REVIEW: Hartford Symphony Orchestra, "Rachmaninoff & Rhapsody in Blue"

The Bushnell, Hartford, CT

www.hartfordsymphony.org

June 6-8, 2025

by Michael J. Moran

The HSO and its Music Director Carolyn Kuan closed their 2024-2025 “Masterworks” series of weekend concerts in festive style, including a powerful closing appearance by pianist Clayton Stephenson. The program comprised three works - written in the U.S. over an 80-year period by two American-born composers and a Russian immigrant - which were all distinctively American.

Photo by Jim Henkel

After a helpful spoken introduction and brief excerpts played by different HSO members, Kuan led the orchestra in a dramatic account of John Adams’ “Dr. Atomic Symphony.” This was adapted in 2007 from music in his 2005 opera “Doctor Atomic,” which portrayed the moral ambivalence of Dr. J. Robert Oppenheimer and his Manhattan Project colleagues in creating and testing the atomic bomb in the 1940's. The symphony’s three continuous movements featured many instrumental solos, but none more eloquent than the plaintive trumpet of HSO principal trumpet Dovas Lietuvninkas, expressing Oppenheimer’s anguish. 

Stephenson was next; a dazzling soloist in George Gershwin’s 1924 “Rhapsody in Blue" to show how jazz could enrich classical music. With technical polish and emotional exuberance to spare, the Juilliard-educated Stephenson shifted seamlessly between the piece’s contrasting moods, from quiet blues to joyous outbursts. Kuan and the ensemble were proficient partners, with a sinuous opening solo by HSO principal clarinet Sangwon Lee.

Stephenson’s perky encore performance of Igor Stravinsky’s 1921 arrangement for solo piano of the “Russian Dance” from his 1911 ballet “Petrushka” was equally virtuosic and invigorating.

Photo by Jim Henkel

The concert ended with a vibrant rendition of Sergei Rachmaninoff’s three “Symphonic Dances,” his last work for orchestra. Written in 1940 at his summer home on Long Island, its jagged rhythms and percussive instrumentation reflected both the influence of the composer’s native Russia and his growing Americanization over two decades spent in the U.S. The first movement featured an alto saxophone solo, sensuously played by Carrie Koffman, while the finale quoted an ancient Russian liturgical hymn of joy in its lively climax; a curious but memorable epitaph.

Next up for the HSO are a free concert in Bushnell Park on June 14 and their five-concert summer Talcott Mountain Music Festival in Simsbury (June 27-July 25).

REVIEW: Barrington Stage Company, "N/A"

St. Germain Stage, Pittsfield, MA

www.barringtonstageco.org

through June 22, 2025

by Jarice Hanson

 

While there is no doubt the “N” of “N/A” is Nancy Pelosi and the “A” is Alexandria Ocasio Cortez, the names of the two political powerhouses are never mentioned in the 90-minute play at the intimate St. Germain Stage at  Barrington Stage Company. Still, the two actresses, Kelly Lester (Pelosi) and Diane Guerrero (AOC) not only resemble the two women, but they channel their energy and mannerisms to a “T.”

 

Mario Correa’s ambitious script is deliciously constructed to pose several questions to the audience generally dealing with the overarching theme: “What do these women have in common, and where might they clash?”  There are many suggestions of where the internal conflict comes from. It this relationship one of “old” politics clashing with “new” politics? Are these two women destined for a power struggle that insures they never work together or that one must capitulate to the other? Is there any one way for an organization to function smoothly when one person has privilege and the other has little? What is moral leadership, and who gets to define the terms? 

Photo by Daniel Rader

 

The brilliance of the script is that the decisions are left to the audience, and according to the playwright’s perspective written in the playbill, the delicate balance relies heavily on the fact that: “…people in the audience have a strong feeling about those people and events to begin with…”  Correa’s experience as a staffer to a member of Congress informed his approach to thinking about how politics work at a practical level, as well as how ideology influences behavior.

 

In this whip-smart, fast paced, dialog-laden production, director Katie Birenboim does not allow her actors to rely on stereotypes or dwell on media images, but rather, gets to the heart of what makes each woman a leader. Learning of family relationships—who knows whether Nancy Pelosi actually gave her granddaughter an Eleanor Roosevelt Barbie or not—or how AOC’s family experience impacts her decisions about immigration—ground the individuals in unique ways of seeing the world and shaping how they view their responsibilities as leaders for the people they serve.    

 

The spare set by Brian Prather is central to involving the audience in the sense of place. Suggestions of what the view from each one’s office enhances the sense of power for the two women, and Wheeler Moon’s effective lighting design serves as a reference to time as the characters learn more about each other, and themselves.

 

The topics drawn from history are very real, and Brandon Bulls’ sound design is haunting as it recalls January 6th and the violence inflicted on those public servants attempting to do their duty.

 

The play reminds audiences that real people work on behalf of the public every day. To be successful leaders, they grapple with moral ambiguity, a sense of honor, and that democracy is a system that requires vigilance, checks, and balances.

 

This is an important play, and when told through the eyes of two powerful women, leaves a lasting impression on the state of our nation.

Review: Great Barrington Public Theater, "How to Not Save The World with Mr. Bezos"

Great Barrington Public Theater, Great Barrington, MA

www.GreatBarringtonPublicTheater.org

through June 22, 2025

By Suzanne Wells

Great Barrington Public Theater kicks off the summer with the highly anticipated world premiere of “How to Not Save the World with Mr. Bezos,” a compelling dark dramedy penned by Maggie Kearnan and directed by Clay Hopper. Kearnan, a fresh voice in contemporary theater, recently earned her master’s degree from Boston University and brings a sharp, thought-provoking perspective to the stage. Her play masterfully blends historical and cultural touchpoints, taking elements of the French Revolution, a dash of revenge, and an unexpected hint of cartoon mischief to craft a story that is both entertaining and unsettling.

Set in a dystopian future where accumulating vast personal wealth has been outlawed, the play opens in a sleek, modern conference room dominated by a long table. The audience, seated in an arena-like formation surrounding the stage, is immediately drawn into the atmosphere, reminiscent of a Roman Colosseum. This arrangement intensifies the drama unfolding before them, immersing viewers in a gladiatorial battle of ideology and power.

Photo by Lauren Jacobbe

At one end of the table sits Cherry Beaumont, a determined journalist representing Forbes Magazine. Across from her looms the formidable figure of Jeff Bezos. Their conversation begins as a standard interview but quickly escalates into a heated ethical debate over the responsibilities of the ultra-wealthy in addressing global financial disparities. As tensions rise, secrets emerge, further complicating the struggle at play.

 

Providing a fascinating counterpoint to the mounting drama is the "Fact Checker," stationed at a small podium to the side. Armed with an arsenal of props, he injects bursts of humor and levity into the increasingly charged discussion, serving as both comic relief and a sobering voice of reason.

Eliza Fichter delivers a mesmerizing performance as Cherry, her energy and precision making it nearly impossible to look away. Her ability to command the stage ensures that every moment of the debate feels urgent and alive. Noah Ilya Alexis Tuleja steps into the role of Jeff Bezos with striking intensity, expertly walking the fine line between eliciting audience sympathy and disdain. Meanwhile, Shai Vaknine, in his debut performance as the Fact Checker, shines in his role—providing both well-timed humor and intelligent interjections that elevate the entire production.

This play is an electrifying, thought-provoking theatrical experience that leaves the audience questioning—are we ready for a revolution?

REVIEW: The Bushnell, “Back to the Future, The Musical”

The Bushnell, Hartford, CT

www.bushnell.org

through June 8, 2025

by R.E. Smith

How can something so high-tech be so charming? How can something one audience member at intermission called “so meta” still feel so sincere? Probably because, like the plot which bounces 30 years back and forth in time, it embraces the most entertaining parts of both time periods and eschews cynicism.

Photo by McLeod9 Creative

The plot is simple Oedipal science fiction with fun historical commentary mixed in for laughs. Marty McFly’s good friend, scientist Doc Brown, has invented the most stylish time machine ever, and through a series of mishaps, Marty travels back to the 50’s, where he not only meets his parents, but also attracts the unwanted attentions of his teenage mother. Of course, he must get back to the 1980’s before the flow of time is disrupted and catastrophe ensues.

The show’s script is by the original movie’s co-creator Bob Gale and produced by director Robert Zemeckis. They understand what makes the film so beloved and they are not afraid to recreate much of that narrative scene for scene and word for word. 

Do the performers very much embrace the mannerisms and the delivery of the original stars, Michael J. Fox and Christopher Llyod and Lea Thompson? Yes, they do. But die-hard fans would be sorely disappointed if they didn’t. Do they give them enough of a spin to make things just different enough to entertain an audience not intimately familiar with the movie, yes they do!

Appreciated is the idea that the characters are given songs native to the styles of their day, like “Pretty Baby”, sweetly sung by Zan Berube as Lorraine Baines (all sugar and spice) in ‘50s girl group fashion. Lucas Hallauer’s Marty (flummoxed but determined) gets the well known 80’s pop-hits like “Power of Love”. “Cake” allows the ensemble to extol the virtues of leaded gasoline and DDT while “21st Century” goes full Styx to help Doc solve his time-traveling puzzle. Alan Silvestri’s movie score (a highlight of the film) is layered throughout and helps drive the momentum of the narrative.

The entire cast is top rate, doing excellent work, vocally, physically and with impeccable timing. Nathaniel Hackmann, who originated the role of bully Biff on Broadway, set his own gold standard, but still clearly relishes every minute of his malaprop burdened blowhard.

To speak too much of the special effects, lighting and sound design would spoil an impactful part of the show. At times, the audience feels like it’s in a real-life video game, but since you are invested in the outcome of these sympathetic characters, the razzle-dazzle heightens the dramatic tension rather than distracts.

Musical adaptations of well-loved movies can be a mixed bag. For every “The Producers” there is a “Carrie”. “Back to the Future” has the benefit of source material that strongly relied on music as an important element, and solid structure that was already teetering to the melodramatic. Therefore, perfect for a big, exciting, brightly colored Broadway musical!

Try to arrive early to the Bushnell and enjoy the outdoor recreation of an 80’s dance party, complete with a chance to get a selfie with the “real star” of the show (Hint: it has four wheels)

Personal note from the reviewer: So anyway. . . .this will be my last review for “In the Spotlight”. Over 30 years ago, publisher Shera Cohen sent a young engaged couple off to review “My Fair Lady” at the Bushnell. It is only appropriate that our last show was at this venue, and the show is one that speaks to both the past and the future. Between Bravo Newspaper and In the Spotlight, I’ve had the opportunity to see and comment on more theatre than I ever imagined we would and I feel very lucky to have done so. I want to thank Shera Cohen for trusting my words to contribute to people’s discovery and enjoyment of the arts.

REVIEW: Barrington Stage Company, " EISENHOWER: This Piece of Ground"

Barrington Stage Company, Pittsfield, MA

www.barringtonstageco.org

through June 8, 2025

by Jarice Hanson

 

Watching actor John Rubinstein on stage is like observing a master class in acting. In the solo show, "Eisenhower: This Piece of Ground," written by Richard Hellesen and produced and directed by Peter Ellenstein, Rubinstein brings the life of the 34th President of the United States, Dwight D. Eisenhower into focus. He does not impersonate Eisenhower, but fully portrays the former President’s irascible tendencies, depth, and moral conviction. 

 

The play is set in 1962. John F. Kennedy is the President at the time, and “Eisenhower” minces no words about his feelings toward JFK. He says: “I didn’t particularly like him, but I respected him.” 

Photo by Maria Baranova

 

Through clever projections designed by Joe Huppert, the audience observes Eisenhower’s childhood and family in rural Kansas, through his education at West Point, to his work as an aide to General Omar Bradley in WWII and Korea, his time as a University President, and eventually to the Presidency. 

 

The setting is the retired President’s home in Virginia, where he hints at what family life is like, and his deep love for his wife, Mamie. When Rubinstein engages in a phone call with Mamie, his voice softens ever-so-gently, and his face becomes that of a man who truly understands the sacrifices of a military wife. 

 

It is the portrayal of Eisenhower that leaves the strongest impression. Rubinstein is a joy to watch as he personifies this man struggling with what he hopes to include in a book. He is not happy with the description of being ranked in the lower quarter of the list of public ratings of presidents, but the plot device gives him an excellent reason to reflect on his past, including what he thinks was one of his own personal failings, which forms one of his deep regrets. 

 

The script offers many pithy contrasts with post-Eisenhower cultural references and political characters, but it never betrays Eisenhower’s own commitment to honor and serving the people of the country. The real Eisenhower may have had his weaknesses and faults, but his integrity never wavered, and the life of a good, honest man who believed that it was better to do “the harder right, rather than the easier wrong” is an important historical note.

 

This is a story that deserves to be told, and thanks to the charismatic John Rubinstein, Eisenhower, the man, emerges as a complex, real human being.

REVIEW: Berkshire Theatre Group, "The Elephant Man"

Berkshire Theatre Group. Stockbridge, MA

www.BerkshireTheatreGroup.org

through June 15, 2025

by Jarice Hanson

 

The Unicorn Theatre is an intimate space, perfect for staging a complicated play, like "The Elephant Man". Pre-show music gives the opening scene a side-show vibe, so when the lights come up to feature a misshapen mass covered in burlap, there’s little doubt that under that burlap is the central character himself, John Merrick, the fictional personification of the real deformed man who became a side-show novelty in England and Belgium in the later 1800's. 

Photo by Tucker Blair

 

Playwright Bernard Pomerance’s 1979 Tony Award Winning play is based on the real Joseph Merrick who, though born with no obvious deformities, grew to become a curiosity because of his physical appearance. The story involves the surgeon, Sir Frederick Treves, who not only saved Merrick from a life of exploitation but gave him a home at the London Hospital; and the people who befriended him during his short life. One of those friends, a stage actress by the name of Mrs. Kendal, introduces him to society and contributes to his growing sense of dignity.

Portraying John Merrick takes an actor with strong physical skills who can develop a rapport with the audience, despite using no prosthesis or special effects to mimic the challenges of Merrick’s disabilities. Actor Michael Wartella creates a creature so believable that when the pictures of the real Merrick are shown on a screen, the audience is witness to the deformities taking shape. This is no spoiler—it is the prelude to the rest of the story, and it creates a bond between the actor and the audience.

Harry Smith as Dr. Treves is believable in his clinical description of Merrick but becomes even more interesting as he learns about Merrick’s intellect, talent, and religious beliefs. As their friendship grows, director Eric Hill uses the growing familiarity to show closeness and respect. Laura Shatkus, as Mrs. Kendal, is a stand-out for her warmth and sincerity as she gets to know Merrick and introduces him to her society friends.  

The production is faithful to the accents and mannerisms of the time, but while this is a strength, it also creates a problem. So many different British dialects are used; several audience members muttered about not being able to hear the dialog clearly. Often characters speak while looking upstage, which should not be a problem in a small theatre like the Unicorn, but with the stylized accents and diction, the subtlety of the contrasts that are so pivotal, are lost.   

Still, the story of "The Elephant Man" is an important one because it contrasts cruelty toward those based upon appearance and the dignity that is inherent in every human being. It is a relevant play at this time in history, and Berkshire Theatre Group should be congratulated for taking on the challenge.     

Review: Goodspeed Musicals, "Ragtime, The Musical"

Goodspeed Opera House, Essex, CT

www.goodspeed.org 

through June 15, 2025

by Suzanne Wells

"Ragtime, The Musical" is a dramatic, inspiring, and entertaining production by Goodspeed Opera House, directed by Christopher D. Betts. Representing three demographics during the Golden Age of America—the wealthy, the immigrants, and the children of freed slaves—"Ragtime" captures the disappointments, struggles, hopes, and dreams of each as they strive to embrace the American ideal that all are welcome and anyone can be successful.

Photo by Diane Sobolewski

The stage is set in a large room with cathedral ceilings, a second-level catwalk in front of long floor-to-ceiling windows, and a rolling staircase. This simple, elegant design by Emmie Finckel offers a myriad of locations, from ships docked in the harbor to salons in mansions to train stations. With the assistance of colorfully painted backdrops, the open-air construct allows for outdoor scenes on city streets, parks, and roadsides.

The costume design by Stephanie Bahniuk transports the viewer to a time when the wealthy were clad in chiffon dresses with parasols, three-piece suits and top hats; immigrants struggled in the cottons and wools of their homelands; and colored folks, in their taffeta dresses and off-the-rack pinstripe suits celebrated life in Harlem dance halls. Background to the latter is the spectacular, star-spangled sequins of the vaudevillians.

The music, conducted by Adam Souza, superbly blends a variety of genres including ragtime, gospel, and traditional melodies. Choreography by Sara Edwards, with its varied kick lines and shadow waltzes is a sensational sight to behold.

Every actor of this 23-person cast plus ensemble deserves recognition for their exceptional performances.  Each member’s unique energy and skill in acting, singing, and dancing enhances the deep, emotional experience of this story. Michael Wordly’s portrayal of Coalhouse Walker, Jr, is powerful and poignant.  His deep, earthy voice reaches into the soul and extracts emotions of hope, joy, and sorrow.  Mamie Parris’ nuanced performance of strength and vulnerability establishes her character, “Mother,” the heart of the show.  As “Father,” Edward Watts is compelling with the evolution of his character from segregated elitist to a believer of equality.  Stephen Tewksbury’s versatility shines in his dual roles of “Grandfather,” providing comic relief, and of Irish immigrant, Willie Conklin engendering feelings of hatred and revulsion. 

“Ragtime, The Musical” is a testament to the power of theater to provide a deeper understanding of the complexities of the American experience, both then, and now.