All is Calm - Playhouse on Park

Theater in December is chock-full of holiday offerings.  A welcome addition is the engaging, rewarding All is Calm, playing at Playhouse on Park through December 21.  This short – 75 minutes, no intermission – production relates the true story of the Truce of 1914, where German and English troops, enmeshed in the trench warfare of WWI, paused hostilities on Christmas Day.  Over 100,000 men laid down their arms to fraternize, trade souvenirs, and even play soccer.  The show is  performed, mostly, via snippets of songs – war tunes and holiday melodies – by the first-rate, twelve-member cast.  The musical selections are at times rousing, comical, impassioned, and somber.  The singing is impressive throughout the show.  The vocal arrangements by Erick Lichte and Timothy C. Takach are striking.

Book writer Peter Rothstein has effectively structured the show into five “Acts,” which take the audience from the beginning of the conflict, through the truce, and, finally, the sad reoccurrence of fighting.  In just a short time, he has been able to dramatically highlight such topics as the futility of war and the sacrifices made by the younger generation.  He has interspersed dialog between the musical numbers - cast members recite fragments of letters or journal entries from soldiers in the conflict - which provide context to what’s happening and the temperament of the soldiers. 

Director Sasha Bratt has skillfully taken all the elements of the production and crafted an inspiring, moving production that shifts seamlessly from scene-to-scene, from song-to-song. Besides the large cast, they include Doaa Ouf’s beautifully scripted projections; Johann Fitzpatrick’s somber lighting scheme and simple, yet effective set design; and Micah Ohno’s accurate period costume design.

All the actors were superb - Bruce Barger, NicDaniel Charles, Charles Eaton, Kenneth Galm, Spencer Hamlin, Alex Hunt, Jeremy Luis Lopez, Ryan Phelps, Omar Sandakly, Luke Scott, Niko Touros, and Jermaine Woodard Jr.  Galm, Phelps, and Touros were notable in their portrayals of multiple characters.  Spencer, a trained opera singer, was brought down the house with his solos.

All is Calm, a show not to be missed.  Playing at Playhouse on Park through December 21.  The production is sold out, except, at this writing for the concluding performance.  Click here to see if tickets become available through cancellations.

 

A Christmas Carol - Hartford Stage

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

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

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

 

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

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

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

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

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

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

 

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

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

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

 

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

 

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

 

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

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

 

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

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

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

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

 

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

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

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

 

                            

White Christmas - Goodspeed Opera House

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

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

 

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

 

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

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

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

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

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

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

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

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

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

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

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