Gutenberg! The Musical - Playhouse on Park

Gutenberg! The Musical is a silly show with a silly premise - the life of Johannes Gutenberg, the creator of the printing press.  Who says you can’t write a musical on any topic?  While the idea and execution supplies smile-inducing entertainment, the show does begin to run out of steam by its conclusion.  However, what makes Gutenberg! a diverting and amusing show is the comic, full-throttled performances of its two leads – Jeremiah Michael Ginn (Bud Davenport) and John Wascavage (Doug Simon) – and the inspired direction of Sasha Brätt.  The chemistry and energy of the two actors and their no-holds-barred scenery crunching provide a constant supply of tittering.  Brätt manages to generate enough schtick and nuttiness to deliver a show that generates chuckles more than outright laughter.

Jeremiah Michael Ginn and John Wascavage in Gutenberg! The Musical.  Photo by Meredith Longo.

The musical, which debuted Off-Broadway in 2006, tells the story of Bud Davenport and Doug Simon, two nursing home employees who decide one day to pen a Broadway musical.  They sink their life savings into writing and producing a one-shot production, minimally staged and with few props, to impress a big-time producer.  They come up with the idea of the life of Johannes Gutenberg, the creator of the printing press.  When they conduct research - via Google - they discover scant information about the German inventor, which allows them to create a piece of historical fiction - emphasis on the fiction.

 

Jeremiah Michael Ginn and John Wascavage in Gutenberg! The Musical.  Photo by Meredith Longo.

 

The plot follows Gutenberg as he transforms his wine press to the haloed printing press.  Complications, of course, ensue.  Added to the mix are assorted townsfolk; Helvetica, the women who loves him; and, to add a dash of menace and intrigue, a Mad Monk.  Ginn and Davenport portray all the varied roles as they don yellow visored baseball caps, with a character’s name emblazoned on front.  The gimmick works as Director Brätt weaves in quick changes and even a chorus line of hats during one number.  In between scenes, the characters of Bud and Doug provide commentary on the show, reveal secrets of stagecraft, and disclose aspects of their personal lives. 

Jeremiah Michael Ginn in Gutenberg! The Musical.  Photo by Meredith Longo.

Scott Brown and Anthony King, who collaborated on the book, music, and lyrics bring a jocular wit and kookiness to the story.  Their score, which includes such ditties as "I Can't Read," "Biscuits," "Stop The Press," and "Monk With Me" works well within the confines of the musical itself, but you won’t be humming any of the tunes as you leave the Playhouse on Park theater.

 

Jeremiah Michael Ginn and John Wascavage are inspired schlemiels.  Their tomfoolery and antics constantly light up the stage.  The two actors are clearly enjoying themselves and play wonderfully off the audience’s reactions.  What impressed me most about their performances was how diligently they were working to make the show succeed.

John Wascavage and Jeremiah Michael Ginn in Gutenberg! The Musical.  Photo by Meredith Longo.
 

Director Brätt, working within the bare-bone set designed by Arthur Wilson and the bold lighting design by Kyle Stamm, inserts enough gags and silliness to keep the production humming smoothly.  Even with the constant barrage of shenanigans, there is a purposeful manner to the musical, which keeps it from spiraling out of control.

 

Musical Director Miles Messier, who doubles as an uninterested foil, adds a professional glint to the show.

 

Gutenberg! The Musical, a beguiling and mirthful diversion, playing at Playhouse on Park through February 8.  Click here for dates, times, and ticket information.

English - Long Wharf Theatre

The play English was presented by TheaterWorks Hartford this past fall as part of a partnership with Long Wharf Theatre.  This winter, it is now the venerable New Haven theater’s turn to present the work, which won the 2023 Pulitzer Prize for Drama.  Very little has changed in the production.  There are two new actresses (the other three are reprising their roles).  The set, a sparsely furnished classroom created by Sadra Tehrani is smaller, but similar to her design at the Hartford staging.

 

The show, by playwright Sana Toossi, takes place in an advanced TOEFL (Test of English as a Foreign Language) class.  Four students, of different ages and goals, seek to master the English language by passing the TOEFL test.  The play adeptly explores language, cultural identity, and self-worth.  Maybe because what is happening in our country and the world, these issues seemed more pronounced and resonated with me more during my second viewing of the show within such a short span of time,

 

The quartet of students, circa Iran in 2008, is under the tutelage of Marjan (Neagheen Homaifar), a demanding yet sympathetic instructor.   They are Elham (Sahar Milani), a driven individual looking to score high on the TOEFL to fulfill her dream of becoming a doctor; Goli (Aryana Asefirad), an enthusiastic 18-year-old student; Omid (Afsheen Misaghi), whose is already quite proficient in English and seeking his green card; and Roya (Nina Ameri), a grandmother who wants to become competent in English to be able to communicate with her grandchild living in Canada.

 

Through multiple blackout scenes, designating the passage of time, Ms. Toossi is able to reveal each of the characters’ difficulties as they progress through the course and, hopefully, achieve their objective – passing the TOEFL.  The playwright has cleverly created a system for communicating the characters’ thoughts in both their native tongue and English.  When they speak in an unaccented tone, this connotes their native tongue of Farsi.  Accented English implies their communication in English.  In just a short time, and without any unnecessary exposition, the audience understands the playwright’s device.

 

As the 100-minute, intermission-less show progresses, conflicts, both personal and within the classroom, arise.  The end is a satisfying mix of success and sadness.  Additionally, audiences will leave the production ruminating on the questions posed and situations presented – the mark of a dynamic and thought-provoking production.

 

Director Arya Shahi hasn’t missed a beat molding the old and new cast members into a superb ensemble.  He doesn’t clutter the play with a lot of unnecessary bustling about, but allows the words and simple acts to take center stage.  Working with Mary Ellen Stebbins’ institutional Lighting Design, the director effectively brings out the humor, honesty, and solemnity in Sanaz Toossi’s well-crafted script.

 

Each character is well-defined, bestowed with multiple layers by the playwright.  The only misstep is with the character of Omid.  His motivations for taking the course are not satisfactorily presented, even though his character does add a romantic twist to the show.

 

English, playing at the Kendall Drama Lab, a pocket-sized black box theater on the campus of Southern Connecticut State University, through February 1.  Click here for dates, times, and ticket information.

 

The Cottage - Hartford Stage

The Cottage, a play about sex, betrayal, and love, is a very funny show.  Playwright Sandy Rustin has taken the well-mannered, sophisticated play perfected by Noel Coward and turned it on its head with one delicious comedic plot twist after another.  There is also one flatulent scene that rivals the great bean-eating sequence from the film Blazing Saddles. 

 

The Cottage at Hartford Stage - Jordan Sobel, Craig Wesley Divino, Kate MacCluggage, Jetta Juriansz, and Mary Cavett. Photo by T. Charles Erickson.

The premise is simple.  The time – a beautiful day in June 1923.  Sylvia and Beau are reveling in their yearly tryst at the quaint cottage, lovingly rendered by Scenic Designer Tim MacKabee, owned by Beau’s sickly mother.  Sylvia is truly in love and takes steps to let certain individuals know about her devotion and intentions.  Unfortunately, this sets into motion a cascading number of revelations and scenarios that no one – both the characters on stage and the audience in the theater – sees coming. 

 

The Cottage at Hartford Stage: Kate MacCluggage and Jetta Juriansz. Photo by T. Charles Erickson.

Normally, I would add a touch more about the show’s plot, but the fun of The Cottage is the constant surprises sprung on unsuspecting theatergoers.  Why spoil the fun?

 

Rustin has crafted characters that have carefully calibrated idiosyncrasies and well-defined character traits.  The women, unlike the usual drawing room farces set in the 1920’s, are strong and empowered.  All of the hilarity and shenanigans are skillfully harnessed by Director Zoë Golub-Sass, who lets the comedy slowly unwind on stage.  The rhythm of the play and the pacing are critical, and Ms. Golub-Sass adeptly guides the action, the physical comedy, and silliness with flawless aplomb.  Even some of the props take center stage, such as the variety of cigarette dispensers littered about the set. 

 

The Cottage at Hartford Stage: Mary Cavett and Jordan Sobel. Photo by T. Charles Erickson.

The Cottage is a true ensemble piece. The show works so well because each actor/actress stays within their character.  The performers don’t overplay their roles or try to outshine each other.  The whole is, indeed, greater than the sum of its parts.  The acting troupe is Mary Cavett (Sylvia), Craig Wesley Divino (Clarke), Matthew J. Harris (Richard), Jetta Juriansz (Dierde), Kate MacCluggage (Majorie), and Jordan Sobel (Beau).  Even though this is a true ensemble piece, Ms. Juriansz does stand out as the daffy, naïve Dierde.

 

The Cottage at Hartford Stage: Kate MacCluggage, Craig Wesley Divino, Mary Cavett, Jetta Juriansz, and Jordan Sobel. Photo by T. Charles Erickson.

The creative team, as usual for a Hartford Stage production, contributes their unique talents to fully enhance a production.  They include Costume Design Hunter Kaczorowski, who has wonderfully fashioned garb fitting for British high society of the 1920’s.  Lighting Designer Evan C. Anderson’s picturesque lighting tableau, and Sound Designers Nathan A. Roberts and Charles Coes’ off-stage crashes, and the aforementioned gassy explosion, are central to the show’s entertainment.

 

The Cottage, playing at Hartford Stage through February 8.  Click here for dates, times, and ticket information.

 

HA HA HA HA HA HA HA - Yale Repertory Theatre

The one-woman show Ha Ha Ha Ha Ha Ha Ha (Ha⁷), is a combination of improvisational work and a new age TV talk show, like a futuristic Phil Donahue segment.  Due to the nature of the production, every performance will be different from the previous one.  The performer Julia Masli, who has staged the production around the world to great acclaim, is soft-spoken, with a hint of an Eastern European accent.  She wears a flowing blue dress and robotic headgear with a light to scan those in attendance.  Her left “arm” is a golden mannequin leg with an attached microphone, which she gently thrusts into people’s faces.

 

For most of the show, she delicately moves up and down the theater aisles, asking audience members, in almost hushed tones, “What is your problem?”  Surprisingly, not only do theatergoers respond, but in doing so, they are not concerned or afraid to reveal personal issues.  Maybe that is one of the reasons audiences have enthusiastically embraced Ha⁷ .  In today’s world of social media, where disclosing personal information is second nature, divulging problems to a performer and audience is of little concern.

 

Masli doesn’t necessarily solve the struggles individuals bring up – when someone states their problem is plantar fasciitis, she brings the person to the front of the stage and then recruits a medical person to come up and advise them.  However, as with all good improvisational performers, they have a plan and stock responses at the ready.  So, when two audience members said they had problems sleeping, she conveniently wheeled out a bed and had both lie down for the remainder of the 70-minute performance (they were in bed for about 50 minutes).  At the end of the show, there is a bit about having the audience donate a sock.  I declined.

 

As individuals continued to populate the stage – there were ten by the end of the performance – a tableau of a community working together to solve each other’s problems, and maybe the trials and tribulations of society as a whole, comes into focus.  It generated a tranquil feeling.

 

Ha⁷ can be funny.  Many people in the theater the night I attended were in a giddy mood.  My response was more muted, even though by the end of the production, I had grown to admire what Masli and director Kim Noble had conceived and implemented.  The creative team of Sound Designer and Composer Alessio Festuccia; Lighting Designers Lily Woodford and Jennifer Fok; and Costumer Designers David Curtis-Ring, Annika Thiems, and Alice Wedge, all provide an atmospheric, sometimes other-worldly presence to the production.

 

My main issue with Ha⁷ is how Masli took advantage of a person in the front row who was grieving for his mother, a former registered nurse.  She took this story, continually coming back to him and his pain throughout the show, which came across, at least to me, as somewhat exploitive.  However, did his openness give her the unstated permission to incorporate his anguish into the show?  Is Masli’s appropriation any different from the comments individuals post online?

 

Ha⁷, playing at Yale Repertory Theatre through February 7.  Click here for dates, times, and ticket information.

 

Ragtime - Broadway

In a fall season with few new musicals, the Lincoln Center revival of Ragtime is the show to see.   I have seen Ragtime produced in all-sized venues, the smallest being less than 90 seats.  While the musical can work on all types of stages, it is meant to be seen in a large-scale production like at Lincoln Center.  It is powerful, and emotionally stirring theater.  Add in the ravishing score by Lynn Ahrens and Stephen Flaherty, and outstanding performances by Joshua Henry (Coalhouse Walker) and Cassie Levy (Mother) and you have a revival not to be missed.

 

The musical, based on the E.L. Doctorow novel, and centered at the beginning of the 20th century, presents what could be referred to as the American dream from three primary viewpoints.  The dream, however, is not always fulfilled or without pain.  It has an intricate plot with an absorbing libretto by Terrence McNally that chronicles the accounts of three groups.  There is the White upper-class family living in New Rochelle, New York.  They comprise Father (Colin Donnell), Mother (Cassie Levy), Little Boy (Nick Barrington) and Mother’s Younger Brother (Ben Levi Ross).  There is the Black populace struggling with acceptance as well as racism.  The key figures are Coalhouse Walker, Jr. (Joshua Henry) and his love, Sarah (Nichelle Lewis).  Lastly, the poor immigrants arriving in America.  The key character is Tateh (Brandon Uranowitz) and his daughter, Little Girl (Tabitha Lawing).  As Ragtime progresses, the plot merges together their separate storylines into a larger, more inclusive whole.  In addition, the show incorporates well-known historical figures, such as Henry Ford, Harry Houdini, Booker T. Washington, and Emma Goldman, that are woven into the narration and action of the musical.

 

The music and lyrics by Lynne Ahrens and Stephen Flaherty is their finest score in their decades long, illustrious partnership.  The songs drive the story forward while also defining a degree of complexity to the multitude of characters in the show.  The performer’s voices are strong and resonate deeply throughout Lincoln Center.  Within the musical, there are lofty ballads (“Your Daddy’s Son,” “Wheels of a Dream), tone-setting numbers (“New Music,” “The Night That Goldman Spoke at Union Square”), and comedic compositions (“Crime of the Century,” What a Game”).

 

Director Lear DeBessonet helms Ragtime with an assured confidence, whether they are intimate moments with the production or large-scale scenes with numerous cast members.  He shows his mettle right from the start as the three groups are introduced and then intertwine and crisscross with each other in a hesitant, but forward-moving procession.  The Director guides the show with passion and a steady pace, building to both a heart-wrenching finale for one story and optimism for another.  Ragtime, is not a dance-oriented musical, but Choreographer Ellenore Scott, nonetheless, gives the production some swagger throughout the show.

 

There is not a weak performance in the production, however there are three that are worth noting.  Cassie Levy, as Mother, brings well-bred poise to the role as the repressed New Rochelle matriarch.  She adeptly transforms from a meek, obedient wife to a confident, more free-thinking woman.   Joshua Henry imbues Coalhouse Walker, Jr. with charm, thoughtfulness, and fight.  He, along with Nichelle Lewis’ Sarah, are characters we come to care for and mourn.  Brandon Uranowitz delivers an impassioned performance as Tateh, full of angst and despair, but also exhilaration and contentment. 

 

The creative team’s impact greatly contributes to the success of the musical.  David Korins’ Set Design beautifully mirrors the ironwork motifs coming into vogue during this time-period.  Adam Honoré and Donald Holder’s Lighting Design is effective in pinpointing activity on stage.  Kai Harada’s Sound Design is perfectly modulated so you can actually hear the song lyrics.  Linda Cho’s Costume Designs and Tom Watson’s Wig, Hair & Makeup aptly showcase the couture of the early 20th century.

 

Ragtime, a show to savor, playing at Lincoln Center through June 14, 2026. 

 

The 25th Annual Putnam Country Spelling Bee - Off-Bway

The 25th Annual Putnam County Spelling Bee is a sure-fire show, always delighting audiences with Rachel Sheinken’s very funny book, and William Finn’s tuneful score.  The musical is continuously staged around the country, and now a superb production has landed Off-Broadway for a limited run.

 

Spelling Bee revolves around six elementary school students, misfits and outsiders, competing in the town’s annual Bee.  Sitting on bleachers in a school auditorium they take turns spelling, at times, incredibly difficult words.  Librettist Sheinkin has created rich characters with lovable eccentricities.  The interplay between contestants and judges, as the students ask for word definitions or use in a sentence, can be absolutely hilarious.  In Act II there is an underlying theme of melancholy as we learn more about each character, but never do these reflective moments take away from the lighthearted nature of the musical.

 

Sheinkin has also added a touch of audience participation where individuals from the

audience are seamlessly added to the performance.  They interact with the cast members, dance and are called upon to spell words, often with uproarious results.  Eventually, the “guests” are weeded out and the actors get down to business.  For the production at New World Stages, a celebrity guest has been added to the shenanigans.  At my performance, Michael Urie was called on stage, and treated like all the other “guests.”

 

The charming, perfectly cast group of performers, defines an ensemble effort.  They thoroughly blend together where the sum of the parts create a greater whole.  While all the performers are marvelous, three deserve special attention.  Kevin McHale, best known as Artie on the TV program, Glee, is terrific as William Barfee, a nebbish, self-absorbed student with a magic foot to help him spell.  Justin Cooley, who made a splash a few seasons back in Kimberly Akimbo, is excellent as the ingratiating, slightly askew Leif Coneybear.  Jasmine Amy Rogers is impressive as the reserved, mild-mannered Olive Ostrovsky.   Rogers, who was outstanding as Betty Boop in last year’s Boop – the Musical, is almost unrecognizable in her role.   The other “student” performers, all endearing with well-defined quirks and back stories are Philippe Arroyo as Chip Tolentino, Autumn Best as Logainne Schwartzandgrubenierre, and Leana Rae Concepcion as Marcy Park.  The “adult” characters also give notable performances - Lilli Cooper as the perky emcee and former Bee winner, Rona Lisa Peretti; Jason Kravits as the slightly agitated Vice Principal Douglas Panch; and Matt Manuel, who gives an energetic, athletic twist to comfort coach Mitch Mahoney.

 

William Finn’s score is tuneful, poignant, and full of humor.  While there are a few group numbers, most notably the entertaining “Pandemonium,” the majority of the songs both fully encapsulate each character’s unique background.

 

The strength of Danny Mefford’s direction and choreography is how effortless it unfolds on the small stage.  Every actor, whether alone or in the full cast production numbers, hits their mark with precision.  He seems to have given cast members leeway in improvising, but never to the detriment of his finely laid out agenda.  He also perfectly blends in the “guest” performers without losing a beat.  While the action on stage can sometimes convey bedlam or tumult, Mefford’s guidance is well-controlled commotion.

 

The 25th Annual Putnam County Spelling Bee, a winning production for audiences of all ages, playing through April 12, 2026 at New World Stages, conveniently located in the theater district.

 

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.