“Pericles” a melodramatic morality tale for the ages
STORRS — “Pericles” is one Shakespeare play even regular Shakespeare-goers are unlikely to have seen. Playing at the Connecticut Repertory Theater at the University of Connecticut, this play has it all — incest, murder, passion, fighting, poverty, treachery, and even a resurrection with a touch of Frankenstein.
It is really a morality play of black and white, good versus evil, with Perciles, played by the ultra-fit Michael Sharon, as the virtuous prince enduring tragedy after tribulation, kind of like Hercules meets Job.
At the Connecticut Repertory Theater they use a combination of student actors with professionals, and here Sharon and the narrator, played by Clark Carmichael, fill the bill more than adequately.
Let’s face it — Shakespeare’s language is pretty dense stuff, but CRT, here under the direction of Dale AJ Rose, does a laudable, at times remarkable job of making sense of the convoluted action and plot.
In this play Pericles travels to a the land of Antioch to attempt to marry king Antiochus’ daughter, the king played by Brooks Brantly, bedecked in many red feathers, while his daughter is played by Caroline Gombe.
Pericles discovers the secret that the king is having an incestuous relationship with his daughter, and before they kill Pericles for discovering their secret, he flees. He goes to Pentapolis where he falls in love and marries Thaisa, played by Meghan O’Leary. He fights to win her hand in a terrific match against three suitors, wrestling, battling, and engaging in a spectacular sword fight with real sharp, heavy swords, with fight direction by Greg Webster.
Additionally in the same scene the four combatants participate in a rhythmically choreographed piece with wooden poles that defies description, but is intricate, perfectly timed, and incredible to see — choreography by Hillel Meltzer.
Then it’s off to Tyre, but not before his wife dies in childbirth, or at least appears to die, on the high seas. The child, Marina, is given to the care of Dionyza and her husband Cleon in Tarsus. When Marina grows up, the evil Dionyza becomes jealous of her, tries to have her killed, but not before Marina is abducted by pirates who sell her to a brothel.
Here the brothel has a distinct exotic Bertolt Brechtian air, with wild costumes, designed by Sachiko Komuro, and fabulous wigs. In fact all of the clothing would look very much at home in any Star Trek episode.
There are other twists and turns in the plot, but suffice it to say, this is one melodrama to end all melodramas, and this large and capable cast does it’s best to help make the complex and intricate language come to life with larger than life visualizations of what is transpiring.
When Sharon’s Pericles, who really couldn’t be better or more intense, is caught in an ocean tempest, a huge white cloth, like a giant sail, is waved down from the ceiling onto the ground to become the ocean, half drowning him.
Similarly when the narrator, John Gower, naturalistically played by Clark Carmichael, explains that many a suitor was decapitated, we see the heads. Thanks for that.
The set, with its half-moon near the ceiling, and simple blue floor, was unostentatious, by Michael Franklin-White, and was a perfectly suitable backdrop for the varied and intricate lighting effects, by Chad Lefebvre. The music too was well timed and heightened the dramatic moments, composed by Spencer Emanuel.
As well-acted and directed as the show is, it is strangely not at all emotionally engaging — perhaps because of the melodramatic, larger-than-life sweep of the morality tale.
However, the entire cast worked beautifully together, many playing multiple roles, to make this rather obscure Shakespeare play one that any Shakespeare lover should not miss.
PERICLES
3½ Stars
Theater: Connecticut Repertory Theatre
Location: Nafe Katter Theater, 802 Bolton Rd., Storrs
Production: Written by William Shakespeare. Directed by Dale AJ Rose. Scenic design by Michael Franklin-White. Costume design by Sachiko Komuro. Lighting design by Chad Lefebvre. Music composed by Spencer Emanuel. Movement and fight choreography by Greg Webster. Choreography by Hillel Meltzer.
Running time: 2 1/2 hours plus one 15-minute intermission.
Show Times: Tuesday, Wednesday and Thursday at 7:30 p.m., and Friday and Saturday at 8 p.m., with matinees Saturday and Sunday at 2 p.m. through March 8.
Tickets: General admission $11 to $29. Call 860-486-4266 or visit their website at www.crt.uconn.edu.
ACTOR…CHARACTER
Michael Sharon … Pericles, Prince of Tyre
Clark Carmichael … John Gower, the presenter
Brooks Brantly … Antiochus, the king of Antioch
Caroline Gombe … King Anitochus’ daughter; a Bawd
Ryan Guess … Cleon, the governor of Tarsus
Gretchen Goode … Dionyza, Cleon’s wife
Ali Periwitz … Marina, Pericle’s daughter
Philip AJ Smithey … Simonides, the king at Pentapolis
Meghan O’Leary … Thaisa, Simonides’ daughter
Phillip Korth … Lysimachus, the governor of Mytilene
Robbie Thompson, Jr. …. A Pander
Monday, March 02, 2009
“To Kill a Mockingbird” moving interpretation of a classic at the HSC
HARTFORD — Just about everyone has read the novel “To Kill a Mockingbird,” written in 1960 by Harper Lee, or has seen the movie by the same name starring Gregory Peck. It really is a story of our American heritage.
Matthew Modine stars as Atticus Finch, in the Hartford Stage Company’s production, and he does an admirable job filling some pretty big shoes as the honorable, good man and single father doing his best to be fair and hopeful, against the majority who believes that racism is right.
Set in the south during the great depression of the 1930’s, it’s a tale of poverty, racism, and the justice system, told through the eyes of a young tomboy nicknamed Scout.
In this adaptation by Christopher Sergel, the grown up Scout, played by Hallie Foote, narrates the story, where her father, the lawyer Atticus Finch, defends a black man, Tom Robinson, accused of raping a young poor white woman, Mayella Ewell.
Finch says he feels sorry for Mayella, wellplayed by Virginia Fell, but not sorry enough to allow her lies to ruin a black man’s life. That man being Tom Robinson, played with quiet integrity by Douglas Lyons, whose only crime was being kind to a woman whose life is so miserable and lonely.
Mayella’s racist father, Bob Ewell, is played by Mike Boland is completely believable as the ignorant, arrogant, self-important bigot.
Little Scout is spunky and forthright, earnestly played by Olivia Scott. When she pulls on the barrette she is forced to wear, or beats up a schoolboy because he insults her, she is convincing and full of life. And when the men attempt to lynch Robinson and Scout stops them by simply talking about one of the men’s children and her friend, it is powerful and moving.
Also notable was little Dill played by Andrew Shipman. Based on the real life Truman Capote who was Harper Lee’s next door neighbor as a child, Shipman’s Dill is precocious and a little trouble-maker, adorable in a bow-tie and Dennis-the-Menace hair.
Some of the actors play more than one role, which is fine, but when Nafe Katter plays both Judge Taylor and Boo Radley’s father, Nathan Radley, the two characters don’t look different enough from each other, and it is momentarily confusing.
The southern accents are all fine for the most part, but the problem is that the drawal naturally begs for a slower, more laid back pace, and that is not what we get here.
Perhaps director Michael Wilson is concerned about keeping the show moving, but whatever the motivation, the pace is New York City fast, making the play feel rushed at times, and sometimes difficult to understand.
Moments worth pausing for are steam-rolled over. When Robinson’s wife, played by Daralyn Jay, receives some devastating news, her one moment of agony and despair is swept away before it has a chance to fully unfold.
Better to have the confidence in the material that the story deserves, and slow down some to fully flesh out the emotional intensity inherent in the play.
Probably also for time considerations, the closing statements of the defense during the court scenes are the only ones heard. While they are powerful, and well presented by Modine’s Finch, still it would have been worth it to hear what the prosecutor had to say.
The set in first act was the front of the Finch home and a courtroom in act two. It is a simple clean design that works, by Jeff Cowie.
Even though Modine is the star attraction here, this is really Scout’s show, and Scott, with her earnest innocent performance, makes this show shine.
TO KILL A MOCKINGBIRD
3 Stars
Location: Hartford Stage Company, 50 Church Street, Hartford.
Production: Adapted by Christopher Sergel from the novel by Harper Lee. Directed by Michael Wilson. Scene design by Jeff Cowie. Costume design by David C. Woolard. Lighting design by Rui Rita. Original music and sound design by John Gromada.
Running time: 2 hours with one 15-minute intermission.
Show Times: Tuesdays, Wednesdays, Thursdays, and Sundays at 7:30 p.m., Friday and Saturday at 8 p.m., with matinees performances Sundays, selected Wednesdays and Saturday s at 2 p.m. through April 4.
Tickets: start at $23. Call 860-527-5151 or visit their website at www.hartfordstage.org.
ACTOR…CHARACTER
Matthew Modine …Atticus Finch
Hallie Foote … Jean Louise Finch
Olivia Scott … Scout
Henry Hodges … Jem
Virginia Kull … Mayella Ewell
Mike Boland … Bob Ewell
Charles Turner … Reverend Sykes
Douglas Lyons … Tom Robinson
Pat Bowie … Calpurnia
HARTFORD — Just about everyone has read the novel “To Kill a Mockingbird,” written in 1960 by Harper Lee, or has seen the movie by the same name starring Gregory Peck. It really is a story of our American heritage.
Matthew Modine stars as Atticus Finch, in the Hartford Stage Company’s production, and he does an admirable job filling some pretty big shoes as the honorable, good man and single father doing his best to be fair and hopeful, against the majority who believes that racism is right.
Set in the south during the great depression of the 1930’s, it’s a tale of poverty, racism, and the justice system, told through the eyes of a young tomboy nicknamed Scout.
In this adaptation by Christopher Sergel, the grown up Scout, played by Hallie Foote, narrates the story, where her father, the lawyer Atticus Finch, defends a black man, Tom Robinson, accused of raping a young poor white woman, Mayella Ewell.
Finch says he feels sorry for Mayella, wellplayed by Virginia Fell, but not sorry enough to allow her lies to ruin a black man’s life. That man being Tom Robinson, played with quiet integrity by Douglas Lyons, whose only crime was being kind to a woman whose life is so miserable and lonely.
Mayella’s racist father, Bob Ewell, is played by Mike Boland is completely believable as the ignorant, arrogant, self-important bigot.
Little Scout is spunky and forthright, earnestly played by Olivia Scott. When she pulls on the barrette she is forced to wear, or beats up a schoolboy because he insults her, she is convincing and full of life. And when the men attempt to lynch Robinson and Scout stops them by simply talking about one of the men’s children and her friend, it is powerful and moving.
Also notable was little Dill played by Andrew Shipman. Based on the real life Truman Capote who was Harper Lee’s next door neighbor as a child, Shipman’s Dill is precocious and a little trouble-maker, adorable in a bow-tie and Dennis-the-Menace hair.
Some of the actors play more than one role, which is fine, but when Nafe Katter plays both Judge Taylor and Boo Radley’s father, Nathan Radley, the two characters don’t look different enough from each other, and it is momentarily confusing.
The southern accents are all fine for the most part, but the problem is that the drawal naturally begs for a slower, more laid back pace, and that is not what we get here.
Perhaps director Michael Wilson is concerned about keeping the show moving, but whatever the motivation, the pace is New York City fast, making the play feel rushed at times, and sometimes difficult to understand.
Moments worth pausing for are steam-rolled over. When Robinson’s wife, played by Daralyn Jay, receives some devastating news, her one moment of agony and despair is swept away before it has a chance to fully unfold.
Better to have the confidence in the material that the story deserves, and slow down some to fully flesh out the emotional intensity inherent in the play.
Probably also for time considerations, the closing statements of the defense during the court scenes are the only ones heard. While they are powerful, and well presented by Modine’s Finch, still it would have been worth it to hear what the prosecutor had to say.
The set in first act was the front of the Finch home and a courtroom in act two. It is a simple clean design that works, by Jeff Cowie.
Even though Modine is the star attraction here, this is really Scout’s show, and Scott, with her earnest innocent performance, makes this show shine.
TO KILL A MOCKINGBIRD
3 Stars
Location: Hartford Stage Company, 50 Church Street, Hartford.
Production: Adapted by Christopher Sergel from the novel by Harper Lee. Directed by Michael Wilson. Scene design by Jeff Cowie. Costume design by David C. Woolard. Lighting design by Rui Rita. Original music and sound design by John Gromada.
Running time: 2 hours with one 15-minute intermission.
Show Times: Tuesdays, Wednesdays, Thursdays, and Sundays at 7:30 p.m., Friday and Saturday at 8 p.m., with matinees performances Sundays, selected Wednesdays and Saturday s at 2 p.m. through April 4.
Tickets: start at $23. Call 860-527-5151 or visit their website at www.hartfordstage.org.
ACTOR…CHARACTER
Matthew Modine …Atticus Finch
Hallie Foote … Jean Louise Finch
Olivia Scott … Scout
Henry Hodges … Jem
Virginia Kull … Mayella Ewell
Mike Boland … Bob Ewell
Charles Turner … Reverend Sykes
Douglas Lyons … Tom Robinson
Pat Bowie … Calpurnia
Thursday, February 26, 2009
Effervescent, kibitzing “Bad Dates” at Long Wharf
NEW HAVEN — The trials and tribulations of the single life are examined and dissected in Long Wharf Theatre’s production of “Bad Dates.”
It is an amusing and mostly honest view from one woman’s perspective of what it is like to be a single mom of a teen-age girl trying to earn a living in New York City, while taking a chance and jumping feet first into the deep end of dating pool.
It’s not always a pretty picture, but realistic and often funny. For example, rather than calling some of her dates by their names, Haley Walker gives them by nick-names, such as “the bug man.”
She also goes on a blind date her mother arranges with a gay Columbia law professor who she says is “the least fun homosexual on the planet,” is “snotty and kind of mean,” “on a pretend date with a girl.”
Another date disaster asks her what she is wearing and tells her it makes her look old. Why she continues to torture herself with that lout after those insults is a mystery.
Haley is competently and effervescently played by Haviland Morris. She speaks directly to the audience, in this one-woman show, like she is kibitzing with one of her girlfriends.
Not an easy feat to pull off, delivering a 90 minute monologue about her love life, or lack of one, plus a rather rocky work situation, running a trendy restaurant which turns out to be a front for a group of Romanian Mafia-type criminals.
The play, written by Theresa Rebeck, is wholly set in a rent-controlled apartment’s bedroom, over-run with wild designer shoes, in New York City. Originally written in 2004, it is amazing how much the world has changed in that time. How many upwardly mobile urban professionals still use a phone book to look up a telephone number? Cell phones are talked about, but no computer is in sight.
The bedroom is cozily cluttered, and looks like designer Frank J. Alberino popped next door to IKEA for the décor.
The costumes designed by Jessica Wegener, were many and appropriate for the play, with lots of dresses, and tons of high high heels. The red shoes in particular were lovely — some others, not so.
During the few scene changes in this play they added a fun interlude by having the two set changers, dressed like the blues brothers, do a little dance sequence while moving shoe boxes about. It is a clever idea, with direction by Long Wharf Theatre’s associate artistic director Eric Ting.
Haley’s self-effacing charm and her willingness to take responsibility for her actions, and reactions, make this show engaging and entertaining, as does her engaging the audience in a direct conversation about her love life, or lack of a love life.
Of her relationship with her former husband, she admits, “I was just another person who married a moron.”
Pretty much every woman at one time or another has experienced some of what she goes through in her effort to find companionship with other fellow travelers in the uncharted relationship waters.
A bit of a combination of “Sex and the City” with “Brigit Jones Diaries,” “Bad Dates,” while at times feels a little dated, is a light-hearted romp through the odd and strange world of dating.
BAD DATES
3 Stars
Location: 222 Sargent Drive, New Haven
Production: Written by Theresa Rebeck. Directed by Eric Ting. Set designed by Frank J. Alberino. Costumes designed by Jessica Wegener. Lighting designed by Josh Epstein. Sound designed by Corrine K. Livingston.
Running time: 90 minutes with no intermission.
Show Times: Tuesdays, Wednesdays, and Sundays at 7 p.m., Thursdays, Fridays, and Saturdays at 8 p.m., with Wednesday and Sunday matinees at 2 p.m. and Saturday matinees at 3 p.m. through Mar. 22.
Tickets: $32 to $62. For more information call their box office at 203-787-4282, or visit their website at www.longwharf.org
ACTOR…CHARACTER
Haviland Morris …. Haley Walker
By Kory Loucks
Journal Inquirer
NEW HAVEN — The trials and tribulations of the single life are examined and dissected in Long Wharf Theatre’s production of “Bad Dates.”
It is an amusing and mostly honest view from one woman’s perspective of what it is like to be a single mom of a teen-age girl trying to earn a living in New York City, while taking a chance and jumping feet first into the deep end of dating pool.
It’s not always a pretty picture, but realistic and often funny. For example, rather than calling some of her dates by their names, Haley Walker gives them by nick-names, such as “the bug man.”
She also goes on a blind date her mother arranges with a gay Columbia law professor who she says is “the least fun homosexual on the planet,” is “snotty and kind of mean,” “on a pretend date with a girl.”
Another date disaster asks her what she is wearing and tells her it makes her look old. Why she continues to torture herself with that lout after those insults is a mystery.
Haley is competently and effervescently played by Haviland Morris. She speaks directly to the audience, in this one-woman show, like she is kibitzing with one of her girlfriends.
Not an easy feat to pull off, delivering a 90 minute monologue about her love life, or lack of one, plus a rather rocky work situation, running a trendy restaurant which turns out to be a front for a group of Romanian Mafia-type criminals.
The play, written by Theresa Rebeck, is wholly set in a rent-controlled apartment’s bedroom, over-run with wild designer shoes, in New York City. Originally written in 2004, it is amazing how much the world has changed in that time. How many upwardly mobile urban professionals still use a phone book to look up a telephone number? Cell phones are talked about, but no computer is in sight.
The bedroom is cozily cluttered, and looks like designer Frank J. Alberino popped next door to IKEA for the décor.
The costumes designed by Jessica Wegener, were many and appropriate for the play, with lots of dresses, and tons of high high heels. The red shoes in particular were lovely — some others, not so.
During the few scene changes in this play they added a fun interlude by having the two set changers, dressed like the blues brothers, do a little dance sequence while moving shoe boxes about. It is a clever idea, with direction by Long Wharf Theatre’s associate artistic director Eric Ting.
Haley’s self-effacing charm and her willingness to take responsibility for her actions, and reactions, make this show engaging and entertaining, as does her engaging the audience in a direct conversation about her love life, or lack of a love life.
Of her relationship with her former husband, she admits, “I was just another person who married a moron.”
Pretty much every woman at one time or another has experienced some of what she goes through in her effort to find companionship with other fellow travelers in the uncharted relationship waters.
A bit of a combination of “Sex and the City” with “Brigit Jones Diaries,” “Bad Dates,” while at times feels a little dated, is a light-hearted romp through the odd and strange world of dating.
BAD DATES
3 Stars
Location: 222 Sargent Drive, New Haven
Production: Written by Theresa Rebeck. Directed by Eric Ting. Set designed by Frank J. Alberino. Costumes designed by Jessica Wegener. Lighting designed by Josh Epstein. Sound designed by Corrine K. Livingston.
Running time: 90 minutes with no intermission.
Show Times: Tuesdays, Wednesdays, and Sundays at 7 p.m., Thursdays, Fridays, and Saturdays at 8 p.m., with Wednesday and Sunday matinees at 2 p.m. and Saturday matinees at 3 p.m. through Mar. 22.
Tickets: $32 to $62. For more information call their box office at 203-787-4282, or visit their website at www.longwharf.org
ACTOR…CHARACTER
Haviland Morris …. Haley Walker
By Kory Loucks
Journal Inquirer
Monday, February 23, 2009
Evocative intricate “EVITA” at the Broad Brook Opera House
EAST WINDSOR — Theatre, just like nature, abhors a vacuum and after the recent demise of the Connecticut Opera, perhaps the Broad Brook Opera House Players can help fill the void.
They certainly went a long way towards that achievement with their fine production of “EVITA,” the modern opera with music by Andrew Lloyd Webber and lyrics by Tim Rice, which is running through Sunday.
The show really belongs to Eva Peron, the real-life Argentinean film star who became a political leader, marrying Juan Peron, who was to become Argentina’s president in 1946.
Eva Peron, well-played by the powerhouse singer, Nicole R. Giguere, is on stage just about every minute of the show, when she isn’t changing costumes, and even sometimes when she is.
In real life Eva Peron started out as Maria Eva Duarte. She came from dirt poor, lower class illegitimate obscurity, having “every disadvantage you need if you’re gonna succeed,” as the narrator and admiring critic, Che, sagely observes and sings.
Christopher deJongh, who plays Che, has a beautiful voice and hits all the right notes, musically and theatrically, with the sarcasm and anger, tinged with fascination and admiration, that gives the show so much of it’s depth.
Paul DiProto’s Juan Peron is a finely-etched performance of a weaker man who sees the advantages of a strong charismatic smoke screen in Evita, who single-handedly put Argentina on the map like no one before or after her.
In life, Evita, which means little Eva, died of cancer at 33 in 1952 before she was able to fulfill her ambition and become the country’s vice-president.
She hated the middle classes in Argentina because they had treated her with contempt and ridicule as the illegitimate child of a middle-class man. She also championed the poor, making her a lightening rod for divergent opinions, as Giguere sang derisively in one of her many songs, “The actress hasn’t learned the lines you’d like to hear.”
Caroline Zocco plays Juan Peron’s mistress, and gives a fine performance as the out-of-luck ex, singing “Another Suitcase in Another Hall.”
Also fine and funny is Eva’s first of many lovers, Paul Aherne, who plays the smarmy crooner Augustin Magaldi, wearing an amusing Rod Blagojevich-like toupee — it’s acting with hair.
The supporting cast members are all terrific, animated, and involved, while the choreography, by Todd Saint Maria, was surprisingly intricate, diverse, and the cast did a great job of delivering, particularly on such a small stage.
The musicians, lead by Bill Martin, were sensitive to the various performers, and never overwhelmed them,
The Broad Brook Opera House Players really outdid themselves in this production with the inclusion of two projection screens showing archival photographs of Eva Peron. The technical touch, with video design by Barbara Arnold, added depth and sophistication to this heart-felt show.
One of the delightful aspects of this community theater is that they have a hold a fundraising raffle during intermission, the winner of which gets to split the proceeds with the house. They previously held the raffle before the show, but switching it to intermission is a much better choice.
Director Philip D. Vetro promised the audience before the sold-out show Saturday that the Broad Brook Opera House Players are financially sound for the coming season. All the more reason to continue to support their consistently fine and impressive productions.
EVITA
3 Stars
Theater: The Broad Brook Opera House
Location: 107 Main Street, Broad Brook
Production: Lyrics by Tim Rice. Music by Andrew Lloyd Webber. Direction by Philip D. Vetro. Musical direction by Bill Martin. Choreography by Todd Santa Maria. Set design by Peggy Messerschmidt. Lighting design by Diane St. Amand. Sound design by Devon Gamache, and Bruce Banning. Video design by Barbara Arnold.
Running time: 2 hours, plus a 15-minute intermission
Show Times: Friday and Saturday at 8 p.m., Sunday at 2 p.m. through March 1.
Tickets: $20, seniors over 60 and youth under 12 pay $16. Call 860-292-6068 or visit their website at www.operahouseplayers.org
ACTOR…CHARACTER
Nicole R. Giguere … Eva Peron
Christopher deJongh … Che
Paul DiProto …Juan Peron
Paul Aherne … Augstin Magaldi
Caroline Zocco … Peron’s mistress
Ensemble …. Deb Brigada, Adam Fancher, Gene Gramarossa, Dallas Hosmer, Khara C. Hoyer, Reva Kleppel, Brenda Koboski, Erik Landry, Amy Szczepaniuk Meek, Brianna Mello, Chris Papa, Sara Papa, Jerilyn Rae, Gary Rhone, James Rhine, Julianne Rhone.
Children’s ensemble … Sarah Banning, Maureen Baron, Erin Fields, Pearl Matteson, Casie Pepe Winshell
EAST WINDSOR — Theatre, just like nature, abhors a vacuum and after the recent demise of the Connecticut Opera, perhaps the Broad Brook Opera House Players can help fill the void.
They certainly went a long way towards that achievement with their fine production of “EVITA,” the modern opera with music by Andrew Lloyd Webber and lyrics by Tim Rice, which is running through Sunday.
The show really belongs to Eva Peron, the real-life Argentinean film star who became a political leader, marrying Juan Peron, who was to become Argentina’s president in 1946.
Eva Peron, well-played by the powerhouse singer, Nicole R. Giguere, is on stage just about every minute of the show, when she isn’t changing costumes, and even sometimes when she is.
In real life Eva Peron started out as Maria Eva Duarte. She came from dirt poor, lower class illegitimate obscurity, having “every disadvantage you need if you’re gonna succeed,” as the narrator and admiring critic, Che, sagely observes and sings.
Christopher deJongh, who plays Che, has a beautiful voice and hits all the right notes, musically and theatrically, with the sarcasm and anger, tinged with fascination and admiration, that gives the show so much of it’s depth.
Paul DiProto’s Juan Peron is a finely-etched performance of a weaker man who sees the advantages of a strong charismatic smoke screen in Evita, who single-handedly put Argentina on the map like no one before or after her.
In life, Evita, which means little Eva, died of cancer at 33 in 1952 before she was able to fulfill her ambition and become the country’s vice-president.
She hated the middle classes in Argentina because they had treated her with contempt and ridicule as the illegitimate child of a middle-class man. She also championed the poor, making her a lightening rod for divergent opinions, as Giguere sang derisively in one of her many songs, “The actress hasn’t learned the lines you’d like to hear.”
Caroline Zocco plays Juan Peron’s mistress, and gives a fine performance as the out-of-luck ex, singing “Another Suitcase in Another Hall.”
Also fine and funny is Eva’s first of many lovers, Paul Aherne, who plays the smarmy crooner Augustin Magaldi, wearing an amusing Rod Blagojevich-like toupee — it’s acting with hair.
The supporting cast members are all terrific, animated, and involved, while the choreography, by Todd Saint Maria, was surprisingly intricate, diverse, and the cast did a great job of delivering, particularly on such a small stage.
The musicians, lead by Bill Martin, were sensitive to the various performers, and never overwhelmed them,
The Broad Brook Opera House Players really outdid themselves in this production with the inclusion of two projection screens showing archival photographs of Eva Peron. The technical touch, with video design by Barbara Arnold, added depth and sophistication to this heart-felt show.
One of the delightful aspects of this community theater is that they have a hold a fundraising raffle during intermission, the winner of which gets to split the proceeds with the house. They previously held the raffle before the show, but switching it to intermission is a much better choice.
Director Philip D. Vetro promised the audience before the sold-out show Saturday that the Broad Brook Opera House Players are financially sound for the coming season. All the more reason to continue to support their consistently fine and impressive productions.
EVITA
3 Stars
Theater: The Broad Brook Opera House
Location: 107 Main Street, Broad Brook
Production: Lyrics by Tim Rice. Music by Andrew Lloyd Webber. Direction by Philip D. Vetro. Musical direction by Bill Martin. Choreography by Todd Santa Maria. Set design by Peggy Messerschmidt. Lighting design by Diane St. Amand. Sound design by Devon Gamache, and Bruce Banning. Video design by Barbara Arnold.
Running time: 2 hours, plus a 15-minute intermission
Show Times: Friday and Saturday at 8 p.m., Sunday at 2 p.m. through March 1.
Tickets: $20, seniors over 60 and youth under 12 pay $16. Call 860-292-6068 or visit their website at www.operahouseplayers.org
ACTOR…CHARACTER
Nicole R. Giguere … Eva Peron
Christopher deJongh … Che
Paul DiProto …Juan Peron
Paul Aherne … Augstin Magaldi
Caroline Zocco … Peron’s mistress
Ensemble …. Deb Brigada, Adam Fancher, Gene Gramarossa, Dallas Hosmer, Khara C. Hoyer, Reva Kleppel, Brenda Koboski, Erik Landry, Amy Szczepaniuk Meek, Brianna Mello, Chris Papa, Sara Papa, Jerilyn Rae, Gary Rhone, James Rhine, Julianne Rhone.
Children’s ensemble … Sarah Banning, Maureen Baron, Erin Fields, Pearl Matteson, Casie Pepe Winshell
Monday, February 16, 2009
"Four Dogs and a Bone" a carnivorous, risqué delight at the Suffield Players
SUFFIELD — For anyone who’s ever wondered what goes on behind the scenes of film, you won’t find a more compelling, back-stabbing, witty, or profanity-ridden example than “Four Dogs and a Bone,” playing at the Suffield Players through Feb. 28.
This is an interesting daring production, because the dialog is definitely on the far side of propriety. Let’s just say, this isn’t your typical community theater comedy of manners.
If you can handle the very adult profanity, however, it is hysterical. It is also a terrific cautionary tale for anyone who has ever dreamed of working in the film industry. There are high dollars and future careers at stake every step of the way.
Written by John Patrick Shanley, who is no stranger to stage or screen writing, having written the films “Moonstruck,” and “Joe Versus the Volcano,” among many others.
Most recently Shanley directed the film version of his 2004 multiple award-winning play “Doubt: A Parable,” starring Meryl Streep and Philip Seymour Hoffman.
In this play Robert Lunde plays Victor, Shanley’s alter ego, who has written a screenplay everyone wants to change.
That includes the seasoned, stressed-out movie producer, Bradley, played with world-weariness by Josh Guenter; Brenda the ingenue, “with no talent but lots of personality” played with wide-eyed steeliness by Megan Fish; and the stage actress with “dead-eyes” who is desperate to be the ingenue and not a character actor, well-played by Lea D. Oppedisano.
Oppedisano gets to over-act, and overact she does — reminiscent of the old Hollywood actress Gloria Swanson. While showing she can be sarcastic with the best of them, she also has crashing experiences of occasional vulnerability.
You really never know what these characters are going to say or do next, which is a big part of the play’s appeal.
No question that Shanley experienced much of the insanity of film making in his screen writing and directing career, and in this play, written in 1993, he got to have his wicked comeuppance.
If creating films is anything like this, which they undoubtedly must be, it is a “monkey miracle” any of them ever gets completed.
Sometimes background music, which is so essential in establishing mood in films, is distracting and jarring in plays, but because this show is so over-the-top and dramatic, in a good way, the occasional musical interludes work very well.
When in the second act Colette appears at the producer’s glass door, and a track from Sergio Leone’s spaghetti westerns is played, it enhances the scene, illiciting laughter from the audience — because the two women, bubble-headed Brenda and Kabuki theatre-queen Colette, are headed for a showdown.
The set, with the producer’s office, the women’s dressing room, and the bar, all work great, quite an achievement in such a small stage space — Kudos to set designer Konrad Rogowski.
This show is definitely not for kids and even adults might find it offensive, so be forewarned. That being said, the actors are all excellent, well cast, and move comfortably and easily about the stage, with fine direction by Meghan Lynn Allen.
Every character in this show has his or her own agenda, and it is a feast of fun to watch them all get what they deserve in this biting tale of double-crossing, maneuvering, manipulation, and gargantuan egos — “Four Dogs and a Bone” is a carnivorous risqué delight.
FOUR DOGS AND A BONE
3 Stars
Location: Mapleton Hall, 1305 Mapleton Ave. Suffield.
Production: Written by John Patrick Shanley. Directed by Meghan Lynn Allen. Lighting design and technical direction by Jerry Zalewski. Set design by Konrad Rogowski.
Running time: 2 hours, including one 15-minute intermission.
Show Times: Friday and Saturday at 8 p.m. through Feb. 28.
Tickets: $17, $15 for seniors and students. Call 800-289-6158 or visit their website at www.suffieldplayers.org.
ACTOR…CHARACTER
Megan Fish ... Brenda
Josh Guenter ... Bradley
Robert Lunde ... Victor
Lea D. Oppedisano ... Colette
SUFFIELD — For anyone who’s ever wondered what goes on behind the scenes of film, you won’t find a more compelling, back-stabbing, witty, or profanity-ridden example than “Four Dogs and a Bone,” playing at the Suffield Players through Feb. 28.
This is an interesting daring production, because the dialog is definitely on the far side of propriety. Let’s just say, this isn’t your typical community theater comedy of manners.
If you can handle the very adult profanity, however, it is hysterical. It is also a terrific cautionary tale for anyone who has ever dreamed of working in the film industry. There are high dollars and future careers at stake every step of the way.
Written by John Patrick Shanley, who is no stranger to stage or screen writing, having written the films “Moonstruck,” and “Joe Versus the Volcano,” among many others.
Most recently Shanley directed the film version of his 2004 multiple award-winning play “Doubt: A Parable,” starring Meryl Streep and Philip Seymour Hoffman.
In this play Robert Lunde plays Victor, Shanley’s alter ego, who has written a screenplay everyone wants to change.
That includes the seasoned, stressed-out movie producer, Bradley, played with world-weariness by Josh Guenter; Brenda the ingenue, “with no talent but lots of personality” played with wide-eyed steeliness by Megan Fish; and the stage actress with “dead-eyes” who is desperate to be the ingenue and not a character actor, well-played by Lea D. Oppedisano.
Oppedisano gets to over-act, and overact she does — reminiscent of the old Hollywood actress Gloria Swanson. While showing she can be sarcastic with the best of them, she also has crashing experiences of occasional vulnerability.
You really never know what these characters are going to say or do next, which is a big part of the play’s appeal.
No question that Shanley experienced much of the insanity of film making in his screen writing and directing career, and in this play, written in 1993, he got to have his wicked comeuppance.
If creating films is anything like this, which they undoubtedly must be, it is a “monkey miracle” any of them ever gets completed.
Sometimes background music, which is so essential in establishing mood in films, is distracting and jarring in plays, but because this show is so over-the-top and dramatic, in a good way, the occasional musical interludes work very well.
When in the second act Colette appears at the producer’s glass door, and a track from Sergio Leone’s spaghetti westerns is played, it enhances the scene, illiciting laughter from the audience — because the two women, bubble-headed Brenda and Kabuki theatre-queen Colette, are headed for a showdown.
The set, with the producer’s office, the women’s dressing room, and the bar, all work great, quite an achievement in such a small stage space — Kudos to set designer Konrad Rogowski.
This show is definitely not for kids and even adults might find it offensive, so be forewarned. That being said, the actors are all excellent, well cast, and move comfortably and easily about the stage, with fine direction by Meghan Lynn Allen.
Every character in this show has his or her own agenda, and it is a feast of fun to watch them all get what they deserve in this biting tale of double-crossing, maneuvering, manipulation, and gargantuan egos — “Four Dogs and a Bone” is a carnivorous risqué delight.
FOUR DOGS AND A BONE
3 Stars
Location: Mapleton Hall, 1305 Mapleton Ave. Suffield.
Production: Written by John Patrick Shanley. Directed by Meghan Lynn Allen. Lighting design and technical direction by Jerry Zalewski. Set design by Konrad Rogowski.
Running time: 2 hours, including one 15-minute intermission.
Show Times: Friday and Saturday at 8 p.m. through Feb. 28.
Tickets: $17, $15 for seniors and students. Call 800-289-6158 or visit their website at www.suffieldplayers.org.
ACTOR…CHARACTER
Megan Fish ... Brenda
Josh Guenter ... Bradley
Robert Lunde ... Victor
Lea D. Oppedisano ... Colette
Monday, February 09, 2009
“Dead Man’s Cell Phone” an existential romp at TheaterWorks
HARTFORD — “Dead Man’s Cell Phone,” produced by TheaterWorks and running through March 15, is a quirky, existential, absurdist romp through a metaphysical park of the mind.
Existentialism deals with the individual’s ultimate isolation, freedom of choice, and responsibility for the consequences of one’s actions — a conceit the play, written by Sarah Ruhl, jumps into with both feet.
Ruhl leaps into the deep end of the dysfunctional family gene pool, sweeping the audience along for the inquisitive ride, where Ralph Waldo Emerson, Charles Dickens, and John Dunn are quoted with equal felicity, and questions of connection and alienation in an electronically wired world are dissected.
It is rather ironic that the more we are connected via cell phones and the like, the more isolated and emotionally disconnected we feel.
Finnerty Steeves plays a woman, Jean, in a café who discovers a man, Gordon, who has quietly but most assuredly died. Gordon is played with cold charisma by Craig Wroe, while Steeves plays a frumpy gal, who tries to help everyone, including herself, by lying in a good way about a history she invents between Gordon and herself.
The play sometimes feels like a cross between the film “While You Were Sleeping,” and “The Royal Tenenbaums,” where a lonely woman meets a highly dysfunctional family and insinuates herself into their lives.
That family consists of, an anemic, meat-eating, and metaphorically man-eating matriarch played by the fine Anne-Lynn Kettles, Gordon’s stiff-backed, unhappy widow Hermia (Lee Heinz), and the meek brother who loves stationary, Dwight (Mark Shanahan).
The white, austere set, designed by Michael Schweikardt, is a perfect blank slate for the various scenes in the café, the Gottlieb’s dining room, the stationary store, and South America. The set is exquisitely enhanced by the washes of intense colored backdrop lighting, including the deep reds and warm yellows, kudos to lighting designer John Lasiter.
Director Rob Ruggiero is inventive and unobtrusive as always, making choices that feel at once organic and compelling, such as when he has Hermia and the mistress speak from the audience isle, or when Jean is knelling at the church using the stage as the railing.
The fight scene between Jean and the other woman, choreographed by Matthew Scott Campbell, feels self-conscious and inauthentic.
Where have all the phone booths gone? What a different world we live in today, with iPhones and Blackberries and who knows what else next. The answers to questions are at our fingertips, but does that make our need to retain information superfluous? We really don’t need to remember anything, or rely on our own brains for information, because it can always be found in an instant outside ourselves.
TheaterWorks has added a new component to their theater experience — with a terrific art gallery and bistro on the first floor. In conjunction with the New Britain Museum of American Art, the gallery has a stunning collection of original oil paintings from pulp magazines of the 1940’s with gangsters and criminals, along with other fine original works.
TheaterWorks Executive Director Steve Campo has created an artistic marriage between theater and the visual arts that synergistically enhances both — something your cell phone will never do.
DEAD MAN'S CELL PHONE
3 Stars
Theater: TheaterWorks
Location: 233 Pearl St. Hartford.
Production: Written by Sarah Ruhl. Directed by Rob Ruggiero. Set designed by Michael Schweikardt. Costumes designed by Katherine Hampton Noland. Lighting designed by John Lasiter. Sound designed by J. Hagenbuckle. Fight choreography by Matthew Scott Campbell.
Running time: 2 hours, plus a 15-minute intermission
Show Times: Tuesdays, Wednesdays, and Thursdays at 7:30 p.m. Fridays and Saturdays at 8 p.m., with matinees on Saturdays and Sundays at 2:30 p.m. The show is scheduled to run through March 15.
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 860-527-7838 or visit their website at www.theaterworks.org.
ACTOR…CHARACTER
Finnerty Steeves … Jean
Craig Wroe … Gordon
Anne-Lynn Kettles … Mrs. Gottleib
Joey Parsons … The other woman, a stranger
Lee Heinz … Hermia
Mark Shanahan … Dwight
HARTFORD — “Dead Man’s Cell Phone,” produced by TheaterWorks and running through March 15, is a quirky, existential, absurdist romp through a metaphysical park of the mind.
Existentialism deals with the individual’s ultimate isolation, freedom of choice, and responsibility for the consequences of one’s actions — a conceit the play, written by Sarah Ruhl, jumps into with both feet.
Ruhl leaps into the deep end of the dysfunctional family gene pool, sweeping the audience along for the inquisitive ride, where Ralph Waldo Emerson, Charles Dickens, and John Dunn are quoted with equal felicity, and questions of connection and alienation in an electronically wired world are dissected.
It is rather ironic that the more we are connected via cell phones and the like, the more isolated and emotionally disconnected we feel.
Finnerty Steeves plays a woman, Jean, in a café who discovers a man, Gordon, who has quietly but most assuredly died. Gordon is played with cold charisma by Craig Wroe, while Steeves plays a frumpy gal, who tries to help everyone, including herself, by lying in a good way about a history she invents between Gordon and herself.
The play sometimes feels like a cross between the film “While You Were Sleeping,” and “The Royal Tenenbaums,” where a lonely woman meets a highly dysfunctional family and insinuates herself into their lives.
That family consists of, an anemic, meat-eating, and metaphorically man-eating matriarch played by the fine Anne-Lynn Kettles, Gordon’s stiff-backed, unhappy widow Hermia (Lee Heinz), and the meek brother who loves stationary, Dwight (Mark Shanahan).
The white, austere set, designed by Michael Schweikardt, is a perfect blank slate for the various scenes in the café, the Gottlieb’s dining room, the stationary store, and South America. The set is exquisitely enhanced by the washes of intense colored backdrop lighting, including the deep reds and warm yellows, kudos to lighting designer John Lasiter.
Director Rob Ruggiero is inventive and unobtrusive as always, making choices that feel at once organic and compelling, such as when he has Hermia and the mistress speak from the audience isle, or when Jean is knelling at the church using the stage as the railing.
The fight scene between Jean and the other woman, choreographed by Matthew Scott Campbell, feels self-conscious and inauthentic.
Where have all the phone booths gone? What a different world we live in today, with iPhones and Blackberries and who knows what else next. The answers to questions are at our fingertips, but does that make our need to retain information superfluous? We really don’t need to remember anything, or rely on our own brains for information, because it can always be found in an instant outside ourselves.
TheaterWorks has added a new component to their theater experience — with a terrific art gallery and bistro on the first floor. In conjunction with the New Britain Museum of American Art, the gallery has a stunning collection of original oil paintings from pulp magazines of the 1940’s with gangsters and criminals, along with other fine original works.
TheaterWorks Executive Director Steve Campo has created an artistic marriage between theater and the visual arts that synergistically enhances both — something your cell phone will never do.
DEAD MAN'S CELL PHONE
3 Stars
Theater: TheaterWorks
Location: 233 Pearl St. Hartford.
Production: Written by Sarah Ruhl. Directed by Rob Ruggiero. Set designed by Michael Schweikardt. Costumes designed by Katherine Hampton Noland. Lighting designed by John Lasiter. Sound designed by J. Hagenbuckle. Fight choreography by Matthew Scott Campbell.
Running time: 2 hours, plus a 15-minute intermission
Show Times: Tuesdays, Wednesdays, and Thursdays at 7:30 p.m. Fridays and Saturdays at 8 p.m., with matinees on Saturdays and Sundays at 2:30 p.m. The show is scheduled to run through March 15.
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 860-527-7838 or visit their website at www.theaterworks.org.
ACTOR…CHARACTER
Finnerty Steeves … Jean
Craig Wroe … Gordon
Anne-Lynn Kettles … Mrs. Gottleib
Joey Parsons … The other woman, a stranger
Lee Heinz … Hermia
Mark Shanahan … Dwight
Jersey Boys Rocks
HARTFORD — Oh what a show. First rate, unforgettable music, and lots of it, combined with a rags-to-riches-to-rags-to-riches story about a time in the 1950s when men were men, especially if they were Italian, and the only options to get out of poverty in inner-city New Jersey were either crime or singing, or in the case of the “Jersey Boys,” both.
“Jersey Boys” the story of Frankie Valli and the Four Seasons, won a well-deserved Tony for best musical in 2006. In this production at the Bushnell Center for the Performing Arts running through Feb. 22, some of the actors are from the original Broadway cast, and it shows.
How many songs are there where all you have to do is say the title and you know the song? No matter how old you are or what your taste in music is, if you have been on this earth for at least a few decades chances are pretty good that you have heard “Sherrie,” “Big Girls Don’t Cry,” “Oh, What a Night,” Walk Like a Man,” “My Eyes Adore You,” “Working My Way Back to You,” “Let’s Hang on to What We’ve Got,” which are only a few of the many songs, most written by Four Season member Bob Gaudio, and performed in “Jersey Boys.”
It isn’t just the songs though, along with terrific choreography by Sergio Trujillo, and the plethora of period-perfect costumes by Jess Goldstein, that make this show so absolutely fabulous. It’s also how the songs are woven into the story of how three working class New Jersey boys who team up with a fourth from out west, found a sound and created a phenomenon, with their trials and tribulations along the way.
Let’s face it — No matter how talented a group is, after a while watching four guys singing song after song, no matter how varied their costumes are, can get a little old. But that is never a problem here. Almost every song had a different angle, including the scene when the group was on American Bandstand and the cameras videoed them in black and white and superimposed their singing onto a big screen, with archival footage of teens screaming on companion screens.
They did it a second time when they appeared on the Ed Sullivan Show. Super idea, especially for a large venue like the Bushnell, giving those audience members sitting far back to get a better look at the characters.
Also innovative and effective was when they turned the stage around and made it feel like the audience was at the back of the stage. Huge, whiteout spotlights focused on the group and spilled onto the real audience — lending a vicarious sensation of what it must be like to be literally in the spotlight of a huge venue.
The show started off with a strange rap song — the idea, to show that the Four Season’s music is still relevant today, but it wasn’t that good.
Joseph Leo Bwarie is an awesome talent. Not only looks like the diminutive Frankie Valli, who we learn changed his name from Castelluccio, but he sings like an angel, and even better, sounds just like Valli. Three of the original members, including Valli, are still alive, according to the show.
That fact is amazing in one instance in particular, considering that Tommy DeVito, the founding member of the group and one bad boy, played by the fine Matt Bailey, was heavily into gambling, drinking, and petty theft — putting him and his fellow group members in and out of jail and into deep financial debt.
Josh Franklin couldn’t be better cast as the young singer songwriter from out west who joins the trio and writes the music that Frankie and the group sing — a musical marriage that the world would be much poorer for without.
Steve Gouveia who was in the original cast and also on Broadway as the fourth member, Nick Massi, acted the part as the “Ringo” of the group well. When harmonizing with the others, he was excellent, but when heard alone, his voice was notably weaker than the others.
You can often tell the quality of the show not only by the leads, but also by how deep the bench goes. With that litmus test in mind, “Jersey Boys” supporting cast, including Joseph Siravo as Gyp DeCarlo, Renee Marino as Mary Delgado, Jonathan Hadley as Bob Crewe, and Courtier Simmons as Joe Pesci (yes that Joe Pesci) are all top notch.
If you can get through this show without a smile on your face or feeling joy in your heart, you may want to check to make sure you still have a pulse.
Seriously, if there is only one show you go to see this year, make it “Jersey Boys.” You will not be disappointed, and could end up besotted by this remarkably talented group.
JERSEY BOYS
4 Stars
Theater: The William H. Mortensen Hall at the Bushnell Memorial Center
Location: 166 Capitol Ave. Hartford
Production: Directed by Des McAnuff. Book by Marshall Brickman and Rick Elice. Music by Bob Gaudio. Lyrics by Bob Crewe. Scenic design by Klara Zieglerova. Costume design by Jess Goldstein. Lighting design by Howell Binkley. Sound design by Steven Canyon Kennedy. Choreography by Sergio Trujillo.
Running time: 2 1/2 hours, with one 15-minute intermission
Show Times: Tuesday, Wednesday, Thursday, and Sunday at 7:30 p.m. Friday and Saturday at 8 p.m., with matinee performances Saturday and Sunday at 2 p.m., through Feb. 22.
Tickets: Start at $25. Call 860-987-5900 or visit their website at www.bushnell.org. Recommended for ages 13 and up.
ACTOR…CHARACTER
Joseph Leo Bwarie … Frankie Valli
Matt Bailey … Tommy DeVito
Josh Franklin … Bob Gaudio
Steve Gouveia … Nick Massi
Jonathan Hadley … Bob Crewe and others
Courter Simmons … Joey and others
Joseph Siravo … Gyp DeCarol and others
Renee Marino … Mary Delgado, Angel and others
HARTFORD — Oh what a show. First rate, unforgettable music, and lots of it, combined with a rags-to-riches-to-rags-to-riches story about a time in the 1950s when men were men, especially if they were Italian, and the only options to get out of poverty in inner-city New Jersey were either crime or singing, or in the case of the “Jersey Boys,” both.
“Jersey Boys” the story of Frankie Valli and the Four Seasons, won a well-deserved Tony for best musical in 2006. In this production at the Bushnell Center for the Performing Arts running through Feb. 22, some of the actors are from the original Broadway cast, and it shows.
How many songs are there where all you have to do is say the title and you know the song? No matter how old you are or what your taste in music is, if you have been on this earth for at least a few decades chances are pretty good that you have heard “Sherrie,” “Big Girls Don’t Cry,” “Oh, What a Night,” Walk Like a Man,” “My Eyes Adore You,” “Working My Way Back to You,” “Let’s Hang on to What We’ve Got,” which are only a few of the many songs, most written by Four Season member Bob Gaudio, and performed in “Jersey Boys.”
It isn’t just the songs though, along with terrific choreography by Sergio Trujillo, and the plethora of period-perfect costumes by Jess Goldstein, that make this show so absolutely fabulous. It’s also how the songs are woven into the story of how three working class New Jersey boys who team up with a fourth from out west, found a sound and created a phenomenon, with their trials and tribulations along the way.
Let’s face it — No matter how talented a group is, after a while watching four guys singing song after song, no matter how varied their costumes are, can get a little old. But that is never a problem here. Almost every song had a different angle, including the scene when the group was on American Bandstand and the cameras videoed them in black and white and superimposed their singing onto a big screen, with archival footage of teens screaming on companion screens.
They did it a second time when they appeared on the Ed Sullivan Show. Super idea, especially for a large venue like the Bushnell, giving those audience members sitting far back to get a better look at the characters.
Also innovative and effective was when they turned the stage around and made it feel like the audience was at the back of the stage. Huge, whiteout spotlights focused on the group and spilled onto the real audience — lending a vicarious sensation of what it must be like to be literally in the spotlight of a huge venue.
The show started off with a strange rap song — the idea, to show that the Four Season’s music is still relevant today, but it wasn’t that good.
Joseph Leo Bwarie is an awesome talent. Not only looks like the diminutive Frankie Valli, who we learn changed his name from Castelluccio, but he sings like an angel, and even better, sounds just like Valli. Three of the original members, including Valli, are still alive, according to the show.
That fact is amazing in one instance in particular, considering that Tommy DeVito, the founding member of the group and one bad boy, played by the fine Matt Bailey, was heavily into gambling, drinking, and petty theft — putting him and his fellow group members in and out of jail and into deep financial debt.
Josh Franklin couldn’t be better cast as the young singer songwriter from out west who joins the trio and writes the music that Frankie and the group sing — a musical marriage that the world would be much poorer for without.
Steve Gouveia who was in the original cast and also on Broadway as the fourth member, Nick Massi, acted the part as the “Ringo” of the group well. When harmonizing with the others, he was excellent, but when heard alone, his voice was notably weaker than the others.
You can often tell the quality of the show not only by the leads, but also by how deep the bench goes. With that litmus test in mind, “Jersey Boys” supporting cast, including Joseph Siravo as Gyp DeCarlo, Renee Marino as Mary Delgado, Jonathan Hadley as Bob Crewe, and Courtier Simmons as Joe Pesci (yes that Joe Pesci) are all top notch.
If you can get through this show without a smile on your face or feeling joy in your heart, you may want to check to make sure you still have a pulse.
Seriously, if there is only one show you go to see this year, make it “Jersey Boys.” You will not be disappointed, and could end up besotted by this remarkably talented group.
JERSEY BOYS
4 Stars
Theater: The William H. Mortensen Hall at the Bushnell Memorial Center
Location: 166 Capitol Ave. Hartford
Production: Directed by Des McAnuff. Book by Marshall Brickman and Rick Elice. Music by Bob Gaudio. Lyrics by Bob Crewe. Scenic design by Klara Zieglerova. Costume design by Jess Goldstein. Lighting design by Howell Binkley. Sound design by Steven Canyon Kennedy. Choreography by Sergio Trujillo.
Running time: 2 1/2 hours, with one 15-minute intermission
Show Times: Tuesday, Wednesday, Thursday, and Sunday at 7:30 p.m. Friday and Saturday at 8 p.m., with matinee performances Saturday and Sunday at 2 p.m., through Feb. 22.
Tickets: Start at $25. Call 860-987-5900 or visit their website at www.bushnell.org. Recommended for ages 13 and up.
ACTOR…CHARACTER
Joseph Leo Bwarie … Frankie Valli
Matt Bailey … Tommy DeVito
Josh Franklin … Bob Gaudio
Steve Gouveia … Nick Massi
Jonathan Hadley … Bob Crewe and others
Courter Simmons … Joey and others
Joseph Siravo … Gyp DeCarol and others
Renee Marino … Mary Delgado, Angel and others
Monday, January 26, 2009
“Coming Home” relevant but heavy-handed play at Long Wharf
NEW HAVEN — The statistics are horrific. Over 27 percent of the South African population is infected with the AIDS virus — 40 percent of pregnant women were HIV positive in 2008, and in 2007 an estimated 1.4 million South African children were orphaned.
Even more horrifying was the government cover up that intentionally mislead millions. In the program notes we learn that up until 2004 South Africa’s Minister of Health, Manto Tshabalala-Msimang, with the support of then-president Thabo Mbeki, insisted that the AIDS virus could be effectively treated with a diet of bananas, garlic, and olive oil.
The play “Coming Home” premiering at the Long Wharf Theatre, is a personal story of this national tragedy told by acclaimed playwright Athol Fugard.
A young woman leaves her hometown to try to make it as a singer in Cape Town, South Africa. She returns years later infected with the AIDS virus, with a child in tow, trying to secure a future for her AIDS-free child.
At the beginning of the play Veronica Jonkers, played by Roslyn Ruff, returns to the one-room shanty, well designed by Eugene Lee. Her South African accent is all over the place at first, and then it settles down. Ruff portrays a feisty, fiery character, fighting till the end for a secure future for her child.
The end, almost from the beginning, is never in doubt.
The son, Mannetjie Jonkers, is played by two young actors, and they are both terrific. The younger Mannetjie Jonkers, played by an adorable Namumba Santos, only has a few lines, but he is convincing and sweet. The older Mannetjie Jonkers played by Mel Eichler, has the most convincing and consistent accent of the group, and just the right balance of fear and indignation.
Colman Domingo, was fine and believable as the concerned and loving childhood friend Alfred Witbooi. Lou Ferguson who plays the grandfather, Oupa Jonkers, was also solid.
The play is unfortunately over long in exposition. The adult characters each tell story after story. The stories are good ones, but probably read better on the page.
The pace of the play picks up near the end when the conflict and resolution between Alfred and the older Mannetjie Jonkers is explored.
The seed analogy, with the implication that words are like seeds and if nurtured, they will grow, is fine and good, but it is heavy-handed, obvious, and over-played.
The deux ex machina near the end, when the long-hidden money is revealed, feels contrived for plot-resolution purposes. Like the definition of deux ex machina, it is an unexpected, artificial event introduced suddenly to resolve a situation.
“Coming Home” is well meaning and an important, relevant, and tragic story about real poverty and appalling suffering, but talking heads get old after a while.
COMING HOME
2 Stars
Location: 222 Sargent Drive, New Haven
Production: Written by Athol Fugard. Directed by Gordon Edelstein. Set design by Eugene Lee. Costumes by Jessica Ford. Lighting by Stephen Strawbridge. Sound design by Corrine Livingston. Dialect coach Amy Stoller.
Running time: 2 hours with one 15-minute intermission.
Show Times: Tuesdays, Wednesdays, and Sundays at 7 p.m., Thursdays, Fridays, and Saturdays at 8 p.m., with Wednesday and Sunday matinees at 2 p.m. and Saturday matinees at 3 p.m. through Feb. 8.
Tickets: $32 to $62. For more information call their box office at 203-787-4282, or visit their website at www.longwharf.org
ACTOR…CHARACTER
Roslyn Ruff … Veronica Jonkers
Namumba Santos … younger Mannetjie Jonkers
Mel Eichler … older Mannetjie Jonkers
Colman Domingo … Alfred Witbooi
Lou Ferguson … Oupa Jonkers
NEW HAVEN — The statistics are horrific. Over 27 percent of the South African population is infected with the AIDS virus — 40 percent of pregnant women were HIV positive in 2008, and in 2007 an estimated 1.4 million South African children were orphaned.
Even more horrifying was the government cover up that intentionally mislead millions. In the program notes we learn that up until 2004 South Africa’s Minister of Health, Manto Tshabalala-Msimang, with the support of then-president Thabo Mbeki, insisted that the AIDS virus could be effectively treated with a diet of bananas, garlic, and olive oil.
The play “Coming Home” premiering at the Long Wharf Theatre, is a personal story of this national tragedy told by acclaimed playwright Athol Fugard.
A young woman leaves her hometown to try to make it as a singer in Cape Town, South Africa. She returns years later infected with the AIDS virus, with a child in tow, trying to secure a future for her AIDS-free child.
At the beginning of the play Veronica Jonkers, played by Roslyn Ruff, returns to the one-room shanty, well designed by Eugene Lee. Her South African accent is all over the place at first, and then it settles down. Ruff portrays a feisty, fiery character, fighting till the end for a secure future for her child.
The end, almost from the beginning, is never in doubt.
The son, Mannetjie Jonkers, is played by two young actors, and they are both terrific. The younger Mannetjie Jonkers, played by an adorable Namumba Santos, only has a few lines, but he is convincing and sweet. The older Mannetjie Jonkers played by Mel Eichler, has the most convincing and consistent accent of the group, and just the right balance of fear and indignation.
Colman Domingo, was fine and believable as the concerned and loving childhood friend Alfred Witbooi. Lou Ferguson who plays the grandfather, Oupa Jonkers, was also solid.
The play is unfortunately over long in exposition. The adult characters each tell story after story. The stories are good ones, but probably read better on the page.
The pace of the play picks up near the end when the conflict and resolution between Alfred and the older Mannetjie Jonkers is explored.
The seed analogy, with the implication that words are like seeds and if nurtured, they will grow, is fine and good, but it is heavy-handed, obvious, and over-played.
The deux ex machina near the end, when the long-hidden money is revealed, feels contrived for plot-resolution purposes. Like the definition of deux ex machina, it is an unexpected, artificial event introduced suddenly to resolve a situation.
“Coming Home” is well meaning and an important, relevant, and tragic story about real poverty and appalling suffering, but talking heads get old after a while.
COMING HOME
2 Stars
Location: 222 Sargent Drive, New Haven
Production: Written by Athol Fugard. Directed by Gordon Edelstein. Set design by Eugene Lee. Costumes by Jessica Ford. Lighting by Stephen Strawbridge. Sound design by Corrine Livingston. Dialect coach Amy Stoller.
Running time: 2 hours with one 15-minute intermission.
Show Times: Tuesdays, Wednesdays, and Sundays at 7 p.m., Thursdays, Fridays, and Saturdays at 8 p.m., with Wednesday and Sunday matinees at 2 p.m. and Saturday matinees at 3 p.m. through Feb. 8.
Tickets: $32 to $62. For more information call their box office at 203-787-4282, or visit their website at www.longwharf.org
ACTOR…CHARACTER
Roslyn Ruff … Veronica Jonkers
Namumba Santos … younger Mannetjie Jonkers
Mel Eichler … older Mannetjie Jonkers
Colman Domingo … Alfred Witbooi
Lou Ferguson … Oupa Jonkers
Thursday, January 15, 2009
HSC’s “Dying City” complex, compelling
HARTFORD — Although this complex, compelling play “Dying City” is just one act, so many traumatic, disturbing issues are exhumed, dissected, and revealed, it feels longer.
Love, death, a possible suicide, homosexuality, war, politics, and heartbreak along with other twists and turns are delivered in a flashback motif that works.
Written by Wethersfield native Christopher Shinn, the play centers on three characters played by two actors. Kelly the wife, who is a therapist, is played by Diane Davis. The other characters are her husband, Craig, who died in the Iraqi War, and his identical gay twin brother, Peter, a famous actor starring in a play in New York, where the play takes place. Ryan King plays both Peter and Craig.
Craig has died a year previously in Iraq in an accident at a practice range, and his twin, Peter, comes to Kelly’s apartment as she is getting ready to move away.
The dialog is emotionally charged and spoken in naturalistic, abrupt sentences that start and stop and change direction second to second. It must have been challenging for the actors to memorize and be able to deliver the dialog naturally, but both Davis and King make it seem organic and in the moment.
Davis switches scene to scene, from playing one brother to the other, and is completely convincing. Playing identical twins with different sexual orientations even touches on the nature vs. nurture argument of homosexuality.
The set, by Wilson Chin, is reminiscent of the television show “Friends” set, with a huge loft-like window that looks out on what appears at first to be the city sky line. The décor is minimalist Ikea-like.
Hearing about the Iraqi War in this poetic, serious play, written in 2006, is both disturbing and relevant. It is an important play, not without some humor, that is thought provoking and promising for the future of modern theater.
DYING CITY
3 Stars
Location: Hartford Stage Company, 50 Church Street, Hartford.
Production: Written by Christopher Shinn. Directed by Maxwell Williams. Scenic design by Wilson Chin. Costume design by Alejo Vietti. Lighting design by Traci Klainer. Sound design by Fitz Patton.
Running time: 1 1/2 hours with no intermission.
Show Times: Tuesdays, Thursdays, and selected Wednesdays at 7:30 p.m., Friday and Saturday at 8 p.m., with matinees performances Sundays, selected Wednesdays and Saturday s at 2 p.m. through Feb. 8
Tickets: $23 — $66. Call 527-5151 or visit their Web site at www.hartfordstage.org.
ACTOR…CHARACTER
Diane Davis … Kelly
Ryan King …Peter/Craig
HARTFORD — Although this complex, compelling play “Dying City” is just one act, so many traumatic, disturbing issues are exhumed, dissected, and revealed, it feels longer.
Love, death, a possible suicide, homosexuality, war, politics, and heartbreak along with other twists and turns are delivered in a flashback motif that works.
Written by Wethersfield native Christopher Shinn, the play centers on three characters played by two actors. Kelly the wife, who is a therapist, is played by Diane Davis. The other characters are her husband, Craig, who died in the Iraqi War, and his identical gay twin brother, Peter, a famous actor starring in a play in New York, where the play takes place. Ryan King plays both Peter and Craig.
Craig has died a year previously in Iraq in an accident at a practice range, and his twin, Peter, comes to Kelly’s apartment as she is getting ready to move away.
The dialog is emotionally charged and spoken in naturalistic, abrupt sentences that start and stop and change direction second to second. It must have been challenging for the actors to memorize and be able to deliver the dialog naturally, but both Davis and King make it seem organic and in the moment.
Davis switches scene to scene, from playing one brother to the other, and is completely convincing. Playing identical twins with different sexual orientations even touches on the nature vs. nurture argument of homosexuality.
The set, by Wilson Chin, is reminiscent of the television show “Friends” set, with a huge loft-like window that looks out on what appears at first to be the city sky line. The décor is minimalist Ikea-like.
Hearing about the Iraqi War in this poetic, serious play, written in 2006, is both disturbing and relevant. It is an important play, not without some humor, that is thought provoking and promising for the future of modern theater.
DYING CITY
3 Stars
Location: Hartford Stage Company, 50 Church Street, Hartford.
Production: Written by Christopher Shinn. Directed by Maxwell Williams. Scenic design by Wilson Chin. Costume design by Alejo Vietti. Lighting design by Traci Klainer. Sound design by Fitz Patton.
Running time: 1 1/2 hours with no intermission.
Show Times: Tuesdays, Thursdays, and selected Wednesdays at 7:30 p.m., Friday and Saturday at 8 p.m., with matinees performances Sundays, selected Wednesdays and Saturday s at 2 p.m. through Feb. 8
Tickets: $23 — $66. Call 527-5151 or visit their Web site at www.hartfordstage.org.
ACTOR…CHARACTER
Diane Davis … Kelly
Ryan King …Peter/Craig
Wednesday, January 14, 2009
“Avenue Q” is A-Okay
HARTFORD — For anyone who was grew up with Sesame Street and Jim Henson’s Muppet show, “Avenue Q” hits the sweet spot.
The 2004 Tony-award winning musical’s sweet and straightforward story teaches lessons in how to live a meaningful life full of purpose and direction.
Although not sanctioned by either The Jim Henson Company or Sesame Street, the similarities are unmistakable, with the floozy Lucy filling the Miss Piggy roll, Trekkie Monster, played by the fine David Benoit, filling Cookie Monster’s spot, and Bert and Ernie represented by Rod and Nicky, played by Robert McClure and Benoit.
The story follows the life of college graduate Princeton, also played by the energetic and upbeat McClure, who moves to an outer borough of New York City, to the low-rent district along a street called Avenue Q There he finds other good-natured losers like him who are just trying to make ends meet.
The plot such as it is, follows Princeton’s life as he tries to find what his “purpose” is — just the kind of quest an English Literature major would be searching for.
Some of the actors, like the Holiday-named “Christmas Eve,” played by Sala Iwamatsu and her husband, the near-do-well comic Brian, played by Cole Porter, have no puppet characters. Danielle K. Thomas plays Gary Coleman, a parody of the same-named child actor who in this musical is reduced a building superintendent.
In case anyone is wondering, the real Coleman is not too happy with the musical’s characiture of him.
Iwamatsu has a heavy Japanese accent that is part of her character, but is difficult to understand at times.
The other actors, dressed in black, play multiple puppet roles, with half-bodied puppets — a conceit that takes a little getting used to, and is probably more effective from the balcony seats.
In addition to Benoit and McClure, Anika Larsen was outstanding as the puppeteer and voice of both the innocent kindergarten assistant teacher Kate Monster and the sexy Mae West-like Lucy.
The opening song “It Sucks to be Me,” is definitely the show’s best musical number and the funniest, while the song about racism is an interesting examination of the everyday stereotypes that hurt, told with humor.
While the program notes say that the show is appropriate for children as young as 13, that may be pushing the envelope some.
There is lots of profanity, which is amusing to hear from puppets, but there are also naked puppets having graphic puppet-sex, so perhaps 16 years old would be the youngest age that should attend the show.
The musical also uses two projection flat screens that flash cartoon images along with little lessons, like the meaning of the word “Schaudenfreude” — a German word for experiencing happiness at the misfortune of others. The screens showed its proper pronunciation, etymology, and even examples of how it is used in a sentence.
“Avenue Q” offers grown-up lessons in tolerance and matters of the heart that go down more easily since they are told from the perspective of puppets.
AVENUE Q
Three Stars
Theater: The William H. Mortensen Hall at the Bushnell Memorial Center
Location: 166 Capitol Ave. Hartford
Production: Music and lyrics by Robert Lopez and Jeff Marx. Book by Jeff Whitty. Directed by Jason Moore. Choreographer Ken Roberson. Music supervision, arrangements, and orchestrations by Stephen Oremus. Set design by Anna Louizos. Costume design by Mirena Rada. Lighting design by Howell Binkley. Puppets conceived and designed by Rick Lyon.
Running time: 2 hours, plus one 15-minute intermission
Show Times: Wednesday, Thursday, and Sunday at 7:30 p.m., Friday and Saturday, 8 p.m., with Saturday and Sunday matinees at 2 p.m. through Jan. 18.
Tickets: $20 — $65. Call 860-987-5900 or visit their Web site at www.bushnell.org. Recommended for ages 13 and up.
ACTOR…CHARACTER
Robert McClure … Princeton, Rod
Anika Larsen … Kate Monster, Lucy, and others
David Benoit … Nicky, Trekkie Monster, Bear and others
Sala Iwamatsu … Christmas Eve
Cole Porter … Brian
Danielle K. Thomas … Gary Coleman
Maggie Lakis … Mrs. T., Bear, and others
HARTFORD — For anyone who was grew up with Sesame Street and Jim Henson’s Muppet show, “Avenue Q” hits the sweet spot.
The 2004 Tony-award winning musical’s sweet and straightforward story teaches lessons in how to live a meaningful life full of purpose and direction.
Although not sanctioned by either The Jim Henson Company or Sesame Street, the similarities are unmistakable, with the floozy Lucy filling the Miss Piggy roll, Trekkie Monster, played by the fine David Benoit, filling Cookie Monster’s spot, and Bert and Ernie represented by Rod and Nicky, played by Robert McClure and Benoit.
The story follows the life of college graduate Princeton, also played by the energetic and upbeat McClure, who moves to an outer borough of New York City, to the low-rent district along a street called Avenue Q There he finds other good-natured losers like him who are just trying to make ends meet.
The plot such as it is, follows Princeton’s life as he tries to find what his “purpose” is — just the kind of quest an English Literature major would be searching for.
Some of the actors, like the Holiday-named “Christmas Eve,” played by Sala Iwamatsu and her husband, the near-do-well comic Brian, played by Cole Porter, have no puppet characters. Danielle K. Thomas plays Gary Coleman, a parody of the same-named child actor who in this musical is reduced a building superintendent.
In case anyone is wondering, the real Coleman is not too happy with the musical’s characiture of him.
Iwamatsu has a heavy Japanese accent that is part of her character, but is difficult to understand at times.
The other actors, dressed in black, play multiple puppet roles, with half-bodied puppets — a conceit that takes a little getting used to, and is probably more effective from the balcony seats.
In addition to Benoit and McClure, Anika Larsen was outstanding as the puppeteer and voice of both the innocent kindergarten assistant teacher Kate Monster and the sexy Mae West-like Lucy.
The opening song “It Sucks to be Me,” is definitely the show’s best musical number and the funniest, while the song about racism is an interesting examination of the everyday stereotypes that hurt, told with humor.
While the program notes say that the show is appropriate for children as young as 13, that may be pushing the envelope some.
There is lots of profanity, which is amusing to hear from puppets, but there are also naked puppets having graphic puppet-sex, so perhaps 16 years old would be the youngest age that should attend the show.
The musical also uses two projection flat screens that flash cartoon images along with little lessons, like the meaning of the word “Schaudenfreude” — a German word for experiencing happiness at the misfortune of others. The screens showed its proper pronunciation, etymology, and even examples of how it is used in a sentence.
“Avenue Q” offers grown-up lessons in tolerance and matters of the heart that go down more easily since they are told from the perspective of puppets.
AVENUE Q
Three Stars
Theater: The William H. Mortensen Hall at the Bushnell Memorial Center
Location: 166 Capitol Ave. Hartford
Production: Music and lyrics by Robert Lopez and Jeff Marx. Book by Jeff Whitty. Directed by Jason Moore. Choreographer Ken Roberson. Music supervision, arrangements, and orchestrations by Stephen Oremus. Set design by Anna Louizos. Costume design by Mirena Rada. Lighting design by Howell Binkley. Puppets conceived and designed by Rick Lyon.
Running time: 2 hours, plus one 15-minute intermission
Show Times: Wednesday, Thursday, and Sunday at 7:30 p.m., Friday and Saturday, 8 p.m., with Saturday and Sunday matinees at 2 p.m. through Jan. 18.
Tickets: $20 — $65. Call 860-987-5900 or visit their Web site at www.bushnell.org. Recommended for ages 13 and up.
ACTOR…CHARACTER
Robert McClure … Princeton, Rod
Anika Larsen … Kate Monster, Lucy, and others
David Benoit … Nicky, Trekkie Monster, Bear and others
Sala Iwamatsu … Christmas Eve
Cole Porter … Brian
Danielle K. Thomas … Gary Coleman
Maggie Lakis … Mrs. T., Bear, and others
Thursday, December 18, 2008
“Emmet Otter’s Jug-Band Christmas” a silly sweet new musical
EAST HADDAM — Enter a fantastic world of Frogtown Hollow, where dreams come to life, and gifts from the heart are the most important things in the lovely tale of Jim Henson’s “Emmet Otter’s Jug-Band Christmas.”
Adapted from the HBO television show with all Jim Henson puppets, which was based on an illustrated book by Russell and Lillian Hoban, this musical uses a clever combination of fabulous animal puppets and real people dressed as the animal menagerie, with music.
Emmet Otter, played with wide-eyed sweetness by Daniel Reichard, wants to give his mother a present, while the mom, Mrs. Alice Otter, played with nurturing kindness by Cass Morgan, wishes to give her son a gift, but neither has enough money.
They decide to enter the talent contest and win the $50 prize. This story begins as a story read to a little girl named Jane by her father. Jane is played by a petite and sweet Kate Wetherhead. In an Alice-in-Wonderland-like turn, she falls asleep and dreams she is in their animal world.
There are the bad Nightmare Band characters, including a funny Stan Weasel, played by Stephen Bienskie, who looks like a psychedelic version of the AC/DC guitarist Angus Young. Beware the catfish puppet, played by Tyler Bunch, that squirts the first few rows with water during the show.
The songs, with lyrics and music by Paul Williams, are either bluegrass, ballads, perky happy tunes, or the wild rock and roll song of the Nightmare Band. Some are from the televion show production, while others are new, and are all fine.
The most memorable is the song that Ma Otter and Emmet sing — “When the River Meets the Sea,” which is reprised again at the end, so they must know it is the money song of the show too.
The humor is puny and silly, such as when the fine Mrs. Mink played by Madeleine Doherty, starts to do a strip tease during her talent contest number, and the Mayor, played by the excellent Kevin Covert, ends it abruptly and then thanks her for her “revealing” number. Covert is so good, as is his wife, played by Lisa Howard, that it would have been great if they had bigger roles in the show.
That isn’t a criticism, but a complement to the volume of overwhelming talent of the whole cast. The puppets are terrific too, including the hyper flying squirrels that twittered and tumbled about, played by Tyler Bunch, Anney McKilligan, James Silson, and David Stephens.
The make up and wigs, which are uncredited, but are truly remarkable, particularly for Mayor and Mrs. Fox. The costumes, which are a riot of bright colors and imaginative textures, by Gregg Barnes, are lots of fun, with tons of padding for just about everybody. They must be incredibly hot to wear under the stage lights.
The set of the fairytale-like town and cottages is excellent, by Anna Louizos, and the forest trees are detailed with quirky pine needles on oak tree-like trunks.
The dad, played by Alan Campbell, has a fine voice, but he looks about a decade too young to play the teenage Jane’s dad.
It is difficult to tell who is having more fun, the audience or the actors, but that doesn’t really matter. What does is this sweet and delightful Christmas treat of a musical for all ages.
EMMET OTTER'S JUG BAND CHRISTMAS
Three Stars
Location: Goodspeed Opera House, Route 82, East Haddam
Production: Music and lyrics by Paul Williams. Book by Timothy A. McDonald and Christopher Gattelli, who also directed and choreographed the show. Musical direction by Larry Pressgrove. Scene design by Anna Louizos. Costume design by Gregg Barnes. Lighting design by Brian MacDevitt.
Running time: 2 hours, with one 15-minute intermission
Show Times: Tuesdays, Wednesdays, and select Fridays, and New Years Day at 2 p.m.; Tuesday, Thursday, Friday, and Saturday at 7 p.m. with Saturday matinee at 3 p.m.; and Sunday matinee at 2 p.m., with Sunday evening performance at 6:30 p.m. through Jan. 4. There are no performances Dec. 25,.
Tickets: $39 — $49. Call the box office at 860-873-8668 or visit their website at www.goodspeed.org
ACTOR…CHARACTER
Kate Wetherhead … Jane
Daniel Reichard … Emmet Otter
Cass Morgan … Mrs. Alice Otter
Robb Sapp … Wendell Porcupine
Lisa Howard … Mrs. Gretchen Fox
Kevin Covert … Mayor Harrison Fox
Madeleine Doherty … Mrs. Mink
Madam Squirrel … Sheri Sanders
Tyler Bunch … Doc Bullfrog and others
EAST HADDAM — Enter a fantastic world of Frogtown Hollow, where dreams come to life, and gifts from the heart are the most important things in the lovely tale of Jim Henson’s “Emmet Otter’s Jug-Band Christmas.”
Adapted from the HBO television show with all Jim Henson puppets, which was based on an illustrated book by Russell and Lillian Hoban, this musical uses a clever combination of fabulous animal puppets and real people dressed as the animal menagerie, with music.
Emmet Otter, played with wide-eyed sweetness by Daniel Reichard, wants to give his mother a present, while the mom, Mrs. Alice Otter, played with nurturing kindness by Cass Morgan, wishes to give her son a gift, but neither has enough money.
They decide to enter the talent contest and win the $50 prize. This story begins as a story read to a little girl named Jane by her father. Jane is played by a petite and sweet Kate Wetherhead. In an Alice-in-Wonderland-like turn, she falls asleep and dreams she is in their animal world.
There are the bad Nightmare Band characters, including a funny Stan Weasel, played by Stephen Bienskie, who looks like a psychedelic version of the AC/DC guitarist Angus Young. Beware the catfish puppet, played by Tyler Bunch, that squirts the first few rows with water during the show.
The songs, with lyrics and music by Paul Williams, are either bluegrass, ballads, perky happy tunes, or the wild rock and roll song of the Nightmare Band. Some are from the televion show production, while others are new, and are all fine.
The most memorable is the song that Ma Otter and Emmet sing — “When the River Meets the Sea,” which is reprised again at the end, so they must know it is the money song of the show too.
The humor is puny and silly, such as when the fine Mrs. Mink played by Madeleine Doherty, starts to do a strip tease during her talent contest number, and the Mayor, played by the excellent Kevin Covert, ends it abruptly and then thanks her for her “revealing” number. Covert is so good, as is his wife, played by Lisa Howard, that it would have been great if they had bigger roles in the show.
That isn’t a criticism, but a complement to the volume of overwhelming talent of the whole cast. The puppets are terrific too, including the hyper flying squirrels that twittered and tumbled about, played by Tyler Bunch, Anney McKilligan, James Silson, and David Stephens.
The make up and wigs, which are uncredited, but are truly remarkable, particularly for Mayor and Mrs. Fox. The costumes, which are a riot of bright colors and imaginative textures, by Gregg Barnes, are lots of fun, with tons of padding for just about everybody. They must be incredibly hot to wear under the stage lights.
The set of the fairytale-like town and cottages is excellent, by Anna Louizos, and the forest trees are detailed with quirky pine needles on oak tree-like trunks.
The dad, played by Alan Campbell, has a fine voice, but he looks about a decade too young to play the teenage Jane’s dad.
It is difficult to tell who is having more fun, the audience or the actors, but that doesn’t really matter. What does is this sweet and delightful Christmas treat of a musical for all ages.
EMMET OTTER'S JUG BAND CHRISTMAS
Three Stars
Location: Goodspeed Opera House, Route 82, East Haddam
Production: Music and lyrics by Paul Williams. Book by Timothy A. McDonald and Christopher Gattelli, who also directed and choreographed the show. Musical direction by Larry Pressgrove. Scene design by Anna Louizos. Costume design by Gregg Barnes. Lighting design by Brian MacDevitt.
Running time: 2 hours, with one 15-minute intermission
Show Times: Tuesdays, Wednesdays, and select Fridays, and New Years Day at 2 p.m.; Tuesday, Thursday, Friday, and Saturday at 7 p.m. with Saturday matinee at 3 p.m.; and Sunday matinee at 2 p.m., with Sunday evening performance at 6:30 p.m. through Jan. 4. There are no performances Dec. 25,.
Tickets: $39 — $49. Call the box office at 860-873-8668 or visit their website at www.goodspeed.org
ACTOR…CHARACTER
Kate Wetherhead … Jane
Daniel Reichard … Emmet Otter
Cass Morgan … Mrs. Alice Otter
Robb Sapp … Wendell Porcupine
Lisa Howard … Mrs. Gretchen Fox
Kevin Covert … Mayor Harrison Fox
Madeleine Doherty … Mrs. Mink
Madam Squirrel … Sheri Sanders
Tyler Bunch … Doc Bullfrog and others
Monday, December 15, 2008
"It’s a Wonderful Life" makes a wonderful musical play
IVORYTON - Whether you have seen the Frank Capra film "It’s a Wonderful Life" or are one of the few who has not, this sometimes sentimental seasonal favorite translates well into a musical play.
First a short story then a film and now a musical play, "It’s a Wonderful Life" is a classic. The play centers on George Bailey, played by Chris Solimene, who is a remarkable incarnation of Jimmy Stewart who played the role in the movie.
George has dreams of going to college, traveling around the world, and becoming a famous architect, but instead stays in his small hometown of Bedford Falls and runs his family’s struggling Home Savings and Loan, marries his childhood friend Mary Hatch, played by Amy D. Forbes, and has four children.
Set in 1945 at the end of World War II, George struggles to make a success of the business, while Henry Potter, played with villainous greed by Donald Shirer, who owns the bank and just about everything else in town. He does everything he can to shut down George’s business, including trying to buy George out.
George’s Uncle Billy, played with befuddled ditziness by George Lombardo, loses $8,000 that he was supposed to deposit in the bank and George, facing ruin, scandal, and bankruptcy, considers committing suicide. Potter tells George with glee, "you are worth more dead than alive."
An angel second class who has yet to get his wings, Clarence Odbody, (played by Todd Little) comes down from heaven to help George. George gets his wish that he was never born, and sees what the people in his life, and his little town, would have been like without his generous and good influence.
The musical, told mostly in flash-backs, with a fine small orchestra lead by director and musical director John Sebastian DeNicola, never overpowers the actors, which is quite an achievement.
The choreography by Francesca Webster, with the Charleston, waltzes, and tangos, is admirable.
There is an interesting cacophony of Christmas carols at the start and then the familiar songs, along with some written for the show, are woven throughout. The theme song throughout is Irving Berlin’s "Puttin’ on the Ritz."
The actors are well cast, with the young George, played by Carlin Morris, who saves the drunken pharmacist, played by Aaron Tessler, from accidentally poisoning a child, and high school George, played by Jesse Eberl, who dreams of an exciting future.
Usually the Ivoryton Playhouse’s productions are predominately cast with professional actors, but this is their once a year community production with local actors. In this show, only Forbes, who plays Mary, is an Equity actor.
Here perhaps it is a disadvantage to have seen the film, because comparisons good and bad are inevitable. While Forbes does a fine job overall, when playing the younger Mary she seems too confident, and is missing the vulnerable anxiety and intense uncertainty that Donna Reed had playing Mary in the film.
At other times, it is an advantage to have seen the movie. For example, when they are dancing on the gym floor that opens up to reveal a pool underneath. In the play that scene was implied, but if you hadn’t seen the film, it wouldn’t make much sense.
The idea of sacrificing your dreams for the greater good of your community, and choosing integrity and ethics over personal wealth and enrichment is a beautiful morality tale that will never go out of style. The Ivoryton Playhouse’s production of "It’s a Wonderful Life" is a wonderful rendition of the touching and timeless story.
IT'S A WONDERFUL LIFE - THE MUSICAL
Three Stars
Location: Ivoryton Playhouse, 103 Main Street, Ivoryton, CT
Production: Adapted for the stage by James W. Rodgers from the film by Frank Capra. Story by Philip Van Doren Stern. Directed and musical direction by John Sebastian DeNicola. Choreography by Francesca Webster. Lighting design by Doug Henry. Set design by Dan Nischan. Costume design by Vivianna Lamb. Wig and hair design by Joel Silvertro.
Running time: 2 hours with one intermission.
Show Times: Friday and Saturdays at 7:30 p.m., with Wednesday, Saturday, and Sunday matinees at 2 p.m. through Dec. 21.
Tickets: $25 for adults, $20 for students, and $15 for children 12 and under. Call the box office at 860-767-7318, or visit their website at www.ivorytonplayhouse.org
ACTOR...CHARACTER
Chris Solimene ... George Bailey
Todd Little ... Clarence Odbody
Mary Hatch ... Mary Bailey
Donald Shirer ... Henry F. Potter
George Lombardo ... Uncle Billy
Carin Morris ... Young George
Jesse Eberl... High School George
Ryan Zanoni ... Harry Bailey
Divinna Schmitt ... Mother Bailey
Lindsay Mamula ... Violet Peterson
IVORYTON - Whether you have seen the Frank Capra film "It’s a Wonderful Life" or are one of the few who has not, this sometimes sentimental seasonal favorite translates well into a musical play.
First a short story then a film and now a musical play, "It’s a Wonderful Life" is a classic. The play centers on George Bailey, played by Chris Solimene, who is a remarkable incarnation of Jimmy Stewart who played the role in the movie.
George has dreams of going to college, traveling around the world, and becoming a famous architect, but instead stays in his small hometown of Bedford Falls and runs his family’s struggling Home Savings and Loan, marries his childhood friend Mary Hatch, played by Amy D. Forbes, and has four children.
Set in 1945 at the end of World War II, George struggles to make a success of the business, while Henry Potter, played with villainous greed by Donald Shirer, who owns the bank and just about everything else in town. He does everything he can to shut down George’s business, including trying to buy George out.
George’s Uncle Billy, played with befuddled ditziness by George Lombardo, loses $8,000 that he was supposed to deposit in the bank and George, facing ruin, scandal, and bankruptcy, considers committing suicide. Potter tells George with glee, "you are worth more dead than alive."
An angel second class who has yet to get his wings, Clarence Odbody, (played by Todd Little) comes down from heaven to help George. George gets his wish that he was never born, and sees what the people in his life, and his little town, would have been like without his generous and good influence.
The musical, told mostly in flash-backs, with a fine small orchestra lead by director and musical director John Sebastian DeNicola, never overpowers the actors, which is quite an achievement.
The choreography by Francesca Webster, with the Charleston, waltzes, and tangos, is admirable.
There is an interesting cacophony of Christmas carols at the start and then the familiar songs, along with some written for the show, are woven throughout. The theme song throughout is Irving Berlin’s "Puttin’ on the Ritz."
The actors are well cast, with the young George, played by Carlin Morris, who saves the drunken pharmacist, played by Aaron Tessler, from accidentally poisoning a child, and high school George, played by Jesse Eberl, who dreams of an exciting future.
Usually the Ivoryton Playhouse’s productions are predominately cast with professional actors, but this is their once a year community production with local actors. In this show, only Forbes, who plays Mary, is an Equity actor.
Here perhaps it is a disadvantage to have seen the film, because comparisons good and bad are inevitable. While Forbes does a fine job overall, when playing the younger Mary she seems too confident, and is missing the vulnerable anxiety and intense uncertainty that Donna Reed had playing Mary in the film.
At other times, it is an advantage to have seen the movie. For example, when they are dancing on the gym floor that opens up to reveal a pool underneath. In the play that scene was implied, but if you hadn’t seen the film, it wouldn’t make much sense.
The idea of sacrificing your dreams for the greater good of your community, and choosing integrity and ethics over personal wealth and enrichment is a beautiful morality tale that will never go out of style. The Ivoryton Playhouse’s production of "It’s a Wonderful Life" is a wonderful rendition of the touching and timeless story.
IT'S A WONDERFUL LIFE - THE MUSICAL
Three Stars
Location: Ivoryton Playhouse, 103 Main Street, Ivoryton, CT
Production: Adapted for the stage by James W. Rodgers from the film by Frank Capra. Story by Philip Van Doren Stern. Directed and musical direction by John Sebastian DeNicola. Choreography by Francesca Webster. Lighting design by Doug Henry. Set design by Dan Nischan. Costume design by Vivianna Lamb. Wig and hair design by Joel Silvertro.
Running time: 2 hours with one intermission.
Show Times: Friday and Saturdays at 7:30 p.m., with Wednesday, Saturday, and Sunday matinees at 2 p.m. through Dec. 21.
Tickets: $25 for adults, $20 for students, and $15 for children 12 and under. Call the box office at 860-767-7318, or visit their website at www.ivorytonplayhouse.org
ACTOR...CHARACTER
Chris Solimene ... George Bailey
Todd Little ... Clarence Odbody
Mary Hatch ... Mary Bailey
Donald Shirer ... Henry F. Potter
George Lombardo ... Uncle Billy
Carin Morris ... Young George
Jesse Eberl... High School George
Ryan Zanoni ... Harry Bailey
Divinna Schmitt ... Mother Bailey
Lindsay Mamula ... Violet Peterson
Wednesday, December 10, 2008
"Legally Blonde, The Musical" cute with a captial "C"
HARTFORD - OhmyGod! "Legally Blonde The Musical" at the Bushnell Memorial Theater is like totally cute with a great big capital "C."
The musical, based on a novel by Amanda Johnson and also the movie starring Reese Witherspoon, takes well to the musical format, with music and lyrics by Laurence O’Keefe and Nell Benjamin and book by Heather Hach.
The plot centers on the Barbie blonde from Malibu, Elle Woods, played with pixy intelligence by Becky Gulsvig. Elle is in blissful love with her boyfriend Warner Huntington III (played by the handsome and fine-voiced Jeff McLean), and thinks he is going to ask her to marry him. Instead Warner dumps her in UCLA on his way to Harvard Law School, so she decides to get into the law school too, to win his heart back and prove to him she can be serious.
Like any good fairy tale, she gets in to the inconceivably competitive law school with nary a problem, just by cutting down on a few extracurricular beach parties and boning up on her LSAT studies. Fantasies really do make the world go round. Once in Harvard, where she is accepted for "cultural diversity" reasons, she who wears pink like the new black puts her own particular fashion-forward twist on higher education.
Along the way she brings her old sorority friends with her, as her own personal Greek chorus, and meets an earthy-crunchy nice lawyer guy (you can tell he’s nice, because he wears a corduroy jacket) Emmett Forrest, played with sweet sincerity by D.B. Brown. Forrest takes one look at Elle’s pink powder-puff dorm room and amusingly says "Hello Kitty." To help her save time he buys her Pert - the shampoo and conditioner in one.
She also has run-ins of various flavors with the lecherous and privileged Professor Callahan, played with superiority by Ken Land, as well as Warner’s new girlfriend, Vivienne Kensington, played by Megan Lewis, who asks Elle "All that pink you are wearing - is that even legal?"
Elle makes new friends too, with the hairdresser with a big heart, Paulette, played with down-to-earth energy by Natalie Joy Johnson. Paulette also supplies the subplot, with her budding romance with a hysterically funny UPS delivery man, played by Ven Daniel, who gives a whole new meaning to package delivery.
There are four dogs (two are understudies) who play two dogs in the show, one a bulldog named Rufus, and the other a tiny pooch named Bruiser, trained by Bill Berloni. Berloni got his start with show animals in the musical "Annie" and has been using only rescued dogs ever since. One of the canine actors, Frankie, who plays Bruiser, was found as a stray in Meriden.
As silly as the premise is, there are some interesting and true observations about how insane our collective world of appearances is. Success isn’t all about a dog-eat-dog world, as they sing in "Blood in the Water" where "The thrill of the kill is in the blood," but listening and helping others.
This show is a physical workout that includes lots and lots of energetic cheerleader-type dancing and singing, with well-rehearsed and delivered choreography by director Jerry Mitchell.
The show began a bit rushed and disjointed, with the chorus singing much too fast and not enunciating enough to be understood, while the orchestra ran over them. Once things settled down, however, and the leads came on stage, all improved.
The whole "gaydar" trial thing was crude and dated, and the Irish fantasy songs were kind of weird and could have been eliminated without being missed. This lawyers-in-love perky musical feels like an updated homage to the old big budget movie musicals like "Gentlemen Prefer Blondes" with Marilyn Monroe and Jane Russell, which puts it in pretty good company.
LEGALLY BLONDE, THE MUSICAL
3 Stars
Theater: The Bushnell Center for the Performing Arts
Location: Mortensen Hall, 166 Capitol Ave. Hartford
Production: Directed and choreography by Jerry Mitchell. Music and lyrics by Laurence O'Keefe and Nell Benjamin. Book by Heather Hach. Based upon the novel by Amanda Brown and the Metro-Goldwyn-Mayer motion picture. Scenic design by David Rockwell. Costume design by Gregg Barnes. Lighting design by Ken Posner and Paul Miller. Sound design by Acme Sound Partners.
Running time: 2 and ½ hours, plus one 15-minute intermission
Show Times: Friday and Saturday, 8 p.m., Sunday at 7:30 p.m., with Saturday and Sunday matinees at 2 p.m. through Dec. 14.
Tickets: $25 - $75. Call 860-987-5900 or visit their website at www.bushnell.org
ACTOR...CHARACTER
Becky Gulsvig ... Elle Woods
Jeff McLean ... Warner Huntington III
Megan Lewis ... Vivienne Kensington
D.B. Bonds ... Emmett Forrest
Ken Land ... Professor Callahan
Natalie Joy Johnson ... Paulette
HARTFORD - OhmyGod! "Legally Blonde The Musical" at the Bushnell Memorial Theater is like totally cute with a great big capital "C."
The musical, based on a novel by Amanda Johnson and also the movie starring Reese Witherspoon, takes well to the musical format, with music and lyrics by Laurence O’Keefe and Nell Benjamin and book by Heather Hach.
The plot centers on the Barbie blonde from Malibu, Elle Woods, played with pixy intelligence by Becky Gulsvig. Elle is in blissful love with her boyfriend Warner Huntington III (played by the handsome and fine-voiced Jeff McLean), and thinks he is going to ask her to marry him. Instead Warner dumps her in UCLA on his way to Harvard Law School, so she decides to get into the law school too, to win his heart back and prove to him she can be serious.
Like any good fairy tale, she gets in to the inconceivably competitive law school with nary a problem, just by cutting down on a few extracurricular beach parties and boning up on her LSAT studies. Fantasies really do make the world go round. Once in Harvard, where she is accepted for "cultural diversity" reasons, she who wears pink like the new black puts her own particular fashion-forward twist on higher education.
Along the way she brings her old sorority friends with her, as her own personal Greek chorus, and meets an earthy-crunchy nice lawyer guy (you can tell he’s nice, because he wears a corduroy jacket) Emmett Forrest, played with sweet sincerity by D.B. Brown. Forrest takes one look at Elle’s pink powder-puff dorm room and amusingly says "Hello Kitty." To help her save time he buys her Pert - the shampoo and conditioner in one.
She also has run-ins of various flavors with the lecherous and privileged Professor Callahan, played with superiority by Ken Land, as well as Warner’s new girlfriend, Vivienne Kensington, played by Megan Lewis, who asks Elle "All that pink you are wearing - is that even legal?"
Elle makes new friends too, with the hairdresser with a big heart, Paulette, played with down-to-earth energy by Natalie Joy Johnson. Paulette also supplies the subplot, with her budding romance with a hysterically funny UPS delivery man, played by Ven Daniel, who gives a whole new meaning to package delivery.
There are four dogs (two are understudies) who play two dogs in the show, one a bulldog named Rufus, and the other a tiny pooch named Bruiser, trained by Bill Berloni. Berloni got his start with show animals in the musical "Annie" and has been using only rescued dogs ever since. One of the canine actors, Frankie, who plays Bruiser, was found as a stray in Meriden.
As silly as the premise is, there are some interesting and true observations about how insane our collective world of appearances is. Success isn’t all about a dog-eat-dog world, as they sing in "Blood in the Water" where "The thrill of the kill is in the blood," but listening and helping others.
This show is a physical workout that includes lots and lots of energetic cheerleader-type dancing and singing, with well-rehearsed and delivered choreography by director Jerry Mitchell.
The show began a bit rushed and disjointed, with the chorus singing much too fast and not enunciating enough to be understood, while the orchestra ran over them. Once things settled down, however, and the leads came on stage, all improved.
The whole "gaydar" trial thing was crude and dated, and the Irish fantasy songs were kind of weird and could have been eliminated without being missed. This lawyers-in-love perky musical feels like an updated homage to the old big budget movie musicals like "Gentlemen Prefer Blondes" with Marilyn Monroe and Jane Russell, which puts it in pretty good company.
LEGALLY BLONDE, THE MUSICAL
3 Stars
Theater: The Bushnell Center for the Performing Arts
Location: Mortensen Hall, 166 Capitol Ave. Hartford
Production: Directed and choreography by Jerry Mitchell. Music and lyrics by Laurence O'Keefe and Nell Benjamin. Book by Heather Hach. Based upon the novel by Amanda Brown and the Metro-Goldwyn-Mayer motion picture. Scenic design by David Rockwell. Costume design by Gregg Barnes. Lighting design by Ken Posner and Paul Miller. Sound design by Acme Sound Partners.
Running time: 2 and ½ hours, plus one 15-minute intermission
Show Times: Friday and Saturday, 8 p.m., Sunday at 7:30 p.m., with Saturday and Sunday matinees at 2 p.m. through Dec. 14.
Tickets: $25 - $75. Call 860-987-5900 or visit their website at www.bushnell.org
ACTOR...CHARACTER
Becky Gulsvig ... Elle Woods
Jeff McLean ... Warner Huntington III
Megan Lewis ... Vivienne Kensington
D.B. Bonds ... Emmett Forrest
Ken Land ... Professor Callahan
Natalie Joy Johnson ... Paulette
Monday, December 08, 2008
"A Civil War Christmas" a walk down history lane at Long Wharf
NEW HAVEN - It’s Christmas Eve, 1864 in Washington, D.C. in Paula Vogel’s ambitious musical play "A Civil War Christmas," making it’s impressive world premiere at Long Wharf Theatre.
Abraham Lincoln has just been re-elected president, the tide of war has turned in favor of the northern forces, and is nearing the conclusion of the country’s devastating Civil War, which ended in April, 1865. Five days after the war’s end, the actor John Wilkes Booth assassinated Lincoln.
Many familiar, along with some less usual Christmas carols are seamlessly woven in among the various vignettes and subplots of the play, including "Peace on Earth," "Rise up Shepherd," "Tidings of Comfort and Joy," "God Rest Yea Merry Gentlemen," "What Child is This?" "O Christmas Tree," and "Silent Night."
The actors all do a excellent job of making the iconic archetypal characters feel personal, such as Jay Russell as the generous and languid Abraham Lincoln, and Diane Sutherland as the complex and troubled historical scapegoat, Mary Todd Lincoln, who famously wore kid gloves once and then tossed away. Guy Adkins plays a self-possessed and determined John Wilkes Booth.
The play’s 14 actors work double-time playing many roles, including mules and horses, giving faces to actual people and events, with some artist license taken by Vogel to make it all fit into one evening. Some of the actors also impressively play musical instruments, such as Brain Tyree Henry who plays an accordion, Drew McVety plays the violin.
The production also highlights the less well-known contributions of African Amercians, as well as Jewish men who fought in the Civil War.
Ora Jones does an outstanding job playing the heartbroken stoic Elizabeth Keckley, a former slave who worked as a seamstress and confidant to Mary Todd Lincoln. Keckley had purchased her freedom and was able to send her son to college, only to learn he died in the war.
Also intense and fine was Marc Damon Johnson who played Decatur Bronson, an African-American Union sergeant, who is a composite of two historic figures, Decatur Dorsey and James Bronson. Johnson plays a decorated hero who is tormented with grief because raiders kidnapped his wife, and he vows to find her and kill them.
The solid multi-level wooden set, designed by James Schuette, is intricate and works well, and is well-used by director Tina Landau. It manages to represent many scenes, from a river, to a blacksmiths forge, to the White House, with ease. The cast moves smoothly as a dynamic whole around the stage.
Mentioned at the beginning and the end of the play, ‘the hope of peace, which may be sweeter than peace itself’ is perhaps true.
The famous and not-so-famous all share a common humanity, and this time of year, and in this fine play, it is a good time to remember that we are all in this life together, and if we don’t learn from history, we are doomed to repeat it.
It would be great to see this American original become an annual tradition because it is our story, and one that deserves to be heard over and over again.
A CIVIL WAR CHRISTMAS
3 Stars
Location: 222 Sargent Drive, New Haven
Production: Written by Paula Vogel. Directed by Tina Landau. Music supervised, arranged, and orchestrated by Daryl Waters. Musical director Andrew Resnick. Set designed by James Schuette. Costumes designed by Toni-Leslie James. Lighting designed by Scott Zielinski. Sound designed by Josh Horvath. Dialect design by Amy Stoller. Hair, wig and makeup design by Wendy Parson.
Running time: 2 hours with one intermission.
Show Times: Tuesdays, Wednesdays, and Sundays at 7 p.m., Thursdays, Fridays, and Saturdays at 8 p.m., with Wednesday and Sunday matinees at 2 p.m. and Saturday matinees at 3 p.m. through Dec. 21.
Tickets: Start at $32. For more information call their box office at 203-776-2287, or visit their website at www.longwharf.org
ACTOR...CHARACTER
Guy Adkins ... John Wilkes Booth, Robert E. Lee, William Tecumseh Sherman, and others
Justin Blanchard ... Chester Manton Saunders, Hay, John Surratt, and others
Susanna Flood ... Raz, Anna Surratt, and others
J.D. Goldblatt ... Ely Parker, Silver, Frederick Wormley, Moses Levy, and others
Brian Tyree Henry ... Willy Mack Walker Lewis, Jim Wormley, and others
Marc Damon Johnson ... Decatur Bronson, James Wormley, and others
Bianca Laverne Jones ... Hannah, Rose, Aggy, and others
Ora Jones ... Elizabeth Keckley, Mrs. Thomas, and others
Drew McVety ... Henry Wadsworth Longfellow, Ulysses S. Grant, Ward Hill Lamon, and others
Jay Russell ... Abraham Lincoln, Walt Whitman, and others
Rachel Shapiro Alderman ... Nicolay, Mary Surratt, Clara Barton, Widow Saunders, and others
Diane Sutherland ... Mary Todd Lincoln, Secretary of War Stanton, and others
Scott Thomas ... Lewis Payne, Mosby Raider, and others
Faith Philpot, Malenky Welsh ... Jessa, Little Joe
NEW HAVEN - It’s Christmas Eve, 1864 in Washington, D.C. in Paula Vogel’s ambitious musical play "A Civil War Christmas," making it’s impressive world premiere at Long Wharf Theatre.
Abraham Lincoln has just been re-elected president, the tide of war has turned in favor of the northern forces, and is nearing the conclusion of the country’s devastating Civil War, which ended in April, 1865. Five days after the war’s end, the actor John Wilkes Booth assassinated Lincoln.
Many familiar, along with some less usual Christmas carols are seamlessly woven in among the various vignettes and subplots of the play, including "Peace on Earth," "Rise up Shepherd," "Tidings of Comfort and Joy," "God Rest Yea Merry Gentlemen," "What Child is This?" "O Christmas Tree," and "Silent Night."
The actors all do a excellent job of making the iconic archetypal characters feel personal, such as Jay Russell as the generous and languid Abraham Lincoln, and Diane Sutherland as the complex and troubled historical scapegoat, Mary Todd Lincoln, who famously wore kid gloves once and then tossed away. Guy Adkins plays a self-possessed and determined John Wilkes Booth.
The play’s 14 actors work double-time playing many roles, including mules and horses, giving faces to actual people and events, with some artist license taken by Vogel to make it all fit into one evening. Some of the actors also impressively play musical instruments, such as Brain Tyree Henry who plays an accordion, Drew McVety plays the violin.
The production also highlights the less well-known contributions of African Amercians, as well as Jewish men who fought in the Civil War.
Ora Jones does an outstanding job playing the heartbroken stoic Elizabeth Keckley, a former slave who worked as a seamstress and confidant to Mary Todd Lincoln. Keckley had purchased her freedom and was able to send her son to college, only to learn he died in the war.
Also intense and fine was Marc Damon Johnson who played Decatur Bronson, an African-American Union sergeant, who is a composite of two historic figures, Decatur Dorsey and James Bronson. Johnson plays a decorated hero who is tormented with grief because raiders kidnapped his wife, and he vows to find her and kill them.
The solid multi-level wooden set, designed by James Schuette, is intricate and works well, and is well-used by director Tina Landau. It manages to represent many scenes, from a river, to a blacksmiths forge, to the White House, with ease. The cast moves smoothly as a dynamic whole around the stage.
Mentioned at the beginning and the end of the play, ‘the hope of peace, which may be sweeter than peace itself’ is perhaps true.
The famous and not-so-famous all share a common humanity, and this time of year, and in this fine play, it is a good time to remember that we are all in this life together, and if we don’t learn from history, we are doomed to repeat it.
It would be great to see this American original become an annual tradition because it is our story, and one that deserves to be heard over and over again.
A CIVIL WAR CHRISTMAS
3 Stars
Location: 222 Sargent Drive, New Haven
Production: Written by Paula Vogel. Directed by Tina Landau. Music supervised, arranged, and orchestrated by Daryl Waters. Musical director Andrew Resnick. Set designed by James Schuette. Costumes designed by Toni-Leslie James. Lighting designed by Scott Zielinski. Sound designed by Josh Horvath. Dialect design by Amy Stoller. Hair, wig and makeup design by Wendy Parson.
Running time: 2 hours with one intermission.
Show Times: Tuesdays, Wednesdays, and Sundays at 7 p.m., Thursdays, Fridays, and Saturdays at 8 p.m., with Wednesday and Sunday matinees at 2 p.m. and Saturday matinees at 3 p.m. through Dec. 21.
Tickets: Start at $32. For more information call their box office at 203-776-2287, or visit their website at www.longwharf.org
ACTOR...CHARACTER
Guy Adkins ... John Wilkes Booth, Robert E. Lee, William Tecumseh Sherman, and others
Justin Blanchard ... Chester Manton Saunders, Hay, John Surratt, and others
Susanna Flood ... Raz, Anna Surratt, and others
J.D. Goldblatt ... Ely Parker, Silver, Frederick Wormley, Moses Levy, and others
Brian Tyree Henry ... Willy Mack Walker Lewis, Jim Wormley, and others
Marc Damon Johnson ... Decatur Bronson, James Wormley, and others
Bianca Laverne Jones ... Hannah, Rose, Aggy, and others
Ora Jones ... Elizabeth Keckley, Mrs. Thomas, and others
Drew McVety ... Henry Wadsworth Longfellow, Ulysses S. Grant, Ward Hill Lamon, and others
Jay Russell ... Abraham Lincoln, Walt Whitman, and others
Rachel Shapiro Alderman ... Nicolay, Mary Surratt, Clara Barton, Widow Saunders, and others
Diane Sutherland ... Mary Todd Lincoln, Secretary of War Stanton, and others
Scott Thomas ... Lewis Payne, Mosby Raider, and others
Faith Philpot, Malenky Welsh ... Jessa, Little Joe
HSC "A Christmas Carol" familiar festive holiday treat
HARTFORD - Perhaps because of the more somber economic mood this holiday season, the Hartford Stage Company’s beloved production of Charles Dickens’ "A Christmas Carol- A Ghost Story" seems to carry an even more important statement of what is most precious in life - family, friends, and love.
Year after year the timeless tale of "Bah Humbug" Ebenezer Scrooge’s transformation from miserly, miserable, greedy old man to generous, loving, and happy old soul winds it’s way into thousands of hearts in hundreds of theaters across the country.
Directed by Michael Wilson, this interpretation of the classic tale uses just the right amount of gold dust and sparkles to entrance even the most hardened theatergoer. The choreography, by Hope Clarke is seamless, as always, with creative use of the cutout white umbrellas that help make the show a visual feast.
White grotesque ghosts, with blank scary masks, axes in their heads, and swords piercing their bodies dance with rigid grace - some flying through the air with rattling chains and lighting strikes, making this show too scary for very young children.
Alan Rust plays the mean skinflint Scrooge to perfection - hoarding every penny with glee, which makes his eventual transformation all the more uplifting and hopeful.
Scrooge’s nephew Fred, well-played by Curtis Billings, says to Scrooge: "You fear the world too much," and tells his family that he feels sorry for his uncle, since he recognizes that Scrooge’s mean behavior really only hurts the old man in the end.
The Spirit of Christmas Future is the scariest of the three ghosts, because the creature says nothing at all.
In the Hartford Stage Company’s production, the spirit is a metallic futuristic ghost, much like some nightmarish character out of a Tim Burton movie, riding an oversized tricycle, which makes it tower ominously over the trembling and ultimately humbled Scrooge.
At the end of the frightening night, Scrooge is thrilled to be alive and have the opportunity to help those closest to him.
His employee Cratchit, played with feeling by Robert Hannon Davis, his angry wife, Rebecka Jones, and their sweet family including the adorable Tiny Tim, played alternately by Brendan Fitzgerald and Jacrhys Dalton, are all benefactors of Scrooge’s cathartic transformation.
Bring your loved ones and share the heart and soul of what makes life worth living in this soaring, exuberant production of Charles Dickens’ "A Christmas Carol."
A CHRISTMAS CAROL - A CHRISTMAS GHOST STORY
3½ Stars
Location: Hartford Stage Company, 50 Church Street, Hartford.
Production: Story by Charles Dickens. Adapted and directed by Michael Wilson. Associate director Jeremy B. Cohen. Choreographer Hope Clarke. Scenic design by Tony Straiges. Costume design by Zack Brown. Lighting design by Robert Wierzel. Original music and sound design by John Cromada. Dialect coach Gillian Lane-Plescia. Music direction by Ken Clark.
Running time: Two hours with one intermission
Show Times: Tuesdays, Wednesdays, Fridays, Saturdays, and selected Sundays at 7:30 p.m. There is no evening performance Wednesday, Dec. 24; matinees are Saturdays Sundays and Wednesday, Dec. 24 and Friday, Dec. 26 at 2 p.m. through Dec. 28.
Tickets: $25 - $66. Call 527-5151 or visit their Web site at www.hartfordstage.org.
ACTOR...CHARACTER
Alan Rust ... Ebenezer Scrooge
Bill Kux ... Ghost of Jacob Marley, Mrs. Dilber
Robert Hannon Davis ... Bob Cratchit, Mr. Fezziwig
Curtis Billings ... Fred, Scrooge at 30
Jeffrey V. Thompson ... Spirit of Christmas Present, Bert the fruit and cider vendor
Johanna Morrison ... Spirit of Christmas Past, Bettye Pidgeon the doll vendor
Rob Cunliffe ... Mr. Marvel a watchworks vendor
Himself ... Spirit of Christmas Future
Rebecka Jones ... Mrs. Cratchit
Natalie Brown ... Mrs. Fezziwig, Fred’s sister-in-law, Old Jo, and others
Noble Shropshire ... first solicitor, undertaker
Gustave Johnson ... Second solicitor
Michelle Hendrick ... Belle
Deirdre Garrett ... Rich lady
Kurt Peterson ... Scrooge at 15
Tiny Tim Cratchit ... Brendan Fitzgerald or Jacrhys Dalton
Veronique Hurley ... Nichola, Fezziwig’s daughter
Ellenkate Finley ... Wendy, Fezziwig’s daughter
Amanda Karmelin ... Fiddler
Daniel Toot ... Dick Wilkins
Sarah Goosmann ... Martha Cratchit
Michelle Hendrick ... Fred’s wife
James DiMatteo ... Mr. Topper
HARTFORD - Perhaps because of the more somber economic mood this holiday season, the Hartford Stage Company’s beloved production of Charles Dickens’ "A Christmas Carol- A Ghost Story" seems to carry an even more important statement of what is most precious in life - family, friends, and love.
Year after year the timeless tale of "Bah Humbug" Ebenezer Scrooge’s transformation from miserly, miserable, greedy old man to generous, loving, and happy old soul winds it’s way into thousands of hearts in hundreds of theaters across the country.
Directed by Michael Wilson, this interpretation of the classic tale uses just the right amount of gold dust and sparkles to entrance even the most hardened theatergoer. The choreography, by Hope Clarke is seamless, as always, with creative use of the cutout white umbrellas that help make the show a visual feast.
White grotesque ghosts, with blank scary masks, axes in their heads, and swords piercing their bodies dance with rigid grace - some flying through the air with rattling chains and lighting strikes, making this show too scary for very young children.
Alan Rust plays the mean skinflint Scrooge to perfection - hoarding every penny with glee, which makes his eventual transformation all the more uplifting and hopeful.
Scrooge’s nephew Fred, well-played by Curtis Billings, says to Scrooge: "You fear the world too much," and tells his family that he feels sorry for his uncle, since he recognizes that Scrooge’s mean behavior really only hurts the old man in the end.
The Spirit of Christmas Future is the scariest of the three ghosts, because the creature says nothing at all.
In the Hartford Stage Company’s production, the spirit is a metallic futuristic ghost, much like some nightmarish character out of a Tim Burton movie, riding an oversized tricycle, which makes it tower ominously over the trembling and ultimately humbled Scrooge.
At the end of the frightening night, Scrooge is thrilled to be alive and have the opportunity to help those closest to him.
His employee Cratchit, played with feeling by Robert Hannon Davis, his angry wife, Rebecka Jones, and their sweet family including the adorable Tiny Tim, played alternately by Brendan Fitzgerald and Jacrhys Dalton, are all benefactors of Scrooge’s cathartic transformation.
Bring your loved ones and share the heart and soul of what makes life worth living in this soaring, exuberant production of Charles Dickens’ "A Christmas Carol."
A CHRISTMAS CAROL - A CHRISTMAS GHOST STORY
3½ Stars
Location: Hartford Stage Company, 50 Church Street, Hartford.
Production: Story by Charles Dickens. Adapted and directed by Michael Wilson. Associate director Jeremy B. Cohen. Choreographer Hope Clarke. Scenic design by Tony Straiges. Costume design by Zack Brown. Lighting design by Robert Wierzel. Original music and sound design by John Cromada. Dialect coach Gillian Lane-Plescia. Music direction by Ken Clark.
Running time: Two hours with one intermission
Show Times: Tuesdays, Wednesdays, Fridays, Saturdays, and selected Sundays at 7:30 p.m. There is no evening performance Wednesday, Dec. 24; matinees are Saturdays Sundays and Wednesday, Dec. 24 and Friday, Dec. 26 at 2 p.m. through Dec. 28.
Tickets: $25 - $66. Call 527-5151 or visit their Web site at www.hartfordstage.org.
ACTOR...CHARACTER
Alan Rust ... Ebenezer Scrooge
Bill Kux ... Ghost of Jacob Marley, Mrs. Dilber
Robert Hannon Davis ... Bob Cratchit, Mr. Fezziwig
Curtis Billings ... Fred, Scrooge at 30
Jeffrey V. Thompson ... Spirit of Christmas Present, Bert the fruit and cider vendor
Johanna Morrison ... Spirit of Christmas Past, Bettye Pidgeon the doll vendor
Rob Cunliffe ... Mr. Marvel a watchworks vendor
Himself ... Spirit of Christmas Future
Rebecka Jones ... Mrs. Cratchit
Natalie Brown ... Mrs. Fezziwig, Fred’s sister-in-law, Old Jo, and others
Noble Shropshire ... first solicitor, undertaker
Gustave Johnson ... Second solicitor
Michelle Hendrick ... Belle
Deirdre Garrett ... Rich lady
Kurt Peterson ... Scrooge at 15
Tiny Tim Cratchit ... Brendan Fitzgerald or Jacrhys Dalton
Veronique Hurley ... Nichola, Fezziwig’s daughter
Ellenkate Finley ... Wendy, Fezziwig’s daughter
Amanda Karmelin ... Fiddler
Daniel Toot ... Dick Wilkins
Sarah Goosmann ... Martha Cratchit
Michelle Hendrick ... Fred’s wife
James DiMatteo ... Mr. Topper
Monday, November 24, 2008
"Seafarer" at TheaterWorks poetic and visual
HARTFORD - Irish men behaving badly are featured in "Seafarer" at TheaterWorks. Set in a dingy Dublin tenement on Christmas Eve, four men and a stranger play poker for significantly high stakes, in Conor McPherson’s comedy "The Seafarer."
The men are in various degrees of slovenly alcoholism, drinking stout, whiskey, and some sort of rock-gut liquor. There are two brothers, Richard and James "Sharkey" Harkin, played by Edmond Genest and Dean Nolan, a friend named Ivan Curry, played by John Ahlin, and Nicky Giblin, played by Chris Geneback, who is living with one of the Sharkey’s ex-wife or girlfriend.
They all have working class Irish brogues, and swear words are clearly the adjective of choice, making a regular appearance every third word or so, along with the colloquialisms, such as "bonnet" for "hood" of a car and "spot on" for "dead-on."
The language can be poetic and visual at times, such as went Curry complains that when his wife yells at him, "the force of her voice pins you up against the wall."
Or when Richard says that Sharkey has a "recklessness in his heart" which he says is his undoing.
The household is a domestic nightmare, with cringe-worthy plumbing problems, gross hygiene, questionable crockery, and occasionally even the air seemed to smell rank.
Outdoors it isn’t much better, and the men run outside in intervals to chase away the local winos from the neighborhood, leaving Sharkey to be confronted by Mr. Lockhart, who knows way more about his life than any total stranger should.
Nicky brings the notably well dressed stranger, Lockhart, played by Allen McCullough, who turns out to be bad indeed - he can’t tolerate the sound of music, but has no difficulty sitting on top of the burning coal stove.
McCullough was convincingly menacing, but his Irish accent was unstable. Somehow that doesn’t matter though, because of his other-worldliness, it makes him stand apart more.
The play drags some in the first act, but picks up momentum during the second, during the card game. The dialog is rough, and the discussions are graphic. Although it is labeled a comedy, it isn’t always funny, despite some amusing lines, mostly delivered by Genest’s Richard, as when Richard says to Nicky that he can tell he is thinking: "because I can hear your brain crunching."
As the play develops these seemingly loser men become surprisingly lovable and even somewhat heroic, almost imperceptibly - which is the real gift of this play.
Three Stars
Theater: TheaterWorks
Location: 233 Pearl St. Hartford.
Production: Written by Conor McPherson. Directed by Henry Wishcamper. Set design by Adrian W. Jones. Costumes designed by Anne Kenney. Lighting design by Matthew Richards. Sound designed by Bart Fasbender. Dialect coach Stephen Gabis. Fight choreography by Mark Olsen.
Running time: 2 hour, 30 minutes, plus a 15-minute 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. Extra Sunday evening shows at 7:30 p.m. The show will run through Dec. 21.
Tickets: Unassigned seating is $37; $47 on Friday and Saturday nights. Center reserved seats $11 more. $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
Edmond Genest ... Richard Harkin
Dean Nolan ... James "Sharkey" Harkin
John Ahlin ... Ivan Curry
Chris Genebach ... Nicky Giblin
Allen McCullough ... Mr. Lockhart
By Kory Loucks
Journal Inquirer
HARTFORD - Irish men behaving badly are featured in "Seafarer" at TheaterWorks. Set in a dingy Dublin tenement on Christmas Eve, four men and a stranger play poker for significantly high stakes, in Conor McPherson’s comedy "The Seafarer."
The men are in various degrees of slovenly alcoholism, drinking stout, whiskey, and some sort of rock-gut liquor. There are two brothers, Richard and James "Sharkey" Harkin, played by Edmond Genest and Dean Nolan, a friend named Ivan Curry, played by John Ahlin, and Nicky Giblin, played by Chris Geneback, who is living with one of the Sharkey’s ex-wife or girlfriend.
They all have working class Irish brogues, and swear words are clearly the adjective of choice, making a regular appearance every third word or so, along with the colloquialisms, such as "bonnet" for "hood" of a car and "spot on" for "dead-on."
The language can be poetic and visual at times, such as went Curry complains that when his wife yells at him, "the force of her voice pins you up against the wall."
Or when Richard says that Sharkey has a "recklessness in his heart" which he says is his undoing.
The household is a domestic nightmare, with cringe-worthy plumbing problems, gross hygiene, questionable crockery, and occasionally even the air seemed to smell rank.
Outdoors it isn’t much better, and the men run outside in intervals to chase away the local winos from the neighborhood, leaving Sharkey to be confronted by Mr. Lockhart, who knows way more about his life than any total stranger should.
Nicky brings the notably well dressed stranger, Lockhart, played by Allen McCullough, who turns out to be bad indeed - he can’t tolerate the sound of music, but has no difficulty sitting on top of the burning coal stove.
McCullough was convincingly menacing, but his Irish accent was unstable. Somehow that doesn’t matter though, because of his other-worldliness, it makes him stand apart more.
The play drags some in the first act, but picks up momentum during the second, during the card game. The dialog is rough, and the discussions are graphic. Although it is labeled a comedy, it isn’t always funny, despite some amusing lines, mostly delivered by Genest’s Richard, as when Richard says to Nicky that he can tell he is thinking: "because I can hear your brain crunching."
As the play develops these seemingly loser men become surprisingly lovable and even somewhat heroic, almost imperceptibly - which is the real gift of this play.
Three Stars
Theater: TheaterWorks
Location: 233 Pearl St. Hartford.
Production: Written by Conor McPherson. Directed by Henry Wishcamper. Set design by Adrian W. Jones. Costumes designed by Anne Kenney. Lighting design by Matthew Richards. Sound designed by Bart Fasbender. Dialect coach Stephen Gabis. Fight choreography by Mark Olsen.
Running time: 2 hour, 30 minutes, plus a 15-minute 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. Extra Sunday evening shows at 7:30 p.m. The show will run through Dec. 21.
Tickets: Unassigned seating is $37; $47 on Friday and Saturday nights. Center reserved seats $11 more. $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
Edmond Genest ... Richard Harkin
Dean Nolan ... James "Sharkey" Harkin
John Ahlin ... Ivan Curry
Chris Genebach ... Nicky Giblin
Allen McCullough ... Mr. Lockhart
By Kory Loucks
Journal Inquirer
The world is all at sixes and sevens in CRT’s production of "The Skin of our Teeth"
STORRS - Predictions of the end of the world have been greatly exaggerated - despite current economic conditions. Fear and uncertainty in an unpredictable world, and the fact that history repeats itself, are a couple of the recurring themes that run through Thornton Wilder’s Pulitzer prize-winning play "Skin of Our Teeth."
Originally opening in 1942 at the Schubert Theatre in New Haven, this production at the University of Connecticut’s Connecticut Repertory Theater is one that isn’t regularly on the local theater circuit.
While Wilder’s "Our Town" is an oft-produced perennial favorite, "Skin of Our Teeth" is more of a mouthful to chew.
Wilder really went wild with this play, breaking with all sorts of conventions, at times having his characters speak directly to the audience and breaking through that invisible fourth wall. This just wasn’t done and must have been shocking and completely unprecedented in its time.
He also deals with themes like: "It’s a dog eat dog world," "Life as we know it can change in an instant," and "history is doomed to repeat itself."
The characters are archetypes, always tricky to make personal, here played by professional actors and undergraduates.
When the play begins in fact there is a short video by filmmaker Fergus J. Walsh featuring the characters as two-dimensional paper puppets stiffly moving through their world - an apt visual for this allegorical play.
Biblical, historical, and poetic allusions abound. First set in the home of the Antrobus’, the mister and misses played by Christopher Oden and Victoria Adams-Zischke, are the Adam and Eve, then Noah and his wife as the Biblical archetypes, with the servant and temptress Sabine and narrator played by with irreverent energy by Julia Coffey.
Gladys and Henry Antrobus are the children, played with youthful naivete by Sarah Murdoch and with scapegoat anger by Daniel O’Brien.
Think of it as a theatrical lecture, where the actions and statements make little logical, linear sense but are servants to Wilder’s conceits.
For example, be prepared to hear the Mrs. Antrobus announce their 5,000th wedding anniversary, and observe a wooly mammoth and dinosaur, played by Michael Truman Cavanaugh and Lauren Horoszewski, try to escape the impending ice age in the Antrobus’ living room, while Mr. Antrobus is busy inventing the wheel, the lever, algebra, and the alphabet. The man has his hands full, while wife in apron guards home and hearth.
Act II is set at an Atlantic City boardwalk beautifully rendered by scenic designer Issac Ramsey, with asymmetrical bathhouses, where Mr. Antrobus (in Greek Antrobus means "human") has just been elected president of the Fraternal Order of Mammals at their 600,000 annual convention. The costumes too in this act are a riot of colors and off-kilter socks, by Katarina Urosevic.
Act III is set back at the Antrobus’ home after a seven year war that decimated just about everything. Mr. Antrobus says war is easy compared to peacetime everyone goes back to their old selfish ways.
Many characters are introduced throughout the play, such as the officious broadcast official played by Zachary Kamin, along with muses, refugees, conventioneers, and the past-knowing fortune-teller played by Rachel Rosado.
When O’Brien’s Henry breaks out of character and apologizes for attempting to kill the character of his father, his confusion and distress felt legitimate and real. He was riveting.
Chance, confusion, and hazards are all mixed up into this soup-to-nuts play where the world is all sixes and sevens.
What goes around comes around in this thought-provoking, well-performed play.
THE SKIN OF OUR TEETH
3 Stars
Location: Harriet S. Jorgensen Theatre, Jorgensen Road, Storrs.
Production: Written by Thornton Wilder. Directed by Helene Kvale. Scene design by Issac Ramsey. Costume design by Katarina Urosevic. Lighting design by Jen Rock. Sound design by Wilson Tennermann. Production stage manager Mary P. Costello. Technical direction by Scott Bartley. Voice and text direction by Krista Scott. Puppet design by Rebekah Eyre. Movement direction by Kristin Wold. Film by Fergus J. Walsh.
Running time: 2 1/2 hours with one intermission.
Show Times: Wednesday, and Thursday at 7:30 p.m., Friday and Saturday at 8 p.m., and a Saturday matinee at 2 p.m. through Dec. 3 through 6. No performances are scheduled for Thanksgiving week.
Tickets: Range in price from $11 to $28. Call the box office at 860-486-4266 of visit their website at www.crt.uconn.edu.
ACTOR...CHARACTER
Julia Coffey ... Sabina
Victoria Adams-Zischke ... Mrs. Antrobus
Christopher Oden ... Mr. Antrobus
Sarah Murdoch ... Gladys
Daniel O’Brien ... Henry
Peter Mutino ... Mr. Fitzpatrick
Catherine Yudain ... Telegraph boy, Usher, Crowd
Jeremy Garfinkel ... Doctor, Conveener
Aaron Johnson ... Professor, Conveener
Zane M. Roberts ... Refugee, Conveener
Jordan J. Jones ... Homer, Conveener
Alison Barton ... Miss E. Muse, Ivy
Cayla Buettner ... Miss T. Muse, Chair Pusher
Brittany Green ... Miss M. Muse, Crowd, In Chair
Zachary Kamin ... Refugee, Broadcast official
Tom Foran ... Judge Moses, Defeated Candidate
Rebecca Ricker-Gilbert ... Refugee, Crowd, Hester
Scott Cooke ... Refugee, Lifeguard, Fred Bailey
J. D. Gross ... Announcer
Rachel Rosado ... Fortune Teller
Robert Rosado ... Crowd, Mr. Tremayne
Michael Truman Cavanaugh ... Mammoth
Lauren Horoszewski ... Dinosaur
STORRS - Predictions of the end of the world have been greatly exaggerated - despite current economic conditions. Fear and uncertainty in an unpredictable world, and the fact that history repeats itself, are a couple of the recurring themes that run through Thornton Wilder’s Pulitzer prize-winning play "Skin of Our Teeth."
Originally opening in 1942 at the Schubert Theatre in New Haven, this production at the University of Connecticut’s Connecticut Repertory Theater is one that isn’t regularly on the local theater circuit.
While Wilder’s "Our Town" is an oft-produced perennial favorite, "Skin of Our Teeth" is more of a mouthful to chew.
Wilder really went wild with this play, breaking with all sorts of conventions, at times having his characters speak directly to the audience and breaking through that invisible fourth wall. This just wasn’t done and must have been shocking and completely unprecedented in its time.
He also deals with themes like: "It’s a dog eat dog world," "Life as we know it can change in an instant," and "history is doomed to repeat itself."
The characters are archetypes, always tricky to make personal, here played by professional actors and undergraduates.
When the play begins in fact there is a short video by filmmaker Fergus J. Walsh featuring the characters as two-dimensional paper puppets stiffly moving through their world - an apt visual for this allegorical play.
Biblical, historical, and poetic allusions abound. First set in the home of the Antrobus’, the mister and misses played by Christopher Oden and Victoria Adams-Zischke, are the Adam and Eve, then Noah and his wife as the Biblical archetypes, with the servant and temptress Sabine and narrator played by with irreverent energy by Julia Coffey.
Gladys and Henry Antrobus are the children, played with youthful naivete by Sarah Murdoch and with scapegoat anger by Daniel O’Brien.
Think of it as a theatrical lecture, where the actions and statements make little logical, linear sense but are servants to Wilder’s conceits.
For example, be prepared to hear the Mrs. Antrobus announce their 5,000th wedding anniversary, and observe a wooly mammoth and dinosaur, played by Michael Truman Cavanaugh and Lauren Horoszewski, try to escape the impending ice age in the Antrobus’ living room, while Mr. Antrobus is busy inventing the wheel, the lever, algebra, and the alphabet. The man has his hands full, while wife in apron guards home and hearth.
Act II is set at an Atlantic City boardwalk beautifully rendered by scenic designer Issac Ramsey, with asymmetrical bathhouses, where Mr. Antrobus (in Greek Antrobus means "human") has just been elected president of the Fraternal Order of Mammals at their 600,000 annual convention. The costumes too in this act are a riot of colors and off-kilter socks, by Katarina Urosevic.
Act III is set back at the Antrobus’ home after a seven year war that decimated just about everything. Mr. Antrobus says war is easy compared to peacetime everyone goes back to their old selfish ways.
Many characters are introduced throughout the play, such as the officious broadcast official played by Zachary Kamin, along with muses, refugees, conventioneers, and the past-knowing fortune-teller played by Rachel Rosado.
When O’Brien’s Henry breaks out of character and apologizes for attempting to kill the character of his father, his confusion and distress felt legitimate and real. He was riveting.
Chance, confusion, and hazards are all mixed up into this soup-to-nuts play where the world is all sixes and sevens.
What goes around comes around in this thought-provoking, well-performed play.
THE SKIN OF OUR TEETH
3 Stars
Location: Harriet S. Jorgensen Theatre, Jorgensen Road, Storrs.
Production: Written by Thornton Wilder. Directed by Helene Kvale. Scene design by Issac Ramsey. Costume design by Katarina Urosevic. Lighting design by Jen Rock. Sound design by Wilson Tennermann. Production stage manager Mary P. Costello. Technical direction by Scott Bartley. Voice and text direction by Krista Scott. Puppet design by Rebekah Eyre. Movement direction by Kristin Wold. Film by Fergus J. Walsh.
Running time: 2 1/2 hours with one intermission.
Show Times: Wednesday, and Thursday at 7:30 p.m., Friday and Saturday at 8 p.m., and a Saturday matinee at 2 p.m. through Dec. 3 through 6. No performances are scheduled for Thanksgiving week.
Tickets: Range in price from $11 to $28. Call the box office at 860-486-4266 of visit their website at www.crt.uconn.edu.
ACTOR...CHARACTER
Julia Coffey ... Sabina
Victoria Adams-Zischke ... Mrs. Antrobus
Christopher Oden ... Mr. Antrobus
Sarah Murdoch ... Gladys
Daniel O’Brien ... Henry
Peter Mutino ... Mr. Fitzpatrick
Catherine Yudain ... Telegraph boy, Usher, Crowd
Jeremy Garfinkel ... Doctor, Conveener
Aaron Johnson ... Professor, Conveener
Zane M. Roberts ... Refugee, Conveener
Jordan J. Jones ... Homer, Conveener
Alison Barton ... Miss E. Muse, Ivy
Cayla Buettner ... Miss T. Muse, Chair Pusher
Brittany Green ... Miss M. Muse, Crowd, In Chair
Zachary Kamin ... Refugee, Broadcast official
Tom Foran ... Judge Moses, Defeated Candidate
Rebecca Ricker-Gilbert ... Refugee, Crowd, Hester
Scott Cooke ... Refugee, Lifeguard, Fred Bailey
J. D. Gross ... Announcer
Rachel Rosado ... Fortune Teller
Robert Rosado ... Crowd, Mr. Tremayne
Michael Truman Cavanaugh ... Mammoth
Lauren Horoszewski ... Dinosaur
Monday, November 17, 2008
"South Pacific" an enchanted evening at the Opera House Players
EAST WINDSOR - Now that most of the leaves have fallen and the days are noticeably shorter and colder, what better way to spend an evening than in the tropics?
The Opera House Players production of "South Pacific" has all the elements of a classic musical, including many unforgettable songs, such as "Some Enchanted Evening," "I’m Gonna Wash that Man Right Out of My Hair," "Bali Ha’i," and the beautiful love song "Younger than Springtime."
The timing couldn’t be better for this production of the award winning 1949 musical since it opened just after Veterans Day and is running through Thanksgiving weekend.
The musical is set on an island in the south pacific during World War II, where some of the soldiers based on the island are getting ready to entertain the troops during the Thanksgiving holiday, while others are preparing for a secret strategic battle against the Japanese.
There are two romances, one between perky Ensign Nellie Forbush, played with naïve enthusiasm by Janine Flood, and an older French plantation owner, Emile de Becque, played with appropriate reserve and a decent French accent by Michael Corman.
The other is a romance between a youthful Lt. Joseph Cable, USMC, played by Dallas Hosmer, looking like a young, blond Elvis Presley, and an island girl, Liat, played by Taryn Scozzari.
Flood plays Nellie with a confidence and homespun Little Rock corniness that is delightful, and feels quite genuine when she sing songs such as “Cockeyed Optimist.”
This well-cast musical, directed by Lesley Gallagher, is a sexy, tender, and romantic production, with lots of kissing.
The acting is stronger than the singing, which isn’t to say the singing isn’t good, but the acting is perfectly natural and believable.
It’s also a lot of fun, with comic relief provided by Paul Aherne who plays Luther Billis and Reva Kleppel, playing the pigeon-English speaking Islander, Bloody Mary.
Aherne has a fine strong voice, and looks almost too good in coconuts, while Kleppel precisely captured the feeling of a straight talking, manipulative (in a good way) entrepreneur.
The two Polynesian children are outstanding. Pearl Matteson who played Ngana and Nicolas Cote who played Jerome. Their parts are small, but important, and they make the show special singing their sweet "Dites-Moi" and their adorable skipping dancing.
The musical confronts serious issues, such as preconceived prejudices and racism, which gives the show depth and prevents it from becoming too syrupy-sweet.
Racism is highlighted in the song "You’ve Got to be Carefully Taught," sung with sarcasm and anger by Hoyer’s Cable. It’s sad to think that racism is still relevant almost 70 years after this musical was first produced.
The cast and crew clearly worked hard to put this show together and all did a yeoman’s job. A general recommendation to the cast is to remember to have fun when fun is to be had, and to make the comedy even broader.
The pace of the singing and dialog and the transitions between the two could speed up a tad, especially in the beginning. Often in musicals the orchestra overwhelms the singers, but that is never the case in this production, with musical direction by Deborah Curylo.
The painted backdrop of a beach with islands, by Chimera Costume and Scenic Services, sets the tone of a tropical island with a Tiki lounge feel, complete with palm trees that are both painted and free-standing.
The numerous scene changes are all done smoothly and quickly. The lighting, designed by Diane St. Amand, and sound too are excellent, particularly with the radio reception, which had to be technically challenging to arrange, but works.
If you can’t afford to take a trip to the islands this year, and who can these days, "South Pacific" at the Opera House Players is the next best thing to being there.
SOUTH PACIFIC
3 1/2 Stars
Theater: Opera House Players
Location: 107 Main Street, Broad Brook
Production: Music by Richard Rodgers. Book by Oscar Hammerstein II and Joshua Logan. Lyrics by Oscar Hammerstein II. Direction and choreography by Lesley Gallagher. Music direction by Deborah Curylo. Producer and costumes by Moonyean Field. Lighting design by Diane St. Amand. Scenery by Chimera Costume and Scenic Services.
Running time: 2 1/2 hours, with a 20-minute intermission
Show Times: Friday and Saturday at 8 p.m., Sundays at 2 p.m. through Nov. 30.
Tickets: $20, seniors over 60 and youth under 12 pay $12. Call 860-292-6068 or visit their website at www.operahouseplayers.org
ACTOR... CHARACTER
Janine Flood ... Ensign Nellie Forbush
Michael Corman ... Emile de Becque
Dallas Hosmer ... Lt. Joseph Cable, USMC
Reva Kleppel ... Bloody Mary
Paul Aherne ... Luther Billis
Samuel Greene ... Capt. George Bracket, USN
Michael May ... Cmdr. William Harbison USN
Giovannie Copeland Mendez ... Stewpot
Aaron Mulmeyer ... Professor
Ricardo B. Plamenco III ... Radio OP Bob McCaffrey
Tammy Young Cote ... Lt. Genevieve Marshall
Khara C. Hoyer ... Ensign Lisa Manelli
Emily Stisser ... Ensign Connie Walewska
Brianna Mello ... Ensign Bessie Noonan
Taryn Scozzari ... Liat
Pearl Matteson ... Ngana
Nicolas Cote ... Jerome
Marc Gallagher ... Voice of Lt. Buzz Adams
EAST WINDSOR - Now that most of the leaves have fallen and the days are noticeably shorter and colder, what better way to spend an evening than in the tropics?
The Opera House Players production of "South Pacific" has all the elements of a classic musical, including many unforgettable songs, such as "Some Enchanted Evening," "I’m Gonna Wash that Man Right Out of My Hair," "Bali Ha’i," and the beautiful love song "Younger than Springtime."
The timing couldn’t be better for this production of the award winning 1949 musical since it opened just after Veterans Day and is running through Thanksgiving weekend.
The musical is set on an island in the south pacific during World War II, where some of the soldiers based on the island are getting ready to entertain the troops during the Thanksgiving holiday, while others are preparing for a secret strategic battle against the Japanese.
There are two romances, one between perky Ensign Nellie Forbush, played with naïve enthusiasm by Janine Flood, and an older French plantation owner, Emile de Becque, played with appropriate reserve and a decent French accent by Michael Corman.
The other is a romance between a youthful Lt. Joseph Cable, USMC, played by Dallas Hosmer, looking like a young, blond Elvis Presley, and an island girl, Liat, played by Taryn Scozzari.
Flood plays Nellie with a confidence and homespun Little Rock corniness that is delightful, and feels quite genuine when she sing songs such as “Cockeyed Optimist.”
This well-cast musical, directed by Lesley Gallagher, is a sexy, tender, and romantic production, with lots of kissing.
The acting is stronger than the singing, which isn’t to say the singing isn’t good, but the acting is perfectly natural and believable.
It’s also a lot of fun, with comic relief provided by Paul Aherne who plays Luther Billis and Reva Kleppel, playing the pigeon-English speaking Islander, Bloody Mary.
Aherne has a fine strong voice, and looks almost too good in coconuts, while Kleppel precisely captured the feeling of a straight talking, manipulative (in a good way) entrepreneur.
The two Polynesian children are outstanding. Pearl Matteson who played Ngana and Nicolas Cote who played Jerome. Their parts are small, but important, and they make the show special singing their sweet "Dites-Moi" and their adorable skipping dancing.
The musical confronts serious issues, such as preconceived prejudices and racism, which gives the show depth and prevents it from becoming too syrupy-sweet.
Racism is highlighted in the song "You’ve Got to be Carefully Taught," sung with sarcasm and anger by Hoyer’s Cable. It’s sad to think that racism is still relevant almost 70 years after this musical was first produced.
The cast and crew clearly worked hard to put this show together and all did a yeoman’s job. A general recommendation to the cast is to remember to have fun when fun is to be had, and to make the comedy even broader.
The pace of the singing and dialog and the transitions between the two could speed up a tad, especially in the beginning. Often in musicals the orchestra overwhelms the singers, but that is never the case in this production, with musical direction by Deborah Curylo.
The painted backdrop of a beach with islands, by Chimera Costume and Scenic Services, sets the tone of a tropical island with a Tiki lounge feel, complete with palm trees that are both painted and free-standing.
The numerous scene changes are all done smoothly and quickly. The lighting, designed by Diane St. Amand, and sound too are excellent, particularly with the radio reception, which had to be technically challenging to arrange, but works.
If you can’t afford to take a trip to the islands this year, and who can these days, "South Pacific" at the Opera House Players is the next best thing to being there.
SOUTH PACIFIC
3 1/2 Stars
Theater: Opera House Players
Location: 107 Main Street, Broad Brook
Production: Music by Richard Rodgers. Book by Oscar Hammerstein II and Joshua Logan. Lyrics by Oscar Hammerstein II. Direction and choreography by Lesley Gallagher. Music direction by Deborah Curylo. Producer and costumes by Moonyean Field. Lighting design by Diane St. Amand. Scenery by Chimera Costume and Scenic Services.
Running time: 2 1/2 hours, with a 20-minute intermission
Show Times: Friday and Saturday at 8 p.m., Sundays at 2 p.m. through Nov. 30.
Tickets: $20, seniors over 60 and youth under 12 pay $12. Call 860-292-6068 or visit their website at www.operahouseplayers.org
ACTOR... CHARACTER
Janine Flood ... Ensign Nellie Forbush
Michael Corman ... Emile de Becque
Dallas Hosmer ... Lt. Joseph Cable, USMC
Reva Kleppel ... Bloody Mary
Paul Aherne ... Luther Billis
Samuel Greene ... Capt. George Bracket, USN
Michael May ... Cmdr. William Harbison USN
Giovannie Copeland Mendez ... Stewpot
Aaron Mulmeyer ... Professor
Ricardo B. Plamenco III ... Radio OP Bob McCaffrey
Tammy Young Cote ... Lt. Genevieve Marshall
Khara C. Hoyer ... Ensign Lisa Manelli
Emily Stisser ... Ensign Connie Walewska
Brianna Mello ... Ensign Bessie Noonan
Taryn Scozzari ... Liat
Pearl Matteson ... Ngana
Nicolas Cote ... Jerome
Marc Gallagher ... Voice of Lt. Buzz Adams
Monday, November 10, 2008
"The Latest Mrs. Adams" a bargain of fun
ENFIELD - Bowling balls, mistaken identities, and ghosts have never been so funny as they are in the Valley Repertory Company’s production of "The Latest Mrs. Adams."
The play, written by George Tibbles, is kind of a combination of a television situation comedy and an homage to the 1930’s screwball comedies.
Set in a Connecticut town 59 miles outside of New York City, Sam Adams, has just married for the second time, to Lily - she being the latest Mrs. Adams.
They move into his family’s farmhouse, only to discover his deceased wife’s mother, Betsy Jefferson, is still living there, along with Sam’s uncle, the irascible John Quincy Adams, and perhaps the ghost of the first Mrs. Adams.
Sam, played with enthusiasm and appropriate exasperation by Mark Vogel, wants the in-laws out, but Lily, a New York City dress designer, has a big heart and wants to help them.
She even invites the homeless drunkard living under the bridge, Ethan Allen, played with delightful deadpan humor by Jason Fregeau, to come in from the cold and stay with them a while.
Complications ensue when Ethan Allen abruptly dies in his bedroom, and Betsy and John Quincy try to claim credit for murder, while bowling balls periodically roll down the stairs, and the ghost of the first Mrs. Adams, played with dancing grace by Elizabeth Mathieu, flits about the stage.
The cast is terrific and talented, from Lily, played with caring compassion by Patty Coope Piellucci, the grammatical perfectionist Betsy, played with ditzy confidence by Jan Albetski, the half-blind lecherous old grouch John Quincy, played to perfection by Jim Byrne, Jr., to the local constable, Enrico Rossini, played with silly officiousness by Logan Lopez.
From the first entrance of Fegueau’s Ethan Allen, where he is dressed like a giant ace bandage with a newspaper hat, he has the audience in stitches. Byrne’s John Quincy, with his hat with flaps, is quite funny too, not so much with one-liners, but with his timing and his conviction that the second Mrs. Adams is a hooker, and her daughter is one of her "girls."
The comedy has lots of sight gags, as well as some literary highbrow humor as well. While Ethan Allen is still alive, Lily’s daughter, Camille Littleton, played by Laura Wittenberg, says to her mother, that the old Connecticut farmhouse reminds her of something out of Balzac.
The local derelict Alan snickers and pleads with her to say something else lewd, to which she responds, "Charles Dickens," which really gets him going.
Lily figures out that Betsy misses her deceased daughter, the first Mrs. Adams, and so Betsy unconsciously becomes her and dresses up as her ghost, claiming that her daughter comes back because the doctor didn’t put the sheet over her face and her soul slipped out through her nose. Rather than treating the various characters with disdain, however, Lily shows them compassion and love, and they blossom under her caring affection.
The setting of the entire play is the farmhouse’s living room and dining area, solidly designed by Eric J. Albetski, however, there are a number of breaks between scenes as props are moved about.
It would be great to have some background music between scenes, rather than just dead silence. The scene changes don’t take all that long, but without any music, the time drags.
At $10 a ticket, the Valley Repertory Company’s production of "The Latest Mrs. Adams" is a bargain at twice the price, with just the right blend of comedy, mystery, and plot to keep you entertained all evening long.
THE LATEST MRS. ADAMS
Three Stars
Theater: Valley Repertory Company
Location: 100 High Street, Enfield
Production: Written by George Tibbles. Directed by Lisa Eaton. Produced by Celeste Estvanik. Technical direction and set design by Eric J. Albetski. Stage Manager Jason Fregeau. Lighting design by Ken Estvanik.
Running time: 2 hours, with one intermission.
Show Times: Friday and Saturday at 8 p.m. through Nov. 22.
Tickets: $10, $8 for seniors over 60 and youth under 12. Call 860-749-4665 or visit their website at www.valleyrep.com
ACTOR...CHARACTER
Mark Vogel ... Sam Adams
Patty Coope Piellucci ... Lily Adams
Jim Byrne, Jr. ... John Quincy Adams
Jan Albetski ... Betsy Jefferson
Elizabeth Mathieu ... Abigail Adams
Jason Fregeau ... Ethan Allen
Laura Wittenberg ... Camille Littleton
Logan Lopez ... Enrico Rossini
ENFIELD - Bowling balls, mistaken identities, and ghosts have never been so funny as they are in the Valley Repertory Company’s production of "The Latest Mrs. Adams."
The play, written by George Tibbles, is kind of a combination of a television situation comedy and an homage to the 1930’s screwball comedies.
Set in a Connecticut town 59 miles outside of New York City, Sam Adams, has just married for the second time, to Lily - she being the latest Mrs. Adams.
They move into his family’s farmhouse, only to discover his deceased wife’s mother, Betsy Jefferson, is still living there, along with Sam’s uncle, the irascible John Quincy Adams, and perhaps the ghost of the first Mrs. Adams.
Sam, played with enthusiasm and appropriate exasperation by Mark Vogel, wants the in-laws out, but Lily, a New York City dress designer, has a big heart and wants to help them.
She even invites the homeless drunkard living under the bridge, Ethan Allen, played with delightful deadpan humor by Jason Fregeau, to come in from the cold and stay with them a while.
Complications ensue when Ethan Allen abruptly dies in his bedroom, and Betsy and John Quincy try to claim credit for murder, while bowling balls periodically roll down the stairs, and the ghost of the first Mrs. Adams, played with dancing grace by Elizabeth Mathieu, flits about the stage.
The cast is terrific and talented, from Lily, played with caring compassion by Patty Coope Piellucci, the grammatical perfectionist Betsy, played with ditzy confidence by Jan Albetski, the half-blind lecherous old grouch John Quincy, played to perfection by Jim Byrne, Jr., to the local constable, Enrico Rossini, played with silly officiousness by Logan Lopez.
From the first entrance of Fegueau’s Ethan Allen, where he is dressed like a giant ace bandage with a newspaper hat, he has the audience in stitches. Byrne’s John Quincy, with his hat with flaps, is quite funny too, not so much with one-liners, but with his timing and his conviction that the second Mrs. Adams is a hooker, and her daughter is one of her "girls."
The comedy has lots of sight gags, as well as some literary highbrow humor as well. While Ethan Allen is still alive, Lily’s daughter, Camille Littleton, played by Laura Wittenberg, says to her mother, that the old Connecticut farmhouse reminds her of something out of Balzac.
The local derelict Alan snickers and pleads with her to say something else lewd, to which she responds, "Charles Dickens," which really gets him going.
Lily figures out that Betsy misses her deceased daughter, the first Mrs. Adams, and so Betsy unconsciously becomes her and dresses up as her ghost, claiming that her daughter comes back because the doctor didn’t put the sheet over her face and her soul slipped out through her nose. Rather than treating the various characters with disdain, however, Lily shows them compassion and love, and they blossom under her caring affection.
The setting of the entire play is the farmhouse’s living room and dining area, solidly designed by Eric J. Albetski, however, there are a number of breaks between scenes as props are moved about.
It would be great to have some background music between scenes, rather than just dead silence. The scene changes don’t take all that long, but without any music, the time drags.
At $10 a ticket, the Valley Repertory Company’s production of "The Latest Mrs. Adams" is a bargain at twice the price, with just the right blend of comedy, mystery, and plot to keep you entertained all evening long.
THE LATEST MRS. ADAMS
Three Stars
Theater: Valley Repertory Company
Location: 100 High Street, Enfield
Production: Written by George Tibbles. Directed by Lisa Eaton. Produced by Celeste Estvanik. Technical direction and set design by Eric J. Albetski. Stage Manager Jason Fregeau. Lighting design by Ken Estvanik.
Running time: 2 hours, with one intermission.
Show Times: Friday and Saturday at 8 p.m. through Nov. 22.
Tickets: $10, $8 for seniors over 60 and youth under 12. Call 860-749-4665 or visit their website at www.valleyrep.com
ACTOR...CHARACTER
Mark Vogel ... Sam Adams
Patty Coope Piellucci ... Lily Adams
Jim Byrne, Jr. ... John Quincy Adams
Jan Albetski ... Betsy Jefferson
Elizabeth Mathieu ... Abigail Adams
Jason Fregeau ... Ethan Allen
Laura Wittenberg ... Camille Littleton
Logan Lopez ... Enrico Rossini
"Pvt. Wars" a compelling introspective production
MIDDLETOWN - Although the play "Pvt. Wars" by James McLure is specifically about military veterans - their efforts to overcome adversities are experiences that all can identify with.
Set in the common room of a Veterans hospital, three psychiatric patients with different backgrounds share a common bond of trying to assimilate back into society. The fact that they can leave at any time is a theme that playwright James McLure returns to throughout the rich and interesting play.
Dana O’Neal plays Gately, the only character whose wound is visible, with a visible jagged long scar and bruise on his bald pate. Gately is working feverishly to repair a radio, whose parts are constantly pilfered by his two companions, the macho Silvo, played by Phil Godeck, and the patrician Natwick, played by Foster Reese.
Gately says if he can repair the radio, it is a sign that America's free enterprise system works, and would also mean that he can leave the hospital. O’Neal beautifully captures the essence of emotional instability in the character of Gately who frequently bursts into tears without much provocation, but also shows an emotional intelligence and keen insight into his the heart’s of his two friends.
Reese’s Natwick starts out almost too affected in his affectation, but improves as the play progresses. Natwick’s modus operandi is to initiate topics and then say: "I don’t want to talk about it." He isolates himself within himself, but then resents the fact that he is isolated. He is a know-it-all, and who hides in his mind, but is trapped by it too.
Natwick says: "I am an invention of myself," and that is his isolation.
When Gately says that coyotes mate for life, Natwick is compelled to one up him by saying that dolphins mate for life too. This isn’t true, since dolphins are notoriously promiscuous, but a telling insight into Natwick character, because this is how Natwick tries and fails to connect, through information rather than communication.
It is Gately who is the wise one, knowing just what to say at times. Natwick is trying to write an original poem, but constantly compares himself unfavorably to the likes of T. S. Eliot. When Natwick quotes from an Eliot poem: "Do I dare to eat a peach?" Gately is totally flummoxed by this and quizzes Natwick about the poem’s meaning. Just like trying to explain a joke, explaining a metaphor looses everything in translation, resulting in a hilarious exchange.
Similarly, the discussion of suicide that Natwick is contemplating and Gately is listening to, is hysterically, blackly funny, delivered with perfect timing, without missing the serious point.
Godeck’s is sensitive portrait of the man’s man, Silvo. If not for the war and his own life-altering wound, Silvo is the kind of man ill-prepared to delve into his inner psyche, and scares himself, and others, by frequently acting out. He is obsessed with sex, flashes the nurses often, and says at one point that "sperm has one hell of a sense of direction." Silvo does not, and therein lies his tragedy.
Each of the numerous scenes is like a mini play, punctuated with complete blackouts, which have an almost musical hypnotic rhythm to them, all seamlessly directed by Kathy Keena.
There are frequent sexual innuendoes and frank sexual talk, which makes this a show for adult's only. The program gives this show a PG-13 rating for language and sexual situations.
The newly formed Veterans Memorial Theatre Company is by veterans, dedicated to veterans, with plays about veterans, which doesn’t take sides, or deal directly with a political agenda. The theater at the Green Street Arts Center is an intimate studio space, with seating for about 55 people, which is perfect for this intense, well acted, fine play.
PVT. WARS
3 Stars
Theater: Veterans Memorial Theatre Company
Location: Green Street Arts Center, 51 Green St., Middletown
Production: Written by James McLure. Directed by Kathy Keena. Produced by Clark Bowlen and Michael Eck. Designed by Clark Bowlen. Stage managed by Ben Pitz.
Running time: 2 hours, with one intermission
Show Times: Friday and Saturday, Nov. 14 and 15 at 8 p.m.
Tickets: $15, $10 for veterans, seniors, and students. Call 860-623-6587 email them at vetstheatre@snet.net
ACTOR...CHARACTER
Dana O’Neal ... Gately
Phil Godeck ... Silvo
Foster Reese ... Natwick
Frank Schiavone ... Voice of Psychiatrist
MIDDLETOWN - Although the play "Pvt. Wars" by James McLure is specifically about military veterans - their efforts to overcome adversities are experiences that all can identify with.
Set in the common room of a Veterans hospital, three psychiatric patients with different backgrounds share a common bond of trying to assimilate back into society. The fact that they can leave at any time is a theme that playwright James McLure returns to throughout the rich and interesting play.
Dana O’Neal plays Gately, the only character whose wound is visible, with a visible jagged long scar and bruise on his bald pate. Gately is working feverishly to repair a radio, whose parts are constantly pilfered by his two companions, the macho Silvo, played by Phil Godeck, and the patrician Natwick, played by Foster Reese.
Gately says if he can repair the radio, it is a sign that America's free enterprise system works, and would also mean that he can leave the hospital. O’Neal beautifully captures the essence of emotional instability in the character of Gately who frequently bursts into tears without much provocation, but also shows an emotional intelligence and keen insight into his the heart’s of his two friends.
Reese’s Natwick starts out almost too affected in his affectation, but improves as the play progresses. Natwick’s modus operandi is to initiate topics and then say: "I don’t want to talk about it." He isolates himself within himself, but then resents the fact that he is isolated. He is a know-it-all, and who hides in his mind, but is trapped by it too.
Natwick says: "I am an invention of myself," and that is his isolation.
When Gately says that coyotes mate for life, Natwick is compelled to one up him by saying that dolphins mate for life too. This isn’t true, since dolphins are notoriously promiscuous, but a telling insight into Natwick character, because this is how Natwick tries and fails to connect, through information rather than communication.
It is Gately who is the wise one, knowing just what to say at times. Natwick is trying to write an original poem, but constantly compares himself unfavorably to the likes of T. S. Eliot. When Natwick quotes from an Eliot poem: "Do I dare to eat a peach?" Gately is totally flummoxed by this and quizzes Natwick about the poem’s meaning. Just like trying to explain a joke, explaining a metaphor looses everything in translation, resulting in a hilarious exchange.
Similarly, the discussion of suicide that Natwick is contemplating and Gately is listening to, is hysterically, blackly funny, delivered with perfect timing, without missing the serious point.
Godeck’s is sensitive portrait of the man’s man, Silvo. If not for the war and his own life-altering wound, Silvo is the kind of man ill-prepared to delve into his inner psyche, and scares himself, and others, by frequently acting out. He is obsessed with sex, flashes the nurses often, and says at one point that "sperm has one hell of a sense of direction." Silvo does not, and therein lies his tragedy.
Each of the numerous scenes is like a mini play, punctuated with complete blackouts, which have an almost musical hypnotic rhythm to them, all seamlessly directed by Kathy Keena.
There are frequent sexual innuendoes and frank sexual talk, which makes this a show for adult's only. The program gives this show a PG-13 rating for language and sexual situations.
The newly formed Veterans Memorial Theatre Company is by veterans, dedicated to veterans, with plays about veterans, which doesn’t take sides, or deal directly with a political agenda. The theater at the Green Street Arts Center is an intimate studio space, with seating for about 55 people, which is perfect for this intense, well acted, fine play.
PVT. WARS
3 Stars
Theater: Veterans Memorial Theatre Company
Location: Green Street Arts Center, 51 Green St., Middletown
Production: Written by James McLure. Directed by Kathy Keena. Produced by Clark Bowlen and Michael Eck. Designed by Clark Bowlen. Stage managed by Ben Pitz.
Running time: 2 hours, with one intermission
Show Times: Friday and Saturday, Nov. 14 and 15 at 8 p.m.
Tickets: $15, $10 for veterans, seniors, and students. Call 860-623-6587 email them at vetstheatre@snet.net
ACTOR...CHARACTER
Dana O’Neal ... Gately
Phil Godeck ... Silvo
Foster Reese ... Natwick
Frank Schiavone ... Voice of Psychiatrist
Monday, November 03, 2008
The once and future king and queen reign supreme in Manchester Little Theatre’s "Camelot"
MANCHESTER - One thing that is consistently admirable about community theater is the spirit of community and teamwork, and the Little Theatre of Manchester’s production of "Camelot" is no exception.
This classic Tony Award-winning musical is set in medieval England, and is based on the King Arthur and the chivalrous Knights of the Round Table legend.
In this musical choreographer Todd C. Santa Maria also plays the wicked Mordred, illegitimate son of King Arthur, while the magician Merlin is played by set designer Fred T. Blish, and all the cast members pitch in to help with scene changes - even King Arthur, played by Mike Zizka, carries his own bench to and from the stage.
"Some are born great, some achieve greatness, and some have greatness thrust upon them," as Shakespeare says in "Twelfth Night."
King Arthur hits all three categories, being born to greatness, but not knowing it, has it thrust upon him when he pulls the sword, Excalibur, from the stone, and eventually, reluctantly accepts and embraces his fate as the once and future king of legend.
The play begins when a youthful King Arthur, played by the awesome Mike Zizka, meets his betrothed queen, Guenevere, well played by Alysa Auriemma.
Auriemma has lots of spunk and plenty of flirty sass to spare, along with a lovely singing voice, which ranges from sweet to powerful.
Zizka is fantastic as Arthur. He believably inhabits the part’s transitions, from reluctant ruler, to smitten lover, to compassionate and heartbroken man.
Also terrific and amusing is Art Bradbury as the ditzy and loyal King Pellinore.
Bradbury’s Pellinore has some amusing lines such as: "Sometimes when I get my teeth into something, I have to leave them there." Bradbury infused his part with energy and life, as did the previously mentioned Blish as the all too little seen Merlin.
Santa Maria’s Mordred is marvelously over-the-top evil, although his "dagger as nail file" business is a bit over-used. He is the perfect foil as the "medieval delinquent" to Arthur’s fledgling attempts at civilizing a barbaric world.
Arthur wryly observes to Mordred: "The saying, ‘blood is thicker than water was invented by undeserving relatives.'"
While he has a good singing voice, unfortunately Jonathan Escobar’s Lancelot du Lac leaves a lot to be desired. He is the only character who does not speak with an accent, the others all English - his would have been French - but that isn’t the main problem.
It’s tough to play someone who considers himself to be perfect, as Lancelot does, but simply being uptight doesn’t cut it.
The overflowing passion, commitment, and self-denial needed to strive for perfection, along with the naïvely arrogant self-confidence to think he is perfect, is missing, and instead a stiff and wooden rigidity unsatisfactorily fills the void.
Its difficult to imagine what Guenevere sees in him, as the part demands, but Auriemma does the heavy lifting here and rises to the occasion.
The scenes change from forest, to castle, to forest, and field, and director Michael J. Forgetta wisely chooses to have the set be suggestive rather than elaborately realistic - instead investing their budget into a myriad of period costumes by David Addis. Notable are Morgan Le Fey and her courtesans who were dressed in earthy, wood-nymph garb, as well as the king and queen’s many glittering raiments.
As sweet and cute as the middle school children in the play were, why did Forgetta choose them to play predominant ensemble parts meant for adults? It is disconcerting and distracting, and makes the production at times feel like a school play rather than the semi-professional musicals that the Little Theatre of Manchester consistently produces.
The musical direction by the capable Paul Coffill was great, but a little loud when the actors were singing quieter ballads. The gorgeous, romantic Lerner and Loewe songs, such as "If Ever I Would Leave You," "The Simple Joys of Maidenhood," "What Do the Simple Folk Do?," and the inspiring signature song "Camelot," are all beautiful and uplifting.
Although there are some imperfections in "Camelot," in the end the King and Queen, Zizka and Auriemma, carry the day.
CAMELOT
2 1/2 Stars
Location: Cheney Hall, 177 Hartford Road, Manchester
Production: Books and lyrics by Alan Jay Lerner. Music by Frederick Loewe. Directed by Michael J. Forgetta. Musical direction by Paul Coffill. Choreographer Todd Santa Maria. Stage Manager Marguerite Kelly. Set designed by Fred T. Blish. Lighting design by Jared R. Towler. Sound design by Advanced Lighting and Sound. Costumes by David Addis.
Running time: 3 hours, with one intermission
Show Times: Thursday, Nov. 6, and Fridays and Saturdays at 8 p.m. Sundays at 2 p.m., and through Nov. 16.
Tickets: $21 - $28. Call the box office at 647-9824, or visit their Web site at www.cheneyhall.org.
ACTOR...CHARACTER
Mike Zizka ... Arthur
Alysa Auriemma ... Guenevere
Jonathan Escobar ... Lancelot du Lac
Art Bradbury ... King Pellinore
Todd C. Santa Maria ... Mordred
Marge Kelly ... Morgan Le Fey
Fred T. Blish ... Merlin
Doug Stoyer ... Sir Dinidan, Courtesan of Morgan Le Fey, Ensemble
Scott Ironfield ... Sir Lionel, Squire Dap, Guilliam, Rogue Knight
Diane Lareau AmEnde ... Lady Sybil, Herald, Ensemble
Ann Azevedo ... Lady Anne, Courtesan of Morgan Le Fey, Ensemble
Andreanna Buccheri ... Page, Courtesan of Morgan Le Fey, Ensemble
Charles Burns ... Clarius, Bliant, Rogue Knight, Ensemble
Donato DiGenova ... Sagramore, Colgrevance, Courtesan of Morgan Le Fey, Rogue Knight, Ensemble
Jason Fazzino ... Horrid the Dog, Court Jester, Tom of Warwick
Yvonne Jacques ... Lady Clothilde, Ensemble
Patri-Ann Morgan ... Page, Courtesan of Morgan Le Fey, Ensemble
Joan Notghi ... Lady Jane, Courtesan of Morgan Le Fey, Ensemble
Cassie Wood ... Nimue, Courtesan of Morgan Le Fey, Ensemble
MANCHESTER - One thing that is consistently admirable about community theater is the spirit of community and teamwork, and the Little Theatre of Manchester’s production of "Camelot" is no exception.
This classic Tony Award-winning musical is set in medieval England, and is based on the King Arthur and the chivalrous Knights of the Round Table legend.
In this musical choreographer Todd C. Santa Maria also plays the wicked Mordred, illegitimate son of King Arthur, while the magician Merlin is played by set designer Fred T. Blish, and all the cast members pitch in to help with scene changes - even King Arthur, played by Mike Zizka, carries his own bench to and from the stage.
"Some are born great, some achieve greatness, and some have greatness thrust upon them," as Shakespeare says in "Twelfth Night."
King Arthur hits all three categories, being born to greatness, but not knowing it, has it thrust upon him when he pulls the sword, Excalibur, from the stone, and eventually, reluctantly accepts and embraces his fate as the once and future king of legend.
The play begins when a youthful King Arthur, played by the awesome Mike Zizka, meets his betrothed queen, Guenevere, well played by Alysa Auriemma.
Auriemma has lots of spunk and plenty of flirty sass to spare, along with a lovely singing voice, which ranges from sweet to powerful.
Zizka is fantastic as Arthur. He believably inhabits the part’s transitions, from reluctant ruler, to smitten lover, to compassionate and heartbroken man.
Also terrific and amusing is Art Bradbury as the ditzy and loyal King Pellinore.
Bradbury’s Pellinore has some amusing lines such as: "Sometimes when I get my teeth into something, I have to leave them there." Bradbury infused his part with energy and life, as did the previously mentioned Blish as the all too little seen Merlin.
Santa Maria’s Mordred is marvelously over-the-top evil, although his "dagger as nail file" business is a bit over-used. He is the perfect foil as the "medieval delinquent" to Arthur’s fledgling attempts at civilizing a barbaric world.
Arthur wryly observes to Mordred: "The saying, ‘blood is thicker than water was invented by undeserving relatives.'"
While he has a good singing voice, unfortunately Jonathan Escobar’s Lancelot du Lac leaves a lot to be desired. He is the only character who does not speak with an accent, the others all English - his would have been French - but that isn’t the main problem.
It’s tough to play someone who considers himself to be perfect, as Lancelot does, but simply being uptight doesn’t cut it.
The overflowing passion, commitment, and self-denial needed to strive for perfection, along with the naïvely arrogant self-confidence to think he is perfect, is missing, and instead a stiff and wooden rigidity unsatisfactorily fills the void.
Its difficult to imagine what Guenevere sees in him, as the part demands, but Auriemma does the heavy lifting here and rises to the occasion.
The scenes change from forest, to castle, to forest, and field, and director Michael J. Forgetta wisely chooses to have the set be suggestive rather than elaborately realistic - instead investing their budget into a myriad of period costumes by David Addis. Notable are Morgan Le Fey and her courtesans who were dressed in earthy, wood-nymph garb, as well as the king and queen’s many glittering raiments.
As sweet and cute as the middle school children in the play were, why did Forgetta choose them to play predominant ensemble parts meant for adults? It is disconcerting and distracting, and makes the production at times feel like a school play rather than the semi-professional musicals that the Little Theatre of Manchester consistently produces.
The musical direction by the capable Paul Coffill was great, but a little loud when the actors were singing quieter ballads. The gorgeous, romantic Lerner and Loewe songs, such as "If Ever I Would Leave You," "The Simple Joys of Maidenhood," "What Do the Simple Folk Do?," and the inspiring signature song "Camelot," are all beautiful and uplifting.
Although there are some imperfections in "Camelot," in the end the King and Queen, Zizka and Auriemma, carry the day.
CAMELOT
2 1/2 Stars
Location: Cheney Hall, 177 Hartford Road, Manchester
Production: Books and lyrics by Alan Jay Lerner. Music by Frederick Loewe. Directed by Michael J. Forgetta. Musical direction by Paul Coffill. Choreographer Todd Santa Maria. Stage Manager Marguerite Kelly. Set designed by Fred T. Blish. Lighting design by Jared R. Towler. Sound design by Advanced Lighting and Sound. Costumes by David Addis.
Running time: 3 hours, with one intermission
Show Times: Thursday, Nov. 6, and Fridays and Saturdays at 8 p.m. Sundays at 2 p.m., and through Nov. 16.
Tickets: $21 - $28. Call the box office at 647-9824, or visit their Web site at www.cheneyhall.org.
ACTOR...CHARACTER
Mike Zizka ... Arthur
Alysa Auriemma ... Guenevere
Jonathan Escobar ... Lancelot du Lac
Art Bradbury ... King Pellinore
Todd C. Santa Maria ... Mordred
Marge Kelly ... Morgan Le Fey
Fred T. Blish ... Merlin
Doug Stoyer ... Sir Dinidan, Courtesan of Morgan Le Fey, Ensemble
Scott Ironfield ... Sir Lionel, Squire Dap, Guilliam, Rogue Knight
Diane Lareau AmEnde ... Lady Sybil, Herald, Ensemble
Ann Azevedo ... Lady Anne, Courtesan of Morgan Le Fey, Ensemble
Andreanna Buccheri ... Page, Courtesan of Morgan Le Fey, Ensemble
Charles Burns ... Clarius, Bliant, Rogue Knight, Ensemble
Donato DiGenova ... Sagramore, Colgrevance, Courtesan of Morgan Le Fey, Rogue Knight, Ensemble
Jason Fazzino ... Horrid the Dog, Court Jester, Tom of Warwick
Yvonne Jacques ... Lady Clothilde, Ensemble
Patri-Ann Morgan ... Page, Courtesan of Morgan Le Fey, Ensemble
Joan Notghi ... Lady Jane, Courtesan of Morgan Le Fey, Ensemble
Cassie Wood ... Nimue, Courtesan of Morgan Le Fey, Ensemble
"The Rainmaker" shines at the Ivoryton Playhouse
IVORYTON - The charming old facility that is now the Ivoryton Playhouse was built in 1911 as a recreation hall. It evolved into the first self-supporting summer stock theater in the country. It has expanded well beyond summer stock today, and offers quality theatrical productions throughout the year.
The Ivoryton Playhouse is located about an hour from the Manchester area. Probably one of the more enjoyable ways to spend the intermission between acts is to view the many photographs of famous actors who graced the Ivoryton Playhouse’s stage through the years.
The Ivoryton Playhouse is like the Holy Grail of Theater, with faded head-shots of such luminaries as Tallulah Bankhead, Alan Alda, Buddy Ebsen, Mae West, Treat Williams, Elaine Stritch, and many, many more - some whose faces are more familiar than their names, which are listed along with the plays they starred in at the Ivoryton Playhouse.
It probably isn’t accurate to call the Ivoryton Playhouse a community theater in the strictest sense, since some of the actors are professional; however, it is a fine combination of professional and amateur actors.
Their last regular season production for 2008 is the "The Rainmaker."
Written by N. Richard Nash, "The Rainmaker," ran on Broadway in 1954, and might be most familiar as the classic movie by the same name, starring Burt Lancaster and Hartford native Hepburn.
The play is set somewhere in the west on a cattle farm during a drought in August of some year in the middle of the last century.
A father, H.C. Curry, and his two sons, Jim and Noah Curry, pray for rain, as well as for a husband for H.C.’s daughter and the boy’s sister, Lizzie Curry.
It is set in a time when getting "hitched" was essential to a woman’s identity, in the view of society. At the time, if you were a woman and didn’t get married you were labeled a spinster and an old maid, and consequently, a failure.
Elizabeth Erwin plays Lizzie with just the right balance of intelligence and self-doubt. She gets all gussied up to have dinner with the town’s divorced deputy, File, sensitively played by Timothy Fannon, who doesn’t show. She lashes out in frustration and embarrassment to her father, saying: "I don’t want you to lasso me a husband."
H.C. is indulgent and caring with his children, and is played with palpable love and kindness by Larry Lewis. The younger and slower Jim is played with sweet effervescent energy by John Noel, while Danny Kirkwood plays the eldest brother, Noah, the exasperated, practical disbeliever of the family.
Into this family scene walks a fast talking con man named Starbuck who promises he can make it rain for $100, and so begins the dreamers and believers versus the practical realists.
"My method is like my name, all my own," exclaims Starbuck, played with a flood of energy and charisma by Colin Lane. He comes in like a tidal wave feeding the family full of the dreams and hopes they are all starving for.
Lane is just right for the role, but his Australian accent (or is it Irish?), which is barely detectable in the first act, blossoms in act two, while his western twang fades out more than in. Not that that matters too much, since it only accentuates his con artist persona.
David Cardone rounds out the cast as the observant and caring Sheriff.
The solid set by Dan Nischan is divided into thirds, with a sheriff’s office, barn, and the family’s living room. The costumes are all good, by costume designer Pam Puente, except Lizzie’s dressy dress looked like something that would be worn to a garden party today, and is too low cut for a modest gal like Lizzie.
The recorded musical interludes played between scenes are fine, except when the music starts before the scenes end, or worse still, plays in the middle of the love scene, when it is really distracting. In film it works, not so much in live theatre.
Perhaps it derives from watching award shows where the music kicks in when the actors’ acceptance speeches go on for too long, but here it is jarring, and takes away from what the actors were saying.
Those minor points aside, overall "The Rainmaker" is a touching, old-fashioned evening of heart-felt entertainment in a very special venue.
THE RAINMAKER
3 Stars
Location: Ivoryton Playhouse, 103 Main Street, Ivoryton, CT
Production: Written by N. Richard Nash. Directed by Julia Kiley. Stage manager Johanna K. Levai. Set design by Dan Nischan. Costumes by Pam Puente. Lighting designed by Tate R. Burmeister.
Running time: 2 hours with one intermission.
Show Times: Wednesday and Thursdays at 7:30 p.m., Friday and Saturdays at 8 p.m., with Wednesday and Sunday matinees at 2 p.m. through Nov. 16.
Tickets: $30 for adults, $25 for previews and seniors, $20 for students, and $15 for children 12 and under. Call the box office at 860-767-7318, or visit their website at www.ivorytonplayhouse.org.
ACTOR...CHARACTER
Elizabeth Erwin ... Lizzie Curry
Colin Lane ... Bill Starbuck
Timothy Fannon ... Deputy File
Danny Kirkwood ... Noah Curry
Larry Lewis ... H.C. Curry
John Noel ... Jim Curry
David Cardone ... Sheriff Thomas
IVORYTON - The charming old facility that is now the Ivoryton Playhouse was built in 1911 as a recreation hall. It evolved into the first self-supporting summer stock theater in the country. It has expanded well beyond summer stock today, and offers quality theatrical productions throughout the year.
The Ivoryton Playhouse is located about an hour from the Manchester area. Probably one of the more enjoyable ways to spend the intermission between acts is to view the many photographs of famous actors who graced the Ivoryton Playhouse’s stage through the years.
The Ivoryton Playhouse is like the Holy Grail of Theater, with faded head-shots of such luminaries as Tallulah Bankhead, Alan Alda, Buddy Ebsen, Mae West, Treat Williams, Elaine Stritch, and many, many more - some whose faces are more familiar than their names, which are listed along with the plays they starred in at the Ivoryton Playhouse.
It probably isn’t accurate to call the Ivoryton Playhouse a community theater in the strictest sense, since some of the actors are professional; however, it is a fine combination of professional and amateur actors.
Their last regular season production for 2008 is the "The Rainmaker."
Written by N. Richard Nash, "The Rainmaker," ran on Broadway in 1954, and might be most familiar as the classic movie by the same name, starring Burt Lancaster and Hartford native Hepburn.
The play is set somewhere in the west on a cattle farm during a drought in August of some year in the middle of the last century.
A father, H.C. Curry, and his two sons, Jim and Noah Curry, pray for rain, as well as for a husband for H.C.’s daughter and the boy’s sister, Lizzie Curry.
It is set in a time when getting "hitched" was essential to a woman’s identity, in the view of society. At the time, if you were a woman and didn’t get married you were labeled a spinster and an old maid, and consequently, a failure.
Elizabeth Erwin plays Lizzie with just the right balance of intelligence and self-doubt. She gets all gussied up to have dinner with the town’s divorced deputy, File, sensitively played by Timothy Fannon, who doesn’t show. She lashes out in frustration and embarrassment to her father, saying: "I don’t want you to lasso me a husband."
H.C. is indulgent and caring with his children, and is played with palpable love and kindness by Larry Lewis. The younger and slower Jim is played with sweet effervescent energy by John Noel, while Danny Kirkwood plays the eldest brother, Noah, the exasperated, practical disbeliever of the family.
Into this family scene walks a fast talking con man named Starbuck who promises he can make it rain for $100, and so begins the dreamers and believers versus the practical realists.
"My method is like my name, all my own," exclaims Starbuck, played with a flood of energy and charisma by Colin Lane. He comes in like a tidal wave feeding the family full of the dreams and hopes they are all starving for.
Lane is just right for the role, but his Australian accent (or is it Irish?), which is barely detectable in the first act, blossoms in act two, while his western twang fades out more than in. Not that that matters too much, since it only accentuates his con artist persona.
David Cardone rounds out the cast as the observant and caring Sheriff.
The solid set by Dan Nischan is divided into thirds, with a sheriff’s office, barn, and the family’s living room. The costumes are all good, by costume designer Pam Puente, except Lizzie’s dressy dress looked like something that would be worn to a garden party today, and is too low cut for a modest gal like Lizzie.
The recorded musical interludes played between scenes are fine, except when the music starts before the scenes end, or worse still, plays in the middle of the love scene, when it is really distracting. In film it works, not so much in live theatre.
Perhaps it derives from watching award shows where the music kicks in when the actors’ acceptance speeches go on for too long, but here it is jarring, and takes away from what the actors were saying.
Those minor points aside, overall "The Rainmaker" is a touching, old-fashioned evening of heart-felt entertainment in a very special venue.
THE RAINMAKER
3 Stars
Location: Ivoryton Playhouse, 103 Main Street, Ivoryton, CT
Production: Written by N. Richard Nash. Directed by Julia Kiley. Stage manager Johanna K. Levai. Set design by Dan Nischan. Costumes by Pam Puente. Lighting designed by Tate R. Burmeister.
Running time: 2 hours with one intermission.
Show Times: Wednesday and Thursdays at 7:30 p.m., Friday and Saturdays at 8 p.m., with Wednesday and Sunday matinees at 2 p.m. through Nov. 16.
Tickets: $30 for adults, $25 for previews and seniors, $20 for students, and $15 for children 12 and under. Call the box office at 860-767-7318, or visit their website at www.ivorytonplayhouse.org.
ACTOR...CHARACTER
Elizabeth Erwin ... Lizzie Curry
Colin Lane ... Bill Starbuck
Timothy Fannon ... Deputy File
Danny Kirkwood ... Noah Curry
Larry Lewis ... H.C. Curry
John Noel ... Jim Curry
David Cardone ... Sheriff Thomas
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