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.

Escape to Margaritaville - Ivoryton Playhouse

The jukebox musical, Escape to Margaritaville, is a laid back, a little too carefree, celebration of the songs and Island escapism lifestyle of Jimmy Buffet.  For diehard Parrotheads, the show echoes the easygoing ethos of the musician.  However, for non-fans or audience members unfamiliar with Buffet’s works, outside his innocuous Top 10 hit, “Margaritaville,” the musical comes across as silly, with an overly contrived, frivolous book by Greg Garcia and Mike O’Malley. 

 

Sam Sherwood and the cast of Escape to Margaritaville.

In Escape to Margaritaville, there’s a twist on the standard boy-meets-girl, boy-loses-girl, boy-gets-girl.  In the show, it’s girls (Rachel, a brainiac scientist and Tammy, her soon-to-be married best friend) jet setting to an island paradise for a last getaway where they meet boys (Tully, a charismatic beach bum and Brick, his schlumpy pal).  The beautiful, workaholic woman and Casanova hook up as do Tammy and Brick.  The time at the beach is magical for both couples until it’s time to return to everyday life - Rachel, to see if she can raise money for her energizing potato idea and Tammy to her cretin fiancée.  Did I mention a spewing volcano?  I don’t think it’s a spoiler to say everything works out romantically in the end for our endearing twosomes.

 

Besides the problematic book, most tunes in Escape to Margaritaville have never been radio mainstays.  Only a few have cracked the Top 40 - "Cheeseburger in Paradise," "Come Monday," and "Changes in Latitudes, Changes in Attitudes."  While many in the audience sang along to a number of songs, a jukebox musical without an abundance of well-known, recognizable compositions by an artist is markedly handicapped.  The songs are given a high-gloss finish by the on-stage band under the guidance of Musical Director Dan Gibson.

 

Margaret Dudasik and Sam Sherwood in Escape to Margaritaville.

The four main characters are rather endearing, especially Maggie Bera’s Tammy and Beau Bradshaw’s Brick.  They are so adorably goofy and inject a humorous zing in their scenes.  Sam Sherwood, imbues Tully with a charming personality and unhurried devil-may-care attitude towards life.  He is an accomplished musician, strumming his ever-present guitar throughout the show.  Margaret Dudasik is solid as the aloof researcher, Rachel, that finds love.  LaDonna Burns, who has enlivened many productions in the state this year – Ghost at Music Theatre of CT last April,  Rock of Ages at Sharon Playhouse this past June, Mary Poppins at STONC in July, and now Escape to Margarvitaville – has her talents underutilized as a bar owner trying to run her business while throwing out wisecracks and bon mots.  Don Noble’s J.D., an aged island bohemian, is convincing as an eccentric, idiosyncratic nonconformist.

 

Director and Choreographer Clint Hromsco brings a lighthearted, breezy guidance to the show, which could use a bit more polish.  He tries to invigorate the show with kooky characters and choreographic flourishes to gussie up the multitude of songs within the production.  Most of the dance numbers, though, are missing a high spirited vivacity.  Two routines do stand out – a Michael Jackson “Thriller” inspired revelry with Brick and a fun-filled romp to “Cheeseburger in Paradise.”

Members of the cast of Escape to Margaritaville.

 

Scenic Designer Cully Long’s sets provide a tropical vibe.  Marcus Abbott’s Lighting Design augments a few menacing moments during the jungle scenes and, with the assistance of Sound Designer Dustin Pfaender, adds to the peril of the impending volcanic eruption.

 

Escape to Margaritaville, now playing at the Ivoryton Playhouse through September 15.  Click here for dates, times and ticket information.