Come From Away - Ivoryton Playhouse

The musical Come From Away is an emotional rollercoaster.   While the show takes place on the fateful day of 9/11, the thrust of the show is not on heartache and tears (even though there is some of that), but on inspiration and humanity.

The cast of Come From Away.  Photo by Jonathan Steele.

Come From Away relates the true story of how a little used airfield in Gander, Newfoundland, Canada suddenly became the pit stop for dozens of commercial airlines when the United States airspace was closed because of the attacks.  In aviation history Gander was the central refueling depot for planes crossing the Atlantic.  With the advent of jet propulsion, the Gander locale became a footnote, until September 11 when the population of the small town mushroomed overnight from 9,000 to 16,000 residents.  The musical relates how the townspeople and “plane people” reacted, adapted, and came together over a five-day period.  It humanizes the events of 9/11 through personal stories, song and dance.   The result is a show that is uplifting, funny, and forlorn.  It is a joyous celebration of life and the human spirit even as the very fabric of our lives was upended.   

 

Librettist Irene Sankoff and David Hein have crafted a well-structured narrative where the cast portrays a multitude of roles from stunned and shaken airline passengers to the average man and woman on the streets of Gander.  The husband-and-wife team focus on the determination of everyone to make an unthinkable and untenable situation work.  This optimistic attitude is carried throughout the show.  Some would-be audience members might think any art form with 9/11 as the backdrop would be maudlin and depressing.  But Sankoff and Hein’s book for the show is heartening and moving.  Are there moments when the tissues come out?  Sure, yet they are offset by humorous and tender moments that make you want to stand and cheer.

Dan Costello in Come From Away.  Photo by Jonathan Steele.

In addition to their book, Sankoff and Hein, also wrote the music and lyrics, a mix of haunting and soul-searching compositions and exuberant melodies that joyfully reverberate throughout the theater.  Tinged with the Irish roots prevalent in this northern Canadian province, they are almost all ensemble pieces.  The songs are performed by a tight knit, boisterous band that would be welcome at any Emerald Isle drinking establishment.

 

Members of the cast of Come From Away.  Photo by Jonathan Steele.

Director Todd L. Underwood does a superb job with the flow of the cast as they assemble from one scene to the next.  While he keeps the pacing quick, he doesn’t rush the storyline, allowing more intimate scenes to play out.  He also adeptly facilitates the transformation of the actors and actresses from one character to another.  There is a good deal of logistics involved as performers are in constant motion moving around and restaging Starlet Jacobs’ minimal set pieces, which is a smart choice.  Anything more elaborate would have lessened the pace of the show and tethered our imagination.  Jessica Drayton’s projections, on the other hand, are distracting and unnecessary for this show.  My only quibble with the direction is the substitution of the voice of President George Bush for one of the actors during his broadcast to the world soon after the devastation of 9/11.  It is one of the emotional highpoints of the entire musical, and its impact was greatly lessened.

 

As choreographer, the dance numbers Underwood stages develop naturally within the plot.  The dancing is buoyant and lively and reflects the down-to-earth nature of the town’s folk.

 

Miles Hanna in Come From Away.  Photo by Jonathan Steele.

The ensemble cast is full of individuals you would find at any main street diner.  They exude their own can-do spirit as they forcefully take hold of the material with a dynamism and drive that is heartfelt and genuine.  Each of the performers play multiple characters and they provide skill and nuance to make each transformation work.  While I could say something about each cast member, four consistently stood out.   Mimi Bessette, who portrays, among others, Beulah, the levelheaded, problem-solving school administrator;  Joseph Dellger, who’s main character is the unflappable mayor of Gander; Patric Steven Bovo, a business man who embraces his temporary surroundings, and Miles Hanna as the neurotic Bob.

 

Come From Away, an absorbing and moving musical that will leave you searching for words of praise, playing at the Ivoryton Playhouse through September 6.  Click here for dates, times, and ticket information.

The Slippery Truth: Prison Break at New-Gate at New-Gate Prison

A sliver of American Revolutionary history, which took place right here in Connecticut, is the subject of the engrossing, immersive theatrical production, The Slippery Truth:  Prison Break at New-Gate.  The play is produced by Plays in Place.  The organization “collaborates with diverse cultural institutions to develop and produce new site-specific plays. Our plays engage audiences with places and stories of overlooked or often-forgotten people.”

 

In this instance, Plays in Place has partnered with the Old New-Gate Prison & Copper Mine in East Granby (nationally recognized as the first chartered copper mine (1707) and the first state prison (1773) in early America).  The incident that playwright Patrick Gabridge has dramatized is a prison break at the facility on May 18, 1781.  A group of Loyalist prisoners overpowered guards, killing one of them, and escaped into the night.  After the fact, during the 50 minute Act I which takes place in the administrative building, Captain John Forward interrogates recaptured prisoners, guards, and even the wife of one of those soldiers being held.  His goal – find out the truth behind the escape.  The action for this portion of the show, is held in In the 15-minute Act II, audience members have a choice: they can descend 30-steps into the cool, damp mine, where prisoners were housed, or attend an alternate program above ground.  I chose the former, which gives a snapshot experience of what prisoners experienced.  Sound designer Amy Altadonna has placed speakers throughout the underground passage where recordings of prisoners hatching their plan is broadcast.

 

In the 15-minute concluding Act III, audience members gather in the ruins of the chapel to witness prisoners, and others, just after their escape and discuss their next steps.

 

Playwright Patrick Gabridge has crafted a multi-layered show that touches on religious and political freedom, and individual rights.  What separates the play from simply being the American Revolutionaries (the good guys) against Loyalists to the British Crown (the bad guys) is the questions and complexities that are explored in the production.  The dialog is crisp and urgent.

 

Director Zoë Golub-Sass brings an immediacy and intensity to the production.  By placing the actors in close proximity  to the audience – just a few feet away – she allows the audience to become more engaged in the production, feeling as if they are in a jury box hearing crucial evidence.

 

The actors, garbed in Costume Designer Irene V. Hatch’s accurate historical clothing, are led by Craig Pinder as Captain John Forward.  The seasoned performer anchors the production with his passion and vigor.  Two other members of the cast stand out – Matt Haas as Captain Epenetus Platt and Elijah Sarrouf as Sergeant Samuel Lilly.  The other actors in the show play their parts with enthusiasm and a commitment to their characters.  They include Jackson Bird as the guard Jonathan Blenden, Raymond Cain as Captain Peter Sackett, Brayden Esler as William Young, and Sophie Walters as Abigail Young.   

 

The Slippery Truth:  Prison Break at New-Gate, playing through August 31.  Click here for dates, times, and ticket information.

 

The Murder of Roger Ackroyd - Westport Country Playhouse

Whodunit?  That’s the question in the Westport Country Playhouse straightforward production of the Agatha Christie classic, The Murder of Roger Ackroyd.  Adapted for the theater by the Playhouse’s Artistic Director Mark Shanahan (who also directed), the play is a faithful rendering of the novel, considered to be one of the finest murder mysteries ever written.  On stage, the numerous characters come to life as motives and secrets are slowly revealed.  And, as with many of Christie’s works, a surprise ending awaits audience members.

The Cast of The Murder of Roger Ackroyd.  Photo by T. Charles Erickson

The tale, a Hercule Poirot mystery, is a classic closed door murder mystery, narrated, for the most part, by the village’s beloved, trustworthy physician, Dr. Sheppard (John Rapson).  The good doctor is called to the estate of Roger Ackroyd (Mark Silence), a wealthy widower, to discuss murder and blackmail.  Everything is outlined in a letter Ackroyd has just received from the wealthy widow, Mrs. Ferrars, who he was set to marry, but had committed suicide the previous day.  Before the contents of the letter are unveiled, Ackroyd locks himself in his study to review the document.  Later that day he is found murdered. 

 

John Rapson, Karen Ziemba, and Anthony Cochrane in The Murder of Roger Ackroyd.  Photo by T. Charles Erickson

Suspects, of course, abound.  There is his frumpy sister-in-law Gertrude Ackroyd (played with just the right touch of dowdiness and grousing by Karen Ziemba); her beautiful daughter Flora (Shereen Ahmed) who is engaged to Ralph (Joe Delafield), the raffish stepson of the deceased widower; the take charge big game hunter Major Hector Blunt, portrayed with a boorish charm by Richard R. Henry; the cheeky butler (a deliciously impudent Tom Hewitt); the misunderstood parlor maid Ursula Bourne (Katy Tang); and the household secretary (played with a moral prissiness by Nicole Shalhoub).  Add into the mix the doctor’s gossipy sister (Erin Noel Grennan); the harried Inspector Raglan (Allen Gilmore); and Hercule Poirot, the master Belgian detective (perfectly portrayed by Anthony Cochrane); and you have all the ingredients for a first-rate murder mystery.

The Cast of The Murder of Roger Ackroyd.  Photo by T. Charles Erickson

Shanahan’s adaptation can occasionally be too talkative and stagnant.  There is a lot of exposition necessary to explain plot points and introduce the multitude of suspects.  However, as the play gets into a rhythm, the pace quickens as the famed detective meticulously begins to unravel the numerous threads in the case, eventually cornering the guilty party.

Anthony Cochrane as Hercule Poirot in The Murder of Roger Ackroyd.  Photo by T. Charles Erickson

As Director, Shanahan, working within the finely adorned estate parlor by Scenic Designer Charlie Cororan’s, moves the players around like a chess master overseeing a grand match.  Utilizing Julie Duro’s pinpoint Lighting Design, he deftly segments the set into mini scenes within the larger whole.  This allows for the economy of just one set though, at the same time, providing the illusion of multiple backdrops.  While all the machinations can be a touch hard to follow, Shanahan presents a wholly satisfying ending that will please even the fussiest murder mystery fan.

The Murder of Roger Ackroyd, playing at the Westport Country Playhouse through August 1.  Click here for dates, times, and ticket information.

The Wild Party - Playhouse on Park

Playhouse on Park is one of the few theaters in the state that has consistently presented challenging works for their audiences.  In the past few years, there has been Paula Vogel’s Indecent, the John Kander/Fred Ebb musical The Scottsboro Boys, and now their current production – The Wild Party.  In the program notes, Director (Co-Artistic Director of Playhouse) Sean Harris states that he, Choreographer Darlene Zoller (Co-Artistic Director of Playhouse), and Music Director Colin Britt, had to create this show together.  From an artistic standpoint, you can understand why.  This is a challenging work, and the three work in perfect harmony in bringing to life the story about a wild, decadent evening in the Roaring Twenties.

Mollie Downes and the cast of The Wild Party.  Photo by Meredith Longo.

For Harris, the musical required him to call upon all his skill and flair to fashion a powerful, passionate production.  For Zoller, she had the opportunity to flex her considerable choreographic playbook to present dynamic, exuberant dance numbers that are organically infused into the show.  For Britt, it was the chance to conduct a sizeable pit band for a score that is demanding and diverse in its styles and thematic temper. 

The Wild Party is based on Joseph Moncure March's 1928 narrative poem of the same name, and adapted for the stage by Andrew Lippa, who also wrote the score.   Set during Prohibition, it follows Queenie (a jaded vaudeville dancer) and Burrs (her abusive and unpredictable clown lover) who are in a toxic, passionate relationship. Desperate to shake up their mundane and destructive lives—and to make each other jealous—they decide to throw "the party to end all parties" at their Manhattan apartment, a sleazy, shabby setting created by Scenic Designer Kim Zhou.  Lighting Designer Matt Weisgable shades the production with an other worldly glow of colors, which punctuates the debasement and sinfulness on stage.

The cast of The Wild Party.  Photo by Meredith Longo.

An assortment of people living on the edge show up to the decadent, alcohol-fueled affair.  Among them are the mysterious, handsome stranger, Mr. Black, and her escort Kate, a high-end hooker.  Queenie begins to fall for Mr. Black, enraging Burrs, who’s jealous rage erupts into a violent end. 

Lippa’s book brings out the raw emotions woven throughout March’s original work, taking scenes of intimacy, vaudevillian schtick, and conjoining them with intense, sometimes brutal moments.  As author Chris Miller has observed, “its Fosse and Brecht, with some Shakespearean heft thrown in.” 

Andrew Lippa’s score is steeped in 1920’s jazz, but also incorporates a more modern rock sensibility, with a touch of swing and blues.  The combination works well within the structure of the show.  The songs capture the essence of the frenetic, decadent jazz era while giving a nod to contemporary norms.

Trevor Bunce of The Wild Party.  Photo by Meredith Longo.

The large cast, led by the four principles – Mollie Downes (Queenie), Trevor Bunce (Burrs), Cory Simmons (Mr. Black), and Maddi Bowman (Kate) – slink, slither, and prowl the stage.  Harris moves the performers, at times, as one amorphous entity, while also giving many of the cast members their own moment to shine.  The leads are the ringmasters of the debauched affair, taking center stage during the critical moments of the production.  Special nod to Trevor Bunce as the volatile, yet charismatic Burrs, and to Cory Simmons as the mysterious, suave Mr. Black.

 Cory Simmons of The Wild Party.  Photo by Meredith Longo.

Even with my enjoyment of The Wild Party, this is, as I stated, a challenging work for audiences.  It is not the usual frothy summer fare that most theaters present.  Still, the show, a rarely revived musical, is worth seeing. 

The Wild Party, playing at Playhouse on Park through August 18.  Click here for dates, times, and ticket information.

Crazy For You - Goodspeed Opera House

A classic Goodspeed musical mines the Great American Songbook, and includes plenty of dancing.  A lot of dancing, especially tap-dancing extravaganzas.  The theater’s summer offering, Crazy For You, has all that…and much more.  Director Michael Fling has crafted a light-hearted piece of escapism that will invigorate anyone suffering the summertime blues.  He effortlessly has the production glide from scene to scene, helped immensely by Choreographer Kelli Barclay’s seemingly non-stop dance numbers.  For example, Will Burton, who stars as Bobby Child, a would-be banker that wants a life on the musical theater stage, hardly gets to rest during the first 15 minutes of the show as he moves from one crowd-pleasing tap dance production number to another.  Ms. Barclay’s routines are also helped by Paige Seber’s Lighting Design which, in some numbers, bathes the dancers in a heavenly glow.

Will Burton and the cast of Goodspeed's Crazy For You. Photo by Diane Sobolewski.

The book by Ken Ludwig is breezy, full of amusing quips, and mistaken identities.  The premise is right out of the Judy Garland/Mickey Rooney playbook of “let’s put on a show.”  New York playboy Bobby Child is sent off by his controlling mother, to a laid-back mining town in Deadrock, Nevada to foreclose on an aging theater.  Once there, he quickly falls for the local gal, Polly, a straight-talking, no-nonsense postal official, who’s father just happens to own the woe-be-gone performance hall.  To save the theater, and win Polly’s heart, Child disguises himself as a famous Broadway producer, and brings in a train load of his New York showgirl friends to stage a high-energy, fund-raising spectacular.  Unfortunately, the scheme doesn’t exactly work out.  Bobby and Polly have a falling out, but true love does prevail by the show’s graceful ending.

The cast of Goodspeed's Crazy For You. Photo by Diane Sobolewski.

 

The score to Crazy For You is a cavalcade of Gershwin classics, taken from a number of their shows.  Under the steady hand of Music Director Adam Souza, each shimmers and glows.  They include such well-known songs as “I Can’t Be Bothered Now,” “Someone to Watch Over Me,” “Slap That Bass,” and “I Got Rhythm.”  And those are just in Act I!

 

The cast is marvelous, led by the aforementioned Will Burton, who exudes a winning combination of verve and naivety.  Brittany Zeinstra’s Polly Baker deliciously mixes a serious demeanor with a winsome outlook on love.  She and Burton have a delightful chemistry that fosters an overall enjoyment of the musical.   

 

Brittany Zeinstra and Will Burton with Claire Avakian, Courtney Brady and Kelly Gleason in Goodspeed's Crazy For You.  Photo by Diane Sobolewski.

Many in the supporting cast are worth noting.  They include Jeremy Davis, as Polly’s doleful father Everett.  His character mopes about the stage until it’s dance time, when the Broadway veteran shows off some fancy footwork.   Edward Juvier is splendid, radiating bluster and charm as the impresario Bela Zangler.   Hailey Thomas is the very essence of repressed indignation as the put-upon fiancée Irene Roth, while David Andrew Morton imbues the character of Lank Hawkins, the saloon owner seeking ownership of said theater, with a harried irritation that livens up stage.

 

Will Burton and the cast of Goodspeed's Crazy For You. Photo by Diane Sobolewski

 

The Scenic Design by Anny Beyersdorfer flits from gray, starker tones for the New York City backdrops to a brighter palette for the scenes in Dreadlock, which are a series of aged wood structures.  Joseph Shrope’s Costume Designs, primarily for the showgirls, are a cornucopia of bright colors and exotic creations.  She keeps the color palette of the Dreadrock denizens the same vibrant shades.

Crazy For You, now playing at the Goodspeed Opera House through August 16.  Click here for dates, times, and ticket information.

1776 - Ivoryton Playhouse

There are many parallels between today’s United States Congress and that of the Continental Congress in Philadelphia portrayed in the musical 1776.

Befuddlement and crippling stagnation are words that come to mind when referring to both institutions.  In the end, at least in the musical, the delegates from the 13 colonies, practice the art of compromise so the Declaration of Independence could be forged and signed.  Their diligence and hard-work should be an example to the current occupants of the White House, House of Representatives and Senate, which are all too often subsumed by squabbling and partisan pontifications.

 

The cast of 1776.  Photo by Jonathan Steele.

In 1776, receiving a workmanlike production at the Ivoryton Playhouse, we are witnesses to history as acrimony and narrow-minded politics are eventually put aside to shape our nation.  Kudos to the theater, in these tough economic times, for presenting a show with over 24 characters.  The set, designed by Starlet Jacobs, is well-appointed, accurately giving the audience an understanding of the claustrophobic conditions during the deliberations in the city of Brotherly Love. Kenn McLaughlin’s straightforward direction gets solid marks for being able to successfully guide the performers through the many scene changes without getting into each other’s way.  While the pacing is occasionally slow, some key performers keep the tempo bustling towards its eventual outcome.  He effectively utilizes Jessica Drayton’s Lighting Design to separate some scenes.  Robert Mintz’s understated choreography consists mostly of an intermittent two-step, and minimal shuffling around the stage.

 

Mark Aldrich and Josh Powell in 1776.  Photo by Jonathan Steele.

Book writer Peter Stone has done a superb job crafting a show humanizing such historical figures as John Adams, Benjamin Franklin, and Thomas Jefferson all the while giving the audience a primer on American history.  It can sometimes be a bit talky (Broadway trivia fun fact—the musical has the longest interval between songs, thirty-minutes, of any show in Broadway history), but the combination of the interaction between characters and the machinations of a government in its infancy are effective and entertaining.

  

The score by Sherman Edwards, his lone theatrical effort, is glorious with nary a miss among them.   The songs add zest to the production and are performed with professionalism and aplomb.  The songs can be playful and humorous as with "Sit Down, John" and “But, Mr. Adams;" outrageous and gleeful ("The Lees of Old Virginia"), but also moving ("He Plays the Violin") and solemn ("Molasses to Rum").

 

Members of the cast of 1776.  Photo by Jonathan Steele.

The cast, garbed in period outfits designed by Heidi Hanson, is a mixed bag of performers, led by Mark Aldrich as the irascible, fiery John Adams.  The actor, passionate and committed in his role, gives a solid performance as the man who is described as “obnoxious and disliked.” 

 

Other notable performers in the large cast include R. Bruce Connelly as a well-rounded Benjamin Franklin, who delivers his witticisms with self-assured delight to friends and foes alike.  Josh Powell is superb as Pennsylvanian John Dickinson, a staunch defender of the British crown.  While you may disagree with his character’s viewpoints you cannot fault him for his unswerving convictions.  Dino Nicandros is silky smooth as South Carolina’s Edward Rutledge.  Soft-spoken, most of the time, he also displays an intense commitment to his principles.  Kelly McCormick’s Abigail Adams does not spend much time on stage, but she makes the most of her appearance especially with her golden voice is such songs as “Till Then” and “Yours, Yours, Yours.”  Andrew Fehrenbacher’s Thomas Jefferson comes across as being too much in the background rather than in the foreground.  While a supporting role, there should be more vigor in his time on stage. 

  

1776, ringing forth liberty and freedom at the Ivoryton Playhouse through July 26.  Click here for dates, times, and ticket information.

Swingtime Canteen - Sharon Playhouse

Looking to get into the spirit of our nation’s 250^th birthday?  A perfect option would be the jukebox musical Swingtime Canteen, playing at the Sharon Playhouse through July 5.

The thin plot, which, for a show like this isn’t too critical, centers on five women who are entering American troops stationed at an air base outside London.  They are led by the glamorous movie star Marian Ames (Margaret Dudasik), and include her young cousin Katie (Lucy Rhoades) on Trumpet; a former “Rosie the Riveter,” Topeka (Claire Marie Spencer) on piano; a wise-cracking drummer, Jo (Sarah Beth Palmer); and a perky, self-absorbed  sax player, Lilly (Michelle Lemon).  The women sing, in assorted combinations, over a dozen songs associated with the wartime era.  They include an extended Andrew Sisters medley, “His Rocking Horse Ran Away,” “Sentimental Journey,” “Sing Sing Sing,” and many more. 

Margaret Dudasik, Michelle Lemon, and Lucy Rhoades in Swingtime Canteen.

All the performers have gorgeous voices, which blend beautifully together.  They have a believable chemistry that enhances the overall stage work of the show.  And they do play their own instruments, augmented by a marvelous backup trio of Mallory Kokus (clarinet, sax), Kim Bonsanti (trumpet, flugelhorn), and Lauren Seery (bass). 

The book by Linda Thorsen Bond, William Repicci, and Charles Busch encapsulates humorous backstage antics, poignant personal stories, and stirring moments of camaraderie.  The authors know a searing, complex libretto isn’t the point of Swingtime Canteen. They keep the material light and the verbal interplays short so the musical interludes can begin anew.

The cast of Swingtime Canteen.

Director Carl Andress paces the production with a lively spirit full of robust energy and enthusiasm.  Choreographer Krystyna Resavy provides the actresses with a few sprightly dance numbers that invigorate the production.

The Scenic Design by recent Connecticut Critic Circle winners Christopher and Justin Swader is festive, yet reserved; Aidan English’s Lighting Design effectively bathes the stage in an array of splashy and dramatic tones; while Sound Designer Graham Stone keeps the music dynamic and the sound effects authentic.  Costume Designer Kathleen Deangelis is on the mark with the period garb, and Bobbie Zlotnik’s Wig Design captures the essence of wartime America.

The cast of Swingtime Canteen.

Swingtime Canteen, playing at the Sharon Playhouse through July 5.  Click here for dates, times, and ticket information.