Fiddler on the Roof - A.C.T. (A Contemporary Theatre) of Connecticut

The musical Fiddler on the Roof is receiving an enthralling production at Ridgefield’s A.C.T. (A Contemporary Theatre) of Connecticut.  Director Daniel C. Levine has taken a staple of the musical theater canon for over 60 years and reconceptualized its core while, at the same time, infusing it with a stirring vibrancy.

 

Members of the cast of Fiddler on the Roof at  A.C.T. (A Contemporary Theatre) of Connecticut.

The libretto by Joseph Stein is based on the short story, "Tevye the Dairyman," by Sholem Aleichem.  The book writer brings out the joy, humor, and tears in the author’s work.  His emphasis on such universal themes as family, community, and persecution are relevant for all audiences.

 

The story centers on Tevye, a humble milkman in the meager village of Anatevka, and his family, which includes his wife Golde, and five daughters.  Times are changing in late 18^th century Russia.  New cultural and religious attitudes are overtaking the country.  These outlooks resonate deeply with Teyve as he and his wife struggle to accept their three older daughters’ break with tradition.  Change also comes from the governing authority of the Russian Constable, which brings continued heartache and eventual upheaval.

 

Members of the cast of Fiddler on the Roof at  A.C.T. (A Contemporary Theatre) of Connecticut.

Musical Director Bryan Perri flawlessly leads the superb pit band through the iconic score.  The songs, with music by Jerry Bock and lyrics by Sheldon Harnick, are timeless, sung by a large cast with glorious voices.  Every musical number is a gem, from the spirited "Tradition" and "If I Were a Rich Man,” to the joyous declaration of  "Miracle of Miracles," to the tender moments of "Sabbath Prayer, “Sunrise, Sunset,” “Do You Love Me?," and “Anatevka.”

Lori Ada Jaroslow (center) and the cast from Fiddler on the Roof at A.C.T. (A Contemporary Theatre) of Connecticut.

Director Levine states in the program notes that his staging of Fiddler “reflect[s] the communal struggles and triumphs of Anatevka” and that by “keeping the cast visible, we emphasize that each individual’s story is part of the larger narrative.”  He succeeds by having performers rarely leave the stage.  They sit atop Scenic Designer David Goldstein’s austere, tiered wooden benches that face either side of the performance space.  There, the cast intently gazes upon the action in silent reflection. The Director incorporates Projection Designer Camilla Tassi’s beautifully rendered, ever-changing backdrops.  Josh Assor contributes rousing choreographic flourishes in addition to restaging dance numbers originated by the legendary Jerome Robbins in such numbers as “To Life” and “The Wedding Dance.” 

The magical dream sequence from Fiddler on the Roof at A.C.T. (A Contemporary Theatre) of Connecticut.

There are so many marvelous performances in the talented cast.  A few of the more noteworthy include Danny Rothman as Teyve.  Often, the role of family patriarch has been played as a larger-than-life character (Zero Mostel, Harvey Fierstein, Topol), but Rothman’s portrayal is more a man-of-the-people, which is exactly what is needed for this production.  Rothman deftly brings a host of emotions to his performance – anger, fear, sadness, joy, love, contentment – to create a character that solidly anchors the production.

 

Jennifer Babiak, who played Golde in the acclaimed Off-Broadway production of Fiddler in Yiddish, gives the wife and mother a muted forcefulness and inner strength.  Both Ruthy Froch (Hodel) and Skye Gillespie (Chava) are terrific as the two eldest daughters taking charge of their lives.  Lori Ada Jaroslow provides steady comic relief as Golde the Matchmaker.

Ruthy Froch and Skye Gillespie (center) and members of the cast of Fiddler on the Roof at A.C.T. (A Contemporary Theatre) of Connecticut.

Fiddler on the Roof, a show not to be missed, playing at A.C.T. (A Contemporary Theatre) of Connecticut through March 9.  Click here for dates, times, and ticket information.

Moon Over Buffalo - Music Theater of Connecticut

Moon Over Buffalo, the Ken Ludwig comedy, is receiving a crackling production at the Music Theatre of Connecticut (MTC).  The madcap show will keep you chuckling and smiling throughout.  The play is more of an old-school farce, relying on physical comedy, improbable situations, broadly stylized antics and, of course, a lot of slamming doors.

Rod Brogran and Anna Holbrook in Moon Over Buffalo.

The action takes place backstage at a rundown theater in Buffalo, New York.  Past-their-prime actors George Hay (Rod Brogran) and his wife Charlotte (Anna Holbrook) are mustering the energy to put up two shows but, while attempting to do so, must contend a with bevy of distractions.  They include their harried stage manager Paul (Matt Mancuso); Charlotte’s wise-cracking, hard-of-hearing mother Ethel (Jo Anne Parady); and Eileen (Olivia Fenton), a pregnant cast member.  Add to the mix the sudden appearance of the Hay’s daughter Rosalind (Allie Seibold).  She was once a member of the acting troupe and romantically involved with Paul, but is now engaged to Howard (Ted Gibson), a fresh-faced, weatherman.  Rounding out the mix is Richard (Jim Schilling), the family lawyer, who pines for Charlotte.

 

The silliness and zany antics between the characters comes to a head when members of the cast learn that famed movie director Frank Capra is coming to town to see George as a possible replacement for Ronald Coleman in a new Hollywood blockbuster.

Matt Mancuso and Rod Brogran in Moon Over Buffalo.

Ludwig’s slightly off-center love letter to the theater is stylishly staged at a frenetic pace by Director Clint Hromsco.  A lot of the entertainment value is from the performers’ exaggerated gestures and reactions to the ridiculous situations happening one after the other.  Hromsco skillfully choreographs the shenanigans with well-timed entrances and exits, including those slamming doors.  Working with the tried-and-true MTC creative staff of April M. Bartlett (Sets), RJ Romeo (Lighting), Holly Rybnick (Sound), and Diane Vanderkroef (Costumes), the director has all the ingredients necessary for a cheeky time at the theater.

 

The acting corps dives into the tomfoolery of the show with a dedicated passion.  Rod Brogran leads the charge as the narcissistic, semi-talented George Hay.  He delightfully over-acts, including a heaping dose of physical comedy.  Anna Holbrook imbues Charlotte with a suitable haughtiness as she spars with her on-stage husband.  Allie Seibold (Rosalind) delivers a perfectly calculated straightforward performance and Matt Mancuso shines with a robust, manic portrayal of Paul.  The remaining cast members - Jo Anne Parady, Ted Gibson, Olivia Fenton, and Jim Schilling – provide marvelous support and a few keen comedic moments.

 

Moon Over Buffalo, playing at the Music Theatre of Connecticut through February 23.  Click here for dates, times, and ticket information.

Citizen James, or the Young Man Without a Country - HartBeat Ensemble

The one-man play, Citizen James, or the Young Man Without a Country, chronicles the writer and civil rights activist James Baldwin’s views on art, relationships, sexuality, his upbringing and, primarily, his life as a Black man in post-war America.  Playwright Kyle Bass introduces us to a young, 24-year-old Baldwin, awaiting a flight to Paris, France in 1948 with only $40 in his pocket.  He is leaving the country due to the ongoing, pernicious racism suffusing American society.  The key word for the 50-minute production is rage as the character lashes out at the affronts he experiences and witnesses.

The actor James Alton ably embodies multiple characters in addition to the that of James Baldwin.  Under the straightforward, unhurried direction of Joann Yarrow, Alton brings forth a jumble of emotions and moods to the stage.  He handily paints a picture of Baldwin, his humor, scorn, and dignity amidst Dean Lyon’s serviceable Projection Design.

Bass’ writing can be blunt, infused with outrage and contempt.  His words force audiences to confront the injustices that permeate our society today.  The subtext – is our world so different from the time of James Baldwin?  Near the conclusion of the show, the playwright employs repetition to fortify the contemptible state-of-affairs facing Baldwin and the country.  James Alton, pacing on Kate Laissle’s minimalist Set Design, slowly, but forcefully, recites names of Black men killed for the meaningless of reasons.  Asking the audience to repeat after him, the actor runs through the long list, searing the offenses into our psyche.

 Citizen James, or the Young Man Without a Country, playing at Hartford’s HartBeat Ensemble through February 16.  Click here for dates, times, and ticket information.

EL COQUÍ ESPECTACULAR and the BOTTLE of DOOM - Long Wharf Theatre

The play ,EL COQUÍ ESPECTACULAR and the BOTTLE of DOOM, is the coming-of-age story of a young Latino Gen Zer struggling with his self-identity and facing up to his cultural heritage.  The show is fun, fast-paced and wrapped within the world of comic book superheroes and corporate America.  Playwright Matt Barbot has crafted a show with well-developed characters and a satisfying storyline that touches on themes of community, gentrification, and cultural appropriation.  Having the work infused within a dynamic comic book ethos elevates its entertainment value.

Xavier Cano (in back) and Jason Sanchez in EL COQUÍ ESPECTACULAR and the BOTTLE of DOOM.

Alex (Jason Sanchez) is a free-lance artist, still living at home with his mother Patricia (Susanna Guzmán) and yearning to become a full-time comic book creator.  At night he dresses up as his costumed caped crusader known as El Coquí Espectacular.  But is his goal really to fight crime?  Alex’s self-doubts and lack of direction are magnified by the taunting and battles with his imaginary supervillain El Chupacabra (Michael John Importa), and Junior, the local bully.

 

Alex’s older brother Joe (Xavier Cano) works in marketing for a large corporation that adds him to the team developing an ad campaign for a soft drink targeting the Latino community.

 

One night, on patrol as El Coquí, in his Sunset Park, Brooklyn neighborhood, Alex encounters Yesica (Melissa DuPrey), a Latina photographer, who wants to document his nighttime escapades.  The two form an alliance that goes viral once Alex, persuaded by his brother, allows his comic book creation to be co-opted to become the center piece for the sugary soda promotion.  This turn of events sparks a redefining of Alex’s life and relationship with loved ones.

 

Under the sure-handed, inventive direction of Kinan Valdez, EL COQUÍ ESPECTACULAR and the BOTTLE of DOOM is a high-spirited, entertaining piece of theater.  He deftly merges comedic and campy moments with the serious topics articulated by Playwright Matt Barbot.  Valdez has teamed with a superb creative team that has added a vibrant luster to the show.   They are Gerardo Diaz Sanchez’s impressively realized, multi-faceted Set Design; Jiyoun Chang’s artfully rendered Light Design; and Charles Coes & Nathan A. Roberts’ clever and humorous Sound Design that, at times, are reminiscent of the old Batman TV show – POW, BAM, ZONK!  John Horzen’s bold, flashy projections and Rea J. Brown’s colorful and cartoonish Costume Design complete the picture of this thrilling production.

 

Xavier Cano, Jason Sanchez, and Melissa DuPrey in EL COQUÍ ESPECTACULAR and the BOTTLE of DOOM.

 

The cast is first-rate.  Jason Sanchez, in the role of Alex, is the focus of the play.  The actor adeptly shifts from ambivalence to sure-footedness in his portrayal of the young man, seeking to make his mark in life.  Xavier Cano provides a balanced counterweight in the role of older brother Joe.  While more even keeled on the outside, Cano satisfactorily displays an inner tension as he grapples with the complexities of a Latino in today’s world.  Melissa DuPrey is appealing as Yesica, demonstrating a flakiness and nonchalance that belies her character’s serious underpinnings.  As Alex and Cano’s mother, Susanna Guzmán’s Patricia brings stability and common sense to the swirling chaos around her.  Michael John Importa, in the dual role of the caped villain, El Chupacabra, and the bully, Junior, provides both comic relief and a alternate pathway to the presentation of the show’s consequential issues.

 

In continuing with Long Wharf Theatre’s mission of bringing theater to the people, the production of EL COQUÍ ESPECTACULAR and the BOTTLE of DOOM is being staged at the resplendent Lyman Center on the campus of Southern Connecticut State University.

 

Jason Sanchez in EL COQUÍ ESPECTACULAR and the BOTTLE of DOOM.

EL COQUÍ ESPECTACULAR and the BOTTLE of DOOM, playing through February 23.  Click here for dates, times, and ticket information.

 

King James - Theaterworks Hartford

The exploration of male friendship and bonding over 12 years is the basis for Rajiv Joseph’s two-person play, King James.  This is James, as in LeBron James.  The show begins in 2004, the soon-to-be iconic player’s rookie season with the Cleveland Cavaliers basketball team.  Matt (Gregory Perri), the owner of a wine bar, is seeking to unload the remainder of his season tickets for the Cavs due to money issues.  In walks Shawn (George Anthony Richardson), who a friend-of-a-friend told him about the available tickets.  The two talk (about basketball and other matters), bicker, and wrangle until a sale is finally made.  More importantly, a friendship begins to bloom.  Throughout the next three scenes, all pegged to significant dates of recent Cavalier history – 2010, when James left for the Miami Heat; 2014, when he returned to Cleveland; and 2016, when the Cavs won the NBA championship – the two men continue to talk basketball, but also delve into their personal and professional lives.  Along their journey together there is anger, betrayal, mistrust and misunderstanding leavened with a true affection for each other.

Gregory Perri and George Anthony Richardson in King James.  Photo by Mike Marques.

With any play featuring just two characters, the playwright needs to inject enough drama or bumps in the road to keep audiences engaged.  Joseph partly succeeds with this task, but the there is a lot of lag time in-between the crucial moments of the show.  Interestingly, after spending two hours with Matt and Shawn, I still did not feel I knew enough about them.  In addition, with all the angst and separation the two experience with one another, the final scene comes across as a trifle insincere.

 

Both actors are animated and bring a real-world essence to their roles.  These are just two ordinary, somewhat lonely guys, that meet and slowly bond.  Gregory Perri (Matt) and George Anthony Richardson (Shawn) are fully invested in their roles as they seek to develop into more well-rounded characters.  It’s when they break free from the confines of the back-and-forth dialogue that their performances shine, most notably during the final quarter of the play.

Gregory Perri and George Anthony Richardson in King James.  Photo by Mike Marques.

Director Rob Ruggiero does his best to infuse movement and action into the production.  His staging shines when he brings out both the friskiness and heated confrontations of the two characters.  He, almost imperceptibly, incorporates changes in dress and, especially, cellphone technology that takes place over the 12-year period.  This is enhanced by Sound Designer Kevin L. Alexander’s playful, evolving ringtones.  Luke Cantarella’s richly detailed set designs – the wine bar and the interior of a curiosity shop – are impressively rendered.

 

Kings James, playing through March 2.  Click here for information on dates, times, and ticket information.

Eden - Yale Repertory Theatre

Eden, receiving a superb staging at the Yale Repertory Theatre, is a tense, forceful family drama. The 1976 work by playwright Steve Carter, the first of his Caribbean trilogy, is set in 1927 and explores the racial conflict between Blacks from the West Indies and African-Americans, most notably from the south, in the San Juan neighborhood of New York City’s Upper Westside (now the home of Lincoln Center). 

Members of the cast in a scene from Eden, a play by Steve Carter, directed by Brandon J. Dirden. Yale Repertory Theatre, January 16-February 8, 2025. Photo © Joan Marcus.

The Barton family, immigrants from the Caribbean, is led by the exacting and rigid patriarch Joseph (Russell G. Jones).  His dictates are unquestioningly followed by his deferential wife Florie (Christina Acosta Robinson) and their four children.  The eldest, Agnes (Alicia Pilgrim), intelligent and practical, is seeking to become a private secretary. Annetta (Lauren F. Walker), 18-years-old, is more housekeeper than young adult.  Rounding out the family are the two younger teenage sons, Nimrod (Juice Mackins) and Solomon (Prentiss Patrick-Carter).

 

The central conflict revolves around next door neighbor Eustace Baylor’s (Chaundre Hall-Broomfield) amorous advances on Annetta, which she flirtatiously reciprocates.  The young man, uneducated and from the South is, in the eyes of Joseph Barton, an unworthy suitor.  This scenario sets up an ongoing clash where youthful passions, pitted against a changing world, have dire and unexpected consequences. 

Christina Acosta Robinson and Russell G. Jones in a scene from Eden, a play by Steve Carter, directed by Brandon J. Dirden. Yale Repertory Theatre, January 16-February 8, 2025. Photo © Joan Marcus.

Carter has fashioned a tight, well-plotted play with fully-developed characters and an intensity that can leave the audience breathless.  The show incorporates a number of significant issues, including race relations, assimilation, family and generational struggles, and cultural clashes that unfold organically throughout the production.

Lauren F. Walker and Chaundre Hall-Broomfield in a scene from Eden, a play by Steve Carter, directed by Brandon J. Dirden. Yale Repertory Theatre, January 16-February 8, 2025. Photo © Joan Marcus.

The cast is led by Russell G. Jones as Mr. Joseph Barton.  The actor is riveting as the fervent, uncompromising head of the household.  Christina Acosta Robinson imbues Florie with a muted determination and inner fortitude.  Alicia Pilgrim infuses her character of Agnes with no-nonsense acumen that provides a balance to the turmoil swirling around the Barton family.   Lauren F. Walker gives a top-notch performance in her role of Annetta.  She deftly juggles the emotions and responsibilities of a young woman coming of age within a dysfunctional family and uncertain times.  Chaundre Hall-Broomfield gives a layered, subtle, but determined rendering in his role as Eustace.  Heather Alicia-Simms is marvelous as Lizzie Harris, aunt of Eustace.  She is sensible, world-weary and provides well-placed comedic moments.  Juice Mackins (Nimrod) and Prentiss Patrick-Carter (Solomon) are effective in their small, but integral roles.

Christina Acosta Robinson and Heather Alicia Simms in a scene from Eden, a play by Steve Carter, directed by Brandon J. Dirden. Yale Repertory Theatre, January 16-February 8, 2025. Photo © Joan Marcus.

Under Director Brandon J. Dirden’s sturdy and penetrating guidance, the show crackles at a steadfast pace on George Zhou’s multi-level set.  Ankit Pandey’s Lighting Design is at its most dramatic at the ends of Act I and II.  Tojo Rasedoara provides absorbing interludes of original music.

 

Eden, a show not to miss, playing at the Yale Repertory Theatre though February 8.  Click here for dates, times, and ticket information.

Cult of Love - Broadway

In playwright Leslye Headland’s sometimes scorching, often very funny comedy/drama, Cult of Love, we are introduced to the Dahl clan on Christmas Eve.  Parents Ginny and Bill reside in bucolic Connecticut.  Their home is decked out for the holiday (courtesy of John Lee Beatty’s festive set).  As per tradition, they have welcomed their now grown-up children, and their significant other’s for the holiday gathering.  While the setting appears joyful and merry – the show opens with instruments strumming, piano keys jangling, all accompanied by a family sing-a-long (kudos to Musical Supervisor Jacinth Greywoode) – the harmonious state is a mirage.  The Dahl’s have…issues.  Significant issues. 

Mom (Mare Winningham), who brought up her children in a strict Christian home, is righteous and controlling.  Dad (David Rasche), potentially in the early stages of Alzheimer’s, is lovingly affable, but forgetful. The eldest son Mark (Zachary Quinto), who left divinity school to become a lawyer, is adrift in his career and marriage to Rachel (Molly Bernard).  There is daughter Evie (Rebecca Henderson) and her wife Pippa (Roberta Colindrez), who have never been truly accepted by members of the family.  Diana (Shailene Woodley), married to James (Christopher Lowell), an Episcopalian minister, spews hurtful and intolerant invectives.  Then there’s the youngest, Johnny (Christopher Sears), a former drug abuser and free-spirit in recovery, who arrives with Loren (Barbie Ferreira), also a one-time drug user.

 

Ms. Headland has taken these dysfunctional family dynamics and laced together a show that flows effectively from one eye-opening scene to another.  Just when audience members have absorbed one revelatory incident, another portentous moment arrives.  She has taken issues of homophobia and religious intolerance and deftly woven them into the plot without coming across as preachy or contrived. 

 

Director Trip Cullman has skillfully taken the large cast and presented the action as real and naturalistic.  The overlapping dialogue and apparent spontaneity of the actors gives the production an authentic feel.  He keenly utilizes the upstairs of the house and the kitchen as a refuge for characters to regroup before coming back on to the stage for another round of confrontations. 

 

The ensemble cast is outstanding.  Each of the actors and actresses flawlessly execute their roles.  Their performances encompass all the emotions – the highs and lows – that holiday get-togethers can have on family members in close quarters and with a lifetime of baggage.

 

Cult of Love, playing at 2ndStage through February 2, 2025.