"Sweeney Todd" a dark and intimate musical opera filled with revenge
HARTFORD - Revenge is a dish that is best served cold, unless it comes in a tasty meat pie.
Those unconventional pies along with some powerful music, are served with zest in the Bushnell Memorial Theater’s unplugged version of "Sweeney Todd, The Demon Barber of Fleet Street."
This production features 10 vocalists who also play all the instruments in a musical operatic tour-de-force performance that is darkly ironic and about as bleak as it gets.
The show is set in 19th Century London where grime and filth, death and cholera ran rampant during the infant stages of industrial age.
It is based on a legend of a vengeful, psychotic barber who is wrongfully sent to jail by an amoral judge who commanders the barber’s wife and infant daughter.
Todd returns years later to seek his revenge, with razor in hand. Mrs. Lovett, Todd’s landlord and pastry shop owner is short on meat. Todd begins his killing spree and Lovett comes up with the ingenious though gruesome plan to use the accumulating bodies created by Todd’s vengeance against humanity as the pie’s meat filling. Necessity is the mother of invention.
The musical opera was made into a 2005 movie starring Johnny Depp, and directed by Tim Burton, and would be a fine film to see as a precursor to this show - sort of like cliff notes.
The movie was much more realistically explicit and visual, while this stage production thankfully has more symbolism and conceptually wrought violence.
When the barber Todd slits his victim’s throats, for example, it is done with a broad gesture, a flash of red lights, with the "blood" poured from one bucket into another.
The original Stephen Sondheim production first premiered on Broadway in 1979 with a 27-piece symphonic orchestra and a 30-member cast, directed by legendary director Harold Prince.
This more intimate, pared down version of "Sweeney Todd, The Demon Barber of Fleet Street" with the actors doubling as the chamber orchestra, was first produced by John Doyle in 2005, primarily because his regional theater couldn’t afford a huge production.
The vocalists/musicians at Mortensen Hall were all professional and capable, with the grim Sweeney Todd played commandingly by Merritt David Janes, and the terrific Carrie Cimma playing the zealous and industrious entrepreneur meat pie baker Mrs. Lovett.
Judge Turpin, played by Connecticut native David Alan Marshall, has a stunning bass voice, but he is far too young and good looking to play a creepy evil judge old enough to be the father of a teen-age daughter, Johanna, played by Wendy Muir.
Muir has a gorgeous soprano voice and plays the cello like nobody’s business, but she is a brunette, and the musical opera refers to her yellow hair repeatedly. A wig would have been a good idea.
The humor doesn’t get much blacker, such as when Mrs. Lovett and Todd sing in "A Little Priest" that eating actors isn’t so great, because they always arrive "overdone," while priests are the best, because they have lived a clean life.
When his victims die under Todd’s blade, the ensemble sings that "they went to their maker incredibly shaved."
Set in an insane asylum, this interpretation seems to pose the question - do the real crazy people reside inside or outside the nuthouse?
The strong cast sang the complicated, sophisticated, dissonant music clearly and well, beautifully illuminating the subtle harmonics in Stephen Sondheim’s eccentric and ironic score.
SWEENEY TODD - THE DEMON BARBER OF FLEET STREET
3 1/2 stars
Theater: The Bushnell
Location: Mortensen Hall, 166 Capitol Ave. Hartford
Production: Music and lyrics by Stephen Sondheim. Book by Hugh Wheeler. Direction recreated by Adam John Hunter. Sound designed by Shannon Slayton. Lighting designed by Paul Miller.
Running time: 2 ½ hours, plus one 15-minute intermission.
Show Times: 7:30 p.m. Wednesday, Thursday, and Sunday; 8 p.m. Friday and Saturday, with Saturday and Sunday matinees at 2 p.m. through Oct. 19.
Tickets: $16.50 - $65. Call 860-987-5900 or visit their website at www.bushnell.org.
ACTOR...CHARACTER
Merritt David Janes ... Sweeney Todd
Carrie Cimma ... Mrs. Lovett
Matt Cusack ... John Fogg
Chris Marchant ... Tobias
David Alan Marshall ... Judge Turpin
Patty Lohr ... Beggar Woman
Bob Bohon ... The Beadle
Duke Anderson ... Anthony
Wendy Muir ... Johanna
Ruthie Ann Miles ... Pirelli
Wednesday, October 15, 2008
Friday, October 10, 2008
Suffield Players' homespun "Mornings at 7" a fine family affair
SUFFIELD - Watching "Mornings at 7" at the Suffield Players is like seeing a sitcom and soap opera all wrapped up in 1930’s mid-western family.
The cast moves smoothly on a small stage made even smaller by the two impressive home facades, solidly designed by Konrad Rogowski and constructed by a large and capable crew.
The play is set at the two homes of married sisters Cora and Ida, with an unmarried sister, Arry living with Cora and Cora’s husband Thor, and a fourth sister, Esther, living with her husband, David, down the road.
Ida and her husband Carl have a son, David, who is 40-years-old and engaged for seven years to Myrtle. The question in this gentle family tale is, will David ever take the plunge and get married?
Watching this production, which has a lot of character-driven humor, one gets the feeling that even when they argue and disagree, these people really care for and about each other.
Myrtle, played with perky tension by Karen Balaska, arrives at the homestead with Homer, played by Stephen Grout, who is terrific as the simple and sweet son, who speaks in a slow and measured pace.
Homer’s father Carl, played by set designer Rogowski, suffers from occasional identity crisis, which the family euphemistically calls his "spells."
Some of the dialog is a bit dated, such as when one of the characters says: "Marriage gives a woman dignity," and when Myrtle talks about quitting her job when they get married.
Three of the sisters are in their late 60’s, while their oldest sister, Esther, who is in her early 70’s, is played with earthy wisdom and humor by Kelly Seip. She is married to an intellectual isolationist, David, played by Dana T. Ring, who doesn’t want Esther to see her family, whom he calls morons, according to the easy-going Homer.
Jane H. Maulucci plays Arry Gibbs, the unmarried sister who is petulant and has a quick temper. Maulucci finds a delicate balance, creating an interesting and funny portrait of a complex character, rather than a superficial stereotype.
There were times during this long production where they were all on stage, talking away, and the conversation felt so real and natural, it was as if they really were just a family talking.
The costumes by Dawn McKay were appropriate for the era, including details such as a lovely little embroidered handkerchief in Arry’s pocket, and bobby socks and flats for the women.
Director Rayah Martin directed the large cast in this production with confidence and at a good pace.
Now a-days plays that aren’t musicals usually run for three hours, and that’s too bad. It is probably a reflection of our shortened attention spans, having been exposed to decades of 30-minute TV spots.
Perhaps two intermissions could have been shorted to one, placed between two longer acts, but that is a small quibble in this well-acted, well-directed, solid, sweet, and homespun play.
MORNINGS AT 7
3 Stars
Location: Mather Hall, Suffield
Production: Written by Paul Osborn. Directed by Rayah Martin. Stage manager Becky Schoenfeld. Technical director and lighting design by Jerry Zalewski. Set designed by Konrad Rogowski. Costumes designed by Dawn McKay.
Running time: 3 hours with two intermissions.
Show Times: Fridays and Saturdays at 8 p.m. through Oct. 26.
Tickets: $17, $15 for seniors (62+) and students.
ACTOR...CHARACTER
Bruce Showalter ... Thor Swanson
Cynthia Lee Andersen ... Cora Swanson
Jane H. Maulucci ... Arry Gibbs
Pam Amodio ... Ida Bolton
Konrad Rogowski ... Carl Bolton
Stephen Grout ... Homer Bolton
Karen Balaska ... Myrtle Brown
Kelly Seip ... Esther Crampton
Dana T. Ring ... David Crampton
SUFFIELD - Watching "Mornings at 7" at the Suffield Players is like seeing a sitcom and soap opera all wrapped up in 1930’s mid-western family.
The cast moves smoothly on a small stage made even smaller by the two impressive home facades, solidly designed by Konrad Rogowski and constructed by a large and capable crew.
The play is set at the two homes of married sisters Cora and Ida, with an unmarried sister, Arry living with Cora and Cora’s husband Thor, and a fourth sister, Esther, living with her husband, David, down the road.
Ida and her husband Carl have a son, David, who is 40-years-old and engaged for seven years to Myrtle. The question in this gentle family tale is, will David ever take the plunge and get married?
Watching this production, which has a lot of character-driven humor, one gets the feeling that even when they argue and disagree, these people really care for and about each other.
Myrtle, played with perky tension by Karen Balaska, arrives at the homestead with Homer, played by Stephen Grout, who is terrific as the simple and sweet son, who speaks in a slow and measured pace.
Homer’s father Carl, played by set designer Rogowski, suffers from occasional identity crisis, which the family euphemistically calls his "spells."
Some of the dialog is a bit dated, such as when one of the characters says: "Marriage gives a woman dignity," and when Myrtle talks about quitting her job when they get married.
Three of the sisters are in their late 60’s, while their oldest sister, Esther, who is in her early 70’s, is played with earthy wisdom and humor by Kelly Seip. She is married to an intellectual isolationist, David, played by Dana T. Ring, who doesn’t want Esther to see her family, whom he calls morons, according to the easy-going Homer.
Jane H. Maulucci plays Arry Gibbs, the unmarried sister who is petulant and has a quick temper. Maulucci finds a delicate balance, creating an interesting and funny portrait of a complex character, rather than a superficial stereotype.
There were times during this long production where they were all on stage, talking away, and the conversation felt so real and natural, it was as if they really were just a family talking.
The costumes by Dawn McKay were appropriate for the era, including details such as a lovely little embroidered handkerchief in Arry’s pocket, and bobby socks and flats for the women.
Director Rayah Martin directed the large cast in this production with confidence and at a good pace.
Now a-days plays that aren’t musicals usually run for three hours, and that’s too bad. It is probably a reflection of our shortened attention spans, having been exposed to decades of 30-minute TV spots.
Perhaps two intermissions could have been shorted to one, placed between two longer acts, but that is a small quibble in this well-acted, well-directed, solid, sweet, and homespun play.
MORNINGS AT 7
3 Stars
Location: Mather Hall, Suffield
Production: Written by Paul Osborn. Directed by Rayah Martin. Stage manager Becky Schoenfeld. Technical director and lighting design by Jerry Zalewski. Set designed by Konrad Rogowski. Costumes designed by Dawn McKay.
Running time: 3 hours with two intermissions.
Show Times: Fridays and Saturdays at 8 p.m. through Oct. 26.
Tickets: $17, $15 for seniors (62+) and students.
ACTOR...CHARACTER
Bruce Showalter ... Thor Swanson
Cynthia Lee Andersen ... Cora Swanson
Jane H. Maulucci ... Arry Gibbs
Pam Amodio ... Ida Bolton
Konrad Rogowski ... Carl Bolton
Stephen Grout ... Homer Bolton
Karen Balaska ... Myrtle Brown
Kelly Seip ... Esther Crampton
Dana T. Ring ... David Crampton
Monday, October 06, 2008
CRT’s "A Man For All Seasons" an inspiring, relevant history play
STORRS - It’s good to be king - not so good to disagree with one.
Not so good for staying alive, either, but then no one lives forever, as Sir Thomas More, played by Michael McKenzie, says numerous times in "A Man for All Seasons," a serious and often amusing play based on historic events in Connecticut Repertory Theatre’s inspiring production at the University of Connecticut.
Although about 500 years after the actual events, Sir Thomas More’s heroic, stoic integrity and refusal to bend to the will of national authority, is timeless.
Even More’s enemies, of which there were many, recognized and even admired his unimpeachable character.
The play is set in early 1500 in England, when young King Henry VIII, who was just beginning out on in his life-long wife-elimination campaign, (he had six when all was said and done) wanted to divorce his first wife, Catherine of Aragon, because she bore him no sons.
At this time in history the Catholic Church rule in Europe was absolute, and the Catholic Church was and is opposed to divorce.
So, the king, who was a passionately religious Christian guy, just created a new Christian religion, the Church of England, that he would lead.
In comes Thomas More, a devote and passionate Catholic, who was by this time appointed Lord Chancellor to the young king, was held in high esteem by many.
More refused to sign an oath stating that the king was the supreme ruler of the church, and that lead to his eventual downfall - eloquent and crafty legal arguments not withstanding.
This is first play of CRT’s 2008-09 season, with professional actors and undergraduate students, creates an exciting synergy of experience and youth.
Michael McKenzie as More is commanding and engaging in a challenging role. He hits just the right balance of world-weary humanity, mixed with impudent humor and sage wit, as when he says: "I trust I make myself obscure," when pressed to incriminate himself.
John Windsor-Cunningham played More’s nemesis, Thomas Cromwell, the man acting as the king’s agent to try to break More into submission.
Windsor-Cunningham plays Cromwell with commanding authority and expansive intelligence, but then isn't it always more fun to play the bad guy?
One would expect the professional actors to do well, and they don’t disappoint, including the More’s wife Alice, played with feisty devotion by Bonnie Black; Jerry Krasser as the exasperated and loyal friend The Duke of Norfolk; the sycophant Richard Rich, played by Peter Mutino; and the pragmatic Common man, payed by Greg Webster.
It is the undergrads, however, who rise beyond expectations, including the officious Spanish ambassador Signor Chapuys, played with flourish by Robert Rosado, Daniel O’Brien as William Roper the youthful heretic, and Meghan O’Leary as More’s intelligent and educated daughter.
Most compelling and really astonishing though is Zachary Kamin, as the ruddy young King Henry VIII.
Although Kamin, a junior in their acting program, is only on stage for a small part of one scene, he basically steals the show.
Displaying a mercurial temperament, Kamin embodied the contradictory characteristics of supreme confidence, magnanimous friendship, absolute authority, and magnetic charisma essential for the role, and for the play’s success.
The period costumes of heavy brocade, by Lucy Brown, were solid and well-suited to the story, particularly impressive was Rich’s transformation from threadbare to flamboyant.
Directing with authority, Gary M. English, CRT’s artistic director, also designed the single set. With a large wooden Tudor door in the center of the stage, and sturdy steps leading off stage and to a balcony, the set easily morphs into More’s home, a jail, a street, and a courtroom, with the aid of a few props.
In the program notes, English said the abstract environment was meant to suggest the architecture of ships as well as Tudor authority, but the boat symbolism was too obscure.
While the world’s unstable political and social framework changes with the weather, what connects us to the past, and will always make this play relevant, is the critical importance of being true to oneself, no matter what - something that is sometimes easier said than done, but which never goes out of style.
A MAN FOR ALL SEASONS
3 stars
Location: Nafe Katter Theatre, 802 Bolton Road, Storrs.
Production: Written by Robert Bolt. Direction and scene design by Gary M. English. Costume design by Lucy Brown. Lighting and projection design by Tim Hunter. Sound design by Emily Tritsch.
Running time: 3 hours with one intermission.
Show Times: Wednesday, and Thursday at 7:30 p.m., 8 p.m. Friday and Saturday, with a 2 p.m. matinee on Saturday and Sunday. through Oct. 12.
Tickets: $11 to $29. Call 860-486-4266 or visit their website at www.crt.uconn.edu.
ACTOR... CHARACTER
Michael McKenzie ... Sir Thomas More
John Windsor-Cunningham ... Thomas Cromwell
Jerry Krasser ... The Duke of Norfolk
Greg Webster ... The Common Man
Peter Mutino ... Richard Rich
Bonnie Black ... Alice More
Meghan O’Leary ... Margaret More
Dale AJ Rose ... Cardinal Wolsey
Robert Rosado ... Signor Chapuys
Thomas Foran ... Chapuys’ Attendant
Daniel O’Brien ... William Roper
Zachary Kamin ... King Henry VIII
Cayla Buettner ... The Woman
JD Gross ... Archbishop Cranmer
STORRS - It’s good to be king - not so good to disagree with one.
Not so good for staying alive, either, but then no one lives forever, as Sir Thomas More, played by Michael McKenzie, says numerous times in "A Man for All Seasons," a serious and often amusing play based on historic events in Connecticut Repertory Theatre’s inspiring production at the University of Connecticut.
Although about 500 years after the actual events, Sir Thomas More’s heroic, stoic integrity and refusal to bend to the will of national authority, is timeless.
Even More’s enemies, of which there were many, recognized and even admired his unimpeachable character.
The play is set in early 1500 in England, when young King Henry VIII, who was just beginning out on in his life-long wife-elimination campaign, (he had six when all was said and done) wanted to divorce his first wife, Catherine of Aragon, because she bore him no sons.
At this time in history the Catholic Church rule in Europe was absolute, and the Catholic Church was and is opposed to divorce.
So, the king, who was a passionately religious Christian guy, just created a new Christian religion, the Church of England, that he would lead.
In comes Thomas More, a devote and passionate Catholic, who was by this time appointed Lord Chancellor to the young king, was held in high esteem by many.
More refused to sign an oath stating that the king was the supreme ruler of the church, and that lead to his eventual downfall - eloquent and crafty legal arguments not withstanding.
This is first play of CRT’s 2008-09 season, with professional actors and undergraduate students, creates an exciting synergy of experience and youth.
Michael McKenzie as More is commanding and engaging in a challenging role. He hits just the right balance of world-weary humanity, mixed with impudent humor and sage wit, as when he says: "I trust I make myself obscure," when pressed to incriminate himself.
John Windsor-Cunningham played More’s nemesis, Thomas Cromwell, the man acting as the king’s agent to try to break More into submission.
Windsor-Cunningham plays Cromwell with commanding authority and expansive intelligence, but then isn't it always more fun to play the bad guy?
One would expect the professional actors to do well, and they don’t disappoint, including the More’s wife Alice, played with feisty devotion by Bonnie Black; Jerry Krasser as the exasperated and loyal friend The Duke of Norfolk; the sycophant Richard Rich, played by Peter Mutino; and the pragmatic Common man, payed by Greg Webster.
It is the undergrads, however, who rise beyond expectations, including the officious Spanish ambassador Signor Chapuys, played with flourish by Robert Rosado, Daniel O’Brien as William Roper the youthful heretic, and Meghan O’Leary as More’s intelligent and educated daughter.
Most compelling and really astonishing though is Zachary Kamin, as the ruddy young King Henry VIII.
Although Kamin, a junior in their acting program, is only on stage for a small part of one scene, he basically steals the show.
Displaying a mercurial temperament, Kamin embodied the contradictory characteristics of supreme confidence, magnanimous friendship, absolute authority, and magnetic charisma essential for the role, and for the play’s success.
The period costumes of heavy brocade, by Lucy Brown, were solid and well-suited to the story, particularly impressive was Rich’s transformation from threadbare to flamboyant.
Directing with authority, Gary M. English, CRT’s artistic director, also designed the single set. With a large wooden Tudor door in the center of the stage, and sturdy steps leading off stage and to a balcony, the set easily morphs into More’s home, a jail, a street, and a courtroom, with the aid of a few props.
In the program notes, English said the abstract environment was meant to suggest the architecture of ships as well as Tudor authority, but the boat symbolism was too obscure.
While the world’s unstable political and social framework changes with the weather, what connects us to the past, and will always make this play relevant, is the critical importance of being true to oneself, no matter what - something that is sometimes easier said than done, but which never goes out of style.
A MAN FOR ALL SEASONS
3 stars
Location: Nafe Katter Theatre, 802 Bolton Road, Storrs.
Production: Written by Robert Bolt. Direction and scene design by Gary M. English. Costume design by Lucy Brown. Lighting and projection design by Tim Hunter. Sound design by Emily Tritsch.
Running time: 3 hours with one intermission.
Show Times: Wednesday, and Thursday at 7:30 p.m., 8 p.m. Friday and Saturday, with a 2 p.m. matinee on Saturday and Sunday. through Oct. 12.
Tickets: $11 to $29. Call 860-486-4266 or visit their website at www.crt.uconn.edu.
ACTOR... CHARACTER
Michael McKenzie ... Sir Thomas More
John Windsor-Cunningham ... Thomas Cromwell
Jerry Krasser ... The Duke of Norfolk
Greg Webster ... The Common Man
Peter Mutino ... Richard Rich
Bonnie Black ... Alice More
Meghan O’Leary ... Margaret More
Dale AJ Rose ... Cardinal Wolsey
Robert Rosado ... Signor Chapuys
Thomas Foran ... Chapuys’ Attendant
Daniel O’Brien ... William Roper
Zachary Kamin ... King Henry VIII
Cayla Buettner ... The Woman
JD Gross ... Archbishop Cranmer
Monday, September 29, 2008
"Arsenic and Old Lace" born in Windsor
WINDSOR - Don’t be fooled, just because the Windsor Jester’s production of "Arsenic and Old Lace" happens to be set in Brooklyn, New York. The screw-ball comedy is Windsor, Connecticut born and bred, and produced in conjunction with Windsor’s month long celebration of the town’s 375th anniversary.
In the comedy, two elderly aunts, played with delightfully sweet ditziness by Lisa Coleman Hasty and Joan Perkins-Smith, lure elderly lonely gentlemen to their home where they poison them with arsenic-tainted elderberry wine.
In the notorious real case, from 1914, Amy Archer Gilligan was convicted of poisoning Franklin Andrews and others in her home for the elderly in Windsor. Gilligan was eventually judged insane and lived out her days at the Connecticut Valley Hospital in Middletown.
It may seem an odd premise for a comedy, but the play, written in 1939 by Joseph Kesselring, ran successfully on Broadway, and was subsequently made into an equally fine Frank Capra film starring Cary Grant and Peter Lorre in 1944.
One of the aunts sums it all up when she casually explains: "Murder is one of our charities."
In addition to the two wacky old aunts, there are three nephews. Teddy Brewster, played with terrific bravado by John Zeugner, as a man who is convinced he is President Theodore Roosevelt. One of the aunts says: "We would so much rather he be Teddy Roosevelt than nobody."
Jonathan Brewster, a psychopathic serial murderer, is another of the nephews, played with spooky meanness by Edwin Lewis III, and Mortimer Brewster, a theater critic, is the third brother.
Mortimer Brewster, played by Andrew Small, is the sanest of the bunch, and discovers his aunts’ "very bad habit" and tries to figure a way to keep them from going to jail, while doing his best to get rid of his bad brother Jonathan.
Mortimer tries to get out of reviewing a play that night because of what he has just learned about his aunts, but can’t so he asks his aunt for a piece of paper so he can write his review on the way to the theater, to save time. One of the aunts assures him that the odious business of theater reviewing will disappear when theater does - in a year or two.
The large cast were all fine, including including Lorrie Bacon who does the most she can with the ingenue part, Ron Blanchette as the freakish and energetic plastic surgeon Dr. Einstein, Clark Rogers as the thoughtful Rev. Dr. Harper, Bill Allen as the frustrated Irish Police Lt. Rooney, and Mark O’Donnell as Officer O’Hara the enthusiastic aspiring playwright.
Director Sharon Leigh Burr does a masterful job of keeping the dialog and action moving at a fast pace, while having little bits of business incorporated into the scenes, such as when a strange white shoe shows up, which belongs to one of the dead men.
Perhaps it would have been best to squeeze the three acts into two, and have just one intermission midway through the comedy.
Special mention goes to set designers Neal Brundage and John Zeugner for their excellent, expansive living room set with period furniture, including the extra-sturdy flight of stairs, well built for President Roosevelt to charge up.
ARSENIC AND OLD LACE
3 Stars
Location: L.P. Wilson Community Center, 599 Matianuck Ave., Windsor
Production: By Joseph Kesselring. Directed by Sharon Leigh Burr. Produced by the Windsor Jesters Board of Directors. Stage manager Sandy Miller. Set designed by Neal Brundage and John Zeugner. Costumes by Gerry Traczyk and Joan Brundage. Sound design by Kim Miller. Lighting design by Jim Simon.
Running time: 2 ½ hours, including two intermissions.
Show Times: Friday and Saturday Oct. 3 and 4 at 8 p.m.
Tickets: $15, $12 for seniors and students. Call 860-688-1526 or visit their website at www.windsorjesters.org
ACTOR...CHARACTER
Lisa Coleman Hasty ... Aunt Abby Brewster
Joan Perkins-Smith...Aunt Martha Brewster
Andrew Small ... Mortimer Brewster
Edwin Lewis III ... Jonathan Brewster
John Zeugner ...Teddy Brewster
Lorrie Bacon ... Elaine Harper
Mark O’Donnell ... Officer O’Hara
Ron Blanchette ... Dr. Einstein
Bill Allen ... Lt. Rooney
Mike Colburn ... Mr. Witherspoon
Jeff Ingram ... Officer Brophy
Dan Petronella ... Officer Klein
Clark Rogers ... Rev. Dr. Harper
Carroll Toal ... Mr. Gibbs
WINDSOR - Don’t be fooled, just because the Windsor Jester’s production of "Arsenic and Old Lace" happens to be set in Brooklyn, New York. The screw-ball comedy is Windsor, Connecticut born and bred, and produced in conjunction with Windsor’s month long celebration of the town’s 375th anniversary.
In the comedy, two elderly aunts, played with delightfully sweet ditziness by Lisa Coleman Hasty and Joan Perkins-Smith, lure elderly lonely gentlemen to their home where they poison them with arsenic-tainted elderberry wine.
In the notorious real case, from 1914, Amy Archer Gilligan was convicted of poisoning Franklin Andrews and others in her home for the elderly in Windsor. Gilligan was eventually judged insane and lived out her days at the Connecticut Valley Hospital in Middletown.
It may seem an odd premise for a comedy, but the play, written in 1939 by Joseph Kesselring, ran successfully on Broadway, and was subsequently made into an equally fine Frank Capra film starring Cary Grant and Peter Lorre in 1944.
One of the aunts sums it all up when she casually explains: "Murder is one of our charities."
In addition to the two wacky old aunts, there are three nephews. Teddy Brewster, played with terrific bravado by John Zeugner, as a man who is convinced he is President Theodore Roosevelt. One of the aunts says: "We would so much rather he be Teddy Roosevelt than nobody."
Jonathan Brewster, a psychopathic serial murderer, is another of the nephews, played with spooky meanness by Edwin Lewis III, and Mortimer Brewster, a theater critic, is the third brother.
Mortimer Brewster, played by Andrew Small, is the sanest of the bunch, and discovers his aunts’ "very bad habit" and tries to figure a way to keep them from going to jail, while doing his best to get rid of his bad brother Jonathan.
Mortimer tries to get out of reviewing a play that night because of what he has just learned about his aunts, but can’t so he asks his aunt for a piece of paper so he can write his review on the way to the theater, to save time. One of the aunts assures him that the odious business of theater reviewing will disappear when theater does - in a year or two.
The large cast were all fine, including including Lorrie Bacon who does the most she can with the ingenue part, Ron Blanchette as the freakish and energetic plastic surgeon Dr. Einstein, Clark Rogers as the thoughtful Rev. Dr. Harper, Bill Allen as the frustrated Irish Police Lt. Rooney, and Mark O’Donnell as Officer O’Hara the enthusiastic aspiring playwright.
Director Sharon Leigh Burr does a masterful job of keeping the dialog and action moving at a fast pace, while having little bits of business incorporated into the scenes, such as when a strange white shoe shows up, which belongs to one of the dead men.
Perhaps it would have been best to squeeze the three acts into two, and have just one intermission midway through the comedy.
Special mention goes to set designers Neal Brundage and John Zeugner for their excellent, expansive living room set with period furniture, including the extra-sturdy flight of stairs, well built for President Roosevelt to charge up.
ARSENIC AND OLD LACE
3 Stars
Location: L.P. Wilson Community Center, 599 Matianuck Ave., Windsor
Production: By Joseph Kesselring. Directed by Sharon Leigh Burr. Produced by the Windsor Jesters Board of Directors. Stage manager Sandy Miller. Set designed by Neal Brundage and John Zeugner. Costumes by Gerry Traczyk and Joan Brundage. Sound design by Kim Miller. Lighting design by Jim Simon.
Running time: 2 ½ hours, including two intermissions.
Show Times: Friday and Saturday Oct. 3 and 4 at 8 p.m.
Tickets: $15, $12 for seniors and students. Call 860-688-1526 or visit their website at www.windsorjesters.org
ACTOR...CHARACTER
Lisa Coleman Hasty ... Aunt Abby Brewster
Joan Perkins-Smith...Aunt Martha Brewster
Andrew Small ... Mortimer Brewster
Edwin Lewis III ... Jonathan Brewster
John Zeugner ...Teddy Brewster
Lorrie Bacon ... Elaine Harper
Mark O’Donnell ... Officer O’Hara
Ron Blanchette ... Dr. Einstein
Bill Allen ... Lt. Rooney
Mike Colburn ... Mr. Witherspoon
Jeff Ingram ... Officer Brophy
Dan Petronella ... Officer Klein
Clark Rogers ... Rev. Dr. Harper
Carroll Toal ... Mr. Gibbs
Wednesday, September 24, 2008
One-man show, "Defending the Caveman" funny examination of the battle of the sexes
NEW HAVEN - The battle of the sexes has never been funnier than in Long Wharf Theatre’s production of "Defending the Caveman."
Written by comedian Rob Becker, this one-man show examines what Becker’s play calls the dramatically different cultures that men and women inhabit, and different customs they exhibit. What he is really examining, though, is the social paradigm, and the roles we unconsciously accept.
"Defending the Caveman" ran for 702 performances over 2 ½ years at the Helen Hayes Theater, and has the distinction of being the longest running one-person show on Broadway.
At the Long Wharf Theatre’s production, Michael Van Osch plays the role of Becker, which he has done at different theaters in the United States and Canada since 2004, and he confidently knows this part inside out.
Throughout history, dating back to the caveman days, Becker says, man’s main job was to hunt - a focused, primarily non-verbal, and competitive activity. Men interact with each other through negotiation, while women, according to Becker, were in charge of gathering food, a more cooperative process, which required more oral communication.
He tells his story within the "circle of sacred underwear" that he amusingly tosses about the stage.
"Defending the Caveman" begs the question - against whom? The answer is against what Becker says are unfair claims by women that men are all assholes.
He says, for example, that a man would never ask another man: "Did you ever want to cry but you just don’t know why?" but a woman will ask that same question to another woman without a qualm.
The problem with this theory is that his generalizations can veer on the over-simplistic.
For example, he says that when young girls played baseball when he was a kid they would rather talk to each other on the field than catch the ball - so of course all the implication is that all women prefer chatting to playing baseball.
Even more incendiary, is when he says that women are not logical. That got a rise from the predominantly female audience Sunday, until he explained what he meant, which was that women are not as rigid in their thinking as men.
Becker is on somewhat safer ground when he talks about himself.
Men, he says, must have a specific goal, which is why he can’t stand to go shopping with his wife with no aim in mind.
"I can’t stand it - we have no goal here," he cries.
Some statements are just plain hilarious, such as went he says that guys would never ask, "Want to go sit by the water for a day and just hang out?" but will do just that if they have a goal, such as fishing.
"It’s the smallest goal you could possibly have, putting a hook in the water to catch a fish," Becker explains.
There is some profanity and graphic discussions about sex, making this show definitely not for kids.
Despite issues with some of his conclusions, "Defending the Caveman" really is a tearfully funny, sometimes surprisingly sweet, and thought provoking show.
DEFENDING THE CAVEMAN
3 stars
Theater: Long Wharf Theatre
Location: 222 Sargent Drive, New Haven
Production: Written by Rob Becker
Running time: 1 3/4 hours plus one 15-minute intermission.
Show Times: Wednesdays through Saturdays at 8 p.m., with a second show Saturday at 5 p.m., and Sunday matinee at 2 p.m. through Oct. 12.
Tickets: $28 — $38. A $14 service fee will be added to every Internet purchase, which includes a $10 handling fee and a $4 facilities and restoration fee. Call the box office at 1-800-782-8497 for reservations, or visit their website at www.longwharf.org.
Actor ... Character
Michael Van Osch ...Rob Becker
NEW HAVEN - The battle of the sexes has never been funnier than in Long Wharf Theatre’s production of "Defending the Caveman."
Written by comedian Rob Becker, this one-man show examines what Becker’s play calls the dramatically different cultures that men and women inhabit, and different customs they exhibit. What he is really examining, though, is the social paradigm, and the roles we unconsciously accept.
"Defending the Caveman" ran for 702 performances over 2 ½ years at the Helen Hayes Theater, and has the distinction of being the longest running one-person show on Broadway.
At the Long Wharf Theatre’s production, Michael Van Osch plays the role of Becker, which he has done at different theaters in the United States and Canada since 2004, and he confidently knows this part inside out.
Throughout history, dating back to the caveman days, Becker says, man’s main job was to hunt - a focused, primarily non-verbal, and competitive activity. Men interact with each other through negotiation, while women, according to Becker, were in charge of gathering food, a more cooperative process, which required more oral communication.
He tells his story within the "circle of sacred underwear" that he amusingly tosses about the stage.
"Defending the Caveman" begs the question - against whom? The answer is against what Becker says are unfair claims by women that men are all assholes.
He says, for example, that a man would never ask another man: "Did you ever want to cry but you just don’t know why?" but a woman will ask that same question to another woman without a qualm.
The problem with this theory is that his generalizations can veer on the over-simplistic.
For example, he says that when young girls played baseball when he was a kid they would rather talk to each other on the field than catch the ball - so of course all the implication is that all women prefer chatting to playing baseball.
Even more incendiary, is when he says that women are not logical. That got a rise from the predominantly female audience Sunday, until he explained what he meant, which was that women are not as rigid in their thinking as men.
Becker is on somewhat safer ground when he talks about himself.
Men, he says, must have a specific goal, which is why he can’t stand to go shopping with his wife with no aim in mind.
"I can’t stand it - we have no goal here," he cries.
Some statements are just plain hilarious, such as went he says that guys would never ask, "Want to go sit by the water for a day and just hang out?" but will do just that if they have a goal, such as fishing.
"It’s the smallest goal you could possibly have, putting a hook in the water to catch a fish," Becker explains.
There is some profanity and graphic discussions about sex, making this show definitely not for kids.
Despite issues with some of his conclusions, "Defending the Caveman" really is a tearfully funny, sometimes surprisingly sweet, and thought provoking show.
DEFENDING THE CAVEMAN
3 stars
Theater: Long Wharf Theatre
Location: 222 Sargent Drive, New Haven
Production: Written by Rob Becker
Running time: 1 3/4 hours plus one 15-minute intermission.
Show Times: Wednesdays through Saturdays at 8 p.m., with a second show Saturday at 5 p.m., and Sunday matinee at 2 p.m. through Oct. 12.
Tickets: $28 — $38. A $14 service fee will be added to every Internet purchase, which includes a $10 handling fee and a $4 facilities and restoration fee. Call the box office at 1-800-782-8497 for reservations, or visit their website at www.longwharf.org.
Actor ... Character
Michael Van Osch ...Rob Becker
Monday, September 22, 2008
"Best of Friends" is the best of times at the Village Players
SOMERS - Appearances can be deceiving, and they certainly are in the Village Players’ production of the witty comedy "Best of Friends," where nothing is as it seems.
The play takes place in present day Brooklyn, New York, in the living room of famous writer Archer Connaught, played by Mark Depathy. He and his much younger 24-year-old girlfriend, Daryl Stoddard, played with efficient control by Linden Ela are presumed dead after the airplane he was flying crashes in ocean.
His abandoned and apparently placid wife, Josie, played with breezy confidence Dorrie Mitchell, is reveling in the attention showered upon her as the bereaved widow, until Archer appears unexpectedly asking for a divorce.
Josie tell her daughter Kate, played with fine bitter uptightness by Darlene LaPointe, that "death doesn’t part you, living together does."
When Kate asks why Archer left her, Josie says resignedly, "I think I bored him - I would have left me too."
Archer and Josie also have an aimless adult son, Merrill, played with intense fervor by Clint Moffie.
There is also a befuddled lawyer who was retained to get the rights for a movie of Archer’s life, Felix Hakaday, well played by Robert Winstanley.
The play has many amusing one-liners and director Shirley Warner does an excellent job keeping the expansive pithy dialog moving at a fast clip. The set, also designed by Warner, is solid and functional.
Notable too are the excellent sound effects, which are timed perfectly, and the professional touch of having music unobtrusively playing during the scene changes - Sound and lighting by technical director Justin Martin.
Sometimes supporting roles have an easier time because they don’t have the burden of exposition, and such is the case here.
The smaller, but no less important parts were all well-played, the inebriated and delightful juggler and possible justice of the peace, bemusedly played by James Stoughton, and the book agent Hazel Dunn, played with world-wearing knowingness by Mary Korostynski.
Also hilarious is Merrill’s nervously ditzy young wife, Lib, played by Stephanie Plangenza.
At one point Josie flippantly states: "I tell lies - It is one of the few things you can enjoy at any age."
Another of those things one can enjoy at any age is watching a dedicated group of actors put on a comedy where the truth is ultimately secondary to the fun.
BEST OF FRIENDS
3 stars
Location: Joanne’s Café and Banquet House, 145 Main Street, Somers
Production: Written by James Elward. Directed, with set design by Shirley Warner. Produced by Betty Domer. Technical direction, lighting, and sound by Justin Martin. Costumes by Sherrie Samborski.
Running time: About 2 hours with one intermission.
Show Times: Friday and Saturday though Oct. 4. 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 860-749-0245 for reservations.
Actor...Character
Dorrie Mitchell ... Josie Connaught
Mark Depathy ... Archer Connaught
Darlene LaPointe ... Kate Connaught
Clint Moffie ... Merrill Connaught
Stephanie Plagenza ... Lib Connaught
Linden Ela ...Daryl Stoddard
Robert Winstanley ... Felix Hakaday
Mary Korostynski ... Hazel Dunn
James Stoughton ... Mr. Bedloe
SOMERS - Appearances can be deceiving, and they certainly are in the Village Players’ production of the witty comedy "Best of Friends," where nothing is as it seems.
The play takes place in present day Brooklyn, New York, in the living room of famous writer Archer Connaught, played by Mark Depathy. He and his much younger 24-year-old girlfriend, Daryl Stoddard, played with efficient control by Linden Ela are presumed dead after the airplane he was flying crashes in ocean.
His abandoned and apparently placid wife, Josie, played with breezy confidence Dorrie Mitchell, is reveling in the attention showered upon her as the bereaved widow, until Archer appears unexpectedly asking for a divorce.
Josie tell her daughter Kate, played with fine bitter uptightness by Darlene LaPointe, that "death doesn’t part you, living together does."
When Kate asks why Archer left her, Josie says resignedly, "I think I bored him - I would have left me too."
Archer and Josie also have an aimless adult son, Merrill, played with intense fervor by Clint Moffie.
There is also a befuddled lawyer who was retained to get the rights for a movie of Archer’s life, Felix Hakaday, well played by Robert Winstanley.
The play has many amusing one-liners and director Shirley Warner does an excellent job keeping the expansive pithy dialog moving at a fast clip. The set, also designed by Warner, is solid and functional.
Notable too are the excellent sound effects, which are timed perfectly, and the professional touch of having music unobtrusively playing during the scene changes - Sound and lighting by technical director Justin Martin.
Sometimes supporting roles have an easier time because they don’t have the burden of exposition, and such is the case here.
The smaller, but no less important parts were all well-played, the inebriated and delightful juggler and possible justice of the peace, bemusedly played by James Stoughton, and the book agent Hazel Dunn, played with world-wearing knowingness by Mary Korostynski.
Also hilarious is Merrill’s nervously ditzy young wife, Lib, played by Stephanie Plangenza.
At one point Josie flippantly states: "I tell lies - It is one of the few things you can enjoy at any age."
Another of those things one can enjoy at any age is watching a dedicated group of actors put on a comedy where the truth is ultimately secondary to the fun.
BEST OF FRIENDS
3 stars
Location: Joanne’s Café and Banquet House, 145 Main Street, Somers
Production: Written by James Elward. Directed, with set design by Shirley Warner. Produced by Betty Domer. Technical direction, lighting, and sound by Justin Martin. Costumes by Sherrie Samborski.
Running time: About 2 hours with one intermission.
Show Times: Friday and Saturday though Oct. 4. 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 860-749-0245 for reservations.
Actor...Character
Dorrie Mitchell ... Josie Connaught
Mark Depathy ... Archer Connaught
Darlene LaPointe ... Kate Connaught
Clint Moffie ... Merrill Connaught
Stephanie Plagenza ... Lib Connaught
Linden Ela ...Daryl Stoddard
Robert Winstanley ... Felix Hakaday
Mary Korostynski ... Hazel Dunn
James Stoughton ... Mr. Bedloe
Monday, September 15, 2008
"No Child" a lesson in hope over experience
HARTFORD - Once again TheaterWorks has produced thought-provoking, relevant theater.
"No Child" tells the story of a teaching artist at the Malcolm X High School in the Bronx, New York.
Originally performed as a one-woman Off-Broadway show by its creator and playwright Nilaja Sun at the Barrow Street Theater in New York, this production wisely divides the multitude of characters among four actors.
Donnetta Lavinia Grays plays Ms. Sun with earnest eagerness, while the other three actors, Lizan Mitchell, Portia, and Anthony Mark Stockard, switch from one character to another with lightening speed and remarkable talent.
Mitchell’s first remarkable character is a high school janitor who has been cleaning the high school since 1958 and gives the history of the decline of the facility. The set is one dilapidated cinderblock school room with cracked and broken wire-embedded windows, well designed by Brian Prather.
The exotic atmosphere of a predominantly black and Hispanic high school was likely foreign territory for the primarily Caucasian audience Saturday. It was an education in the state of the inner-city educational institutions, as well as the external world of single parent families, gang violence, and the effect of poverty on change.
The story line follows Sun’s character as she attempts to produce a play at the high school with a class of 10th grade students, while confronting changes in teaching staff, mutinous students, and a supportive administration.
At one point Sun, who is black, says in frustration: "I can’t even help my own people. The whole system is falling apart- we are getting them ready for jail-we have abandoned them."
Portia, whose characters’ morph from the school’s authoritative but kind principal Mrs. Kennedy, to the rigid security guard, to a teenage mother-to-be, and others, is convincing in all.
Anthony Mark Stockard also is remarkable, transforming instantly from one persona to the next. He uses his sweatshirt hood as an aid for one character, and plays a convincing sassy teenage girl named Sharika, an Asian boy, an angry class leader named Jerome, and a competent authoritative teacher.
In addition to the male janitor Mr. Barry, Mitchell is fascinating and totally committed as the naïve Asian teacher, a boy who can barely speak named Phillip, a barking Russian teacher, and more.
The slang and accents are thick, peppered with profuse profanity, and are spit out at a rapid-fire pace, but somehow the actors manage to make most of the dialog intelligible, with assistance from dialect consultant Gillian Lane-Plescia.
Sad statistics abound in this play about the lamentable state of inner-city schools. Principal Kennedy says one class had seen five different teachers in a year, while 79 percent of the student body has experienced physical, emotional, or sexual abuse. Sun says: "Those kids in there need a miracle - They need a miracle everyday."
It all seems pretty grim, but there is plenty of humor and hope that elevates "No Child" into something quite special.
Occasionally this one act play feels a little preachy, but there is no doubt Sun has lived this life and listened well to the hearts and minds of the kids, and ultimately honors their struggle for meaning and self-respect in a harsh and difficult world.
NO CHILD
3 1/2 Stars
Theater: TheaterWorks
Location: 233 Pearl Street, Hartford.
Production: By Nilaja Sun. Directed by Rob Ruggiero. Lighting designed by John Lasiter. Costume designed by Peg Carbonneau. Sound designed by J. Hagenbuckle. Dialect consultant Gillian Lane-Plescia.
Running time: 1 hour and 15 minutes, no intermission
Show Times: Tuesdays, Wednesdays, and Thursdays at 7:30 p.m. Fridays and Saturdays at 8 p.m. Matinees on Saturdays and Sundays at 2:30 p.m. The show will run through October 12.
Tickets: Unassigned seating is $37; $47 on Friday and Saturday nights. Center reserved seats $11 extra. $11 student rush tickets at showtime with valid identification, subject to availability. For tickets call 860-527-7838 or visit their website at www.theaterworks.org.
ACTOR...CHARACTER
Lizan Mitchell ...Various Characters
Donnetta Lavinia Grays ... Ms. Sun
Portia ... Various Characters
Anthony Mark Stockard ... Various Characters
HARTFORD - Once again TheaterWorks has produced thought-provoking, relevant theater.
"No Child" tells the story of a teaching artist at the Malcolm X High School in the Bronx, New York.
Originally performed as a one-woman Off-Broadway show by its creator and playwright Nilaja Sun at the Barrow Street Theater in New York, this production wisely divides the multitude of characters among four actors.
Donnetta Lavinia Grays plays Ms. Sun with earnest eagerness, while the other three actors, Lizan Mitchell, Portia, and Anthony Mark Stockard, switch from one character to another with lightening speed and remarkable talent.
Mitchell’s first remarkable character is a high school janitor who has been cleaning the high school since 1958 and gives the history of the decline of the facility. The set is one dilapidated cinderblock school room with cracked and broken wire-embedded windows, well designed by Brian Prather.
The exotic atmosphere of a predominantly black and Hispanic high school was likely foreign territory for the primarily Caucasian audience Saturday. It was an education in the state of the inner-city educational institutions, as well as the external world of single parent families, gang violence, and the effect of poverty on change.
The story line follows Sun’s character as she attempts to produce a play at the high school with a class of 10th grade students, while confronting changes in teaching staff, mutinous students, and a supportive administration.
At one point Sun, who is black, says in frustration: "I can’t even help my own people. The whole system is falling apart- we are getting them ready for jail-we have abandoned them."
Portia, whose characters’ morph from the school’s authoritative but kind principal Mrs. Kennedy, to the rigid security guard, to a teenage mother-to-be, and others, is convincing in all.
Anthony Mark Stockard also is remarkable, transforming instantly from one persona to the next. He uses his sweatshirt hood as an aid for one character, and plays a convincing sassy teenage girl named Sharika, an Asian boy, an angry class leader named Jerome, and a competent authoritative teacher.
In addition to the male janitor Mr. Barry, Mitchell is fascinating and totally committed as the naïve Asian teacher, a boy who can barely speak named Phillip, a barking Russian teacher, and more.
The slang and accents are thick, peppered with profuse profanity, and are spit out at a rapid-fire pace, but somehow the actors manage to make most of the dialog intelligible, with assistance from dialect consultant Gillian Lane-Plescia.
Sad statistics abound in this play about the lamentable state of inner-city schools. Principal Kennedy says one class had seen five different teachers in a year, while 79 percent of the student body has experienced physical, emotional, or sexual abuse. Sun says: "Those kids in there need a miracle - They need a miracle everyday."
It all seems pretty grim, but there is plenty of humor and hope that elevates "No Child" into something quite special.
Occasionally this one act play feels a little preachy, but there is no doubt Sun has lived this life and listened well to the hearts and minds of the kids, and ultimately honors their struggle for meaning and self-respect in a harsh and difficult world.
NO CHILD
3 1/2 Stars
Theater: TheaterWorks
Location: 233 Pearl Street, Hartford.
Production: By Nilaja Sun. Directed by Rob Ruggiero. Lighting designed by John Lasiter. Costume designed by Peg Carbonneau. Sound designed by J. Hagenbuckle. Dialect consultant Gillian Lane-Plescia.
Running time: 1 hour and 15 minutes, no intermission
Show Times: Tuesdays, Wednesdays, and Thursdays at 7:30 p.m. Fridays and Saturdays at 8 p.m. Matinees on Saturdays and Sundays at 2:30 p.m. The show will run through October 12.
Tickets: Unassigned seating is $37; $47 on Friday and Saturday nights. Center reserved seats $11 extra. $11 student rush tickets at showtime with valid identification, subject to availability. For tickets call 860-527-7838 or visit their website at www.theaterworks.org.
ACTOR...CHARACTER
Lizan Mitchell ...Various Characters
Donnetta Lavinia Grays ... Ms. Sun
Portia ... Various Characters
Anthony Mark Stockard ... Various Characters
Monday, September 08, 2008
HSC production of William Shakespeare’s A Midsummer Night’s Dream
HARTFORD - Ain’t love grand? There sure isn’t enough it in the world, but there is no lack of love, in all its manifestations, in "A Midsummer Night’s Dream" by William Shakespeare, at the Hartford Stage Company.
"A Midsummer Night’s Dream" is one of the few plays Shakespeare wrote that was an original plot, and not based on a historical work.
Director Lisa Peterson chose to set the play in the 1950’s, with costume design by Ilona Somogyi, which works well for this play, although the forest setting and fairies are delightfully timeless.
The story follows the loves, romantic and other, of various characters - from the Duke Theseus who is marrying Hippolyta, played commandingly by David Andrew Macdonald and Johanna Day who also play the Fairie King Oberon and the Fairie Queen Titania - to the four young people, Lysander, Hermia, Demetrius and Helena.
Demetrius, played by Jake Lacy, is in love with Hermia, played by Christina Pumariega. But Hermia loves Lysander, played by Sanjit De Silva, while Helena’s love of Demetrius goes unrequited. Susannah Flood plays Helena.
"The course of true love never did run smooth," says Lysander, and never were more true words spoken. All kinds of love, and jealousies are evident here - the love of Titania for her foundling child, who Oberon wants, the paternal love of a father, Egeus, played by Everett Quinton, for his daughter, Hermia.
While the women remain relatively constant, the men behave pretty badly, starting from the top with the Fairie King Oberon who has his assistant Puck, played with impish glee by Francis Jue, give a love potion to Titania, Demetrius, and then Lysander.
Many strange and weird things happen once the youths are in the woods, and Peterson has them all run and roll and cavort about with impressive energy and strength.
Sometimes a little too much energy. When Hermia, who is used to always being doted upon, all of a sudden is despised by her love Lysander for no apparent reason, she doesn’t seem shocked enough, and says: "O weary night, O long and tedious night," as if she could run a marathon.
For those who think Shakespeare is difficult to understand, this play, with plenty of broad sexual innuendo, should present no problem. Shakespeare wrote for the common man of his day and his comedies are meant to be much bawdier than many realize.
Shakespeare hardly ever resorted to swearing in any of his plays, choosing instead to use more creative and amusing invectives such as "vixen," "churl," and "acorn."
The original music by James Paul Prendergast was lovely, particularly original and pleasant was setting Oberon’s dialog to music, and the charming, enchanting sounds of the fairie’s singing.
"Love looks not with the eyes, but with the mind; and therefore is winged cupid painted blind," laments poor, confused Helena on the fickle, flighty changeling nature of love. She is used to being ignored, and when the tables are turned and the men chase after her, she thinks there is a conspiracy afoot.
There is the subplot with a play within a play, where a troupe of amateur actors rehearses a play about two ill-fated lovers, Pyramus and Thisby. Puck turns one of the actors, named Bottom, played with proper bravura by Lucas Caleb Rooney, into a Donkey and Titania is made to fall in love with him.
The play within the play at the end was a bit long, and even though it is faithful to the original, it would not have been missed if it had been deleted.
"A Midsummer Night’s Dream" slowly cast a love spell on the audience, lulling all into a sense of enchanted joy, happiness, and intoxicating love.
A MIDSUMMER NIGHT'S DREAM
Three Stars
Location: Hartford Stage Company, 50 Church Street, Hartford.
Production: Written by William Shakespeare. Directed by Lisa Peterson. Scenic design by Rachel Hauck. Costume design by Ilona Somogyi. Lighting design by Stephen Strawbridge. Composed by James Paul Prendergast.
Running time: 2 ½ hours plus one 15-minute intermission.
Show Times: Tuesday, Wednesday, Thursday, and Sunday at 7:30 p.m.; Friday and Saturday at 8 p.m., with matinees performances Sundays and selected Wednesdays and Saturdays at 2 p.m. through October 5.
Tickets: $23 - $68.50. Call 527-5151 or visit their Web site at www.hartfordstage.org.
ACTOR...CHARACTER
Johanna Day ... Hippolyta/Titania
David Andrew Macdonald ... Theseus/Oberon
Francis Jue ...Puck/ Philostrate
Everett Quinton ...Egeus/Quince
Jake Lacy ...Demetrius
Sanjit De Silva ...Lysander
Christina Pumariega...Hermia
Susannah Flood...Helena
Lucas Caleb Rooney ...Bottom
Steven Boyer ...Flute
Nathan Johnson...Starveling
Kathy Deitch...Snout
Robert Patrick Sheire...Snug
HARTFORD - Ain’t love grand? There sure isn’t enough it in the world, but there is no lack of love, in all its manifestations, in "A Midsummer Night’s Dream" by William Shakespeare, at the Hartford Stage Company.
"A Midsummer Night’s Dream" is one of the few plays Shakespeare wrote that was an original plot, and not based on a historical work.
Director Lisa Peterson chose to set the play in the 1950’s, with costume design by Ilona Somogyi, which works well for this play, although the forest setting and fairies are delightfully timeless.
The story follows the loves, romantic and other, of various characters - from the Duke Theseus who is marrying Hippolyta, played commandingly by David Andrew Macdonald and Johanna Day who also play the Fairie King Oberon and the Fairie Queen Titania - to the four young people, Lysander, Hermia, Demetrius and Helena.
Demetrius, played by Jake Lacy, is in love with Hermia, played by Christina Pumariega. But Hermia loves Lysander, played by Sanjit De Silva, while Helena’s love of Demetrius goes unrequited. Susannah Flood plays Helena.
"The course of true love never did run smooth," says Lysander, and never were more true words spoken. All kinds of love, and jealousies are evident here - the love of Titania for her foundling child, who Oberon wants, the paternal love of a father, Egeus, played by Everett Quinton, for his daughter, Hermia.
While the women remain relatively constant, the men behave pretty badly, starting from the top with the Fairie King Oberon who has his assistant Puck, played with impish glee by Francis Jue, give a love potion to Titania, Demetrius, and then Lysander.
Many strange and weird things happen once the youths are in the woods, and Peterson has them all run and roll and cavort about with impressive energy and strength.
Sometimes a little too much energy. When Hermia, who is used to always being doted upon, all of a sudden is despised by her love Lysander for no apparent reason, she doesn’t seem shocked enough, and says: "O weary night, O long and tedious night," as if she could run a marathon.
For those who think Shakespeare is difficult to understand, this play, with plenty of broad sexual innuendo, should present no problem. Shakespeare wrote for the common man of his day and his comedies are meant to be much bawdier than many realize.
Shakespeare hardly ever resorted to swearing in any of his plays, choosing instead to use more creative and amusing invectives such as "vixen," "churl," and "acorn."
The original music by James Paul Prendergast was lovely, particularly original and pleasant was setting Oberon’s dialog to music, and the charming, enchanting sounds of the fairie’s singing.
"Love looks not with the eyes, but with the mind; and therefore is winged cupid painted blind," laments poor, confused Helena on the fickle, flighty changeling nature of love. She is used to being ignored, and when the tables are turned and the men chase after her, she thinks there is a conspiracy afoot.
There is the subplot with a play within a play, where a troupe of amateur actors rehearses a play about two ill-fated lovers, Pyramus and Thisby. Puck turns one of the actors, named Bottom, played with proper bravura by Lucas Caleb Rooney, into a Donkey and Titania is made to fall in love with him.
The play within the play at the end was a bit long, and even though it is faithful to the original, it would not have been missed if it had been deleted.
"A Midsummer Night’s Dream" slowly cast a love spell on the audience, lulling all into a sense of enchanted joy, happiness, and intoxicating love.
A MIDSUMMER NIGHT'S DREAM
Three Stars
Location: Hartford Stage Company, 50 Church Street, Hartford.
Production: Written by William Shakespeare. Directed by Lisa Peterson. Scenic design by Rachel Hauck. Costume design by Ilona Somogyi. Lighting design by Stephen Strawbridge. Composed by James Paul Prendergast.
Running time: 2 ½ hours plus one 15-minute intermission.
Show Times: Tuesday, Wednesday, Thursday, and Sunday at 7:30 p.m.; Friday and Saturday at 8 p.m., with matinees performances Sundays and selected Wednesdays and Saturdays at 2 p.m. through October 5.
Tickets: $23 - $68.50. Call 527-5151 or visit their Web site at www.hartfordstage.org.
ACTOR...CHARACTER
Johanna Day ... Hippolyta/Titania
David Andrew Macdonald ... Theseus/Oberon
Francis Jue ...Puck/ Philostrate
Everett Quinton ...Egeus/Quince
Jake Lacy ...Demetrius
Sanjit De Silva ...Lysander
Christina Pumariega...Hermia
Susannah Flood...Helena
Lucas Caleb Rooney ...Bottom
Steven Boyer ...Flute
Nathan Johnson...Starveling
Kathy Deitch...Snout
Robert Patrick Sheire...Snug
Friday, September 05, 2008
A lot to love in Monty Python’s SPAMALOT
HARTFORD-The musical comedy "Monty Python’s SPAMALOT," playing at the Bushnell through Sunday, should come with a warning.
Those attending a performance of the hilarious, irreverent, and silly show may find they leave the theater with permanent smiles stuck to their faces, toes that won’t stop tapping, and be forever unable to look on anything but the bright side of life.
A sure sign of a great musical is having that one song you just can’t get out of your head. For "Monty Python’s SPAMALOT" that song is undoubtedly "Always Look on the Bright Side of Life."
The musical is based on the 1975 film "Monty Python and the Holy Grail," which is derived from the BBC television show "Monty Python’s Flying Circus," that ran from 1969 until 1974.
Set in 932 A.D. it loosely tells the tale of King Arthur and the Knights of the Round Table, and their search for the Holy Grail.
For those who remember the film, it’s a delightful walk down nostalgia lane, with the Knights of Ni and their demand for a "shrubbery," the knight who suffers "just a flesh wound," the plague victim who insists "I’m not dead yet," catapulted cows, killer rabbits, and many more characters and incidences from the film.
But it isn’t necessary to have seen the movie or even the television show to enjoy the 2005 Tony-award winning musical. The songs are upbeat and tuneful. In addition to "Always Look on the Bright Side of Life," other memorable tunes include "Find Your Grail," and "The Song That Goes Like This."
At one point Sir Dennis Galahad, played with handsome bravura by Ben Davis, questions King Arthur, played with kingly authority by Jonathan Hadary, about what makes him think he is a king. Arthur says he got the sword Excalibur from the Lady of the Lake, played with over the top campiness by Esther Stilwell, to which Galahad says, "Soggy blondes, with their backsides in ponds, can not replace the electorate."
In an irreverent diva turn, Stilwell’s Lady of the Lake complains that her part isn’t big enough, and sings, "All the Tony awards won’t keep me out of Betty Ford."
The characterizations are first rate, including the large ensemble chorus, with a number of the actors playing multiple roles, such as the effeminate Prince Herbert, played to perfection by Christopher Sutton, who also plays the Historian, Not Dead Fred, a French Guard, and a Minstrel.
There’s lots of flatulent humor, plenty of Las Vegas-style dance numbers, choreographed by Casey Nicholaw, with many candy-colored, sparkling costumes, by Tim Hatley, who also designed the Disneyland-meets-the-Middle-Ages set.
The show is directed by legendary director Mike Nichols, who also directed the movie "The Graduate," as well as Broadway plays such as "The Odd Couple," and "Barefoot in the Park." Nichols did a commanding job of keeping the show moving at a fast and upbeat pace.
One of the original Monty Python cast members, Eric Idle, wrote the book for the show, as well as co-wrote the music with John Du Prez, and the songs couldn’t be better.
There’s even a surprise guest cameo at each performance that is a real hit with the audience.
This is the second time "Monty Python’s SPAMALOT" has come to the Bushnell, and if the audiences’ reactions are any indication, it definitely won’t be the last.
MONTY PYTHON'S SPAMALOT
3 1/2 Stars
Theater: The Bushnell
Location: William H. Mortensen Hall, 166 Capitol Ave. Hartford
Production: Directed by Mike Nichols. Book and lyrics by Eric Idle. Musical director Ben Whiteley. Music by John Du Prez and Eric Idle. Set and costume design by Tim Hatley. Lighting design by Hugh Vanstone. Sound design by Acme Sound Partners. Choreography by Casey Nicholaw.
Running time: 2 hours, plus one 15-minute intermission
Show Times: Today and Saturday at 8 p.m., Sunday at 7:30 p.m., with Saturday and Sunday matinees at 2 p.m.
Tickets: $16.50 -$72. Call 987-5900 or visit their Web site at www.bushnell.org
ACTOR... CHARACTER
Jonathan Hadary ... King Arthur
Esther Stilwell ... The Lady of the Lake
James Beaman ... Sir Robin, Guard 1, Brother Maynard
Christopher Sutton ... Historian, Not Dead Fred, French Guard, Minstrel, Prince Herbert
Brad Bradley ... Mayor, Patsy, Guard 2
Patrick Heusinger ... Sir Lancelot, The French Taunter
Ben Davis ... Sir Dennis Galahad, The Black Knight, Prince Herbert’s Father
Christopher Gurr ... Dennis’ Mother, Sir Bedevere, Concorde
Eric Hayden ... Sir Not Appearing
Richard Costa ... Monk
Matt Allen ... Nun
John Cleese ... God
Darryl Semira ... Sir Bors
Richard Costa, David Havasi, Christopher Sutton ... French Guards
Davad Havasi, Darryl Semira, Christopher Sutton, Paula Wise ... Minstrals
HARTFORD-The musical comedy "Monty Python’s SPAMALOT," playing at the Bushnell through Sunday, should come with a warning.
Those attending a performance of the hilarious, irreverent, and silly show may find they leave the theater with permanent smiles stuck to their faces, toes that won’t stop tapping, and be forever unable to look on anything but the bright side of life.
A sure sign of a great musical is having that one song you just can’t get out of your head. For "Monty Python’s SPAMALOT" that song is undoubtedly "Always Look on the Bright Side of Life."
The musical is based on the 1975 film "Monty Python and the Holy Grail," which is derived from the BBC television show "Monty Python’s Flying Circus," that ran from 1969 until 1974.
Set in 932 A.D. it loosely tells the tale of King Arthur and the Knights of the Round Table, and their search for the Holy Grail.
For those who remember the film, it’s a delightful walk down nostalgia lane, with the Knights of Ni and their demand for a "shrubbery," the knight who suffers "just a flesh wound," the plague victim who insists "I’m not dead yet," catapulted cows, killer rabbits, and many more characters and incidences from the film.
But it isn’t necessary to have seen the movie or even the television show to enjoy the 2005 Tony-award winning musical. The songs are upbeat and tuneful. In addition to "Always Look on the Bright Side of Life," other memorable tunes include "Find Your Grail," and "The Song That Goes Like This."
At one point Sir Dennis Galahad, played with handsome bravura by Ben Davis, questions King Arthur, played with kingly authority by Jonathan Hadary, about what makes him think he is a king. Arthur says he got the sword Excalibur from the Lady of the Lake, played with over the top campiness by Esther Stilwell, to which Galahad says, "Soggy blondes, with their backsides in ponds, can not replace the electorate."
In an irreverent diva turn, Stilwell’s Lady of the Lake complains that her part isn’t big enough, and sings, "All the Tony awards won’t keep me out of Betty Ford."
The characterizations are first rate, including the large ensemble chorus, with a number of the actors playing multiple roles, such as the effeminate Prince Herbert, played to perfection by Christopher Sutton, who also plays the Historian, Not Dead Fred, a French Guard, and a Minstrel.
There’s lots of flatulent humor, plenty of Las Vegas-style dance numbers, choreographed by Casey Nicholaw, with many candy-colored, sparkling costumes, by Tim Hatley, who also designed the Disneyland-meets-the-Middle-Ages set.
The show is directed by legendary director Mike Nichols, who also directed the movie "The Graduate," as well as Broadway plays such as "The Odd Couple," and "Barefoot in the Park." Nichols did a commanding job of keeping the show moving at a fast and upbeat pace.
One of the original Monty Python cast members, Eric Idle, wrote the book for the show, as well as co-wrote the music with John Du Prez, and the songs couldn’t be better.
There’s even a surprise guest cameo at each performance that is a real hit with the audience.
This is the second time "Monty Python’s SPAMALOT" has come to the Bushnell, and if the audiences’ reactions are any indication, it definitely won’t be the last.
MONTY PYTHON'S SPAMALOT
3 1/2 Stars
Theater: The Bushnell
Location: William H. Mortensen Hall, 166 Capitol Ave. Hartford
Production: Directed by Mike Nichols. Book and lyrics by Eric Idle. Musical director Ben Whiteley. Music by John Du Prez and Eric Idle. Set and costume design by Tim Hatley. Lighting design by Hugh Vanstone. Sound design by Acme Sound Partners. Choreography by Casey Nicholaw.
Running time: 2 hours, plus one 15-minute intermission
Show Times: Today and Saturday at 8 p.m., Sunday at 7:30 p.m., with Saturday and Sunday matinees at 2 p.m.
Tickets: $16.50 -$72. Call 987-5900 or visit their Web site at www.bushnell.org
ACTOR... CHARACTER
Jonathan Hadary ... King Arthur
Esther Stilwell ... The Lady of the Lake
James Beaman ... Sir Robin, Guard 1, Brother Maynard
Christopher Sutton ... Historian, Not Dead Fred, French Guard, Minstrel, Prince Herbert
Brad Bradley ... Mayor, Patsy, Guard 2
Patrick Heusinger ... Sir Lancelot, The French Taunter
Ben Davis ... Sir Dennis Galahad, The Black Knight, Prince Herbert’s Father
Christopher Gurr ... Dennis’ Mother, Sir Bedevere, Concorde
Eric Hayden ... Sir Not Appearing
Richard Costa ... Monk
Matt Allen ... Nun
John Cleese ... God
Darryl Semira ... Sir Bors
Richard Costa, David Havasi, Christopher Sutton ... French Guards
Davad Havasi, Darryl Semira, Christopher Sutton, Paula Wise ... Minstrals
Monday, August 11, 2008
The Unsinkable Carrie Fisher performs "Wishful Drinking" at the HSC
HARTFORD - "Born to simple folk," Carrie Fisher jokes about life in her one-woman show "Wishful Drinking" at the Hartford Stage Company.
Any way you look at it, Carrie Fisher has had quite a life. She is the daughter of singer Eddie Fisher and film icon Debbie Reynolds.
Her mother may have starred in the movie "The Unsinkable Molly Brown," among many other films, but that title just as aptly sums up Carrie Fisher’s life and her will to not only survive, but thrive with her sense of humor intact.
Her show is a walk down memory lane - her recollections as a celebrity child, singing in the chorus in one of her mother’s shows on Broadway (Isn’t that what all children do? she asks), to her own iconic performance as Princess Leia in “Star Wars," all while tossing out clever, witty one-liners at light-saber speed.
The set, by Alexander V. Nichols, who also is the lighting and production designer, is a cozy living room, with an asymmetrical backdrop that neatly serves as a projection screen, with images of her famous parents and many other well-known visages, including the woman her Eddie left Debbie for Elizabeth Taylor, who subsequently left Eddie Fisher for Richard Burton, and on and on.
Think of the love-triangle as Jennifer Aniston, Brad Pitt, and Anjelina Jolie of the 1960s, she says.
When her father started having an affair with Taylor, Fisher understates: "It made marriage to my mother awkward."
Carrie Fisher has had some extreme experiences, like when a gay pal of hers, R. Gregory Stevens, died in bed next to her in 2005 - a traumatic experience she goes into great detail about.
She speaks also of her relationship with the singer and songwriter Paul Simon, with whom she felt "the secret handshake of shared sensibility." They were together for years, but eventually parted. The director Mike Nichols said she and Simon "were two flowers without a garden."
She talks a lot about her struggle with substance abuse, as well as the bipolar diagnosis that she carries with her like an extra appendage. Being bipolar and manic she says makes her feel that "instant gratification takes too long."
While Carl Marx may have believed that "religion is the opiate of the masses," Fisher says, she took "masses of opiates religiously."
But for a couple of memory lapses, due she says to her recently receiving electroshock therapy, her light banter and quick, sardonic wit is best showcased when the house lights go up and she engages the audience in a question-and-answer repartee. She gently teases, cajoles, and wins the hearts of the audience members with her charm, grace, and desire to please.
Her insider experiences starring in "Star Wars" are funny. She says these days she is tracked "by a small band of stalkers," and has seen her "Princess Leia" likeness with that kooky ear muff wig, in the form of shampoo bottles where her head twists off, soap, a doll, and even a Pez candy dispenser.
She revealed that the "Star Wars" creator and director, George Lucas, told her she couldn’t wear a bra in the films. When she asked why, Lucas said: "Because there are no bras in space."
Fisher says her life makes a good anecdote, but a bad reality. Lucky for the audience, they get to reap the reward of her many trials and travails. Hopefully she gets some joy out of sharing her life too - She sure deserves it.
WISHFUL DRINKING
3 1/2 Stars
Theater: Hartford Stage Company
Location: 50 Church Street, Hartford, Conn.
Production: Written and performed by Carrie Fisher. Directed by Tony Taccone. Scenic design, lighting design, and production design by Alexander V. Nichols.
Running time: 2 hours, plus one 15-minute intermission
Show Times: Tuesday, Wednesday, and Thursday at 7:30 p.m., Friday and Saturday performances at 8 p.m., with matinee performances Saturday and Sunday at 2 p.m. through August 17. There will be no Sunday evening performance.
Tickets: $26 to $55. For further information call their box office at 860-527-5151, or visit their website a www.hartfordstage.org.
ACTOR...CHARACTER
Carrie Fisher...Herself
HARTFORD - "Born to simple folk," Carrie Fisher jokes about life in her one-woman show "Wishful Drinking" at the Hartford Stage Company.
Any way you look at it, Carrie Fisher has had quite a life. She is the daughter of singer Eddie Fisher and film icon Debbie Reynolds.
Her mother may have starred in the movie "The Unsinkable Molly Brown," among many other films, but that title just as aptly sums up Carrie Fisher’s life and her will to not only survive, but thrive with her sense of humor intact.
Her show is a walk down memory lane - her recollections as a celebrity child, singing in the chorus in one of her mother’s shows on Broadway (Isn’t that what all children do? she asks), to her own iconic performance as Princess Leia in “Star Wars," all while tossing out clever, witty one-liners at light-saber speed.
The set, by Alexander V. Nichols, who also is the lighting and production designer, is a cozy living room, with an asymmetrical backdrop that neatly serves as a projection screen, with images of her famous parents and many other well-known visages, including the woman her Eddie left Debbie for Elizabeth Taylor, who subsequently left Eddie Fisher for Richard Burton, and on and on.
Think of the love-triangle as Jennifer Aniston, Brad Pitt, and Anjelina Jolie of the 1960s, she says.
When her father started having an affair with Taylor, Fisher understates: "It made marriage to my mother awkward."
Carrie Fisher has had some extreme experiences, like when a gay pal of hers, R. Gregory Stevens, died in bed next to her in 2005 - a traumatic experience she goes into great detail about.
She speaks also of her relationship with the singer and songwriter Paul Simon, with whom she felt "the secret handshake of shared sensibility." They were together for years, but eventually parted. The director Mike Nichols said she and Simon "were two flowers without a garden."
She talks a lot about her struggle with substance abuse, as well as the bipolar diagnosis that she carries with her like an extra appendage. Being bipolar and manic she says makes her feel that "instant gratification takes too long."
While Carl Marx may have believed that "religion is the opiate of the masses," Fisher says, she took "masses of opiates religiously."
But for a couple of memory lapses, due she says to her recently receiving electroshock therapy, her light banter and quick, sardonic wit is best showcased when the house lights go up and she engages the audience in a question-and-answer repartee. She gently teases, cajoles, and wins the hearts of the audience members with her charm, grace, and desire to please.
Her insider experiences starring in "Star Wars" are funny. She says these days she is tracked "by a small band of stalkers," and has seen her "Princess Leia" likeness with that kooky ear muff wig, in the form of shampoo bottles where her head twists off, soap, a doll, and even a Pez candy dispenser.
She revealed that the "Star Wars" creator and director, George Lucas, told her she couldn’t wear a bra in the films. When she asked why, Lucas said: "Because there are no bras in space."
Fisher says her life makes a good anecdote, but a bad reality. Lucky for the audience, they get to reap the reward of her many trials and travails. Hopefully she gets some joy out of sharing her life too - She sure deserves it.
WISHFUL DRINKING
3 1/2 Stars
Theater: Hartford Stage Company
Location: 50 Church Street, Hartford, Conn.
Production: Written and performed by Carrie Fisher. Directed by Tony Taccone. Scenic design, lighting design, and production design by Alexander V. Nichols.
Running time: 2 hours, plus one 15-minute intermission
Show Times: Tuesday, Wednesday, and Thursday at 7:30 p.m., Friday and Saturday performances at 8 p.m., with matinee performances Saturday and Sunday at 2 p.m. through August 17. There will be no Sunday evening performance.
Tickets: $26 to $55. For further information call their box office at 860-527-5151, or visit their website a www.hartfordstage.org.
ACTOR...CHARACTER
Carrie Fisher...Herself
Thursday, August 07, 2008
Perky, lively "Half a Sixpence" at Goodspeed
EAST HADDAM - If entertainment is what you’re looking for, then "Half a Sixpence" the perky, lively, perfectly cast musical at the Goodspeed Opera House is for you.
Based on a novel written by H.G. Wells, best known for his science fiction, the musical is set in 1900 Folkestone, England. It traces the rise and fall and rise of Arthur Kipps, played with impish verve and perpetual charm by Jon Peterson.
Kipps is a shop apprentice who inherits 300,000 pounds, leaves his long-time girlfriend, the maid Ann, played by Sara Gettelfinger, sees the world and falls for a wealthy young woman, Helen, played by Julia Osborne, only to lose his fortune, and then get it back, having invested in a play before he loses his fortune, which turns into a run-away hit.
Peterson, who will be 46 on Saturday, has the look of perpetual youth, with a head of hair that defies gravity. Trained from the age of 9 as a classical ballet dancer at the Royal Ballet School, Peterson is a lithesome dancer who more than keeps up with fellow dancers half his age.
"Half a Sixpence" was written as a vehicle for the English entertainer, Tommy Steele, who starred in the show in England and then in 1965 on Broadway. It was later made into a film starring Steele.
The musical looses some momentum during the two scenes without music in the middle of the first act, but thankfully picks up once the songs return.
Once again, the Goodspeed does what they do best - squeeze a bunch of sparkling talent on a tiny stage - highlighting lesser-known but fine musical treasures.
On a proscenium stage only 28 feet wide and 19 feet deep, with barely any room in the wings, the terrific dancers and singers perform precise ensemble numbers, choreographed by Patti Colombo.
The period costumes by David C. Wollard are as numerous as they are gorgeous - especially outstanding are the candy-colored striped party outfits at the Ragata at the end of Act One, and the rich jewel-toned satin gowns in the solarium scene at the start of Act Two.
There is no lip-synching here - although how they can dance as strenuously as they do and belt out the numerous songs is difficult to fathom.
The songs, by David Heneker, are a fine mix of rousing upbeat ensemble numbers, like "Money to Burn" where they do amazing rhythmic beats with beer mugs in a beer hall, to sweet ballads, such as "I Know What I Am," by Sara Gettelfinger’s Ann and the winsome duet "Long Ago," sung by Gettelfinger and Peterson.
Gettelfinger has a fine powerful voice, as does Donna English who plays Mrs. Walingham. Also notable are Jeff Skowron as the overacting playwright Chitterlow, the uptight Young Walshingham played by Carrington Vilmont, and Cheryl McMahon as the silly Mrs. Botting.
All and all "Half a Sixpence" is a rollicking, ripping good time - proving once again that the American Musical is alive and well and living at the Goodspeed Opera House.
HALF A SIXPENCE
Three stars
Location: Goodspeed Opera House, Route 82, East Haddam, Conn.
Production: Music and lyrics by David Heneker. Book by Beverley Cross. Directed by Gordon Greenberg. Choreographed by Patti Colombo. Music direction by Michael O’Flaherty. Scenery design by Rob Bissinger. Costume design by David C. Wollard. Lighting design by Jeff Croiter. Sound by Jay Hilton.
Running time: 2 hours including 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. There will be performances on select Thursdays at 2 p.m. and Sundays at 6:30 p.m. through Sept. 9.
Tickets: $26 - $63. Call the box office at 860-873-8668 or visit their Web site at www.goodspeed.org.
ACTOR...CHARACTER
Jon Peterson...Arthur Kipps
Danny Gardner ... Sid
Cameron Henderson ... Buggins
Wes Hart ... Pearce
Kate Marilley ... Flo
Elise Kinnon ... Victoria
Caroline Massagee ... Kate
James Judy ... Shalford
Rod Roberts ... Carshot
Sara Gettelfinger ... Ann
Donna English ... Mrs. Walsingham
Julia Osborne ... Helen Walsingham
Carrington Vilmont ... Young Walsingham
Jeff Skowron ... Chitterlow
Cheryl McMahon ... Mrs. Botting
EAST HADDAM - If entertainment is what you’re looking for, then "Half a Sixpence" the perky, lively, perfectly cast musical at the Goodspeed Opera House is for you.
Based on a novel written by H.G. Wells, best known for his science fiction, the musical is set in 1900 Folkestone, England. It traces the rise and fall and rise of Arthur Kipps, played with impish verve and perpetual charm by Jon Peterson.
Kipps is a shop apprentice who inherits 300,000 pounds, leaves his long-time girlfriend, the maid Ann, played by Sara Gettelfinger, sees the world and falls for a wealthy young woman, Helen, played by Julia Osborne, only to lose his fortune, and then get it back, having invested in a play before he loses his fortune, which turns into a run-away hit.
Peterson, who will be 46 on Saturday, has the look of perpetual youth, with a head of hair that defies gravity. Trained from the age of 9 as a classical ballet dancer at the Royal Ballet School, Peterson is a lithesome dancer who more than keeps up with fellow dancers half his age.
"Half a Sixpence" was written as a vehicle for the English entertainer, Tommy Steele, who starred in the show in England and then in 1965 on Broadway. It was later made into a film starring Steele.
The musical looses some momentum during the two scenes without music in the middle of the first act, but thankfully picks up once the songs return.
Once again, the Goodspeed does what they do best - squeeze a bunch of sparkling talent on a tiny stage - highlighting lesser-known but fine musical treasures.
On a proscenium stage only 28 feet wide and 19 feet deep, with barely any room in the wings, the terrific dancers and singers perform precise ensemble numbers, choreographed by Patti Colombo.
The period costumes by David C. Wollard are as numerous as they are gorgeous - especially outstanding are the candy-colored striped party outfits at the Ragata at the end of Act One, and the rich jewel-toned satin gowns in the solarium scene at the start of Act Two.
There is no lip-synching here - although how they can dance as strenuously as they do and belt out the numerous songs is difficult to fathom.
The songs, by David Heneker, are a fine mix of rousing upbeat ensemble numbers, like "Money to Burn" where they do amazing rhythmic beats with beer mugs in a beer hall, to sweet ballads, such as "I Know What I Am," by Sara Gettelfinger’s Ann and the winsome duet "Long Ago," sung by Gettelfinger and Peterson.
Gettelfinger has a fine powerful voice, as does Donna English who plays Mrs. Walingham. Also notable are Jeff Skowron as the overacting playwright Chitterlow, the uptight Young Walshingham played by Carrington Vilmont, and Cheryl McMahon as the silly Mrs. Botting.
All and all "Half a Sixpence" is a rollicking, ripping good time - proving once again that the American Musical is alive and well and living at the Goodspeed Opera House.
HALF A SIXPENCE
Three stars
Location: Goodspeed Opera House, Route 82, East Haddam, Conn.
Production: Music and lyrics by David Heneker. Book by Beverley Cross. Directed by Gordon Greenberg. Choreographed by Patti Colombo. Music direction by Michael O’Flaherty. Scenery design by Rob Bissinger. Costume design by David C. Wollard. Lighting design by Jeff Croiter. Sound by Jay Hilton.
Running time: 2 hours including 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. There will be performances on select Thursdays at 2 p.m. and Sundays at 6:30 p.m. through Sept. 9.
Tickets: $26 - $63. Call the box office at 860-873-8668 or visit their Web site at www.goodspeed.org.
ACTOR...CHARACTER
Jon Peterson...Arthur Kipps
Danny Gardner ... Sid
Cameron Henderson ... Buggins
Wes Hart ... Pearce
Kate Marilley ... Flo
Elise Kinnon ... Victoria
Caroline Massagee ... Kate
James Judy ... Shalford
Rod Roberts ... Carshot
Sara Gettelfinger ... Ann
Donna English ... Mrs. Walsingham
Julia Osborne ... Helen Walsingham
Carrington Vilmont ... Young Walsingham
Jeff Skowron ... Chitterlow
Cheryl McMahon ... Mrs. Botting
Thursday, July 10, 2008
Fabrique fine in "Ella"
HARTFORD - Fabulous, fun, phenomenal, fantastic, and fascinating, Tina Fabrique reincarnates jazz singer Ella Fitzgerald in the Hartford Stage Company’s production of "Ella."
Produced in collaboration with the Connecticut Theatre Festival, this jazz concert wrapped in a mini-biographical documentary of Fitzgerald’s life, is all Ella, all the time.
For over two hours Fabrique sang and sang and sang some more. Where mere mortals would have faded, Fabrique only improved as the night progressed.
By the end of the show the full house practically leapt to its collective feet in spontaneous applause. One woman in the front row genuflected to Fabrique in a display of awe and admiration no one disagreed with.
The sleek single set, designed by Michael Schweikardt, had three sensational circular arches accented with delicate vertical beads.
It was a theater in 1966 Nice, France, but it could have been any curvilinear Art Deco stage from the 1940’s, right out of a Fred Astaire-Ginger Rogers film.
Each song, and there were many, such as "They Can’t Take that Away from Me," "Heaven," "Night and Day," and "A Tisket a Tasket," (a child’s nursery rhyme Fitzgerald set to music), was accompanied by a terrific jazz combo, with the four musicians doubling as the various men in her life when needed.
Notable in the band was trumpet-player Thaddeus Wilson who gave a ripping imitation of Louis Armstrong and sang with Fabrique.
Looking at one set, as lovely as it was, for over two hours risks monotony, but the playful, rainbow-hued, ever-changing lighting by John Lasiter kept the eye entertained, while the ear feasted on Fabrique’s Ella.
Three Stars
Theater: Hartford Stage Company
Location: 50 Church Street, Hartford
Production: Directed by Rob Ruggiero. Book by Jeffrey Hatcher. Conceived by Rob Ruggiero and Dyke Garrison. Music directed and arranged by Danny Holgate. Set designed by Michael Schweikardt. Costume designed by Alejo Vietti. Lighting designed by John Lasiter. Sound designed by Michael Miceli.
Running time: 2 ½ hours, with one intermission
Show Times: Tuesday, Wednesday, Thursday, and Sunday performances 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 July 27.
Tickets: $28 to $55. For further information call their box office at 860-527-5151, or visit their Wwebsite a www.hartfordstage.org.
ACTOR...CHARACTER
Tina Fabrique ... Ella Fitzgerald
Harold Dixon ... Norman Granz
George Caldwell ... Piano/Conductor
Rodney Harper ... Drums
Clifton Kellem ... Bass
Thaddeus Wilson ... Trumpet
HARTFORD - Fabulous, fun, phenomenal, fantastic, and fascinating, Tina Fabrique reincarnates jazz singer Ella Fitzgerald in the Hartford Stage Company’s production of "Ella."
Produced in collaboration with the Connecticut Theatre Festival, this jazz concert wrapped in a mini-biographical documentary of Fitzgerald’s life, is all Ella, all the time.
For over two hours Fabrique sang and sang and sang some more. Where mere mortals would have faded, Fabrique only improved as the night progressed.
By the end of the show the full house practically leapt to its collective feet in spontaneous applause. One woman in the front row genuflected to Fabrique in a display of awe and admiration no one disagreed with.
The sleek single set, designed by Michael Schweikardt, had three sensational circular arches accented with delicate vertical beads.
It was a theater in 1966 Nice, France, but it could have been any curvilinear Art Deco stage from the 1940’s, right out of a Fred Astaire-Ginger Rogers film.
Each song, and there were many, such as "They Can’t Take that Away from Me," "Heaven," "Night and Day," and "A Tisket a Tasket," (a child’s nursery rhyme Fitzgerald set to music), was accompanied by a terrific jazz combo, with the four musicians doubling as the various men in her life when needed.
Notable in the band was trumpet-player Thaddeus Wilson who gave a ripping imitation of Louis Armstrong and sang with Fabrique.
Looking at one set, as lovely as it was, for over two hours risks monotony, but the playful, rainbow-hued, ever-changing lighting by John Lasiter kept the eye entertained, while the ear feasted on Fabrique’s Ella.
Three Stars
Theater: Hartford Stage Company
Location: 50 Church Street, Hartford
Production: Directed by Rob Ruggiero. Book by Jeffrey Hatcher. Conceived by Rob Ruggiero and Dyke Garrison. Music directed and arranged by Danny Holgate. Set designed by Michael Schweikardt. Costume designed by Alejo Vietti. Lighting designed by John Lasiter. Sound designed by Michael Miceli.
Running time: 2 ½ hours, with one intermission
Show Times: Tuesday, Wednesday, Thursday, and Sunday performances 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 July 27.
Tickets: $28 to $55. For further information call their box office at 860-527-5151, or visit their Wwebsite a www.hartfordstage.org.
ACTOR...CHARACTER
Tina Fabrique ... Ella Fitzgerald
Harold Dixon ... Norman Granz
George Caldwell ... Piano/Conductor
Rodney Harper ... Drums
Clifton Kellem ... Bass
Thaddeus Wilson ... Trumpet
Tuesday, June 24, 2008
(from left) Joey Parsons, Erika Rolfsrud, Jo Twiss, Alec Silberblatt and Dylan Chalfy in TheaterWorks' production of Rabbit Hole. Photo by Lanny Nagler.
Three Stars (good)
Theater: TheaterWorks
Location: 233 Pearl St. Hartford.
Production: By David Lindsay-Abaire. Directed by Rob Ruggiero. Set
design by Luke Hegel-Cantarella. Lighting design by John Lasiter.
Costume design by Anne Kenney. Sound design by Vincent Olivieri.
Running time: Two hours, one intermission
Show Times: Tuesdays, Wednesdays, and Thursdays at 7:30 p.m. Fridays
and Saturdays — 8 p.m. Matinees on Saturdays and Sundays — 2:30 p.m.
Extra Sunday evening shows — 7:30 p.m. The show will run through July
20.
Tickets: Unassigned seating is $37; $47 on Friday and Saturday nights.
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.theaterworks.org.
ACTOR…CHARACTER
Erika Rolfsrud … Becca
Dylan Chalfy … Howie
Joey Parsons … Izzy
Jo Twiss … Nat
Alec Silberblatt … Jason
By Kory Loucks
published in the Journal Inquirer June 19, 2008
HARTFORD — We live in a world that would probably like to eradicate
death, along with loss and sadness. And with all that modern science
and medicine can do, our lives today are epically improved over those
who lived even a generation ago.
Still, there are probably few things more horrid or devastating than
experiencing the sudden loss of a child. "Rabbit Hole," a 2007
Pulitzer Prize-winning play by David Lindsay-Abaire, begins eight
months after a four-year-old boy tragically dies chasing his dog into
the street and is accidentally hit by a car driven by a 17-year-old
boy.
The mother of the four-year-old, Becca, is a perfectionist homemaker,
played by Erika Rolfsrud, who has a striking resemblance to the actor
Reese Witherspoon. Her younger sister, Izzy, played with humor by Joey
Parsons, is the bad girl who hangs out in bars, and whose life is as
messy as Becca's is hyper-controlled.
"How can you get fired from Applebee's?" Becca asks Izzy in dismay, to
which Izzy dismisses vaguely, saying; "It was all politics."
Becca's husband Howie is played believably by Dylan Chalfy. Howie is
attempting to cope with his son's death by attending grief groups with
other parents, but Becca finds no comfort in comparing notes with
others. The "it was meant to be" philosophy leaves her flat.
Jo Twiss plays Nat, the down-to-earth mother of Becca and Izzy, with a
refreshing unsophisticated frankness. Nat's discussion with the family
about the hubris and curse of the Kennedy clan is amusing, despite the
recent Ted Kennedy cancer diagnosis.
It gives the play's heavy theme some much-needed comic relief, at one
point Nat says; "All those good-looking people falling out of the
skies" is a shame.
Twiss' Nat has her own long-term loss to cope with. She lost a grown
drug-addicted son to suicide, which comes it's own compendium of
baggage. She tells Becca that time changes grief. "It changes-the
weight of it. Like a brick in your pocket. It's what you have instead
of your son," she says.
Then there is the guilt and tragedy of the 17-year-old boy, Jason, who
accidentally killed the child. Played with sensitively by Alec
Silberblatt — his own private torment and confession are devastating
and heartbreaking.
The combination kitchen and living room set, plus the child's bedroom,
designed by Luke Hegel-Cantarella, looks right out of a Pottery Barn
catalog, complete with white wainscoting and a glass bowl filled with
lemons on the granite countertop — just the kind of place one would
imagine eating crème brulee and lemon squares, which they do.
In the end, "Rabbit Hole" isn't just about loss, but the courage
to choose life, and the willingness to moving forward with
forgiveness, compassion, and love.
Monday, June 16, 2008
TheaterWorks’ production of "The Rabbit Hole" a sensitive study of loss and hope
HARTFORD - We live in a world that would probably like to eradicate death, along with loss and sadness. And with all that modern science and medicine can do, our lives today are epically improved over those who lived even a generation ago.
Still, there are probably few things more horrid or devastating than experiencing the sudden loss of a child. "The Rabbit Hole," a 2007 Pulitzer Prize-winning play by David Lindsay-Abaire, begins eight months after a four-year-old boy tragically dies chasing his dog into the street and is accidentally hit by a car driven by a 17-year-old boy.
The mother of the four-year-old, Becca, is a perfectionist homemaker, played by Erika Rolfsrud, who has a striking resemblance to the actor Reese Witherspoon. Her younger sister, Izzy, played with humor by Joey Parsons, is the bad girl who hangs out in bars, and whose life is as messy as Becca’s is hyper-controlled.
"How can you get fired from Applebee’s?" Becca asks Izzy in dismay, to which Izzy dismisses vaguely, saying; "It was all politics."
Becca’s husband Howie is played believably by Dylan Chalfy. Howie is attempting to cope with his son’s death by attending grief groups with other parents, but Becca finds no comfort in comparing notes with others. The "it was meant to be" philosophy leaves her flat.
Jo Twiss plays Nat, the down-to-earth mother of Becca and Izzy, with a refreshing unsophisticated frankness. Nat’s discussion with the family about the hubris and curse of the Kennedy clan is amusing, despite the recent Ted Kennedy cancer diagnosis.
It gives the play’s heavy theme some much-needed comic relief, at one point Nat says; "All those good-looking people falling out of the skies" is a shame.
Twiss’ Nat has her own long-term loss to cope with. She lost a grown drug-addicted son to suicide, which comes it’s own compendium of baggage. She tells Becca that time changes grief. "It changes-the weight of it. Like a brick in your pocket. It’s what you have instead of your son," she says.
Then there is the guilt and tragedy of the 17-year-old boy, Jason, who accidentally killed the child. Played with sensitively by Alec Silberblatt - his own private torment and confession are devastating and heartbreaking.
The combination kitchen and living room set, plus the child’s bedroom, designed by Luke Hegel-Cantarella, looks right out of a Pottery Barn catalog, complete with white wainscoting and a glass bowl filled with lemons on the granite countertop - just the kind of place one would imagine eating crème brulee and lemon squares, which they do.
In the end, "The Rabbit Hole" isn’t just about loss, but the courage to choose life, and the willingness to moving forward with forgiveness, compassion, and love.
THE RABBIT HOLE
Three Stars
Theater: TheaterWorks
Location: 233 Pearl St. Hartford.
Production: By David Lindsay-Abaire. Directed by Rob Ruggiero. Set design by Luke Hegel-Cantarella. Lighting design by John Lasiter. Costume design by Anne Kenney. Sound design by Vincent Olivieri.
Running time: Two hours, one intermission
Show Times: Tuesdays, Wednesdays, and Thursdays at 7:30 p.m. Fridays and Saturdays - 8 p.m. Matinees on Saturdays and Sundays - 2:30 p.m. Extra Sunday evening shows - 7:30 p.m. The show will run through July 20.
Tickets: Unassigned seating is $37; $47 on Friday and Saturday nights. 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.theaterworks.org.
ACTOR…CHARACTER
Erika Rolfsrud ... Becca
Dylan Chalfy ... Howie
Joey Parsons ... Izzy
Jo Twiss ... Nat
Alec Silberblatt ... Jason
HARTFORD - We live in a world that would probably like to eradicate death, along with loss and sadness. And with all that modern science and medicine can do, our lives today are epically improved over those who lived even a generation ago.
Still, there are probably few things more horrid or devastating than experiencing the sudden loss of a child. "The Rabbit Hole," a 2007 Pulitzer Prize-winning play by David Lindsay-Abaire, begins eight months after a four-year-old boy tragically dies chasing his dog into the street and is accidentally hit by a car driven by a 17-year-old boy.
The mother of the four-year-old, Becca, is a perfectionist homemaker, played by Erika Rolfsrud, who has a striking resemblance to the actor Reese Witherspoon. Her younger sister, Izzy, played with humor by Joey Parsons, is the bad girl who hangs out in bars, and whose life is as messy as Becca’s is hyper-controlled.
"How can you get fired from Applebee’s?" Becca asks Izzy in dismay, to which Izzy dismisses vaguely, saying; "It was all politics."
Becca’s husband Howie is played believably by Dylan Chalfy. Howie is attempting to cope with his son’s death by attending grief groups with other parents, but Becca finds no comfort in comparing notes with others. The "it was meant to be" philosophy leaves her flat.
Jo Twiss plays Nat, the down-to-earth mother of Becca and Izzy, with a refreshing unsophisticated frankness. Nat’s discussion with the family about the hubris and curse of the Kennedy clan is amusing, despite the recent Ted Kennedy cancer diagnosis.
It gives the play’s heavy theme some much-needed comic relief, at one point Nat says; "All those good-looking people falling out of the skies" is a shame.
Twiss’ Nat has her own long-term loss to cope with. She lost a grown drug-addicted son to suicide, which comes it’s own compendium of baggage. She tells Becca that time changes grief. "It changes-the weight of it. Like a brick in your pocket. It’s what you have instead of your son," she says.
Then there is the guilt and tragedy of the 17-year-old boy, Jason, who accidentally killed the child. Played with sensitively by Alec Silberblatt - his own private torment and confession are devastating and heartbreaking.
The combination kitchen and living room set, plus the child’s bedroom, designed by Luke Hegel-Cantarella, looks right out of a Pottery Barn catalog, complete with white wainscoting and a glass bowl filled with lemons on the granite countertop - just the kind of place one would imagine eating crème brulee and lemon squares, which they do.
In the end, "The Rabbit Hole" isn’t just about loss, but the courage to choose life, and the willingness to moving forward with forgiveness, compassion, and love.
THE RABBIT HOLE
Three Stars
Theater: TheaterWorks
Location: 233 Pearl St. Hartford.
Production: By David Lindsay-Abaire. Directed by Rob Ruggiero. Set design by Luke Hegel-Cantarella. Lighting design by John Lasiter. Costume design by Anne Kenney. Sound design by Vincent Olivieri.
Running time: Two hours, one intermission
Show Times: Tuesdays, Wednesdays, and Thursdays at 7:30 p.m. Fridays and Saturdays - 8 p.m. Matinees on Saturdays and Sundays - 2:30 p.m. Extra Sunday evening shows - 7:30 p.m. The show will run through July 20.
Tickets: Unassigned seating is $37; $47 on Friday and Saturday nights. 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.theaterworks.org.
ACTOR…CHARACTER
Erika Rolfsrud ... Becca
Dylan Chalfy ... Howie
Joey Parsons ... Izzy
Jo Twiss ... Nat
Alec Silberblatt ... Jason
Monday, May 12, 2008
"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
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
Saturday, May 10, 2008
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.
Friday, May 09, 2008
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.comACTOR…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."
Monday, May 05, 2008
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
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
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
Friday, May 02, 2008
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
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.orgACTOR…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
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."
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