A Christmas Carol - Hartford Stage

“The whole is greater than the sum of the parts,” is a phrase attributed to the Greek philosopher Aristotle.  Never is this more true than in the captivating, magical, and somewhat spooky production of A Christmas Carol, subtitled A Ghost Story of Christmas, at Hartford Stage.  This is the 25^th anniversary presentation of the Charles Dickens classic and, like fine wine, the show has aged with rich, smooth distinction.

Stuart Rider, Guiesseppe Jones and members of the Youth Company in A Christmas Carol: A Ghost Story of Christmas. Photo by T. Charles Erickson.

All the creative elements in the production, are skillfully woven together by Director Michael Wilson, who also adapted the Dickens story into this theatrical presentation.  The work of the artistic contributors is critical to the success of the show:

 

·      Robert Wierzel’s Lighting Design dazzles with bright ghoulish colors illuminating characters and bathing the stage in stenciled patterns.

·      John Gromada’s Sound Design and Original Music is a cacophony of aural eeriness, which includes loud claps of thunder, and the shrill whistle of a steam-powered clock.

·      Tony Straiges’ Scenic Design, primarily of an elevated walkway, reminiscent of the Victorian era, also includes imaginative, playful props such as the tricycle of the Ghost of Christmas Past and the majestic thrown of Christmas Present.

·      Hope Clark’s original choreography, reproduced by Derric Harris, is full of macabre dances by a deathly group of skeletons.

·      Zack Brown’s Original Costume Design are sumptuously rendered, running the gamut from Victorian squalor to high society gowns to the whimsical and lavish attire by the Three Ghosts.

·      ZFX, Inc. Flying Effects could be considered the star of the show as they have the character of Jacob Marley soar above the stage and to the rafters.  His entrance through the stage floor is as theatrical as it gets.

 

For audience members unfamiliar with the story, a quick summary:

It is Christmas Eve and Ebenezer Scrooge, a greedy, self-serving owner of a money house, despises the holiday.  Bah, Humbug! he shouts.  His unpleasant nature is directed at all, especially his overworked clerk, Bob Cratchit, who after much complaining, lets him take off Christmas Day.

Noble Shropshire and Guiesseppe Jones in A Christmas Carol: A Ghost Story of Christmas. Photo by T. Charles Erickson.

 

That night, at bedtime, he is visited by the ghost of his former partner, Jacob Marley.  Dead for seven years, he is bound in chains, a tormented apparition from his life of miserliness.  He tells Scrooge he will be visited by three spirits that night and can avoid his same fate by listening to these specters.

 

Noble Shropshire and Guiesseppe Jones in A Christmas Carol: A Ghost Story of Christmas. Photo by T. Charles Erickson.

 

The first spirit is the Ghost of Christmas Past, which fleshes out Scrooge’s past.  We see scenes from his childhood, his close relationship with his sister, Fan, and his ill-fated romance with his fiancée, Belle.  Angry and disconsolate, he is deposited back to his bedroom where the second spirit, the Ghost of Christmas Present, awaits.  Here, he is whisked to homes of people he knows who mock him, but also pray for his soul.  It is at this point, he learns about Bob Cratchit’s very ill son, Tiny Tim.  Without proper medical attention, the boy will die.  With the Ghost of Christmas Future, Scrooge is shown scenes of heartbreak and dejection, including the passing of Tiny Tim.  He vows to change his ways.

The Hartt School Company in A Christmas Carol: A Ghost Story of Christmas. Photo by T. Charles Erickson.

 

The next day, Christmas morning, Scrooge awakens a changed man.  Gregarious, yet humbled by his experiences, he begins to make amends for his previous unscrupulous behavior, which includes spending time with his nephew, making generous donations to the poor, relieving those in his debt, and paying his employee, Bob Cratchit, a living wage.

The cast of A Christmas Carol: A Ghost Story of Christmas. Photo by T. Charles Erickson.

The large cast, directed with precision and aplomb by Michael Wilson, who has guided his work with a practiced eye through years, is a seasoned and entertaining group of performers.  The notable performers are led by Guiesseppe Jones as Ebenezer Scrooge.  The actor’s portrayal is more menacing than just being unkind, but it adds an enhanced dramatic element to the play.  Noble Shropshire, who portrays both the flustered housemaid, Mrs. Dilbert, and the ghostly Jacob Marley, is an absolute marvel, providing sustained humor with the former, and chills and thrills with the later.

Guiesseppe Jones and members of the Youth Company in A Christmas Carol: A Ghost Story of Christmas. Photo by T. Charles Erickson.

 

The three ghosts also play two roles each.  Rebecka Jones is pleasing as Bettye Pidgeon, a street peddler of dolls, and sprightly as the Spirit of Christmas Past.  Stuart Rider is satisfying as the cart vendor Bert, purveyor of fruits and nuts, and suitably regal as the Spirit of Christmas Present.  Lastly, Daniel Madigan is fetching as the street merchant, Mr. Marvel, and downright spooky as the unspeaking Spirit of Christmas Future.

The cast of A Christmas Carol: A Ghost Story of Christmas.  Photo by T. Charles Erickson.

A Christmas Carol, playing at Hartford Stage through December 28.  Click here for dates, times, and ticket information.

 

                            

White Christmas - Goodspeed Opera House

The Goodspeed Opera House’s production of White Christmas is a winning holiday treat.  Based on the 1954 movie of the same name, the musical contains a bevy of Irving Berlin’s memorable tunes (“Happy Holidays,” “Falling Out of Love Can Be Fun,” “Blue Skies,” and, of course, the iconic title song), a number of great dance numbers, and a cast bubbling over with enthusiasm.

Omar Lopez-Cepero, Clyde Alves, and the cast of Goodspeed's White Christmas. Photo by Diane Sobolewski.

 

The book by David Ives and Paul Blake, is a faithful adaptation of the movie.  Former Army buddies Bob Wallace and Phil Davis, have become big-time entertainers after serving in WWII.  Wanting to add a new act for their upcoming stage show, they scout the Haynes Sisters, nightclub performers Judy and Betty.  After the floor show, the four have drinks.  Phil and Judy hit it off immediately, while Bob and Betty start out on the wrong foot.  The men ask them to come to Florida where they’ll begin rehearsals for a new act.  The women, however, have a gig in Vermont.  Through a bit of deception, courtesy of Phil and Judy, the foursome end up at a cozy hotel in the Green Mountain state.  Unfortunately, there’s been no snow.  Cancellations are piling up and the entertainment is being scratched.  But just a minute!  Bob and Phil concoct a plan to bring their show from Florida to Vermont to rehearse and, more importantly, fill the rooms with paying customers.  The owner, who just happens to be their former commander in the Army, is not too pleased at first, but is convinced by his housekeeper, Martha, and granddaughter Susan, to let the entertainment commence.  By showtime, Phil and Betty are engaged and, after a number of bumps in their relationship, Bob and Judy realize their love for each other.  Oh, yes, it snows just in time.

 

White Christmas marks Director Hunter Foster’s third Christmas-themed show at Goodspeed, the other two being A Christmas Story and A Connecticut Christmas Carol.  This background gives him keen insight into delivering a crowd-pleasing production.  The show is a well-paced, joyful celebration.  What I have admired about Hunter’s career is the way he amplifies a small aspect of a show that ends up delivering pure comic gold.  In White Christmas, this is exemplified with the character of Ezekiel Foster (Jay Aubrey Jones), an employee of the New England Lodge.  His droll, measured responses, and lumbering gait, are hilarious.

Clyde Alves, Jonalyn Saxer and the cast of Goodspeed's White Christmas. Photo by Diane Sobolewski.

Foster seamlessly incorporates Choreographer Kelli Barclay’s superb dance numbers into the production.  They run the gamut from intimate nightclub routines (“Sisters”) to a jazzy “Blue Skies” to the high-spirited tap dancing of Act I’s “Let Yourself Go” and the Act II opener, “I Love a Piano.”  Both numbers bring down the house.

Lauren Nicole Chapman and Jonalyn Saxer in Goodspeed's White Christmas. Photo by Diane Sobolewski.

What separates Goodspeed’s White Christmas from other productions I’ve seen over the years, is the very believable chemistry between the four leads.  The foreplay and eventual coupling of Bob Wallace (Omar Lopez-Cepero) and Betty Haynes (Lauren Nicole Chapman), and Phil Davis (Clyde Alves) and Judy Haynes (Jonalyn Saxer) advances naturally, and comes across as credible and convincing.  Each of the performers have superb voices, providing rewarding renditions of all the marvelous Irving Berlin tunes.  Alves and Saxer are also accomplished hoofers, dancing up a storm, primarily in the “I Love a Piano” number.  

Aurelia Williams in Goodspeed's White Christmas. Photo by Diane Sobolewski.

Aurelia Williams instills the character of Martha Watson, the aide-de-everything at the hotel, with a brassiness and acerbic wit that steals the show every time the spotlight shines on her.  And, what a singing voice!  Other members of the featured cast that deserve mention are Bruce Sabath as the  General with-a-heart, and Sofie Nesanelis, as his frisky granddaughter, Susan Waverly.

Omar Lopez-Cepero and the cast of Goodspeed's White Christmas. Photo by Diane Sobolewski. 

David L. Arsenault’s Scenic Design provides a delightful variety of sets, which include nightclub settings, the inside of a train, and the interior of a barn, where all the magic of the show takes place.  The show is effectively lit by Kirk Bookman & Nathan W. Scheuer’s Lighting Design.  Jay Hilton’s Sound Design is pitch perfect.  Jeff Hendry’s Costume Designs, which include an assortment of rehearsal garb, dressier outfits, and holiday fare, are handsomely rendered.

The cast of Goodspeed's White Christmas. Photo by Diane Sobolewski.

White Christmas, playing at the Goodspeed Opera House through December 31.  Click here for dates, times, and ticket information.

Two Strangers (Carry a Cake Across New York) - Broadway

The saying, ‘big things come in small packages” is never more true than in the new musical comedy, Two Strangers (Carry a Cake Across New York).  The two-person show, which plays like a fairytale movie romcom, is endearing, heartfelt, and a little bit magical.  You will not leave the theater (or for that matter, during the show) without a smile on your face and a twinkle in your eyes.

The engaging book by Jim Barne and Kit Buchan, who also wrote the upbeat score, concerns Dougal, a late 20 year-old Brit who has come to U.S. to attend his father’s wedding.   The young man has never met or even been acknowledged by this dad.  Nonetheless, he is over-the-moon about the upcoming nuptials and arriving in The Big Apple.  Dougal is played by Sam Tutty, whose exuberance and boyish charm are infectious.  From the moment he belts out the high-spirited opening number, “New York,” he has won over the audience.  Meeting him at the airport is Robin, also in her mid-20’s, and the younger sister of the bride.  A running joke is Dougal referring to her as “Auntie.”  Christiani Pitts, in the role of Robin, (who New York audiences may remember from her role as Ann Darrow in the short-lived King Kong), is a cynical, tough New Yorker on the outside, and a self-doubting Brooklynite on the inside.  While she initially appears as a hardened soul, the actress effectively teases out the role to, eventually, imbue the character with warmth and determination.

After picking up Dougal, Robin wants to just go back to her unappealing life, working as a barista in a coffee shop.  Dougal wants her to see the town with him.  After some playful bickering, she acquiesces, to a degree, but does let him help her pick up the wedding cake.  Spoiler alert – they don’t carry it across New York, but the scene does set up the story for the remainder of the musical.  Barne and Buchan could have settled for the libretto to just be stuffed with silliness and inane adventures.  The twosome, however, have fleshed out the backstory of each character and storyline.  Everything is not what it appears, which provides for a more realistic, honest encounter, and fulfilling ending.

 

As mentioned, the duo also wrote the music and lyrics.  Many of the numbers are beautifully rendered with optimistic, hopeful tunes mixed in with lighthearted and endearing songs.  One word to describe the score – refreshing.

 

Director/Choreographer Tim Jackson skillfully guides the musical to its gratifying conclusion, a difficult task for a two-person show.  His choreography is muted, but provides the occasionally energetic boost to the production.  He adeptly incorporates Soutra Gilmour’s whimsical Scenic Design – two pyramids of suitcases atop a rotating stage – and Jack Knowles sharp Lighting Design to create a show that appears larger than its small scale.

 

Two Strangers (Carry a Cake Across New York), a show not to be missed, playing at the Longacre Theatre on Broadway.

Art of Murder - Seven Angels Theatre

There are three essential ingredients for a murder mystery to work on stage:

1. The believability factor
2. The understandability of the plot
3. Some twists and turns

The Art of Murder, playing at Seven Angels in Waterbury through November 30, contains all three, making it a diabolically entertaining show.  It’s not a whodunnit, but a whydunit.  Playwright Joe DiPietro - Broadway (Nice Work If You Can Get It – book, Memphis - book and lyrics), Off-Broadway (The Toxic Avenger - book and lyrics; I Love You, You're Perfect, Now Change - book and lyrics) – has infused the show with comedy and drama, which allows for a more relaxing theatrical experience.

 

Without giving away much of the intrigue, the action takes place in the living room of a quaint Litchfield County home, impeccably rendered by Scenic Designer Kimberly Jackson.  An appealing detail by Ms. Jackson is the inclusion of paintings from the Mattatuck Museum that decorate the walls.  Uber artist, Jack Brooks, an arrogant, ego-centric painter, resides in the abode with his wife, Annie, an artist in her own right, and live-in maid, Kate.  A visit by Jack’s New York City art dealer, Vincent, is the catalyst for, as the saying goes, the plot to thicken. 

 

The strength of Art of Murder is the number of deceptions and artful trickery permeating the script.  Just when you think the play will tilt one way, it takes a sharp 180-degree turn.

 

Director Travis Kendrick-Castanho keeps the constantly changing machinations at a well-paced tempo.  His decision to have of Jack (Constantine Pappas) and Vincent (Tom Simonetti) play their roles in a more over-the-top manner enlivens the production.  He incorporates Charles O’Connor’s Lighting Design and his own Sound Design to effectively add a spine-tingling jolt to the show.

 

The cast is game for whatever comes their way.  Charlene Hong-White is suitably deceptive as Annie, delectably imbuing her character with both submissiveness and strength.  Tom Simonetti is delightfully bombastic, providing vitality and comedic affectations as Vincent.  Gemma Berg, in the underwritten role of Kate is, nonetheless, an integral part of the thriller. Constantine Pappas, the Artistic Director of Seven Angels, deserves a special nod in the role of Jack, having to step in at the last minute to replace the actor Reid Sinclair, who was ill.  Even with script-in-hand, Pappas was able to portray the self-important artist with vivacity and zeal.

 

There are just a few performances remaining of Art of Murder, playing at Seven Angels through November 30.  Click here for dates, times, and ticket information.

Queen of Versailles - Broadway

Last week I saw The Queen of Versailles and, sadly, as most reviewers have stated, it is a very disappointing show.  The production will be closing on January 4, 2026. 

The musical is based on the 2012 documentary of the same name and centers on Jackie and David Siegel, owners of Westgate Resorts, who, after visiting The Palace of Versailles in France, decide to build a replica in Orlando. It doesn’t go well.

 

The show stars Kristen Chenoweth, as Jackie Siegel, and she is marvelous. The diminutive actress commands the stage, and her singing voice is still tremendous. An interesting aside, this is her first Broadway musical since Wicked in 2003, that she is originating a role. Over the past 22 years, she has starred in revivals of The Apple Tree (opening in December 2006), Promises, Promises (opening in April 2010), and On the Twentieth Century (opening in March 2015). F. Murray Abraham, still spry at 86, is splendid as the belligerent, argumentative David Siegel. His no-nonsense arrogance, the perfect counterpoint to Jackie’s optimistic disposition.

The two central issues with The Queen of Versailles are Lindsey Ferrentino’s libretto and the score by Stephen Schwartz. In Act I, I actually thought Ms. Ferrentino effectively rendered Jackie Siegel’s very humble beginnings and early life, leading up to her marriage to the much older David Siegel. It is told in a rapid-fire succession of scenes that have a clearly delineated focus. The problem comes in Act II, where the musical gets too muddled, with head-scratching scenes (the burial of her oldest daughter’s pet lizard, members of the French monarchy being executed by guillotine) and plot points that are too secondary.

 

The music and lyrics by Stephen Schwartz, on first listen, come across as lackluster. There are a few stirring songs, mainly the Act I closer, “This Is Not the Way,” and the finale, “This Time Next Year.” To be fair, I would need to hear the songs again for a more thoughtful opinion. Still, there is just no immediate earworm-type song like last season’s “Dead” from Dead Outlaw or “Where I Wanna Be” from BOOP – the Musical.

 

Director Michael Arden, a Tony winner in 2025 for Maybe Happy Ending, and in 2023 for the revival of Parade, busies the stage with moveable ladders, a sizeable TV screen, large paintings, all within a set under the constant construction of the mega-home. He mixes up the dramatic framing from real-time action to self-confessionals for an ongoing documentary being filmed about the building of the Floridian Versailles.  However, the production is too unwieldy, even for Arden’s adroit toolbox.

 

The Fox on the Fairway - Music Theatre of Connecticut

The playwright Ken Ludwig is a master of farce, and his zany comedy, The Fox on the Fairway, is receiving a spirited production at the Music Theater of Connecticut.  There are twists and turns layered upon more twists and turns.  An innocuous reference early in the show becomes a key point later on in the play.  What seems implausible becomes possible.  The storyline?  I don’t want to reveal too much so as not to spoil the fun.  Simply, the plot revolves around the annual golf tournament between two country clubs.  A sizeable bet between the two clubs’ Executive Directors becomes the catalyst for the fun and silliness that emerges.

Josh Powell and Ted Gibson in The Fox on the Fairway.

Director Amy Griffin embraces the farcical nature of the show with slamming doors, physical humor, fast pacing, and romantic folly.  Even with all the absurdity and dashing about, she effectively keeps the cast from going overboard in their characterizations.  The humor comes more from the continuously changing situations than the histrionics of the cast.  Sean Sanford’s unpretentious tap room Scenic Design, with its numerous doorways and tactically placed furniture, is just right for all the shenanigans that take place in the show.  Jon Damast’s strategically inserted Sound Design contributes greatly to the folly.

Josh Powell and Missy Dowse in The Fox on the Fairway.

The ensemble is all in for the merriment, playing their characters with a self-assured effervescence.  Whether they are called upon to roll on the floor, jump on the furniture, smash a P.A. system, or chase (or be chased) around the set or down the aisles, the cast is up to the challenge.  Josh Powell, a frequent performer on Connecticut stages, is splendid as the perpetually flummoxed Mr. Bingham, the head of one country club.  Sean Hanlon, is perfect as Dickie, the arrogant, pretentious leader of the rival club.  Fresh-faced Ted Gibson gives an exuberant performance as the naïve, inexperienced Justin, the newly hired assistant to Mr. Bingham.  His fiancée, the waitress Louise, is played with bravado, charm, and a touch of desperation by Erin M. Williams.  Missy Dowse, enticingly imbues the character of Pamela, Treasurer at Mr. Bingham’s club, former wife of Dickie, with a sultry playfulness and calculating swagger.  Anette Michelle Sanders is ideal as the strident and shrill Muriel, wife of Mr. Bingham.

Sean Hanlon and Anette Michelle Sanders in The Fox on the Fairway.

The Fox on the Fairway,  a riotous time at the theater, playing at the Music Theater of Connecticut through November 23.  Click here for dates, times, and ticket information.

The Importance of Being Earnest - Westport Country Playhouse

The Westport Country Playhouse opened its 95^th season with an uneven production of the classic Oscar Wilde comedy The Importance of Being Earnest.  Wilde’s wit, humor, and intellect is on full display in the show.  The issue is the pacing of the production.  Director Melissa Rain Anderson, primarily in Act I, has the characters hurrying about James J. Fenton’s stylishly rendered set.  The somewhat flashy performances, the dashing about, and clambering up and down the center staircase, while amusing, can also be distracting.  Less would have been more, allowing the comedy to come naturally from the repartee and well-planted bon mots.

L-R: Kristen Hahn, Katy Tang, Triney Sandoval, Anthony Michael Martinez, Christine Pedi, Jan Neuberger, and Michael Raver in “The Importance of Being Earnest” at Westport Country Playhouse, now through November 15. Photo by Carol Rosegg.

 

 In the show, two young men, Jack Worthing and Algernon Moncrieff, both lead double lives.  Jack lives in the country but pretends to have a wicked brother named “Ernest” so he can enjoy the pleasures of London.  In reverse, Jack’s friend Algernon relishes the opportunity to play in the country under the assumed identity of “Bunbury.”  The name of “Ernest” plays a key role in the work.  The secretive guises create a tricky problem with their love lives - Jack with Gwendolyn Fairfax, Algernon’s cousin, and Algernon with Cecily Cardew, Jack’s ward.  Complicating the whole affair is Algernon’s aunt, Lady Bracknell, an imposing, highly opinionated matron; Gwendolyn’s governess, Ms. Prism; and an over-stimulated priest, Canon Chasuble.  In the end, surprises are sprung, and happiness prevails for all.

L-R: Michael Raver and Anthony Michael Martinez in “The Importance of Being Earnest” at Westport Country Playhouse, now through November 15.  Photo by Carol Rosegg.

 

The centerpiece of The Importance of Being Earnest is the role of Lady Bracknell.  When she enters the stage, the character should demand the audience’s undivided and devoted attention.  Christine Pedi, garbed in one of Costume Designer Annie J. Le’s sumptuous outfits, is daunting and haughty, but the actress is not domineering within her scenes.  She becomes just one of the players.   

L-R: Kristen Hahn, Mark Silence, and Katy Tang in “The Importance of Being Earnest” at Westport Country Playhouse, now through November 15.   Photo by Carol Rosegg.

 

Anthony Michael Martinez’s Algernon is a foppish, vain, man about town, but the actor is slightly over-the-top in the role.  Michael Raver is more controlled as Jack Worthing, but almost too woeful and distressed.  Katy Tang’s Gwendolyn is attractively focused on her desires.  Kristen Hahn’s Cecily, as delicate as a butterfly is, nonetheless, resolute and unyielding with her wants and yearnings.  The two women, when together on stage, provide an entertaining verbal joust.  The other players - Jan Neuberger as the proper, yet restless, Miss Prism; Triney Sandoval as the frisky, jocular Canon Chasuble; and Mark Silence as the unexcitable and tolerant butlers – deliver ample support to the production.

L-R: Kristen Hahn, Anthony Michael Martinez, and Christine Pedi in “The Importance of Being Earnest” at Westport Country Playhouse, now through November 15.  Photo by Carol Rosegg.

The Importance of Being Earnest, playing at the Westport Country Playhouse through November 15.  Click here for dates, times, and ticket information.

Almost Famous - A.C.T. of Connecticut

The Broadway musical of Almost Famous, based on the 2000 movie of the same name, flopped on Broadway, running only 77 performances.  Fast forward a few years, and the creative team of Cameron Crowe (who wrote and directed the film and, for the musical, the book and lyrics), and Tom Kitt (the score) came to A.C.T. in Connecticut to help them revise the show.  The result, under the skillful direction of Daniel C. Levine, is a leaner, more structured first act, but a second act, which is still in need of some work.

The cast of Almost Famous at A.C.T. of Connecticut.  Photo by Jeff Butchen.

 

The story, loosely based on Cameron Crowe’s life, is a coming-of-age story, a tale of an outsider trying to fit in.  The character William Miller, played with charm, naïveté, and a dash of spunk by Michael Fabisch, is a fifteen-year-old would-be rock journalist.   His big break is an assignment by Rolling Stone magazine to write a piece on the up-and-coming band Stillwater as they tour the United States.  Before the tour, he befriends the legendary Penny Lane, a laid-back groupie who has seen it all and done it all.  Once on the road, the young writer attempts to get his story, but is continually put off by, primarily, lead guitarist Russell Hammond.  During the multi-city travels, Miller’s mother harps on him from afar, as the high school student learns valuable life lessons, matters of loyalty, friendship, and romance.

Michael Fabisch in Almost Famous at A.C.T. of Connecticut.  Photo by Jeff Butchen.

In Act I, all the components of the musical come together in a frenetic whirlwind of harmonious action.  Levine utilizes members of the cast as a type of Greek chorus surrounding the skirmishes and conflicts on stage.  They bring an urgency and commentary to the rock milieu.  The streamlined plot and quick pacing, embellished by Charlie Morrison’s pulsating Lighting Design and Camilla Tassi’s vivid Projection Design, generate a well-balanced completeness to the first part of the show.  There is also an emotional viability to the Act.

Chris Marth, Chris Cherin, and Jack Rasmussen in Almost Famous at A.C.T. of Connecticut.  Photo by Jeff Butchen.

The problem in Act II is a sense of focus.  The character of Penny Lane becomes more prominent.  The power struggle within the band, their squabbling, and reconciliation, while essential to the story, minimizes the plight of William Miller.  The young lad’s mother, Elaine, played with a toughness and protective mindset, by Anika Larsen also receives more stage time.  The effective layering of the musical’s various components, demonstrated in Act I, are less clear in the latter half of the show.   Also, the moment when William is seduced by the three young female groupies is somewhat overt.  The kid is only fifteen.  Maybe a more suggestive, rather than explicit scene would have been more appropriate.

Michael Fabisch and Tess Marshall in  Almost Famous at A.C.T. of Connecticut.  Photo by Jeff Butchen.

Tom Kitt’s score, augmented by songs from Joni Mitchell, Elton John, Led Zeppelin, and Deep Purple, is a mixture of energetic power numbers (the opening “1973”), folk and country rock (“Everybody’s Coming Together,” “Ramble On”), and wistful ballads (“Morocco”).  Taken as a whole, the songs represent a rich tapestry and backdrop to the story of a teenager’s entry into the world of rock ‘n roll.  The songs are augmented by a cohesive, high-energy, larger-than-normal-sized band under Nicholas Connors’ first-rate Musical Direction.

The cast of Almost Famous at A.C.T. of Connecticut.  Photo by Jeff Butchen.

The cast is led by Michael Fabisch as William Miller.  Even though he is a 2024 graduate of The University of Michigan’s musical theater program, the actor easily passes for a teen of fifteen.  He effectively displays a demeanor of innocence and resilience, successfully anchoring the show.  Jack Rasmussen exudes charisma and a somewhat rocker’s mystic in his performance as Stillwater’s lead guitarist Russell Hammond.   The actor smoothly moves from introspection to rowdy partier.  Chris Cherin suitably imbues Stillwater lead singer Jeff Bebe with throaty baying and swaggering deportment.  Tess Marshall appealingly embodies Penny Lane with a coquettish presence, but also an undercurrent of disillusionment and world-weariness.  In the role of Elaine Miller, Anika Larsen initially comes across as a one-dimensional, overbearing motherly figure.  However, by the beginning of Act II, with her melancholy “Elaine’s Lecture,” the actress’s performance becomes more rounded and sympathetic.

 

 Almost Famous, playing at A.C.T. of Connecticut through November 23.  Click here for dates, times, and ticket information.