photo credit: Anne Hudson

"Race" a fascinating, flawed legal drama at TheaterWorks

by Kory Loucks


HARTFORD — In just another bizarre example of life imitating art — the fascinating but flawed play “Race” by award-winning playwright David Mamet at TheaterWorks examines the polarizing topics of racism and sexism through our legal system, the media, and the seamier side of human nature.In this drama originally produced on Broadway in 2009, Charles, a Manhattan billionaire is accused of raping a black woman in a hotel room and shows up at a law firm looking for representation and where three lawyers grill the wealthy man about the incident.Sound eerily familiar? Perhaps the recent incident implicating Dominique Straus-Kahn, former managing director of the International Monetary Fund and potential President of France, with attempted rape of a maid in a New York City hotel might spring to mind.In this play, Charles was represented by another high-powered attorney, but has either jumped ship, or been dumped, and is seeking other representation.And why does he show up announced at the relatively obscure law firm? Because they have black lawyers, one of who is a woman? Quite possibly, but those and other motives and machinations are not revealed in this 90-minute play without a struggle.It’s been said that racism and sexism are the same and in this play we have glaring examples of both.As usual with any Mamet play, the language is fast, smart, and profane. Director Tazewell Thompson sees to the pace, which zings by at the speed of sound. There’s plenty of profanity and racial epithets, although none of it is gratuitous, including the two super-baddies-the “N” and “C” words.The oral slight-of-hand can’t completely hide the plot problems, however, which are awkwardly used to thrust the story into its various dramatic contortions. All of the revelations take place in real time in one afternoon.The details of the incident arrive out of the blue. The Ivy League graduate female lawyer, Susan, makes an egregious error by contacting the district attorney’s office to get the information about the incident, making the law firm the attorneys of record before they even decide to take the case.She then claims ignorance of causing a problem. I’m no lawyer, but isn’t that basic lawyer stuff?I wouldn’t even mind if she did it intentionally, but then she lies about her ignorance? And at least one of the lawyers believes her. That might forward the plot, but it makes her look like either a first class dummy or a blatant traitor. Why in the world would she so obviously bite the hand that feeds her?Then again out of nowhere a post card arrives by special delivery with damning information from Charles’ old college friend. How did that postcard arrive so fast to their office? Not a facsimile, but the actual postcard?The black male lawyer, Henry, theorizes that Susan saw a list of transgressions that Charles committed in his life, including his less than stellar behavior as a younger man.On that list she saw the name of the college buddy on the list, contacted him, and convinced him to send the damning postcard in 15 minutes? Stretches credulity beyond the breaking point.Henry sends Susan to his car to get his briefcase — an awkward and contrived plot machination invented so he can speak to Jack alone.Mamet’s strength is his characters and here the actors all excel.R. Ward Duffy leads the strong and competent cast as lawyer Jack, the pugilistic, driven, and complex head of the firm.Jack knows he’s part of the male white privilege problem, but finds that knowledge isn’t always enough. Duffy is convincing as the fast-talking, smart, and experienced lawyer who comes alive imagining the drama of a courtroom confrontation.Avery Glymph plays his partner, the younger black lawyer, Henry. He starts out being the most confrontational and then becomes most compassionate in a transition that feels effortless and natural.Jack Koenig is believable as the morally questionable Charles who comes across as surprisingly naïve for a man who has been near the media spotlight for years.He wants to bring his side of the story to the press. What is he, nuts? His lack of sophistication is not so believable, but Keonig plays it convincingly. Jack explains it away as Charles spinning out of control because of the rape accusations, which almost works.Taneisha Duggan has the trickiest role of the four as Susan, who bristles with righteous indignation when asked to play the role of the alleged black rape victim in court but then subserviently retrieves Henry’s briefcase.I love the way they argue with each other, answering questions and accusations with more questions, bringing to mind another truism — Lawyers never ask a question without already knowing the answer.“Race” is a fireworks of explosive language swirling around a timely topic at TheaterWorks, playing through July 10.

3 Stars

(4 stars, excellent; 3 stars, good, 2 stars, fair, 1 star, poor)

Theater: TheaterWorks

Location: 233 Pearl St. Hartford.

Production: Written by David Mamet. Directed by Tazewell Thompson. Sets by Donald Eastman. Costumes by Harry Nadal. Lighting by Robert W. Henderson Jr. Sound by Fabian Obispo.

Running time: 90 minutes with one intermission.

Show Times: Tuesdays, Wednesdays, and Thursdays at 7:30 p.m. Fridays and Saturdays at 8 p.m. Matinees on Saturdays and Sundays - 2:30 p.m. The show will run through July 10.

Tickets: Unassigned seating is $39; $49 on Friday and Saturday nights. Center reserved seats $12 extra. $12 student rush tickets at showtime with valid ID (subject to availability). For tickets call 860-527-7838 or visit their Web site at www.theaterworkshartford.org.

ACTOR…CHARACTER

R. Ward Duffy … Jack

Avery Glymph … Henry

Taneisha Duggan … Susan

Jack Koenig … Charles

PHOTO: From left, Taneisha Duggan, Jack Koenig, R. Ward Duffy, and Avery Glymph as Susan, Charles, Jack, and Henry in David Mamet's "Race" at TheaterWorks in Hartford.


photo credit: Lanny Nagler

Witty, wise-cracking “Guys and Dolls” at CRT

by Kory Loucks

STORRS-Spend an evening with Liver Lips Louey, Angie the Ox, Harry the Horse, and the other lovable no-good nicks shooting craps in the sewers of New York City to drinking Bacardi on the beaches of Havana, at Connecticut Repertory Theater’s “Guys and Dolls,” the 1950 musical fable of Broadway.
I probably shouldn’t admit this, but in the interest of full disclosure, this is the first time I’ve ever seen “Guys and Dolls,” including the 1955 film starring Marlon Brando and Frank Sinartra.
Not having any previous shows to compare it to, however, this singular production sets the standard by which all future productions of “Guys and Dolls” will be measured.
Jo Swerling and Abe Burrows based the plot on writer Damon Runyon’s stories and characters.
For the two or three people who have never seen this show, the story revolves around a small time hood named Nathan Detroit, who is desperate to set up a game of craps for his cronies, but can’t find a place in New York City to hold the illegal games.
In the meantime, a Salvation Army troop, lead by Sarah Brown, is trying to save sinners in the heart of the city, without much luck. Detroit bets $1,000 that his buddy, Sky Masterson, can’t woo Sarah, so he can get money to pay for a place to gamble.
Detroit’s long suffering gal, the brassy night club singer Miss Adelaide, played by the animated Caitlin O’Brient, has been engaged to Detroit for 14 years, and is pushing him to finally take the plunge.
The spunky, diminutive Sarah Shenkkan plays the Salvation Army member Sarah Brown. It’s amazing that such a strong clear voice can emanate from such a petite person.
Ken Clark, last seen in the Connecticut Repertory Theatre musical “Urinetown,” plays Masterson, the slick, cynical womanizer, up against the willful, innocent Sarah. She doesn’t stand a chance, and he sweeps her off to Havana before you can say “Dulce de Leche.”
The University of Connecticut should be pleased with their staff as well. Webster, who plays Detroit with commitment and street smarts, is professor of Movement Theater. David Alan Stern doing a lovely turn as Sarah’s grandfather Arvide Abernathy, is the dialect and speech coach and a professor and associate head of the Dramatic Arts Department.
To top it off, the UConn School of Fine Arts new Artistic Director, Vincent J. Cardinal, also directs “Guys and Dolls” with skill, pace, and humor.
The dancing and acrobatics are simply fabulous, with rumbas in Havana, and other well choreographed dance numbers, including spiffy tap dancing by Miss Adelaide and her Hot Box dancers. Choreography by Cassie Abate.
The sets are fantastic too, with impressive lighted signs signifying the Big Apple to open the show, including advertisements for Planters Peanuts, Coca-Cola, RKO Palace, and Bloomingdales. The simple backdrop of a sunset in Havana is gorgeous also. Set design by Michael Anania.
The appealing aspect of this show, and probably the reason it is so popular with high schools and community theaters, is that there are so many fun supporting characters in addition to the solid lead roles.
Characters like Nicely-Nicely Johnson, played by Clyde Voce, Benny Southstreet played by Connor Moore, and Rusty Charlie played by Trent Saunders add much to the production and kick off the show with my favorite song among many excellent ones, “Fugue for Tinhorns.”
Other dynamite songs include “Luck Be A Lady Tonight,” “Sue Me,” and “Sit Down, You’re Rockin’ the Boat,” with music and lyrics by Frank Loesser.
Still more characters including Big Jule, played by Jack Fellows, Harry the Horse (Joey Barreiro) and Angie the Ox played by Kevin Jones — all give this musical depth and breadth.
And the costumes! From the fancy fedoras, colorful zoot suits, and lively skinny ties worn by the men, to the vibrant A-line skirts, Havana whites, and sparkly tops worn by the women, they are as numerous as they are beautiful, by costume designer Michiko Kitayama-Skinner.
This is the first of three Nutmeg Summer Series productions — and if “Guys and Dolls” is any indication, it is going to be a stellar summer of theater at UConn.

GUYS AND DOLLS
Four Stars
Location: Harriet S. Jorgensen Theatre, Jorgensen Road, Storrs.
Production: Music and lyrics by Frank Loesser, based on a story and characters by Damon Runyon, with book by Jo Swerling and Abe Burrows. Directed by Vincent J. Cardinal. Choreography by Cassie Abate. Music direction by David Williams. Scenic design by Michael Anania. Costume design by Michiko Kitayama-Skinner. Lighting design by Al Crawford. Sound design by Nathan Leigh. Dialect and speech coach David Alan Stern. Technical direction by John Parmalee. Production stage manager Cynthia Kocher.
Running time: 2 1/2 hours including one intermission.
Show Times: Wednesday, and Thursday at 7:30 p.m., Friday and Saturday at 8 p.m., and a Saturday matinee at 2 p.m. through Sunday.
Tickets: Range in price from $10 to $39. Call the box office at 860-486-4266 of visit their website at www.crt.uconn.edu.

ACTOR...CHARACTER
Greg Webster ... Nathan Detroit
Caitlin O’Brient ... Miss Adelaide
Ken Clark ... Sky Masterson
Sarah Shenkkan ... Sarah Brown
David Alan Stern ... Arvide Abernathy
Clyde Voce ... Nicely-Nicely Johnson
John Bixler ... Lt. Brannigan
Connor Moore ...Benny Southstreet
Trent Saunders ... Rusty Charlie, Havana dancer
Kevin Jones ... Angie the Ox, Havana dancer, Drunk, Cop
Joey Barreiro ... Harry the Horse, Havana waiter
Jack Fellows ...Big Jule
Mischa Goodman ... Mimi
Alix Paige ...General Cartwright, Allison
Ryan N. Phillips ...Master of Ceremonies, Liver Lips Louey, Havana patron
Hanna Kaplan ... Agatha, Hot Box girl, Havana patron
Ethan Kasnett ...Calvin, Havana dancer, Society Max
Melissa Rapelje ...Martha, Havana dancer
Logan Rose Nelms ...Fergie, Havana dancer
Bliss Griffin ...Vernon, Havana dancer

“Guys and Dolls” witty, wry, wonderful

by Kory Loucks

STORRS-Spend an evening with Liver Lips Louey, Angie the Ox, Harry the Horse and the other lovable no-goodnicks from drinking Bacardi on the beaches of Havana to playing craps in the sewers of New York City at Connecticut Repertory Theater’s “Guys and Dolls,” the 1950 musical fable of Broadway.

I probably shouldn’t admit this, having seen hundreds of plays and musicals, but this is the first time I’ve seen “Guys and Dolls,” including the 1955 film starring Marlon Brando and Frank Sinartra.

Not having any shows to compare it to, however, this stellar production will set the standard by which all future productions will be judged.

The plot “Guys and Dolls,” is based on the writer Damon Runyon’s stories, with book by Jo Swerling and Abe Burrows.

For the two or three people who like me have never seen the show, the plot revolves around a small time hood named Nathan Detroit, who is desperate to set up a game of craps for his cronies, but can’t find a place to hold the illegal games.

In the mean time, a Salvation Army troop, lead by Sarah, is trying to save sinners in the heart of the Big Apple, without much success. Detroit bets $1,000 that his buddy, Sky Masterson, can’t woo Sarah, so he can get money to pay for a place to gamble.

Detroit’s long suffering gal, the brassy night club singer Miss Adelaide, played by the animated Caitlin O’Brient, has been engaged to Detroit for 14 years, and is pushing him to finally take the matrimonial plunge.

The diminutive Sarah Shenkkan plays the Salvation Army member Sarah Brown. Its amazing that such a strong clear sound can emanate from such a petite person.

Ken Clark, last seen in the Connecticut Repertory Theatre musical “Urinetown,” plays Masterson, the slick, cynical womanizer, up against the willful, innocent Sarah. She doesn’t have a prayer and he sweeps her off to Havana before you can say "Dulce de Leche."

The school should also be pleased with their own staff. Webster, who plays Detroit with commitment and street smarts, is professor of Movement Theater at the University of Connecticut. David Alan Stern doing a lovely turn as Sarah’s grandfather Arvide Abernathy. Stern is the dialect and speech coach and a professor and associate head of the Dramatic Arts Department.

To top it off, the UConn School of Fine Arts new Artistic Director Vincent J. Cardinal also directs “Guys and Dolls” with skill and pace.

The dancing and acrobatics are fabulous and topnotch, with rumbas in Havana, and other well choreographed dance numbers, including terrific tap dancing by Miss Adelaide and her Hot Box dancers. Choreographer Cassie Abate.

The sets are fantastic too, with lighted signs signifying the big city to open the show, with advertisements for Planters Peanuts, Coca-Cola, RKO Palace, and Bloomingdales, and more. The simple backdrop of a sunset in Havana is gorgeous. Set design by Michael Anania.

The appealing aspect of this show, and probably the reason it is so popular with high schools and community theaters, is that there are so many fun supporting characters in addition to the lead roles.

Characters like Nicely-Nicely Johnson, played by Clyde Voce, Benny Southstreet played by Connor Moore and Rusty Charlie played by Trent Saunders add much to the production and kick off the show with my favorite song among many good ones, “Fugue for Tinhorns.”

Other terrific songs include “Luck be a Lady Tonight,” “Sue Me,” and “Sit Down, You’re Rockin the Boat,” with music and lyrics by Frank Loesser.

Still more characters including Big Jule, played by Jack Fellows, Harry the Horse (Joey Barreiro) and Angie the Ox played by Kevin Jones give this musical depth and breadth.

And the costumes! From the fedoras, zoot suits, and skinny ties worn by the men, to the A-line skirts, Havana whites, and sparkly tops worn by the women, they are as numerous as they are beautiful, by costume designer Michiko Kitayama-Skinner.

This is the first of three Nutmeg Summer Series productions, and if “Guys and Dolls” is any indication, it is going to be a stellar summer of theater at UConn.

Four Stars

(4 stars, excellent; 3 stars, good, 2 stars, fair, 1 star, poor)

Location: Harriet S. Jorgensen Theatre, Jorgensen Road, Storrs.

Production: Music and lyrics by Frank Loesser, based on a story and characters by Damon Runyon. Book by Jo Swerling and Abe Burrows. Directed by Vincent J. Cardinal. Choreography by Cassie Abate. Music direction by David Williams. Scenic design by Michael Anania. Costume design by Michiko Kitayama-Skinner. Lighting design by Al Crawford. Sound design by Nathan Leigh. Dialect and speech coach David Alan Stern. Technical direction by John Parmalee. Production stage manager Cynthia Kocher.

Running time: 2 1/2 hours including one intermission.

Show Times: Wednesday, and Thursday at 7:30 p.m., Friday and Saturday at 8 p.m., and a Saturday matinee at 2 p.m. through Sunday.

Tickets: Range in price from $10 to $39. Call the box office at 860-486-4266 of visit their Website at www.crt.UConn.edu.

ACTOR…CHARACTER

Greg Webster … Nathan Detroit

Caitlin O’Brient … Miss Adelaide

Ken Clark … Sky Masterson

Sarah Shenkkan … Sarah Brown

David Alan Stern … Arvide Abernathy

Clyde Voce … Nicely-Nicely Johnson

John Bixler … Lt. Brannigan

Connor Moore … Benny Southstreet

Trent Saunders … Rusty Charlie, Havana dancer

Kevin Jones … Angie the Ox, Havana dancer, Drunk, Cop

Joey Barreiro … Harry the Horse, Havana waiter

Jack Fellows … Big Jule

Mischa Goodman … Mimi

Alix Paige … General Cartwright, Allison

Ryan N. Phillips … Master of Ceremonies, Liver Lips Louey

Hanna Kaplan … Agatha, Hot Box girl,

Ethan Kasnett … Calvin, Havana dancer, Society Max

Melissa Rapelje … Martha, Havana dancer

Logan Rose Nelms … Fergie, Havana dancer

Bliss Griffin … Vernon, Havana dancer

Photo: Nicely-Nicely Johnson (Clyde Voce) leads the cast in the Act II showstopper number “Sit Down You’re Rockin’ The Boat”

Photo: Nathan Detroit (Greg Webster) gets a gift from his fiancée Miss Adelaide (Caitlin O’Brient)

photo credit Gerry Goodstein

by Kory Loucks

HSO Maestro Edward Cumming says farewell with Saturday concert

HARTFORD — It is with mixed emotions that Edward Cumming approaches his final performance as Hartford Symphony Orchestra’s music director on Saturday.

“It’s alternately exciting and anxiety producing,” Cumming said.

Anxiety in part because it will mark the start of a uncharted chapter in his professional life and exciting because the ambitious last performance will be like nothing he has done before.

“It is a crossroads in my career,” Cumming said. “I love performing and I love teaching. The older I get I find that I am more like my teachers. … Teaching is a natural thing for me.”

Cumming has much to be proud of in his 9-year tenure with the orchestra, and says he is most pleased with how the musicians are playing now, as he prepares to take his final bow.

Most thrilling moments

It “was one of the most thrilling moments,” Cumming said of the orchestra’s May 19 performance of Peter Ilyich Tchaikovsky’s Symphony No. 4. “They played like angels. It was very satisfying.”

Former HSO president and board member Kenneth Jacobson agreed with Cumming’s assessment of the orchestra’s performance of the Tchaikovsky symphony.

“He brought a structural grandness that I really hadn’t heard before,” Jacobson said.

“Edward made it a musical event without loosing the emotional component. He made me aware of how great a piece of music it is. And he has done that again and again,” Jacobson said.

“When I think of Edward, I just think of the wonderful music he has brought to us,” Jacobson said.

Cumming said other artistic highlights for him include the Richard Rodgers Review Pops! Concert with the Hartt School of Music and orchestra in May.

Cumming promised the finale on Saturday would be something special.

“No one has seen anything like this before,” Cumming said, adding that the audience will be “surrounded by players.”

“Enthusiasm and warmth”

Jacobson has known Cumming from the start, when he was on the selection committee that chose Cumming more than nine years ago to lead the HSO.

“We were very taken by his enthusiasm, his warmth, and his love of music,” Jacobson said of his first impressions that have remained unaltered through the years.

“I like Edward very, very much,” Jacobson said. “I am going to miss him. Many people are going to miss him. He brings a lot to the table.”

One popular draw is Cumming’s pre-concert talks, which have always been well attended.

“Edward has kept them very informal,” he said, adding that the pre-concert talks are a way to connect the music with the audience.

“Edward has really pushed the orchestra and really made them stretch,” Jacobson said, “and they are playing better now than they ever have.”

Jacobson said one of his fondest memories was the Joseph Mahler’s 9th Symphony that the orchestra performed a few years ago.

“It is an extremely difficult piece. It was an astounding accomplishment,” Jacobson said. “This was a world-class performance.”

Jacobson said that despite Cumming’s adventurous programming he hasn’t driven away audiences.

“Edward has been extremely successful in bringing in new music while keeping the audiences coming,” Jacobson said.

“His love for music — his passion is contagious. I hope Edward will come back to guest conduct.”

Even with the difficult economic times, Jacobson said, ticket sales have been strong in the last few years.

“We are running close to capacity,” Jacobson said.

HSO’s next conductor and musical director-designate is Carolyn Kuan, a decision that Cumming supported, saying Kuan would have been his choice.

Bringing in a new conductor about every decade is something that is important for a regional orchestra, Jacobson said.

“We are going to miss Edward terribly,” Jacobson said, “but to his credit he has brought this orchestra to a level that Carolyn Kuan can step in and carry on. We are extremely fortunate to have such talented musicians.”

Grand finale concert Saturday

The grand finale concert is at 8 p.m. in Mortensen Hall at the Bushnell Center for the Performing Arts.

This celebratory performance will feature the combined vocal forces of The Hartford Chorale, CONCORA, and Connecticut Children’s Chorus, along with soloists Jessica Winn and Steven Tharp.

Hector Berlioz’s “Te Deum” and the American premiere of Stephen Montague’s “Requiem: The Trumpets Sounded Calling Them to the Other Side” will be played on the Bushnell’s original Hartford-made Austin organ.

Prior to the concert, Cumming will lead a discussion from 6:30 to 7:30 p.m., when Montague will join him to discuss the program. Cumming will also share concluding remarks on his nine seasons with HSO.

After the concert, audience members will be invited to the lobby for a special meet-and-greet with Cumming.

Tickets range in price from $33 to $65; student tickets are $10. To purchase tickets or for more information, call 860-244-2999 or visit:

www.hartfordsymphony.org