In the Heights - Downtown Cabaret Theatre

If you have never seen Lin-Manuel Miranda’s first musical, In The Heights, then you want to head to the Downtown Cabaret Theatre in Bridgeport where the company is staging a spirited, well-acted production of the musical.  The show, with a score by the multi-talented composer/actor, combines rap, hip-hop, salsa and traditional Broadway melodies to form a musical that feels fresh and  contemporary.

The cast of In the Heights.

The book by Quiara Alegría Hudes covers a few days within the multi-ethnic neighborhood of Washington Heights in Upper Manhattan.  The book lacks overly dramatic elements but, for the most part, the libretto is rudimentary, mostly sketching together a series of slice-of-life complications.  Overall, the emphasis of the show is family and community.

We are introduced to this section of New York City and the denizens of the area by Usnavi, performed with confidence and a touch of innocence by Manny Gonzalez.  He runs a bodega with his cousin Sonny (played with comic brio by Nick Nuñez).  Abuela Claudia (Jane Prieto), an elderly woman, who raised Usnavi, is the heart and soul of the neighborhood.  There is the hair salon run by the sassy Daniela (Heather Abrado) and two assistants, the upwardly mobile Vanessa (Juliana Rivera) and the religiously inclined Carla (Karina Brea).  The married couple, Kevin (Martin Garcia) and Camila (Cintia Maio), run a car service with their buoyant and poised employee Benny (Everton George).  Their daughter Nina (Olivia Rivera), a bright, yet struggling college student at Stanford University, has come home for the summer.  This event, and the fireworks it creates, form the nucleus of the show.  There is romance, a city-wide blackout and, by the show’s conclusion, significant changes for almost everyone that lives in The Heights.

Everton George, Manny Gonzalez and Nick Nuñez of In the Heights.

Lin-Manuel Miranda’s music and lyrics, which were so new and, in a sense, revolutionary back in 2007 when the show opened Off-Broadway now seem commonplace in a theatrical setting.  Depending on the character and scene the composer offers up a variety of musical styles.  Standouts among the songs include the title number, “Enough, “Breathe,” and “It Won’t Be Long Now.”

One of the pleasures of this production is the enthusiasm and energy of the diverse acting corps.  All the aforementioned players provide high quality and nuanced performances.  Standouts include Manny Gonzalez as Usnavi, Juliana Rivera  as Vanessa, Heather Abrado as Daniela and the audience favorite, Jane Prieto as Abuela Claudia.

Juliana Rivera, Heather Abrado, Olivia Rivera, and Karina Brea of In the Heights.

Director Ben Tostado keeps the action lively and the pacing smooth.  Each scene naturally evolves from one moment to another.  Olivia Rivera, who doubles as the production’s choreographer, adds a few dynamic dance sequences to the show.

This production of In the Heights has no live band.  However, the professional sounding cast members, under the guidance of Musical Director Mark Ceppetelli, are totally in sync with the canned music, making for a thoroughly satisfying musical experience.  His work is augmented by Holly Rybnick’s proficient Sound Design.

David Kievet’s Scenic Design is tidily and effectively segmented into three distinct set pieces.  Christian Hall’s Lighting Design, at times, adds dramatic luster to the production. The Costumes by Thomas Gordon and Krista Rocco come across as totally fitting for the populace of this Manhattan neighborhood.

In the Heights, a vibrant musical, playing at the Downtown Cabaret Theatre in Bridgeport through November 24.  Click here for dates, times, and ticket information.

Sunset Boulevard - Broadway

Director Jamie Lloyd’s deconstructed and dazzlingly reconceptualized production of the Andrew Lloyd Webber/Don Black/Christopher Hampton musical Sunset Boulevard is a stunning piece of theater.  Not always successful – audience members unfamiliar with the original production (1994) or first Broadway revival (2017) might find the plot hard to follow.  Nonetheless, the musical is a triumph, especially for its star, Nicole Scherzinger who, literally, delivers a show-stopping performance.

Nicole Scherzinger as Nora Desmond in Sunset Boulevard.

Sunset Boulevard is based on the classic 1950 Billy Wilder film and revolves around the faded silent screen legend Norma Desmond (Nicole Scherzinger) and her relationship with a cynical, down-on-his-luck screenwriter, Joe Gillis (Tom Francis).  Through happenstance, the two come together to work on the former film star’s unwieldly movie script, which she sees as her ticket back to stardom.  Moving into Norma Desmond’s palatial manor, the writer becomes more entrenched within her life, all under the watchful eye of Max (David Thaxton), her faithful manservant.  Complicating matters is Gillis’ growing affection to Betty Schaefer (Grace Hodgett Young), a perky, young studio assistant, who happens to be engaged to the former’s best friend.  At times subservient to Desmond’s demands, at other moments rebellious, Gillis finally looks to break free from his gilded life with tragic consequences.

 

Tom Francis and the ensemble in Sunset Boulevard.

Lloyd has framed the production on an almost scene-free stage, giving the impression of an empty movie set.  The director makes significant use of towering, real-time video projections, so effectively rendered by Nathan Amzi and Joe Ransom.  I am not a huge fan of this device, but Lloyd manages to make it work, most of the time, by delivering, simultaneously, the drama on stage with a film noir backdrop.  There are certain scenes which could have benefitted without the video.  The close-ups are particularly penetrating, adding another layer to the actor’s performances.  Jack Knowles’ Lighting Designer is integral to the show’s success.  He bathes the production in shadows and silhouettes, which adds to the moodiness and disillusionment of the characters. 

 

The ensemble of Sunset Boulevard.

The director has streamlined the show by excising a few scenes from the original stagings of the musical, such as Norma’s spa treatments ("Eternal Youth Is Worth a Little Suffering") and Joe Gillis’s primping by a gaggle of Men’s Shop salesmen ("The Lady's Paying").  While not affecting the narrative, the stark staging  of the production gives only a few reference points for individuals unacquainted with the show.  My daughter, who attended with me, was slightly confused with the storyline, even though it did not curtail her overall enthusiasm for the production.

 

The success of Sunset Boulevard rise and falls with the actress playing Norma Desmond.  Nicole Scherzinger, who originated the role on the London stage, winning the Olivier Award for Best Actress, redefines the role, bringing a sexier, more agile interpretation to her portrayal of the deluded former movie star.  Her mannerisms and vocal inflections reflect the silent film era.  They come into crisp, unfettered focus when displayed on the enormous, backstage screen.  Her romantic relationship with Joe Gillis also becomes more believable and plausible. 

 

Nicole Scherzinger in the Broadway revival of Sunset Boulevard.

Ms. Scherzinger, a former member of the pop group, The Pussycat Dolls, has an exceptional singing voice that brings power and passion to the Andrew Lloyd Webber/Don Black/Christopher Hampton score.  Her rendition of “With One Look” brought the audience to their feet, while "As If We Never Said Goodbye" brought sustained applause.  Overall, the music and lyrics in the mostly sung-through show, are one of the better scores within the Andrew Lloyd Webber canon.

 

David Thaxton as Max in Sunset Boulevard.

Tom Francis’ characterization of Joe Gillis is infused with the requisite sarcastic quips and down-on-his-luck edge.  I found his portrayal boosted by the video projections, which seemed to magnify his woeful, fated destiny.  Grace Hodgett Young imbues Besty Schaeffer with a hard-driving, career girl temperament.  Her portrayal is mitigated with spunk, but also a more realistic acerbic, defeatist demeanor. David Thaxton gives a fine portrayal of Max Von Mayerling, Nora Desmond’s manservant and one-time director.  His character’s demeanor and stifling presence is also aided by the video projections, with his snarling, sometimes menacing, presence towering above the stage.

 

Members of the ensemble, a more amorphous group, fill in for the minor roles while also serving as a Greek-like chorus.  Their movements by Choreographer Fabian Aloise are, at times, exciting, mirroring the tumult in the story.  But the sequences helmed by Ms. Aloise can also be puzzling and distracting.

 

Sunset Boulevard, now playing at the St. James theater on Broadway.

 

The 39 Steps - Westport Country Playhouse

The Westport Country Playhouse kicks off its 2024 – 2025 Season of Laughter with the amusing The 39 Steps.  Based on Alfred Hitchcock’s classic film of the same name, as well as the John Buchan novel, this humorous romp reenacts the film…with just four actors.  There is the intrepid hero, Richard Hannay who, as is common in Hitchcock flicks, is wrongly accused of murder while, at the same time, chasing spies without being snuffed out himself.  There is a romantic interest and enough adventure, oddball characters, and derring-do to satisfy any audience member.

 

The Cast of The 39 Steps.  Photo by Carol Rosegg.

Patrick Barlow, who adapted the show from the source material, has dreamed up what seems like a limitless number of inventive verbal and visual gags.  The playwright closely follows the story’s well-known premise so even individuals unfamiliar with the plot can easily follow along.

 

Director Mark Shanahan keeps the action barreling forward at a rapid clip.  The flow is greatly enhanced by Movement Coordinator Steve Pacek’s dexterous work with the actors.  The cast seems game for anything the director throws at them, which includes a heaping dollop of physical humor, giddy wordplay, and dry, British wit.

 

Sharone Sayegh, Joe Delafield and Evan Zes in The 39 Steps.  Photo by Carol Rosegg.

There are pauses, usually for schtick by actors Seth Andrew Bridges (Clown I) and Evan Zes (Clown 2), who portray what seems like an infinite number of eccentric and devilish characters.  The most entertaining scenes are those with little opportunity to linger, but even those moments that tarry too long are usually saved by the antics and quick change artistry of Bridges and Zes.  Ryan Rumery’s Sound Design adds an audio component to these hijinks.

 

Joe Delafield, as with all Hitchcock heroes, brings a honorable, self-importance to his role as Richard Hannay.  The actor, who occasionally seems to channel his innermost John Cleese (of Monty Python fame), rightly plays the straight man to facilitate the tomfoolery on stage.  Sharone Sayegh is dastardly sweet as the international spy Annabella Schmidt and appropriately flustered as the heroine Margaret.  Seth Andrew Bridges and Evan Zes probably have the most fun in the production.  They are constantly changing characters, adding accents, and clowning around as they portray, well I lost count of how many people they impersonate.  If there is one standout within the ensemble of performers it is Evan Zes, who’s nonstop comedic prowess is inspired.

Sharone Sayegh and Joe Delafield in The 39 Steps.  Photo by Carol Rosegg.

 

James J. Fenton’s quick-changing Scenic Designs are full of whimsy and creativity and helped by J. Dominic Chacon’s sometimes moody Lighting Design. The pleasure of Jeni Schaefer’s Costume Designs are their quantity, variety, and versatility.

 

The 39 Steps runs through November 9 at the Westport Country Playhouse.  Click here for dates, times, and ticket information.

 

Jekyll and Hyde - Hartford Stage

Jekyll and Hyde, playing now at Hartford Stage, should not be confused with the well-known Frank Wildhorn musical. This version, which kicks off the theater's current season, is a dramatic work based on the Robert Louis Stevenson novella.   Playwright Jeffrey Hatcher’s adaptation is entertaining and highly theatrical.  He throws in a splattering of comedic touches along with the requisite thrills and chills.  Director Melia Bensussen, working with Scenic Designer Sara Brown’s eerily Gothic set and Evan C. Anderson’s atmospheric Lighting Design, has cast members scurrying about - popping up from the floor, winding their way down an on-stage stairwell – in a well-orchestrated fast-paced manner.  Jane Shaw’s original music provides an ominous, foreboding feel to the show.

 

Nathan Darrow as Dr. Jekyll in Jekyll and Hyde.

 

The story, recounted numerous times in film, TV and stage productions, follows Dr. Henry Jekyll, a respected London-based doctor as he experiments with a potion he hopes will help repress his immoral, vile sensations.  The result is a transformation into the evil, murderous Edward Hyde.  During the timeframe of the show, we are introduced to Gabriel John Utterson, Dr. Jekyll’s lawyer friend; Utterson’s cousin, Richard Enfield; the pompous, Sir Danvers Carew, a rival of Dr. Jekyll;  a Dr Hastie Lanyon, a mutual friend of Jekyll and Utterson; Dr. Jekyll’s servant, Mr. Poole; and a hardscrabble woman, Elizabeth Jelkes, who becomes a paramour to Mr. Hyde.  All the characters interact with Dr. Jekyll/Mr. Hyde at some point, followed by murder and mayhem for a few of them.  The end is tragedy for the dual characters.

 

Members of the cast in Jekyll and Hyde.

 

What has made the story of Jekyll and Hyde so popular over the decades are its universal themes.  There is, among others, man’s inner struggle and tension between good and the evil, the question of morality, and the conflict between one’s external decorum and private, lustful yearnings.  Hatcher has effectively woven these topics into the show without succumbing to preachiness or unnecessary orations.  The playwright puts a satisfying spin on the transformation scenes.  Nathan Darrow, who plays Dr. Jekyll with Victorian understatement, doesn’t physically contort himself, for example, like John Barrymore in the classic 1920 film version.  In this production, Mr. Hyde is represented by up to four of the other actors, which allows the action to move steadily along without unnecessary histrionics and gives a more layered approach to the transformation and resulting change.

 

Nayib Felix and Sarah Chalfie in Jekyll and Hyde.

 

Ms.  Bensussen has the acting troupe tackle the script with a straightforward, earnest approach.  She also imbues the production with some lighthearted moments to leaven out the horror and mayhem.  The director nimbly handles the transformation scenes as she keeps the play running at a lively tempo.

 

 

Nathan Darrow as Dr. Jekyll and Nayib Felix in Jekyll and Hyde.

 

Most of the actors and actresses, in addition to their primary roles, are called upon to fill in with other characters, which they do in a quick and effortless manner.  The cast, with marvelous period outfits by Costume Designer An-lin Dauber, is led by Nathan Darrow as Dr. Jekyll.  He conveys both a highbrow snootiness and the distress of a man in constant turmoil with himself.  Omar Robinson, stolid and reserved as the lawyer Gabriel Utterson, is also the most menacing of the Mr. Hydes.  Nayib Felix shows the most range in the his multiple characters, which include Dr. Carew, the Inspector and, for good measure, an intimidating Mr. Hyde.  Peter Stray gives a rewarding performance as Dr. Lanyon.  Sarah Chalfie’s Elizabeth Jelkes, an invention of Hatcher, delivers an effective portrayal of the doomed woman from the lower class.  She superbly embodies a woman of strength and resolve and is a fitting counterpoint to the upper class gentlemen.   Jennifer Rae Bareilles is satisfying in the more understated role of Mr. Poole.

 

 

 

Dr. Jekyll and Mr. Hyde, playing at Hartford Stage through November 3.  Click here for dates, times, and ticket information.

Fever Dreams - Theaterworks Hartford

Playwright Jeffrey Lieber, who’s show Fever Dreams opens the Theaterworks Hartford season, was a co-creator of the television program Lost.   Like that memorable drama, Fever Dreams is full of suspense, thrills, twists and turns.  And that’s all in Act I.  However, like the latter seasons of Lost, this production, directed with style and intensity by Rob Ruggiero, loses its mojo in Act 2.  The edginess and tension that carefully unfolds in the first half of the show cannot be sustained.  The play, though, even with its less than gripping conclusion, is still compelling and a show worth seeing. 

Lana Young in Fever Dreams.  Photo by Mike Marques.

The three-character play begins on a high note.  Zachary (Doug Savant, best known for TV’s Desperate Housewives and Melrose Place) enters a darkened, rustic cabin – a highly detailed, stunning structure from Scenic Designer Luke Cantarella - to be confronted by a woman, Adele (Lana Young), sitting in the dark pointing a gun at him.  Is it a serious threat or a playful joke?  In rapid succession, we learn they are clandestine lovers – think of a revved up version of Same Time, Next Year – with rendezvouses full of sex and well-kept secrets.  Lieber keeps the audience off-balance, climaxing with the appearance of Adele’s husband Miller (Tim DeKay, best known for TV’s White Collar).  Adele has conveniently, but temporarily, departed before his arrival.  The former best friends spar, argue and then there’s that gun.

Doug Savant in Fever Dreams.  Photo by Mike Marques.

In Act 2, the three characters hurl accusations and continue to scuffle all while one last secret is revealed.  Their symbiotic relationship, unusual as it is, crumbles as, at the end of the show, they move forward with their lives.

The playwright has a great knack for setting up attention-grabbing scenarios.  His characters, all flawed, are interesting and hold our focus.  The subtitle of the show is “of animals on the verge of extinction.”  Lieber utilizes a number of creature metaphors by biologist Adele to augment the plot.  They are thought-provoking, but slightly overused.  Director Ruggiero propels the action forward with straightforwardness and guile.  His work is greatly augmented by Sherrice Mojgani’s subtle, mood-setting Lighting Design and the ominous sounds of Lindsay Jones’ original music and Sound Design.

Tim DeKay in Fever Dreams.  Photo by Mike Marques.

The acting troupe is superb.  Tim DeKay’s Miller is boisterous, fearsome and maybe a touch off-kilter.  The actor, a seasoned film and theater professional, prowls the stage with willful determination and despondency.  Doug Savant’s Zachary is more reactive than instigator for the dramatic ebb and flow of the show.  But he performs the role with passion and resolve that teeters between inquisitory to heartbreak.  Lana Young’s Adele, cloaked in mystery and a steadfast feistiness, is the provocateur among the three protagonists.  She brings both an impish cheekiness and brazen impudence to her character. 

Fever Dreams, playing at Theaterworks Hartford through November 3.  Click here for dates, times, and ticket information.

The Shark is Broken - Playhouse on Park

One of the most defining movies in film history – Jaws – is the subject of the three-person play, The Shark is Broken.  The show is co-written by Joseph Nixon and Ian Shaw, the son of Robert Shaw, who memorably played the crusty, irascible character Quint in the big-screen picture.  The play imagines the interactions, tensions and musings of the movie’s three stars - Richard Dreyfuss (Jake Regensburg), Roy Scheider (Nicolas Greco) and Robert Shaw (John D. Alexander).  They emote, yell, curse, and reflect on a wide range of topics.  Their primary beef is with the production delays and the boredom of waiting around for either favorable weather conditions or repairs to the constantly malfunctioning mechanical shark.

 

John D. Alexander, Jake Regensburg, and Nicolas Greco in The Shark is Broken.  Photo by Meredith Longo.

The 95-minute, intermission-less, production is basically a constant gabfest – three characters aboard a cramped, floating fishing boat. Director Joe Discher continually applies subtle alterations to the action on stage to keep the encounters and skirmishes fresh and varied.  He has the three clambering onboard to start scenes, which are staged in partial blackout.  At one point the hard-drinking Shaw climbs atop the Orca (the vessel’s name), face to the wind, almost challenging the elements to a fight.  In another scene, a very buff Nicolas Greco strips down to his skivvies for a quick bit of sunbathing.  All these maneuverings are diverting, at best, but still don’t mask the fact that The Shark is Broken, even for diehard Jaws fans like myself, can feel tedious and strained.

Nicolas Greco in The Shark is Broken.  Photo by Meredith Longo.

 

Each of the three cast members has brought their characters to believable life.  Jake Regensburg truly embodies the actor Richard Dreyfuss, with his self-doubts and vainness, nervous energy and histrionics.  He would be a touch more effective if he slowed down his delivery.   John D. Alexander delivers a crusty, hardscrabble performance as Robert Shaw.  His monotone leveled speech about the disaster met by the USS Indianapolis in World War II is riveting. Nicolas Greco’s Roy Scheider rests somewhere between the other two performers.  He brings a mellowness and low-key portrayal that helps balance the production.

John D. Alexander and Jake Regensburg in The Shark is Broken.  Photo by Meredith Longo.

 

The Orca set, by Scenic Designer Johann Fitzpatrick, is sizeable and detailed, but a tad too cluttered.  The pool of water in front of the mock-up ship, while providing the illusion of the ocean, wasn’t really necessary.  Fitzpatrick’s Lighting Design, with its muted sunsets and brightly radiating thunderstorm, greatly augment the production.  The thunderstorm scene, brief as it is, is greatly enhanced by the thunderous claps devised by Sound Designer Sean McGinley.

 

The Shark is Broken, running through October 20 at Playhouse on Park.  Click here for dates, times, and ticket information.

Table 17 - Off-Broadway

The ebb and flow of a failed relationship is the basis for the sporadically funny play, Table 17.  Jada (Kara Young) and Dallas (Biko Eisen-Martin) were once engaged, but the passionate rapport eventually imploded.  Now, two years later, Dallas has reached out to Jada for drinks at a swanky restaurant.  Will their “date” lead to a rekindling of the love they formerly had…or not.

 

Table 17 can, at times, be heartfelt and humorous.  There are shared amorous memories and painful remembrances, but the talented cast and superb direction by Zhailon Levingston cannot gloss over the ordinariness of the situations.  At a slight 85-minute run time, the show feels longer.

Biko Eisen-Martin and Kara Young in Table 17.

Ms. Young, always a delight to see on stage, generates the most laughs with her edgy, neurotic, and honest performance.  Her body language – a simple nod here, a quick turn there, speaks volumes.  Biko Eisen-Martin brings a fully developed portrayal of Dallas to the show.  He is introspective and forgiving, jumpy and anxious and, in flashbacks, a good-time, partying soul.  The third member of the cast, Michael Rishawn, portrays three characters – a feisty, no-nonsense restaurant server, a overly self-confident airline steward, and a spirited bartender – all with flair and finesse.

Michael Rishawn and Kara Young in Table 17.

 

Playwright Douglas Lyons incorporates monologues and breaks the fourth wall with characters interacting with the section of table seating audience members (sleek cocktail tables occupy the orchestra area with the remaining patrons sitting in raked seating above).  He brings a good ear for dialog, but for all the machinations and short vignettes, the concerns, the differences, and quarrels still comes across, overall, as unexceptional.  Levingston, at least, is able to fashion these elements into a well-staged production that constantly varies the tone and tenor of the play. 

 

The Scenic Design by Jason Sherwood, with the glossy interior of the bistro, huge disco ball hanging overhead, is one of the pleasures of seeing Table 17.  Ben Stanton’s Lighting Design provides a moody ambiance and Devario D. Simmons’ Costume Design is urban contemporary chic.

 

Table 17, playing at MCC through September 29.  Click here for dates, times, and ticket information.

 

Dracula: A Comedy of Terrors - Legacy Theatre

The final production of the Legacy Theatre’s season is the silly, yet very entertaining comedy, Dracula: A Comedy of Terrors.  The play, a campy retelling of the Bram Stoker novel, is fast-paced with jokes and gags flying furiously across the stage.  Playwrights Gordon Greenberg and Steven Rosen follow the basics of the Dracula legend, adding a flourish here, cross-dressing there.  The seemed to have been inspired by the camp gothic classic, The Mystery of Irma Vep which also includes cross-dressing characters, lightning quick costume changes, numerous sound cues, and wacky props. 

Mario Haynes as Dracula in Dracula: A Comedy of Terrors.  Photo by Sam Bibbins.

 

Director James Andreassi conjures up a cornucopia of sight gags, shenanigans, and tomfoolery.  The show is fast-paced and has a well-placed rhythmic balance between utter daftness and strait-laced storytelling. 

 

The cast is the finest ensemble I have seen at the Legacy Theatre, each in sync with the movements and comedic timing of the other performers.

 

Jimmy Johansmeyer and Stephanie Stiefel Williams in Dracula: A Comedy of Terrors.  Photo by Sam Bibbins.

 

Mario Haynes brings a hipster brashness to the role of Dracula.  His vainglorious posturing is more swagger than bloodcurdling.  Allison Miller is delightful as Lucy, the target of everyone’s affection.  The actress, who plays other roles, is both demure and no-nonsense as she fends off the semi-menacing Count, save her sister, and light a fire under her financee.  Josiah Rowe is charmingly amusing as Harker, the perpetually uptight real estate broker betrothed to Lucy.  He, too, has other small, yet key roles. Both Jimmy Johansmeyer (Mina and Dr. Van Helsing) and Stephanie Stiefel Williams (Dr. Westfeldt, Renfield and Sea Captain) deserve special praise for their multiple, cross-dressing roles.  Johansmeyer is madcap and wonderfully over-the-top.  The actor’s natural height only amplifies his unrestrained portrayals.  Williams, bald wig with fluffs of white hair, is equally zany.  Her quick character changes are one of the show’s highlights.

 

The creative team for Dracula all provide significant facets to the production.  Jamie Burnett’s Scenic Design is creatively crafted so one set piece seamlessly morphs into a completely different one.  His Lighting Design adds a vibrancy that punches up scenes.  Sound Designer Adam Jackson provides one hilarious audio effect after another.  Costume Designer Elizabeth Bolster’s wardrobe motifs are both properly fitting for a gothic thriller and wittily constructed.

 

Dracula: A Comedy of Terrors, playing at the Legacy Theatre through September 29.  Click here for dates, times, and ticket information.

Master Class - Music Theatre of Connecticut

Irene Glezos is giving a master class in acting in the play Master Class, the first offering of the 2024 – 2025 Music Theatre of Connecticut season.  The play is a reimaging by the playwright Terrence McNally of opera diva Maria Callas’ teaching stint at Julliard during 1971 – 1972.  Principally, a one-woman show, during the course of the 2 ½ hour production we learn much about the legendary opera star.  There is her fiery temperament.  Her marriage to an older man and affair with shipping magnate Aristotle Onassis.  We become transfixed by descriptions of her early years, assessments of rivals in the opera world and, most essentially, her opinions and analyses on making art.

Irene Glezos as Maria Callas in Master Class.  Photo by Alex Mongillo.

The setting is simple.  Ms. Callas is in a well-appointed teaching theater within the well-known conservatory.  Scenic Designer April M. Bartlett has constructed a richly paneled stage, evocative of a small concert hall.  There, with a grand piano and accompanist, she speaks directly to the audience observing her master class.  She wanders about and casually makes conversation in between the appearance of her three pupils.  The diva teases, cajoles, and admonishes as she paces about talking about her hardscrabble life and fervor for her artistic pursuits.

Irene Glezos as Maria Callas and Constantine Pappas as Tony in Master Class.  Photo by Alex Mongillo.

During the course of the show we meet the three students she will instruct – Sophie (Emily Solo), Tony (Constatine Pappas), and Sharon (Heidi Giberson).  All are eager to please and, to various degrees, succeed, however, not without pain, embarrassment, and a withering blow to their confidence.  Each of the three performers have beautiful voices, when allowed to sing by their teacher.  Ms. Callas’ constant interruptions, all for the goal to make each better, permit few extended arias.

 

Sharon, her final student of the day, while heeding the advice of her teacher, also has no problem issuing a withering assessment of the former diva.  After storming off stage, Ms. Callas matter-of-factly gathers her things, offers a few sage words to the audience and departs.

Heidi Giberson as Sharon and Irene Glezos as Maria Callas in Master Class.  Photo by Alex Mongillo.

Ms. Glezos gives such a well-rounded portrayal of Maria Callas that you think you are sitting in a darkened auditorium observing Maria Callas’ actual class.  The actress brings forth the singer’s zeal for life and opera.  She is conversational at one point, and a belittling zealot the next.  Small in stature, Ms. Glezos seems so much taller.  Ms. Solo and Giberson and Mr. Pappas give fine performances, but they are seemingly utilized sheerly to give the character of Maria Callas individuals to react to.

 

Director Kevin Connors nicely paces the production, alternating between casual bantering and intense polemics.  His use of dreamlike monologues allows Ms. Glezos to stretch her acting muscles even more and provides for a deepening of the Callas story,

Irene Glezos as Maria Callas in Master Class.  Photo by Alex Mongillo.

Master Class, playing at the Music Theatre of Connecticut through September 29.  Click here for dates, times, and ticket information.

Maggie - Goodspeed Opera House

Maggie, the new musical at the Goodspeed Opera House, has a number of strong elements to recommend – the earnest, unfeigned performances by key members of the cast and the rousing, joyful, sometimes melancholy score - are the two most notable.  However, the book, by Johnny Reid and Matt Murray, needs more focus as it tries to cover too much ground and a wide assortment of issues. The story, set in Scotland circa 1950’s – 1970’s, centers on the difficult, at times, overwhelming, challenges facing Maggie as she rears her three sons as a single mother.  Only when the volatile family dynamics are front-and-center, does the show begin to soar and tug at audience member’s heartstrings.

The cast of Goodspeed's MAGGIE. Photo by Diane Sobolewski.

 

We first meet Maggie as a young mother.  Married, with two young tikes and another on the way, she is content within her hardscrabble life.  Very quickly, thought, her life is upended with the coal mining death of her husband.  Fast-forward a number of years and the boys are in their teens.  Sam Primack (Jimmy), the youngest, is the brainiac, looking to be the first to pursue a university degree.  Wes Williams (Tommy), handsome and athletic, is seeking to play professional soccer.  Jeffrey Kringer (Shug), the eldest, a gifted musician, is searching for his place in the world.  Throughout the years, the boys grow and, due to unforeseen circumstances, their trajectories change – for good and bad.  Spliced within the churning domestic circumstances are Maggie’s interactions with her friends – receiving support and gentle prodding to move forward.  Numerous issues are also integrated into the musical such as spousal abuse, homophobia, sectarian violence, and women’s liberation.  Most of these matters, while not glossed over, have little depth and, sometimes, become a distraction to the focal point of the show - Maggie and her brood.

 

Sam Primack, Jeffrey Kringer, Christine Dwyer and Wes Williams in Goodspeed's MAGGIE. Photo by Diane Sobolewski.

By the end of the production, there is a combination of joy and contentment within Maggie’s domain, yet unresolved family complications temper her fulfillment and inner peace.

 

The main asset of Maggie is the music and lyrics by Johnny Reid, Matt Murray and Bob Foster.  The songs are emotional laden and full of energetic soul.  It is one of the best new scores I have heard on a Connecticut stage for a long time.  While listening, I was reminded of musical moments from the shows Once and Come From Away.  Standouts, under Adam Souza’s superb musical direction, include the upbeat “Everyone’s Gone;” the comedic strutting of “Queen For a Day;” and the testerone powered “Getting Outta Here.”

 

The cast of Goodspeed's MAGGIE. Photo by Diane Sobolewski.

Mary Francis Moore’s direction consistently propels the musical forward.  The performers, especially the women, seem to be in constant motion as the years leap forward.  While individual scenes work well, as stated earlier, the production does not always come together as a unified whole.  Ms. Moore incorporates Scenic Designer Beowulf Boritt’s free-flowing set which, primarily, utilizes chairs and tables to create the show’s environs.  Many key moments are amplified by Japhy Weideman’s Lighting Design.  Boritt’s creation of an imposing stone wall at the back of the stage, conjures up the bleakness the characters experience in their small town.  Choreographer EJ Boyle contributes a number of spirited dance routines for the show.

Christine Dwyer and the cast of Goodspeed's MAGGIE. Photo by Diane Sobolewski.

The cast, from the principle players to the featured performers, is superb.  They are led by Christine Dwyer as Maggie.  The actress imbues the character with fortitude, a fighting disposition, and heartfelt emotion.  Maggie’s three young men – Sam Primack (Jimmy),  Wes Williams (Tommy), and Jeffrey Kringer (Shug) – form a tightknit  trio of brotherly love and competitive spirit.  Each of the actors infuse their roles with passion and strength.  Other notable performances are three of Maggie’s best mates – Jean (Kennedy Caughell), Sadie (Sophia Clarke) and Betty (Terra C. McLeod).

 

Maggie, playing at the Goodspeed Opera House through October 20.  Click here for dates, times, and ticket information.