tag:blogger.com,1999:blog-22173729890189446972024-03-17T23:02:45.597-04:00Stu on BroadwayStuart Brown is the founder of the 24/7 online Broadway music radio station, Sounds of Broadway (http://www.SoundsofBroadway.com), which plays the best from the Off-Broadway, Broadway, and London stage. Thousands of songs from hundreds of cast albums are in rotation. He reviews NYC theater as a member of the Outer Critics Circle and reviews CT stage productions as a member of the CT Critics Circle. He is also a member of the Dramatist Guild.Unknownnoreply@blogger.comBlogger641125tag:blogger.com,1999:blog-2217372989018944697.post-82812117248289826532024-03-17T20:48:00.000-04:002024-03-17T20:48:13.892-04:00Escaped Alone - Yale Repertory Theatre<p>
</p><p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span>In the past 25 years there
have been a number of potentially catastrophic events for the planet (and I’m
not even counting climate change).<span> </span>Remember
as the clocks slowly ticked to the year 2000?<span>
</span>Y2K and its possible disastrous ramifications gripped the world.<span> </span>The COVID crises produced devastating effects
across the globe.<span> </span>Today?<span> </span>Wars in Gaza.<span>
</span>The Ukraine.<span> </span>Hot spots in North
Korea.<span> </span>The China Sea.<span> </span>The Red Sea.<span>
</span>Yet, through the chaos, there is normalcy.<span> </span>People still went or go about their everyday
routines.<span> </span>It is this juxtaposition which
is at the heart of the Caryl Churchill one-act play, <i>Escaped Alone, </i>playing at the Yale Repertory Theatre through March 30.</span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwIvrVdhJXSFZGV9seOOlk4xy2-6zQa32GvWKfhZibg_OFgEGIk6O4QOx_FT2X277AoJ5Pe3_1eNwnO77h3r3gcq_uC0hHmA7E7ud9504PN1PVVuZyZSd7aQ8vsv4pNwWgUY8AGlOVHNa1JBBmN8J_FupPq5G9WAwfeinomZcXMP7Atk8mZwfGJ3cu_EGw/s2560/EscapedAlone0110r-scaled.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1707" data-original-width="2560" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwIvrVdhJXSFZGV9seOOlk4xy2-6zQa32GvWKfhZibg_OFgEGIk6O4QOx_FT2X277AoJ5Pe3_1eNwnO77h3r3gcq_uC0hHmA7E7ud9504PN1PVVuZyZSd7aQ8vsv4pNwWgUY8AGlOVHNa1JBBmN8J_FupPq5G9WAwfeinomZcXMP7Atk8mZwfGJ3cu_EGw/w640-h426/EscapedAlone0110r-scaled.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">
<p class="MsoNormal"><span style="font-size: small;"><span>Mary Lou Rosato, Sandra
Shipley, Rita Wolf, and LaTonya Borsay in <i>Escaped Alone</i>. </span></span></p><p class="MsoNormal"><span style="font-size: small;"><span>Photo © Joan Marcus.</span></span></p>
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<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span>Churchill, whose career spans
over 50 years, is one of the United Kingdom’s most celebrated playwrights.<span> </span>Her works push the boundaries of theater and
require audiences to sit up and pay close attention.<span> </span>By the end of a production, you may be
scratching your head, trying to figure out what just occurred on stage.<span> </span>The play may engage you…or not.<span> </span>Whatever the reaction, a play by Ms.
Churchill will provide ample opportunities for discourse and opinions. </span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span> </span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span>In <i>Escaped Alone, </i>we are introduced to three middle aged friends – Vi (Mary
Lou Rosato), Sally (Sandra Shipley) and Lena (Rita Wolf) – sitting in a small, lovely
garden, handsomely designed by set designer Lia Tubiana.<span> </span>A Mrs. Jarrett (LaTonya Borsay), who is
passing by, asks if she could join the trio and, after receiving consent, joins
the group.<span> </span>Their chit chat veers in many
directions, mostly the mundane and ordinary.<span>
</span>The banter is fast-paced, almost staccato in its delivery revealing,
little by little, each woman’s personalities, their pasts, and fears.<span> </span>Suddenly, without warning, the stage darkens
and two mounted columns of bright lights framing the stage (designed with an overpowering
radiance by Stephen Strawbridge), shine intensely into the audience accompanied
by a blaring horn.<span> </span>When the momentary brilliance
subsides, Mrs. Jarrett stands near the edge of the stage before an ominous projection
of bleakness and despair.<span> </span>There, shrouded
in semi-darkness, she delivers a stream of consciousness diatribe about an apocalyptic
fate.<span> </span>Minutes later, blackness again,
and then the four women are back in the serenity of the garden trading stories
and banalities.<span> </span>The process repeats – harrowing
looks at a dystopian future from Mrs. Jarret, supplemented with designer Shawn
Lovell-Boyle’s weirdly pulsating projections.<span>
</span>Then, just as quickly as the afternoon gathering had begun, it's
over.<span> </span>Mrs. Jarrett stands, bids adieu,
and the stage goes to black.</span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs-XDhBiXH9AUrrt85JX2CtCo-9OLPQaymTSUVAwlRqwxB0XT1O1s3Qnt4rzwFzcAjJf5UnX_1SuFILgpNI0KhZwD3aCspKlXv432ZKBc-Dmpt9i_sKoUNuVlNh9xs7vKwlek9guzfewRgwH_9c7NnwILUfecLnjRyhPtg-vaSddYPVupMJY06n3DinLxI/s2560/EscapedAlone0079r2-scaled.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1706" data-original-width="2560" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs-XDhBiXH9AUrrt85JX2CtCo-9OLPQaymTSUVAwlRqwxB0XT1O1s3Qnt4rzwFzcAjJf5UnX_1SuFILgpNI0KhZwD3aCspKlXv432ZKBc-Dmpt9i_sKoUNuVlNh9xs7vKwlek9guzfewRgwH_9c7NnwILUfecLnjRyhPtg-vaSddYPVupMJY06n3DinLxI/w640-h426/EscapedAlone0079r2-scaled.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: georgia; font-size: large;"><span><p class="MsoNormal"><span style="font-size: small;"><span>LaTonya Borsay in <i>Escaped Alone</i>. Photo © Joan Marcus.</span></span></p></span></span></td></tr></tbody></table><br /></span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span>If the aforementioned
description sounds strange, even a bit unsettling, then you have come under the
spell of a Caryl Churchill production.<span>
</span>The playwright is known to eschew linear structure, looking more to
instill ideas in her works for audience members to ponder.<span> </span>For <i>Escaped
Alone, </i>the show could possibly be about how we go through our regular,
maybe uninteresting lives even when the threat of catastrophe is just moments
away.<span> </span>Or, as the world hurtles towards
the abyss, there is still serenity, but a sinister ambiance within our
lives.<span> </span></span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyk0mV6j_7bBLfreb9J48s3SHar5OuIXs6dcVtQ38bcD1bxNzOPxm-NGJtULjLCPqglDcEPHVbfxPnzZqOS1Yc5V3tiZ8zib4ZypyECFdjuEg5pS-xYvo0THdhjT85nZ96blQW6c9d5Xef8xutf80tu6Zsd_b_3TyY6gaAiqp-C_mwPg1srkRxvbnIEHwZ/s2560/EscapedAlone0054r2-scaled.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1707" data-original-width="2560" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyk0mV6j_7bBLfreb9J48s3SHar5OuIXs6dcVtQ38bcD1bxNzOPxm-NGJtULjLCPqglDcEPHVbfxPnzZqOS1Yc5V3tiZ8zib4ZypyECFdjuEg5pS-xYvo0THdhjT85nZ96blQW6c9d5Xef8xutf80tu6Zsd_b_3TyY6gaAiqp-C_mwPg1srkRxvbnIEHwZ/w640-h426/EscapedAlone0054r2-scaled.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: georgia; font-size: large;"><span><p class="MsoNormal"><span style="font-size: small;"><span>Mary Lou Rosato, Sandra
Shipley, Rita Wolf, and LaTonya Borsay in <i>Escaped Alone</i>. </span></span></p><p class="MsoNormal"><span style="font-size: small;"><span>Photo © Joan Marcus.</span></span></p></span></span></td></tr></tbody></table><br /></span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span>Director Liz Diamond focuses
on the interactions of the four superb actresses, plotting their repartee to a
finely tuned pitch. <span> </span>They work together as
an outstanding ensemble.<span> </span>Ms. Churchill has
conjured up scenarios that never lack for creativity or inventiveness.<span> </span>In this light, she has fashioned a short
monologue for each role that reveal an uncomfortable, darker back story for
each character.<span> </span>My favorite – Sally’s
horrific fear of cats.<span> </span>The result is Ms.
Diamond has taken the humor in the play, along with its, surreal nature, and
crafted an entertaining, if rather off-center piece of theater.</span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span> </span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><i><span>Escaped Alone, </span></i><span>a
short 50-minute production, playing at the Yale Repertory Theatre through March
30.<span> </span><a href="https://yalerep.org/productions/escaped-alone/">Click here</a> for dates, times, and
ticket information.</span></span></p>
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{page:WordSection1;}</font></style> <span style="font-size: large;"><br /></span></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2217372989018944697.post-5326636239639862742024-03-15T20:52:00.001-04:002024-03-15T20:57:19.090-04:00The Hot Wing King - Hartford Stage<p><span style="font-family: georgia; font-size: large;"><span>Once <i>The Hot Wing King, </i>receiving a winning production at Hartford Stage,
gets cooking midway through Act I, the show becomes a compelling and thought-provoking
piece of entertainment.<span> </span>The play focuses
on the relationship of four gay Black men, their friendship, loves and the
added weight of family obligations.</span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span> </span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI45VB-HZCW0fPZoN72RRy_xWfua9yw7VrCRokhQ-7BISgBRBmB0EaSkxuSLUgacbTE3C0Qfrcho652h_JWXCaegUJnoVqCya7E2Joz05DHCZEO-KGITlAXkmHDs0o4Y7ri_0WloxTKCFEc0MjdINhsY4v9Crur4uLzmkyRRfwrA8ypmegDRuHkrpBjdAZ/s1024/wing4.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="887" data-original-width="1024" height="554" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI45VB-HZCW0fPZoN72RRy_xWfua9yw7VrCRokhQ-7BISgBRBmB0EaSkxuSLUgacbTE3C0Qfrcho652h_JWXCaegUJnoVqCya7E2Joz05DHCZEO-KGITlAXkmHDs0o4Y7ri_0WloxTKCFEc0MjdINhsY4v9Crur4uLzmkyRRfwrA8ypmegDRuHkrpBjdAZ/w640-h554/wing4.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">The cast of <i>The Hot Wing King</i>. P<span style="color: black;">hotos by T. Charles Erickson</span></span></td></tr></tbody></table><span style="font-family: georgia; font-size: large;"><span><br /></span></span><p></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span>The comedy/drama, running
through March 24, takes place in the kitchen of Cordell (Bjorn DuPaty), who is busily
prepping for the annual hot wing bake-off in Memphis.<span> </span>Assisting are his friends, Isom (Israel Erron
Ford), Big Charles (Postell Pringle), and his boyfriend Dwayne (Calvin M.
Thompson).<span> </span>They laugh, sing, and banter,
all the time following Cordell’s strict preparation instructions.<span> </span>Enter into the controlled chaos are Dwayne’s
nephew Everett (Marchus Gladney, Jr.) and his sketchy father T.J. (Alphonso
Walker, Jr.).<span> </span>Their involvement with the
other four men prove enlightening and add a significant dimension to the bonding
and complexities within the household.</span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span> </span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span>Playwright Katori Hall has
graphed a number of potent themes into her Pulitzer Prize winning work.<span> </span>Her depiction of the love and kinship of gay Black
characters is honest and, as Director Christopher D. Betts states, “is not stereotypical
or conflict-averse.”<span> </span>Ms. Hall superbly intertwines
these questions and attitudes of relationships with issues of family, duty, and
survival.<span> </span><i>The Hot Wing King </i>does take its time finding its rhythm and creating
the foundation for which the remainder of the show is based.<span> </span>While the initial antics and jesting is
entertaining, it could have been tightened up to move more directly into the
heart of the play.</span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi33Rw6PD1ktuyUMNl2f4YO1DIx-fQfUVDBOhfjUNn7YieLzEnPYmt0m0sfVmhhguvWNeFUhlNnpEo2McopdfOgrKXgfY0na8NAFA0wh4C_y2T3QRovVvNgLef4sNylHDFnlgcJbXMTF5bcz7pQu6RfLaPIh2Xtio8PhuztsNdERfrouP0WEkr1NSyKA_hI/s1024/wing5.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1024" data-original-width="764" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi33Rw6PD1ktuyUMNl2f4YO1DIx-fQfUVDBOhfjUNn7YieLzEnPYmt0m0sfVmhhguvWNeFUhlNnpEo2McopdfOgrKXgfY0na8NAFA0wh4C_y2T3QRovVvNgLef4sNylHDFnlgcJbXMTF5bcz7pQu6RfLaPIh2Xtio8PhuztsNdERfrouP0WEkr1NSyKA_hI/w478-h640/wing5.jpg" width="478" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Cast members of <i>The Hot Wing King</i>. P<span style="color: black;">hotos by T. Charles Erickson</span></span></td></tr></tbody></table><span style="font-family: georgia; font-size: large;"><span><br /> </span></span><p></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span>Director Betts has crafted a diverse
set of individualized mannerisms and idiosyncrasies for each character. <span> </span>He finely guides the men’s constantly ebbing affinities
with integrity and tenderness.<span> </span>Betts also
seamlessly transitions the show from the vitality and playfulness of Act I to
the more serious mood of Act 2.<span> </span>He fully
utilizes Emmie Finckel’s two-tier set of a kitchen/living room space, with a
bedroom atop, to effectively expand the performance space.<span> </span>One point – it would have been helpful if,
primarily during the portions of Act I, to have the characters speak slower
during group scenes.<span> </span>Sometimes the actor’s
enthusiasm made it hard to follow the threads of dialogue.</span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span> </span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip_kV4KgxNHl6QX9-SHktf6KChIc0ZqPivxdkuqeduL4jVkhPO9UjIXmKmTabXYRcnt61pXf9XZcUDiWTuROB3BEmkYY3oC4yCjvQFjXZEariIPmdhlszn7pqphYcAEbI76d0Rqlx97frD6XZmOPYiVqT1Fn1OTxY1IAPxh707l2mpzcB0_n0mNEEAGTXD/s1024/wing6.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="732" data-original-width="1024" height="458" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip_kV4KgxNHl6QX9-SHktf6KChIc0ZqPivxdkuqeduL4jVkhPO9UjIXmKmTabXYRcnt61pXf9XZcUDiWTuROB3BEmkYY3oC4yCjvQFjXZEariIPmdhlszn7pqphYcAEbI76d0Rqlx97frD6XZmOPYiVqT1Fn1OTxY1IAPxh707l2mpzcB0_n0mNEEAGTXD/w640-h458/wing6.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Bjorn DuPaty and Alphonso Walker Jr. in <i>The Hot Wing King</i>. P<span style="color: black;">hotos by T. Charles Erickson</span></span></td></tr></tbody></table><span style="font-family: georgia; font-size: large;"><span><br /></span></span><p></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span>The splendid cast is a finely
grouped ensemble that functions well together and within their individual
characters.<span> </span>Their portrayals are
complex, bringing a layer of richness to their roles.<span> </span>Bjorn DuPaty (Cordell ) and Calvin M.
Thompson (Dwayne) both provide rewarding, multifaceted portrayals of men caught
between many demands and aspirations, needs and responsibilities. <span> </span>The actors Alphonso Walker Jr. (T.J.) and Marcus
Gladney, Jr., (E.J.), who play father and son, initially come across as one-dimensional,
almost stereotypical inner city figures.<span>
</span>However, as the show progresses towards its highly satisfying
conclusion, the two performers have instilled their characters with depth and nuance.<span> </span>Israel Erron Ford is a hoot as the flamboyant
Isom.<span> </span>He infuses the play with a good
deal of comic relief.<span> </span>Postell Pringle’s
Big Charles is the ying to Isom’s yang.<span>
</span>Quieter and more introspective, he imbues his portrayal with a measured
weariness.</span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span> </span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><i><span>The Hot Wing King, </span></i><span>playing at Hartford Stage through March 24.<span> </span><a href="https://www.hartfordstage.org/the-hot-wing-king">Click here</a> for dates, times and ticket
information.</span></span></p>
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{page:WordSection1;}</font></style></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2217372989018944697.post-39219738004240830822024-03-12T16:42:00.002-04:002024-03-12T16:42:43.318-04:00Grumpy Old Men - the Musical - Seven Angels Theatre<p><span style="font-family: georgia; font-size: large;">The Connecticut premiere of the musical, <em>Grumpy Old Men, </em>playing
at the Seven Angels Theatre in Waterbury, CT through March 23, has a
few features to recommend, namely some of the featured characters.
Unfortunately, the chemistry and interactions between the two warring
protagonists – Max Goldman (Rob Bartlett) and John Gustafson (Gary
Harger) – which is the center of the show, is lacking punch and gusto.
</span></p>
<div><span style="font-family: georgia; font-size: large;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuhGB8BZS__kHXe3gPIjD2x2vyL1WKj8vtW_pMbTD8KZ1ZsWFXdmD8HDr9hfIWzoO75elCfj8xb0HMRRP0BhZGVhvX_o6DG_I3CbFOaAw4jXV2_-Gfh5iLKWCJHyUfemNSZsZ3rV2FPQXS2CgquulAvnl3qGjOVvIRyUmMNPW11htPPi1OEF3X8YedfCpe/s5472/ra1.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3648" data-original-width="5472" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuhGB8BZS__kHXe3gPIjD2x2vyL1WKj8vtW_pMbTD8KZ1ZsWFXdmD8HDr9hfIWzoO75elCfj8xb0HMRRP0BhZGVhvX_o6DG_I3CbFOaAw4jXV2_-Gfh5iLKWCJHyUfemNSZsZ3rV2FPQXS2CgquulAvnl3qGjOVvIRyUmMNPW11htPPi1OEF3X8YedfCpe/w640-h426/ra1.JPG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Rob Bartlett, John De Laurentis & Gary Harger from Grumpy Old Men - the Musical.</i><br /></td></tr></tbody></table><br />
Based on the 1993 film of the same name that starred Jack Lemmon and
Walter Matthau, the musical focuses on the feud between the two elderly
gentlemen, which consists mainly of not-so-funny insults and retorts.
When the beautiful, effervescent English Professor, Ariel (Susan Kulp)
moves into their quaint Minnesota town of Wabasha, both Max and John
look to woo her. At the same time, there’s a subplot concerning the
potential love interest between the two adult children of the grumpy old
men. You also have an IRS agent scurrying about looking to collect on
John’s back taxes. Within all the shenanigans, silly banter, and
occasionally funny wisecracks there is a sprinkling of irreverent
characters within the denizens of Wabasha. By the show’s conclusion,
all the loose ends and disputes are neatly resolved for multiple happy
outcomes.
</span></div>
<div><span style="font-family: georgia; font-size: large;">
</span></div>
<div><span style="font-family: georgia; font-size: large;">
The libretto by Dan Remmes follows the movie closely, but instead of
clever dialogue or witty bon mots, the book sets its sights on
undemanding, irreverent jokes.
</span></div>
<div><span style="font-family: georgia; font-size: large;">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRY3m2J93q7laZKDPDosnqABKPygb_X8PnxAFVdvYZrr_6wxJ7sVPKuT-H0Xs_8JGGBcF9aV6sxjEtF0MAYZPpnOHpTTXuK9iRGSjuxcwG1Jngl7tCHQfz7vqhpQm1Xs2V_awAnrPIzUt3jYkb7-jsb7ZyF8ZB6CX_-a-_l79HzH_ug7sKqjnAK9yCmJ4y/s5472/gom3.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="5472" data-original-width="3648" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRY3m2J93q7laZKDPDosnqABKPygb_X8PnxAFVdvYZrr_6wxJ7sVPKuT-H0Xs_8JGGBcF9aV6sxjEtF0MAYZPpnOHpTTXuK9iRGSjuxcwG1Jngl7tCHQfz7vqhpQm1Xs2V_awAnrPIzUt3jYkb7-jsb7ZyF8ZB6CX_-a-_l79HzH_ug7sKqjnAK9yCmJ4y/w426-h640/gom3.JPG" width="426" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Members of the cast of <i>Grumpy Old Men - the Musical.</i><br /></td></tr></tbody></table><br />
</span></div>
<div><span style="font-family: georgia; font-size: large;">
The score has music by Neil Berg, who brought a compelling musicality to the show <em>12 </em>(seen earlier this year at the Goodspeed Opera House), but for <em>Grumpy Old Men </em>he, along with lyricist Nick Meglin, deliver nondescript songs that are occasionally entertaining.
</span></div>
<div><span style="font-family: georgia; font-size: large;">
</span></div>
<div><span style="font-family: georgia; font-size: large;">
Directors Janine Molinari and Semina De Laurentis need to speed up
the pacing of the show in order for the nonstop jokes to hit their
mark. The tempo of scenes, as well as scene changes, also need to be
quickened to build a fluid and satisfactory momentum to the production.
Ms. Molinari, who also doubles as choreographer, inserts a few simple,
uncomplicated production numbers throughout the show.
</span></div>
<div><span style="font-family: georgia; font-size: large;">
</span></div>
<div><span style="font-family: georgia; font-size: large;">
Rob Bartlett’s Max Goldman is comically contentious and
quarrelsome. Gary Harger’s John Gustafson is equally argumentative and
amusing. The problem is their interactions seem forced and
self-conscious. Susan Kulp brings a freshness and vitality to the role
of Ariel. When she's onstage, the musical sparkles. Conversely, Emma
Czaplinksi (Melanie) and Josh Powell (Jacob), who play the grown-up
children of Max and John are engagingly awkward, with an easy rapport
and chemistry. Semina De Laurentis conjures her inner Rose Nylund
(Betty White’s character from <em>The Golden Girls</em>) in her droll portrayal of Punky.
</span></div>
<div><span style="font-family: georgia; font-size: large;">
</span></div>
<div>
<span style="font-family: georgia; font-size: large;"><em>Grumpy Old Men – the Musical, </em>playing at the Seven Angels Theatre through March 23. Click here for dates, times, and ticket information.
</span></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2217372989018944697.post-29229319749614904502024-03-10T22:34:00.000-04:002024-03-10T22:34:00.851-04:00A Sign of the Times - Off-Broadway<p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;"><span>The key to a successful
jukebox musical is the songbook of the production.<span> </span>For the new Off-Broadway show, the
lightweight, easygoing <i>A</i> <i>Sign of the Times, </i>the musical numbers
are its strength.<span> </span>The over two dozen
songs include such timeless classics as “I Only Want to be With You,” “Color My
World,” “These Boots are Made for Walking,” “Last Train to Clarksville,” “Society’s
Child,” and “Don’t Sleep on the Subway.”<span>
</span>They are presented by a cast of engaging and appealing performers under
the sure-handed direction of Gabriel Barre, who has helmed the musical since
its premiere at the Goodspeed Opera House in 2016.<span> </span><span> </span>JoAnn
M. Hunter adds a continuous flourish of well-choreographed dance routines that
are energized and appropriate for the early 1960’s.<span> </span>Many of the production numbers are
silhouetted in front of Brad Peterson’s hip projections.</span></span></span></p><span style="font-family: georgia;"><span style="font-size: large;">
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;"><span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDA70DV5HrzdzNJ2lW-PbBQxWujWqMfhN7uE1twPclDj2Q0Rw1NtRIiFJrAxFaX02WqIkrYFodWgZyd7IO71pjoPutzvRUGfwSv2jjcr8ce50iZC6tGNQ9RwpRJMi64YZFa2qC8NUdyMix4jwamLCuFwSst2UDbxV5E6GlpHevSsQ-PgC3DWhyXpNvoV9N/s275/sign.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="183" data-original-width="275" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDA70DV5HrzdzNJ2lW-PbBQxWujWqMfhN7uE1twPclDj2Q0Rw1NtRIiFJrAxFaX02WqIkrYFodWgZyd7IO71pjoPutzvRUGfwSv2jjcr8ce50iZC6tGNQ9RwpRJMi64YZFa2qC8NUdyMix4jwamLCuFwSst2UDbxV5E6GlpHevSsQ-PgC3DWhyXpNvoV9N/w640-h426/sign.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;"><span style="font-family: georgia;"><span>Crystal
Lucas-Perry and </span></span><span style="font-family: georgia;"><span>Chilina Kennedy in <i>Sign of the Times.</i></span></span><span style="font-family: georgia;"><span></span></span></span></td></tr></tbody></table><br /></span></span></span></p><span style="font-family: georgia;"><span style="font-size: large;">
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;"><span>The book by Lindsey Hope
Pearlman, from a story by Richard J. Robin, is playful and lively.<span> </span>Still, the librettist manages to effectively insert
such serious issues as the conflict in Southeast Asia and sexism women face in
the workforce.</span></span></span></p><span style="font-family: georgia;"><span style="font-size: large;">
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;"><span> </span></span></span></p><span style="font-family: georgia;"><span style="font-size: large;">
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;"><span>The show begins in 1964 as
Cindy (Chilina Kennedy) decides there is more to her life than her humble
Midwest milieu.<span> </span>Leaving her longtime
boyfriend, Matt (Justin Matthew Sargent), behind she takes a bus to New York City
to purse her dream of becoming a full-time photographer.<span> </span>Along the way, she meets Cody (Akron Lanier
Watson), an African-American activist who is looking to change the world at the
dawn of the Civil Rights Movement.<span> </span>After
looking all over the city for a place to live, she moves in with Tanya (Crystal
Lucas-Perry), an aspiring African-American singer.<span> </span>In quick succession, Cody and Tanya hook
up.<span> </span>Cindy begins work at an ad agency
run by a new beau, Brian (Ryan Silverman), and even hangs out with an Andy
Warhol type “in” crowd.<span> </span>Her career aspirations
– and romance - are dashed in the male dominated, sexist work world.<span> </span>Matt is sent off to Vietnam and her world
seems to be crumbling.<span> </span>But, never fear,
in the world of <i>A Sign of the Times, </i>everything
works its way out so there is fulfillment and a happy ending for all.</span></span></span></p><span style="font-family: georgia;"><span style="font-size: large;">
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;"><span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj17tNfCbSVqWEjGOfVrXOLOzCsFi7Du1j6-cOaCpa9hCVl0tuwNRL_j0tHH4prgrlOrekzprAFSlRdkCW3R0CAAUjonuLyzOtjOivckE4IBgA9gx3tFD19bojRb5Hm7meC_yl-GyBERNME96o4KXeEmXeKveMCZL2kr0LByT4wGVSn9aB20t7xdrGyif5/s275/sign2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="183" data-original-width="275" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj17tNfCbSVqWEjGOfVrXOLOzCsFi7Du1j6-cOaCpa9hCVl0tuwNRL_j0tHH4prgrlOrekzprAFSlRdkCW3R0CAAUjonuLyzOtjOivckE4IBgA9gx3tFD19bojRb5Hm7meC_yl-GyBERNME96o4KXeEmXeKveMCZL2kr0LByT4wGVSn9aB20t7xdrGyif5/w640-h426/sign2.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;">The cast of <i>A Sign of the Times</i>.</span><br /></td></tr></tbody></table><br /></span></span></span></p><span style="font-family: georgia;"><span style="font-size: large;">
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;"><span>The five primary cast members,
dressed in Johanna Pan’s colorful and stylish 60’s garb, work well as an
ensemble and in their individual portrayals.<span>
</span>Chilina Kennedy finely develops her character of Cindy, moving from
deer-in-the-headlights naivete to a more assured and confident woman.<span> </span>Crystal Lucas-Perry, imbues her role of Tanya
with an assertive self-reliance that matches up effectively with her roommate
Cindy.<span> </span>Ms. Lucas-Perry also has a dynamite
singing voice.<span> </span>Akron Lanier Watson gives
Cody an earnest and committed demeanor, providing a measure of gravitas to the
production.<span> </span>Ryan Silverman, showing a
Mad Men deportment, provides Brian with a fun-loving bearing, that hides a
calculating, Machiavellian manner.<span> </span>Justin
Matthew Sargent, at first, comes across as a stereotypical smalltown bumpkin
but, somewhat surprisingly, develops Matt into a more fully developed character
by the show’s conclusion.</span></span></span></p><span style="font-family: georgia;"><span style="font-size: large;">
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;"><span> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqQxz0gadvMeY2Gh5diOpU6lfDR6kSO0kPqiZ2qbNtGSVUAzbkIRSsEhG_kHOD-Fs3jV8z6e3EPV1hyphenhyphenNhPJThzD5GfcUmiU08IK1m8yLYhHuhP5coswUSLh5IpeekuobhGPWQDH6sL8mf7BiZ7ROI-0ZNJfuV-NouGymDEJsZEb-_z_NfoS2tL4aD8uXSF/s318/sign3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="159" data-original-width="318" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqQxz0gadvMeY2Gh5diOpU6lfDR6kSO0kPqiZ2qbNtGSVUAzbkIRSsEhG_kHOD-Fs3jV8z6e3EPV1hyphenhyphenNhPJThzD5GfcUmiU08IK1m8yLYhHuhP5coswUSLh5IpeekuobhGPWQDH6sL8mf7BiZ7ROI-0ZNJfuV-NouGymDEJsZEb-_z_NfoS2tL4aD8uXSF/w640-h320/sign3.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;"><span style="font-family: georgia;"><span>The cast of <i>A Sign of the Times</i>.</span></span></span></td></tr></tbody></table><br /></span></span></span></p><span style="font-family: georgia;"><span style="font-size: large;">
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;"><i><span>A Sign of the Times, </span></i><span>a fun, diverting piece of entertainment.<span> </span><a href="https://asignofthetimes.com/?utm_source=google&utm_medium=cpc&gad_source=1&gclid=CjwKCAiA0bWvBhBjEiwAtEsoW4a-lZS_TO2pT5TuNc3j-tcPYmdYkryDV6jrvwvP7yu6VyiTOh8hKxoCaNEQAvD_BwE">Click here</a> for ticket information.</span></span></span></p><span style="font-family: georgia;"><span style="font-size: large;">
</span></span><p><style><span style="font-family: georgia;"><font size="5">@font-face
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{page:WordSection1;}</font></span></style></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2217372989018944697.post-88775451031597833092024-03-10T22:22:00.000-04:002024-03-10T22:22:16.914-04:00Days of Wine and Roses - Broadway<p>
</p><p class="MsoNormal"><span style="font-size: large;"><span style="font-family: georgia;"><i><span>Days of Wine and Roses </span></i><span>is one of the best musicals to appear on Broadway the
last few seasons.<span> </span>The show is a powerful
production that is not always easy to watch as a couple spirals through alcohol
addiction.<span> </span>The musical is anchored by
the virtuoso performances of Kelli O’Hara and Brian D’Arcy James, who both are
almost constantly on stage during the 100 minute, intermission-less production.<span> </span>It is an event when either of these consummate
actors appear on a Broadway stage.<span>
</span>Having both of them perform together is an absolute thrill.</span></span></span></p><span style="font-size: large;"><span style="font-family: georgia;">
</span></span><p class="MsoNormal"><span style="font-size: large;"><span style="font-family: georgia;"><span> </span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBw50VKhFosqNeqlTL3aZoaskUUXlVqM7T9C2OdJbXy6OY19LTSaD-gqLN_bk5svc0vSdG5oDoqemWtmkz4XWmsCKvpD5BpK6z0ZkY-fvKig4VlLbn_-q4rgccUozxAzswCpKrbLM8U2XEd_N8y48g2KrmvSoCe-Tmlt8_1r8dTJdRfLrZpvi5QbeQGJLg/s279/days.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="181" data-original-width="279" height="415" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBw50VKhFosqNeqlTL3aZoaskUUXlVqM7T9C2OdJbXy6OY19LTSaD-gqLN_bk5svc0vSdG5oDoqemWtmkz4XWmsCKvpD5BpK6z0ZkY-fvKig4VlLbn_-q4rgccUozxAzswCpKrbLM8U2XEd_N8y48g2KrmvSoCe-Tmlt8_1r8dTJdRfLrZpvi5QbeQGJLg/w640-h415/days.jpg" width="640" /></a></span></div><span style="font-size: large;"><br /></span><p></p><span style="font-size: large;"><span style="font-family: georgia;">
</span></span><p class="MsoNormal"><span style="font-size: large;"><span style="font-family: georgia;"><span>Director Michael Grief
reveals a deft hand in guiding the production.<span>
</span>He carefully paces the show, building from the gaiety, feelgood moments
of two adults indulging in drink to the raw, emotional effects of the disease
and its impact on loved ones.<span> </span>Working
with librettist Craig Lucas’ no-holds book, the Director pulls no punches as he
traces the ups and downs of the main characters.<span> </span>Lizzie Clachan’s Scenic Design is superb as
it varies from the opulent lifestyle of a couple on the high to the dreary
comeuppance of a family on the skids.<span>
</span>Her greenhouse set is beautifully rendered until an inebriated D’Arcy
James takes hold of it.</span></span></span></p><span style="font-size: large;"><span style="font-family: georgia;">
</span></span><p class="MsoNormal"><span style="font-size: large;"><span style="font-family: georgia;"><span> </span></span></span></p><span style="font-size: large;"><span style="font-family: georgia;">
</span></span><p class="MsoNormal"><span style="font-size: large;"><span style="font-family: georgia;"><span>The plot, as with the movie
of the same name, focuses on Joe Clay (Brian D’Arcy James), a good-natured public
relations man.<span> </span>Already an accomplished
drinker, he meets Kirsten Arnesen (Kelli O’Hara), an Executive Assistant to the
head of the company they both work at.<span> </span>A
teetotaler, she is introduced to drinking by Clay at a casual
get-together.<span> </span>Soon, they become
inseparable from each other and the bottle.<span>
</span>As their lives progress through marriage and a child, their boozing
becomes more prevalent.<span> </span>Personal and family
crises ensue.<span> </span>There is recover and
relapse.<span> </span>In the end, there is somewhat
of a resolution, but the hoped for (at least by this critic) happy ending is
fleeting.</span></span></span></p><span style="font-size: large;"><span style="font-family: georgia;">
</span></span><p class="MsoNormal"><span style="font-size: large;"><span style="font-family: georgia;"><span> </span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFatxkmMVDrcbNlN1SofIuq59tNCtSYRe3iJsdaJCNJZoRO9oH-ro-fZU19QC31LK6fYLZvJG-LxvBzN6ATMxFu3aMn49QLQFzxzHnm3gXX54B4vDAwSqppf_F_HO1Zge07rJZV3QpLxVOZuLVn6_f84wKy1GqyPEzqwuhfiBMg2B_5wGSRAngIzOWikvI/s299/days3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="168" data-original-width="299" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFatxkmMVDrcbNlN1SofIuq59tNCtSYRe3iJsdaJCNJZoRO9oH-ro-fZU19QC31LK6fYLZvJG-LxvBzN6ATMxFu3aMn49QLQFzxzHnm3gXX54B4vDAwSqppf_F_HO1Zge07rJZV3QpLxVOZuLVn6_f84wKy1GqyPEzqwuhfiBMg2B_5wGSRAngIzOWikvI/w640-h360/days3.jpg" width="640" /></a></span></div><span style="font-size: large;"><br /></span><p></p><span style="font-size: large;"><span style="font-family: georgia;">
</span></span><p class="MsoNormal"><span style="font-size: large;"><span style="font-family: georgia;"><span>Bookwriter Craig Lucas has
crafted a pair of fully drawn, three-dimensional characters, fully embodied by
O’Hara and James.<span> </span>Both, veterans of many
Broadway productions over the past 25 years, they deliver impressive and
heartbreaking performances.<span> </span>The show
would not have the same impact with less versatile and experienced actors.<span> </span>Bryon Jennings, as O’Hara’s stoic,
no-nonsense father, also puts forth a notable portrayal.<span> </span></span></span></span></p><span style="font-size: large;"><span style="font-family: georgia;">
</span></span><p class="MsoNormal"><span style="font-size: large;"><span style="font-family: georgia;"><span> </span></span></span></p><span style="font-size: large;"><span style="font-family: georgia;">
</span></span><p class="MsoNormal"><span style="font-size: large;"><span style="font-family: georgia;"><i><span>Days of Wine and Roses </span></i><span>has music and lyrics by Adam Guettel (<i>Light in the Piazza).<span> </span></i>His work lacks the overall melodic lilt
of mainstay Broadway musicals and has a sameness to the lush, sometimes
operatic score.<span> </span>I found his work functioning
more for character developing and moving the story forward.<span> </span>In a way, the show comes across more as a
play with numerous musical interludes.<span>
</span>This isn’t a knock of Guettel’s music and lyrics.<span> </span>They actually strengthen the production.<span> </span>However, I won’t be playing many of the songs
on my 24/7 online Broadway radio station, SoundsofBroadway.com.</span></span></span></p><span style="font-size: large;"><span style="font-family: georgia;">
</span></span><p class="MsoNormal"><span style="font-size: large;"><span style="font-family: georgia;"><span></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlFJPBOiKsmnqNQ6dJSg8waTBT2BCj5BL3_s17pbWSeSt827SAnzWoCpfHsPTmrR4mU3EhmVTEkSOLNEnLLL0-lvrflHDOisiP984BvKob0V_WiDpL4bNN-qQ9PA7cSUW_ZUOo4FTM5olLQs9jDmw21Kln0onOVKilsznaPRpONCJw2eOAUDr0AA1goHlk/s300/days2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="168" data-original-width="300" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlFJPBOiKsmnqNQ6dJSg8waTBT2BCj5BL3_s17pbWSeSt827SAnzWoCpfHsPTmrR4mU3EhmVTEkSOLNEnLLL0-lvrflHDOisiP984BvKob0V_WiDpL4bNN-qQ9PA7cSUW_ZUOo4FTM5olLQs9jDmw21Kln0onOVKilsznaPRpONCJw2eOAUDr0AA1goHlk/w640-h358/days2.jpg" width="640" /></a></span></div><span style="font-size: large;"><br /> </span><p></p><span style="font-size: large;"><span style="font-family: georgia;">
</span></span><p class="MsoNormal"><span style="font-size: large;"><span style="font-family: georgia;"><i><span>Days of Wine and Roses, </span></i><span>a show worth catching before it closes on March 31.</span></span></span></p><span style="font-size: large;"><span style="font-family: georgia;">
</span></span><p><style><font size="5"><span style="font-family: georgia;">@font-face
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{page:WordSection1;}</span></font></style><span style="font-size: large;"><span style="font-family: georgia;"> <br /></span></span></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2217372989018944697.post-32412593657808869642024-03-04T16:45:00.003-05:002024-03-04T16:45:32.674-05:00Million Dollar Quartet - ACT<p>
</p><p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span style="background: white; color: black;">On December 4, 1956 one of the great impromptu jam
sessions in music history took place at the Sun Record Studios in Memphis,
TN.<span> </span>Gathered were Elvis Presley, Jerry
Lee Lewis, Carl Perkins, and Johnny Cash.<span>
</span>This once-in-a-lifetime gathering of legendary musicians is the basis
for the jukebox musical, <i>Million Dollar
Quartet.</i><span> </span>A production is rockin’ and
rollin’ at ACT in Ridgefield, CT through March 23.</span><span style="background: white;"></span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span style="background: white;"> </span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span style="background: white; color: black;">The plot, devised by Colin Escott and Floyd
Mutrux, is thin with small dramatic morsels.<span> </span>Sam Phillips, the owner
of the label, has invited Elvis Presley, Jerry Lee Lewis, and Johnny Cash to a
recording session of Carl Perkins.<span>
</span>Phillips wants to celebrate the holiday season with the acclaimed
foursome, but also has an ulterior motive, namely looking to re-sign Johnny Cash
to a multi-year contract extension.<span> </span>He
is also wrestling with an offer from RCA Records to buy the Sun Studios.<span> </span>Within this framework, egos clash, individual
self-esteem is bruised, and braggadocio reins supreme.<span> </span>Yet, in the end, the slights and wounds
easily heal.<span> </span>Interspersed within the whirlwind
of testosterone, audience members are treated to 22, mostly powerhouse songs,
including some of the member’s biggest hits.</span><span style="background: white;"></span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span style="background: white;"> </span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span style="background: white; color: black;">All of the principle actors, who play their own
instruments, have portrayed their roles in previous productions of <i>Million Dollar Quartet.<span> </span></i>This shows in the comfort level and
professionalism in their performances under the sure-handed guidance of Hunter
Foster (who played the role of Sam Phillips in the original Broadway production).<span> </span>The Director has created a
production that is tightly focused with unforced banter and interactions that come
across as real.</span><span style="background: white;"></span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span style="background: white;"> </span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span style="background: white; color: black;">The four leads form a dynamic assemblage of
talent.<span> </span>Alessandro Gian Viviano (7<sup>th</sup>
time as The King) viably portrays Elvis Presley, giving him the swagger of a
man at the top of his profession.<span> </span>The
actor adds a layer of nuance to the role during the moments he lets down his
guard, ruminating about the cost of success.<span>
</span>Scott Moreau, who has portrayed Johnny Cash in more than 1,200
performances, adds a low-key, but effective performance as The Man in Black.<span> </span>Christopher Wren imbues Carl Perkins, a role
he has played 13 other times, with an anxious, resentful air.<span> </span>An electric guitar virtuoso he, effectively portrays a man unsure of his future in the business.<span> </span>Nat Zegree (over 500 performances as The
Killer), an unbelievable piano playing Jerry Lee Lewis, is slightly
over-the-top with his unceasing histrionics and manic outburst.</span><span style="background: white;"></span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span style="background: white;"> </span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span style="background: white; color: black;">Bart Shatto, who portrays Sun Record owner Sam
Phillips and acts as narrator of the show, chatting with the audience every so
often, shows the most range within the cast.<span>
</span>At times he is fatherly to his charges, melancholy, ornery and, finally,
forgiving as he strives to keep his studio alive.<span>
</span>Megan Reinking, who portrays Dyanne, Elvis’ girlfriend who accompanies
him to the festivities, has a gorgeous singing voice and more than holds her
own in the manly environment.<span> </span>Nathan Yates
Douglass (Brother Jay) and Matt Spencer (Fluke) provide ample backup to the
musicians and an occasional comedic assist to the production.<span> </span></span><span style="background: white;"></span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span style="background: white;"> </span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span style="background: white; color: black;">Lighting Designer Kirk Bookman provides festive
holiday lighting.<span> </span>Jeff Sherwood’s Sound Design
keeps the theater awash in the sonic pleasures of early rock </span><span style="background: white;"></span><span style="background: white; color: black;">‘n roll.<span>
</span>Josh Smith’s Scenic Design of the Sun Records
Studio is quite impressive, maybe a bit too dazzling for a studio on the brink.</span><span style="background: white;"></span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span style="background: white;"> </span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><i><span style="background: white; color: black;">Million
Dollar Quartet, </span></i><span style="background: white; color: black;">playing through March 23 at
ACT.<span> </span><a href="https://www.actofct.org/million-dollar-quartet">Click here</a> for dates, times, and
ticket information.</span><span style="background: white;"></span></span></p>
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{page:WordSection1;}</font></style> <span style="font-size: large;"><br /></span></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2217372989018944697.post-91698013636050149082024-02-25T21:25:00.002-05:002024-02-25T21:25:50.078-05:00The Legend of Georgia McBride - Music Theater of CT<p>
</p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: georgia; font-size: large;"><span style="line-height: 200%;">Poor Casey, a so-so
Elvis impersonator plying his trade at a rundown bar on the Florida
panhandle.<span> </span>The audience is sparse, the
money negligible, and the sudden need to support a growing family is a pressing
concern.<span> </span>His luck suddenly changes when,
due to unforeseen circumstances, he is literally thrust on stage in a drag show
revue with a new guise and attitude.</span></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: georgia; font-size: large;"><span style="line-height: 200%;"> </span></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: georgia; font-size: large;"><span style="line-height: 200%;">Thus begins <i>The Legend of Georgia McBride, </i>a
diverting, slender offering from playwright Matthew Lopez.<span> </span>The show runs through March 3 at the Music
Theatre of Connecticut (MTC).<span> </span></span></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: georgia; font-size: large;"><span style="line-height: 200%;"> </span></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: georgia; font-size: large;"><span style="line-height: 200%;">There are moments of
seriousness and poignancy and themes of sexual identity and self-acceptance are
explored, but the material covered in the play offers only a smattering of
dramatic substance that never really explores these issues in depth.<span> </span>The highlight of the production is the lip-syncing
performances that are enjoyable and comical.</span></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: georgia; font-size: large;"><span style="line-height: 200%;"> </span></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: georgia; font-size: large;"><span style="line-height: 200%;">Casey (Clint Hromsco)
is at the center of the show.<span> </span>His
character, however, is hard to decipher.<span>
</span>Initially, he comes across as a very immature man-child, but in no time
at all transforms into a more thoughtful, serious-minded individual.<span> </span>He is married to an understanding, but rather
exasperated wife (Teagan La’Shary).<span>
</span>Their neighbor/landlord Jason (Diva Lamarr), a childhood friend, drops
in every so often about the overdue rent and provides sagely banter.<span> </span>Eddie (Scott Mikita), the owner of the dive,
looking to drum up business, brings in his cousin and friend, drag performers
Miss Tracy (Russell Saylor) and Rexy (Diva Lamarr).<span> </span>The interaction between the three performers,
focusing on Casey’s slow-forming transformation, shapes the basis and modest
dramatic arc of the show.</span></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: georgia; font-size: large;"><span style="line-height: 200%;"> </span></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: georgia; font-size: large;"><span style="line-height: 200%;">Any successful production
of the show is based on the quality of the generous helpings of the drag
performances.<span> </span>For this staging, Director
Kevin Connors has pulled out all the stops in delivering one outrageous,
entertaining number after another.<span> </span>Diane
Vanderkroef’s inspired costumes, along with Jon Damast’s crisp sound design
help the musical interludes completely shine.</span></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: georgia; font-size: large;"><span style="line-height: 200%;"> </span></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: georgia; font-size: large;"><span style="line-height: 200%;">While the scenes in
the bar are mostly engaging, the at-home sequences are rather uninteresting and
conventional.<span> </span>The only truly emotional
outburst comes late in the show when the character of Rexy delivers a fiery
speech about the living the life of drag.</span></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: georgia; font-size: large;"><span style="line-height: 200%;"> </span></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: georgia; font-size: large;"><span style="line-height: 200%;">Overall, the cast is
fine, as they provide enough definition and substance to convey a genuineness
and conviction to their roles.<span> </span>There
are three notable performers.<span> </span>Clint
Hromsco as Casey in his guise as Georgia McBride, where his portrayal is more
nuanced and appealing.<span> </span>Russell Saylor,
provides a world-weariness to Miss Tracy, and individual with sage advice and a
heart of gold.<span> </span>Scott Mikita’s Eddie,
with his deadpan delivery and well-timed dance moves, was a crowd favorite.</span></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: georgia; font-size: large;"><span style="line-height: 200%;"> </span></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: georgia; font-size: large;"><span style="line-height: 200%;">Director Connors moves
the play along at an agreeable pace, allowing the domestic scenes to provide information
for the lackluster backstory.<span> </span>He
skillfully incorporates April M. Bartlett’s scenic design, which has adeptly
sectioned the cramped stage into three distinct sets, not an easy feat of the
small MTC performing space.</span></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: georgia; font-size: large;"><span style="line-height: 200%;"> </span></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: georgia; font-size: large;"><i><span style="line-height: 200%;">The Legend of Georgia McBride </span></i><span style="line-height: 200%;">runs through March 2
at MTC.<span> </span>Click here for date, time and
ticket information.</span></span></p>
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{page:WordSection1;}</font></style></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2217372989018944697.post-48753111233491201792024-02-25T21:20:00.000-05:002024-02-25T21:20:11.257-05:00A View From the Bridge - Long Wharf Theater<p>
</p><div class="default-style" style="color: #333333; font-family: helvetica, arial, sans-serif;">
<div><span style="font-family: georgia; font-size: large;">
Gut-wrenching was my first thought as I walked from the Canal Dock
Boathouse, the site-specific locale for Long Theater’s outstanding
production of Arthur Miller’s <em>A View From the Bridge, </em>playing through March 10<em>. </em>The
play is brimming with emotional intricacies, cast with an impressive
group of actors, and skillfully directed by James Dean Palmer.
</span></div>
<div><span style="font-family: georgia; font-size: large;">
</span></div>
<div><span style="font-family: georgia; font-size: large;">
The setting is the Brooklyn waterfront. The indoor performance
space Long Wharf has created is a small, raked theater that overlooks
the New Haven harbor. Floor-to-ceiling windows behind You-Shin Chen’s
minimally designed, but highly effective set, provides a panoramic
perspective of the waterway, with large boats moored on the far bank,
smaller crafts sailing past, and seagulls darting in and out of sight.
The scenic design extends to an outdoor wraparound balcony, adorned with
nautical detritus, where some scenes, including the show’s climatic
finale, take place.
</span></div><div><span style="font-family: georgia; font-size: large;">
</span></div>
<div>
<span style="font-family: georgia; font-size: large;"><em>A View From the Bridge </em>focuses on Eddie Carbone (Dominic
Fumusa), a longshoreman; his wife, Beatrice (Annie Parisse) and their
18-year-old niece Catherine (Paten Hughes), who lives with the couple.
Their domestic life is humble and unassuming until the arrival of
brothers, distant cousins, from Italy. They have been smuggled into the
country illegally so they can find work and better their lives. Marco
(Antonio Magro), older than his sibling with a family to support in his
homeland and Rodolpho (Mark Junek) are all too eager to make their way.
However, when the younger brother and Catherine begin a romance,
Eddie’s inward feelings towards his niece take an ominous turn, which
becomes the catalyst to a sorrowful and heartbreaking conclusion.
</span></div>
<div><span style="font-family: georgia; font-size: large;">
</span></div>
<div><span style="font-family: georgia; font-size: large;">
Arthur Miller, one of the giants of the American Theater, has
fashioned a captivating play full of conflicting emotions, deeply
complicated and flawed characters. He effectively injects age-old
themes of family and honor into the show. With the debate about illegal
immigration in today’s world, his insertion of the topic into the
storyline gives the plot a contemporary feel. The overall structure of
the work is deeply gratifying – a two-act show that slowly builds into a
stunning crescendo. It’s hard to find modern-day shows that are so
well constructed and satisfying.
</span></div>
<div><span style="font-family: georgia; font-size: large;">
</span></div>
<div><span style="font-family: georgia; font-size: large;">
James Dean Palmer’s superior direction focuses on the characters and
their actions. He emphasizes small, yet important details such as
facial ticks and body language to develop fully drawn portrayals. There
is a playfulness to the production, but he slowly teases out the
underlining tension and threatening nature of the play. He artfully
incorporates both staging areas, producing a fully realized,
out-of-the-box experience.
</span></div>
<div><span style="font-family: georgia; font-size: large;">
</span></div>
<div><span style="font-family: georgia; font-size: large;">
The cast is first-rate, led by Dominio Fumusa as Eddie, a man whose
world slowly spins out of control. He brings a complexity, honesty,
and raw energy to the role. You feel for him as well as fear him.
Annie Parisse is exquisite as Beatrice, a woman tightly wound with
frustration and unhappiness with her life. Paten Hughes gives a
decidedly deceptive portrayal of Catherine. At first naïve and
unfulfilled, she blossoms into a young woman who knows who she is and
what she wants from the world. Mark Junek’s portrayal of the fun-loving
Rodolpho adds a humorous respite from friction felt in the household.
Antonio Magro brings a more subdued presence to the role of Marco.
Patricia Black offers a muted performance as the lawyer and sometime
narrator, Alfieri.
</span></div>
<div><span style="font-family: georgia; font-size: large;">
</span></div>
<div>
<span style="font-family: georgia; font-size: large;"><em>A View From the Bridge, </em>one of the prominent productions of
the current Connecticut theater season. A show not to be missed.
Click here for dates, times and ticket information.</span></div><div><span style="font-family: georgia; font-size: large;">
</span></div>
</div><p><span style="font-family: georgia; font-size: large;"> </span></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2217372989018944697.post-26638862747099264532024-02-18T21:26:00.000-05:002024-02-18T21:26:14.609-05:00The Garbologist - Theaterworks Hartford<p><span style="font-size: large;"><b id="docs-internal-guid-4347c499-7fff-3e26-77d5-51b07fa7c3c7" style="font-weight: normal;"></b></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: large;"><b id="docs-internal-guid-4347c499-7fff-3e26-77d5-51b07fa7c3c7" style="font-weight: normal;"><span style="background-color: transparent; color: black; font-family: georgia; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Danny, a blue-collar, 9-year veteran of the New York sanitation department has just been paired with Marlowe, a female rookie with an Ivy League education. The unlikely coupling provides a beguiling and playful premise for Lindsay Joelle’s comedy/drama, </span><span style="background-color: transparent; color: black; font-family: georgia; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The Garbologists. </span><span style="background-color: transparent; color: black; font-family: georgia; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">When the show delves into the machinations and terminology of these workers, the production is engaging and fun to watch. However, once the narrative shifts to personal stories and their subsequent complications, the play’s appeal wanes.</span></b></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: large;"><b id="docs-internal-guid-4347c499-7fff-3e26-77d5-51b07fa7c3c7" style="font-weight: normal;"><span style="background-color: transparent; color: black; font-family: georgia; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6LTruVH0Y44AMg_UfzKZegXqXqJeWBMXqoDn6SewHUpf6tNQe1VZXMZpve3i6TyPO2lMn4zWDp7YFacj1de3sShegCY8W2IjHCKAS1Dz2VPEjbAwzRGa_4Lm9q-o6DB3oh5cpkax0ZCu00dyXmLA53z3o_efedCplpwfXcD2ITx8v4O_9TZOL5A-vMYhT/s1280/HR_Garbologist_20240201MM_0096.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="853" data-original-width="1280" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6LTruVH0Y44AMg_UfzKZegXqXqJeWBMXqoDn6SewHUpf6tNQe1VZXMZpve3i6TyPO2lMn4zWDp7YFacj1de3sShegCY8W2IjHCKAS1Dz2VPEjbAwzRGa_4Lm9q-o6DB3oh5cpkax0ZCu00dyXmLA53z3o_efedCplpwfXcD2ITx8v4O_9TZOL5A-vMYhT/w640-h426/HR_Garbologist_20240201MM_0096.jpeg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Bebe Nicole Simpson and Jeff Brooks in <i>The Garbologist.</i> Photo by Mike Marques.<br /></td></tr></tbody></table><br /></span></b></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: large;"><b id="docs-internal-guid-4347c499-7fff-3e26-77d5-51b07fa7c3c7" style="font-weight: normal;"><span style="background-color: transparent; color: black; font-family: georgia; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">We meet Danny (Jeff Brooks), a straightforward, down-to-earth “garbologist” as he greets his new partner, Marlowe (Bebe Nicole Simpson), a Columbia University graduate with two Master’s degrees. It is a classic fish out-of-water beginning with Danny trying to show Marlowe the ropes. Resistant to his help, at first, she finally succumbs to his persistence and their relationship begins, more or less, to develop. As the 95-minute, intermission-less production progresses, the audience learns more of each protagonist’s backstory, which portions comes across as artificial and forced. By the show’s conclusion, each has a better understanding and appreciation of the other’s circumstances. Their initially tepid association has moved forward and matured.</span></b></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: large;"><b id="docs-internal-guid-4347c499-7fff-3e26-77d5-51b07fa7c3c7" style="font-weight: normal;"><span style="background-color: transparent; color: black; font-family: georgia; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> </span></b></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: large;"><b id="docs-internal-guid-4347c499-7fff-3e26-77d5-51b07fa7c3c7" style="font-weight: normal;"><span style="background-color: transparent; color: black; font-family: georgia; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The strength of </span><span style="background-color: transparent; color: black; font-family: georgia; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The Garbologist </span><span style="background-color: transparent; color: black; font-family: georgia; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">is how playwright Lindsay Joelle incorporates genuine situations faced by sanitation workers and the generous use of authentic lingo sprinkled throughout the production. It gives the play an entertaining trait and an air of truthfulness. Ms. Joelle is able to humanize these “invisible” laborers, individuals that are critical to a habitable society.</span></b></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: large;"><b id="docs-internal-guid-4347c499-7fff-3e26-77d5-51b07fa7c3c7" style="font-weight: normal;"><span style="background-color: transparent; color: black; font-family: georgia; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4yhYDXrw8V8XigWE8BveQBaG3UYLcsJUilJQuCRsdnZntIhJ-nbc195hfvyljoOPp6lZga0tYEdRFdE3iL2NMBCH5zsbdeveJewqD3j15EVkh5L4FvfYozTlQNyVwGQKpiDMxPQhJydaX57YoTtp57mF85C9ye56mZTSbxYqRxjZmaxMYFSZ6g0HuiKbK/s1280/HR_Garbologist_20240201MM_1975.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="853" data-original-width="1280" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4yhYDXrw8V8XigWE8BveQBaG3UYLcsJUilJQuCRsdnZntIhJ-nbc195hfvyljoOPp6lZga0tYEdRFdE3iL2NMBCH5zsbdeveJewqD3j15EVkh5L4FvfYozTlQNyVwGQKpiDMxPQhJydaX57YoTtp57mF85C9ye56mZTSbxYqRxjZmaxMYFSZ6g0HuiKbK/w640-h426/HR_Garbologist_20240201MM_1975.jpeg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><b id="docs-internal-guid-4347c499-7fff-3e26-77d5-51b07fa7c3c7" style="font-weight: normal;"><span style="background-color: transparent; color: black; font-family: georgia; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Bebe Nicole Simpson and Jeff Brooks in <i>The Garbologist.</i> Photo by Mike Marques.</span></b></span></td></tr></tbody></table><br /></span></b></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: large;"><b id="docs-internal-guid-4347c499-7fff-3e26-77d5-51b07fa7c3c7" style="font-weight: normal;"><span style="background-color: transparent; color: black; font-family: georgia; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">An issue, though, with the play is the lack of a fuller backstory for Marlowe. We are supplied snippets of her life and struggles, but not enough to create a fully developed character. As an Ivy League educated woman, she secures a position as a sanitation worker. Why? What is her rationale? Is it because of the “reveal” at the end of the play which, realistically, would not be too feasible? </span></b></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: large;"><b id="docs-internal-guid-4347c499-7fff-3e26-77d5-51b07fa7c3c7" style="font-weight: normal;"><span style="background-color: transparent; color: black; font-family: georgia; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> </span></b></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: large;"><b id="docs-internal-guid-4347c499-7fff-3e26-77d5-51b07fa7c3c7" style="font-weight: normal;"><span style="background-color: transparent; color: black; font-family: georgia; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Jeff Brooks gives a confident, nuanced performance as Danny. His character comes across as earthy, matter-of-fact, and believable. Bebe Nicole Simpson’s Marlowe is more of a challenge. She is damaged, we learn through the course of the production, which impedes her affect to the degree that her aloofness and subtlety are frustrating. </span></b></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: large;"><b id="docs-internal-guid-4347c499-7fff-3e26-77d5-51b07fa7c3c7" style="font-weight: normal;"><span style="background-color: transparent; color: black; font-family: georgia; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> </span></b></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: large;"><b id="docs-internal-guid-4347c499-7fff-3e26-77d5-51b07fa7c3c7" style="font-weight: normal;"><span style="background-color: transparent; color: black; font-family: georgia; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Director Rob Ruggiero provides his usual solid guidance, smoothly segueing between each scene. The aspects of the play centered around the hauling of garbage are effective and appealing. The portions of the show that are intimate and reflective are more conventionally portrayed. The interactions between the characters would have been more fluid if there was more shading with the character of Marlowe </span></b></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: large;"><b id="docs-internal-guid-4347c499-7fff-3e26-77d5-51b07fa7c3c7" style="font-weight: normal;"><span style="background-color: transparent; color: black; font-family: georgia; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> </span></b></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: large;"><b id="docs-internal-guid-4347c499-7fff-3e26-77d5-51b07fa7c3c7" style="font-weight: normal;"><span style="background-color: transparent; color: black; font-family: georgia; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Marcelo Martinez Garcia’s Set Design deserves high praise. The garbage bags strewn across the stage is just a prelude to the appearance of a life-size, realistic looking, and operating, garbage truck (the backside at least). My only question with the set is the intended purpose of scaffolding at the back of the performance area.</span></b></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: large;"><b id="docs-internal-guid-4347c499-7fff-3e26-77d5-51b07fa7c3c7" style="font-weight: normal;"><span style="background-color: transparent; color: black; font-family: georgia; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> </span></b></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: large;"><b id="docs-internal-guid-4347c499-7fff-3e26-77d5-51b07fa7c3c7" style="font-weight: normal;"><span style="background-color: transparent; color: black; font-family: georgia; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The Garbologist, </span><span style="background-color: transparent; color: black; font-family: georgia; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">playing at Theaterworks Hartford through February 25. <a href="https://theaterworkshartford.my.salesforce-sites.com/ticket/#/events/a0SHo000009TRyhMAG">Click here</a> for dates, times, and ticket information.</span></b></span></p><span style="font-size: large;"><br /></span><p></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2217372989018944697.post-52892644823146183382024-02-02T14:04:00.000-05:002024-02-02T14:04:10.413-05:00Simona's Search - Hartford Stage<p><span style="font-family: georgia; font-size: large;"><i>Simona’s Search</i>, receiving its world premiere at Hartford Stage, is an engrossing drama
that delves into the relationship between an immigrant father and his daughter
and, as stated in the program notes, “the passing on of traumatic experiences
to subsequent generations that is sometimes prevalent with immigrant families.”
<span> </span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMGtpal92JWXVljKObzcDxKGp1GqBL2DaIZwvmz85WF21PZ49GFt161xhBdhC3dX92ZkoWYe_bDrc3UPWSDDsaAOEQ0d2m0MYW68nbbArU5f4YQ1qDL23iktCmSaKY32xi0gQ_MZlatEKKsST42ODPSBzSbL2JBWOcccixFvX_nUE83H6PVDIu0LfKKqCQ/s3000/Simonas-Search-HSC-01-24-054.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2000" data-original-width="3000" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMGtpal92JWXVljKObzcDxKGp1GqBL2DaIZwvmz85WF21PZ49GFt161xhBdhC3dX92ZkoWYe_bDrc3UPWSDDsaAOEQ0d2m0MYW68nbbArU5f4YQ1qDL23iktCmSaKY32xi0gQ_MZlatEKKsST42ODPSBzSbL2JBWOcccixFvX_nUE83H6PVDIu0LfKKqCQ/w640-h426/Simonas-Search-HSC-01-24-054.png" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Alejandra Escalante in <i>Simona's Search</i>. <span style="color: black;">Photo by T. Charles Erickson</span></span></td></tr></tbody></table><br /></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;">Director Melia Bensussen has staged a very theatrical presentation,
utilizing timely and striking projections by Projection Designer Yana Biryukova
to augment the story and enhance its power.<span>
</span>Aja M. Jackson’s Lighting Design and the Sound Design by Aubrey Dube are
also noteworthy and add depth to the production.<span> </span>Yu Shibagaki ‘s continuously reconfigured Scenic
Design is straightforward – a table, chairs, slatted wood background – and works
harmoniously with the other design elements, primarily the dramatic
projections.</span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"> </span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><i>Simona’s Search</i> is essentially a memory play with Simona (Alejandra Escalante) speaking
to the audience for the majority of the show.<span>
</span>Her story begins when she is a young girl, constantly questioning her
father, Papi (Al Rodrigo), about his life and their shared culture.<span> </span>A political exile from an unnamed Latin
American country, he has completely shunned his previous life and offers no
information or clues to his daughter.<span> </span>He
won’t even teach or speak Spanish to her.<span>
</span>As she grows up, she realizes he has been suffering from some form of post-traumatic
stress disorder and, more critically, wonders if she, too, might be developing
signs of trauma.</span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwxtnQdn5bc02kXNWvmfJ0YbG9SECG3c-kzI77uKS4brpqe8NMOMWMS9PlxVyO1fnIOIgcKhK969LmdQabJGv74IL7cFngCFrvYNL-8StY4HpaaXww87m9hUShixWuRYEnczU-0_y7T5SpghB_b44MGMyyGu7X-aO5RL500s1OFfc44gsHOadOFPOpD-j1/s2839/Simonas-Search-HSC-01-24-082.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1893" data-original-width="2839" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwxtnQdn5bc02kXNWvmfJ0YbG9SECG3c-kzI77uKS4brpqe8NMOMWMS9PlxVyO1fnIOIgcKhK969LmdQabJGv74IL7cFngCFrvYNL-8StY4HpaaXww87m9hUShixWuRYEnczU-0_y7T5SpghB_b44MGMyyGu7X-aO5RL500s1OFfc44gsHOadOFPOpD-j1/w640-h426/Simonas-Search-HSC-01-24-082.png" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: georgia; font-size: small;">Christopher Bannow and Alejandra Escalante in <i>Simona's Search</i>. <span style="color: black;">Photo by T. Charles Erickson</span></span></td></tr></tbody></table><br /></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;">Nightmares, and a spectral figure, haunt her dreams, causing an acute
lack of sleep.<span> </span>Much doesn’t change in
college.<span> </span>A romantic relationship
blossoms, but goes nowhere.<span> </span>Her focus on
neuroscience, both as an undergraduate and graduate student, produces no
answers to understanding her father, his worsening medical condition, and her
dispirited mindset and health.<span> </span>By the
show’s conclusion, however, there is a palpable, self-awareness that, while not
answering all Simona’s questions and concerns, helps ease her to a more adjusted
life.</span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"> </span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;">Playwright Martin Zimmerman has constructed a play that almost seems torn
from today’s headlines about the migrant crisis and heartbreaking reports of
immigrant families ripped apart at the border.<span>
</span>Watching <i>Simona’s Search</i>, one can’t help but wonder about the
mental health of the newcomer’s children later in life.<span> </span>Zimmerman roots his work with a number of
themes for audiences to reflect on – nature vs. nuture, the question of one’s
identity, and the cause/effect of trauma.<span>
</span>He has crafted connections which come across as real and honest. This
includes the sometimes contentious relationship between Simona and Papi and the
young woman and her romantic interest Jake (Christopher Bannow).<span> </span>He adorns the show with scenes of playful
passion, mischievous wit, and hardened truths.<span>
</span>These include Jake’s wooing of Simona and her dreamy encounter with a
lab rat.<span> </span>For all its captivating power,
I sometimes felt the pathway towards the show’s conclusion was uneven and
portions were contrived to move the plot forward.<span> </span>More specifically, the scene concerning her on
and off travel plans due to her father’s mysterious ailment and her admission
to a second graduate school program.<span> </span>Still,
these detours do not undercut the absorbing nature of the play, which is
continuously augment by Director Bensussen’s flourishes of imagination, emotional
highs and lows and charm.</span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDBZawAToMjMMYn9XJogXIa3XRrk3Eyphs6tvSumJv5KX38TuvqNGDW9ksqvFJsu3QlqAO-HbAVFDpNg3WDpjSE0yfQKbHx5wEZp9Nt8jXGu82xDB-edNNFMwvUxe7Gwp6zfGoFDqLXjZep9S3uWIV_K6T6J83Pcbrb_0uuakip1W6n7j6il_rLOnk00gu/s2552/Simonas-Search-HSC-01-24-025.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1905" data-original-width="2552" height="478" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDBZawAToMjMMYn9XJogXIa3XRrk3Eyphs6tvSumJv5KX38TuvqNGDW9ksqvFJsu3QlqAO-HbAVFDpNg3WDpjSE0yfQKbHx5wEZp9Nt8jXGu82xDB-edNNFMwvUxe7Gwp6zfGoFDqLXjZep9S3uWIV_K6T6J83Pcbrb_0uuakip1W6n7j6il_rLOnk00gu/w640-h478/Simonas-Search-HSC-01-24-025.png" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: georgia; font-size: large;"><span style="font-size: small;">Al Rodrigo and Alejandra Escalante in <i>Simona's Search</i>. <span style="color: black;">Photo by T. Charles Erickson</span></span></span></td></tr></tbody></table><br /></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;">The cast, led by Alejandra Escalante as Simona, is superb.<span> </span>Ms. Escalante brings self-assuredness,
intensity, and a dash of whimsy to her portrayal as actress and narrator.<span> </span>It is a demanding role, especially since she
is onstage during the entire 90-minute, intermission-less show.<span> </span>Al Rodrigo imbues Papi (and a few other
characters) with a forceful passion that ebbs and flows between casual banter
and angry ripostes.<span> </span>He effectively
portrays a character, proud, but shrouded in mystery.<span> </span>Christopher Bannow, as Jake, provides a finely tuned
performance of compassion and sensitivity, serving almost as a counterweight to
the extremes of the other characters.<span>
</span>His rat impersonation, who’s accent is sometimes hard to understand, was
a memorable part of the play.</span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"> </span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><i>Simona’ Search</i>, a world premiere worth catching.<span>
</span>Playing at Hartford Stage through February 11, 2024.<span> </span><a href="https://www.hartfordstage.org/simonas-search">Click here</a> for dates, times, and ticket
information.</span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"> </span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span> </span></span></p>
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{page:WordSection1;}</font></style></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2217372989018944697.post-62550015988889694692024-01-29T09:26:00.006-05:002024-01-29T09:27:27.966-05:00Ms. Holmes and Ms. Watson – Apt. 2B - Playhouse on Park<p><span style="font-family: georgia; font-size: large;">There have been countless derivations of Arthur Conan Doyle’s
masterful detective Sherlock Holmes and his partner Dr. Watson in film,
television and the theater. A new entry into this ever-expanding
universe is <em>Ms. Holmes and Ms. Watson – Apt. 2B</em>. The show is at Playhouse on Park in West Hartford through February 18.
</span></p>
<div><span style="font-family: georgia; font-size: large;">
</span></div>
<div><span style="font-family: georgia; font-size: large;">
As a long-time Sherlock Holmes fan, I welcome any addition to works
about the iconic sleuth. Unfortunately, playwright Kate Hamill’s
contribution to the Holmes canon falls short with overstuffed intrigue, a
lot of unnecessary schtick, and an unfocused plot that is hard to
follow. Ms. Hamill has had a great deal of success with her
gender-bender take on Jane Austen’s <em>Pride and Prejudice</em>. For that work, she had the luxury of riffing on a classic piece of literature. With <em>Ms. Holmes and Ms. Watson – Apt. 2B</em>, she needed to craft an original mystery with comic overtones. Not an easy task.
</span></div>
<div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><span style="font-family: georgia; font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYFu955NIxGn8sIjnRogCwlfKFvugJ68T6AjG0vJ0sf7fYOQPUocfDZsksdFifPsRXRr757v5OB172QqCxx6m5CdfoI66x163bzwVD6CnShvIRrpL9MrKypxZvV_kOYToKv3r04tn8AwuTBJcEAjnVpwodAy-ePBP-OL2spBXAYvP82uF3MeHG9f9afaVm/s1600/Holmes.Sword.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1174" data-original-width="1600" height="470" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYFu955NIxGn8sIjnRogCwlfKFvugJ68T6AjG0vJ0sf7fYOQPUocfDZsksdFifPsRXRr757v5OB172QqCxx6m5CdfoI66x163bzwVD6CnShvIRrpL9MrKypxZvV_kOYToKv3r04tn8AwuTBJcEAjnVpwodAy-ePBP-OL2spBXAYvP82uF3MeHG9f9afaVm/w640-h470/Holmes.Sword.jpeg" width="640" /></a></span></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: georgia; font-size: large;">Kelly
Letourneau and Kirsten Peacock in Ms. Holmes and Ms. Watson - Apt. 2B<br /></span></td></tr></tbody></table><span style="font-family: georgia; font-size: large;"><br />
</span></div>
<div><span style="font-family: georgia; font-size: large;">
The time is the present and we are quickly introduced to Joan
Watson, a spunky, though slightly introverted American seeking solace
from her previous life (the first mystery!). She lets a room, Apt. 2B
(presumably at 221B Baker Street) from the daffy landlady Mrs. Hudson
and is abruptly introduced to the eccentric, melancholy detective
Sherlock (yes, it is also a woman’s name) Holmes. They bicker and
banter until the arrival of Inspector Lestrade of Scotland Yard who
needs their help. The game is suddenly afoot and for the next 2 ½ hours
there is murder, mayhem, and surprises. Familiar characters from the
Holmes books – Irene Adler and Professor Moriarity – are woven into the
production. However, by the show’s conclusion, all the twists and turns
appear disjointed and prove to be unsatisfying.
</span></div>
<div><span style="font-family: georgia; font-size: large;">
</span></div>
<div><span style="font-family: georgia; font-size: large;">
Director Kelly O’Donnell, who last year won a Connecticut Critics Circle Award as Best Director for <em>Indecent</em>
at Playhouse on Park, keeps the tempo at a heightened speed. Her
staging around the few set pieces in Lindsay G. Fuori’s booklined Scenic
Design are positioned around the stage with rapid-fire pacing. The
direction, utilizing Johann Fitzpatrick’s cagey Light Design and Rachel
Landry’s jokey Sound Design, can be goofy, droll and sporadically
entertaining. There are intermittent laughs especially from the
frequent cultural references (Star Wars, among others) scattered
throughout the script. Most zip by with fleeting acknowledgement. The
brief homage to the Batman TV series, however, does find its humorous
mark.
</span></div>
<div><span style="font-family: georgia; font-size: large;">
</span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><span style="font-family: georgia; font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJzqV480guUP_CBZrZzGXeYq8pFuYywZDiYwcWMX-TuijTwxY7_IZRvbH09f2AoPlVTaE2TsCF4LbP-gH0si77amaMX4dgphyphenhypheneCOiZLfyVexCgnt6V7iF4uVlPD2Fr-F52Yy_39pXVZmFqI9hnTW8cJxE5aFWiZrRKoXvSqlHLLdoYQHZE2W8pNQZML9Ab/s1600/Holmes.Meet.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1107" data-original-width="1600" height="442" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJzqV480guUP_CBZrZzGXeYq8pFuYywZDiYwcWMX-TuijTwxY7_IZRvbH09f2AoPlVTaE2TsCF4LbP-gH0si77amaMX4dgphyphenhypheneCOiZLfyVexCgnt6V7iF4uVlPD2Fr-F52Yy_39pXVZmFqI9hnTW8cJxE5aFWiZrRKoXvSqlHLLdoYQHZE2W8pNQZML9Ab/w640-h442/Holmes.Meet.jpeg" width="640" /></a></span></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: georgia; font-size: large;">Kelly
Letourneau and Kirsten Peacock in Ms. Holmes and Ms. Watson - Apt. 2B</span></td></tr></tbody></table><span style="font-family: georgia; font-size: large;"><br /></span>
</div>
<div><span style="font-family: georgia; font-size: large;">
The cast is game for the mischievousness and roguishness unleashed
by the playwright. The four performers work hard to generate the
irregular laughs. While there is ample time to develop their respective
characters, they still seem more two-dimensional than fully realized.
Kirsten Peacock’s portrayal of the world famous private investigator is
somewhat staid, with only fleeting instances of playfulness. Kelly
Letourneau imbues Joan Watson with a spirited determination, but her
characterization is undermined by a constant reference to her cagey past
and anguish. Megan McDermott, playing multiple roles, primarily Mrs.
Hudson and arch nemesis Irene Adler, seems to be having a lot of fun
with her portrayals, playing them broadly and slightly off-center. Nick
Nudler provides a number of satisfying looks, whether it is as the
lumbering Inspector Lestrade; the wealthy Elliott Monk or the diabolical
Professor Moriarity.
</span></div>
<div><span style="font-family: georgia; font-size: large;">
</span></div>
<div>
<span style="font-family: georgia; font-size: large;"><em>Ms. Holmes and Ms. Watson – Apt. 2B</em>, running through February 18 at Playhouse on Park. <a href="https://www.playhouseonpark.org/web2/Season15/mainstage_MrMrsHolmes.html">Click here</a> for information on dates, times and tickets.
</span></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2217372989018944697.post-49434604016030293462023-12-09T08:40:00.000-05:002023-12-09T08:40:08.318-05:00The Salvagers - Yale Repertory Theatre<p>
</p><p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span style="color: #333333;">Relationships and sense of identity are at the heart of the
absorbing play, <i>The Salvagers, </i>receiving
its world premiere at the Yale Repertory Theatre through December 16.<span> </span>There are a number of puzzling plot points
and choices that playwright Harrison David Rivers needs to address, though, in
order for his work to be fully realized.</span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span style="color: #333333;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzbXsJLZ1VXTQx-3C50icdQF9xE8c1NNI8HGgr1M79RSD6rq2QSopDIXidShSxsz7qzbNPeQp_AxLvj0HKvMmzHHT9m3HAGNVkgA7NtxWj4s8OZItjvbW0syneC4ENsG58fm1wjC3WSmx1276QQ0ChL0reNvD0jfL5-WyXUXf3YB6Jy7wQdo2wzGEegQvx/s2560/Salvagers0125r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1823" data-original-width="2560" height="456" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzbXsJLZ1VXTQx-3C50icdQF9xE8c1NNI8HGgr1M79RSD6rq2QSopDIXidShSxsz7qzbNPeQp_AxLvj0HKvMmzHHT9m3HAGNVkgA7NtxWj4s8OZItjvbW0syneC4ENsG58fm1wjC3WSmx1276QQ0ChL0reNvD0jfL5-WyXUXf3YB6Jy7wQdo2wzGEegQvx/w640-h456/Salvagers0125r.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">
<p class="MsoNormal"><span style="font-size: small;"><span style="color: #333333; font-family: Helvetica;">Taylor A. Blackman and Julian Elijah Martinez in a scene from
THE SALVAGERS by Harrison David Rivers. Photo © Joan Marcus.</span></span></p>
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<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span style="color: #333333;">Boseman Salvage Junior (Taylor A. Blackman), referred to simply
as Junior, is a would-be actor that couldn’t break into the business in New
York City so he has returned home to Chicago and moved into his father’s home,
Boseman Salvage Senior (Julian Elijah Martinez).<span> </span>The two have had a fraught rapport, since the
divorce from his now ex-wife.<span> </span>Still, the
young man continues to live under his father’s roof.<span> </span>Junior, in his early 20’s, is angry, unsure,
and searching for his play in the world.<span>
</span><span> </span>In between acting auditions, he
is employed at a local restaurant.<span>
</span>Senior is a locksmith with no office.<span>
</span>He is just perpetually on-call.<span> </span>The
husband’s former wife, Nedra (Toni Martin), remains a modest presence in her
son’s life.<span> </span>Enter into the mix two women
- Elinor DeWitt (McKenzie Chinn) and Paulina Kenston (Mikayla LaShae Bartholomew).<span> </span>Through happenstance, Elinor begins a
relationship with Senior while Junior becomes intrigued with co-worker
Paulina.<span> </span>How their respective relationships
evolve – the ups and downs – along with the sustained dynamic between Senior
and Junior forms the latter part of the play.</span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span style="color: #333333;"> </span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCcbdElv6grL8WOXzujb3GOL9R_Stk8h7X5fXw5NfH7P671dglxsFs2L2kqkF0CpEJn5sAODxlMGQ386Slcx-OseFGofJ-keqvN3_5m4Z6zChd2u_jdhCIcu-GT7YXVmnSIqunljpTDlkkf5Oc9-Nnyr9q0FANZieAHIpLlRvSOZ1Txbpl6pyELsuVvNBv/s2560/Salvagers0066r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1707" data-original-width="2560" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCcbdElv6grL8WOXzujb3GOL9R_Stk8h7X5fXw5NfH7P671dglxsFs2L2kqkF0CpEJn5sAODxlMGQ386Slcx-OseFGofJ-keqvN3_5m4Z6zChd2u_jdhCIcu-GT7YXVmnSIqunljpTDlkkf5Oc9-Nnyr9q0FANZieAHIpLlRvSOZ1Txbpl6pyELsuVvNBv/w640-h426/Salvagers0066r.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">
<p class="MsoNormal"><span style="font-size: small;"><span style="color: #333333; font-family: Helvetica;">McKenzie Chinn and Julian Elijah Martinez in a scene from THE
SALVAGERS by Harrison David Rivers. Photo © Joan Marcus.</span></span></p>
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<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span style="color: #333333;">The three women in the show are strong, smart, and more
forthcoming with their feelings as opposed to the men who are portrayed, to varying
degrees, as damaged goods.<span> </span>We don’t
truly know the backstory of Senior and Junior so it is difficult to understand
their trepidations.<span> </span>When the “reveal” is
divulged near the end of the show it leads to more questions than answers.<span> </span>This, in addition to other puzzling scenes
and plot points, is the crux of the problem with <i>The Salvagers.<span> </span></i>Some examples
(without giving away too much):</span></span></p>
<ul type="disc"><li class="MsoNormal" style="color: #333333; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list .5in;"><span style="font-family: georgia; font-size: large;">Why was Junior in therapy and on
medication (which we are reminded of a few times at the beginning of the
play)?<span> </span>Except for a necessary plot
point, nothing is explained.</span></li><li class="MsoNormal" style="color: #333333; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list .5in;"><span style="font-family: georgia; font-size: large;">Senior had a very fractious and
volatile relationship with his son, yet Junior still stays.<span> </span>Why not leave and live with mom?</span></li><li class="MsoNormal" style="color: #333333; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list .5in;"><span style="font-family: georgia; font-size: large;">After the “reveal,” the ongoing connection
between Senior and his ex-wife Neda becomes very confusing.</span></li><li class="MsoNormal" style="color: #333333; mso-list: l0 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list .5in;"><span style="font-family: georgia; font-size: large;">The involvement of Elinor with the
“reveal” comes across as contrived.</span></li></ul>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span style="color: #333333;">Lastly, while I always
enjoy a feel-good ending, the show would have had more of a dramatic impact if
it ended on the preceding scene.</span></span></p><p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span style="color: #333333;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbv9HS-fPJvnfGgMrkxTRdvUVaZFHdR2XqJW5uMWsmNy0v2ZfDLZuM7fUT-tyUreFfidacmTsbm6Ng12Ev-cvKDoZ-vPvpooqjPRrKWJBAFEeZBn6kbyZw_TJ3GOu1gnU9oGvLdSPV4E8UCXp38tsiDmm8SNAvbgkzORa3ohMe04_KWrAMyW25XPpOPh3P/s2560/Salvagers0114r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1706" data-original-width="2560" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbv9HS-fPJvnfGgMrkxTRdvUVaZFHdR2XqJW5uMWsmNy0v2ZfDLZuM7fUT-tyUreFfidacmTsbm6Ng12Ev-cvKDoZ-vPvpooqjPRrKWJBAFEeZBn6kbyZw_TJ3GOu1gnU9oGvLdSPV4E8UCXp38tsiDmm8SNAvbgkzORa3ohMe04_KWrAMyW25XPpOPh3P/w640-h426/Salvagers0114r.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">
<p class="MsoNormal"><span style="font-size: small;"><span style="color: #333333; font-family: Helvetica;">Taylor A. Blackman in a scene from THE SALVAGERS by Harrison
David Rivers. </span></span></p><p class="MsoNormal"><span style="font-size: small;"><span style="color: #333333; font-family: Helvetica;">Photo © Joan Marcus.</span></span></p>
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<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span style="color: #333333;">Director Mikael Burke presents a very straightforward rendering
of the playwright’s work.<span> </span>He marches
through scenes even if they are somewhat baffling and unnecessary such as the
moment with Junior and his lighter. The use of overlapping dialogue and multiple
characters performing in the same scene are skillfully staged.<span> </span>The Director smoothly incorporates quick,
choreographed flourishes by Tislarm Bouie, such as the snow shoveling sequence
at the start of the show, giving moments of the production a whimsical charm.<span> </span>Less successful is the set devised by B
Entsminger - <span> </span>an oversized, snowy ice mass
that towers over the performance space.<span> </span>A
black meshed screen, pulled across the stage during most of the play, does offer
separation between the looming mass and the minimal scenic design. <span> </span>John Horzen’s projections help define the
Chicago locale, but unexpectantly end halfway through the show.<span> </span>They would have had a fuller effect if used
throughout the production. <span> </span>Lighting
Designer Nic Vincent’s dark, moody set-up gives the feel of a chilly,
inhospitable Midwestern winter.<span> </span></span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span style="color: #333333;"> </span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRdOqanor9wPVkz3QS0Ua0axbqj9l35-Ic_pKnoNJiFj3hYktJLnKnxO5T9_8-Lb3z3Uk5eEM24BG1R1abbj-IkXnadJwkX9xtVtATQsWcvIpMKk1Pr2-9pyM3UTzOp20Fp51B-LvGZPIFMOH1g9mxnTjWgMpYxhyM0IEVHVlWLpb2uA1Hu2c42yTCNkKL/s2560/Salvagers0082r.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1707" data-original-width="2560" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRdOqanor9wPVkz3QS0Ua0axbqj9l35-Ic_pKnoNJiFj3hYktJLnKnxO5T9_8-Lb3z3Uk5eEM24BG1R1abbj-IkXnadJwkX9xtVtATQsWcvIpMKk1Pr2-9pyM3UTzOp20Fp51B-LvGZPIFMOH1g9mxnTjWgMpYxhyM0IEVHVlWLpb2uA1Hu2c42yTCNkKL/w640-h426/Salvagers0082r.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">
<p class="MsoNormal"><span style="font-size: small;"><span style="color: #333333; font-family: Helvetica;">Taylor A. Blackman and Mikayla LaShae Bartholomew in a scene
from THE SALVAGERS by Harrison David Rivers. Photo © Joan Marcus.</span></span></p>
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<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span style="color: #333333;">The cast is marvelous, led by Taylor A. Blackman as Boseman
Salvage Junior.<span> </span>The actor gives an
accurate read on a young man with so many highs and lows to his life.<span> </span>He is at times petulant, immature, and angry
as he tries to find his place in life.<span> </span>Julian
Elijah Martinez’s effectively presents Boseman Salvage Senior as a man
attempting to connect to a son he doesn’t really understand.<span> </span>His portrayal can be intense and forceful,
but also compassionate and more understanding as he, too, manages an assortment
of relationships.<span> </span>Mikayla LaShae
Bartholomew imbues Paulina Kenston with intelligence and self-assurance even as
she looks to connect with others.<span> </span>I was
impressed with her performance.<span> </span>She does
need to speak louder to be better understood.<span>
</span>McKenzie Chinn’s Elinor DeWitt, like the character of Paulina, is strong
and understanding.<span> </span>The actress gives a compelling,
no-nonsense performance.<span> </span>Toni Martin is
solid in the role of Nedra Salvage.<span>
</span>Besides an explanatory monologue near the play’s conclusion, her character
has a small presence in the show.</span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span style="color: #333333;"> </span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span style="color: #333333;">Even with all my reservations <i>The Salvagers </i>is a show worth attending.<span> </span>Flawed, yes, but the whole of the play is greater
than its sum parts.</span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span style="color: #333333;"> </span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><i><span style="color: #333333;">The Salvagers, </span></i><span style="color: #333333;">playing through December 16
at the Yale Repertory Theatre.<span> </span><a href="https://yalerep.org/productions/the-salvagers/">Click here</a> for
information on dates, times and ticket information. </span></span></p>
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{margin-bottom:0i</font></style><span style="font-size: large;"><br /></span></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2217372989018944697.post-39390837966900732072023-12-05T12:59:00.000-05:002023-12-05T12:59:24.031-05:00Dreamgirls - Goodspeed Opera House<p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;">Show business is a business, according to Curtis Taylor, Jr., the
hard-driving, controlling manager of The Dreams.<span> </span>It is tough, full of shattered hopes and
desires and broken promises.<span> </span>This is the
overriding theme in the Goodspeed Opera House’s absorbing, sometimes dazzling
production of <i>Dreamgirls</i>.<span> </span>The
musical, which takes its inspiration from the girl groups of the 1960’s,
primarily The Supremes, is slow to find its footing.<span> </span>It’s not until most of Act I has passed that
the show begins to find its dramatic and emotional core.<span> </span>The musical solidifies its dynamic groove as
Act I comes to a close and the actress Trejah Bostic, who plays Effie, takes
the stage to belt out the soulful, angst-filled signature number, “An I’m
Telling You.” </span></span></p><span style="font-family: georgia;"><span style="font-size: large;">
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcgYpivNSnaP0QJCHO7MEaYeHWSTKi7sdyjA1RANuF_My9WuBMbbxYm51zJVKOE8Tt5TMlML2TAcNk-u1EF3FFXWvdLv9ljQozK4-VR0cBqBFBk2er2vqqaKNbk0Tt5E4bO3QTGKXWtmgfDwEXjgq_BV6jEhHb8FI6Sm2ZIUi-gCJqkaUSBfgp0S1q5J9R/s3839/8.%20Keirsten%20Hodgens,%20Ta-Tynisa%20Wilson%20and%20Shantel%20Cribbs%20in%20Goodspeed's%20Dreamgirls.%20Photo%20by%20Diane%20Sobolewski.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2864" data-original-width="3839" height="478" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcgYpivNSnaP0QJCHO7MEaYeHWSTKi7sdyjA1RANuF_My9WuBMbbxYm51zJVKOE8Tt5TMlML2TAcNk-u1EF3FFXWvdLv9ljQozK4-VR0cBqBFBk2er2vqqaKNbk0Tt5E4bO3QTGKXWtmgfDwEXjgq_BV6jEhHb8FI6Sm2ZIUi-gCJqkaUSBfgp0S1q5J9R/w640-h478/8.%20Keirsten%20Hodgens,%20Ta-Tynisa%20Wilson%20and%20Shantel%20Cribbs%20in%20Goodspeed's%20Dreamgirls.%20Photo%20by%20Diane%20Sobolewski.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span class="dig-Theme dig-Theme--bright dig-Mode--bright In-Theme-Provider" style="display: contents;"><span aria-current="page" class="dig-Breadcrumb-link dig-Breadcrumb-link--current" tabindex="0"><span class="dig-Title dig-Title--size-small dig-Title--color-standard dig-Breadcrumb-link-content" data-testid="digBreadcrumbLinkContent"><span class="dig-Breadcrumb-link-inner"><span class="dig-Breadcrumb-link-text"><span class="dig-Text dig-Text--variant-paragraph dig-Text--size-large dig-Text--color-standard dig-Text--isBold">Keirsten Hodgens, Ta-Tynisa Wilson and Shantel Cribbs in Goodspeed's Dreamgirls. Photo by Diane Sobolewski</span></span></span></span></span></span></td></tr></tbody></table><span style="font-family: georgia;"><span style="font-size: large;"><br /></span></span><p></p><span style="font-family: georgia;"><span style="font-size: large;">
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;">The show starts as the three teenage Dreamettes - Deena Jones (Ta-Tynisa
Wilson), Lorrell Robinson (Kiersten Hodgens) and Effie White (Trejah Bostic), along
with Effie’s songwriting brother C.C. (Jos N. Banks) – enter New York City’s famed
Apollo Theater talent show.<span> </span>Even though
they lose, they meet a number of men who will be influential in their rise to stardom
– Marty (Robert Cornelius), Curtis Taylor, Jr. (Evan Tyrone Martin) and Jimmy
Early (Mykal Kilgore).<span> </span>Fame, though, has
its price and as the renamed group, The Dreams, rise to stardom each member’s
drive and sacrifice cost plenty.<span> </span>Effie, friends
with the other founding members of the group, is unceremoniously dumped for a prettier
young woman.<span> </span>Her story arc in Act II
runs parallel to The Dreams’, but is more gritty and difficult.<span> </span>In the end, there are heartaches and breakups,
but the four women survive, stronger and in control of their own destiny.</span></span></p><span style="font-family: georgia;"><span style="font-size: large;">
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;"> </span></span></p><span style="font-family: georgia;"><span style="font-size: large;">
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;">The book by Tom Eyen covers a lot of ground, from the birth of The Dreams
through their rise to stardom and eventual break-up.<span> </span>Act I is slightly disjointed as portrayals are
developed and situations established.<span> </span>By
Act II Eyen is able to breathe more life into the characters, giving them depth
and nuance, creating well-rounded characters that the audience cares about and
responds to.</span></span></p><span style="font-family: georgia;"><span style="font-size: large;">
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;"> </span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiztk9CdMjSw9agLWUlEQ3cTAdC-7868bEo5SMKfNTeabZaI3f46VmLSlIUO4iOGgj_ESCoc96BqEeOJ8paow5yL3uBl1yaWM4Km-sbBSfbUo-fIWJEP3xHNp2y8JeaZtxtFb7zeimg5R_L_wtqlyfe9mkAaaSxf-LUIm8DbgaQjT6mprFcoi6bdVC4EP4Q/s4332/2.%20Mykal%20Kilgore%20with%20Ta-Tynisa%20Wilson,%20Trejah%20Bostic%20and%20Keirsten%20Hodgens%20in%20Goodspeed's%20Dreamgirls.%20Photo%20by%20Diane%20Sobolewski.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2744" data-original-width="4332" height="406" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiztk9CdMjSw9agLWUlEQ3cTAdC-7868bEo5SMKfNTeabZaI3f46VmLSlIUO4iOGgj_ESCoc96BqEeOJ8paow5yL3uBl1yaWM4Km-sbBSfbUo-fIWJEP3xHNp2y8JeaZtxtFb7zeimg5R_L_wtqlyfe9mkAaaSxf-LUIm8DbgaQjT6mprFcoi6bdVC4EP4Q/w640-h406/2.%20Mykal%20Kilgore%20with%20Ta-Tynisa%20Wilson,%20Trejah%20Bostic%20and%20Keirsten%20Hodgens%20in%20Goodspeed's%20Dreamgirls.%20Photo%20by%20Diane%20Sobolewski.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span class="dig-Theme dig-Theme--bright dig-Mode--bright In-Theme-Provider" style="display: contents;"><span aria-current="page" class="dig-Breadcrumb-link dig-Breadcrumb-link--current" tabindex="0"><span class="dig-Title dig-Title--size-small dig-Title--color-standard dig-Breadcrumb-link-content" data-testid="digBreadcrumbLinkContent"><span class="dig-Breadcrumb-link-inner"><span class="dig-Breadcrumb-link-text"><span class="dig-Text dig-Text--variant-paragraph dig-Text--size-large dig-Text--color-standard dig-Text--isBold">Mykal Kilgore with Ta-Tynisa Wilson, Trejah Bostic and Keirsten Hodgens in Goodspeed's Dreamgirls. Photo by Diane Sobolewski.</span></span></span></span></span></span></td></tr></tbody></table><span style="font-family: georgia;"><span style="font-size: large;"><br /></span></span><p></p><span style="font-family: georgia;"><span style="font-size: large;">
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;">He also weaves in a number of issues that were becoming current to the
music business during this time frame.<span> </span>Rhythm
and Blues began crossing over to the pop charts and becoming more accepted by
white audiences.<span> </span>Black artists began taking
more control of their careers, both in the limelight and behind the scenes.<span> </span>Throughout <i>Dreamgirls</i>, the men are
dominant and call the shots.<span> </span>By the end,
the tables have turned as the individual women blaze their own pathways, on
their own terms.<span> </span></span></span></p><span style="font-family: georgia;"><span style="font-size: large;">
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;"> </span></span></p><span style="font-family: georgia;"><span style="font-size: large;">
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;">The lyrics by Tom Eyen and music by Henry Krieger aptly reflect the time
and style of the show’s 60’s – 70’s vibe.<span>
</span>The score is full of memorable songs that cross a number of genres from
pop to soul.<span> </span>There is the high-energy “One
Night Only” and “Dreamgirls,” the soulful “Steppin’ to the Bad Side,” the
poignant “Hard to Say Goodbye, (My Love),” and the heartbreaking “Family.”</span></span></p><span style="font-family: georgia;"><span style="font-size: large;">
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;"> </span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFUfDq5z0dHuk7rjbJlSnk7n0N-byQqnnQXdaspeoXLwgo8dNidzba-CmUNJtyOuiMWHqU3zGQ88kTJsI43NadDNgT2RZPNsHlNpG18jlhSXYsnTpBA16lgbVhcqX2-UxEeqcrppUyo8yYsBIBLyWbV2VFeBb58LfO3a4tKiS7OVALWD1OQOZD7EljLJTo/s3964/4.%20Trejah%20Bostic,%20Ta-Tynisa%20Wilson%20and%20Keirsten%20Hodgens%20with%20the%20cast%20of%20Goodspeed's%20Dreamgirls.%20Photo%20by%20Diane%20Sobolewski.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2814" data-original-width="3964" height="454" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFUfDq5z0dHuk7rjbJlSnk7n0N-byQqnnQXdaspeoXLwgo8dNidzba-CmUNJtyOuiMWHqU3zGQ88kTJsI43NadDNgT2RZPNsHlNpG18jlhSXYsnTpBA16lgbVhcqX2-UxEeqcrppUyo8yYsBIBLyWbV2VFeBb58LfO3a4tKiS7OVALWD1OQOZD7EljLJTo/w640-h454/4.%20Trejah%20Bostic,%20Ta-Tynisa%20Wilson%20and%20Keirsten%20Hodgens%20with%20the%20cast%20of%20Goodspeed's%20Dreamgirls.%20Photo%20by%20Diane%20Sobolewski.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><div class="dig-Breadcrumb-inner" data-testid="digBreadcrumbDisplayContainer"><span aria-current="page" class="dig-Breadcrumb-link dig-Breadcrumb-link--current" tabindex="0"><span class="dig-Title dig-Title--size-small dig-Title--color-standard dig-Breadcrumb-link-content" data-testid="digBreadcrumbLinkContent"><span class="dig-Breadcrumb-link-inner"><span class="dig-Breadcrumb-link-text"><div class="_file-name-container_1kive_28" tabindex="0"><span class="dig-Text dig-Text--variant-paragraph dig-Text--size-large dig-Text--color-standard dig-Text--isBold">Trejah Bostic, Ta-Tynisa Wilson and Keirsten Hodgens with the cast of Goodspeed's Dreamgirls. Photo by Diane Sobolewski</span>.</div></span></span></span></span></div><span class="dig-Theme dig-Theme--bright dig-Mode--bright In-Theme-Provider" style="display: contents;"></span><span class="dig-Theme dig-Theme--bright dig-Mode--bright In-Theme-Provider" style="display: contents;"></span><span class="dig-Theme dig-Theme--bright dig-Mode--bright In-Theme-Provider" style="display: contents;"></span><span class="dig-Theme dig-Theme--bright dig-Mode--bright In-Theme-Provider" style="display: contents;"></span><span class="dig-Theme dig-Theme--bright dig-Mode--bright In-Theme-Provider" style="display: contents;"><span class="dig-Text dig-Text--variant-paragraph dig-Text--size-small dig-Text--color-standard _titleBarFileCounter__visualRefresh_ze3o4_60" data-testid="title-bar-file-counter"></span></span></td></tr></tbody></table><span style="font-family: georgia;"><span style="font-size: large;"><br /></span></span><p></p><span style="font-family: georgia;"><span style="font-size: large;">
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;">Director Lili-Anne Brown smoothly and efficiently guides the show, with
its numerous scene and costume changes, with skillful aplomb.<span> </span>She utilizes Arnel Sancianco’s Scenic Design,
an arced prosemium stage, arrayed with lightbulbs, to simulate a feel for the
characters being constantly in the spotlight. At the back of the performance
space he has included large speaker-like pieces that incorporate just one
aspect of Jason Lynch and Adam Honore’s vibrant Lighting Design.<span> </span>The Director smoothly incorporates Choreographer
Breon Arzell’s sleek, synchopated dance steps for The Dreams and the character
of Jimmy Early.<span> </span>Ms. Brown sucessfully
overcomes the somewhat sluggish start of the show to conclude with a production
full of depth and pathos.</span></span></p><span style="font-family: georgia;"><span style="font-size: large;">
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;"> </span></span></p><span style="font-family: georgia;"><span style="font-size: large;">
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;">All around, the cast was marvelous.<span>
</span>Ta-Tynisa Wilson is outstanding as Deena Jones, thrust into the limelight
just at The Dreams make it big.<span> </span>The
actress gives a multi-layered performance as she transforms from naïve teenager
to a sophisticated, world-weary glamour star.<span>
</span>Trejah Bostic’s Effie White is the heart and soul of the musical.<span> </span>She plays the role beautifully, creating the
most well-developed portrayal in the show.<span>
</span>By the show’s end, her character is the one most at peace with her
choices.<span> </span>Kiersten Hodgens, as back-up
singer Lorrell Robinson, holds her own with her more exuberant castmates.<span> </span>Shantel Cribbs is elegant and adept as Effie’s
replacement Michelle Morris.</span></span></p><span style="font-family: georgia;"><span style="font-size: large;">
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;"> </span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiGtPJonsc_44sHJP4gXfHXCMWzBbDjAa735fGrUBrYBTNx8QlmScc1RVLhBHZNia-t5eX2627oA_R0sXBj791dz1137MSSxJsGzrIAojLysOMGWNzeBvJ5s3ycZTrZGpSG0WMzC5J0bTAX1T1pHYOAbvppmK3RE-jA73QeeORBRGe1Be7cXBJLwUCC-o-/s4139/1.%20Keirsten%20Hodgens,%20Ta-Tynisa%20Wilson%20and%20Shantel%20Cribbs%20in%20Goodspeed's%20Dreamgirls.%20Photo%20by%20Diane%20Sobolewski.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2760" data-original-width="4139" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiGtPJonsc_44sHJP4gXfHXCMWzBbDjAa735fGrUBrYBTNx8QlmScc1RVLhBHZNia-t5eX2627oA_R0sXBj791dz1137MSSxJsGzrIAojLysOMGWNzeBvJ5s3ycZTrZGpSG0WMzC5J0bTAX1T1pHYOAbvppmK3RE-jA73QeeORBRGe1Be7cXBJLwUCC-o-/w640-h426/1.%20Keirsten%20Hodgens,%20Ta-Tynisa%20Wilson%20and%20Shantel%20Cribbs%20in%20Goodspeed's%20Dreamgirls.%20Photo%20by%20Diane%20Sobolewski.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Keirsten Hodgens, Ta-Tynisa Wilson and Shantel Cribbs in Goodspeed's Dreamgirls. Photo by Diane Sobolewski.</td></tr></tbody></table><span style="font-family: georgia;"><span style="font-size: large;"><br /></span></span><p></p><span style="font-family: georgia;"><span style="font-size: large;">
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;">Evan Tyrone Martin (Curtis Taylor, Jr.) has the most significant male role
of the show.<span> </span>His character is divisive
as he winningly shifts from seat-of-your-pants hustler to a forceful, svengali
presence.<span> </span>While the actor delivers a
superb performance, it could have been more nuanced.<span> </span>Mykal Kilgore (Jimmy Early) gives a slick,
high-powered portrayal that convincingly shifts from self-absorbed artist to
one that shows more humility.<span> </span>Robert
Cornelius (Marty), Early’s one-time manager, brings a showbiz weariness to his
role.<span> </span>Jos N. Banks is sound in the
underwritten role of C.C. White.</span></span></p><span style="font-family: georgia;"><span style="font-size: large;">
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;"> </span></span></p><span style="font-family: georgia;"><span style="font-size: large;">
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;">Costume Designer Samantha C. Jones has crafted a kingsize closet full of flashy,
eye-popping costumes, primarily for the women of The Dreams.<span> </span>There are so many costume changes throughout
the show, I lost count.<span> </span>The designs for
the men are more subdued but, especially with the character of Curtis Taylor,
Jr., parallel his growth with sleekier, more contemporary outfits.<span> </span>Mention also needs to go to Earon Chew Nealey
for the numerous stylish hair pieces she has crafted.<span> </span>The coiff for Deena Jones during a photo
shoot was especially impressive.</span></span></p><span style="font-family: georgia;"><span style="font-size: large;">
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;"> </span></span></p><span style="font-family: georgia;"><span style="font-size: large;">
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;"><i>Dreamgirls</i>, playing at the Goodspeed Opera House through December 30.<span> </span><a href="https://www.goodspeed.org/shows/dreamgirls">Click here</a> dates, times,
and ticket information.</span></span></p><span style="font-family: georgia;"><span style="font-size: large;">
</span></span><p><style><span style="font-family: georgia;"><font size="5">@font-face
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{page:WordSection1;}</font></span></style></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2217372989018944697.post-38013620828850297912023-12-02T21:33:00.004-05:002023-12-03T13:03:20.930-05:00The Pin-Up Girls - Playhouse on Park<p><span style="font-family: georgia; font-size: large;"><span>VFW Post 5470 is set to
close.<span> </span>When a group of friends, cleaning
out the building, discover a huge cache of letters – spanning from WWI to Afghanistan
– they decide to commemorate the heartfelt, sometimes humorous correspondence with
a holiday show for veterans at the post based on the writings.<span> </span>That’s the simple premise behind the charming,
jukebox styled musical <i>The Pin-Up
Girls.<span> </span></i></span></span></p>
<p class="MsoNormal" style="text-align: left;"><span style="font-family: georgia; font-size: large;"><span> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgw4Tij6qcFqlUyvXVEay_RBqkvkilY79wApqzivQDwWhkNvxkjLChkHBRDshkfastL036wc16Vy-30xwJGiYGSe6rodcb6U1VJrVhDRaQbLICnNtz6PVDvp58-hmV5dTu8xDFDdALxEV0tPP2QybZ4zvsUk4UHjrcCsoxtZNqQNIez62iJoIiZBFO3WPMB/s1279/pin.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="771" data-original-width="1279" height="386" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgw4Tij6qcFqlUyvXVEay_RBqkvkilY79wApqzivQDwWhkNvxkjLChkHBRDshkfastL036wc16Vy-30xwJGiYGSe6rodcb6U1VJrVhDRaQbLICnNtz6PVDvp58-hmV5dTu8xDFDdALxEV0tPP2QybZ4zvsUk4UHjrcCsoxtZNqQNIez62iJoIiZBFO3WPMB/w640-h386/pin.JPG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;">Members of the cast of The Pin-Up Girls. Photo by Meredith Longo.</span><br /></td></tr></tbody></table><br /></span></span><br /></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span>Leanne (Olivia Fenton), Megan
(Maggie Keene), Dana (Hillary Ekwall), and Joel (Christopher Rhodes), along
with the exuberant piano accompaniment of Kevin (Musical Director Kevin
Barlowski), entertain with a wide-range of songs and associated skits based on snippets
of letters read by the cast.<span> </span>The correspondence
beautifully convey sentiments from the front lines as well as back home. <span> </span>They songs include Irving Berlin’s ditty "Oh!
How I Hate to Get Up in the Morning" from his 1918 musical revue <i>Yip,
Yip, Yaphank</i>; The Andrew Sisters’ “Boogie Woogie Bugle Boy;” “Please Mr.
Postman;” and even Beyonce’s “Single Ladies.”<span>
</span>They are presented in a timeworn VFW hall, artfully rendered by Scenic
Designer Lindsay G. Fuori. </span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqCtvi4R-SGs2FY9JIqlsHvWnBT-VA4EafU2CH6e97n_QbMTk0rlZta_BPxNOET_9j1dPjmpD868MWE8_ZReTePvNFx_oi1vwymJ6w3sS4kBPHvj4cFgu0A02V7_69SudiOs8sePdQeQb9gdnaPogwLBo3YH8BxoKXiqrpHuYWSCA6cDu8KLI4-brf9GhZ/s1280/pin2.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="701" data-original-width="1280" height="350" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqCtvi4R-SGs2FY9JIqlsHvWnBT-VA4EafU2CH6e97n_QbMTk0rlZta_BPxNOET_9j1dPjmpD868MWE8_ZReTePvNFx_oi1vwymJ6w3sS4kBPHvj4cFgu0A02V7_69SudiOs8sePdQeQb9gdnaPogwLBo3YH8BxoKXiqrpHuYWSCA6cDu8KLI4-brf9GhZ/w640-h350/pin2.JPG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;">Olivia Fenton, members of the cast of <i>The Pin-Up Girls</i>. Photo by Meredith Longo.</span><br /></td></tr></tbody></table></span></span><span style="font-family: georgia; font-size: large;"><span> </span></span></p><p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span>The book and song selections
by co-creators James Hindman and Jeffrey Lodin, while entertaining, is an
uneven affair, with the comedic and upbeat numbers usually hitting their mark.<span> </span>Whenever a lull occurs or a sketch doesn’t
register, there is usually an engaging scene that quickly follows. <span> </span>Overall, the 90-minute, intermission-less production
does its job - pulling at audience’s heartstrings, arousing pride for the men
and women who have served in the armed forces, and generating a twinge of nostalgic
wistfulness.</span></span>
</p><p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFeht11wrRYBbBI_jFR1yt2w-zLvCO3IMiG871obCN7OQdHTfAZIwBUZTMl1mngWco7x5Jo566ASQO1Xckz0yh_jfpC6xzNM76b69PjFQqHgl3kQ0VyFUcw17CVvUlfP1aphSSm6QcnlU80pBF4thQVjCPH7Vo0GKD1s2RkuqW-Z7qgJfaj-NM3A62zK_Q/s2048/pin3.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1493" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFeht11wrRYBbBI_jFR1yt2w-zLvCO3IMiG871obCN7OQdHTfAZIwBUZTMl1mngWco7x5Jo566ASQO1Xckz0yh_jfpC6xzNM76b69PjFQqHgl3kQ0VyFUcw17CVvUlfP1aphSSm6QcnlU80pBF4thQVjCPH7Vo0GKD1s2RkuqW-Z7qgJfaj-NM3A62zK_Q/w466-h640/pin3.JPG" width="466" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;">Maggie Keene and Hillary Ekwall from <i>The Pin-Up Girls</i>. Photo by Meredith Longo.</span><br /></td></tr></tbody></table><br /></span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span>The performers, under the
assured direction of Darlene Zoller, display a wonderful, easygoing chemistry
as they act and sing together and in combination. <span> </span>All four possess superb voices, whether
belting or tenderly crooning the over two dozen songs (I do wish a song list
was included in the program handed out to audience members or even included in
the online version).<span> </span>Zoller has infused
the production with creative staging and a whole lot of schtick.<span> </span>She utilizes the entire Playhouse on Park
performance space to achieve a well-paced musical revue. Stef Carr’s Lighting
Design strikingly sets the mood for many of the scenes.<span> </span>Rachel Landy’s Sound Design handsomely blends
the vocal flourishes of the three actresses and two actors.</span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span> </span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span>The <i>Pin-Up Girls, </i>an appealing holiday-time jukebox musical.<span> </span>Playing at Playhouse on Park through December
19.<span> </span><a href="https://www.playhouseonpark.org/web2/Season15/mainstage_PinUpGirls.html">Click
here</a> for dates, times, and ticket information.</span></span></p><p><style><font size="5" style="font-family: georgia;">@font-face
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{page:WordSection1;}</font></style></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2217372989018944697.post-11070660171884930982023-11-28T16:40:00.000-05:002023-11-28T16:40:59.940-05:00Spamalot - Broadway<p><span style="font-family: georgia; font-size: large;">The Broadway revival of <em>Spamalot</em>, is good-natured fun,
provoking a steady stream of titters, cackles, and guffaws from audience
members. While the production loses its steam by show’s end, it still
provides a generous dollop of pizazz and show business know how.
</span></p>
<div><span style="font-family: georgia; font-size: large;">Based on the film, <em>The Holy Grail,</em> by the British comedic
troupe, Monty Python’s Flying Circus, the show is part book musical and
part Las Vegas revue, courtesy of original Python member Eric Idle who
co-wrote the score (with lyrics by John Du Prez) and its libretto.
</span></div>
<div><span style="font-family: georgia; font-size: large;">
</span></div>
<div><span style="font-family: georgia; font-size: large;">
The story revolves around King Arthur’s search for individuals to
join the Knights of the Roundtable and then shifts to their quest to
find The Holy Grail. Idle made sure to include memorable, fan favorite
bits from the movie including the taunting French soldier and the Trojan
Rabbit, the Knights Who Say “Ni!,” the deranged Black Knight, and the
killer rabbit. He also added a character not from the film, the Lady of
the Lake (Leslie Rodriguez Kritzer). Her link to the shenanigans is
based solely on how she bestowed to Arthur his enchanted sword.
Otherwise, in a very amusing, scenery-chewing performance, Ms. Kritzer
resurfaces every so often to moan and complain about her role in the
show.
</span></div>
<div><span style="font-family: georgia; font-size: large;">
</span></div>
<div><span style="font-family: georgia; font-size: large;">
The cast is filled with seasoned comic performers. They include
Christopher Fitzgerald as King Arthur’s manservant, Patsy; Tara Killam
as the macho Sir Lancelot; Ethan Slater in a variety of quirky, humorous
roles; Jimmy Smagula as the bumbling Sir Bedevere, Michael Urie as the
perpetually frightened Sir Robin; and Nik Walker as the self-centered
Sir Galahad. James Monroe Inglehart, stoic and straightforward as King
Arthur, is the glue that holds the production together. His forthright
portrayal keeps the show on task.
</span></div>
<div><span style="font-family: georgia; font-size: large;">
</span></div>
<div><span style="font-family: georgia; font-size: large;">
The score by Eric Idle and John Du Prez is full of fun-filled tunes
including the silly “I Am Not Dead Yet;” the hyper-emoting of “The Song
That Goes Like This;” the sweetly melodic “Always Look at the Bright
Side of Life;” and the big production number, “You Won’t Succeed on
Broadway.” While not the most sophisticated group of songs, many stay
with you long after you leave the theater.
</span></div>
<div><span style="font-family: georgia; font-size: large;">
</span></div>
<div><span style="font-family: georgia; font-size: large;">
Director/Choreographer Josh Rhodes allows his acting troupe a wide
berth as they delve into their comedic roles. Scenes are performed with
precision and never overstay their welcome. He incorporates some wild
choreographic numbers including “Knights of the Round Table” and “You
Won’t Succeed on Broadway.” My only complaint by the latter song is
Rhodes tries to milk it a tad too much.
</span></div>
<div><span style="font-family: georgia; font-size: large;">
</span></div>
<div><span style="font-family: georgia; font-size: large;">
The Scenic Design by Paul Tate DePoo III is whimsical and varied.
His towering projections, in the style of Monty Python member Terry
Gilliam, also pay homage to the film. Cory Pattak provides a flashy
Lighting Design. The Costume Designs by Jen Caprio are imaginative and
playful.
</span></div>
<div><span style="font-family: georgia; font-size: large;">
</span></div>
<div><span style="font-family: georgia; font-size: large;">
<i>Spamalot</i>, yucking it up for a new generation of Python (and not so Python) enthusiasts at the St. James Theater.
</span></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2217372989018944697.post-71287091217708399942023-11-28T11:47:00.001-05:002023-11-28T13:21:21.125-05:00Harmony - Broadway<p><span style="font-family: georgia; font-size: large;"><span><i>Harmony</i>, the new show with
music by Barry Manilow and lyrics/book by Bruce Sussman, 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.<span> </span>The soaring fame of the six-person group,
comprised of three Jewish and three non-Jewish members,<span> </span>coincided with the rise of Nazism which,
eventually, led to the end of their storied career.</span></span></p><p><span style="font-family: georgia; font-size: large;"><span> </span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span>The musical, which was first
presented two years ago at the National Yiddish Theatre down by the Battery, is an emotional
roller coaster, with Bruce Sussman’s streamlined book emphasizing the highs and
lows of the group.<span> </span>Even though the
finale – including a moving, angst-filled monologue by the superb Chip Zien –
will bring a tear to the eye, Harmony is also filled with joy and wondrous
singing by the cast.<span> </span>The performances by
the six-man Harmonists is a joy to hear as they beautifully blend their voices
into aural magic.<span> </span>Dan Moses Schreir’s
Sound Design is an auditory gem, which greatly enhances the production.</span></span></p><p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span> </span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span>The story follows the six
young men as they form their group and move from dive establishments to star
billing at the fanciest nightclubs.<span>
</span>Sussman provides enough of a back story of each member to present a
wholly-defined character.<span> </span>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.<span>
</span>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.<span> </span>In Act II, while still performing and
traveling – the Third Reich felt their performances were good for their image –
they were eventually reined in due, primarily, because of the Jewish members of
the group.<span> </span>In the end, the Harmonists
were disbanded, never to see each other again.</span></span></p><p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span> </span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span>To hold the show together and
push the action forward, Sussman has structured the musical with an aged
narrator – Chip Zien as Rabbi, a member of the Comedian Harmonists in his
younger days (Danny Kornfeld plays Young Rabbi in the production).<span> </span>Zien, a musical theater veteran, pops up to
add texture to the story and play a number of characters, including Albert
Einstein.<span> </span>He is the moral compass that
gives expression to inner thoughts and outrage from years before.<span> </span>The actor, a spry 76 year-old, is a natural
storyteller.<span> </span>He is at times funny,
moving and passionate as he delivers a tour de force performance.</span></span></p><p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span> </span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span>The six members that comprise
the Harmonists are equally distinguished.<span>
</span>The group – Sean Bell, Danny Kornfeld, Zal Owen, Eric Peters, Blake
Roman, and Steven Telsey- have been together for a number of years and this
comfortability and ease together show in their on-stage interactions and
playfulness.<span> </span>Five of the young men are
making their Broadway debut (Zal Owen appeared in the Broadway production of
The Band’s Visit), but you wouldn’t be able to tell from their laudable
performances.</span></span></p><p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span> </span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span><i>Harmony</i> is also blessed to
have the actresses Sierra Boggess and Julie Benko in the cast.<span> </span>Boggess, who has appeared in a number of
Broadway shows, brings a vitality and confidence to her role of Mary, the wife
of Young Rabbi.<span> </span>Benko who, during the
absences of Lea Michel in the recent revival of <i>Funny Girl</i>, wowed audiences, is
dynamic and assured in her role of Ruth, a firebrand seeking change to an
unjust system.<span> </span>Her character is not as
well-defined as the other cast members but, nonetheless, she makes the most of
her portrayal while onstage.</span></span></p><p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span> </span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span>The score by Barry Manilow
and Bruce Sussman can be affecting, upbeat, frisky and, for the most part, very
tuneful.<span> </span>There are few original musicals
on Broadway today where I would say this.<span>
</span>Manilow has co-written purely theatrical songs that will also be very
satisfying to his legion of fans.<span>
</span>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 Sierra Boggess and Julie
Benko.</span></span></p><p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span> </span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span>Director/Choreographer Warren
Carlyle has tightened the show since it’s New York premiere.<span> </span>The pacing and scene changes are smooth and
efficient helped by Beowulf Boritt’s minimal, but effective, Scenic Design.<span> </span>Carlyle is equally adept at staging intimate
moments as he is with high-powered routines.<span>
</span>He skillfully inserts dance numbers into the show, both stylish routines
for the Harmonists and outright confections as with the “We’re Goin’ Loco!”
number for the scene at the Ziegfeld Follies of 1934. </span></span></p><p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span> </span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span>While <i>Harmony</i> 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.<span> </span>It is
a distressing commentary of where we are as a society and should serve as a
warning on complacency and ignorance.</span></span></p><p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span> </span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span><i>Harmony</i>, playing at the Ethel
Barrymore Theatre, a show not to be missed.</span></span></p>
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{page:WordSection1;}</font></style></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2217372989018944697.post-33435661788021456892023-11-16T12:59:00.004-05:002023-11-16T15:43:38.037-05:00Clybourne Park - Music Theatre of Connecticut <div><span style="font-family: georgia; font-size: large;">
The Tony and Pulitzer Prize winning play, <i>Clybourne Park</i>,
is receiving an uneven production at the Music Theatre of Connecticut
(MTC). The show, a well-constructed comedy/drama, is split into two
Acts. The first part of the play mines the field of racial attitudes
from the perspective of a Black family looking to move into an all-White
neighborhood. In Act II, taking place 50 years later, the reverse is
happening. In both circumstances, playwright Bruce Norris unfurrows
viewpoints and convictions that are, sadly, still prevalent today.
While segments of the MTC staging can be riveting, primarily the latter
half of Act I, the show is undercut from some ineffective performances
and an Act II which can be confusing and not as well-rendered.
</span></div>
<div><span style="font-family: georgia; font-size: large;">
<br /></span></div>
<div><span style="font-family: georgia; font-size: large;">
In Act I, which takes place in 1959, we are introduced to Bev and
Russ, a white, middle-class couple who reside in the Clybourne section
of Chicago. They are moving, not far away, and have sold their house to
a Black couple. Soon, their home is visited by Jim, the local priest,
and neighbors Karl Lindner and his wife, Betsy. Karl’s missions is
simple – he wants to convince Bev and Russ not to sell their home,
worrying about falling property values. Tempers flare and arguments
ensue about racism as well as neighborhood values and caring (Russ and
Bev’s son was shunned when he returned from the Korean War). Drawn into
the fray is the homeowner’s Black housekeeper and her husband.
</span></div>
<div><span style="font-family: georgia; font-size: large;"> </span></div><div><span style="font-family: georgia; font-size: large;">
In Act II, the time is now 50 years in the future. The same cast,
in different roles, are sitting in folding chairs in the decaying living
room of the same home from Act I. In the intervening years, the
Clybourne section has become an all-Black neighborhood, but is now
becoming gentrified. A white couple, Steve and Lindsey, want to tear
down the structure and build a larger house. The Black couple – Lena
and Kevin - from the housing board are trying to negotiate with them as
the lawyers Kathy and Tom attempt to mediate the discussion, which soon
becomes heated and breaks down into arguments and accusations centering
on racism and political correctness. As with Act I, the second half of
the show concludes with characters exiting the stage, battered and
nowhere near a resolution.
</span></div>
<span style="font-family: georgia; font-size: large;"> </span>
<div><span style="font-family: georgia; font-size: large;">
Playwright Bruce Norris has craftily constructed <i>Clybourne Park</i> with a nod to Lorraine Hansberry’s classic work, <i>A Raisin in the Sun</i>. For example, the Black family referenced in Act I are the Youngers. Karl, is also a character in <i>Raisin</i>.
In addition, Lena from the Housing Board is related to the Younger’s
and doesn’t want the memory-filled home razed. The scenes in Act I
aptly capture the changes and self-generating strife white neighborhoods
were undergoing. The acrimony portrayed in Act II are, distressingly,
still of the moment. Overall, the dialog is smart, snappy and full of
rancorous exchanges.
</span></div>
<div><span style="font-family: georgia; font-size: large;">
</span></div>
<div><span style="font-family: georgia; font-size: large;">
As staged by Director Pamela Hill, the show takes some time getting
into high gear but, once it does, the tension during the first half of
the play is palatable in the small MTC theater. Ms. Hill is less
successful in building up to the dramatic conflicts that ended in Act
I. As the conversations begin in Act II, it was somewhat difficult
understanding roles. There was less fluidity to the flow of the
action. Sometimes performers would be talking over each other and
hurrying through their lines as opposed to utilizing a more judicious
use of pauses to heighten the growing hostility on stage.
</span></div>
<div><span style="font-family: georgia; font-size: large;">
</span></div>
<div><span style="font-family: georgia; font-size: large;">
Overall, the cast could have a stronger stage presence. Many of
them have a quiet fortitude, which does set the scene for the latter
fireworks in both Acts I and II, but the understated portrayals lessen
the power of the work. Susan Haefner is a bit restrained in her roles
of Bev/Kathy. Frank Mastrone’s Russ is also somewhat subdued even
though his underlying resentment and anger eventually erupts just before
intermission. Nick Roesler, who plays Karl in Act I, gives a powerful,
full-in performance during the first half of the show. His relentless
rantings were forceful and effective. As Steve, in Act II, while still
the tempest in the teapot, his diatribes were less compelling. Allie
Seibold drifts through Act I as Betsy, but is more vocal and successful
as Lindsey in the latter part of the play. Rae Janeil is appropriately
proper as the domestic, Francine, in Act I, but shows a fiery spirit as
Lena in Act II. SJ Hannah is respectful and assured as Albert in Act I,
but the actor demonstrates he is not one to back away from his
principles. His portrayal of Kevin in Act II is fine, but more
perfunctory. Matt Mancuso’s portrayal of Father Jim in Act I is
somewhat off for a person that should be able to handle conflict and
mediation. As the lawyer, Tom, in Act II, he is rather muted.
</span></div>
<div><span style="font-family: georgia; font-size: large;">
</span></div>
<div><span style="font-family: georgia; font-size: large;">
Scenic Designer Martin Scott Marchitto has forged two spare, but
suitable sets. For Act I, a dispiriting living room full of moving
boxes; for Act II, a decaying, sparsely furnished space.
</span></div>
<div><span style="font-family: georgia; font-size: large;">
</span></div>
<div>
<span style="font-family: georgia; font-size: large;"><i>Clybourne Park</i>, playing at the Music Theatre of Connecticut through November 19. <a href="https://www.musictheatreofct.com/clybourne-park">Click here</a> for dates, times, and ticket information.
</span></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2217372989018944697.post-4597076443251610802023-11-11T10:19:00.001-05:002023-11-11T10:19:16.591-05:00I Need That - Broadway<p>
</p><div class="default-style" style="color: #333333; font-family: helvetica, arial, sans-serif;">
<div><span style="font-family: georgia; font-size: large;">
Connections are at the root of playwright Theresa Rebeck’s modest new show on Broadway, <em>I Need That</em>.
Danny DeVito stars as Sam, a shut-in and hoarder, who seems to have
only one friend, Foster, along with Amelia, his anxious and overwrought
daughter. Sam’s house is about to be condemned because of the mess
inside and out. No amount of pleading by Amelia and Foster moves him
any closer to cleaning the accumulated chaos. Why? The objects serve a
dual purpose – they bring forth memories of his youth that he doesn’t
want to lose and they form an unspoken connection between him and his
recently departed wife. The teetering assemblage of books, a bottle
cap, an electric guitar, and an array of classic board games dredge up
memories he does not wish to forget.
</span></div>
<div><span style="font-family: georgia; font-size: large;">
</span></div>
<div><span style="font-family: georgia; font-size: large;">
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwOnb0-AaR7TDhi8NW5dum3ouWF1FgPWriCuXmwPENNAIUn654TTVzTQoYr8xOY_rCngsq72AHc3GvawEGP4E9ULOT-jkbJwjQOfY19LSs1RZKAHwN0WrZTu5vEa-bWC1Tt9i045CqPfPpoeu8Om7ToOMeh0B9uKw_4tz5vsuIb-ye-z_owLvItJzrIekd/s1333/17._INT_prod_image_1_TodayTix_1600x1200__1_.webp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1333" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwOnb0-AaR7TDhi8NW5dum3ouWF1FgPWriCuXmwPENNAIUn654TTVzTQoYr8xOY_rCngsq72AHc3GvawEGP4E9ULOT-jkbJwjQOfY19LSs1RZKAHwN0WrZTu5vEa-bWC1Tt9i045CqPfPpoeu8Om7ToOMeh0B9uKw_4tz5vsuIb-ye-z_owLvItJzrIekd/w640-h480/17._INT_prod_image_1_TodayTix_1600x1200__1_.webp" width="640" /></a></div><br />There is much angst, handwringing and confessions throughout the
100-minute, intermission-less show, but Rebeck relies on too many
heartfelt stories to move the action along. There just isn’t a lot of
substance underneath the piles of dialog. You also wonder what has been
happening in the many intervening years with the three individuals.
Has Sam been estranged from his daughter? Has she been a constant
presence in his life? Sam and Foster have known each other for over 30
years, but details emerge that such good friends would have known about
each other. Director Moritz von Stuelpnagel does give Danny DeVito room
to operate and his schtick can be quite hilarious as when he narrates a
game of Sorry he plays all by himself. But even this scene, as
inspired as it is, is overlong.
</span></div>
<div><span style="font-family: georgia; font-size: large;">
</span></div>
<div><span style="font-family: georgia; font-size: large;">
In the end, there is closure and harmony for all three characters.
</span></div>
<div><span style="font-family: georgia; font-size: large;">
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfYXBr2tfRipMtbheM_QKg8QpJnDM2b-3K4-I1H8XfY1Nhw5tMPmQKF0vf_1gZkvwWF7Qwc2YDYL5rhL2jH8FNB9N7Wuf2HWFgMR5E5lLEcWdbH7RiEStwJFVIF9td4QyFB-Mx_RFkKJIEB__rTTOdcRgDQiFGq1_jxxRwUmU5qnyYZaZEbQ6d_zxMSdjb/s600/02need-that2-tmfb-articleLarge.webp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="600" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfYXBr2tfRipMtbheM_QKg8QpJnDM2b-3K4-I1H8XfY1Nhw5tMPmQKF0vf_1gZkvwWF7Qwc2YDYL5rhL2jH8FNB9N7Wuf2HWFgMR5E5lLEcWdbH7RiEStwJFVIF9td4QyFB-Mx_RFkKJIEB__rTTOdcRgDQiFGq1_jxxRwUmU5qnyYZaZEbQ6d_zxMSdjb/w640-h426/02need-that2-tmfb-articleLarge.webp" width="640" /></a></div><br />
</span></div>
<div><span style="font-family: georgia; font-size: large;">
Lucy DeVito, Danny DeVito’s real life daughter, is fine as Amelia.
At times, though, she can be a bit too high-strung. Ray Anthony Thomas
is solid as Foster, playing more the straight man to DeVito’s comic
shenanigan’s. Danny DeVito is masterful as Sam. It’s a shame all his
television and movie work have kept him away from the theater. He is a
superb performer with great stage presence.
</span></div>
<div><span style="font-family: georgia; font-size: large;">
</span></div>
<div><span style="font-family: georgia; font-size: large;">
Director von Stuelpnagel comes up with a lot of busy work for the
performers – moving items from here to there, filling garbage bags.
Again, allowing Danny DeVito to let loose, as when he maneuvers a TV’s
rabbit ears to get the set to momentarily work. But the pacing can be
slow and tiresome.
</span></div>
<div><span style="font-family: georgia; font-size: large;">
</span></div>
<div><span style="font-family: georgia; font-size: large;">
Besides Danny DeVito, the other star of the show is the Set Designer
Alexander Dodge. I would have loved to be a fly on the wall as he and
his team mapped out the interior of the dilapidated home. However, the
true Broadway magic comes with the transformation at the end of the play. How
did they do what they did so quickly?
</span></div>
<div><span style="font-family: georgia; font-size: large;">
</span></div>
<div>
<span style="font-family: georgia; font-size: large;"><em>I Need That</em>, playing on Broadway through December 30, 2023.
</span></div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2217372989018944697.post-59406846666659001552023-11-09T10:25:00.000-05:002023-11-09T10:25:06.179-05:00Private Jones - Norma Terris Theatre<p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;"><span style="color: #333333;">The musical, <i>Private <span>Jones</span></i>, which finished its workshop production earlier this
month at the Norma Terris Theater (part of the Goodspeed Opera House group of
theaters), is a unique show with an interesting plotline.<span> </span>The main character, Gomer Jones, is deaf.<span> </span>A farmer in civilian life, he becomes an
accomplished sniper during WWI.<span> </span>The show
traces his journey from young, naïve country bumpkin to hardened soldier during
the prolonged trench warfare of The Big War.<span>
</span>Marshall Pailet, who wrote the book, music, lyrics and even directs, has
crafted a musical that, at times, packs an emotional wallop, especially when
certain characters are killed.</span></span></span></p><span style="font-family: georgia;"><span style="font-size: large;">
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;"><span style="color: #333333;"><span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoyDa4Da_RpkxbjR7CxROBEnj5eFbDxG9Kp12XtX1tBxg_T691EtSi_NrAG_-cp7rttfSomP7IYd7VB225CnUzNfwSglIeZW1A71VhaSNKpKSPjld27vSum2wfjoVFlRHZew4Qt81w3ZTHtImN6IzDoOLneW_dKkUg8Xf3UmTwni6bhyEUilr-bQ6KwyMr/s4464/1.%20Johnny%20Link%20and%20the%20cast%20of%20Goodspeed's%20Private%20Jones.%20Photo%20by%20Diane%20Sobolewski.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2976" data-original-width="4464" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoyDa4Da_RpkxbjR7CxROBEnj5eFbDxG9Kp12XtX1tBxg_T691EtSi_NrAG_-cp7rttfSomP7IYd7VB225CnUzNfwSglIeZW1A71VhaSNKpKSPjld27vSum2wfjoVFlRHZew4Qt81w3ZTHtImN6IzDoOLneW_dKkUg8Xf3UmTwni6bhyEUilr-bQ6KwyMr/w640-h426/1.%20Johnny%20Link%20and%20the%20cast%20of%20Goodspeed's%20Private%20Jones.%20Photo%20by%20Diane%20Sobolewski.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">
<p class="MsoNormal"><span class="dig-text">Johnny Link and the cast of Goodspeed's
Private Jones. Photo by Diane Sobolewski.</span></p>
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</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;"><span style="color: #333333;">As Director, he has
incorporated a number of techniques – blackouts, slow motion movement, and puppetry
– to tell the story and move the action swiftly along.<span> </span>He has skillfully integrated sign language
and minimal subtitles to give audiences an understanding of the experiences and
conflicts from Jones’ vantage point.<span> </span>Sound
effects – especially the cocking and firing of a rifle - are nimbly utilized to
heighten the audience’s auditory faculties.<span>
</span></span></span></span></p><span style="font-family: georgia;"><span style="font-size: large;">
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;"><span style="color: #333333;"> </span></span></span></p><span style="font-family: georgia;"><span style="font-size: large;">
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;"><span style="color: #333333;">The book of the show, suggested
by a true story, is well-fashioned and provides a significant amount of drama
and tension as the story unfolds.<span> </span>It can
occasionally appear melodramatic as it follows Jones as he hones his shooting prowess
at a young age, through his attempts at enlisting – finally succeeding – to his
engagements on the battlefield.<span> </span><span> </span>Along the way, he befriends a helpful nurse
(Gwenolyn) who’s brother happens to be deaf; a fellow enlistee (King), crude
talking and a braggard, he eventually befriends; and a swaggering soldier (Edmund)
who becomes his main antagonist.<span> </span>There’s
also a creepy, pathetic looking mongrel (represented as a puppet) that plays an
integral part in the musical.</span></span></span></p><span style="font-family: georgia;"><span style="font-size: large;">
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;"><span style="color: #333333;"><span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWaVVPYgQPGQv7p8YN5FTt8ChTOwXvIrKV-s0O-OShZTeVHVRakgHTCosr7j1Tv-ZXA72gODZVrC2W0rnG3ovU9tn_juno3xI0u7Yf9BCBKHyNT4AZbMoYPLl-6-K_wgC791H9F0LKizA7eLkP2dmK96tIILP77EWEaRuFKCyoNEza_HsR0zU1GnUV4-E_/s3912/2.%20The%20cast%20of%20Goodspeed's%20Private%20Jones.%20Photo%20by%20Diane%20Sobolewski.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2608" data-original-width="3912" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWaVVPYgQPGQv7p8YN5FTt8ChTOwXvIrKV-s0O-OShZTeVHVRakgHTCosr7j1Tv-ZXA72gODZVrC2W0rnG3ovU9tn_juno3xI0u7Yf9BCBKHyNT4AZbMoYPLl-6-K_wgC791H9F0LKizA7eLkP2dmK96tIILP77EWEaRuFKCyoNEza_HsR0zU1GnUV4-E_/w640-h426/2.%20The%20cast%20of%20Goodspeed's%20Private%20Jones.%20Photo%20by%20Diane%20Sobolewski.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">
<p class="MsoNormal"><span class="dig-text">The cast of Goodspeed's Private Jones.
Photo by Diane Sobolewski.</span></p>
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{page:WordSection1;}</style></td></tr></tbody></table></span></span></span></span><span style="font-family: georgia;"><span style="font-size: large;"><span style="color: #333333;">Pailet is able to bring a
number of themes into the production.<span>
</span>Front and center is the plight, insensitivity and discrimination of
individuals who are deaf.<span> </span>The senseless and
destructive nature of war looms over most of the show.<span> </span>There is, however, hope and resilience even
with all the death and anguish swirling around production.</span></span></span><span style="font-family: georgia;"></span><span style="font-family: georgia;"><span style="font-size: large;">
</span></span></p><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;"><span style="color: #333333;"> </span></span></span></p><span style="font-family: georgia;"><span style="font-size: large;">
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;"><span style="color: #333333;">The production is greatly
enhanced by Christopher and Justin Swader’s minimalistic set design of moveable
crates.<span> </span>At times, their configuration is
highly effective such as the depiction of isolating trench warfare.<span> </span>Jen Schriever’s varied Lighting Designs helps
intensify the action of scenes and Jay Hilton’s Sound Design can be haunting. <span> </span></span></span></span></p><span style="font-family: georgia;"><span style="font-size: large;">
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;"><span style="color: #333333;"> </span></span></span></p><span style="font-family: georgia;"><span style="font-size: large;">
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;"><span style="color: #333333;">Marshall Pailet’s score
for <i>Private Jones</i> is more serviceable to the show, with no distinctive
numbers <span> </span>that resonate after leaving the
theater.<span> </span>They do a fine job in this
endeavor.<span> </span>The songs work well in helping
to move the production forward and clarifying various encounters and conflicts.
</span></span></span></p><span style="font-family: georgia;"><span style="font-size: large;">
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;"><span style="color: #333333;"> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqSwkLRQRc4huiZTjB_ORXxxqoiedSrmHix0NppdYVTE4h41-Xoe0p_sW5TcU8s43SaQ6vr0cB09kb7a2-gjYFXM856w-uZ7gsUR_8JAjXjN5yjCU2p-LrawxA3WeNHbAn90htgN7jQjBGlFOz2guh4L78ehqf958oeZzd0cSZcnNmqXhxQ_35ewSHYn9i/s4209/11.%20Johnny%20Link%20and%20David%20Aron%20Damane%20.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4209" data-original-width="2806" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqSwkLRQRc4huiZTjB_ORXxxqoiedSrmHix0NppdYVTE4h41-Xoe0p_sW5TcU8s43SaQ6vr0cB09kb7a2-gjYFXM856w-uZ7gsUR_8JAjXjN5yjCU2p-LrawxA3WeNHbAn90htgN7jQjBGlFOz2guh4L78ehqf958oeZzd0cSZcnNmqXhxQ_35ewSHYn9i/w426-h640/11.%20Johnny%20Link%20and%20David%20Aron%20Damane%20.jpg" width="426" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">
<p class="MsoNormal"><span class="dig-text">Johnny Link and David Aron Damane. Photo
by Diane Sobolewski.</span><span style="color: #333333; font-family: Helvetica; font-size: 20.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-ligatures: none;"></span></p>
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</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;"><span style="color: #333333;">The cast, led by Johnny
Link as Gomer Jones, is first-rate.<span> </span>Link
delivers a superb performance, handily shifting from a budding innocent lad to
a still youth, but hardened soul. He handles the deafness of his character with
proficiency and aplomb.<span> </span>Claire Neumann
gives King a raucous, bawdy persona that, as written, is slightly
over-the-top.<span> </span>Still, the actress becomes
an audience favorite as the character of King tightly bonds with Jones.<span> </span>Vincent Kempski’s portrayal of Edmund is full
of bravado, even though his intentions are somewhat questionable.<span> </span>Leanne Antonio brings a refreshing no-nonsense
approach to the role of Gwenolyn.<span> </span>The
actress also has a beautiful singing voice.<span>
</span>David Aron Damane, playing a number of characters – Gomer’s Father, a
Drill Sergeant and a Major – is able to convey forcefulness, intelligence, and
even humor during his appearances in each role. </span></span></span></p><span style="font-family: georgia;"><span style="font-size: large;">
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;"><span style="color: #333333;"> </span></span></span></p><span style="font-family: georgia;"><span style="font-size: large;">
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;"><span style="color: #333333;">A few thoughts as <i>Private
Jones</i> readies for its next engagement at the esteemed Signature Theatre
company in Arlington, VA.<span> </span>Pailet might
want to reexamine the almost non-stop, profanity-laden dialogue of the
character of King, Jones’ comrade-in-arms.<span>
</span>The constant swearing and crude retorts could be off-putting.<span> </span>Sometimes less is more.<span> </span>In addition, the character of Edmund appears
rather cavalier as he strolls through the trenches, giving new arrivals his
take on what will happen and how to survive.<span>
</span>At times, even though scenes of warfare are brutally honest, he seems to
be on his way to high tea.<span> </span>Near the end
of the show, audiences are led to believe one final raid is due to the war about
to end…but it isn’t. </span></span></span></p><span style="font-family: georgia;"><span style="font-size: large;">
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;"><span style="color: #333333;"> </span></span></span></p><span style="font-family: georgia;"><span style="font-size: large;">
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;"><i><span style="color: #333333;">Private Jones</span></i><span style="color: #333333;">, a musical one hopes continues to develop as it reaches
for a broader audience.</span></span></span></p><span style="font-family: georgia;"><span style="font-size: large;">
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{page:WordSection1;}</font></span></style></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2217372989018944697.post-12532106191651771082023-11-01T21:18:00.002-04:002023-11-01T21:33:39.197-04:00Sunset Boulevard - ACT of CT<p>
</p><p class="MsoNormal"><span style="font-family: georgia; font-size: large;">The production of <i>Sunset Boulevard</i>, which opened the 6<sup>th</sup>
season at ACT of CT, continues the company’s success they had with last year’s rewarding
staging of <i>The Secret Garden</i>.<span>
</span>While <i>Sunset Boulevard</i> is not my favorite Andrew Lloyd Webber
musical, the show is given a grand production, with multiple stylized and sumptuous
sets by Scenic Designer David Goldstein, luxuriant gowns and outfits crafted by
Kurt Alger, and some smart directorial choices by Daniel C. Levine that keeps the
show humming.</span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"> <br /></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSnai9zdlvpQ9iLmeQ3MEuGpXIZQ19VnsWNxSrpfxy29jYmfzj8_YSDKG90V5CzhyphenhyphenJm7yLNTy2HSEJU8SVG-SblYp-Xi8x5q5vbIAoflW7fk2NM2rhKtquUyH1_r3DhIVATpe4ZJBxD3f8o3X6Qf-VE_91SPhYbh3-wKUjJh3TGK8P3ISgVLpwQXZAr3DT/s3703/Sunset%20Blvd%20-%20Pearl%20Sun%20and%20Company%20-%20Paramount.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2278" data-original-width="3703" height="394" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSnai9zdlvpQ9iLmeQ3MEuGpXIZQ19VnsWNxSrpfxy29jYmfzj8_YSDKG90V5CzhyphenhyphenJm7yLNTy2HSEJU8SVG-SblYp-Xi8x5q5vbIAoflW7fk2NM2rhKtquUyH1_r3DhIVATpe4ZJBxD3f8o3X6Qf-VE_91SPhYbh3-wKUjJh3TGK8P3ISgVLpwQXZAr3DT/w640-h394/Sunset%20Blvd%20-%20Pearl%20Sun%20and%20Company%20-%20Paramount.jpeg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: georgia; font-size: small;">Pearl Sun and members of the cast of <i>Sunset Boulevard</i>. Photo by <span class="dig-Theme dig-Theme--bright dig-Mode--bright In-Theme-Provider" style="display: contents;"><span aria-current="page" class="dig-Breadcrumb-link dig-Breadcrumb-link--current"><span class="dig-Title dig-Title--size-small dig-Title--color-standard dig-Breadcrumb-link-content" data-testid="digBreadcrumbLinkContent"><span class="dig-Breadcrumb-link-inner"><span class="dig-Breadcrumb-link-text">Jeff Butchen.</span></span></span></span></span></span></td></tr></tbody></table><br /><p></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;">The book of the show, by Don Black and Christopher Hampton, teeters
towards the melodramatic as it faithfully follows the storyline from the Billy
Wilder film of the same name.<span> </span>The plot focuses
on Norma Desmond, a faded movie star of the silent era and Joe Gillis, a down-on-his-luck
screenwriter, cynic, and survivor of the broken Hollywood dream.<span> </span>Through accidental circumstances, their paths
cross.<span> </span>She sees him as a vehicle to
return to film stardom.<span> </span>Conflicted at
first, Joe, becomes seduced by the opulent lifestyle offered by Ms.
Desmond.<span> </span>Their partnership and apparent
romance leads to tension, discord and, finally, tragedy.<span> </span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"> </span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;">One of the key dramatic points of the musical is the age difference
between Norma and Joe. In previous productions I’ve seen of the show, Ms.
Desmond is portrayed as a woman in her mid-60’s so the relationship between her
and a 30-ish Joe Gillis felt uncomfortable.<span>
</span>However, in the film, she is only 50.<span>
</span>In the late 1940’s, early 1950’s, 50 years old seemed…well, old.<span> </span>Today, 50 is middle aged and women are vibrant
and still accomplishing.<span> </span>Getting back to
ACT’s <i>Sunset Boulevard</i>, the casting of Pearl Sun as the recluse Norma
Desmond is more in line with the original intentions of the movie
producers.<span> </span>It also makes the pairing of
the two protagonists less awkward.<span> </span>Ms.
Sun is majestic in the role of Norma Desmond.<span>
</span>The actress strides with purpose and poise.<span> </span>She brings an arrogance and privileged air to
her portrayal, but she can also be girlish and so very frightened by her own
shadow.<span> </span>Ms. Sun has a beautiful and
powerful voice.<span> </span>Her rendition of two of
the show’s signature songs –“With One Look” and “As If We Never Said Goodbye” –
are captivating.</span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipXaLim2WiA0gtaK8OnEAOAkheSTjTBoZRpn9CPbpuDiy79f2mOXQ8cvVIN5JlyC2Y-ZTMBM5nQ5I7fJJlqM6uQKHKa7YTE-2MvVIA5nnBFS7E3qlqjQh-YvHY3evHhj1Hr2JJZtMQkfpYjqnwtlHeh4u8hgLMufwPPBLyU6Zzs1Tv2JMk53htyNolqR5G/s3509/Sunset%20Blvd-174%20-%20Pearl%20Sun%20and%20Michael%20Burrell.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2335" data-original-width="3509" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipXaLim2WiA0gtaK8OnEAOAkheSTjTBoZRpn9CPbpuDiy79f2mOXQ8cvVIN5JlyC2Y-ZTMBM5nQ5I7fJJlqM6uQKHKa7YTE-2MvVIA5nnBFS7E3qlqjQh-YvHY3evHhj1Hr2JJZtMQkfpYjqnwtlHeh4u8hgLMufwPPBLyU6Zzs1Tv2JMk53htyNolqR5G/w640-h426/Sunset%20Blvd-174%20-%20Pearl%20Sun%20and%20Michael%20Burrell.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: georgia; font-size: small;">Pearl Sun and Michael Burrell in <i>Sunset Boulevard</i>. Photo by <span class="dig-Theme dig-Theme--bright dig-Mode--bright In-Theme-Provider" style="display: contents;"><span aria-current="page" class="dig-Breadcrumb-link dig-Breadcrumb-link--current"><span class="dig-Title dig-Title--size-small dig-Title--color-standard dig-Breadcrumb-link-content" data-testid="digBreadcrumbLinkContent"><span class="dig-Breadcrumb-link-inner"><span class="dig-Breadcrumb-link-text">Jeff Butchen.</span></span></span></span></span></span></td></tr></tbody></table><span style="font-family: georgia; font-size: large;"><br /> </span><p></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;">Michael Burrell is superb as Joe Gillis.<span>
</span>He gives the character a swaggering braggadoccio with an undercurrent of
self-loathing.<span> </span>The actor, also with a
fine singing voice, adroitly conveying his clashing emotions and motivations as
he skulks through the worlds of Norma Desmond and the Hollywood underbelly.<span> </span>The other main performers – George Xavier as
Max Von Mayerling and Helen J. Shen as Betty Schaefer - are fine, but more
problematic in their portrayals.<span> </span>Xavier,
with a haunting voice and manner, is a bit rigid in his demeanor, only showing
the character’s potential at the musical’s finale.<span> </span>Shen, in a role that is underwritten to begin
with, does not add a lot of depth to her character.</span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"> </span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;">The music by Andrew Lloyd Webber and lyrics by Don Black and Christopher
Hampton, contain some highly tuneful songs (see above) and also include such
solid numbers as “This Time Next Year” and “The Perfect Year.”<span> </span>The cynicism and hollowness of the Los
Angeles movie scene are aptly rendered in the opening number, “Let’s Have Lunch”
and Joe Gillis’ derisive rant in Act II’s title number.<span> </span>Besides the forementioned songs, the overall score
can seem repetitive with melodies frequently repeated.<span> </span>The score is wonderfully orchestrated and
performed by an 11-piece orchestra under the superb guidance of Music Director Bryan
Perri.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVrdGu72qe4Wpzpw5D4C7x0Ux_0TGhnLSQs95-T12N3r4dQysojSdDWiGpPpESsQb74EKkxk_tYs_OyBwniiLcvb1qcq-IjH1nEG_fIvVZAi_6C65ZRDtYYEywr8vIFlZATt_jrEs-Mn7KS4JERZa1uQ6zQRJ2LzraPMbAhNU5pW4lQA6swolUOxMUsC56/s3319/Sunset%20Blvd%20-%20Pearl%20Sun%20and%20Company%20-%20Mansion.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2039" data-original-width="3319" height="394" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVrdGu72qe4Wpzpw5D4C7x0Ux_0TGhnLSQs95-T12N3r4dQysojSdDWiGpPpESsQb74EKkxk_tYs_OyBwniiLcvb1qcq-IjH1nEG_fIvVZAi_6C65ZRDtYYEywr8vIFlZATt_jrEs-Mn7KS4JERZa1uQ6zQRJ2LzraPMbAhNU5pW4lQA6swolUOxMUsC56/w640-h394/Sunset%20Blvd%20-%20Pearl%20Sun%20and%20Company%20-%20Mansion.jpeg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Pearl Sun and members of the cast of <i>Sunset Boulevard</i>. Photo by <span class="dig-Theme dig-Theme--bright dig-Mode--bright In-Theme-Provider" style="display: contents;"><span aria-current="page" class="dig-Breadcrumb-link dig-Breadcrumb-link--current"><span class="dig-Title dig-Title--size-small dig-Title--color-standard dig-Breadcrumb-link-content" data-testid="digBreadcrumbLinkContent"><span class="dig-Breadcrumb-link-inner"><span class="dig-Breadcrumb-link-text">Jeff Butchen.</span></span></span></span></span></td></tr></tbody></table><p></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"> </span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;">Director Daniel C. Levine has taken what is normally a large-scale show
and skillfully downsized it for the confines of the ACT stage.<span> </span>However, the interior of Norma’s
memory-filled mansion and a boisterous movie soundstage are still resplendently
rendered.<span> </span>Changeovers are nimbly
effected by positioning action in front of a drawn curtain.<span> </span>This also keeps the pacing brisk and fluid. <span> </span>Large cast settings, such as the opening scene
at Paramount Studios, are a finely conceived <span> </span>demonstration of controlled chaos.<span> </span>The interactions between Norma Desmond and
Joe Gillis are well-defined if somewhat perfunctory.</span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"> </span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><i>Sunset Boulevard</i>, playing at ACT of CT in Ridgefield, through November 19.<span> </span>Click here for dates, times and ticket
information.</span></p><p><style><font size="5" style="font-family: georgia;">@font-face
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{page:WordSection1;}</font></style><span style="font-size: large;"><span style="font-family: georgia;"> </span><br /></span></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2217372989018944697.post-34475589318169319432023-10-24T21:27:00.004-04:002023-10-25T07:41:50.812-04:00Pride and Prejudice - Hartford Stage<p><span style="font-family: georgia; font-size: large;"><span>Playwright Kate Hamill’s rom-com
version of the Jane Austen novel <i>Pride and Prejudice</i> has been one of the
most produced plays in the country over the last few years.<span> </span>It has been an area favorite too, receiving
stagings at the Long Wharf Theatre in Fall 2019 and Playhouse on Park in Spring
2020.<span> </span></span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span> </span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkbGtJTNhzJBE_ZZlkOBrlrOhn4mzL6pdOR0tp79Bpg8ntMELE3uYwc9PYgKLPMqmR5RZe5XHfurb3wc3P13FUNjcyqtUQh7FroG-68HU7E1ZqC7XCRaUkpRAUynTwYiyGdH9OvXxSWYBT0lZbDRmnJrek5HXp9rkFpzbP8_7sS7iGrQm0HxnYpkUcuIqw/s5956/crowd.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3971" data-original-width="5956" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkbGtJTNhzJBE_ZZlkOBrlrOhn4mzL6pdOR0tp79Bpg8ntMELE3uYwc9PYgKLPMqmR5RZe5XHfurb3wc3P13FUNjcyqtUQh7FroG-68HU7E1ZqC7XCRaUkpRAUynTwYiyGdH9OvXxSWYBT0lZbDRmnJrek5HXp9rkFpzbP8_7sS7iGrQm0HxnYpkUcuIqw/w640-h426/crowd.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">The cast of <i>Pride and Prejudice</i>. <span style="color: black;">Photo by T. Charles Erickson.</span></span></td></tr></tbody></table><span style="font-family: georgia; font-size: large;"><span><br /></span></span><p></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span>The latest incarnation runs
through November 5 at Hartford Stage.<span>
</span>The show is a screwball mash-up that includes gender swapping roles and many
of the performers playing multiple characters.<span>
</span>It’s understandable why this version of <i>Pride and Prejudice</i> has
been so popular.<span> </span>Hamill satisfies ardent
fans by staying faithful to the book. In addition, she also delivers a spirited
work with a mischievous streak to entertain audience members not familiar with
the source material and who may want a bit more zing in their theater.</span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span> </span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjN2u8JGmgPCs_WeUpzh6D4J_Tle2v3Yse0YsOZbnuNo5tp8m2KoxrhN_gCIzhSvaGp4YHb8bQOZhpBCdxc0m9g5xN-8UGuBmA7HkXPh2FCqyOBZEcd6FT7zDUYVyo4NJpKQlYHpONu7u_JlwCeZ51fkbedH9ZUzQ5Cn79UiUdm4e6u4eqGWT_mWK91RHnP/s5400/lizziecharl.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="5400" data-original-width="3600" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjN2u8JGmgPCs_WeUpzh6D4J_Tle2v3Yse0YsOZbnuNo5tp8m2KoxrhN_gCIzhSvaGp4YHb8bQOZhpBCdxc0m9g5xN-8UGuBmA7HkXPh2FCqyOBZEcd6FT7zDUYVyo4NJpKQlYHpONu7u_JlwCeZ51fkbedH9ZUzQ5Cn79UiUdm4e6u4eqGWT_mWK91RHnP/w426-h640/lizziecharl.jpg" width="426" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: georgia; font-size: small;"><span>Renata Eastlick, </span></span><span style="font-size: small;"><span>Carman Lacivita</span><span style="font-family: georgia;"><span> and </span></span><span style="font-family: georgia;"><span>Anne Scurria in <i>Pride and Prejudice</i>. </span></span><span><span style="color: black;">Photo by T. Charles Erickson.</span></span></span></td></tr></tbody></table><span style="font-family: georgia; font-size: large;"><span><br /></span></span><p></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span>As with the book, the play
revolves around the Bennet family—mother, father and their four
daughters--Jane, the family beauty; Mary, the plain, perpetually gloomy sister;
Lizzy, independent-minded and strong-willed; and Lydia, young and impetuous.<span> </span>Mrs. Bennet’s sole purpose in life is to find
her daughters suitable husbands, both to aid the family’s fortunes as well as
ensure happiness for each young woman.<span> </span>A
succession of men enters their lives to varying degrees of success, but the
focus centers on Lizzy and the enigmatic Mr. Darcy.<span> </span>Their initial encounter, reserved and cool,
with ups and downs that confound and embarrass, develops into a relationship
that becomes rooted in mutual admiration and, dare I say, love.</span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span> </span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPqIYMj5ggxM8UeMisloRFiIS8h7eotDShYFQYoRqeEX8zRi-Oe2zCwO86zulsI1xSUgMznqzqif08cQeenzxjbxeER8t6kc3V2sTTJJLhXm_77SBW-VLhhV4tKmHoYW6VctCF5K9jBDle5RiCygHFFgNthOsgRw-u8VKKxPCKJizqln9t4TVOHMdN19U9/s5045/mrs.benn.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3671" data-original-width="5045" height="466" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPqIYMj5ggxM8UeMisloRFiIS8h7eotDShYFQYoRqeEX8zRi-Oe2zCwO86zulsI1xSUgMznqzqif08cQeenzxjbxeER8t6kc3V2sTTJJLhXm_77SBW-VLhhV4tKmHoYW6VctCF5K9jBDle5RiCygHFFgNthOsgRw-u8VKKxPCKJizqln9t4TVOHMdN19U9/w640-h466/mrs.benn.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Zoë Kim, <span>Madeleine Barker.</span>Lana Young and <span style="font-family: georgia;"><span><span style="font-family: georgia;"><span>Renata Eastlick </span></span><span style="font-family: georgia;"><span>in <i>Pride and Prejudice</i>. </span></span><span><span style="color: black;">Photo by T. Charles Erickson.</span></span></span></span></span></td></tr></tbody></table><span style="font-family: georgia; font-size: large;"><span><br /></span></span><p></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span>Through comedic renderings
and irreverent charm, Ms. Hamill preserves the essence of the novel - the pride
individuals foster upon themselves and the prejudices people in 19th century
England had towards those deemed at a lower social and economic standing.<span> </span>Director Tatyana-Marie Carlo keeps the pacing
up tempo and the character transitions quick.<span>
</span>She adds a number of enjoyable flourishes.<span> </span>One is the use of a mannequin, dressed as a
servant, announcing the entrances of characters.<span> </span>Another, in homage to the Mel Brooks film, <i>Young
Frankenstein</i>, is a foghorn blaring anytime the name Lady Catherine is
announced (think Frau Blucher from the movie).</span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span>Ms. Carlo properly steers the
show to a more poignant, romantic direction at the play’s conclusion.<span> </span>No gimmicks.<span>
</span>No goofiness.<span> </span>Just the final adoration
between two lovers.</span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span> </span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9Uzh5-T8qGEeNQg80uXb26GEoJYQ0zj4yhucRLcGlNx4i1Gl6y-o85uj6tnqzrtsCqRc1t3CmGSsrBW9AjZ27ka-IoTFihCEj53AoNb45WbwpxqEO6afQVESYxihHJyPAEv0K7pqMhWt8tKZZPBzV-VUB81weXTKi_hneYnG7u7PDFIaQMYFww3eBP7Qp/s6000/Pride-and-Prejudice-HSC-10-23-225.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="6000" data-original-width="4000" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9Uzh5-T8qGEeNQg80uXb26GEoJYQ0zj4yhucRLcGlNx4i1Gl6y-o85uj6tnqzrtsCqRc1t3CmGSsrBW9AjZ27ka-IoTFihCEj53AoNb45WbwpxqEO6afQVESYxihHJyPAEv0K7pqMhWt8tKZZPBzV-VUB81weXTKi_hneYnG7u7PDFIaQMYFww3eBP7Qp/w426-h640/Pride-and-Prejudice-HSC-10-23-225.jpg" width="426" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: georgia; font-size: small;"><span>María Gabriela González and </span></span><span style="font-family: georgia; font-size: small;"><span>Zoë Kim<span style="font-family: georgia;"><span><span style="font-family: georgia;"><span> </span></span><span style="font-family: georgia;"><span>in <i>Pride and Prejudice</i>. </span></span><span style="color: black;">Photo by T. Charles Erickson.</span></span></span></span></span></td></tr></tbody></table><span style="font-family: georgia; font-size: large;"><span><br /></span></span><p></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span>The acting troupe, playing on
Sara Brown’s minimal, yet sumptuous set, is more then up to the challenge in
presenting the characters in an over-the-top manner.<span> </span>Interestingly, the two leads, Renata Eastlick
as Lizzy and Carman Lacivita as Mr. Darcy, play their roles straight, with only
the occasional embellishment.<span> </span>Ms.
Eastlick is splendid as the principled, outspoken Lizzy Bennet who, as the
story progresses, becomes more mellow and understanding to others and to her
own feelings. <span> </span>Anne Scurria is marvelous
in the dual roles of the reserved, practical Mr. Bennet and the misunderstood
Charlotte Lucas.<span> </span>Lana Young is a dynamo
as Mrs. Bennet.<span> </span>Her pleadings,
whimpering, and fatalistic mindset can be hilarious, but sometimes overwhelm
the other actors in her vicinity.<span> </span></span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span>Carman Lacivita’s Mr. Darcy
is properly aloof, proud, and awkward among the ladies. </span></span><span style="font-size: large;"><span><span style="font-family: georgia;">Madeleine</span></span></span><span style="font-family: georgia; font-size: large;"><span> Barker’s Mary
is somewhat overly strange with her glowering expressions and guttural
utterances.<span> </span>Zoё Kim imbues Lydia with a
devil-may-care view of life and spunkiness. Sergio Mauritz Ang is fine in his
multiple roles and María Gabriela González is satisfying as Jane and a real
spectral presence as Miss de Bourgh.</span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj57SfMWkCRwJNWrVJIxSTlnye6qJAV-Bb4-ZUF131m9nzOIUGoTPO3f6BhTIYH-FlYCNi-32RXnQFrpj2JXBtfMU1MVWeRKGVM8j6fCdXtWU1rLHiuuRf8vGjQrpDOGVcCSWx9bJUQ7DR_GkiCVILHStXKxmiJBtm-oI9P22WM2drWKn-bbs64W2-_oNqI/s4084/darcylizz.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3636" data-original-width="4084" height="570" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj57SfMWkCRwJNWrVJIxSTlnye6qJAV-Bb4-ZUF131m9nzOIUGoTPO3f6BhTIYH-FlYCNi-32RXnQFrpj2JXBtfMU1MVWeRKGVM8j6fCdXtWU1rLHiuuRf8vGjQrpDOGVcCSWx9bJUQ7DR_GkiCVILHStXKxmiJBtm-oI9P22WM2drWKn-bbs64W2-_oNqI/w640-h570/darcylizz.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: georgia; font-size: large;"><span><span style="font-family: georgia; font-size: large;"><span><span style="font-family: georgia; font-size: small;"><span>Carman Lacivita and Renata Eastlick </span></span><span style="font-family: georgia; font-size: small;"><span>in <i>Pride and Prejudice</i>. </span></span><span style="font-size: small;"><span style="color: black;">Photo by T. Charles Erickson.</span></span></span></span></span></span></td></tr></tbody></table><span style="font-family: georgia; font-size: large;"><span><br /></span></span><p></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span>Haydee Zelideth has created
an array of diverse period costumes that take in the spirit of the
production.<span> </span>Aja M. Jackson provides a
festive Lighting Design.<span> </span>Shura
Baryshnikov incorporates bursts of choreographic merriment and Daniel Baker
& Co. has fashioned some good-humored original music for the production.</span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span> </span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span>Pride and Prejudice, playing
at Hartford Stage through November 5.<span>
</span>Click here for dates, times and ticket information.</span></span></p>
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{page:WordSection1;}</font></style></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2217372989018944697.post-22250262022823878872023-10-21T19:41:00.002-04:002023-10-21T19:41:41.615-04:00Gutenberg - the Musical -- Broadway<span style="font-family: georgia;"><span style="font-size: large;">
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;">Every Broadway season should feature the lively comedic
talents of Josh Gad and Andrew Rannells.<span>
</span>The two, who first lit-up the stage as the original stars of The Book of
Mormon, display great chemistry together and are a joy to behold.<span> </span>While they are saddled with lightweight
material for their latest Broadway outing - Gutenberg! The Musical - Gad and
Rannells still manage enough schtick and nuttiness to provide a humorous and entertaining
show that generates more chuckles than outright laughter.<span> </span></span></span>
</p><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6A8c7OvgvrEcJ5ITrXxXlsQqzsOghlFm0jGWvP9-4pF8PHjJr7zHCzbVUwi2ldZ7sY33ffjlTYW1fPftLSz3pZHi0oukyOeanSnqiSHldrgmwtRQcG3Ii_5Zi8TFLja6za_sZrjgRtJLGV86SgHj1_plGgaEeZei7kTs5fKnB9eNdl0s48CSfyxwJaZ4a/s2560/GUTENBERG_0084_PJZEDIT_v001-scaled.webp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1707" data-original-width="2560" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6A8c7OvgvrEcJ5ITrXxXlsQqzsOghlFm0jGWvP9-4pF8PHjJr7zHCzbVUwi2ldZ7sY33ffjlTYW1fPftLSz3pZHi0oukyOeanSnqiSHldrgmwtRQcG3Ii_5Zi8TFLja6za_sZrjgRtJLGV86SgHj1_plGgaEeZei7kTs5fKnB9eNdl0s48CSfyxwJaZ4a/w640-h426/GUTENBERG_0084_PJZEDIT_v001-scaled.webp" width="640" /></a></span></div><span style="font-family: georgia;"><span style="font-size: large;"> </span></span><p></p><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;">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.<span> </span>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.<span> </span>They come up with the idea of the life of
Johannes Gutenberg, the creator of the printing press.<span> </span>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.</span></span><span style="font-family: georgia;"></span><span style="font-family: georgia;"><span style="font-size: large;">
</span></span></p><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;"> </span></span></p><span style="font-family: georgia;"><span style="font-size: large;">
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;">The plot follows Gutenberg as he transforms his wine press
to the haloed printing press.<span>
</span>Complications, of course, ensue.<span>
</span>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.<span> </span>Gad and Rannells portray all the varied roles
as they don yellow visored baseball caps, with a character’s name emblazoned on
front.<span> </span>The gimmick works as Director
Alex Timbers weaves in quick changes and even a chorus line of hats during one
number.<span> </span>In between scenes, Bud and Doug
provide commentary on the show, reveal secrets of stagecraft, and disclose
aspects of their personal lives.<span> </span>These
asides, including the introduction to the musical, are some of the funniest
moments of the show</span></span></p><span style="font-family: georgia;"><span style="font-size: large;">
</span></span><p class="MsoNormal"><span style="font-family: georgia;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixdkZ4VNXPGKX4bSU7oyxjNWJJLuLd8G0KPpMer-XU_8FKfMFJKcr6ac3Ouer4J_sZfGpwisDoW74IXoiEVYR9ka3ai8p4KDV7wv9bGCl9xqDs_zjV4UoL2IoCDYrHOLoYh4rAfGEY2taX6mtFSbX_ur7dfO3MUgnNthMANLd8K256GdNjLzQpGuKUrbIP/s2560/GUTENBERG_0550_PJZEDIT_v001-scaled.webp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1708" data-original-width="2560" height="428" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixdkZ4VNXPGKX4bSU7oyxjNWJJLuLd8G0KPpMer-XU_8FKfMFJKcr6ac3Ouer4J_sZfGpwisDoW74IXoiEVYR9ka3ai8p4KDV7wv9bGCl9xqDs_zjV4UoL2IoCDYrHOLoYh4rAfGEY2taX6mtFSbX_ur7dfO3MUgnNthMANLd8K256GdNjLzQpGuKUrbIP/w640-h428/GUTENBERG_0550_PJZEDIT_v001-scaled.webp" width="640" /></a></div><br /><span style="font-family: georgia;"><span style="font-size: large;">Scott Brown and Anthony King, who collaborated on the book,
music, and lyrics bring a jocular wit and kookiness to the story.<span> </span>Even with the talents of Gad and Rannells,
the concept begins to run out of steam by its conclusion.<span> </span>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 beautifully renovated
James Earl Jones Theater (formerly the Cort Theater).</span></span><span style="font-family: georgia;"></span><span style="font-family: georgia;"><span style="font-size: large;">
</span></span><p></p><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;"> </span></span></p><span style="font-family: georgia;"><span style="font-size: large;">
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;">Josh Gad and Alex Rannells are inspired schlemiels.<span> </span>Their tomfoolery and antics constantly light
up the stage.<span> </span>The two actors are clearly
enjoying themselves and play wonderfully off the audience’s reactions.<span> </span>What impressed me most about their
performances was how diligently they were working to make the show
succeed.<span> </span></span></span></p><span style="font-family: georgia;"><span style="font-size: large;">
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;"> </span></span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhp8AXg-rvRFmLz8ObSvJ5bJXqAIZDfOxeVihouh6_tvtzNoS2xABngZxs-ohwZ8JX9cCt1AhWBNsshhpLLq7055RsJo7Ax2gn91r2Y3koeB8UsVhfG24VffvkXyIER3sfzqdfzza9uhjybTADgAwpYFkxj2BruSLReOnpjPmJVTQyhMm0oFiKyqHpMU8Ix/s2560/GUTENBERG_0808_PJZEDIT_v001-scaled.webp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1708" data-original-width="2560" height="428" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhp8AXg-rvRFmLz8ObSvJ5bJXqAIZDfOxeVihouh6_tvtzNoS2xABngZxs-ohwZ8JX9cCt1AhWBNsshhpLLq7055RsJo7Ax2gn91r2Y3koeB8UsVhfG24VffvkXyIER3sfzqdfzza9uhjybTADgAwpYFkxj2BruSLReOnpjPmJVTQyhMm0oFiKyqHpMU8Ix/w640-h428/GUTENBERG_0808_PJZEDIT_v001-scaled.webp" width="640" /></a></div><span style="font-family: georgia;"><span style="font-size: large;">Director Alex Timbers, who also guided the original
Off-Broadway production, inserts enough gags and silliness to keep the
production humming smoothly. His inclusion of the three-person band on-stage -
the Middlesex Six (yes, there are only three of them), the best wedding band in
New Jersey - furthers the illusion of a low-cost, threads-bare production.<span> </span>Even with the constant barrage of
shenanigans, there is a purposeful manner to the musical, which keeps it from spiraling
out of control.</span></span><p></p><span style="font-family: georgia;"><span style="font-size: large;">
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;"> </span></span></p><span style="font-family: georgia;"><span style="font-size: large;">
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;">Gutenberg! The Musical, a beguiling and mirthful diversion,
playing a limited run through January 28, 2024.</span></span></p><span style="font-family: georgia;"><span style="font-size: large;">
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;"> </span></span></p><span style="font-family: georgia;"><span style="font-size: large;">
</span></span><p class="MsoNormal"><span style="font-family: georgia;"><span style="font-size: large;"> </span></span></p><span style="font-family: georgia;"><span style="font-size: large;">
</span></span><style><span style="font-family: georgia;"><font size="5">@font-face
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{page:WordSection1;}</font></span></style>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2217372989018944697.post-52260766812578075292023-10-20T08:29:00.001-04:002023-10-20T08:29:54.406-04:00Lizzie - Theaterworks Hartford<p>
</p><p class="MsoNormal"><span style="font-family: georgia; font-size: large;">The story of Lizzie Borden has transfixed artists for 100
years.<span> </span>One of the latest entries into
this abundant mix is the musical <i>Lizzie</i>, the first production of Theaterworks
Hartfords’s 2023 – 2024 season.<span> </span>The show
has the look and feel of an Off-Broadway (even Off-Off-Broadway) production
with an indie-laced rock score, an on-stage band, and abstract videos projected
continuously on the side panels of the small performance space.</span></p><p class="MsoNormal"><span style="font-family: georgia; font-size: large;"> </span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicEqbvfitjRU4yNJN6qv-g_bYQUd0A8GTByiYAkkyapCMjo2gY5vjv8U0ANY7neAgKn67DJm4XtVoPCUyrw4LF_jSeI8HrrP14AwPm5yDx6or8ynaIc4-e1BrdmZM6UX4kApL8xJv9rQNqUhEL5idY2vLRLw4tCq6_BeJxBuIoVvv07nddmx6CkCnejLpR/s1400/Lizzie%20PP%20IV.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1000" data-original-width="1400" height="458" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicEqbvfitjRU4yNJN6qv-g_bYQUd0A8GTByiYAkkyapCMjo2gY5vjv8U0ANY7neAgKn67DJm4XtVoPCUyrw4LF_jSeI8HrrP14AwPm5yDx6or8ynaIc4-e1BrdmZM6UX4kApL8xJv9rQNqUhEL5idY2vLRLw4tCq6_BeJxBuIoVvv07nddmx6CkCnejLpR/w640-h458/Lizzie%20PP%20IV.png" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><div>The cast of <i>Lizzie</i> - Nora Schell, Sydney Shepherd, Courtney Basset and Kim Onah. </div><div>Photo by Mike Marques.</div></td></tr></tbody></table></span><span style="font-family: georgia; font-size: large;"><br /></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;">The show, which runs a scant 95 minutes (this includes a brief
intermission), is an eclectic examination of the possible root causes for Ms.
Borden’s 40 whacks to her stepmother and father.<span> </span>Entertaining in a raucous, sometimes
concert-like fashion, <i>Lizzie</i> is peformed by four dynamic actresses.<span> </span>There is Sydney Shepherd, a waif-like,
troubled young woman at the center of the fray.<span>
</span>Courtney Bassett, her practical, yet off-center sister Emma; Kim Onah,
Lizzie’s friend, maybe lover, Alice Russell; and Nora Schell, the household
maid Bridget Sullivan.</span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"> </span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;">The book by Tim Maner supposes a number of possibilities for
Lizzie’s unlady-like behavior:<span> </span>sexual
abuse, disinheritance, dislike for her stepmother, and simple madness.<span> </span>They are presented as short scenes,
alternating between quick bursts of dialogue and full-throttled songs under
Erika R. Gamez’s tight musical direction and Megan Culley’s piercing Sound
Design.<span> </span>The score by Steven
Cheslik-Demeyer, Alan Stevens Hewitt and Tim Maner reminded me of the songs I’d
hear in my youth at the clubs in New York City’s East Village.<span> </span>Loud, sometimes indiscernible but, more often
than not, somehow melodic.</span></p><p class="MsoNormal"><span style="font-family: georgia; font-size: large;"> </span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin4OS4-bD76MpLSR9uXJMCtBnmnkJQk3N-sgaueNxK4b4Crf_YYCbWdBHZ-SOhUHRSAezsmmUjde8V7ES1AS5e-BLH2CEVF4atc2b3cS9SksXfXaEMhArerXHK4g9SMEv7ZRhX9CX7O4TRZnMXe_DXvKZ_o6n5wFScbxLuqgOR71omDzEjh7VgoAqLAgHn/s2000/Lizzie%20PP%20II.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1333" data-original-width="2000" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin4OS4-bD76MpLSR9uXJMCtBnmnkJQk3N-sgaueNxK4b4Crf_YYCbWdBHZ-SOhUHRSAezsmmUjde8V7ES1AS5e-BLH2CEVF4atc2b3cS9SksXfXaEMhArerXHK4g9SMEv7ZRhX9CX7O4TRZnMXe_DXvKZ_o6n5wFScbxLuqgOR71omDzEjh7VgoAqLAgHn/w640-h426/Lizzie%20PP%20II.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Sydney Shepherd in <i>Lizzie</i>. Photo by Mike Marques.</td></tr></tbody></table><br /></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;">Brian Prather’s Scenic Design - a wall of doors – appears to
represent vistas into the characters’ soul or psyche. The center doorway,
suddenly opening and closing throughout Act I, seems like the gates of hell
itself.</span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"> </span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;">The first part of the show’s garb, from Costume Designer
Saawan Tiwari, and lighting, from Rob Denton, are done with greys, blacks, with
a splash of red.<span> </span>This helps give the
audience a feel for the repressed, controlled environs of the characters.<span> </span>It fits into what Director Lainie Sakakura
states in the program notes about <i>Lizzie</i> – it gives “a voice for the
marginalized, the furious, oppressed and ignored. “</span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"> </span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;">In the second half of the show – the trial and its aftermath
– the drab puritanical appearance of the musical is wildly transformed to a
more empowered, feminist-centric celebration.<span>
</span>The band rolls on to the stage, the women appear freer and the outfits
lean towards pop singer Madonna, circa late 70’s, early 80’s.</span></p><p class="MsoNormal"><span style="font-family: georgia; font-size: large;"> </span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9jzA9YkitLC8bpOa-WZUHPyZjtLrJMSAQ2MKUOqmIXBS0PXNRu05PRikzNJepUl_Baih2zwQws2XrubacRFafzJ-BUdBiM0xpTLmtVYdTUF-I6fzIqz7B-pA2bkCwb0afUoaMK4w4QkvGNhcVfE7Y_6VfpHbsBMDrWVHKqTvSOAPrg_xqCOVCkUeEK8-k/s1500/Lizzie%20PP%20VI.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1072" data-original-width="1500" height="458" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9jzA9YkitLC8bpOa-WZUHPyZjtLrJMSAQ2MKUOqmIXBS0PXNRu05PRikzNJepUl_Baih2zwQws2XrubacRFafzJ-BUdBiM0xpTLmtVYdTUF-I6fzIqz7B-pA2bkCwb0afUoaMK4w4QkvGNhcVfE7Y_6VfpHbsBMDrWVHKqTvSOAPrg_xqCOVCkUeEK8-k/w640-h458/Lizzie%20PP%20VI.png" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Kim Noah and Sydney Shepherd in <i>Lizzie</i>. Photo by Mike Marques.</td></tr></tbody></table><br /></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;">Ms. Sakakura effectively incorporates Camilla Tassi’s
conceptual projections to give the production an eerie, menacing aura.<span> </span>The director weaves all of this into a
compact, entertaining musical.<span> </span>It might
not be everyone’s cup of tea, but the engaging cast and sheer exuberance of the
show make <i>Lizzie</i> a theatrical experience well-worth taking.</span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"> </span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><i>Lizzie</i>, playing at Theaterworks Hartford through October
29.<span> </span><a href="https://theaterworkshartford.my.salesforce-sites.com/ticket/#/events/a0SHo000009TRpsMAG">Click here</a> for dates, times, and
ticket information.</span></p>
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{page:WordSection1;}</fo</style><span style="font-size: large;"><br /></span></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2217372989018944697.post-56130577952685423632023-10-15T13:02:00.002-04:002023-10-15T13:02:50.045-04:00Wish You Were Here - Yale Repertory Theatre<p>
</p><p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span>In the Yale Repertory Theatre’s
bittersweet, sometimes humorous, and deeply moving play, <i>Wish Your Were Here, </i>we view the lives of five young, vivacious
university women in Iran.<span> </span>Their
friendship, their bonding radiates from the stage with realism and joy.<span> </span></span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhFZ0r12ZJU6iflQCp_DNxuMDzpTgbFkD58C9uKVd7myvhgK6gG8po9oLZysGDSK8I3t46TMe5xUBFKezaM-P892ZtqdPO_e0NtZKjR6QnaS3xR90KasPniCDy0d2v-5Eh4Vpn9O7YOxOjuyjRJHK83CG9_IW2vBg7yTdyk720yE7CaGzuDWZD2A4OZ66T/s2560/WishYouWereHereYale_0041r-scaled.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1707" data-original-width="2560" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhFZ0r12ZJU6iflQCp_DNxuMDzpTgbFkD58C9uKVd7myvhgK6gG8po9oLZysGDSK8I3t46TMe5xUBFKezaM-P892ZtqdPO_e0NtZKjR6QnaS3xR90KasPniCDy0d2v-5Eh4Vpn9O7YOxOjuyjRJHK83CG9_IW2vBg7yTdyk720yE7CaGzuDWZD2A4OZ66T/w640-h426/WishYouWereHereYale_0041r-scaled.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">The cast of <i>Wish You Were Here</i>. Photo by Joan Marcus.</span><br /></td></tr></tbody></table> </span></span></p><p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span>The play takes place over a
12-year time frame, beginning in 1978 when the Shah still ruled the country,
through the Islamic Revolution, the Iran/Iraq war and then peace time.<span> </span>During this period, we witness their good
times together, the strains in their relationship and, finally, how each woman
has been defined. Playwright Sanaz Toossi, a 2023 Pulitzer Prize winner, deftly
blends in the politics and religious upheaval occurring at the time, without
being preachy or didactic.<span> </span></span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span> </span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span>The 100 minute,
intermission-less show, opens with the women preening over Salme (Bahar
Beihaghi) as she prepares for her wedding.<span>
</span>Her friends – Nazanin (Anita Abdinezhad), Rana (Vaneh Assadourian), Zari
(Ava Lalezarzadeh), and Shideh (Shadee Vossoughi) - are boisterous and full of
life, joking about sex and their future aspirations.<span> </span>However, change is in the air.<span> </span>Soon, the normalcy they revel in begins to
transform, altering their closely intertwined lives forever.</span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkCzdeLPygrsN7C1Unwiii2p5hHDT4zB-dyB_FavtGQWIJq8exk_FLtlE5a741Xm2X-jZTpbFWmcG0uXSxnELhnI1ZnhM1DH7X0VSlHQe0-f9gqf2LCxK_dfCCyxd25a5DErzbDpo6onJ6znnctjBdSnLihYjggtudG1WO-0BY1r_gsWDvkWmGUS9m-x7O/s2560/WishYouWereHereYale_0004r-scaled.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1826" data-original-width="2560" height="456" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkCzdeLPygrsN7C1Unwiii2p5hHDT4zB-dyB_FavtGQWIJq8exk_FLtlE5a741Xm2X-jZTpbFWmcG0uXSxnELhnI1ZnhM1DH7X0VSlHQe0-f9gqf2LCxK_dfCCyxd25a5DErzbDpo6onJ6znnctjBdSnLihYjggtudG1WO-0BY1r_gsWDvkWmGUS9m-x7O/w640-h456/WishYouWereHereYale_0004r-scaled.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: georgia; font-size: small;"><span>Ava Lalezarzadeh and Shadee Vossoughi from <i>Wish You Were Here</i>. Photo by Joan Marcus.<br /></span></span></td></tr></tbody></table><br /></span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span>Ms. Toossi has structured the
show with 10 scenes depicting various groupings of the women.<span> </span>It is notable that they only share the
opening scene together.<span> </span>Her portrayal of
each of the friends is well-rounded and distinct.<span> </span>The inclusion of a sixth women near the end
of the play, referred to as “New Friend,” is somewhat awkward and disrupts the
flow of her work.</span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span> </span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span>Director Sivan Battat powerfully
packs each vignette with highly-charged emotions and winsome musings. She efficiently
incorporates Scenic Designer Omid Akbari’s movable set to suggest different apartment
drawing rooms.<span> </span>Sam Skynner’s Projections,
seen on the side panels of the stage between scene changes, show nostalgic and
affecting videos of a peaceful, playful time for the five friends.</span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span> </span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span>The five main characters, previously
mentioned, are a well-synchronized group that blend beautifully together.<span> </span>Each, with her own well-defined personality,
is given moments to shine.<span> </span>In the role
of Nazanin, Ms. Abdinezhad is the one constant throughout the show and,
therefore, her growth and disillusionment is more fully realized.</span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span> </span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><i><span>Wish You Were Here, </span></i><span>playing at the Yale Repertory Theatre through October 28.<span> </span><a href="https://yalerep.org/productions/wish-you-were-here/">Click here</a> for dates, times, and ticket information.</span></span></p><p><style><font size="5" style="font-family: georgia;">@font-face
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{page:WordSec</font></style><span style="font-size: large;"><br /></span></p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2217372989018944697.post-74572788290336806702023-10-10T10:43:00.000-04:002023-10-10T10:43:14.822-04:00Joan Joyce! - Seven Angels Theatre<p>
</p><p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span style="color: black;">The new musical <i>Joan Joyce!,</i> playing at the Seven Angels
Theatre in Waterbury, is the second iteration of the show.<span> </span>It had its world-premiere at the Legacy Theatre
in Branford, CT in 2021.</span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span style="color: black;"> </span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span style="color: black;">Joan Joyce was a sports phenomenon,
who grew up in Waterbury.<span> </span>She has been
described as the greatest female athlete in history, surpassing even Babe Didrikson.<span> </span>Her main sport was softball and the records
she holds as a pitcher are too numerous to list.<span> </span>However, Ms. Joyce also excelled in other
sports arenas such as basketball and the LPGA tour.<span> </span>Her 17 putts in one round of golf is the
lowest ever on the men or women’s professional circuit.<span> </span>Did I mention she struck out both Ted
Williams and Hank Aaron in an exhibition event?</span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span style="color: black;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYectcb3Ok9tKkX-2Ehyy8llHEkQx_eG3m_SMOcBEWYhcTCgFnP_EIP1Ru_9tj46PCU8fggIlKgBhV0A14Y7cwVNlkqhk1NgyXNmuuBokcW_8REZN5_b4VCjvXoAls1tHepfjTiUSDYt4cCrg7J2yUws0vYM8WQBt6zXCF_pyNXyJ1e2vrYPSMkV-KlNY8/s5472/joan.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3648" data-original-width="5472" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYectcb3Ok9tKkX-2Ehyy8llHEkQx_eG3m_SMOcBEWYhcTCgFnP_EIP1Ru_9tj46PCU8fggIlKgBhV0A14Y7cwVNlkqhk1NgyXNmuuBokcW_8REZN5_b4VCjvXoAls1tHepfjTiUSDYt4cCrg7J2yUws0vYM8WQBt6zXCF_pyNXyJ1e2vrYPSMkV-KlNY8/w640-h426/joan.JPG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The cast of <i>Joan Joyce!</i><br /></td></tr></tbody></table><br /> </span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span style="color: black;">The musical, rendered by just an
off-stage piano, contains a serviceable score with music by Brad Ross, Matthew
Harrison and David Bell; lyrics by Keely Baisden Knudsen (who also co-wrote the
book, directs and stars in the show) and Lauren Salatto-Rosenay).<span> </span>There is rudimentary choreography by Jennifer
A. Buonfiglio and an engaging cast.<span>
</span>However, as crafted by book writers Keely Baisden-Knudson and Lauren
Salatto-Rosenay, <i>Joan Joyce!</i> comes
across more as an episode of “This is Your Life,” then a full-fledged
musical.<span> </span>The facts and anecdotes they
present in short vignettes are attention-grabbing, but not necessarily
structured for a book musical.</span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span style="color: black;"> </span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span style="color: black;">At one side of the stage is the character
of the author (Al Bundonis), based on writer Tony Renzoni who wrote the book, “Connecticut
Softball Legend Joan Joyce.”<span> </span>On the
other side of the stage is Ms. Joyce (Keely Baisden-Knudson).<span> </span>The author heartily asks questions and Joan
Joyce responds in a languid, matter-of-fact manner.<span> </span>Helping move the production along is a large
movie screen, hanging center stage, which projects vintage photos of Joan
Joyce, newsreels and newspaper headlines.<span>
</span>While somewhat distracting, they are interesting to watch this legend in
action.</span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span style="color: black;"> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnrjHi4Nn76yJwfdPBulMZJZyRd7pcA7_7dgJkPclJ7wNyv1jytHAPkMK3G_YjVCqsCgE_Xxocg4Sh7qXwCiOPYC6buc139xhJSJMGyU6ikdp6Z1jSUgyqwC0RLnQcGGcyLml4LEUtNJZEAI3ISRXGMzFDsl6QCmp7-9bppd1p6A_weGmKDa7DDtQuZpEM/s5472/Kiersten.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3648" data-original-width="5472" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnrjHi4Nn76yJwfdPBulMZJZyRd7pcA7_7dgJkPclJ7wNyv1jytHAPkMK3G_YjVCqsCgE_Xxocg4Sh7qXwCiOPYC6buc139xhJSJMGyU6ikdp6Z1jSUgyqwC0RLnQcGGcyLml4LEUtNJZEAI3ISRXGMzFDsl6QCmp7-9bppd1p6A_weGmKDa7DDtQuZpEM/w640-h426/Kiersten.JPG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Kiersten Bjork as a young Joan Joyce in the musical <i>Joan Joyce!</i><br /></td></tr></tbody></table><br /></span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span style="color: black;">Underneath the screen and in
between the straightforward questions, a group of performers present moments
from her life and her sporting accomplishments.<span>
</span>The Director settles for a relaxed, unhurried approach to the
material.<span> </span>The incorporation of the Q
& A session with the musical interludes and dramatic pieces is not always crisp
enough to allow for a good pacing of the show.<span>
</span>Ms. Knudson does allow for an ample number of projections, marvelously
rendered by Lauren Salatto-Rosenay, to amplify this wondrous story.</span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span style="color: black;"> </span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span style="color: black;">The troupe of actors and actresses
are charming and likeable.<span> </span>Most of the
featured cast members play multiple roles as the show meanders to its
finale.<span> </span>Kiersten Bjork, who plays the teenage
Joan Joyce, stands out among the performers.<span>
</span>She radiates a warmth and enthusiasm that, overall, is lacking in the
production.<span> </span>Ms. Bjork also has a wonderful
singing voice.</span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span style="color: black;"> </span></span></p>
<p class="MsoNormal"><span style="font-family: georgia; font-size: large;"><span style="color: black;"><i>Joan Joyce!</i>, playing at the Seven
Angels Theater in Waterbury, CT through October 22.<span> </span><a href="https://sevenangelstheatre.org/event/joan-joyce-a-new-musical/">Click
here</a> for dates, times, and ticket information.</span><span></span></span></p>
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{page:WordSection1;}</font></style><span style="font-size: large;"><span style="font-family: georgia;"> </span><br /></span></p>Unknownnoreply@blogger.com0