Harmony - Music Theatre of CT

  

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

 

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

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

 

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

 

Michelle Pauker in Harmony.  Photo by Alex Mongillo.

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

 

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

 

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

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

 

 

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

 

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

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

 

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

 

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

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

 

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

Music City - Off-Broadway

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

Lauren Lolo Pritchard and Stephen Michael Spencer in Music City.

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

Leenya Rideout as Leanne in Music City.

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

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

Andrew Rothenberg as Stucky Stiles in Music City.

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

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

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

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

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

Masquerade - Off-Broadway

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

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

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

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

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

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

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

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

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

Come From Away - Ivoryton Playhouse

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

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

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

 

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

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

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

 

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

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

 

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

 

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

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

 

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

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

The Murder of Roger Ackroyd - Westport Country Playhouse

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

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

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

 

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

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

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

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

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

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

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

The Wild Party - Playhouse on Park

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

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

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

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

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

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

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

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

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

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

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

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

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

Crazy For You - Goodspeed Opera House

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

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

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

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

 

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

 

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

 

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

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

 

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

 

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

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

1776 - Ivoryton Playhouse

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

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

 

The cast of 1776.  Photo by Jonathan Steele.

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

 

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

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

  

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

 

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

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

 

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

  

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