Review: "Grease" Opera House Players

Opera House Players

Temple Beth El, Springfield, MA

https://www.operahouseplayers.org/show-information 

through August 16, 2026

by Shera Cohen

It is safe to say that "Grease," the movie and the musical (the latter ran on Broadway for 8 years) is a favorite of all generations. That was the case by a look at the packed house at the production of "Grease" by OHP, yet this time located on the stage of Temple Beth El, Springfield. 

OHP, in the throes of renovation of its permanent theatre in Enfield, CT, is using the temple for what they plan to be a one-time only move. This alternate venue is intended to keep patrons and performers safe and comfortable in an air-conditioned environment.

Perhaps designed purposefully, or not, this version of the musical seems to be an ensemble rather than a vehicle to showcase the characters Danny and Sandy. Atypical can be a plus for OHP. After all, the stars sing very few solos and one duet. Kudos truly belong to the company; meaning just about everyone onstage. 

Bravo to codirectors Stevie Norman and Michael King, and equally to choreographer Chantel Martin for successfully manipulating 21 actors/singers/dancers on a relatively small, unfamiliar stage. The big numbers -- "Grease Is the Word," "We Go Together," "Shakin' at the High School Hop," "You're the One that I Want" and "Hand Jive" are the winning elements of OHP's version of "Grease". Can anyone return on the ride home without humming or singing at least one of these standout songs?

                                                                                                                                                                                                                                            

Many players, as well as members of the creative team, are newcomers to OHP; and nearly all are young. Everyone in theatre must start somewhere. As wonderful as it is to offer this opportunity to newbies, a suggestion is to mix it up in the future. Immediately recognizing Tim Reilly as the oldest cast member (no insult intended, because by far, Reilly is certainly one of the best in local community theatre), without scene-stealing, he makes Act II shine. In fact, Act II is fun; not just because Danny and Sandy "go together" at the musical's end.

Direction of Act I needs more humor, whether it be physical interactions between characters and/or conversations.

Forgivable problems attribute to a new venue and opening night. Many sound glitches and reverberations jar the audience and slow the dialogue, lighting beams in wrong sections, set changes taking much too long, and some backrow and sideline dancers scattered. Assuredly, these errors will diminish as the production continues this weekend and next.

The energy of the actors is evident. See this musical soon, as "Grease is the word."

Note: "Grease" depicts the 1950's and hit Broadway in the early 1970's. Remember that the script is extremely dated and some material might be suggestive to children.

REVIEW: Tanglewood Festival of Contemporary Music

Tanglewood, Lenox, MA 

https://www.bso.org/tanglewood

July 23 & 27, 2026 

by Michael J. Moran 

As noted in the program, this year's Tanglewood Festival of Contemporary Music, directed by Finnish composer-conductor Esa-Pekka Salonen (perhaps best known for his transformative tenure as Music Director of the Los Angeles Philharmonic), "celebrate[d] some of Salonen's influences, musical friends, and younger composers whose music he has championed." 

Introducing the first concert on July 23, entitled "Those We Have Lost Too Soon," Salonen shared touchingly personal memories of the three recently deceased composers honored in this program. It opened with his own brief tribute to English composer Oliver Knussen, "Arabesques for Olly," smashingly played by cellist Han Lee, with Isabel Tannenbaum on drone. Next came a dazzling account of the string quartet "Terra Memoria," by Finnish composer Kaija Saariaho ("the older sister I never had," according to Salonen).  

"Four Poems of A. R. Ammons," by American composer Steven Stucky, featured stunning solos by bass-baritone Raphael Laden-Guindon and baritone Holden Turner. Saariaho's other-worldly "Lonh" ("Distant") showcased haunting vocals by soprano Lucy Fitz Gibbon and electronics by Ryan McCullough. Knussen's heartfelt "Requiem - Songs for Sue," a memorial to his wife, was distinguished by the protean singing of soprano Zoe McCormick. All performers are Tanglewood Music Center fellows or alums. 

The closing concert on July 27, titled "Nordic Boomers," presented works by four contemporary Scandinavian composers. After a helpful spoken overview by Salonen, he led the Tanglewood Music Center Orchestra of early career musicians in a bracing account of the colorful 2020 "Serenades" by his Finnish compatriot Magnus Lindberg, born days before Salonen in the same Helsinki hospital ("we bonded in the crib," said Salonen). 

Next, in sharp contrast, came Danish composer Hans Abrahamsen's harrowing 2013 setting of Paul Griffiths' 2008 novel "let me tell you," in which Ophelia re-tells her story in the 480 words she speaks in Shakespeare's tragedy "Hamlet." Soprano Alexandra Henderson was sensational in this challenging role, and TMC conducting fellow Lauren Smith paced the TMCO with clarity through Abrahamsen's darkly shimmering score. TMC conducting fellow Julian Gilewski then led the TMCO strings in a highly charged reading of Swedish composer Anders Hillborg's 2021 "Kongsgaard Variations," cleverly based on the heartfelt "Arietta" movement of Beethoven's last piano sonata. 

Ending the concert and the Festival on a high note was Salonen's own Cello Concerto, which he wrote in 2016 for Yo-Yo Ma and conducted with the deep insight of the creator. The taxing solo part was played with unflagging energy and Ma-like virtuosity by Finnish cellist Senja Rummukainen. The dense but clear orchestration of its four substantial movements feature a large percussion section, including congas and bongos, and electronically looped fragments of the solo cello broadcast through multiple speakers around Ozawa Hall, building a riot of exciting sound.  

  

Personal thoughts: Tanglewood’s Open Rehearsals

Tanglewood, Lenox, MA

www.bso.org

Summer, 2026

by Shera Cohen

 

Rehearsal v. Concert

Regular Tanglewood visitors are aware that programs are scheduled every Saturday morning; these are orchestra rehearsals for the next day’s afternoon concert. Take out your calendars, write these dates down, and try to get to Tanglewood at least once this summer. The season is far from over. 

Mozart’s Marriage of Figaro photo credit: Hilary Scott/BSO photo

The scheduled conductor and guest soloists take the stage along with the full Boston Symphony Orchestra. There’s only one noticeable change between the two days’ concerts; it’s casual Saturday as everyone wears summer pastels and shorts. The musicians dress-up a bit on Sunday; not suits and LBD but like colors.  As for the audience, whatever fits and is cool.

 

Is the rehearsal the exact program at the next day’s “real concert”? Sometimes, but not often. Some can be 2+ hours of start, stop, over, and over, as the conductor talks to various sections of the orchestra, making suggestions on how to perform with perfection. Anything the BSO does is perfect in my book.

 

Most times, the rehearsal plays straight through until the end of each piece. Only then are segments extrapolated and rehearsed again. To have such a keen ear, I am amazed by the talents of conductors. 

 

For me, rehearsals are learning experiences in one of the most beautiful settings in this country. Prior to attending, I usually don’t pay attention to who’s performing, which composer, etc. Melding the sounds of classical music with the sights, smells, and touch of Tanglewood as a backdrop, just can’t get better on any Saturday morning.

 

Saturday Morning Rehearsal
Tanglewood's music director Andris Nelsons was at his podium at precisely 10:30am. Tchaikovsky's Symphony No. 5 in E minor, called "the symphony of triumph over fate" composed in 1888 appeared at the top of the playbill.

Tchaikovsky led the premier in St. Petersburg, Russian. At the time, the composer didn't think very highly of his own work, even considering retirement. That malaise quickly changed when he began to work on perhaps one of his most famous and respected pieces, "The Sleeping Beauty".

Certainly, the BSO music was exquisite as always. However, it was guest violin soloist, the adorable 15-year-old Himari from Japan who grabbed all the attention. This little girl (yes, girl) stood front, stage left, next to Nelsons, oftentimes giving the conductor notes on what she felt the orchestra might do as it accompanied her, rather than the reverse. So poised and confident standing in her blue dress, I have never been so impressed by the artistic skills of someone so young yet mature.

Moving ahead a couple of centuries, the BSO rehearsed an unfamiliar work to me by Esa-Pekka Salonen, born in 1958.  "Gambit," a shorter piece, was festive and upbeat. This is somewhat crass, but for the most part, my knowledge of composers are those who are no longer with us, although their music lives on forever. Salonen was very much in the present. In fact, I saw him conduct his own music only two days later.

I was quite surprised how much I enjoyed "Gambit". This proves my own mandate: be open to art that is new to you, give it a try at the very least. I wish I could identify the name of the instrument, but my guess is that some sort of ancient woodwind featured prominently in the piece. The sound replicated swishing waves with birds hovering over. And I know that this time, the melody was not the echo of actual birds flying in the shed. The latter is a common occurrence -- one that is unique to Tanglewood and one that I would not want to miss.

A Weekday Rehearsal  
Usually, one morning each week (generally on Thursday or Friday), the BSO rehearses the Saturday evening concert. I planned the day accordingly in order to hear Mozart's "The Marriage of Figaro," again conducted by Nelsons with James Darrah Black as the Tanglewood Music Center chorus director. This was an ideal "Tanglewood Day" -- a combination of the joy of live opera in Tanglewood's huge shed on a clear and relatively cool morning. 

These rehearsals are not ticketed. In other words, they are free, yet visitors are not permitted in the concert tent. I simply sat outside on my own lawn chair. Less than 50 people also sat or spread blankets under trees. Large screen monitors center stage and positioned along the outside periphery of the shed permitted a look at the singers and musicians. Hearing is never a problem, no matter where your seat is.

The opera singers were animated, and although not in costume, acted and interacted with each other as they sang the beautiful and fun Mozart score.

Rehearsals serve as coming attractions or daytime concerts for those who might not be able to attend the "real thing".

Review: Circa Contemporary Circus: Wolf

Jacob’s Pillow, Becket, MA

www.jacobspillow.org

by Shera Cohen

Although not its first visit to Jacob Pillow, Circa Contemporary Circus’ performance for one week on the stage at the Ted Shawn Theatre was, with no hesitation, the most creative, awe-inspiring, and unique dance event at this noted venue this season. No wonder the full house.

 

For those familiar with many versions of Cirque de Soleil, Circa is similar in execution. This may be a fine point, but while Cirque is entertainment, Circa is art.

 

Circa is one of the world’s leading performance companies. Since 2004, its base has been Brisbane, Australia. From there, the troupe of 10 (5 women and 5 men) has toured in 39 countries on six continents to over a million people. They have performed throughout the world at leading festivals and at prominent venues.

 

Founder Yaron Lifschitz termed Circa as an ensemble of exceptional, multi-skilled circus artists.

If this is a new form of contemporary dance style, bring it on! It is powerful, emotional, and unique. Paraphrasing The Age Magazine, Circa is the frontrunner of the new wave of contemporary Australian circus, developing physicality to prove powerful.

 

Is this dance? Movement? Theatre, Circus? It is all of these at once.

 

The troupe’s long piece, including intermission, was titled “Wolf”. By the stances of the dancers and their simple skin-tight beige costumes with black or brown geometric shapes, it was clear that each individual on stage, or groups, did become wolves. These young, lithe dancers were able to contort and meld their bodies to become the picture of a single wolf.

 

Without trapeze or net, exquisite costumes or sets, the artists relied on each other’s bodies as steps in order to build mountain tops. How high can they go? A lot higher than anticipated. The trust that each must give to the group is incredible. All the time, these human formation images were made directly and swiftly before the audience’s eyes – far more than tricks; each was an artistic depiction of a wolf or wolves in different environments, moods, or habits.

 

At the start of the dance performance, Executive & Artistic Director, Pamela Tatge, briefed the audience on what was about to take place. In her introduction, she stated, “You will find yourselves asking, ‘How’d they do that?’” She was right.

 

Unfortunately, Circa’s week has ended. Yet, eight full concerts remain, including those by famous, respected troupes like: Gauthier Dance, Brian Brooks Moving Company, San Francisco Ballet, Ephrat Asherie Dance, Ballet Hispanico New York, Haang Yi:Ink, and ending with Hubbard Street Dance Chicago.

 

Dozens of one-shot dances take place on the outdoor Henry J. Leir Stage as well. The performers are soloists, duets, and ensembles. Like those on the two main stages, all are immensely talented professionals in their various genres which include: jazz, ethnic, ballet, traditional, and modern. Live music collaborations are the best programs, when two living art forms work together to create the best of both.

 

Jacob’s Pillow’s campus is serene and lovely, accentuating the performing arts in its theatres.

REVIEW: Sevenars Music Festival, Champlain Trio

The Academy, Worthington, MA
http://www.sevenars.org

July 26, 2026

by Michael J. Moran

The title of this concert, “In Her Voice,” could refer to both the composers and the performers. The Champlain Trio was founded in 2020 by its current members – violinist Letitia Quante, cellist Emily Traubl, and pianist Hiromi Fukuda. All Juilliard graduates based in Vermont, they are also experienced educators and performers throughout New England (Traubl is principal cellist of the Springfield [MA] Symphony Orchestra).  

Their program consisted of piano trios by three women composers active in the early twentieth century. It began with American composer Amy Beach’s 1938 Trio in A minor, her last piece of chamber music, written at age 71. Its three short movements, lasting a total of 15 minutes, burst with musical ideas. The Champlains fashioned a robust opening “Allegro,” with an unexpectedly quiet close; a gentle “Lento espressivo,” with a lively “Presto” interlude based on an Inuit melody; and a joyful “Allegro con brio.”    

Next came the 1931 Trio in A minor by French composer Charlotte Sohy, whose music is currently being rediscovered. To this listener’s ears the Trio both reflects and transcends the influence of Gabriel Faure, who was known to perform some of Sohy’s music, with a style distinctly her own. The piece’s three movements and the Champlain’s vibrant performance suggest a conflict waged (in a tempestuous first “Allegro”), peacefully negotiated (in a fluidly sensitive “Andante”), and triumphantly won (in a virtuosic second “Allegro”).

The concert ended with the 1910 Trio in C major by Croatian composer Dora Pejacevic, whose music, like Sohy’s, is also undergoing a well-deserved revival of interest. As Fukuda noted in a spoken introduction, Pejacevic can sometimes sound a bit like Brahms or Dvorak, but an unmistakenly personal style of her own soon emerges. The Champlains gave the piece their all, from a dramatic “Allegro con moto” and playful “Scherzo,” with pizzicato flourishes by the strings, to a yearning “Lento” and exuberant “Finale.”

The lone male voice in the program was a ravishing encore of English composer Edward Elgar’s lovely “Salut d’Amour” (“Love’s Greeting”). Rich and carefully balanced playing by all three instrumentalists ideally showcased three masterful compositions which should be better known. 

Sevenars concerts continue every Sunday at 4:00pm through August 16 in the intimate acoustics of Sevenars Academy in South Worthington, MA.

There’s More to Shakespeare & Company Than Shakespeare

Lenox, MA

www.shakespeare.org

by Shera Cohen

Nay, Shakespeare & Company is far from closing its doors for the 2026 season; there's still fall and winter.

Plays in Process (late July)
I had the opportunity to see and participate in this creative program; a first for me. Sorry, PIP has ended. However, give yourself a gentle reminder that season 6 will offer a handful of play readings by professional actors that may be produced in future seasons at S&Co. Each reading is directed by a member of the company then critiqued by the audience.

 

Yaala Muller as Ophelia 

Shake It Up: The Remix (end of July -August)
Directed and starring S&Co. actors, students, and even those in management (everyone on campus has talent!) combine the words of the Bard with upbeat Top 40 music by the rockin’ house band for 12 shows at the Tina Packer Playhouse. Definitely a participatory event, the audience dancers and sings along in the aisles. Whoever said that Shakespeare is boring?!

 

Riotous Youth Performances (ends in August)
Just a few dates remain in August to see young actors perform the greatest hits of selected play. Enjoy excerpts from “Hamlet” on Aug. 7th and “A Midsummer Night’s Dream” on August 14. Great for the family.

 

Merry Wanderers’ Guided Tours (4 more tours in August)
These 2-hour walking tours of the beautiful S&Co. campus on Thursday mornings offer a first-hand look at what makes theatre happen, from page to stage.

 

“Frankie and Johnny in the Clair de Lune” (ends August 23)
Both funny and achingly honest, this play explores loneliness, resilience, and the possibility that love may be waiting. Recommended for adult audiences.

 

“Hamlet” (August 13 – 30)
Even it you’ve seen this classic in the past; there is nothing as special as attending “Hamlet” at S&Co. A gripping story of grief, conscience, and the cost of action is thrilling and deeply human. Performed indoors at the Tina Packer Playhouse.

 

Talks & Tours (August 29)
This series of Behind the Curtain talks are free and open to the public featuring directors, cast, and design team members. Five talks of the summer months; the final with Director James Warwick, discussing “The Norwegians”.

 

Midsummer Dreamers (early September)
Created and performed by Nick Nudler and Kirsten Peacock, this contemporary reimagining of  “A Midsummer Night’s Dream” blends Shakespear’s poetry with physical theatre, aerial performance, and comedy. Three performances only in September.

 

“The Norwegians” (September 4-October 4)
S&Co. presents a full-length play in the fall which has become the norm for this summer-only performance venue. Starring four of the company’s tried ‘n true actors, the play is a sharp, surprising dark comedy about love gone wrong. It tells the story of two woman who decide that the best way to fix the wrongs done to them by the men in their lives is to hire Norwegian hitmen.

 

Celebrating Jewish Plays ( October 9 – 11)
The weekend of October 9, 10, 11 focuses on stage readings, live poetry, music, and guest speakers for one common theme. This marks the second consecutive year of Jewish Plays at both the Tina Packer Playhouse and Elayne Bernstein Theatre.

 

Pride and Prejudice (December 18 – 20)
Another short run, this time in the cold of winter is Jane Austen’s well-known P&P featuring a costumed reading. In addition, and in keeping with the season, will be a tea party as well as pre-show talk.

A first-time visit : Clark Art Institute

Clark Art Institute, Williamstown, MA  

http://www.clarkart.edu

through October 12, 2026 

by Nechama Katan

The Clark Art Institute mixes an integration of a traditional art museum and Berkshires outdoor space. 

A permanent collection anchors the galleries, alongside the guest exhibition, "An Exquisite Eye: Introducing the Aso O. Tavitian Collection," which is open until February 2027. 

 

Tavitian (1940 - 2020) was a philanthropist and connoisseur who, over decades, assembled 331 works of European art from the 15th -19th centuries, then gifted the entire extraordinary range to the Clark. This is the first public taste of the collection, a preview before the Tavitian Wing at Clark opens in 2028. The pieces for view present an intimate view that is rich in portraiture. Oftentimes, museum goers must stand a foot away from the art to see the precise excellence of the image. 

 

Next, roam the grounds, because the Clark's entirety is only partially an indoor museum. The outdoor reflecting pool faces the woods, where chairs face the water so visitors can sit, eat lunch, and simply enjoy. This mix of formal art, nature, and modern art sums up the Clark Art Institute. 

 

Anthony van Dyck, Portrait of Margaret Lemon, c. 1638, Oil on canvas

A cow pasture behind a fence, where the fence itself is, not surprisingly, a form of art: a lesson in "teaching the cows to draw," designed by Analia Saban. This functioning fence includes varying pattern between the posts and crossbars. Very clever and again signature Clark.

 

The real reason to wander, though, is "Ground/work 2025," a walking trail of six monumental outdoor sculptures scattered across the campus, curated by Glenn Adamson. Art is best when it is not only viewed but experienced, and this trail permits exactly that, moving through the landscape and meeting each piece, literally on its own ground.

 

Each of the six artists reinvents a global craft tradition. Javier Senosiain's "Coata III" is a glorious tiled serpent in the water, drawn from Mexican mosaic. Aboubakar Fofana works in West African indigo cotton wrapped into seeds of life in a metal tree. Laura Ellen Bacon woven willow creates an intricate design that combines the local trees and biodegrade.  Hugh Hayden integrates pieces of wood into a large rib cage. Yō Akiyama uses Japanese ceramics and inspiration from the woods. Milena Naef works with marble and again local wood. Each piece is nestled into the landscape with its own story. The walk through the exhibit gives individual visitors the time to consider and ponder each work in it isn't own time and space. 

 

Museum guests can become physical with the art, to experience it in the wild, and then step back inside for the hushed, traditional museum. Note the trail and other outdoor space are free.

The traditional visitor plans an entire day, or at least an afternoon to delve into the natural art and the masterworks, alike.

By the way, the drive is part of the picturesque pleasure.