Courtesy of www.pmpnetwork.com (Norm Gross and Dede Tanzer review plays on a 0-5 scale, 5 being the best. Norm has been a play reviewer for a number of radio stations. Dede is a choreographer.) BORN YESTERDAY Review by Norm Gross At Beatrice Herford's Vokes Theatre in Wayland, MA, The Vokes Players present their new production of "Born Yesterday" by Garson Kanin. A major comedic success on Broadway when it made it's debut in 1946, it catapulted its three leading performers: Judy Holliday, Paul Douglas and Gary Merrill to (My Grade: 4)
ASSASSINS Review by Norm Gross Now at the Boston Center for the Arts, Company One presents it's production of "Assassins," featuring music and lyrics by Stephen Sondheim with book by John Weidman. Initially staged Off-Broadway in 1991 for only a very limited engagement, it was greeted by a grandly mixed response then due to it's highly unusual (veering towards grim) focus. Set against a simulated fairgrounds background, composed of a series of upright carnival-styled booths, the accounts of more than a dozen assailants who have tried and (My Grade: 5)
“According to Tip” At the Mosesian Theater in the Arsenal Center for the Arts in Watertown, MA, the New Repertory Theater presents the world premier of "According to Tip" by Dick Flavin. Alone on stage for nearly two hours (including a brief intermission) is Tony and Emmy- award winner Ken Howard (who is best known for his roles in TV's "The White Shadow", "The Thorn Birds" and "The West Wing" amongst his many other stage and film credits) Topped off by the large snow white crown of hair that had become Tip O'Neil's identifying standard, complete with rumpled business suit, buttoned white shirt and necktie, Howard's re-creation of the legendary politico won a round of enthusiastic applause from the capacity crowd. The evening is comprised of a folksy procession of earthy and generally warm and witty reminiscences by Tip about his life and times, laced with a host of lively Irish songs. Seated at his home/office, or standing at either his lectern or responding to reporters on a radio microphone. Behind him is mounted a stage-wide top to bottom panorama of jumbo, linear caricatures flanked on the left side by the Massachusetts State House, and to the far right by the U.S. Capital. Sandwiched between these two legislative centers are the large cartoon faces of JFK, LBJ, Richard Nixon, Gerald Ford, Jimmy Carter and Ronald Reagan,.obviously vividly defining the range of Tip's career. Beginning in his pre-World War I days on the streets of his suburban hometown neighborhood, he tells us of his early youthful gambits in (My Grade: 4)
JOSEPH & THE TECHNICOLOR DREAMCOAT Currently at the Robinson Theatre on the campus of the Waltham High School in Waltham, MA, The Reagle Players begin their 40th Anniversary season with their new production of "Joseph and the Amazing Technicolor Dream Coat". Featuring music by Andrew Lloyd Webber and lyrics by Tim Rice, its' story
line is based on the Old Testament tale of betrayal and redemption. Joseph, the favorite son the patriarch Jacob, is sold into slavery by his jealous brothers and eventually overcomes his misfortune to become a powerful minister in the Egyptian Court. Later, he then forgives those same brothers who inflicted such a grievous wrong on him. As now staged here, it is a highly engaging and lavishly mounted presentation in which music, story and performance are welded together to combine as a triumphantly joyous Above all else, the large cast is uniformly excellent. Handsome, charismatic and full-voiced Eric Kunze-- in the title role-exudes charm, verve and grand stage presence. Special praise must also go to Jeffrey Max, who brings down the house with his explosively comic portrayal as the Elvis Presley-like Egyptian Pharaoh, and of course to beautiful, nineteen year old statuesque B.C. basketball star, "American Idol" alum, and resonantly sonorous recording artist, Ayla Brown, as the show's ever-present singing narrator. Also very noteworthy are the vibrant singing and rhythmic movements, on-stage, of the fifty member (pre-adolescent) children's choir whose voices and activity are used throughout to solidly advance the show. This elaborately staged, winningly amusing and musically uplifting family entertainment, a highly recommended treat for both young and old, is now playing a limited engagement through June 21, 2008. ****1/2 (Excellent)
CONTACT Review by Dede Tanzer
Susan Stroman, indisputably one of the most prolific choreographers of our time, has hit a home run with the North Shore Music Theaters production of “Contact”. In the late 1990’s, after her success with “Show Boat” and “The Producers,” Andre Bishop, Lincoln Center’s artistic director, made her an offer no choreographer could resist, a chance to develop the project of her choice. She and John Weidman, who wrote the book for “Big – the musical”, began working on what would become a Tony winning, three-part dance play called “Contact.”
Kudos also to Steve Luker, Jarrod Emick and Ariel Shepley for Tony-worthy performances in this local production of a world class play. Contact is playing at the North Shore Music Theater in ****1/2 Stars--Excellent
Merrimack Repritory Theater presents a thought provoking rendition of Edward Albee’s Pulitzer Prize winning play, A Delicate Balance. Albee, brings us to the living room of an upper class WASPY family in
What I found most interesting was that Albee was able to write a Pulitzer Prize winning play about nothing much at all. Yes, it’s about how to keep a balance in this chaotic life, but I didn’t feel it taught me much. It showed that the mother is the keeper of the balance, even when her daughter is going through a fourth divorce and her alcoholic sister has come to live and their best friends come to stay for an inane reason. But we all knew that. Life in a family is conducted by the mother, except in rare cases. This production at the *** (Three Stars)
MISSIONARY POSITION
Review by Dede Tanzer Do you have money to burn? Well, watch it burn. It might be more fun than sitting through this play. The play was advertised as, “What not to talk about on a first date, politics and religion,” which I thought was a genius PR ploy considering it had absolutely nothing about dating in it. The Missionary Position is a play about a political campaign with all the stereotypical characters: The finance man, played very well by Jeffrey Carpenter; the candidate's wife by Tami Dixon, who was brilliant and stole the show; a multi-talented Rebecca Harris as every house keeping lady in every Holiday Inn in the country; and Tony Bingham as a typical, bible toting, campaign worker. The characters were so shallow the audience knew what they were going to say before they opened their mouths. In this day and age to hear a campaign worker tell a pregnant house keeper that she needed to be saved and then have her react by getting upset is completely redundant. If a born again told me this I’d probably just laugh at him and give him my patented, “If God had wanted us all the same She would have made us all the same.” Keith Reddin wrote a script that reads as though it was written to entertain people whose education consists of what they’ve learned from studying the tabloids. I was surprised to see such bad theater at the Merrimack Repertory. I have never seen anything but sheer genius at this wonderful venue so I was quite taken aback to see a play about people who are so intellectually stunted they still think it’s a sin to swear but not a sin to besmirch a co-workers character. This play has nothing to do with the missionary position unless you happen to be a missionary. The acting was great, but the rest left a lot to be desired! You can get tickets by calling the box office: 978-654-4MRT or online at box_office@merrimackrep.org. ** (FAIR)
HENRY V Review by DEDE TANZER
“I fear thou doth protest too much,” I chided my date when he saw the theater and saw only a basement with chairs around the outer edges. “This is Cambridge,” I explained. “It will probably be a most ingenious treatment.” We had just taken our seats for The Actors’ Shakespeare Project (ASP) in the basement of The Garage in Cambridge. Yes, I realize how clever they were naming their company after the spider that killed Cleopatra, but that’s where the genius begins and ends. When the players took the stage, one in her camel hair, knit, dress with leather belt and matching boots another in a rumpled, military green, sweater over a pair of rumpled, gray corduroys, I thought, “This is either going to be an extremely eclectic version of Henry V or it’s going to be pathetic. Henry the V is Shakespeare’s recounting of the tale of the formerly wayward Prince Hal who grows up to become a well respected monarch. In this production, the 32 parts, are all played by five actors; Ken Cheeseman, Paula Langton, Doug Lockwood, Seth Powers and Molly Schreiber. My first clue that this production really was going smell rotten was when the first line was delivered from behind the insulated, taped lolly column at center stage. Couldn’t they have at least tried to make it look like a tree? That’s what my kids would have done in our basement. They’d also buckle a belt around their heads as a crown just like the one worn by Ken Cheeseman as King Charles VI. So then I thought perhaps this was to be a farcical representation but, it was word for word (which the actors delivered fairly well while they were switching ski caps. That turned out not to be true either. The final convincer came when during the battle scene, the actors wielded yard sticks, drill bits, rubber piping and anything else they could find in this old, dirty basement to attack the lolly column in rhythmic cadence. William Shakespeare’s Henry V, directed by Normi Noel with costume design by Seth Bodie, set design by Skip Curtiss, lighting by Steven Rosen and blind prop master Elizabeth Locke should not be seen Downstairs at the Garage, 38 JFK St. Cambridge through February 3. The tickets for this fiasco can be purchased online at www.actorshakespeareproject.org or by calling 866-811-4111. Tickets are between $30.00-$42.00 with rush tickets $15.00 one hour before the show with valid ID. (My Grade: 0 Stars)
Two Pianos Four Hands Review by Dede Tanzer I have a pillow my grandma Lucy embroidered for me that says, “Life is like a piano. What you get out of it depends on how you play it.” The proof of this statement is in the stellar performances of Richard Carsey and Tom Frey in the Merrimack Repertory Theater’s production of 2 Pianos 4 Hands running through the end of January. 2 Pianos was written by two Canadian piano protégés who met during competitions and continued a friendship through years of practice and playing sometimes against each other but often together at two pianos. Along with tickling the ivories, Carsey and Frey tickled the audience with tacit realities of life’s journey. 2 Pianos takes us through the younger years with parents standing over them as they practiced, practiced, practiced. Like most kids, they just wanted to go out and play. What made Red Dykstra and Richard Greenblatt (the play writes) study, rather than go out to play hockey with their friends? Their parents! And who is it yells at them when, as teenagers, they spend every free moment at the piano rather than having friends? Their parents! As the piece progresses Carsey and Frey take the audience on a journey through life’s etudes (lessons). Starting where most students begin, with the queen of basic theory Lelia Fletcher, and ending with a presentation of Concerto in D minor by Bach that brought the audience to their feet, this piece is a must see…and hear. 2 Pianos 4 Hands is a lesson in life’s scales. We have to work at them every day if we want to climb to the top. Carsey and Frey carry this piece as though it were their baby. They love it and live it and take the audience with them on a musical journey. 2 Pianos 4 Hands is at The Merrimack Repertory Theater till January 27. Take a trip from Mozart to Elton John with these two talented performers at the Merrimack Repertory Theater, (My Grade: 4 Stars) Les Misérables If you were looking for God, I found him last night at the North Shore Music Theater. I heard the voices of angels, and saw brilliant lights. Although in this case the lights were brought to you by David Neville, who uses beams of light like streaks of paint that create this masterpiece. If your guessing that I thought this production was heavenly, you're right.
SWEENEY TODD Does revenge taste sweeter baked in a pie? This is the long-told tale of a vengeful man who, imprisoned wrongly, returns with revenge in his heart. Upon returning from prison, he finds the judge (who wrongly sentenced him to fifteen years in prison) has ravaged his wife and adopted his precious daughter Joanna. Along with his landlady, played perfectly by Judy Kaye, the judge will get (and be served in) his just dessert.
SHA-NA-NOT I found out something I never knew last night at North Shore Music Theater. Everything old is not new again. Sha-na-na not only had nothing new, their old stuff was as dusty and creaky as Grandma's attic. The first time I saw Sha-na-na was in 1970 at the Boston Tea Party. They were full of life. Their music made it impossible to just sit and watch. My feet were moving before the first chorus. Last night, the only time I got to my feet was when the group had the audience stand so they could get us all moving. What did they have us groove to? The Hokey Pokey. Nuff said? Don't waste your time or your money going to see grandpa in a purple suit with a silver star sewn on his butt. I wouldn't even hire this group for a Bar Mitzvah because the kids would think they were totally lame. But if you still must see them you'll have to check your local paper because luckily they were only at the NSMT for one night. * (Poor)
Forever Plaid Last night I was treated to more fun than a barrel of monkeys. How much fun do monkey�s really have when you stuff them into a barrel? But that�s aside from the point. The North Shore Music Theater has once again provided an evening of smiles for all. "Forever Plaid" is the story of a fictional 1950�s boy band who are tragically struck down by a parochial school bus just before their big break. Thanks to God, and the folks at North Shore, they are resurrected just long enough to entertain us with their magnificent voices, spot on comedy and some wonderful reminiscing for those of us who remember Ed Sullivan down to the plate spinners. Forever Plaid features a book by Suart Ross and arrangements by James Raitt. And what a selection! There�s everything from Beatles to Belefonte and more�there�s Love is a many Splendored Thing, Perfidia, Three Coins in the Fountain. The cast, starring Chris Crouch as Sparky, J.D. Daw as Jinx, Adam Halpin as Frankie and Kevin Vortmann as Smudge, are every bit as talented as the original foursome I saw in New York a decade ago. Forever Plaid, directed and choreographed by Guy Stroman is at NSMT until Oct. 7, 2007. For tickets: www.nsmt.org or 978-232-7200. I can absolutely promise you Moments to Remember�(My Grade 4.5)
FIGARO At the Loeb Drama Center in Cambridge, Mass. The American Repertory Theatre in association with Theatre de le Jeune Lune of Minneapolis present "Figaro," based on segments in several plays by Baumarchais and Mozart's classic opera "The Marriage of Figaro." Set in Paris in 1792 during the tumultuous aftermath of the French Revolution, the elderly haughty, demanding and quite ragged Count (now known only as "Mr.") Almaviva and his wily manservant Figaro have taken refuge in a nearly empty and disheveled mansion. With his Master hiding in a wardrobe cabinet, with bombs exploding regularly outdoors, Figaro does his utmost to protect Mr. Almaviva. The frazzled former aristocrat, finding it very difficult to accept the passing of the old ways, muses about his happier times many years before in Seville. Flashback sequences then begin to bring back felicitous moments in Mozart's sublime opera. In creatively innovative and clever fashion another set of performers appear on stage, sliding in from, under, and behind furniture, as younger alter egos of Figaro, his fiancee Susanna, Count Almaviva, his neglected wife Countess Rosina and Cherubino, a frisky young Page, who is smitten with her. They then begin to relive their glorious musical past lives in a succession of majestic and passionate arias and ensembles. Flanked by two very large video projection screens, (before one and to the side of the other, revealing outer city scenes and close up views of the cast), this splendid group of actors and singers bring back vivid memories of Figaro's marriage, the young lmaviva's sprightly and comic attempts at seducing Susanna, as well as the merry mix-ups involving the Countess and the youthful Cherubino. As with their earlier staging of "Don Juan Giovanni," this production was also conceived and developed by Steven Epp and Dominique Serrand, who play the elder Figaro and Almaviva. Once again, the elevated and projected English translations, of the Italian songs, have been adapted by Epp, with the facile and confidently focused Direction, as before, by Serrand. Bryan Boyce and Bradley Greenwald are highly spirited as the early and quite sonorous Figaro and Count Almaviva, with equally engaging and resonant renditions by Momoko Tanno as Susanna, Jennifer Baldwin Peden as the Countess. and Christina Baldwin as the lively Cherubino. Extra mention must also be afforded for the similarly strong singing by Dieter Bierbrauer, Bryan Janssen and Carrie Hennessey in fine smaller supporting roles. As in the previous presentation, the superb string quartet, off to the side, featuring Daniel Stepner and Julie Leven: violins, Laura Jeppesen: viola, and Guy Fishman: cello, were once more praiseworthy from start to finish. Now playing, as previously stated, in repertory with this same Company's production of "Don Juan Giovanni" through October 6. (My Grade : 5)
THE ENGLISH CHANNEL At their C. Walsh Theatre, Suffolk University in Boston presents the world premiere of "The English Channel," a new play by Robert Brustein. Director, playwright, drama critic Brustein is the prestigious founder of the American Repertory Theatre and is now a Scholar in Residence at Suffolk University. His play's action takes place in 1593 where the young 29 year old Shakespeare is residing in a cramped room at the Mermaid Tavern. He spends most of his time busily writing sonnets due to the fact that all the theatres are shuttered because of the Plague. During the play's one act, 90 minute time span, the fledgling Bard is peripherally enmeshed with the Court machinations of his patron Henry (Hal) Wriothesley, Earl of Southampton (often thought to be the " fair youth" of the sonnets). The Earl is heavily involved in conspiracies against the Queen, for which he was eventually executed, although these intrigues actually occurred six years after the time of this play. However, Shakespeare's most frequent visitor is poet and playwright Christopher Marlowe, who introduces Will to Emilia Lanier, a poetess and the first female to publish professionally. She, too, is often considered to be the "Dark Lady" of Shakespeare's sonnets. Since Will laments the fact that he's able to visit his wife only once a year, he has no qualms about romancing and seducing Emilia, even though she too is married. As Marlowe repeatedly insists on accusing Shakespeare of plagiarism, he also does his best to overtake Wriothesley's patronage. Complications soon develop, however, when a handkerchief, given by Will to Emilia, is reported to have been lost by her. While her fate does not mirror Desdemona's later demise at the hands of Othello, nevertheless Shakespeare remains perpetually suspicious and unforgiving. Central throughout is his well known practice of adapting his plotlines from a myriad of other sources, often with Marlowe as inspiration. Finally, when the Bard learns that this great friend has been violently murdered during a dispute at a local tavern, the play closes with Marlowe's spectre visiting Shakespeare to continue counseling him about his future plays. The small four member cast do reasonably well with their assignments, albeit with fluctuating English accents. Sean Dugan as Marlowe and lovely Merritt Janson as Emilia were both impressive with a generally satisfactory portrayal by Gabriel Field as Shakespeare and somewhat lesser effectiveness by Alex Pollock as Wriothesley. Richard Chambers' small cluttered Elizabethan setting, Seth Bodie's fine period costumes, and Wesley Savick's well focused Direction were all quite noteworthy. The play's title is a symbolic reference to Marlowe's acting as the mentor of his potentially legendary friend. Now playing through September 15. This play will also be performed at the Vineyard Playhouse on Cape Cod, September 19 through 29. (My Grade: 4)
DON JUAN GIOVANNI At the Loeb Drama Center in Cambridge, Mass., the American Repertory Theatre in association with Theatre de le Jeune Lune of Minneapolis presents "Don Juan Giovanni," based on the works of Moliere and Mozart from an original production by Steven Epp, Felicity Jones, Dominique Serrand, and Paul Walsh. Performed on a bare stage before a large mounted video projection screen, an accomplished ten member cast intermingles both Moliere's provocative views of Don Juan, the legendary libertine, with selected majestic arias by Mozart, from his grand opera Don Giovanni. Set in contemporary America, true to form, the much fabled, licentious Don, together with his vexed man-servant Sganarelle, is cruising throughout the countryside in an actual antique Plymouth auto, in search of new romantic escapades and also some sort of existentialist freedom. As the old car very, very slowly circles round and round the expansive stage (in Becket-like fashion), they arrive at an open-air drive-in movie theatre. On screen they see a "motion picture" starring their alter-egos: Don Giovanni and his assistant Leporello. Suddenly the real Giovanni appears on stage, simultaneously with his own visage on screen, in pursuit of the lovely Donna Anna, his unwilling next intended conquest. When her elderly father, "the Commendatore," rushes to her aid, he's killed in the ensuing melee and his anguished daughter solemnly pledges to avenge his death. Shortly thereafter, Don Juan and these others also encounter the great profligate's estranged wife, Elvire. She, too, is fixated on revenge and will later confront her carousing spouse with her pregnant state. To this extraordinary mixture is added the watchful Charlotte, a nearby bicycling observer, and Giovanni's latest lusty female conquest. Meanwhile, Peter, an anxious gas station's mechanic, and Charlotte's fiance, finds himself being constantly driven about or buffeted by the aforementioned operators of the old car. Sganarelle continues to be unable to convince his master to change his unbridled ways, as Donna Anna still remains aggrieved, and the ghost of her deceased "Commendatore" father appears as the spectral visitor at the play's spirited finale. Throughout Mozart's lofty arias and duets, sung in Italian, act as sublime highpoints to the evening, with fine English translations projected high above the large video screen. This impressive blending of interesting dialogue and magnificent music is effectively acted and superbly sung by the multi-talented cast. As stated, Steven Epp and Dominique Serrand not only developed this production, but Epp also vividly portrays Sganarelle and devised the splendid, projected English translations, while Serrand is also the show's assured Director as well as the searching, focused, and unrestrained Don Juan. Full voiced Bryan Boyce and Bradley Greenwald as Don Giovanni and Leporello, together with resounding Momoko Tanno as Donna Anna, Jennifer Baldwin Peden as Elvire, and Christina Baldwin as Charlotte were all consistently compelling! Equally sonorous and commanding, the highly animated Dieter Bierbrauer as the overwrought auto mechanic Peter, and Bryan Janssen as the phantom senior "Commendatore " were likewise quite imposing. Lastly, much praise is also due for the expert string quartet, off to the side, comprised of Daniel Stepner and Julie Leven: violins, Laura Jeppesen: viola, and Guy Fishman: cello. Now playing in repertory, with an analogous intertwining of "Figaro," based upon the words and music of Baumarchais and Mozart (soon be also reviewed here), through October 6. (My Grade: 5)
ROMEO AND JULIET On the banks of the Charles River in Boston's Brighton neighborhood, at the outdoor stage in Christian Herter Park, the Publick Theatre presents its new production of "Romeo and Juliet " by William Shakespeare. Once again this classic tale, set in old Verona, of the young, tragic, star-crossed lovers unfolds against the tumultuous events surrounding their bitterly feuding Capulet and Montague families. After meeting at a masked ball at the Capulet home, the youthful sweethearts' forbidden love ignites and is then dimmed and threatened by a calamitous turn of events. When Tybalt, a tempestuous Capulet, slays Romeo's friend Mercutio. Romeo responds in kind by killing Tybalt. Then, when Romeo is banished from Verona as punishment, Juliet, with the help of good Friar Laurence, tries to fool her family by drinking an elixer creating the temporary appearance of her "death." However, unfortunately when Romeo inadvertently remains unaware of Juliet's impending awakening, he takes his own life when grief stricken at Juliet's "death" bed. Similarly, upon reviving, the despairing Juliet, upon discovering her deceased Romeo, joins her beloved in self-imposed death. Vigorously and animatedly portrayed by Adam Soule as Romeo with intense and spirited verve by sweet and youthful Angie Jepson as Juliet. Alejandro Simoes as Tybalt and Ben Lambert as Mercutio were effective likewise, with especially engaging performances by Owen Doyle as Friar Laurence, Steven Barkhimer as Capulet, Juliet's father, and M. Lynda Robinson as her sprightly and helpful nurse. Much praise is also due for Jane Hillier-Walkowiak's fine period costumes and Janie Howland's imposing wooden-structured set with its grand open archways and multi elevated turrets. Ted Hewlett's vividly choreographed swords play and Diego Arciniegas' effectively concentrated Direction were also quite commendable. Now playing in repertory with G. B. Shaw's "Misalliance," (reviewed here earlier) through September 16. (My Grade: 5)
THE THREE MUSKETEERS The North Shore Music Theatre in Beverly, Mass. presents its new production of "The Three Musketeers," featuring Music by George Stiles, Lyrics by Paul Leigh, and Book by Peter Raby. Staged in San Jose, California in 2000 and this past year by the Chicago Shakespeare Theatre, this is the New England premiere of this musical adaptation of Alexandre Dumas' legendary mid-19th century French novel. Set in Paris in 1625, its top heavy plot faithfully follows the many complicated twists and turns of its classic source. Its main focus is, of course, on the adventures of young rustic D'Artagnan who leaves his country home hoping to join the King's Musketeers in Paris. Once there, he links up with Athos, Porthos, and Aramis, three inseparable friends, lusty and heroic swordsmen, who help him to qualify as a Musketeer. They start by guiding him in proving his courage in battle. Later, upon being romantically smitten after meeting Constance, the Queen's seamstress, D'Artagnan becomes embroiled with the mysterious and malevolent Milady de Winters, and must also confront the ominous Comte de Rochefort, major deputy to Cardinal Richelieu. This sinister and scheming Cardinal is locked in a power struggle which seeks to undermine the King. Still later, with the assistance of Planchet, a friendly and helpful peasant, D'Artagnan journeys to Britain to bring back diamonds that the French Queen has given to her lover, the English Duke of Buckingham. His success leads to Milady angrily plotting against both the Queen and D'Artagnan's sweetheart with dire consequences. With war to come between England and France, the conflicted Milady poisons Constance and ends her own life! Although greatly saddened by the demise of his sweetheart, and overtaken by surprise at the retirement of Athos, Porthos and Aramis, D'Artagnan gratefully accepts the honor of becoming a full-fledged Musketeer. Curiously, in this production, only minimal notice is given to the many malicious machinations of Cardinal Richelieu, with the plot's primary attention centered on the entanglements between D'Artagnan, the Comte de Rochefort and Milady de Winters. Handsome, full-voiced Aaron Tveit is quite imposing as the young, adventurous D'Artagnan with strong support by lovely, sweetly singing Jenny Fellner as his beloved Constance. Beautiful Kate Baldwin's strong, resonant portrayal of Milady, together with Jimmy Smagula, Kevyn Morrow and John Schiappa's vivid perfromances as Porthos, Aramis and Athos contributed much to the show's impact. Mike Bleyer as Rochefort, Steven Booth as Planchet, and Matt Stokes as the power-seeking Cardinal were also quite noteworthy fronting the large, young, enthusiastic, 24-member cast. While, of the show's nearly 20 songs, no one melody stands out as a majestically memorable love song, D'Artagnan and Constance's tender duets, "Doing Very Well Without You," and "Who Could Have Dreamed of You" were still quite appealing. D'Artagnan's rousing wish for " A Good Old Fashioned War," was the evening's most engaging anthem, with similar notice for Athos, Porthos and Aramis' spirited " Count Me In! " ( All for One and One for All.) Lez Brotherston's splendid period costumes and effective in-the-round staging were both very praiseworthy. Equal accolades for Dennis Callahan's spirited choreography, with extra commendations for the evening's vigorous and striking swords play. Of course, the large, full orchestra conducted by Dale Rieling and Francis Matthews' strong Direction also added heavily. Now playing through September 9. (My Grade: 4)
THE PARADE or APPROACHING THE END OF SUMMER At the Provincetown Theater in Provincetown, Mass. the New Provincetown Players present their production of "The Parade or Approaching the End of a Summer" by Tennessee Williams. A short, recently-discovered unproduced one act, an autobiographical play written by the celebrated playwright in 1940, at age 26, when he was living in Provincetown. It was previously briefly performed in the Fall of 2006 as the major world premiere event of this town's first Tennessee Williams Festival. Expanded into a full-length play by Williams in 1962, and re titled "Something Cloudy, Something Clear," this longer, revised version was staged Off-Off Broadway in 1981. Here now we have this earlier abbreviated work by the then unknown young playwright. It's set on a bare stage with only a plain white backdrop and a flat wooden plank extending forward (acting as a wharf). This slight character study tenderly explores the troubled love-sick relationship between youthful Don, a fledgling writer, and Dick, an older (by seven years) pompous and disdainful dancer-to-be, of seemingly limited potential. After haughtily disparaging Don's poetry, his arrogant and scornful friend effusively welcomes his girlfriend Wanda and drifts off stage with her. Meanwhile, Miriam, a young Jewish summertime visitor, lauds Don's creativity and also assures him that she's "never been bothered by (his) being gay." She's decidedly upset by Don's intense attraction to his supercilious friend and cautions him "Don't go for water to an empty well." Believing firmly in Don's future, she offers to lend him enough money for him to go to New York. " I wish that I could love you, I wish that you could love me" is the young playwright's wistful observation. Although Don is quite dismayed by the many letters of rejection sent to him by publishers he's mailed his work to, the play closes with Miriam remaining confidently steadfast in her belief in his talent. As stated, based on actual people and events, that were the famed playwright's friends and confidantes during his early years in Cape Cod, Canadian dancer Kip Kiernan, with whom Williams did have a strained relationship, was the prototype of Dick, and real-life New Yorker Ethel Elkovsky was indeed one of the young Tennessee's earliest and most dependable supporters. Effectively Directed by Eric Powell Holm, it's being well performed by the small five member cast, with sincere portrayals by Ben Griessmeyer as the sensitive and conflicted Don, and Whitney Hudson as the dedicated and helpful Miriam. Earnest and generally adequate support was offered by Elliot Eustis as the contemptuous Dick, Elizabeth Stahlmann as his girlfriend Wanda, and Bob Seaver as an older officious postman. Now playing every Wednesday, in rotation with several other presentations, through September 5. For more information, about this company's remaining summer season, telephone: 508-487-9793 or 800-791-7487. (My Grade: 3)
BACCHUS At Monument Square on the outdoor stage, in Anne Chamberlin Park in Concord, Mass., the Town Cow Theater Company presents its production of "Bacchus" by Jean Cocteau. Written in 1951 by this legendary French avant-garde poet, novelist, screenwriter, director and playwright, this presentation, open to the general public at no cost, represents its New England debut following its previous New York premiere in 1999. Translated and Directed by Thomas Caron, it's set in a German village in 1523, where a small group of prominent citizens have come together to choose this year's crowned head of the annual wine festival. Young, adult Christine, daughter of the region's Duke, and her teenaged brother Lothar, strongly recommend that Hans, the village's 29 year old idiot, be elected as the new fabled "Bacchus." After being so honored, Hans finds that his new position has given him total undisputed authority over the hamlet and all of its citizens, for one entire week. Thus empowered, it soon becomes evident that Hans was only pretending to be the local simpleton. Now fully in charge, he quickly initiates a multitude of new rules and regulations for the village. Amongst many other similar changes, all jailed prisoners must now be set free, payment of all petty tithes are now also to be canceled, and local merchants must not only reduce all of their prices but also allow any and all village thieves to keep whatever they have stolen. Furthermore, viewing Jesus Christ as the archetypical revolutionary, Hans decries the Church's pomp and ceremony which he asserts promotes public ignorance. As expected, all of these radical changes create an explosive backlash from the village leaders. Lead by the region's Provost and Bishop, with the assistance of an eminent visiting Cardinal (a Papal envoy), their machinations to change and redirect Hans, do not go quite as planned, and result in a series of unexpected consequences in their wake. While the major players in the Company's nine member cast do very well handling their assignments, there is some unevenness by a few of the actors, in the production's various minor roles. Jay Newlon is vividly effective as the freethinking Bacchus, with fine support by Myron Feld as the Duke and Caitlin Carrigan and Eric Sheehan as his highly involved daughter Christine and son Lothar. Although John Small was much too shrill as the local Provost, Tony Dangerfield as the village's Bishop and especially Director and Adaptor Thomas Caron, as the decidedly concerned Cardinal, was especially imposing. Jovanna L. Riollano's minimalist, but still effective, setting, together with Beca Gates' spare but adequate period costumes, served the production well. Now playing through August 26. (My Grade: 3.5)
MISS SAIGON At the Company Theatre in Norwell, Mass. is their new production of "Miss Saigon," featuring Music by Claude-Michel Schonberg and Lyrics by Alain Boublil with English adaptation and additional material by Richard Maltby. Loosely based on Pucinni's classic opera "Madame Butterfly" reset in Vietnam in 1975 during the last tumultuous wartime days of the American presence there. A major success when it opened in London in 1989, it was equally acclaimed upon its Broadway debut in 1991. Since then, it has been popularly staged and enthusiastically greeted many times in many countries throughout the world. As in Pucinni's original source, its tragic story centers on the ill-fated love between a beautiful, young and sweet Asian female and a member of the American military. Chris, a handsome young Marine stationed in Saigon, meets and falls in love with Kim at the Dreamland Bar, a sleazy local nightclub, where she has been forced to work as a prostitute. After he returns to America without her, not knowing that she has given birth to their son, complications develop for her due to her involvement with the bar's ruthless and cynical manager (known to all as "the Engineer"), and a cruel and relentless Assistant Communist Officer. A few years later Chris returns to Vietnam with Ellen, his new American wife. After an intense and revelatory meeting with her, Kim selflessly and tragically chooses to pave the way for her young child's better life in America with Chris and Ellen. The large highly-accomplished 16+ member cast perform their demanding and multi-layered assignments with great flair and passion. Jennifer Schaffer as Kim and Michael Warner as Chris, both with full and strong voices, are equally compelling as the troubled sweethearts. John F. King is especially engaging and commanding as the duplicitous and unscrupulous "Engineer," with splendid vocally melodic and assured acting support by James A. Valentin as the confrontational Communist Commisar; Kendra Kachadoorian as the new wife Ellen; and Kenneth Harmon as Chris' helpful G.I. buddy John. Kira Cowan, early on as an especially acrobatic cast member, was also quite effective. The grandly impressive and expansive score soars majestically with such memorable songs as "The Heat Is On In Saigon," "The Movie In My Mind," " The Last Night Of The World," and "I'd Give My Life For You." John F. King's vividly animated and dynamic rendition of "The American Dream," a sardonic salute to rampant materialism, served as the show's most imposing, show-stopping number. Similarly noteworthy was Kenneth Harmon's resonant vocal record of Vietnam's countless and abandoned war orphans, sung by him before projected films of these children on a rear backdrop. High praise must also go to Zoe Bradford's many creatively designed scenic units, which were quickly and effortlessly moved on and off to efficiently establish the show's multitude of time and place changes, with extra mention for her well conceived depiction of the chaotic U.S. evacuation from 'Nam, including a dazzlingly gripping helicopter descent and take-off. Shirley Carney's multi-varied and colorful costumes, Sally Ashton Forrest's spirited choreography and Matt Guminski's dramatic lighting, were also most certainly commendable. Of course, the fine full orchestra conducted by Michael V. Joseph and Zoe Bradford and Jordie Saucerman's combined and well-centered Direction were also most certainly evident throughout! Now playing through August 19. (My Grade: 5)
MISALLIANCE On the banks of the Charles River in Boston's Brighton neighborhood, at the outdoor stage in Christian Herter Park, is the Publick Theatre's production of "Misalliance" by George Bernard Shaw. Written in 1909, and first staged the following year, this classic comedy takes aim at British manners, morals, hypocrisy, capitalism, socialism, and the brashness of youth vs. the reserve of their elders. It then, with much charm and wit, adds a bevy of insightful and satirical observations about it all. At the country estate of British underwear magnate John Tarleton, he and his zesty young adult daughter Hypatia and his arrogant son Johnny, greet their guests, her stodgy and simplistic fiance Bentley (otherwise known as "Bunny"), and his pompous and prominent father Lord Summerhays, the former Governor of a colonial outpost. Although she's prepared to marry Bunny, mostly because it's expected of her, she longs to do more with her life than "to just grow old," and is hoping for something really extraordinary. Without warning, her expectations quite literally explode, with a roar and a bang, when a low-flying airplane suddenly crashes into their nearby greenhouse. Although shaken but thankfully uninjured, Joey, the handsome young pilot, (with a Latino accent), and Lina, his beautiful statuesque passenger, (with a decidedly Polish accent), now in like fashion join the guests. Hypatia's mother has now come to see what all the fuss is about. Lina is revealed to be wearing a colorful acrobat's costume when she removes her aviator's jumpsuit. The manly pilot and his lusty and very attractive gymnastic companion have now become the centers of attraction. As expected, Hypatia's fancy quickly shifts from Bunny to Joey, and everyone else is soon entranced by the fascinating, free thinking, and outspoken Slavic beauty. As Hypatia chases after Joey into the surrounding greenery, and the others leave briefly. Lina, a shabbily dressed commoner brandishing a pistol, stealthily enters the abandoned drawing room. He's come to settle a long festering grievance against businessman Tarleton. In a succession of comic and topsy-turvy turns, he's effectively disarmed and pacified, as Hypatia replaces Bunny in favor of Joey, while the rest continue to be intrigued by the lusty, free and unreserved Lina. Heather Wood is animatedly engaging as the spirited Hypatia, with vivid presence by Debera Ann Lund as the highly charismatic Lina. Much praise is also due for the rest of the cast: Owen Doyle as Mr. Tarleton; Alejandro Simoes as Joey; Stephen Libby as the foppish Bunny; Steven Barkhimer as the prestigious and stuffy Lord Summerhays; Adam Soule as Tarleton's testy son Johnny; and M. Lynda Robinson as Mrs. Tarleton, who's mainly responsible for mollifying Gabriel Kuttner as the radical, revenge-seeking intruder. It should be noted that Director Diego Arciniegas has also made many, with some occasionally striking, cuts in Shaw's provocative dialogue. This otherwise splendid production is now playing, (in repertory with "Romeo & Juliet," which will soon also be reviewed here) through September 9. (My Grade: 4)
42nd STREET At the Robinson Theatre on the campus of the Waltham High School in Waltham, Mass. the Reagle Players present their production of "42nd Street," featuring Book by Michael Stewart and Mark Bramble with Music by Harry Warren and Lyrics by Al Dubin. Based on the highly popular 1933 backstage movie musical of the same title, it opened on Broadway to great acclaim and a lengthy engagement in 1980, followed by a highly successful national tour. This was later followed by the show's equally popular reception when it was also staged in London's West End in 1984. A definite favorite with this company's audiences, this marks its 4th triumphant presentation by the Reagle Players, echoing previous highly popular productions here in 1988, 1992, and 1998. Its classic storybook plot centers on stage-struck chorine Peggy Sawyer, from Allentown, Pa.,breaking into big time stardom when she's suddenly chosen to replace the major star of "Pretty Lady," (the show which is in rehearsal for a big Broadway opening). Peggy gets her fanciful big chance when Dorothy Brock, the original leading lady, accidentally breaks her ankle during the show's tryout in Philadelphia. "You're going out as a youngster," barks Julian Marsh, the show's harried producer, to Peggy, "but you've got to come back a star! " And, of course, so she does. Notwithstanding its simple-minded plot, the show's great popularity rests on Warren and Dubin's wonderful legendary songs from the original Warner Brothers' motion picture, including the addition of a host of this same team's big musical hits from several of their other popular films of the 30's. The majestic score includes "Shadow Waltz," "You're Getting to be a Habit With Me," "Dames," "We're in the Money!," "Lullaby of Broadway," "Shuffle Off to Buffalo," and the grand title tune, amongst many other similarly memorable melodies. To this is also added Gower Champion's brilliant original choreography, recreated here by Susan M. Chebookjian and Eileen Grace. Unfortunately, this was Gower's last show. Tragically,he died on the day the show opened on Broadway. The many colorful and resplendent costumes by Florida's "Costume World," the multitude of quick and eye-catching sets by Robin Wagner, the fine full orchestral accompaniment under Karen Gahagan and Jeffrey P. Leonard's guidance and Eileen Grace's effective Direction, all most certainly contributed toward making this show the great ongoing favorite that it continues to be. Lastly, the large, 17+, enthusiastic and accomplished cast is in top singing and dancing form throughout, with high praise for pretty, full voiced, spiritedly tap-dancing Jessica Greeley as Peggy Sawyer. Equally equipped John Antony as the frantic Producer Julian Marsh; Sue Ellen Estey as the evening's replaced star Dorothy Brock; with Russell Rhodes as Peggy's amorous and animated dancing costar Billy Lawlor; and Beth M. Martin as the show's accommodating assistant Maggie Jones were all similarly effective. This splendid family-friendly show is now playing through August 18. (My Grade: 5) MR. MARMALADE At Boston's Center for the Arts Plaza Theatre, Company One presents "Mr. Marmalade" by Noah Haidle. A recent Off-Broadway success, this is its Boston premiere. Young and neglected 4 year old Lucy lives in New Jersey with her single, mostly absent, working mother, who often comes home with an occasional man (who Lucy doesn't know). With an uncaring babysitter primarily in charge, Lucy has fashioned an imaginary social world to fill up the emptiness of her life. The prime player in her fantasies is Mr. Marmalade, an arrogant, abusive, foul-mouthed businessman, who visits her regularly with Bradley, his gay subservient valet. It quickly becomes apparent that this imagined "friend" is not a very nice person. Notwithstanding his neat business-like necktie and suit, and his fine professional briefcase, we soon become aware of his addiction to cocaine, and find that his splendid leather case is really stuffed with pornography. His manservant Bradley is also marked with many signs of his Master's physical mistreatment. Alternating between pleasantry and malice, Mr. Marmalade repeatedly veers from browbeating Lucy to placating her with fanciful promises of a happy future vacation together in Mexico. However, his hold on her is suddenly challenged by the arrival of Lucy's new 5 year old friend Larry. Vividly displaying both of his bandaged wrists to her, Larry proudly announces that he's "the youngest suicide-attempt, in the history of New Jersey." Similarly, we soon discover that Larry also has both a talking cactus and sunflower as his own set of imaginary pals. Laced with dark, humor-filled dialogue which engagingly reflects both Lucy's and Larry's profoundly dysfunctional home lives, under Shawn LaCount's well focused Direction, the strong 8 member cast couldn't be better. Rachael Hunt (age 22) is totally believable as 4 year old Lucy, with similarly accurate effectiveness by Greg Maraio (age 25) as her 5 year old friend Larry. The ever potent John Kuntz is quite persuasive as the essentially malevolent Mr. Marmalade, with compelling assistance by Daniel Berger-Jones as his downtrodden servant Bradley. Amanda Good Hennessey as both Lucy's absent mom and unconcerned babysitter, Danny Balel and Tory Bullock as Larry's friendly house-plants, and Mark Abby VanDerzee as boyfriends of both Mom and the babysitter were all in fine form throughout. This grandly provocative one act exploration of a young, sensitive child's fancifully bizarre escape from her very troubled real world is now playing through August 11. (My Grade: 5)
JESUS: THE GUANTANAMO YEARS Review by Norm Gross At Jimmy Tingle's Off Broadway Theater in Davis Square, Somerville, Mass. is the U.S. premiere of "Jesus: The Guantanamo Years," created by and starring Abie Philbin Bowman. Fully bearded, with his shoulder (My Grade: 5) BLITHE SPIRIT Review by Norm Gross At Beatrice Herford's Vokes Theatre in Wayland, Mass. the Vokes Players present their new production of "Blithe Spirit" by Noel Coward. Written by him in 1941, at the height of the Nazis' nightly blitz air attacks against Great Britain, it has proved to be one of this great comic master's most popular and durable comedies. It was also produced as a highly successful British movie in 1945, starring Rex Harrison and (My Grade: 4)
SIDE BY SIDE BY SONDHEIM Review by Norm Gross At the Mosesian Theatre in the Arsenal Center for the Arts in Watertown, Mass., the New Repertory Theatre has just presented its new and recently concluded production of "Side By Side By Sondheim," an evening of the words and music (and sometimes the verbiage) of the great Stephen Sondheim. Originally developed as a fundraising program for a theatre in Great Britain in 1976, it proved to be so popular that it was soon
transferred to a major London showplace. There, it went on to great and long-lasting success and was eventually also mounted on Broadway to equal acclaim. Some of Sondheim's most memorable songs from such classic Broadway shows as "A Funny Thing Happened On The Way To The Forum," "Company," "Anyone Can Whistle," "Follies," "A Little Night Music," and "Pacific Overtures," are interwoven with the lyrics he also wrote for such monumental hits as Leonard Bernstein's "West Side Story," Jule Styne's "Gypsy," and Richard Rodgers' "Do I Hear A Waltz?, " amongst others. Also included are rare pieces written by him for motion pictures, television, and even a popular revue entitled "The Mad Show." Since this presentation was first devised in the mid-1970's, music from his "Assassins," "Sunday In The Park With George," "Passion," "Into The Woods," and, of course, "Sweeney Todd," having not yet been conceived, aren't included. A trio of the area's most gifted and grandly vocal performers: Leigh Barrett, Brendan McNab, and Maryann Zchau, accompanied by the spirited twin piano styling of Todd C. Gordon and Joshua Finstein, captivated the full audience with their engaging renditions of the aforementioned roster of compelling tunes. Leigh Barrett was especially impressive with her resounding treatments of "Another Hundred People," ( from 'Company'), "Losing My Mind" (from 'Follies'), and "A Boy Like That," ( from 'West Side Story'). Maryann Zchau was equally enthralling with her full voiced and passionate renditions of "Send In The Clowns," ( from 'A Little Night Music'), and "A Paree" and "I'm Still Here," (both from 'Follies '), as was Brendan McNab grandly singing "Beautiful Girls," and "Could I Leave You?" (also both from 'Follies') and in duet with Maryann "You Must Meet My Wife" (from 'A Little Night Music'), and "Barcelona" ( from 'Company'). Occasionally amusing incidental narration on stage, at a side lectern, obviously reworked and updated with many new and locally inspired theatrical references, was provided by Jonathan Colby, host of the popular WERS (Emerson College's radio station) weekly FM radio show, "Standing Room Only!" Rick Lombardo's well-centered Direction was manifest throughout. It should also be noted that a similarly well received revue entitled, "Putting It Together", was developed for Broadway in 1992 to feature much of Sondheim's remarkable more recent music. (My Grade: 5)
BEEHIVE--The 1960's Musical Review by Norm Gross Prather Entertainment Group presents "Beehive - The 60's Musical" at
the Cutler Majestic Theatre (Emerson College) in Boston, Mass. Originally staged in a reduced version three years ago in Pennsylvania, it now makes its greatly expanded and grandly opulent debut here prior to moving on to Arizona before beginning an 8 month cross-country national tour. Created by Larry Gallagher, this two hour celebration of the legendary female vocalists and singing groups, of the early days of Rock-'n-Roll, centers on the songs and rhythmic styles of such fabled teams as "The Chiffons," "The Shirelles," and,of course,"The Supremes," as well as such formidable stars as Lesley Gore, Connie Francis, Aretha Franklin, and Tina Turner. Notice is also taken of the gals from England such as Petula Clark, Lulu, and Dusty Springfield. In a succession of amazingly fast-paced costume and multi-colorful beehive-tall wig changes, Teanna Berry, Patrice Covington, Elizabeth Gross (no relation), Courtney Washington, Alicia Campbell, Kate Feerick, Emily Cara Portune, and Jillian Nyhan Zygo virtually explode on stage in a nearly non-stop salute to the aforementioned artists. Act One highlights the great early best sellers of the decade such as Patrice recreating Shirley Ellis' extremely popular "The Name Game," and Alicia resonantly continuing on with Carole King's "One Fine Day" (recorded by the Chiffons.) Then, Emily and Jill bring us all right back, to those good old days, with expert simulations of "The Shirelles" doing their "Will You Still Love Me Tomorrow?" (also written by King); with everyone then joining in for a tribute to "The Supremes." The entire ensemble grandly assumes their sound, appearance, resplendent evening gowns and big, big, hair-styles, with rollicking, right-on versions of "Where Did Our Love Go?" and "I Hear A Symphony," amongst others. Brenda Lee's " Rockin' Around the Christmas Tree," and "I'm Sorry," followed by Lesley Gore's "You Don't Own Me," and "She's A Fool," and finally Connie Francis' "Where The Boys Are," resoundingly close out the evening's first part. Act Two begins with eye-popping visual and vocal reproductions of the famed Brits such as Petula Clark's "Downtown," Lulu's "To Sir With Love," and Dusty Springfield's "Wishin' And Hopin'." Similarly accurate and triumphant tributes to Tina Turner with "River Deep, Mountain High," and "Proud Mary;" Aretha Franklin's "Respect," and "A Natural Woman." Then, Emily bringing the capacity audience to a thunderous ovation with her extraordinary personification and recreation of Janice Joplin's "Try (just a little bit harder)," and "Me And Bobby McGee," close out this extraordinary evening. High commendations must also go for Jason P. Hayes' 45 glamorous, top-heavy wigs, John P. White's 40 dazzling evening gowns, and the spiritedly rocking six member, on-stage band conducted by keyboard player Beth Burrier. This solid salute, to the great female rockers of the 60's, is now playing an all too brief, very limited, (4 days only) engagement through July 28. (My Grade: 5)
A MIDSUMMER NIGHT'S DREAM Review by Norm Gross At the Parkman Bandstand on the green open-air Boston Common the Citi
Performing Arts Center presents Commonwealth Shakespeare Company's new production of "A Midsummer Night's Dream" by William Shakespeare. This is the Company's 12th annual free presentation of a Shakespearean play, offered to the general public. Staged in contemporary times and dress, young sweethearts, Helena and Demetrius, and Lysander and Hermia, counter to their parents wishes, elope to a magical woodland ruled by the King and Queen of the fairies. There, Puck, the King's prankish servant, mischievously finds and enchants them all. As a practical joke, the foolish elf has now ensnared these young lovers in a topsy-turvy series of romantic reversals, with Lysander now fixated on Helena and Demetrius similarly smitten by Hermia. To further merrily confuse matters, Puck decides to have some fun with a group of grandly dimwitted tradesmen who are rehearsing a play in honor of the parents of the aforementioned young, enchanted lovers. Puck then transforms Bottom, the featured performer, amongst this foolish band of "thespians," with a jumbo donkey's head (!) as his very special joke. As expected, by the final curtain, all the confusions are cleared up, and all of the sweethearts are properly reunited. Bottom, now with his foolish and actual head once again upon his shoulders, under the nonsensical stewardship of Quince, the band's leading tradesman, is able to perform the play that he and his fellow laborers have so witlessly rehearsed. The large 20 member cast does well with the Bard's jocular play. Jason Bowen as Demetrius, Meghan Bradley as Hermia, Ed Hoopman as Lysander and Hannah Wilson as Helena perform their roles with much comic flair. However, both actresses tended to overdo comically vaulting onto the backs of their mismatched lovers. Antonio Edwards Suarez as Puck, garbed in a resplendent canary-yellow fairy costume, accented by bright crimson pantaloons, was a complete delight. Although their dimwitted play, at the final curtain, was a bit too long and belabored with too many overly slapstick styled antics, nevertheless Larry Coen as the musically sonorous Quince, and his fellow jesters still merit substantial praise. Fred Sullivan, Jr. as Bottom was especially effective as the lustily braying buffoon. Similar praise must also go to Johnny Lee Davenport as Oberon, the King of the Fairies. Beowulf Boritt's verdant, colorful balloon-accented set, Clint Ramos' bright, day-glo hued Fairy costumes, and Nancy Goldstein's dramatic lighting, all under Steven Maler's highly animated Direction were also equally noteworthy. Now playing through July 29. (My Grade: 3.5)
GEORGE M COHAN TONIGHT! Review by Norm Gross
The Stoneham Theatre in Stoneham, Mass. presents " George M. Cohan Tonight! " a one-man show starring Jon Peterson as the legendary song-and-dance man. Written, Arranged and Directed by Chip Deffaa, it
was originally produced Off-Broadway in 2006 and has since been very well received in Worcester, Mass., Waterbury, Connecticut, and Rochester, New York, and will soon be staged in the Far East for Asian
audiences. Peterson's dynamic non-stop 90 minute solo performance has garnered him the " Back Stage Bistro Award," a " Connecticut Critics' Circle Award, " as well as a N.Y. "Drama Desk" nomination. Although
born and raised in London, he is totally effective as this All-American showman. Born in Providence, Rhode Island in 1878 (Cohan's birth date was listed as July 3), but forever after he always insisted that he had been born on "the 4th." In a free-wheeling, highly-detailed, and very anecdotal account of Cohan's life and career, Jon Peterson sings and expertly tap-dances his way through nearly 40 of the many grand old songs that were written and performed by this extraordinary Broadway star. The evening chronicles Cohan's meteoric
rise as a teenager, who began writing songs and comedy sketches for his family's Vaudeville act, known as "the Four Cohans," (comprised of George, his mom and dad, and his sister Josie.) From there, he went on
his own to his first big Broadway show "Little Johnny Jones" in 1904. It served to showcase his great original songs "Give My Regards To Broadway," and "The Yankee Doodle Boy." His two marriages are also
spiritedly described, first to Ethel Levey in 1899 (ending in divorce), and later to his longtime second wife Agnes Mary Nolan, whom he wed in 1907. With Mary, the Cohan family grew to include two daughters and a
son. From then throughout the 1920's, Cohan produced over three dozen hugely popular Broadway shows, featuring such memorable song standards, written and sung by him, as "Mary's A Grand Old Name," "H-A-R-R-I-G-A-N," "45 Minutes From Broadway," " Oh, You Beautiful Girl," " Life's A Funny Proposition," "You're A Grand Old Flag, " and the anthem of World War I, " Over There." In 1936, President Franklin D. Roosevelt presented him with the Congressional Gold Medal honoring his great patriotic songs during the First World War, and in 1942 James Cagney starred as George M. Cohan in Hollywood's Oscar-winning version of the great showman's life, entitled "Yankee Doodle Dandy." He died of cancer at age 64 in the Fall of 1942.
Vibrantly accompanied by a small onstage ensemble Directed by Sterling Price-McKinney, Jon Peterson's vivid portrayal, involving his rousing, uplifting, energetic and engaging, acting, singing and dancing throughout the show, was most deserving of the capacity audience's thunderous standing approval at the evening's resounding conclusion. Now playing through July 1. (My Grade: 5)
AND NOW LADIES AND GENTLEMEN, MISS JUDY GARLAND
INDIAN INK At the Plaza Theatre in the Boston Center for the Arts, Small World Big Sky Productions presents "Indian Ink" by Tom Stoppard. Based on the playwright's earlier radio play "In the Native State," it was later
adapted by him for the stage and as such was first performed in London in 1995. It has since been also produced in New York.This is its Boston premiere. Set in India in 1930 and in England in the mid-1980's, the
play's action shifts back and forth between these two different times and places. In the earlier period, Flora Crewe, an independent thinking, free spirited poetess, has come to India for her health. Suffering from
tuberculosis, since her physician had recommended "a sea voyage and a warm climate," in her typically headstrong fashion, she has chosen to go to this most unusual and demanding destination. During this tumultuous period, marked by India's struggle for independence from British Colonial rule, Flora becomes acquainted with Nirad Das, an Indian fine artist. As he paints her portrait, many of his country's different cultural contrasts and conflicts are discussed. Among these issues, their different religions, their caste system, their attitudes towards women, and of course, their feelings about colonialism and the British, in general, are deftly explored. Shifting then to the more recent past, Eleanor Swan, the surviving younger sister of the now deceased Flora, is visited by Eldon Pike, an American biographer from Maryland, who's researching her somewhat well-regarded sister's life. She's also visited by Anish Das, the son of the late afore-mentioned artist. Anish is now a longtime, permanent British resident. Of uppermost interest to Eleanor, Eldon and Anish is whether Nirad-- besides his portrait of Flora--had done a nude painting of her, too. If this can be proven, it might also show that an intimate relationship between the two was very much underway. In this context, these disparate English, American and Indian characters vent their quite different views of today's India in contrast to its long history as a British colony. Well acted by the large 15 member cast, under Sarah Krohn's positive Direction, Janelle Mills as Flora, Bharat Bhushan as Nirad, Jean Sheikh as Eleanor, Chuck Schwager as Eldon, and Anurag Mishra as Anish are effectively provocative throughout. High marks are also due for Jeremy Barnett's fine multi-level set, Nicole Yvonne Moody's authentic, traditional costumes, and Nathan Leigh's well chosen incidental Indian music. While ultimately a bit overlong, nevertheless the play's engaging and multi-faceted ideas, perspectives and accounts of India's past and present remained continually fascinating and stimulating. Now playing through July 1. (My Grade: 4.5)
JUST SAY LOVE Review by Norm Gross In the Plaza Black Box Theatre at the Boston Center for the Arts Stagewrights Corp. presents "Just Say Love," a new play by David J Mauriello. Set in Boston's South End neighborhood, Guy, a short gay
lonely, self-employed vegetarian sits in a local park reading as he meets Doug, a tall straight muscular construction worker. Doug, living with his girlfriend Geeda, enthusiastically informs his new acquaintance that his mate is preparing to give birth soon to their baby. However, the casual encounter between Guy and Doug gradually develops into hesitant and awkward attraction. Guy's fascination with the ideas of Plato leads these two seeming opposites to a brisk discussion about "love" and the great thinker's notions about such strong emotions. Overly quizzical, Doug emphatically concludes that "there is no love... just a physical need." Later, when these two meet at Guy's apartment, Guy wonders if this was all just a big
mistake. He's wordlessly answered when Doug begins by removing his T-shirt! Over time, after several lusty sexual encounters, Doug unexpectedly leaves Guy upon receiving news of the birth of his child. After a long, uncommunicative absence, Guy begins to wonder if he'll ever see Doug again. "Damn you...you macho slob," he bitterly notes. Finally, much time later, Doug telephones to inform him that he and Geeda have decided to name their baby "Charlie" instead of Maximilian. Some time thereafter, when Doug does return to Guy's apartment, Guy begins to vent his true feelings. He complains, "I do everything! You do nothing! There's no relationship! There's no strings!" Doug responds, "You want me because I'm straight!" Time passes and later at Christmas, after some holiday cheer together, Doug makes a decision about what he must do. While this short (75 minute) one act play methodically presents the progressive evolution of the developing affinity that these two diverse types come to feel for each other, only scant notice is given to Doug's connection to his girlfriend. Obviously, their relationship, not only regarding his concern about Geeda's pregnancy and the birth of their child, but also his continuing on to the baby's naming, attests to both the strength and durability of his feelings. A fuller exploration of Doug and Geeda's interaction is
certainly missing and needed. David Miller's circular grassy set, with its park-type seats and prominently stationed street lamp, together with its elevated rear platform suggesting Guy's apartment, effectively
served the play's time and place changes. High marks must also definitely go to Michael Lemieux as Guy and James Ryen as Doug, under David Rothauser's well centered Direction. Now playing through June 30. (My Grade: 3.5)
KIKI & HERB--ALIVE FROM BROADWAY Review by Norm Gross At the Wimberly Theatre in the Calderwood Pavilion at the Boston Center for the Arts, now on view is "Kiki & Herb - Alive from Broadway," created by and starring Justin Bond and Kenny Mellman. Their cabaret-styled act premiered Off-Broadway in 2003, and in the following year this twosome presented their "Farewell Concert" at Carnegie Hall. Then, ignoring their claim of retirement, they bounced back for their
LOVE'S LABOURS LOST In the basement of "The Garage" in Harvard Square, Cambridge, Mass. The Actors' Shakespeare Project presents their new production of "Love's Labours Lost" by William Shakespeare. The King of Navarre has
vowed to avoid all pleasures and to not meet with any females for three years. As part of his solemn decision, he has also demanded the same abstinence from his three loyal Lords: Longaville, Dumaine, and Berowne. However, the arrival of the Princess of France with her attending ladies, Rosaline, Maria, and Katharine, creates a myriad of comic dilemmas, especially for the trio of aforementioned Lords. Additional amusing complications also begin to pop up with the involvements of Don Armado, a foolish Spaniard at Court and Moth, his very young Page, as well as Jacquenetta, an uneducated country maid, Costard, a rustic simpleton, Nathaniel, a self-centered Curate, and Holofernes, a pompous educator. Dull, an appropriately named Constable, and Boyet, the Princess' lively chaperone, also add much to the play's merriment! As expected, this fine presentation, under the assured Direction of Benjamin Evett (the Company's Founder and Artistic Director) is being staged with its own decidedly different and engaging focus, and the assured performances of its cast of only six, highly accomplished players, with each (except for Don Armado's very young attendant) assuming three of the play's 15 different roles. Accordingly, the Bard's highly amusing entanglements develop in a flurry, sometimes too overly hectic, of hat, wig, and various mustache changes by the cast members (garnered from a prominently placed tree-like rack at the back of the small stage )! Johnny Lee Davenport as Don Armado is supremely amusing, vividly enunciating his many exaggerated rolling, Spanish accented "r-r-r-r's," as well as his deft handling of the ploys of Boyet and Dull. Changing from blonde to brunette and then back to blonde, Marianne Bassham shines brightly throughout as the country bumpkin Costard, with effective portrayals of Dumaine and Rosaline, too. Similar praise must likewise go to Sarah Newhouse as the Princess of France, Lord Longaville and Jacquenetta, too. Michael Forden Walker as the demanding King, the self important Curate and the attending Lady Maria, and Jason Bowen as Berowne, the schoolteacher Holofernes, and Lady Katharine, were also equally praiseworthy. 12 year old Khalil Flemming was especially impressive as Moth, the Don's very loquacious and extraordinarily animated Page (at one point, rolling, bobbing up-and-down, and thrusting himself about on the stage's floor.) While, as previously noted, the many hectic and quite demanding role changes occasionally made for a bit of temporary puzzlement, otherwise the cast's grandly farcical flair registered as a definite win throughout! Now playing through June 24. (My Grade: 4)
The Trial of One Short-Sighted Black Woman Review by Norm Gross At the Boston Center for the Arts' Plaza Theater the Roxbury Crossroads Theatre has just concluded its production of "The Trial of One Short Sighted Black Woman vs. MammyLouise and Safreeta Mae," by Karani M. Leslie, after a brief engagement. Set in a courtroom, Victoria Dryer, a successful African-American TV producer seeking justice, has begun legal proceedings against two longstanding stereotypes of Black American womanhood. The accused have been drawn from the standardized and hackneyed conceptions of Black women, as they are being depicted in a fictional motion picture set on an early 19th century southern
plantation. MammyLouise is quite content that she's a slave, and is really very happy to do whatever is asked of her by her Master (whom she's devoted to and loves.) On the other hand, Safreeta Mae is an
alluring and oversexed temptress who uses her wiles to entrap decent young white men. However, just like MammyLouise, she too loves and is anxious to serve her Master. In the course of the trial, a number of |
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