Review of "My Children! My Africa" in Hartford

One of the most exciting works of theater to be appearing on a Connecticut stage is at the intimate HartBeat Ensemble in Hartford.  Their production of Athol Fugard’s My Children! My Africa! is passionately acted and resonates with themes and subject matter that, sadly, is still relevant today.  Performances for this must-see show end Sunday, October 9.

The play was first produced in 1989 while South Africa was still under apartheid rule, where the all-white government enforced policies of racial segregation. This led to separate public facilities, housing, and education.  It is under this backdrop that My Children! My Africa! begins.

We are introduced to three characters in the midst of closing arguments in a high school debate.  Thami Mbikwan (Jelani Pitcher) is a Black student attending Zolile High School and Isabel Dyson (Brianna Joy Ford) is at Camdeboo High School, an all-white girls’ school. The referee is a disciplined, caring Camdeboo teacher known as Mr. M (Godfrey L. Simmons, Jr.).

After the debate, the two begin a tentative friendship.  Isabel is outgoing and incessantly inquisitive.  She is unthinkingly unaware of the world outside her privileged white environment and her understanding of the plight of Black South Africans.  Thami, a star pupil who lives in The Location, a segregated area, is much more reserved in his feelings and with the information he chooses to share.  He has also become less inclined towards school and more interested in the struggle of his people for racial equality.

The association between Isabel and Thami becomes more pronounced after Mr. M convinces the two to enter an inter-school English literature competition.  Their interactions and training suddenly collapse as rebellious rumblings among the Black high school students take center stage.  Quickly, and decisively, each character’s world, as they know it, changes forever.

The playwright Athol Fugard has eloquently and convulsively portrayed a time in South African history when apartheid still reigned throughout the land.  He brings in themes of racial inequality, the limitation of educational opportunities and, most emphatically, the debate of violence vs. non-violence as a force for change.

He deftly dramatizes these topics without being didactic or preachy.  Mr. Fugard also astutely furnishes each character with an expansive soliloquy that augments their background, motives, and helps push the plot forward. 

The cast is superb.  One of the best ensembles I have seen in years.  The trio of performers are convincing in their roles as they modulate between introspection and outrage.  Brianna Joy Ford imbues Isabel Dyson with a thirst for knowledge.  She finely transitions from a somewhat dispassionate white South African, not really comprehending the upheaval beginning around her, to someone awakening to the plight of her Black countrymen.  Jelani Pitcher’s portrayal of Thami Mbikwan, a young man racked with conflicting allegiances and sentiments, is assured and thought-provoking.  He brings an intense quietude to the role as well as a forcefulness bubbling just under the surface.  Godfrey L. Simmons, Jr. 's Mr. M, dutiful, proud of his calling to teach, and insistent on respect from his students, is a lightning rod for the dramatic underpinnings of the show.  The actor provokes and regales as he infuses his character with a fervor and earnestness that is honorable.  His enthusiasm for his craft is highly contagious.  In the end, though, his dedication and old school approach prove disastrous.

Director Melanie Dreyer has powerfully and ardently brought the characters and story to life.  There is a naturalism to the show that heightens the action on stage.  In such a small performance space, movement and flow is important and the Director smoothly keeps the play from becoming too much of a static production.  At some points, she skillfully maneuvers the actors around the environs like caged animals, waiting to pounce or seek flight from their untenable situation.  Sometime iit can seem like the three performers emote too much, but Ms. Dreyer nimbly balances the need for highly expressive displays with more nuanced affectations.

The simple Scenic Design by Norm Johnson, Jr. and Lighting Design by Jon Paul-LaRocco is emblematic of the basic, no frills classroom of Camdeboo High School.  The Sound Design by Ritz is limited, but effective when applied.

My Children! My Africa!, a show not to be missed.  Playing through Sunday, October 9 at 2PM.  Ticket information is at https://www.hartbeatensemble.org/.  Masks required.

Review of "Sunset Boulevard"

 The Music Theatre of Connecticut (MTC) has not been shy in reimagining large shows for their intimate performance space.  Their current offering of Sunset Boulevard fits this mold and is a mostly successful and entertaining rendering of the musical.

The show, with music by Andrew Lloyd Webber and lyrics by Don Black and Charles Hampton, is based on the classic 1950 film of the same name.  The plot revolves around faded silent movie star, Norma Desmond, and her involvement with a young, disillusioned screenwriter, Joe Gillis.  Through a chance encounter at her large estate, she recruits him to help forge her comeback to the big screen.  The musical has romance, ruminations on the predatory and emasculating Hollywood environment, and a sad and tragic ending. 

In order for Sunset Boulevard to succeed on stage, there are four key roles that need to be flawlessly cast.  At the top of the list is the character of Norma Desmond and Elizabeth Ward Land is impressive in the role.  The actress imbues the character with pride, self-importance, and despair.  One moment she is a strong, yet deluded, soul, the next a fragile relic of the past.  Ms. Land possesses a glorious singing voice that both delicately and forcefully takes hold of such iconic numbers as “With One Look,” “The Perfect Year,” and “As If We Never Said Goodbye.”

For the other major role of Joe Gillis, MTC has brought in the superb actor, Trevor Martin.  From his first moments on stage, you are taken with his brash attitude and opinionated asides, His desperation is unmistakable as he tries to make it as a screenwriter in Hollywood and straddle the province of Ms Desmond and that of the “real world.”  Both Ms. Land and Mr. Martin infuse their performances with a wide range of facial expressions that enhance their characterizations.  

The two important featured players are filled out by James Patterson as Max Von Mayerling, the mostly silent and loyal servant of Norma Desmond; and Sandra Marante as Betty Schafer, the young studio assistant, who collaborates with Joe Gillis in more ways than one.  The composure and self-assurance they bring to their respective roles adds a crucial balance to the two leads and helps to flesh out the storyline, handily adapted by Don Black and Christopher Hampton from the movie screenplay.

The score by Andrew Lloyd Webber, Don Black, and Charles Hampton is tuneful (see the song list above) and contains bursts of optimism and revelry, but its essence is rooted in the film noir genre of cynicism and darker shadings.  There is the mocking, sarcastic overtones of “Let’s Have Lunch,” where Joe is unceremoniously told by the studio head that his services are not required; “The Greatest Star of All,” where Max solemnly intones the legend of Norma Desmond; to the show’s title number that Joe literally spews forth in a contemptuous diatribe.  All of the songs are brought forth under the capable hands of Musical Director David John Madore.

Director Kevin Connors, an MTC fixture for many years, knows how to make the most of his limited space to give the illusion of a larger production.  He skillfully incorporates the ensemble into a cohesive unit that works to fill out the show.  In the scenes with just Norma Desmond and/or Joe Gillis he sometimes gives the moment an almost cinematic touch.  To paraphrase a famous line from the musical (really, the movie) - “All right, Mr. Connors, I’m ready for my close-up.”  

His judicious use of projections adds a spark of creativity without relying on gimmicky theatrics.  I do wish he worked more with Scenic Designer Lindsay Fuori on the overall set to provide more glamor as well as decrepitude.  A couple of curtains and an unadorned, one-level staircase didn’t provide the necessary ambiance for the production.

Diane Vanderkroef’s Costume Designs are suitable for the era.  The outfits Jimm Halliday created for the Norma Desmond character are glittering, flashy, and elegant.  RJ Romeo’s black and white projections are well-done and help move the story forward though.  His overall Lighting Design lacks the nuance and complexity of the film noir genre, but his shimmering pool effect is quite impressive.  Will Atkin’s Sound Design is well-balanced, from the vocals to the dialogue. 

Sunset Boulevard, a show not often revived on Connecticut stages.  Playing at the Music Theatre of Connecticut through October 2, 2022.  Click here for information on dates, times, and tickets.

A Phantom of the Opera Memory

 Last week it was announced that The Phantom of the Opera will close on Broadway on February 18, 2023 after 35 years and 13,925 performances.

In January 1988, I was certain the show was going to be a huge hit before it opened on Broadway and bet a sizeable chunk of my department budget on this hunch.

At the time, I was living in New York City and was employed as the Associate Director of Student Activities at Barnard College (part of Columbia University).  I ran a discount ticket booth for the campus, selling hundreds of tickets via a program through the Theatre Development Fund.  As an avid theater-goer and procurer of theater news, I had read about the soon-to-open juggernaut.  I also discovered that the Schubert Organization was selling half-price orchestra seats for students.  The regular price - $50 (can you believe it?!), but I was able to purchase these seats – the last two rows of the orchestra – for only $25 a ticket.  I bought 500 tickets out of my meager budget and resold them at the discount rate - to undergraduates only - with no mark-up.  When Phantom did open and became the hottest ticket in town, I was soon everyone’s best friend.  High level administrators and faculty, who never gave me the time of day, were suddenly at my office door making indiscreet inquiries about ticket availability (I will admit I did succumb to some of the pleadings).

Soon after the musical opened the Schubert’s realized their blunder by pricing the discounted tickets for last two rows of the orchestra instead of a less desirable location.  Quickly, they moved these seats to the balcony.  I, however, was still sitting on my stash.

Looking back, I like to think I was making a Broadway hit accessible and affordable to hundreds of college students.

Review of "Mr. Holland's Opus"

The musical Mr. Holland’s Opus, receiving its world premiere at the Ogunquit Playhouse, is problematic at best.  Based on the motion picture of the same name, the production follows the narrative of the film, but needlessly adds an element to the story (not in the movie) of the Vice Principal’s repressed gay feelings.  By incorporating such a plot point throughout the show, as well as a few others, the two main foci of the musical are not as fully developed as they could be.  These are Mr. Holland’s teaching and mentoring of generations of high school students and his relationship with his deaf son.

Photo by Nile Scott Studios.

As the show begins, we are introduced to a young couple, musician Glen Holland (Akron Watson) and his photographer wife, Iris (Anastasia Barzee).  Mr. Holland is working on his “great american symphony,” but with money tight he agrees, for a short time, to teach music at John F. Kennedy High School.  The temporary position eventually becomes an odyssey that ends up lasting 30 years.  

At the beginning of his journey we meet the tough, but fair-minded Principal, Helen Che-Jacobs (Veanne Cox); the prickly Vice Principal, Eugene Wolters (Timothy Gulan); and Bill Meister (Chris Orbach), the gym teacher who becomes Mr. Holland’s lifelong friend. Throughout his years in the public school we witness his tutelage of challenging students as he also inspires and imbues life lessons.  Unfortunately, the demands at school leave little time for his family, which now includes a son Cole (Joshua Castille).  Cole, much to the heartache of Mr. Holland, is deaf.  

Photo by Nile Scott Studios.

As time passes, the plot continually shifts between Mr. Holland’s two worlds.  The high school responsibilities receive more attention, much to the resentment and unhappiness of his growing son and wife.  However, by the show’s conclusion there is an affectionate rapproachement and understanding between father and son.

The musical, as with the film ends with Mr. Holland losing his position due to budget cuts. There is an outpouring of gratitude to the elder statesman of JFK High School from generations of his students and colleagues.  This culminates in a presentation of his finally completed symphony at an overflowing school assembly.

The actor B.D. Wong performs a trifecta with the show.  He wrote its book, the song’s lyrics, and directed the musical.  As librettist, the story comes across as a solid first draft.  The show would be hugely strengthened if a couple of subplots were jettisoned.  These include the ongoing angst over the Vice Principal’s sexual orientation and the recurring ghost-like presence of a childhood friend turned Top 40 artist.  The second act high school musical could also be shortened.  This would allow more time to enhance the various relationships Mr. Holland has with his students, family, and colleagues.  Certain scenes could also have a more satisfying resolution as when Mr. Holland’s wife confronts him about a possible liaison with a student.  After a big build-up it is just matter-of-factly resolved.  

Photo by Nile Scott Studios.

The musical could benefit by Director B.D. Wong infusing the production with more of an impassioned core.  The show should be one of joy and disquietude that tugs at our emotional heart strings.  I didn’t feel much tugging.  Choreographer Darren Lee enlivens the set with a few timely dances numbers, most notably in the production numbers for “Angels Getting Their Winds” and “Cole World.”

The score by Wayne Barker and B.D. Wong is straightforward and occasionally tuneful.  It serves the purpose of exploring the character’s inner feelings and moving the action forward.  The highlight of the production, the song that energies the show, is the Act II opener “Cole World,” where the audience is greeted by the teenage son of the Holland’s as he introduces his view of the world.

The cast is led by Akron Watson as Mr. Holland.  He has a marvelous singing voice and, within the confines of the book, ably expresses the pride, hopefulness and overall elation in working with his high school charges.  The actor also shows his range in the relationship he has with his son, from initial regret to eventual acceptance and celebration.

Anastasia Barzee gives a convincing performance as the harried, worried wife of Glen Holland.   Veanne Cox is superb as Principal Che-Jacobs.  The actress commands the stage with her presence.  She is proper without being priggish, deftly straddling the line between tartness and winsome.  Ms. Cox is also in good comedic form as a femme fatale in the imagination of the Vice Principal’s mind.   Timothy Gulan’s character of VP Wolters needs to be reexamined.  The performer does a very credible job of portraying the second in command as a complete jerk, but there is no nuance or redeeming quality  to the role.  He can be an adversary, but doesn’t need to be so off-putting.

Photo by Nile Scott Studios.

The breakout performance of the show is Joshua Castille as Cole.  He literally bursts onto the stage with exuberance and charism that adds a liveliness to the production.  The deaf performer brings a passion to his character and realism to the musical.  If the show does have an afterlife once its Ogunquit engagement has ended, I would hope he would be part of it.

Lex Liang’s Scenic Design is serviceable, but needs more to signify the passage of time.  B.D. Wong states in the program notes that securing the rights to music of the decades covered in the show were not possible.  However, projections of historic moments in time along with specially composed thematic music of the era would suffice.

Mr. Holland’s Opus, playing at the Ogunquit Playhouse through September 10.  Click here for dates, times, and ticket information.

Review of "Ring of Fire"

Jukebox musicals come in all forms.  There are shows, like Smokey Joe’s Cafe, which string hit tunes of a composer/composing team together in vignettes structured around a song.  You have musicals with a true-to-life storyline - Jersey Boys and Beautiful being two of the most well-known.  Finally, there are hybrid shows of the aforementioned types - part book musical, part song cavalcade.  Ring of Fire, the Johnny Cash show, falls into the latter category.  The production is rock and rolling the Ivoryton Playhouse through September 11.

 

The seven very talented actors/musicians, under the sure-handed direction of Musical Director David M. Lutken -  bring the country legend to life - from his humble beginnings in rural Arkansas through his marriages, triumphs, setbacks and final redemption.  There are dozens of songs presented from his wide-ranging catalog.  There are hymnals and inspirationals, country tunes, rollicking rockabilly numbers, and the hits that crossed over to the pop charts such as  "Folsom Prison Blues", "I Walk the Line", "Ring of Fire", and "A Boy Named Sue."  Audience members, like myself, unfamiliar with many of the country legend’s vast repertoire of music will, nonetheless, be charmed by the energetic, joyful presentations of the songs.

 

The first part of the musical  begins with the childhood of Johnny Cash and moves through his young adult life.  It was a hardscrabble existence for him and his family.  There was sorrow and tragedy but, throughout, song and their religious convictions helped pull them through.  We witness the singer’s rise to fame - on radio, at the Grand Ole Opry and on his television variety show - as the production pulsates into Act II.  His continued success, though, is belied by drug addiction, depression and eventual incarceration before he gets his life back on track.

 

The book of the show, created by Richard Maltby, Jr., runs swiftly through Act I, only getting bogged down when too much exposition takes center stage.  Act II, while retaining the high dynamism of Act I, has more somber moments as Cash’s life becomes increasingly complex and troubled.

 

Johnny Cash is portrayed by two adult actors - Sam Sherwood and David M. Lutken.  Each presents different perspectives and viewpoints of the singer.  They, along with the other five accomplished performers - Brittany Brook, Morgan Morse, Leenya Rideout, Nygel D. Robinson, and Spiff Wiegand - portray multiple characters with a noteworthy level of skill and deftness.  The actors/actresses are also quite proficient on a variety of instruments as they accompany themselves during all the musical numbers. There is a true chemistry between the cast members, which translates to high-spirited enjoyment for the audience.

 

Director Sherry Lutken keeps the pacing brisk with scene changes transitioning smoothly.  She nimbly melds together the numerous songs and players into a seamless whole. As choreographer, Ms. Lutken adds a quick step here, a promenade there only when it decidedly enhances the moment on stage.

 

Scenic Designer Cully Long’s set conjures up Cash’s early life - a weathered front porch is off to one side - yet is versatile enough to aptly parallel other significant events of his life.

 

Ring of Fire - well-worth a trip to the historic Ivoryton Playhouse - through September 11.  Click here for dates, times and ticket information.

Review of "Secondo"

Secondo - 2nd course - is the sequel to the one-woman play, I Loved, I Lost, I Made Spaghetti, which is based on the best-selling book of the same name by Giulia Melucci.  Theaterworks Hartford had a hit with their production of the latter show ten years ago.  

In the current show, actress Antoinette LaVecchia revisits the role of Giulia.  She is now married and awaiting her husband’s return from the Cannes Film Festival.  In the interlude, she is prepping an anniversary dinner.  While she cooks and fusses, she regales the audience with stories about  their courtship and also her previous beaus.  Everything seems just perfect.  Or is it?

Ms. LaVecchia is a natural raconteur.  The performer is inviting and quite at ease in her delivery and command of the stage.  Her comedic anecdotes bring continuous smiles and knowing nods from those in attendance.  Her culinary talents and comfort level in the kitchen come across as genuine.

Playwright Jacques Lamarre has fashioned a modest, sugary confection with humor and just enough drama to keep the show percolating.  Divided into two, short Acts, the production could have easily been combined without an intermission.  The breezy pace is frequently interrupted by calls on the character’s cell phone from her mom, best friend, husband and a former boyfriend.  After a while, they do prove somewhat distracting.  I would have liked to have seen less reliance on the phone and more conversation and cooking from Giulia.

Director Rob Ruggiero oversees the play with a light touch.  He must know his way around a kitchen because the character’s movements and meal preparatory skills come across as natural and well-honed.  

Scenic Designer Brian Prather has created, along with Lighting Designer Carter Miller, a well-appointed city apartment kitchen that would be the envy of any urban dweller.

Secondo, an airy, cheerful frolic.  What might the next installment hold for Giulia?  Playing at Theaterworks Hartford through August 28.  Click here for times, dates and ticket information.

Review of "Anne of Green Gables"

Can lightning strike twice?  Almost 50 years ago, a spunky, redheaded orphan named Annie made her debut at the Goodspeed Opera House before moving to Broadway to become one of the longest running musicals in the history of The Great White Way.  Fast-forward to today and Goodspeed is producing another musical starring a high-spirited, redheaded orphan in their world premiere of Anne of Green Gables.

 

The show has issues which need to be addressed (more below) before a move to New York can be considered but, overall, it is an entertaining musical that will not disappoint fans of the 1908 novel.  My friend, who accompanied me to opening night, is a lifelong admirer of the source material and she was captivated by the show.  The production has been crafted for today’s sensibilities.  It has the look, feel, and vibe of the musical Spring Awakening, a hit “coming of age rock musical” from 2006.  Unlike that show, Anne of Green Gables is appropriate for children, say 10 and up, but also satisfying for adults. 

 

The musical follows the young Anne Shirley as she arrives at the home of brother and sister, Marilla and Matthew Cuthbert.  As they are getting along in years, they had requested a boy from the orphanage be sent to them to help with running their farm.  Their initial displeasure turns to acceptance and eventually an embracement of the vivacious girl.  Anne is smart, feisty and speaks her mind, not always to her advantage.  Following the storyline of the book, the show traces her life from an inauspicious beginning to her eventual graduation from college.  Along the way, we witness her clashes and struggles with the Cuthberts and the folks of Avonlea on Prince Edward Island.  There are the friendships she makes; her rivalry with the charming, good-looking star student, Gilbert Blythe; and, finally, her growth into a confident and assured young woman.

 

Book writer Matte O’Brien quickly and effectively sets the tone and direction of the show during Act I.  He handily develops the central characters and the core storyline.  It is fast-paced, coherent, and absorbing.  Act II, however, comes across more of a series of stitched together vignettes.  Scenes can seem confusing, shift hurriedly and are less focused.  There is a more somber tone that overtakes the production as the time frame of Anne’s life becomes more drawn out, characters grow, lives change.  Does this undermine the show?  No, but a reevaluation by Mr. O’Brien and Director Jenn Thompson would help the show find a consistent tenor.

 

The central characters are fully realized.  We care about their well-being and future. 

 

The cast is led by Juliette Redden as Anne Shirley.  She imbues the lass with strength, fortitude, and a never say never attitude.  She is funny, rude, and a pleasure to watch.  The actress truly embodies the character at all stages of her young life.

 

As Gilbert Blythe, the actor Pierre Marais is full of self-importance and swagger.  He also deftly brings out a vulnerability and intelligence that presents a more fully developed character seeking his place in life.  As Anne’s best friend, Diana Barry, the lithe Michelle Veintimilla gives a solid performance.  She is lovely, confused, and gracious.  Her character, however, needs better definition.  Initially, she comes across as a simpleton, which is how she is referred to by the townspeople and students at her school.  Yet, by the show’s conclusion she is portrayed as smart and self-assertive.  Which one is it?

 

Sharon Catherine Brown instills Marilla Cuthbert with a no-nonsense outlook that is layered with regret and love.  D.C. Anderson, as her brother Matthew, may be soft-spoken and a man of little words, but I found him to be the heart of the musical.  I’d like to see his character expanded.  Conversely, even though Aurelia Williams delivers one comedic moment after another as the gossipy, sour puss neighbor, Rachel Lynde, I felt her role could have been reduced.  She gives a marvelous performance, but at the expense of rounding out the characters of Mirella or Matthew.

 

The music by Matt Vinson and lyrics by Matte O’Brien is one of the strongest attributes of the production.  I haven’t heard such a satisfying score from a new musical in a long time.  The mostly rock-infused score, which also includes influences of folk and country, is tuneful and strongly sung by all the performers.  The songs embody the emotions and dreams of the characters. 

 

The choreography by Jennifer Jancuska is a mixed bag.  When dancing is suitably entwined into a scene, the kinetic movements of the ensemble players are a joy to watch.  Yet, too often, the choreography comes across as separate from the action on stage.  Instead of enhancing, it proves distracting.

 

Director Jenn Thompson, a well-respected presence on Connecticut stages, has skillfully guided the production to its satisfying end.  She effectively integrates the ensemble into the show, using them to capably inject needed exposition.  Ms. Thompson nimbly teases out the humor and pathos of the work.  As stated earlier, she needs to reexamine the efficacy of the choreography.  Work also needs to be done in Act II to better define some of the intent of certain scenes and the overall flow of the production.

 

Wilson Chin’s Set Design is minimal, with a revolving platform, center stage, simulating the ebb and flow of the story.  The focus is on the back wall with weathered, floor-to-ceiling wooden planks denoting the barn at the Cuthbert’s farm.  In keeping with the ambiance of the show, Tracy Christensen’s Costume Design incorporates a fine mix of early 20th century sensibilities along with modern garb.  Philip S. Rosenberg’s Lighting Design, while occasionally overstated, breathes life and radiance into the musical.

 

Anne of Green Gables, an enchanting new musical, well worth a trip to the Goodspeed Opera House.  Playing through September 4, 2022.  Click here for dates, times, and ticket information.