“No Child…” at Long Wharf an original magical education


NEW HAVEN — What a gift to be able to experience the fantastic one-woman play, “No Child…” performed by the incomparable Nilaja Sun, the show’s creator.
Other fine actors have performed this play that originated Off-Broadway in 2006, now running at the Long Wharf Theatre’s Stage II through April 18, but there is nothing like seeing the original.
The story follows Sun’s own experience as a visiting teacher at Malcolm X High School in the Bronx-teaching 27 students to perform a play in six weeks as part of an $8,000 grant.
As she explains, it is a play within a play within a play, with the student’s being asked to perform a real play called “Our Country’s Good,” which is about Australian convicts performing a play dealing with sexuality, punishment and their judicial system.
Sun plays all the characters in this jam-packed 70-minute show, from the wizened old janitor who is the show’s historian and narrator, to the no-nonsense school principal, Mrs. Kennedy, to the South Park-like teacher Miss Tam, to herself as the energetic, positive, at times overwhelmed and discouraged teacher.
Sun imbues the students she plays with a believable and natural coolness and the astounding energy and life force of youth. She remarkably and almost magically morphs from one character to the next before your eyes.
Using nothing more than an accent, movement, body posture, tone, and expression, she embodies the charismatic and confident Shandrika Jones; the unintelligible, mumbling Phillip; the shy sweet Chris; to the students’ natural leader, the intelligent therefore understandably furious Jerome, and many others.
The play was written at the height of the last administration’s cynical attempt to impose unrealistic expectations on the national school system through the unfunded, federally mandated law — “No Child Left Behind.” The result she points out, is an impoverished, hellish, and inequitable education system that successfully oppresses those who are already severely marginalized.
It’s still relevant today, and will continue to be so as long as poverty is tolerated in the richest nation in the world. Her clear agenda is that if you teach solely to the test and eliminate what some consider the “extras” such as the arts, the possibility for real learning and growth is stunted.
What you end up with, as one of her characters aptly observes, in an institution with metal detectors, armed police officers, and bars on the windows, is nothing more than a training camp for future prison inmates.
“We are getting them ready for jail,” she says at one of her low points in the play. “We’ve abandoned them and I’m abandoning them too.”
As Sun says, 79 percent of the students she sees have endured physical, emotional, and sexual abuse. “They need a miracle everyday,” she discouragingly concludes.
And yet, this is a show of bottomless hope and great humor, with humanity and real accomplishments, in which the children and all who are connected with them, grow and change.
Like a true natural teacher, Sun says to Hispanic, doomed Jose, who complains that he is bored, “Boring usually comes from boring people.” She also points out that more than dying, “public speaking is the number one fear of adults.”
She states simple truths that are sometimes forgotten, like “habits are difficult to break.”
True, most in the audience, unlike most the students Sun respectfully and lovingly channels, have seen their fair share of plays, and know that thespians are not gay.
Still, what a terrific way to be reminded of our common humanity, the healing power of forgiveness, and of our responsibility and ability to make a positive difference in this world one person at a time.
“Hush, hush,” the janitor says to the audience. “You could learn a little something.”
And we do.

NO CHILD

three and ½ Stars
Location: 222 Sargent Drive, New Haven
Production: Written and performed Nilaja Sun. Directed by Hal Brooks. Off-Broadway set design by Narelle Sissons. Off-Broadway costume design by Jessica Gaffney. Lighting design by Mark Barton. Off-Broadway sound design by Ron Russell.
Running time: 70 minutes with no intermission.
Show Times: Tuesdays, most Wednesdays, and Sunday March 28 at 7 p.m. Wednesday March 24 at 7:30 p.m. with no matinee that day. Thursdays, Fridays, and Saturdays at 8 p.m., with Sunday and most Wednesday matinees at 2 p.m. and Saturday matinees at 3 p.m. through April 18.
Tickets: start at $45. For more information call their box office at 203-787-4282, or visit their website at www.longwharf.org.
ACTOR…CHARACTER
Nilaja Sun as herself

“The Philadelphia Story” at the Ivoryton Playhouse sophisticated romance

IVORYTON — Ah, the life of the idle rich. How we love to spy on the trials and travails of those for whom money is no object, but still manage to be unhappy none-the-less.
“The Philadelphia Story,” playing at the Ivoryton Playhouse, was originally written in 1939 by Philip Barry for Katharine Hepburn, and subsequently made into the classic movie in 1940 starring Hepburn, stands up well under the test of time.
Hepburn, a Hartford native, performed at the lovely Ivoryton Playhouse, making this show feel even more at home here.
A wealthy gal, Tracy Lord, played with delightful coltish determinism by Brenda Withers, arms akimbo, is about to marry for a second time. This go-round she’s hooking up with a man of the people, George Kittredge, played by Geoffrey Murphy, who is spiffy — looking and acting like Ralph Bellamy on caffeine.
Kittredge worked his way up through the ranks and sees Lord as his just desserts. She doesn’t quite see it that way, but is remarrying on the rebound after she split with her true match in social circles, intellect, and heart, C.K. Dexter Haven (Christian Pedersen), because of his drinking.
Haven designs and races sail boats and raises polo ponies, so you know from the get-go what set your dealing with.
Tracy’s father, Seth Lord (Bif Carrington III) is having an illicit and rather public affair with a chorus girl, evidently making the whole family fodder for a gossip magazine.
In comes that same magazine’s reporter, the poetic Macaulay Connor, played with sincerity and swagger by Matthew DeCapua, and photographer, Elizabeth Imbrie, played by the swell Caroline Strong, who seems to have stepped right out of a 1940s film.
A pip of a kid sister, Dinah Lord, played by with wide-eyed charm by Jennifer Leigh Cohen, tries her darndest to ruffle things up, despite her mother’s best efforts — the much put upon but remarkably patient Margaret Lord, played by the elegant Donna Schilke.
Tracy’s brother, Sandy, is played by Thomas Layman, and although his part is key to part of the plot, something about his working as an editor somewhere, his voice was so inarticulate and sing-songy, perhaps in an effort to sound upper-class, that I couldn’t understand most of what he said.
The romantic side of the story comes down pretty hard on our poor heroine, Tracy, somehow making her to blame for her former husband’s alcoholism, played with sardonic wit by Pedersen, and is blamed for her father’s philandering — quite a stretch.
They say it’s because Tracy is the “ice goddess” — holding others to the unattainably high standards she lives by — causing the men around her to crumble.
“She needs trouble to mature her,” Haven says, which is probably what we all need.
Tracy, up to the challenge, counters of her marriage to Dexter — “I thought it was for life, but the nice judge gave me a full pardon.”
Of Kittredge, Haven observes, “He’s no great tower of strength, he’s just a tower,” and in one sentence, succeeds in getting us all to not like Kittredge much.
Of course, none of what happens in the course of the two-hour play is of much consequence, really, but it is so witty and entertaining you can’t help but be willingly swept along by the spectacle of it all.
Solidly directed by Jacqueline Hubbard, with well-tailored costumes by Pam Puente, you do feel like your invited to an exclusive club and enjoy basking in the reflected warmth of wealth.
Set designer Tony Andrea immeasurably helps this show along with a gorgeous and well-appointed set that immediately sweeps you back to that romantic big-band era.
In the end it’s the rich and famous who are meant to win our sympathy, not that opportunistic, narrow-minded, self-serving working class.
Thanks to a fine plot, along with some deliciously witty dialog, it all goes down like a cucumber and cream cheese tea sandwich with champagne — Light, satisfying, with just the right amount of sophisticated insight to make you feel right at home with the fashionable set.

PHILADELPHIA STORY

3 Stars
Location: Ivoryton Playhouse, 103 Main Street, Ivoryton, CT
Production: Written by Philip Barry. Directed by Jacqueline Hubbard. Scenic design by Tony Andrea. Lighting design by Doug Harry. Stage manager Theresa Stark. Costume design by Pam Puente.
Running time: 2 hours plus one 15-minute intermission.
Show Times: Wednesday and Thursdays at 7:30 p.m., Friday and Saturdays at 8 p.m., with Wednesday and Sunday matinees at 2 p.m. through March 28.
Tickets: $38 for adults, $33 for seniors, $20 for students, and $15 for children 12 and under. Call the box office at 860-767-7318, or visit their website at www.ivorytonplayhouse.org
ACTOR…CHARACTER
Brenda Withers … Tracy Lord
Christian Pedersen … C.K. Dexter Haven
Matthew DeCapua … Macaulay (Mike) Connor
Caroline Strong … Elizabeth (Liz) Imbrie
Geoffrey Murphy … George Kittredge
Jennifer Leigh Cohen … Dinah Lord
Donna Schilke … Margaret Lord
Thomas Layman … Alexander (Sandy) Lord
Bif Carrington III … Seth Lord
Norman Rutty … William (Uncle Willy) Tracy
Don Shirer … Thomas

HSC’s “Motherhood Out Loud” has something for everyone

HARTFORD — If you are a mom or were born to one — and let’s face it, who isn’t? — this show is for you. There is something in Hartford Stage Company’s production of “Motherhood Out Loud” for everyone.
The one act show is presented in a rapid-fire succession of individuals and groups of twos and threes, in vignettes and scenes of motherhood and parenthood stories.
The stories, conceived by Joan Stein and Susan Rose and written by 14 different women, covered a whole gamut of relationships in all types of scenarios, from “gaybie” babies, to adoption, to a Muslim mother, in situations ranging from birth, to playground politics, to weddings, and everything in between.
The actors read from three-ring binder scripts off and on, much as “The Vagina Monologues,” with plenty of profanity, particularly at the start.
Sometimes the actors gave monologues, while other times they spoke to each other, and still other times there were two or three talking in cross-sentences about the same subject, from puberty to Thanksgiving.
Gracefully directed by Lisa Paterson, the show has a feeling of the dance of life, or as one character, played by the fine Amy Irving, says when her musical high school son going off to college, “a highway of tears.”
“I’m waiting to stop waiting,” she says vacantly. “It’s taking a while. It seems to be taking a while.”
Irving, Randi Graff, and April Yvette Thompson all complement each other beautifully, and are well cast for this play.
About half way through the 90-minute production, the show starts to drag some despite their best efforts though, and then James Lecesne steps on board, bringing new energy and a male perspective to the proceedings.
Lecesne’s first character is a homosexual man who decides with his partner to have a surrogate carry their child, or as he calls it, a “gaybie.”
He tells the audience that he and his partner have been together for eight years, “which is 56 years in heterosexual time.”
His piece as the divorced man who moves back with his mother, switching roles in the process, and sending her to school, is finely underplayed.
Thompson is funny as the 12-year-old girl interviewing her cantacorous grandmother played by Graff, as well as the young Muslim girl who pokes her head up from behind a low wall at amusing moments, chiming in just like kids do when their parents make incorrect statements.
Graff plays the Muslim mother who inaccurately hurls a plethora of items at her kids, who have cataloged them as “victims of velocity” and complains about their use of “face space.” Her exasperated daughter, (Thompson) clarifies that it is “Facebook” and “My Space,” but mom sticks doggedly to her own term.
In one scene the three gals deal with breasts — one mother, Graff, has a 14-year-old daughter who doesn’t need a bra, but gets her one for the girl’s ego, complaining, “$42 for a bra the size of a postage stamp.”
Another mom, Irving, has a 10-year-old daughter who is bigger than she is, while the third, Thompson, has a son who is getting too chubby and appears to be developing breasts.
Some scenes are heartbreaking, like the nanny living in California taking care of other’s children, while her own son in El Salvador has his birthday without her, played by Thompson.
Thompson also portrays a mother whose son is in Iraq, and deftly brings to life the anxiety of a mother whose son could die any day.
Graff injured her leg last week and reviews were postponed until director Lisa Paterson could re-stage the show to accommodate the handicapped actress, and Wednesday’s performance, with the new staging, went smoothly.
Between quick scenes the lights dim and cool cartoon animated scenes (adorable animation by Emily Hubley) danced on three screens (projection designed by Jan Hartley) while different music, from Dolly Parton to Charlie Brown-like piano tunes, played, with original sound design and music by Jill BC DuBoff.
The blessing of this show is that the divergent characters from dramatically different backgrounds say in many different ways what mothers everywhere have probably always wanted to say to their children.
As one mother says in a beautiful revere of love and amazement to her newborn — “One second you were in there and the next second you were here, and I got to be there.”
“Motherhood Out Loud” is a great big reminder that regardless of your history or religious upbringing, life is a miracle to be cherished daily.

MOTHERHOOD OUT LOUD

3½ Stars
Location: Hartford Stage Company, 50 Church Street, Hartford.
Production: Co-conceived by Susan R. Rose and Joan Stein. Directed by Lisa Peterson. Scenic design by Rachel Hauck. Costume design by David C. Woolard. Lighting design by Peter Kaczorowski. Original music and sound design by Jill BC DuBoff. Projection design by Jan Hartley. Animation design by Emily Hubley.
Running time: 90 minutes with no intermission.
Show Times: Tuesdays, Wednesdays, Thursdays, and Sundays at 7:30 p.m., Friday and Saturday at 8 p.m., with matinees performances Sundays and selected Wednesdays and Saturdays at 2 p.m. through March 21.
Tickets: $23 — $66. Call 860-527-5151 or visit their website at www.hartfordstage.org.
ACTOR…CHARACTER
Randy Graff
Amy Irving
James Lecesne
April Yvette Thompson

“Bus Stop” at LTM timeless classic

MANCHESTER — Adultery, abduction, pedophilia, alcoholism, and domestic violence without a profane word to be heard can be seen in the timeless classic play “Bus Stop” by William Inge at the Little Theatre of Manchester through Sunday.
This is the first production the Little Theatre of Manchester produced 50 years ago, and, unlike some plays that show their age, this show is still relevant and solid today and a fine community theater production.
Confidently directed by Fred T. Blish, who knows the show well, having played Bo Decker in their original production, this play is set in the 1950s in a Kansas bus stop diner in March during a late winter snowstorm.
As the characters repeatedly and endearingly say, “March sure is coming in like a lion.” There is something comforting and kind about these common colloquialisms which connects the social subconscious of the group of mostly strangers in a strange place.
Those strangers include a ragtag group of bus riders — a lounge singer, a couple of cowboys, and a college professor on the lam. They stumble into period-perfect roadside diner to get out of the cold and have a bite to eat. Their stay is extended due to a snowstorm that is blocking the roads ahead.
Alysa Auriemma plays Cherie, the chanteuse, with wide-eyed bewilderment and lower-class sweetness. She is a young gal in her 20s who has had a rough go of it, coming from a large family in the Ozarks who lost everything in a flood that has left her friendless and penniless in the world.
A naïve but exuberant cowpoke who has just won his first rodeo, Bo Decker, played by Bob Pelletier, “gets familiar” with Cherie and just assumes she is like one of his horses — he wants her and he takes her. He commanders her onto a bus along with his buddy, the older Virgil, with the expectation of marrying her and taking her to live with him on his Montana ranch, whether she wants to or not.
Mike Zizka does a terrific turn playing Virgil the bachelor cowboy who has raised Bo after Bo’s parent’s death when he was 10. There is something so natural and unaffected in Zizka’s expressions and delivery. He’s endlessly compelling and seems like a cantankerous character right out of a Sam Shepard play.
Other characters include the fine Michael Forgetta as the drunken Falstaffian rogue professor, Dr. Gerald Lyman, who has a penchant for underage gals. His “Romeo and Juliet” scene with the high school waitress Elma Duckworth, played with perky intelligence by Trish Urso, is one of the highlights of the show — at once amusing and poignant.
Sara Logan is also natural and real as the sassy down-to-earth diner-owner Grace Hoylard. We learn she is married, but hasn’t seen nor heard from her husband in ages, and is not too upset about that fact. She has a thing for the bus driver, Carl, played with many sly innuendoes by Nick Demetriades.
As Grace explains to Elma, “Every once in a while I gotta have a man or I get grouchy.”
The costumes, by Marge Patefield are age and time appropriate, but why are Bo’s jeans so terribly ill fitting?
As a cowboy and a rodeo dude, those jeans should be tight as tight can be, rather than the strangely baggy, low-inseamed, nondescript jeans he uncomfortably wears. It’s not too late. There are a few shows left. Get that man a pair of tight, sexy wranglers that advertise Bo’s strongest attributes — his animal magnetism and sexual potency — not hide it.

BUS STOP

3 Stars
Location: Cheney Hall, 177 Hartford Road, Manchester
Production: Written by William Inge. Directed by Fred T. Blish. Associate direction by Debi Freund. Sound by John Ryan and Michael Forgetta. Set design by Fred T. Blish and shop crew. Lighting design by Lee Hammitt. Costumes by Marge Patefield. Produced by Michael Forgetta. Stage manager Jim Ryan.
Running time: 2 hours, with one 15-minute intermission
Show Times: Thursday, Friday, and Saturday at 8 p.m. Sunday at 2 p.m. through March 14.
Tickets: $16 — $23. Seniors over 60 and students receive a discount. Call the box office at 860-647-9824, or visit their website at www.cheneyhall.org

ACTOR…CHARACTER
Alysa Auriemma … Cherie
Bob Pelletier … Bo Decker
Trish Urso … Elma Duckworth
Sara Logan … Grace Hoylard
Michael Forgetta … Dr. Gerald Lyman
Mike Zizka … Virgil Blessing
Dave Walton … Will Masters
Nick Demetriades … Carl

“Spring Awakening” eye-opening coming of age musical at the Bushnell

It is hard to imagine that the musical “Spring Awakening” playing at the Bushnell Center for the Performing Arts through Sunday, was based on a play written in 1891 about incest, rape, sadism, homosexuality, suicide, and adolescent love.
What a shock it must have been then in Victorian Germany, because it’s still very edgy today, with nudity and some profanity — needless to say, not for the kids.
The original play was written by Frank Wedekind who was born in San Francisco in 1864 to a young actress and singer, and a much older father who was a physician and political radical. The family moved to Germany where Wedekind became a favorite of the bohemian set, writing “Spring Awakening” when he was only 27 years old.
In the musical the story line follows the play closely with melodic, rock, and pop music, written by Duncan Shiek, with the book and fine lyrics by Steven Sater.
The story is set in a German boys’ school where one boy, the delicate Moritz, played by Taylor Trensch (looking very Edward Scissorhand-like in the first act and rather “Eraserheadish” by Act II) is being crushed under the weight of the rigid, school system and the unyielding, heartless society and “parent-ocracy.”
It’s a world of dog-eat-dog, where the boys are forced to conform or die trying, and the girls are kept ignorant of the facts of life, with dire consequences for everyone.
Melchior, played with indignant curiosity by Jake Epstein, in the song “All That’s Known” sings:
“Thought is suspect and money is the idol. And nothing’s okay unless it is scripted in their Bible.”
He also sings, “It’s a bitch of a living. And living in your head.”
He falls in love with naïve Wendia, played by Christy Altomare, who has a lovely, sweet voice.
She says to Melchior, “What serves each of us best serves all of us best.”
The ensemble of actors all have terrific voices, and sing quite well throughout, but their dancing isn’t quite up to the same level, and most don’t live up to the excellent angular modern dance movements by the award-winning choreographer Bill T. Jones.
At one point I thought they were all auditioning for the television show “American Idol,” so I wasn’t too surprised to learn that Isle was played by “Canadian Idol” finalist Steffi D.
Bad boy Hanschen played by Andy Mientus was a slippery operator, seducing the gullible Ernst, played by Ben Fankhauser.
Some of the boy’s hairstyles were asymmetrical, but this musical would have been even better served, and closer to the heart and soul of the original radical play, with some really wild existential costumes in exuberant punk-rock edginess.
The costumes by Susan Helftery are all bland as bland can be, with a couple stockings rolled down here and there.
The boys are fine in their school uniforms, but why is sexy Ilse wearing a baggy oversized man’s shirt in one scene, and then a shapeless green dress three sizes too big? Not too attractive for a character that is supposed to be a bad girl. And all the girls are wearing really dull pedestrian dresses that could have been so much more interesting.
There are tears and heartache on display by the actors, but musicals have a tendency to cause an emotional disconnect from the interaction, because of the break in the action to sing to the audience, and “Spring Awakening” is no exception.
Still, the music is really gorgeous, such as the beautiful “The Word and Your Body,” “I Believe,” and “The Song of Purple Summer,” giving hope that change and love are possible in this bleak and predictable world.

SPRING AWAKENING

3 Stars
Theater: The William H. Mortensen Hall at the Bushnell Memorial Center
Location: 166 Capitol Ave. Hartford
Production: Music by Duncan Shiek. Book and lyrics by Steven Sater. Directed by Michael Mayer. Choreography by Bill T. Jones. Music director Kimberly Grigsby. Set design by Christine Jones. Costume design by Susan Helftery. Lighting design by Kevin Adams. Sound design by Brian Ronan.
Running time: 2 ½ hours including one 15-minute intermission
Show Times: 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 Sunday Feb. 28.
Tickets: From $15 to $72. Call 860-987-5900 or visit their website at www.bushnell.org.
ACTOR…CHARACTER
Jake Epstein … Melchior
Taylor Trensch … Moritz
Christy Altomare … Wendia
Steffi D … Ilse
Ben Fankhauser … Ernst
Anthony Lee Media … Otto
Andy Mientus … Hanschen
Sarah Hunt … Martha
Gabrielle Garza … Anna
Kimiko Glenn … Thea
Matt Shingledecker … Georg

“Communicating Doors” transporting science fiction play

SUFFIELD — Community theater at it’s best and most raucous can be seen at the Suffield Players in their production of the witty science fiction romp, Alan Ayckbrourn’s “Communicating Doors.”
A little confusing at first, with 20-year time travel for some through a mysterious spinning closet, the play is set in the same London hotel suite in 2024, 2004, and 1984.
In 2024, a dying man, Harold (Brian Rucci) has remorse for the untimely death of his two wives, who previously met their ends by his unscrupulous business partner Julian (Christopher Berrien). In a state of despair, Harold writes a confession and hides it down a drainpipe.
He hires a dominatrix, Phoebe, who goes by the name of Poopay, played by Becky Rodia Schoenfeld, to sign his confession, and tells her the whole sordid tale about his two wives’ untimely deaths — both of whom he learns late in life were murdered by Julian.
When Phoebe asks how he could not have seen a pattern in his partner’s behavior, Harold says they made millions from underhanded business practices, and he chose to ignore the fact that Julian was so evil that he even confessed to murdering his mother.
“I preferred to see the facts as they appeared,” Harold says, and deceives himself that “the version of the truth is the truth itself.”
But now Harold feels guilty on his death bed and wants to make a clean break from his past, writing a confession.
When Phoebe refuses to sign the confession, Harold says in frustration, “My God, an honest whore,” to which she responds, “I am not a whore. I am a specialist sexual consultant!”
Phoebe meets the Julian who learns about his partner’s written confession and does his best to destroy the document and Phoebe.
Unlike many science fiction tales where travelling back in time to change the outcome results in unforeseen dire complications, the manipulations in events here produce positive changes back in the future.
The witty, fast-paced English-accented dialog proceeds at a rapid clip, and the actors are all up to the challenge.
Special notice goes to the excellent Schoenfeld whose Cockney accent could not be better. A previous role elsewhere as Eliza Doolittle in “My Fair Lady” was great training for her role in “Communicating Doors.”
Also very fine is Mary Fernandez-Sierra as the second wife, Ruella. The scenes with Fernandez-Sierra and Schoenfeld feel natural and true.
As with any theater production, it is a team effort, but this show is exceptional for it’s creative time-traveling closet that worked every time, with special recognition due to technical director Jerry Zalewski, stage manager Dorrie Mitchell, and production manager Konrad Rogowski, with sound design and operations by Dana T. Ring.
As a side note, the Suffield Players recently had to replace the furnace at their historic Mapleton Hall, incurring unexpectedly large expenses. They are hoping to raise $10,000 to help cover their costs, and are looking donations. For further information visit their website or contact them at 860-668-8037.

COMMUNICATING DOORS

3 Stars
Location: Mapleton Hall, 1305 Mapleton Ave. Suffield.
Production: Written by Alan Ayckbourn. Directed by Dale T. Facey. Assistant direction by Sharon FitzHenry. Stage manager Dorrie Mitchell. Assistant stage manager Bob Williams. Backstage crew Larry Andersen. Technical director and lighting design by Jerry Zalewski. Production manager Konrad Rogowski. Costume design Rebecca Murray. Set design by Christopher Berrien. Sound design and operations by Dana T. Ring.
Running time: 2 ½ hours, plus a 15-minute intermissions.
Show Times: Friday and Saturday at 8 p.m. through March 6.
Tickets: $17, $15 for seniors and students. Not recommended for young children, because of some adult situations. Call 860-668-8037 or visit their website at www.suffieldplayers.org.
ACTOR…CHARACTER
Becky Rodia Schoenfeld … Poopay/Phoebe
Mary Fernandez-Sierra … Ruella
Brian Rucci … Harold
Christopher Berrien … Julian
Rayah Martin … Jessica
Allen Nott … Reece

“RENT” rocks at the Broad Brook Opera House


EAST WINDSOR — The Connecticut non-professional premiere of RENT at the Broad Brook Opera House, the award-winning rock opera, is full of energy, passion, intensity, and love, performed by a strong, diverse, and talented cast.
The story is based on the Puccini’s opera “La Boheme” about young bohemian artists living in New York City around 1997 at the height of the AIDS epidemic. A narrator and filmmaker, Mark, played by Thomas Jon Creatore, guides the audience through the complex relationships of his friends, many of who have AIDS.
It’s a bit of a soap opera with lots of relationship twists and turns. Fortunately the show’s program has a helpful flow chart, showing the links between partners. Mark’s roommate Roger is struggling with his girlfriend’s suicide, who killed herself because she had AIDS, which Roger (Tom Knightlee) also contracted presumably from former drug use.
They are freezing in their tenement and can’t afford to pay the rent, hence the title of the musical. They owe rent money to a former roommate, now landlord, Benjamin Coffin III, played by Wayne Crow, who is threatening to evict them all.
Roger’s neighbor, Mimi Marquez (Gia Wright) a dancer and junkie, also suffers from AIDS. Mimi and Roger become a couple eventually, singing the lovely, flirtatious “Light My Candle.”
Mark’s former girlfriend, Maureen Johnson, (Erica Lindblad) a performance artist, has hooked up with a woman, Joanne Jefferson (Nicole R. Giguere) a producer.
Another friend and former roommate who also has AIDS, Tom Collins, (Christopher deJongh) is mugged on the streets of New York. Later he is rescued by a kind street performer and drag queen Angel Dumott Schunard (Giovannie ‘Deseo’ Mendez.)
All the performers are well-cast and excel in their given roles. Wright’s Mimi is a limber, excellent dancer, weaving in and out of the railings, and has a strong piercing singing voice that stands out when she sings “Out Tonight.” Fine choreography by Todd Santa Maria, on a solid set designed by Peggy Messerschmidt.
The lyrics and music by Jonathan Larson are soulful and fine, such as when Mimi sings to Roger “Let’s find a bar so dark we forget who we are.”
Whether he is singing quietly or belting out a tune, Knightlee can always be heard, is articulate, and has a beautiful, emotional voice. Some other performances are difficult to understand at times, which can perhaps be attributed to the uneven sound system, which had some feedback issues Saturday.
Although she had a small role, Melissa Paul’s solo in “Season’s of Love” that kicks off the second act is amazing and powerful, supported by the terrific ensemble cast.
The ensemble really do a super job bringing it all together, and extra nice is the four who play the parents and sing the acappella “Voice Mail #5.”
With profanity, talk about drugs, and simulated sex acts, this show is inappropriate for children.
Mendez, as the drag queen, is fantastic, with energy to spare, jumping on and off tables in remarkably high-heeled shoes and terrific costumes, (costumes by the multi-talented Creatore, who also assisted with the choreography.)
Creatore and Nicole R. Giguere as Joanne Jefferson, Maureen’s new lover do a fine rendition of “The Maureen Tango,” lamenting their shared mistreatment by the darling diva, played with sassy energy by Lindblad, who has her own showstopper with “Over the Moon.”
Director Philip V. DeVito works wonders with a small stage and a large cast of 16 members. At times DeVito has some characters that are not in the action or dialog sitting on stage, which is distracting.
Tickets to the show are selling so well that they have extended their run through March 7.
It seems odd to think of RENT as a dated show. Although AIDS is as serious a health threat as ever, it isn’t what it once was. Still the show has a lot to say about all kinds of love — gay, lesbian, heterosexual, and also about family and finding one’s way in the world.

RENT

3½ Stars
Theater: Opera House Players
Location: 107 Main Street, Broad Brook
Production: Music, lyrics and book by Jonathan Larson. Direction by Philip D. Vetro. Musical direction by Angela Klimaytis. Choreography by Todd Santa Maria. Lighting designer Roy Ryzak. Sound design by Avitra, Inc. Costumes and additional choreography by Thomas Jon Creatore. Set designer Peggy Messerschmidt.
Running time: 3 hours, with a 15-minute intermission
Show Times: Friday and Saturday at 8 p.m., Sundays at 2 p.m. through March 7.
Tickets: $20, $16 for seniors over 60. Definitely not recommended for children due to language and adult situations. Call 860-292-6068 or visit their website at www.operahouseplayers.org
ACTOR…CHARACTER
Thomas Jon Creatore … Mark Cohen
Tom Knightlee … Roger Davis
Gia Wright … Mimi Marquez
Christopher deJongh … Tom Collins
Erica Lindblad … Maureen Johnson
Nicole R. Giguere … Joanne Jefferson
Giovannie ‘Deseo’ Mendez … Angel Dumott Schunard
Wayne Crow … Benjamin Coffin III
Stacy Constantine, Melissa Paul, Jessica Cutino, Aslynn Brown, Joseph J. Martin, Mike King, Stephen Jewell, Dallas Hosmer … ensemble

Phenominal “The Lion King” at the Bushnell

HARTFORD — Pounding rhythms intertwine with one visual feast after another almost overwhelm the senses in the stunning, awe-inspiring, spectacular multi-award winning production of Disney’s “The Lion King,” returning once again to the Bushnell Center for the Performing Arts through Valentine’s Day.
Directed, with costumes, masks and puppets by the inimitable Julie Taymor, the creativity of this film-to-play musical is unsurpassed and is an event that defies superlatives.
The colors and variety of tiny, life-sized, and over-sized animal puppets, flamboyant and gorgeous costumes, and huge, glorious sets, by Richard Hudson, are fantastic and breathtaking.
The story, however, is one of the least compelling aspects of the musical. A spoiler alert — don’t read any further if you want to see the ending for yourself.
A lion cub named Simba is born and the heir apparent as the next king of the jungle, (the young Simba played on alternate nights by Elijah Johnson, Jerome Stevens Jr., and the older played by the energetic Andre Jackson).
Simba’s uncle, Scar, (a fantastic Brent Harris) is not happy about the situation, feeling he should be king, rather than his stronger brother, Mufasa, played by Dionne Randolph.
Scar manipulates the young Simba into dangerous situations, once in the Elephant graveyard where he barely escapes being eaten by the nasty hyenas, who are Scar’s henchmen.
The second time Scar says he has a surprise for Simba that is “to die for,” and places him in the midst of a wildebeest stampede, where he once again escapes with his life, but this time his father, Mufasa, does not.
Simba runs away and hooks up with a couple of kooky characters, Timon the meerkat, played by the fine and funny Tyler Murree, and the flatulent warthog, Pumbaa, played by Ben Lipitz.
Simba grows up and returns to his pride, where the evil Scar has made a royal mess of things. The young lion sets things aright once more, and hence the circle of life continues.
A story like this is only as good as the evil protagonist is bad, and Harris is really, really bad, in a very good way. Hopefully he took it as a compliment when during the curtain call Friday he received some boos along with applause.
Scar’s costume was an exaggerated and uniquely stylized Japanese Kabuki-like outfit with an elaborate rope bodice.
Scar and Mufasu’s remarkable moving lion facemasks are a marvel of engineering and innovative in the way that they drop into full view and then retreat, with masks and puppet design by Taymor and Tim Curry.
Taymor brilliantly blends humans with life sized and larger-than-life puppets, in the tradition of 16th century Bunraku Japanese puppetry, which allow for the facial expressions of the human actors with their puppet counterparts.
She also incorporates the shadow puppet traditions of Indonesia, when showing the creatures moving about in the distance.
Songs by the inimitable Elton John and Tim Rice, such as “Can You Feel the Love Tonight?,” “Circle of Life,” and “Hakuna Matata,” while crowd-pleasers, are a bit cliché at this point. The real appeal is the fabulous African music and dancing.
Rafiki, the terrific baboon shaman, played by the riveting and mesmerizing Phindile Mkhize, opens and closes the show with a voice that is striking, unique, and unforgettable.
The real stunner about “The Lion King” is how Taymor and company are able to pull off the sheer magnitude of this production, with 143 cast and crew members, 25 types of puppet animals (including giraffes, zebras, antelopes elephants and a rhino), and 200 puppets, combined with first rate athleticism and graceful choreography. Garth Fagan is the choreographer.
Also astonishing is how the fragile and delicate costumes and creatures seem, yet how functional and durable they are to withstand constant use and movement.
“The Lion King” is perfect pageantry for all ages and is a phenomenon that exceeds all expectations.

THE LION KING

4 Stars
Theater: The William H. Mortensen Hall at the Bushnell Center for the Performing Arts
Location: 166 Capitol Ave. Hartford
Production: Directed by Julie Taymor. Choreography by Garth Fagan. Music and lyrics by Elton John and Tim Rice. Scenic design by Richard Hudson. Allers and Irene Mecchi. Costumes by Julie Taymor. Book by Roger Lighting design by Donald Holder. Masks and puppet design by Julie Taymor and Michael Curry. Sound design by Steve Canyon Kennedy.
Running time: 3 hours including 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 at 2 p.m. and Sunday at 1 and 6:30 p.m., through Feb. 14.
Tickets: From $20.50 to $128. Call 860-987-5900 or visit their website at www.bushnell.org.
ACTOR…CHARACTER
Phindile Mkhize … Rafiki
Dionne Randolph … Mufasa
Brent Harris … Scar
Andre Jackson … Simba
Marja Harmon … Nala
LaShanda Reese-Fletcher … Sarubi
Tony Freeman … Zazu
Tyler Murree … Timon
Ben Lipitz … Pumbaa
Elijah Johnson, Jerome Stevens Jr. … Young Simba
Jamariana Tribble, Madai Monica Williams … Young Nala

“The Lady With All the Answers” is all about connections

HARTFORD — Sometimes plays with just one actor can get tiresome, but this is not the case with the terrific, insightful, and entertaining comedy “The Lady With All the Answers,” about the life and times of columnist Ann Landers, by David Rambo, at TheaterWorks, running through Mar. 7.
Charlotte Booker plays the perky, practical, and down to earth homey woman with forthright directness, and just the right mid-west twang to her speech.
Set in 1975 in Lander’s cozy 1960s furnished living room, with sets by Adrian W. Jones, she invites you to learn all about her fascinating life, from her marriage to Jules, a man she knew for three months before wedding to her eventual divorce. All under the auspices of her simultaneously compiling chapters for her book.
We learn that Ann Landers real name was Esther Pauline Lederer, and her identical twin sister, Pauline Esther Lederer, started her advice column “Dear Abby” about six months after Esther.
Landers says that her sister helped her for a few months with her mail. “She was a quick study,” Landers says, with just enough edge to her voice to let you know she is perturbed, but is too much of a lady and too positive a person to bellyache about it.
We also learn that Hugh Hefner, also from the mid-west, would put on a suit only for his mother and Landers when she would visit the Playboy mansion.
“I’m a square, but I’m no prude,” she says, at one point in her career appearing on a local television show with Linda Lovelace, and spoke of the infamous porn film in direct and graphic terms.
If this play is any indication, Landers was one amazing powerhouse. Having made useful connections in Washington, D.C. early on, she used her rolodex to contact experts, such as getting a supreme court judge to give his opinion on one woman’s question of who owns the walnuts that fall onto one property from the tree on another.
“I always defer to the experts,” Landers says, and through the years, and thousands of letters, she became something of an expert in the American cultural herself.
There are probably as many reasons why we go to plays as there are people who attend shows, but for me, it is all about making connections.
Landers was also all about making connections, and helping others — personally reading and answering every single letter sent to her, whether it was published or not — No small task when she regularly received thousands of letters each week, most of which we learn she read while soaking in a bubble bath.
Booker is simply amazing and top notch with her conversational tone and convincingly, confident, approachable demeanor, assuredly directed by Steve Campo.
Her speech is peppered with amusing and corny sayings, such as: “I needed that like a giraffe needs strep throat.”
When she met her husband-to-be, Jules, a salesman in the bridal section of a department store, who eventually founded Budget Rental Cars, she says: “October 1955 — A date that will live in intimacy.”
We learn that this mid-west “everywoman” became a vocal advocate for abortion rights, gay rights, and was passionately opposed to the Vietnam War.
It’s difficult to imagine today, but before Landers, the word “homosexual” was not printed in newspapers she says.
She was also not into self-aggrandizement. Knowing Hubert Humphrey, who was vice president at the time, she visited military hospitals in Vietnam. There she sat with thousands of wounded men, took down their messages, and when she returned home she made over 2,500 telephone calls to their loved ones. She never publicized her actions, however, saying only “it just didn’t feel right.”
Even when her husband of 36 years left her for a woman younger than her daughter, Landers was dignified, positive, honest, and loving. Not that she was a martyr or a wimp either. Ever the mid-west practical gal, she recognized that perhaps because of their busy lives they lost their connection.
Landers never lost her connection or her concern with her public, though, and it’s fascinating to hear all about it in this marvelous, insightful, endlessly satisfying play.

THE LADY WITH ALL THE ANSWERS

4 Stars
Theater: TheaterWorks
Location: 233 Pearl St. Hartford.
Production: Written by David Rambo. Directed by Steve Campo. Sets by Adrian W. Jones. Costumes by Kenneth Mooney. Lighting by Mary Jo Dondlinger. Sound by Mike Lastella.
Running time: 95 minutes with one intermission.
Show Times: Tuesdays, Wednesdays, and Thursdays at 7:30 p.m. Fridays and Saturdays at 8 p.m. Saturday and Sunday matinees at 2:30 p.m. through Mar. 7.
Tickets: Unassigned seating is $39; $49 on Friday and Saturday nights. Center reserved seats $12 extra. $12 student rush tickets at show-time with valid identification (subject to availability). For tickets call 860-527-7838 or visit their website at www.theaterworkshartford.org.
ACTOR…CHARACTER
Charlotte Booker … Ann Landers
By Kory Loucks
Journal Inquirer

“Gee’s Bend”at Hartford Stage glorious celebration of life

HARTFORD — Often plays that trace historic events can be meaningful, but allegorical and dry. That is not the case with the brilliant and beautiful “Gee’s Bend” by Elyzabeth Gregory Wilder, running at the Hartford Stage Company through Feb. 14.
This musical drama follows the life of four black women, played by three actors, and one black man from 1939 through 2002 in the very real Gee’s Bend, Alabama where Martin Luther King came to speak.
It traces the Civil Rights ground roots movement where marchers were attacked by police with gas, clubs, and whips in what became known as Bloody Sunday in 1965, as well as other historic events leading to significant social changes.
The remarkably talented actors transition from young teenagers to middle-aged adults to elderly people seamlessly.
Sadie, played by Kimberly Hebert Gregory, starts out as a naïve 15-year-old who falls in love and marries an older man, Macon, played by Teagle F. Bougere.
Macon buys land thanks to low interest loans that were offered by the federal government and they start a family, which follows actual historic events.
At one point later in the play they speak of moving up north to Bridgeport, Conn., to escape the very real threat of violence in the south.
Sadie has a sassy sister who loves to sing and not do too much else, Nella, played by Tamela Aldridge. She is the comedian of the family and is witty even in the direst situations, providing much-needed comic relief.
Miche Braden plays Alice, the mother of Sadie and Nella. She also plays Sadie’s adult daughter much later in the play, and is the musical director and arranger for “Gee’s Bend.”
The women of “Gee’s Bend” make hand-sewn quilts from scraps of material that eventually become collector’s items, with additional quilts designed by Michael Schweikardt.
Nella, who doesn’t sew, says, “These white folks are paying a lot of money for our trash.”
In fact, the real quilts by the real women of Gee’s Bend were displayed in an exhibit at the Houston’s Museum of Fine Arts in 2002, and have been recognized as works of art, according to the terrific program accompanying the play.
At times the drama seems somewhat like the 1985 film-turned-musical, “The Color Purple” particularly when the husband, Macon, tries to reel in his woman, “for her own good,” and traces the personal growth of Sadie as the lead character in the movie, Celie, does.
The music is fantastic, ranging from soulful gospel and evolving to contemporary music, tracing the time progression of the play, with original music and sound design by “Broken Chord Collective.”
This fine play is more than just words — it is a collaborative process, confidently lead by director Hana S. Sharif.
Visually compelling and arresting, the apparently simple set designed by Scott Bradley is a visual dream, with a multi-layered quilt-like background that has a symbolic river, beautifully rendered, undulating through it.
The lighting, designed by Lap Chi Chu, works with silhouettes, and is perfectly complimentary to the set, particularly when the rippling water reflects off the quilt-like back drop and the stark orange glow highlights the two sisters and daughter near the end.
“Gee’s Bend” celebrates the perseverance, hope, and artistry of the human spirit, and is a moving tribute to Martin Luther King and the Civil Rights Movement.

“Lil’s 90th” at Long Wharf a poignant, touching cautionary tale

NEW HAVEN — In a poignant and surprisingly tense production of the world premiere of “Lil’s 90th” by Darci Picoult, it is just as the title suggests, a celebration of Lil’s 90th birthday.
Lillian is played by veteran actress Lois Smith, who is no stranger to stage and screen, have performed in all mediums since the 1950s.
Smith was locally last seen at the Hartford Stage Company’s production of Horton Footes “Dividing the Estate.”
She plays a homemaker living in New York City, who decides rather than just having a birthday party to make her stage cabaret debut in a club, during their “early bird” hours, and sing some ditties with her husband Charlie (David Margulies), accompanied by her grandson, Tommy (Nick Blaemire), and his girlfriend Deirdre (Lucy Waters.)
Margulies and Smith are real life companions, which doesn’t hurt the chemistry between the two actors one bit.
The characters clearly love and care for each other, including Charlie and Lil’s frazzled adult daughter Stephanie, played by Kristine Nielsen, Tommy’s mother. That close-knit dynamic lulls you into a comfortable complacency that makes you care for this family.
Without giving too much of the plot away, the play deals with Charlie’s progressing Alzheimer’s disease, and the havoc, leading to serious life-altering ramifications, it can create when his ability to reason starts to slip.
In the play Charlie, who takes great pride in having been the only wage earner in the family, has a surprise up his sleeve as a special gift for Lil, which really speaks more of him, rather than allowing her the limelight.
“She never had to work a day in her life,” Charlie says with pride more than once.
It’s a beautifully and gently realized character study, and Picoult captures the tension and dismay when Charlie’s actions start going terribly wrong and there is little that those who love and care for him can do about it — But love him they do.
Margulies’ Charlie made his living in the garment industry and when he puts on a dapper suit, he looks smashing, with costumes by Ilona Somogyi. He has an elfin, irresistible charm and beguiling charisma that is riveting, making Lil’s love and tolerance for his erratic behavior understandable.
Smith’s Lil, who is a dynamo herself, confesses at one dark point that she saw the changes coming, but they came on so slowly she hardly noticed, and admits that she didn’t want to see them either.
Blaemire’s Tommy steps up to the plate and speaks out directly in frustration about the desperate problems Charlie has created in a way that his mother and grandmother won’t.
Blaemire has a fine singing voice, and its fun to see his band-mate, the lithesome Neilson as Deirdre, and Blaemire’s Tommy accompany Lil on guitar, violin, and keyboard to some old-time musical numbers.
Neilson and Charlie have an interesting scene together when she agrees to watch Charlie and explains to him how a cell phone works, but it is tinged with anxiety too with Charlie’s unpredictable behavior.
Most of the play is set in a New York apartment, with a bedroom, living room, and kitchen that looks like nothing has changed in 50 years, by Frank Alberino.
Directed by Jo Bonney, the actors move comfortably about the oddly shaped wide stage in Long Wharf’s Stage II.
The only problem with “Lil’s 90th” is that Smith appears too youthful and vibrant at first to play a 90-year-old woman, but as the play progresses she becomes more frail and fragile.
“Lil’s 90th” is a gentle late-life love story and cautionary tale well worth experiencing.

LIL'S 90TH

3 Stars
Location: 222 Sargent Drive, New Haven
Production: Written by Darci Picoult. Directed by Jo Bonney. Musical director Erin Hill. Set design by Frank J. Alberino. Costume design by Ilona Somogyi. Lighting design by Lap Chi Chu. Sound design by Jill Duboff.
Running time: 2 hours including 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. 7.
Tickets: $30 to $65. For more information call their box office at 203-787-4282, or visit their website at www.longwharf.org
ACTOR…CHARACTER
Lois Smith … Lil
David Margulies … Charlie
Kristine Nielsen … Stephanie
Nick Blaemire … Tommy
Lucy Waters … Deirdre

“In the Heights” heartwarming city tale

HARTFORD — The most unexpected reality of living in a big city like New York is the old fashioned small town feeling you get from spending so much time seeing your neighbors face to face each day, rather than passing them from behind the wheel of a car in the suburbs.
This close-knit experience is evident in “In the Heights,” the 2008 Tony award-winning musical with an exuberant Latino twist, running at The William H. Mortensen Hall at the Bushnell Memorial Center through Sunday.
The story is a heart-felt, touching look at a Latino community’s every day struggles with family, money, and relationships.
The plot has a couple threads, with one girl, Nina, the first in her family to go to college, having difficulty with her first year at Stamford University, and struggling with the culture clash.
She tells a friend that when the college students say they are going to their cabin in the woods, it is a code word for “mansion.”
Nina is played by Arielle Jacobs who has a real college coed look about her and a lyrical but surprisingly strong sound. She falls for Benny, played by the energetic and powerful Shaun Taylor-Corbett.
Another is the orphaned Peurto Rican owner of a deli, or corner bodega, the rapper Usnavi, played by the fine Kyle Beltran. He’s shyly in love with the sexy Vanessa, played by Yvette Gonzalez-Nacer, who has troubles of her own with her drug-addicted mother.
There’s plenty of Spanish mixed in with the predominantly English lyrics and dialog, giving the musical an authentic feeling, however there isn’t much talk of drugs and crime except when there is some looting during a city blackout.
The matriarch of the neighborhood is Abuela Claudia, convincingly played by Elise Santora, who can belt out a tune to match the younger performers.
She says when she sees Nina, “You are the watermelon of my heart.”
Rap isn’t really my thing, and there’s a lot of rapping in this show. I find it stressful to listen to. Sometimes the words spill out so fast when Beltran’s Usnavi gets rolling, there’s no telling what’s been said, particularly in the beginning until I adjusted my ears to a faster-than-usual pace.
But it isn’t all rap and there are some lovely ballads and slower paced songs, such as “Everything I Know” sung by Nina.
Gonzalez-Nacer has a fine alto sound which she gets to show off in songs like “It Won’t be Long Now.”
“In the Heights” was conceived with words and lyrics by former Wesleyan student Lin-Manual Miranda, who grew up near Washington Heights, in northern Manhattan. He was raised on theater and musicals there.
The set by Anna Louizos really looks like an ungentrified New York neighborhood, and has the height with the four-story brick facades that fill the Bushnell’s spacious stage.
The choreography with it’s salsas, hip hop, and jazzy syncopated rhythms reminded me of those dance competition television shows, so it wasn’t much of a surprise when I learned that Andy Blankenbuehler, the choreographer who won a 2008 Tony Award for “In the Heights” is a guest choreographer for the TV show, “So You Think You Can Dance.”
The costumes are a fabulous riot of brilliant, festive colors, by Paul Tazewell, brightening up a drab winter night, while the fireworks are well done, with sound by Acme Sound Partners and lighting by Howell Binkley.
The musical is set in the heat of the summer over July 4th — a welcome treat during these freezing, dark days of winter. So come in out of the cold and heat up with “In the Heights.”

Goodspeed’s “Emmet Otter” becoming a holiday tradition

EAST HADDAM — Back by popular demand, Jim Henson’s “Emmet Otter’s Jug Band Christmas” makes it’s second appearance in as many years at the Goodspeed Opera House, running through Jan. 3.
Adapted from the 1980s HBO television special featuring the Jim Henson puppets, this production uses a combination of animal puppets and actors dressed as the animal menagerie, set to music.
The plot is a sweet but light tale of a magical world where animals talk and deal with their day to day travails. A father and daughter who have just lost wife and mother are sharing their first Christmas together without her.
The well-meaning dad, played by Stephen Bienskie, (who also plays a mean rocking ACDC-like weasel), tries to be both dad and mom, while pre-teen Jane, played by the adorable Meg Guzulescu, dressed in Hanna Anderson togs, wants to hang with her friends.
They find the children’s book that the mom gave to Jane when she was just baby, and dad starts reading about the fantasy world of Frog Town Hollow.
In this magical place a mom otter, played by Kathy Fitzgerald, and her son, Emmet Otter, the fine, dimpled Justin Bohon, are struggling to put food on the table, but want to give each other a special Christmas gift, as in O’Henry’s “Gift of the Magi.”
Emmet wants to buy his mom a used piano and joins a jug band, while mom otter wants to buy her son a beautiful guitar.
The show kicks off with the two in a rowboat, Emmet rowing and the two singing the funny duet “The One Bathing Suit.”
In this show the colorful costumes are as much a character as the actors are, with oversized buttons and a riot of rainbow colors, textures, and designs, by the talented Gregg Barnes, which are cheerful and bright. The set, by Anna Louizos, features ingenious folding walls that quickly convert from outside to in, and oversized pine trees.
While the full-sized characters are busy working on putting on a talent show, the little critters, including the goofy flying squirrels, an owl, ducks, rabbits, a frog, and other sundry puppet animals, adding lots of silliness and comic touches. Without giving too much away, watch for the deer in the headlights and some awfully corny jokes.
Guzulescu is sweet, but really comes into her own when she sings with the kooky four flying squirrels, and clearly has a fun time with the little fury creatures.
The talent show is a delight, with Squirrel-batics, Der Field Mouse, the song Bar-b-que, Rabbit-tastic, the fabulous Mrs. Mink, played by Jill Abramovitz, doing a minkish strip-tease in the song “Born in a Trunk,” and more.
My favorite song is the rousing ballad, “When the River meets the Sea,” which is reprised a couple times, with songs written by Paul Williams.
Here’s hoping that this show continues to be a Goodspeed holiday tradition for years to come.

EMMET OTTER'S JUG BAND CHRISTMAS

3 Stars
Location: Goodspeed Opera House, Route 82, East Haddam
Production: Music and lyrics by Paul Williams. Book by Timothy A. McDonald and Christopher Gattelli, based on the book written by Russell and Lillian Hoban. Directed and choreographed by Christopher Gattelli. From the original television special produced and directed by Jim Henson and written by Jerry Juhl. Musical direction by Larry Pressgrove. Scene design by Anna Louizos. Costume design by Gregg Barnes. Lighting design by Brian MacDevitt.
Running time: 2 hours including one 15-minute intermission
Show Times: Wednesday Dec. 23 and 30 at 2 and 7 p.m.; Thursday Dec. 17, Friday Dec. 18 and Saturday Dec. 19 at 7 p.m.; Sunday Des at 12 p.m. and 4 p.m.; Christmas Eve and New Year’s Eve at 12 p.m.; New Year’s Day at 2 p.m. through Jan. 3. There are no performances Dec. 25.
Tickets: $39 — $59. Call the box office at 860-873-8668 or visit their Web site at www.goodspeed.org
ACTOR…CHARACTER
Meg Guzulescu … Jane
Justin Bohon … Emmet Otter
Kathy Fitzgerald … Mrs. Alice Otter
Lisa Howard … Mrs. Gretchen Fox
Thomas Cannizarro … Mayor Harrison Fox
Jill Abramovitz … Mrs. Mink
Stephen Bienskie … Russ/ Stan Weasel
Jennifer Barnhardt … Madam Squirrel

Athol Fugard’s World Premiere of “Have You Seen Us?” at Long Wharf is a fine, nuanced production

NEW HAVEN — I once knew a man who had a son who could feel no pain and almost died when his appendix burst and he didn’t know it.
Pain, either physical or emotional, is often considered anathema in our society as something to avoid like the plague and ignored or denied sometimes with the assistance of drugs or alcohol. But without some discomfort and pain we would miss out on growth and the possibility of change and transformation into wiser and more fulfilled individuals.
In Athol Fugard’s world premiere of “Have You Seen Us?” at the Long Wharf, Sam Waterston plays a bitter South African emigrant, Henry Parsons, who is living a lonely isolated life in Southern California. His only relationship is a love/hate one with an illegal alien from Mexico, Adela, who is a waitress at a coffee shop, played by Liza Colon-Zayas.
Colon-Zayas is quite good as the no nonsense earthy woman, but for some reason Colon-Zayas stares into the audience at times, which is somewhat unnerving.
She also doesn’t have enough independent activities to keep her occupied. How many times can you sweep the floor and clean off the table? She would be better served if she had some soup to prepare or another cooking activity while Waterston’s Parsons is chatting away with his fine Africaan accent.
It is not an easy one, that accent, and Waterston seems uneasy with it as he opens the play, but as it continues, he comes into his own. This play with its small cast is made or destroyed by the sensitivity of the actors, and make no mistake about it, Waterston is the heart and soul of this show, and he is riveting. He is aided in part by his shock of gray hair, which is almost a character on it’s own.
It’s easy to like a likable person, but Waterston makes the angry, mean, and often nasty Parsons compelling and intriguing. When he sings his alma mater’s Africaan school song, his face erupts with constantly changing and mesmerizing expressions that I could not stop watching, showing such life and pain and heartbreaking nostalgia that speaks far beyond words to deep understanding. It is beautiful and will make you fall in love with this lovely play.
Waterston’s Parsons is a college professor, estranged from his ex-wife and daughter, and intensely anti-Semitic. This suppressed belief rises to the surface when he wishes a couple Merry Christmas and the man, Solly, responds, “Thank you, but we are Jewish.”
Solly is played by Sol Frieder, who slowly enters the stage with his wife Rachel, played by Elaine Kusack. They were so believable that when they entered the stage from the hallway, I first thought the elderly couple were late-arriving audience members interrupting the show.
The two have a quiet, sweet dignity and tenderness that is touching, and flies in the face of Parson’s barely contained contempt.
Not only does the play examine blind prejudice, but it also explores the nature of alcoholism as well as the cultural vapidity created by the expedient strip malls.
I know that friends of Bill would take issue with me, but I don’t like Alcohol Anonymous’ tenant “once an alcoholic, always an alcoholic.” I realize AA has helped millions, but I hate labels of any sort, especially the negative ones, and it saddens me that people carry that negative stereotype about themselves throughout their lives as a way to stay away from drinking their problems away.
It was only last year that I saw another of the prolific Fugard’s world premiere “Coming Home” and I was not impressed. But now with “Have You Seen Us?” I understand what all the fuss over Fugard is about.
This is a beautiful and beautifully produced show that takes an indirect and unsentimental look at the transformational grace of redemption and forgiveness.

HAVE YOU SEEN US?

3 1/2 Stars
Location: 222 Sargent Drive, New Haven
Production: Written by Athol Fugard. Directed by Gordon Edelstein. Set design by Eugene Lee. Costumes by Jennifer Von Mayrhauser. Lighting by Stephen Strawbridge. Sound design by Corrine Livingston. Dialect coach Stephen Gabis. Stage manager Jason Kaiser.
Running time: 1 hour 20 minutes with no intermission.
Show Times: Tuesday, Wednesday, and Sunday at 7 p.m., Thursday, Friday, and Saturday at 8 p.m., with Wednesday and Sunday matinee at 2 p.m. and Saturday matinee at 3 p.m. through Sunday, Dec. 20.
Tickets: $42 to $72. For more information call their box office at 203-787-4282, or visit their website at www.longwharf.org
ACTOR…CHARACTER
Sam Waterston … Henry Parsons
Liza Colon-Zayas … Adela
Sol Frieder … Solly
Elaine Kussack … Rachel

HSC’s “A Christmas Carol” a familiar, comforting holiday treat

3½ Stars
Location: Hartford Stage Company, 50 Church Street, Hartford.
Production: Story by Charles Dickens. Adapted and directed by Michael Wilson. Choreographed by Hope Clarke. Scenic design by Tony Straiges. Lighting design by Robert Wierzel. Original music and sound design by John Gromada. Music director Ken Clarke. Youth direction by Carleigh Cappetta.
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 Friday, Dec. 25; Matinee performances are Saturdays and Sundays at 2 p.m. with additional 2 p.m. matinees on Dec. 24, 28, 29, and 30, and additional 7:30 p.m. performances on Dec. 3, 20, and 27.
Tickets: $25 — $66. Children 12 and under save $10. Call 860-527-5151 or visit their website at www.hartfordstage.org.
ACTOR…CHARACTER
Bill Raymond … Ebenezer Scrooge
Bill Kux … Ghost of Jacob Marley, Mrs. Dilber
Robert Hannon Davis … Bob Cratchit
Michael Bakkensen … Fred, Scrooge at 30
Allen Rust … Spirit of Christmas Present, Bert, Mr. Fuzziwig
Johanna Morrison … Spirit of Christmas Past, Bettye Pidgeon
Robert Patrick Sheire … Mr. Marvel
Himself … Spirit of Christmas Future
Rebecka Jones … Mrs. Cratchit
Natalie Brown … Mrs. Fezziwig, Fred’s sister-in-law
Nafe Katter … first solicitor and undertaker
Gustave Johnson … Second solicitor
Michelle Hendrick … Belle, Fred’s wife
Patrick Morrisey … Scrooge at 15
Rebecka Jones … Martha Cratchit
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HARTFORD — Even if you are the most generous, giving soul around, its comforting and helpful to remember the true meaning of the holiday season, the gift of loving and the knowledge that the more you give, the more you get back.
That timeless message is always a welcome reminder, and one the keeps audiences coming back year after year to the Hartford Stage Company’s production.
The ageless Charles Dickens’ tale is about a miserly, bitter, old wealthy man, Ebenezer Scrooge, played by the exuberant Bill Raymond, who loves money more than anything or anyone in the world.
As most know, Scrooge treats his one employee, Bob Cratchit, played with sympathy by Robert Hannon Davis, terribly — refusing to allow him any heat while he works, and begrudges giving Cratchit his one paid Holiday a year — Christmas Day.
Cratchit has a large family to support, and one sickly young boy, Tiny Tim, who is sickly and needs medical assistance the family cannot afford.
It turns out Scrooge wasn’t always such a bad guy in his formative years.
On Christmas Eve Scrooge falls asleep and in his dream has a visit from his former business partner, Jacob Marley, played with dramatic misery by the wonderful Bill Kux.
Marley tells Scrooge he must change his ways or when he dies he will be doomed to the same eternal suffering in the hear-after that he is experiencing.
Next comes three different ghosts, the ghost of Christmas past, the ghost of Christmas present, and the Ghost of Christmas future. The three guide him from his sad neglected childhood to the present, where he hears what others really think of him, good and bad, and then to the future, after he is dead.
Raymond’s Scrooge is meaner and nastier than he was two years ago when he last graced the stage and that is a very good thing. In the 2007 production, he just wasn’t awful enough, making his transformation less meaningful then, but that isn’t the case this year.
The flying and thumping white ghosts that open the show have blank white masks for faces, grotesque movements, and rattling chains continue to be deeply scary, and far too real for children under 8-years-old.
Even for those desensitized kids who can watch the grossest events on the television have a difficult time with this show, because theater is more immediate and visceral.
The original music by John Gromada continues to work beautifully to fully realize the horrific future that awaits Scrooge if he continues on his miserly path.
One of the elements that make Dicken’s tale such a timeless one is the possibility of change and redemption, no matter what our past has been, and that we all have the power to make our lives more beautiful and meaningful.
There’s nothing new here, but, with fine solid direction from Michael Wilson, there’s no need to mess with a very good thing.

“Shakespeare’s R&J” the gay Romeo and Juliet at TheaterWorks

HARTFORD — Young passion, forbidden love, tragedy, and self-discovery are all intertwined in “Shakespeare’s R&J” — a provocative, energetic all male adaptation of Shakespeare’s famous tragedy of star-crossed lovers at TheaterWorks.
I hope I’m not spoiling the ending for anyone by saying that in this play as in the original, Romeo and Juliet don’t make it out alive. In this show adapted by Joe Calarco, a group of four students read Shakespeare’s “Romeo and Juliet” a la “Dead Poet’s Society.”
They start out using the script and then evolve into acting the parts, sans costumes, wearing their gray school uniforms throughout.
The story of Romeo and Juliet is about two teenagers who meet and fall instantly in love. Their families, the Montegues and the Capulets, are sworn enemies. Juliet’s parents have an arranged marriage in mind for her, and it isn’t Romeo. She and Romeo secretly marry.
In self defense, Romeo kills Tibalt, Juliet’s cousin, in a street fight, and he is banished from the land.
The Friar devises a plan where Juliet takes a potion that makes her appear dead. He tries to get a message to Romeo of the scheme, but it doesn’t get to Romeo in time (no texting available in those Medieval days) and he believes her dead. He sees her apparently dead, kills himself and when Juliet awakens to find Romeo dead, she stabs herself to death.
They say youth is often wasted on the young, but not in “Shakespeare R&J,” where the sheer energy and exuberance and acting ability of the four actors is a delight..
Any opportunity to hear Shakespeare’s remarkably glorious language is a welcome treat, here confidently directed by Rob Ruggiero, the actors visually exaggerate the dialog’s intent without overdoing it.
And what language. Here is some of the most beautiful, simple, and elegant words about romantic love ever written.
“Love is a smoke made with the flame of sighs…a madness most discontent.”
“Love is not love that alters when alteration finds.”
“What ’s in a name? That which we call a rose by any other name would smell as sweet.”
In a world where profanity has become just another adjective, it’s illuminating to note that in all of Shakespeare’s plays he only used few truly profane oaths, although sexual and bawdy innuendo abounds.
It isn’t the language that is provocative here, nor the subject matter, but the fact that the lovers are both men. I suppose that will bother some, but I look at the acting, not the biology, and in that they are terrific.
It’s a great premise too, because, with a different setting and a different type of cast, the language, which is all so familiar, takes on a new life.
That being said, it is never easy to say lines that have been etched into our social subconscious till they are cliches, and make them sound fresh.
When Ashley Robinson, who plays Juliet, says, “Romeo, Romeo, where for art thou Romeo,” it feels like he is trying to manipulate the lines to not sound so familiar, making if feel forced.
There are some amusing lines that I didn’t recall from other productions, such as when Juliet is frustrated by the Nurse, played by TJ Linnard, when she won’t talk, and says, “How can you be out of breath if you have breath to say you are out of breath?”
Linnard’s Nurse is the least successful of the characters, with an exaggerated falsetto that is difficult to understand at times.
Adam Barrie’s Romeo is as tender and as passionate as one could wish for in the romantic hero.
Paul Terzenbach as Mercutio delivers his dying lines with unexpected depth and then humor when he says, “Ask for me tomorrow and you shall find me a grave man.”
Set in a Catholic boy’s boarding school, with four chairs and a gray stone backdrop with red votive candles, the single set is a sublime study in austere minimalism that works beautifully, by Brian Prather.
So, TheaterWorks, how about next time you do something really provocative and produce “Shakespeare’s R&J” with an all woman cast.

SHAKESPEARE'S R&J

3 Stars
Theater: TheaterWorks
Location: 233 Pearl St. Hartford.
Production: Adapted by Joe Calarco. Directed by Rob Ruggiero. Set design by Brian Prather. Lighting design by Matthew Richards. Sound design by Vincent Olivieri.
Running time: Two hours, one intermission
Show Times: Tuesdays, Wednesdays, and Thursdays at 7:30 p.m. Fridays and Saturdays — 8 p.m. Matinees on Saturdays and Sundays — 2:30 p.m. Extra Sunday evening shows — 7:30 p.m. (later weeks of most runs). The show will run through Dec. 20.
Tickets: Unassigned seating is $38; $48 on Friday and Saturday nights. Center reserved seats $12 extra. $12 student rush tickets at show time with valid ID (subject to availability). For tickets call 860-527-7838 or visit their Web site at www.theaterworks.org.
ACTOR…CHARACTER
Adam Barrie … Student 1
Ashley Robinson … Student 2
Paul Terzenbach … Student 3
TJ Linnard … Student 4

"The Full Monty" raunchy little studfest

EAST WINDSOR — “The Sound of Music” it ain’t, but still, “The Full Monty” a “raunchy little studfest” of a musical playing at the Opera House Players, like the Oscar and Hammerstein musical, is at it’s heart about family and what people will do for love.
Based on the film by the same name, it’s a timely show about laid off male blue-collar workers in Buffalo, New York, whose self-esteem has taken a serious knock because there is no work and slim prospects of anything much better than being Wal-Mart security guards.
Jerry Lukowski, played by Christopher deJongh, is one of the down-and-outs, who is about to lose visitation rights to see his son, Nathan (Seanan Ellis) because he is arrears in child support to his ex-wife Pam (Sara Steiner).
Jerry learns that the male Chippendale dancers make great money and hatches a scheme with his buddy, Dave Bukatinsky (Ty Pearsons) to stage a strip show with local guys, calling themselves “Hot Metal.”
And so it goes. deJongh has a rockin’ voice that shines when he sings “Man” with the equally fine Pearsons, who is surprisingly light on his feet for a big guy.
Melissa Dupont as Georgie Bukatinsky along with Kathi Such as Vicki Nichols can really belt out tunes and sound terrific together in the powerful duet “You Rule My World,” which Dave and Harold sing earlier.
When Davie and Harold sing the same song, it is supposed to be a dream sequence, but for some reason the two separate couples’ beds are place right next to each other. It would be much better to have them on separate sides of the stage.
When Jerry sings the sweet ballad “Breeze off the River” to his sleeping son, he doesn’t stay next to the boy, but gets up and walks towards the audience to sing, which diminishes the sweet intimacy between father and son.
Although only 10 years old, Ellis, plays the 12-year-old son, Nathan, with amazing realism and maturity — practically stealing the show in the process with his naturalness and confidence.
Unlike the film, in the musical Terrance McNally added an aged accompanist from the old vaudeville circuit, Jeanette Burmeister, to fine effect, here played with snazzy panache by Moonyean Field.
The choreography by Lesley Gallagher is top notch, with some well-coordinated moves, such as the basketball number, “Michael Jordan’s Ball” by the ensemble.
The band led by musical director Tom Slowick is jazzy and great, and really worth coming to hear just on it’s own.
The miked sound of the singers isn’t terrific. Here’s hoping they can get a new sound system. The cast did their best and have good projection on their own, but really they need better amplification, especially when they are competing with amplified instruments.
There is a lot of strong language and brief nudity, so this is not a show for the kids. Honestly I was uncomfortable with a 10-year-old being exposed to and using profanity.
You have got to give these guys credit — they are normal, everyday blokes who walk around half naked and then some for a good part of the show. From the beginning until the end, I found myself involuntarily blushing like I haven’t for years.
If you don’t mind some earthly language and some brief nudity, “The Full Monty” offers a grown up night full of fun.

THE FULL MONTY

3 Stars
Theater: Opera House Players
Location: 107 Main Street, Broad Brook
Production: Music and lyrics by David Yazbeck. Book by Terrance McNally. Direction by Philip D. Vetro. Musical direction by Tom Slowick. Choreography by Lesley Gallagher. Stage managers Aslynn Brown and Heather Maloney. Lighting designer Diane St. Amand. Set designer Clark Bowen.
Running time: 3 hours, with a 15-minute intermission
Show Times: Friday and Saturday at 8 p.m., Sundays at 2 p.m. through Nov. 22.
Tickets: $20, $12 for seniors over 60. Not recommended for children. Call 860-292-6068 or visit their Web site at www.operahouseplayers.org
ACTOR…CHARACTER
Christopher deJongh … Jerry Lukowski
Ty Pearsons … Dave Bukatinsky
Michael Gowdy … Malcolm MacGregor
Paul DiProto … Harold Nichols
Stephen Jewell … Ethan Girard
Foster Evan Reese … Noah “Horse” T. Simmons
Seanan Ellis … Nathan Lukowski
Melissa Dupont … Georgie Bukatinsky
Kathi Such … Vicki Nichols
Moonyean Field … Jeanette Burneister
Sara Steiner … Pam Lukowski
Stacy Constantine … Estelle Genovese
Dallas Hosmer … Buddy “Keno” Walsh
Khara Hoyer … Susan Hershey
Erin Maloney … Joanie Lish
Tony Palmieri … Teddy Slaughter
Mark Wantroba … Reg Willoughby
Kim Wantroba … Molly MacGregor
Brent White … Marty, repo man
Brianna Mello … Dolores
Sara Papa … Dance instructor
Jonathan Escobar … Stripper, repo man
Ben Chayes … Minister, Tony Giordano
Andrew Holl … Gary Bonasorte, police sergeant

"The Sound of Music Soars" at LTM

EAST WINDSOR — “The Sound of Music” it ain’t, but still, “The Full Monty” a “raunchy little studfest” of a musical playing at the Opera House Players, like the Oscar and Hammerstein musical, is at it’s heart about family and what people will do for love.
Based on the film by the same name, it’s a timely show about laid off male blue-collar workers in Buffalo, New York, whose self-esteem has taken a serious knock because there is no work and slim prospects of anything much better than being Wal-Mart security guards.
Jerry Lukowski, played by Christopher deJongh, is one of the down-and-outs, who is about to lose visitation rights to see his son, Nathan (Seanan Ellis) because he is arrears in child support to his ex-wife Pam (Sara Steiner).
Jerry learns that the male Chippendale dancers make great money and hatches a scheme with his buddy, Dave Bukatinsky (Ty Pearsons) to stage a strip show with local guys, calling themselves “Hot Metal.”
And so it goes. deJongh has a rockin’ voice that shines when he sings “Man” with the equally fine Pearsons, who is surprisingly light on his feet for a big guy.
Melissa Dupont as Georgie Bukatinsky along with Kathi Such as Vicki Nichols can really belt out tunes and sound terrific together in the powerful duet “You Rule My World,” which Dave and Harold sing earlier.
When Davie and Harold sing the same song, it is supposed to be a dream sequence, but for some reason the two separate couples’ beds are place right next to each other. It would be much better to have them on separate sides of the stage.
When Jerry sings the sweet ballad “Breeze off the River” to his sleeping son, he doesn’t stay next to the boy, but gets up and walks towards the audience to sing, which diminishes the sweet intimacy between father and son.
Although only 10 years old, Ellis, plays the 12-year-old son, Nathan, with amazing realism and maturity — practically stealing the show in the process with his naturalness and confidence.
Unlike the film, in the musical Terrance McNally added an aged accompanist from the old vaudeville circuit, Jeanette Burmeister, to fine effect, here played with snazzy panache by Moonyean Field.
The choreography by Lesley Gallagher is top notch, with some well-coordinated moves, such as the basketball number, “Michael Jordan’s Ball” by the ensemble.
The band led by musical director Tom Slowick is jazzy and great, and really worth coming to hear just on it’s own.
The miked sound of the singers isn’t terrific. Here’s hoping they can get a new sound system. The cast did their best and have good projection on their own, but really they need better amplification, especially when they are competing with amplified instruments.
There is a lot of strong language and brief nudity, so this is not a show for the kids. Honestly I was uncomfortable with a 10-year-old being exposed to and using profanity.
You have got to give these guys credit — they are normal, everyday blokes who walk around half naked and then some for a good part of the show. From the beginning until the end, I found myself involuntarily blushing like I haven’t for years.
If you don’t mind some earthly language and some brief nudity, “The Full Monty” offers a grown up night full of fun.

THE SOUND OF MUSIC

3 Stars
Theater: Opera House Players
Location: 107 Main Street, Broad Brook
Production: Music and lyrics by David Yazbeck. Book by Terrance McNally. Direction by Philip D. Vetro. Musical direction by Tom Slowick. Choreography by Lesley Gallagher. Stage managers Aslynn Brown and Heather Maloney. Lighting designer Diane St. Amand. Set designer Clark Bowen.
Running time: 3 hours, with a 15-minute intermission
Show Times: Friday and Saturday at 8 p.m., Sundays at 2 p.m. through Nov. 22.
Tickets: $20, $12 for seniors over 60. Not recommended for children. Call 860-292-6068 or visit their website at www.operahouseplayers.org
ACTOR…CHARACTER
Christopher deJongh … Jerry Lukowski
Ty Pearsons … Dave Bukatinsky
Michael Gowdy … Malcolm MacGregor
Paul DiProto … Harold Nichols
Stephen Jewell … Ethan Girard
Foster Evan Reese … Noah “Horse” T. Simmons
Seanan Ellis … Nathan Lukowski
Melissa Dupont … Georgie Bukatinsky
Kathi Such … Vicki Nichols
Moonyean Field … Jeanette Burneister
Sara Steiner … Pam Lukowski
Stacy Constantine … Estelle Genovese
Dallas Hosmer … Buddy “Keno” Walsh
Khara Hoyer … Susan Hershey
Erin Maloney … Joanie Lish
Tony Palmieri … Teddy Slaughter
Mark Wantroba … Reg Willoughby
Kim Wantroba … Molly MacGregor
Brent White … Marty, repo man
Brianna Mello … Dolores
Sara Papa … Dance instructor
Jonathan Escobar … Stripper, repo man
Ben Chayes … Minister, Tony Giordano
Andrew Holl … Gary Bonasorte, police sergeant

“The Sound of Music” soars at LTM

MANCHESTER — Chances are you going to have a tough time getting a ticket to see “The Sound of Music,” at the Manchester Little Theatre, running through Sunday, and that’s a shame, because if you enjoy musicals, this is one to see.
A perennial favorite among community theaters, this show has more hits per minute than any I can think of, including, of course, “The Sound of Music,” “How do you Solve a Problem Like Maria,” “Lonely Goatherd,” “I have Confidence,” “My Favorite Things,” “Going on Seventeen,” and the list goes on.
Maria, played by Jessica Cutino, has a lovely voice that is most comfortable in the mezzo-soprano range, while Mike Zizka plays Capt. von Trapp with a strict but kind demeanor. Comparisons to the 1966 film are difficult to avoid, and here Zizka’s Captain has more depth and less creepiness than Christopher Plummer’s von Trapp.
The von Trapp kids are all fantastic, managing complex choreography, such as the delightful adaptation of “Lonely Goatherd” with choreography by Todd Santa Maria.
It’s a shame not to mention each child, because they are all great from Leisl, played by the graceful and lithe Jenna Vezina, to the empathic Brigitta (Maria Meier), to the cutest little peanut to grace the stage, Jenna Mitchell playing Gretl.
Timothy Russell as the young lover Rolf Gruber has a fine clear voice and makes a smaller part pop.
John Michael Whitney as the theater producer Max Detwiller has the self-depreciating smarmy cynical charm that’s irresistible. He’s honest when he says, “I like rich people. I like the way they live and I like the way I live when I am with them.”
Diane L. AmEnde plays Elsa Schraeder with less cattiness than in the film version, making her harder to dislike, but more realistic.
Unfortunately the two songs that Elsa and Max sing, which they do an admirable job delivering, drag down the momentum of the show and could easily have been dropped without being missed. No reflection on the actors, but the songs just aren’t that tuneful or memorable.
The nuns who kick off the show in harmonious A Capella, and then later in the marriage ceremony, are excellent and set the tone for the rest of this musical.
As fine as the entire cast is, the show stopper belongs to Mary deManbey as the Mother Abbess, singing to perfection “Climb Ev’ry Mountain.” It is one of the most beautiful, moving, powerful songs ever written for the stage, and deManbey commandingly, confidently, and lovingly catapults this show to another level all together.
The set is solidly minimal, with a massive movable sweeping staircase, which, when turned around becomes an exterior wall. Cleverly conceived by Greg Cerosky and Leslie Mills, and designed and constructed by Fred T. Blish with help from the shop crew.
The costumes are a dream, designed by Vivana Lamb. The kids in particular, in their lovely party clothes, their wedding garb, their travel outfits, and their uniforms, really could not be better. I would have preferred Maria’s play outfit to be of a different material than the children’s, because she should stand out from them, not look like one of them.
How they manage to make all those costume changes so quickly and seamlessly is a tribute to those unsung heroes, the backstage crew.
Directed by Michael Forgetta with a strong and confident hand, this cast is well rehearsed. Every single word is understandable, even with the children, which is quiet an accomplishment.
Mother Abbess tells Maria, “You have to find the life you were born to live.” Isn’t that what we all seek? It’s the most important thing and “The Sound of Music” is a dear reminder of what truly matters more than anything else, and despite all the odds — love.

THE SOUND OF MUSIC

Three Stars
Location: Little Theatre of Manchester at Cheney Hall, 177 Hartford Road, Manchester
Production: Music by Richard Rodgers. Lyrics by Oscar Hammerstein II. Book by Howard Lindsay and Russel Crouse. Directed by Michael Forgetta. Musical direction by Paul Coffill. Set concept by Greg Cerosky and Leslie Mills. Stage manager Tom Goodin. Set designed by Fred T. Blish. Sound and lighting designed by Glen Aliczi. Costumes by Viviana Lamb. Choreographed by Todd Santa Maria. Produced by Jennifer Lysomirski.
Running time: 3 hours, including one 15-minute intermission
Show Times: Thursday, Friday, and Saturday at 8 p.m. Sunday at 2 p.m. through Sunday, Nov. 22.
Tickets: $21 — $28. Seniors over 60 and students receive a discount. Call the box office at 860-647-9824, or visit their website at www.cheneyhall.org
ACTOR…CHARACTER
Jessica Cutino … Maria Rainer
Mike Zizka … Capt. Georg von Trapp
Jenna Vezina … Liesl
Tommy Curtis … Friedrich
Katie Emery … Louisa
Sawyer Gaunt … Kurt
Maria Meier … Brigitta
Kellen Mitchell … Marta
Jenna Mitchell … Gretl
Diane L. AmEnde … Elsa Schraeder
John-Michael Whitney … Max Detweiller
Timothy Russell … Rolf Gruber, party guest
Mary deManbey … The Mother Abbess
Melissa Paul … Sister Berthe, Mistress of Novices
Jenna Levitt … Sister Margaretta, Mistress of Postulants
Sarah Jane Hayes … Sister Sophia
Douglas Ross … Franz, the butler
Lynn Ross … Frau Schmidt, the housekeeper
Ann Azevedo … Ursula, the maid, nun, party guest
William “Leo” Reaves … Herr Zeller
Alex Pazda … Baron Elberfeld, party guest
Sarah Logan … Baroness Elberfeld, Fraulein Schweiger, nun, party guest
Don DiGenova … Admiral von Schreiber, party guest
Kristen Shaw … A new postulant, nun
Susan Bailey, Laura Benson, Jen Berlin, Teresa Bonavita, Pat Covino, Aggie Dorio, Denise Gagne, Yvonne Jacques, Jennifer Lane, Donna Merceir, Joan Notghi, Nancy Rosenzweig, Sherrie D. Schallack … The Nuns of Nonnberg Abby
Jennifer Lane, Aggie Dorio, Yvonne Jacques, Pat Covino, George Pappas, Frank Dorio … party guests

“A Curious Savage” a gentle, sweet comedy at the Valley Repertory Company

ENFIELD — The lovely thing about community theater is you get a chance to see shows that rarely see the light of day.
Take “The Curious Savage,” written about 50 years ago by John Patrick and running at the Valley Repertory Theater in the Thompsonville section of Enfield.
The play is set in the 40’s, presumably after World War II, but before the invention of the radio.
A wealthy widow, Mrs. Savage, played with magnanimity by Jane Maulucci, has been committed to a private asylum by her greedy step-children — the U.S. Senator, Titus; Lily Belle; and Samuel, played by Mark Vogel, Lisa Coleman Hasty, and Eddie Burke respectively.
Savage says of Titus that the only reason the voters elect him to the U.S. Senate is to keep him out of the state.
The three want the $10 million in bonds that Mrs. Savage has squirreled away somewhere, and they won’t take ‘no’ for an answer, while she does her best to use their greed to her advantage.
Why have they done such a heinous act of placing her in a mental institution? Because she wants all the money to go to her memorial fund which she calls her “happiness fund,” where she gives away grants for acts of random kindness, like giving an Italian man $200 to buy a gravestone for his beloved dead horse.
The characters in the asylum are revealed one by one, and each has a charm and sweetness to them, which, compared to the greedy threesome, brings up the obvious question, who are the crazy ones?
There’s the war survivor Jeffrey, sensitively played by Logan Lopez; the high strung violinist, Hannibal (Charles Schoenfeld); the forlorn mother, Florence (Lisa Eaton); the angry and silent Mrs. Paddy (Jan Albetski); the assistant with a secret Miss Willie (Lorrie Bacon); and the delightful Fairy May played with fragile delicacy and superb comic timing by Janine Flood.
When plain, sweet Fairy May learns a new resident is on the way she says with a sigh, “I hope she isn’t beautiful. Competition exhausts me.” She later says to Savage, “You’re very generous for your size and weight.” It’s really funny and all character driven.
Vogel and Burke are great as the nasty selfish sons, but Hasty as Lily Belle has spoiled rotten down to a science. And can that woman scream and swoon and be mean as only the ultra-rich can afford to be. She borders on the edge of camp, but keeps it believable.
At one point Lily Belle cries out in abject dejection and defeat, wailing, “I don’t know how to be poor,” when she learns that all the money is gone. Or is it? That’s part of the fun in this terrific play that should not be missed.
The set by Eric Albetski, is a solid and well-appointed living room in the asylum, and the actors all move about naturally and comfortably in the space, with confident direction by Patty Coope Piellucci.
Just when you start thinking that an asylum might be a nice world to retreat to, the resident physician, Dr. Emmett, played with authority by Sue Reese, says, “They have found refuge in an eggshell world. ” Then you know that hiding from the world is not the answer, as tempting as it might appear.
The play is a clever and interesting who-done-it that keeps you guessing throughout. But the real delight of this precious play is in the language and the gentle, subtle, and sweet acting, with loving direction by Piellucci.
Time and again Valley Repertory Theater comes up with unusual and touching shows, as they have once again with “A Curious Savage.”

A CURIOUS SAVAGE

3 Stars
Theater: Valley Repertory Company
Location: 100 High Street, Enfield
Production: Written by John Patrick. Directed by Patty Coope Peillucci. Produced by Jan Albetski. Stage manager Jason Fregeau. Set and lighting design and technical direction by Eric Albetski.
Running time: 2 ½ hours, with one intermission
Show Times: Friday and Saturday at 8 p.m. through Nov. 21.
Tickets: $12, $10 for seniors over 60 and youth under 12. Call 860-749-4665 or visit their website at www.valleyrep.com
ACTOR…CHARACTER
Jane Maulucci … Mrs. Savage
Lisa Eaton … Florence
Charles Schoenfeld … Hannibal
Janine Flood … Fairy May
Logan Lopez … Jeffrey
Jan Albetski … Mrs. Paddy
Lorrie Bacon … Miss Willie
Mark Vogel … Titus
Lisa Coleman Hasty … Lily Belle
Eddie Burke … Samuel
Sue Reese … Dr. Emmett