The Snow Goose - Goodspeed Opera House

The musical The Snow Goose, receiving its world-premiere at the Goodspeed Opera House, is based on the beloved 1940 novella of the same name.  It is an intimate tale of friendship and the cyclical nature of life.

The cast of The Snow Goose.  Photo by Diane Soboelwski.

In the book, Philip, an artist, lives in an abandoned lighthouse, afraid to interact with others because of his disability.  He is befriended by a local girl, Fritha, who brings a wounded snow goose to him to nurse back to health.  Once the snow goose has healed, she returns each year to be at the side of Philip and Fritha.  At the end of the story, Philip volunteers his boat to be part of the famous Dunkirk evacuation of British troops during WW II, risking his life for others and, in the process, saving numerous lives.

Ashlyn Maddox and Eric Graise in The Snow Goose.  Photo by Diane Soboelwski.

The Goodspeed production has enlarged this simple tale, adding many new characters and plot points not found in the book.  The resulting, expanded musical comes across as overstuffed with side plots, and characters not fully developed.  The results are mostly unsatisfying and ends up diluting the central themes of the book.

 

The show begins with The Bard, a troubadour (a new character), acting as a type of narrator, setting the scene for what will occur.  Fritha, who now has three friends – Wilf, Clara, and Farley (all new characters) – gets separated while exploring the marshes of Essex, England.  Fritha finds a wounded snow goose and brings it to the lighthouse where, according to townsfolk, “the monster” resides.  There resides Philip, a double amputee, who grudgingly agrees to nurse the bird.  This begins a tentative, then lasting friendship between the two as the snow goose returns each year during her migratory journey. 

Matthew Davies, Leah Hofmann, Kiersten Kelly and the cast of The Snow Goose.  Photo by Diane Soboelwski.

In between the yearly reunions, trouble brews for Fritha as her aunt (new character), who has raised her since she was a child, forbids the young girl from seeing Philip.  Wilf, her would-be boyfriend, also disallows her from visiting the lighthouse.  Ignoring their edicts, Fritha clandestinely continues her rendezvouses.  Fritha urges Philip to come to town to show the towns folk he is not a monster, but when he arrives he is verbally and physically assaulted because he is different.  Later, when boatmen are recruited to help save soldiers at Dunkirk, Philp pushes aside the hate and prejudice heaped upon him to volunteer, sacrificing his life in the process.

Ashlyn Maddox in The Snow Goose.  Photo by Diane Soboelwski.

 

The central issue with the book by Scott Gilmour and Claire McKenzie is the inclusion of so much additional material that blunts the unadorned earnestness of the source material.  Storylines are not fully fleshed out, and characters are not completely developed.  There is now a large ensemble, with uneven choreographic flourishes by Misha Shields, filling the stage.  Emmie Finckel’s Scenic Design are at its best when the staging is minimal.  Philip’s sailboat is especially well-done.

 

The strength of the Snow Goose is the performance of Eric Graise as Philip and the puppeteers manipulating the snow goose.  Graise, a double amputee, adds a high degree of realism to the Goodspeed stage.  He effortlessly exudes strength, independence, and melancholy in his role.    The snow goose has been designed by Nicholas Mahon and manipulated, primarily by Leah Hofmann.  The puppet comes alive within the practiced arms of his handlers, exuding playfulness, joy, and fear.

Ally Bonino and the cast of The Snow Goose.  Photo by Diane Soboelwski.

 

Ashlyn Maddox’s Fritha is at her best as a young lass, struggling with her own feelings and the decisions she wants to make.  The actress is less successful as she ages, a full ten years by the musical’s conclusion.  While a forceful presence on stage as Harper, Fritha’s aunt, Ally Bonino is not given enough of a backstory to establish her character beyond a nagging relative.  Out of the new characters, Charlie Webb’s Wilf receives significant stage time.  He brings youthful energy, timid emotions, and a degree of intimidation to his portrayal.

 

The score by Scott Gilmour and Claire McKenzie can be unabashedly exuberant and reflective.  There are some Broadway styled songs, but the majority of the numbers are tinged with the folk music of the area.

 

Eric Graise and Ashlyn Maddox in The Snow Goose.  Photo by Diane Soboelwski.

Director Marshall Pailet, who helmed the outstanding musical Private Jones at the Norma Terris Theatre a few seasons ago, works hard attempting to make all the diverse elements of the show coalesce into an entertaining whole.    He partially succeeds, with the more intimate scenes involving Philip, Fritha, and, to some extent, the snow goose – as a prime example.

 

The Snow Goose, playing at the Goodspeed Opera House through October 18.  Click here for dates, times, and ticket information.

 

 

 

Harmony - Music Theatre of CT

  

To begin its 40^th Anniversary Season, the Music Theatre of Connecticut is presenting the regional premiere of the musical Harmony.  The show, which had a short life on Broadway, has music by Barry Manilow and lyrics/book by Bruce Sussman.  It is based on the German singing group The Comedian Harmonists, one of the most popular musical ensembles in the world during the 1920’s and 1930’s.   The soaring fame of the six-person group, comprised of three Jewish and three non-Jewish members, coincided with the rise of Nazism which, eventually, led to the end of their storied career.

 

Michael Alonzo, Constantine Pappas, Jeff Raab, Dominic Pagliaro, Christian Libonati, and Cameron Edris in Harmony.  Photo by Alex Mongillo.

Director Kevin Connors has done an outstanding job assembling a cast of talented performers, especially the actors that play members of the singing group.  Music Director Zachary Anderson, working with Brian Salvia’s flawless Sound Design, receives kudos for taking these actors and exquisitely blending their voices into aural magic. 

 

The musical is an emotional roller coaster, with Sussman’s streamlined book emphasizing the highs and lows of the group.  Even though the finale – including a moving, angst-filled monologue by the superb Frank Mastrone – will bring a tear to the eye, Harmony is also filled with joy and wondrous singing and comedic bits by the cast.  Choreographer Chris McNiff’s provides stylish dance routines for the Comedian Harmonists.

 

Michelle Pauker in Harmony.  Photo by Alex Mongillo.

The story follows the six young men as they form their group and move from dive establishments to star billing at the fanciest nightclubs.  Sussman provides enough of a back story of each member to present wholly defined characters.  Along the way, two Harmonists marry, and they begin to travel the world, including a sold-out engagement at New York City’s Carnegie Hall.  The plot turns from upbeat and hopeful to chilling at the end of Act I as the rise of Nazism begins to take hold in Germany.  In Act II, while still performing and traveling – the Third Reich feels their performances are good for their image, but they are eventually reined in due, primarily, to the Jewish members of the group.  In the end, the Harmonists are disbanded, never to see each other again.

 

To hold the show together and push the action forward, Sussman has structured the musical with an aged narrator – Frank Mastrone as Rabbi, a member of the Comedian Harmonists in his younger days (Constantine Pappas plays Young Rabbi in the production).  Matrone pops up to add texture to the story and play several characters, including Albert Einstein.  He is the moral compass that gives expression to inner thoughts and outrage from years before.  The actor is a natural storyteller.  He is at times funny, moving and passionate as he delivers a marvelous performance.

 

Michael Alonzo, Cameron Edris, Christian Libonati, Dominic Pagliaro, Constantine Pappas, and Jeff Raab in Harmony.  Photo by Alex Mongillo.

The six members that comprise the Harmonists are equally distinguished.  The group – Michael Alonzo, Cameron Edris, Christian Libonati, Dominic Pagliaro, Constantine Pappas, and Jeff Raab – have tremendous chemistry and comfortability with each other.  While all the actors bring a complexity and their roles, Pappas, a member of the original Broadway production, stands out as Young Rabbi. 

 

 

Integral to Harmony are two women, who play key roles in the show.  Jazmin Gorsline, as Mary, Young Rabbi’s future wife, is initially low-key in her role but, as the show develops, the actress brings more confidence and strength to the part.  Michelle Pauker is dynamic and assured in her role of Ruth, the future wife of the singing group’s Chopin.  A firebrand seeking change to an unjust system, the actress delivers passion when on stage.

 

Constantine Pappas and Jazmin Gorsline in Harmony.  Photo by Alex Mongillo.

The score by Barry Manilow and Bruce Sussman can be affecting, upbeat, frisky and, for the most part, very tuneful.  In my opinion, in the past few years, there are only a handful of original Broadway musicals that have had better scores.  Manilow has co-written purely theatrical songs that will also be very satisfying to his legion of fans.  Standout numbers include the upbeat title song, the rousing “Every Single Day;” the stirring “Stars in the Night;” the excitement of “This is Our Time;” and the haunting ballad “Where You Go,” sung by Gorsline and Pauker.

 

Connors’ pacing and scene changes are smooth and efficient within Sean Sanford’s minimal, but effective, Scenic Design.  The Director brings an emotional depth to the production, whether they are intimate, poignant moments or raucous assemblages by the large cast.  I do wish, though, that Connors could have somewhat leavened the finale, with the character Rabbi’s anguish-laden speech, even though Sussman has written it with grief and sorrow. 

 

While Harmony is a triumph, it should be noted that the anti-semitic and right-wing political rhetoric that underlines the musical, is as present today as it was during the timeframe of the show – almost 100 years ago.   It is a distressing commentary of where we are as a society and should serve as a warning on complacency and ignorance.

Jeff Raab, Dominic Pagliaro, Cameron Edris, Frank Mastrone, Constantine Pappas, Michael Alonzo, Christian Libonati in Harmony.  Photo by Alex Mongillo.

 

Harmony, playing at the Music Theater of Connecticut through September 27.  Click here for dates, times, and ticket information.

Music City - Off-Broadway

I am not a country music fan, so I had a bit of trepidation when I entered Off-Broadway’s St. Luke’s Theater for the jukebox musical Music City.  Fortunately, whatever concerns I held were misplaced.  Music City is a buoyant, engaging, sometimes soap opera-ish, show that is chock-full of hook-laden songs composed by JT Harding.  The songwriter has written hit tunes for country artists including Uncle Kracker, Darius Rucker, Keith Urban, Blake Shelton, and Kenny Chesney.  They are delivered by a top-notch on-stage band.

Lauren Lolo Pritchard and Stephen Michael Spencer in Music City.

The show takes place in the Wicked Tickle, a Nashville dive bar that hosts open mic nights.  Two brothers, the younger TJ (Stephen Michael Spencer) and his older sibling Drew (Jonathan Judge-Russo), are fan favorites who are prepped to make the big time per Tammy (Leenya Rideout), a recording label scout.  However, complications ensue.  The boys need money to record a demo.  Step in the fiendishly expressive neighborhood drug dealer Bakerman (Andrew Rothenberg) to lend them the funds as long as they help him deliver his goods.  One of TJ’s clients is a drug addicted mother, Leanne (also played by Leenya Rideout), whose daughter,  23 (Lauren Lolo Pritchard and, yes, that’s her character’s name), he has fallen for.  Of course, the two start making beautiful music together, but life and relationships aren’t easy.  By the time the musical concludes, there are also break-ups, reconciliations, possible sexual harassment, and one character’s harrowing stint in the army.

Leenya Rideout as Leanne in Music City.

Librettist Peter Zinn wraps up most of the storylines into a neat bow.  The plot could easily have been taken from one of JT Harding’s songs – which range from raucous party tunes to tender ballads.  Zinn has crafted characters whose dreams we believe in, portrayals we care about as well as lowlifes we want to boo.

Director Eric Tucker, working within Scenic Designer Clifton Chadick’s appropriately low-brow décor and Eric Southern’s garish Lighting Design, keeps the pacing brisk while utilizing the entire space in St. Lukes.  There are two staging areas that serve multiple purposes, but he doesn’t limit the performers to just those spaces.  Tucker also has the actors and actresses consistently around the cramped table seating area where the audience sits.  Placing the four-piece band on-stage adds to the realism of the honky-tonk bar setting.

Andrew Rothenberg as Stucky Stiles in Music City.

The cast, energetic and fully committed to their roles, is led by Stephen Michael Spencer as TJ.  While he begins his journey as a party animal looking for a good time and to make it big in the music industry, he nimbly shifts his character to a more layered trajectory.

Jonathan Judge-Russo, as older brother Drew, perfectly complements his on-stage sibling.  More low-key and introspective, the two have a well-worn chemistry.  Lauren Lolo Pritchard is the most complex character in the show – moving from thoughtful and meditative singer-songwriter to parental caregiver to worried spouse.

Andrew Rothenberg is marvelous in the dual roles of the nefarious drug dealer Bakerman, and the smooth-talking, over-the-hill country star Stucky Stiles.

Also, in dual roles (Tammy and Leanne), Leenya Rideout, in her primary role of Leanne, effectively brings heartache and resolve to her character.

Music City, playing at St. Lukes Theater right in the middle of Restaurant Row on 46^th Street between 8^th and 9^th Avenues.  Click here for dates, times, and ticket information.

Masquerade - Off-Broadway

Masquerade is an entertaining and enjoyable rebirth of Andrew Lloyd Webber’s The Phantom of the Opera, which closed in 2023 as the longest-running musical in Broadway history.  This show is an immersive multi-floor version of the original, produced in a warehouse on West 57th Street just off Broadway.  This is a walk-through show – audiences are on their feet for most of the 2 ¼ hour run time, occasionally walking up and down flights of stairs – and is presented six times during the evening.  Theater-goers, in groups of 60, enter at 15-minute intervals to experience up close and personal the story of The Phantom.

Most of the story and songs are the same from the original musical, which racked up almost 14,000 performances on Broadway.  There are some differences, most notably a newly invented backstory for The Phantom as a young circus freak, but the overall production is very similar to the earlier version, which ran for almost 35 years.

A thumbnail recap of the story – The Paris Opera House has been besieged by a mysterious phantom, who falls in love with Christine Daaé, a chorus girl he secretly tutors to become a star.  Enter Raoul, a friend from the past who falls in love with her, which antagonizes The Phantom.  Undeterred, The Phantom, who hides behind a mask because of a facial deformity, writes an opera for his beloved.  Raoul and the Opera House management see this as an opportunity to catch the shadowy figure.  However, their plans go awry; chaos and mayhem follow as The Phantom seeks to secure his love and defeat his enemies.  Or does he? 

What makes Masquerade so much fun is the closeness to the action and performers.  Sometimes very close.  James Fuhr’s wide-ranging, eclectic production design, is both eerily and gaudily crafted.  Theater-goers proceed their way around the building’s dozens of rooms, which include a dressing room (with just a handful of audience members in attendance); a circus sideshow; The Phantom’s Subterranean lair, including his gondola eerily floating by; and, of course, the a room with the infamous chandelier.   

Director Diane Paulus has masterfully conceived the production, which employs six different actors and actresses portraying The Phantom and Christine.  The logistics alone, which has six simultaneous performances, are a marvel to behold.  In addition, Ms. Paulus is able to tease out heartfelt, passionate performances by the acting troupe.  Sometimes it can be silly, but for most of the evening, it is a grand time.  The Director has added little flourishes that bring the audience more into being part of the show.  When entering the first room, while being serenaded by a lone violinist - in my performance the virtuosity of Bryan Hernandez-Luch - the audience is taught a few basic dance moves by ballet mistress Madame Giry.  Through the night’s journey, we are treated to a glass of celebratory champagne and a candle (fake) to illuminate our way. 

On the night I attended, all the performers were superb. Ryan Vona was a strong-voiced Phantom, yearning for compassion, while also dispensing havoc on those who crossed him.  Addie Morale’s Christine was vulnerable, yet also strong, and showcased a magnificent voice.

Other members of the production team include Emilio Sosa, and his lavish costumes, and Ben Stanton’s shadowy lighting.  Brett Jarvis’s sound design of distant voices and effects radiates throughout the building, never letting up the aural sensation. 

While the grandeur of the original production is missing, there is enough stagecraft, charm, and mystery in Masquerade to make this reconceived, immersive show a wholly satisfying experience.  Note:  management encourages theater-goers to dress up in black and bring a mask.  Lacey, black masks are distributed free-of-charge upon entering for those audience members, like myself, that don't possess one.

Click here for dates, times, and dates of Masquerade.

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.