Nielsen, Mendelssohn, Sibelius

Hartford Symphony Orchestra
The Bushnell Performing Arts Center
Hartford
By Donna Bailey-Thompson

Although Carl Nielsen's "Helios Overture" is a musical representation of the sun's daily journey, the piece could double as a musical essay. Both the opening statement (pre-dawn) and the conclusion (twilight into darkness) are virtually identical – a deep, resonance created by cellos and double basses. In between, the essay is fueled by the morning's energy that surges to high noon and then lessens until the sun's rays are obliterated by the horizon. Nielsen included this descriptive note on the score: "Stillness and darkness – the sun rises with a peaceful song of praise – wanders its golden way – sinks silently into the sea." The concluding measures – the continuous bowing of the cellos and double basses – imparted a soothing reverie, a meditation, until a few eager-beavers shattered the meticulously crafted mood by clapping, Chastened by the audience's silence, the clappers stopped, and under Conductor Edward Cumming's unflappable exterior, the bowing never stopped until it reached its designated conclusion.

When the exquisite Rachel Lee's musical education began at age four, she and the violin must have experienced love at first pluck because at age 19, what soars from this pairing is similar to the maturing love of a long-married couple who are still crazy about one another. Her interpretation of Mendelssohn's Violin Concerto soothed, swept, soared, and sprinkled surprises.

The HSO's playing of Sibelius' Symphony No. 2 demonstrated, repeatedly, why this stirring work written at the beginning of the 20th century continues to hold audiences captive. Although Sibelius denied that the symphony was inspired by Finnish patriotism, for some that speculation endures. Following the death of his youngest daughter in 1900, an unidentified writer has noted that Sibelius' drinking "changed from youthful celebrating into something more dangerous." The anguish expressed within much of the symphony could be a father's outpouring of grief and/or anger with his growing dependence upon alcohol. Regardless of the composer's inspiration, Maestro Cumming and the HSO joined their forces to celebrate Sibelius' genius to such a degree that the emotionally wrenching theme within the final movement challenged my ability to suppress tears.

Some concert programs hold together better than others and – subjectively speaking – this Masterpiece Concert was superb.

“Chick: The Great Osram”

Hartford Stage through Nov. 11th
By Shera Cohen

This biographical play of arts entrepreneur Arthur Austin had to be presented in Hartford. Better known as Chick, this was the man who became the director of the Wadsworth Athenaeum, bringing it to its heyday in the 1930s. Presented in 90-minutes, without intermission, the play is essentially three long monologues. One might think, well, that can’t possibly work. However, with the skill of two excellent actors, it can.

Chick was a man whose passion was visual art. He hated the exhibit goers who looked at a painting (modern, Picasso-like art) and asked: “What does it mean?” To him the meaning was inconsequential. It meant feeling, love, a tingling of sensations that made each piece alive. In many ways “Chick” is a lesson in art appreciation. Although didactic in parts, it is a subject that this reviewer learned much from. Through the exposition of only two characters, we become familiar with and understand the life that was Chick’s.

Robert Sella (Chick) makes a bizarre entrance in a wizard costume. His exit in the final scene is equally odd. Sella portrays the man as over-the-top as is necessary for who the real Chick was – the life of the party, a name-dropper, buddies with the rich and famous, and yet a man with a façade. Sella has a lot of work to do in this tour-de-force role. He is perfect for the job.

His real-life wife, Enid Graham, portrays Chick’s wife Helen. While living the high life, this is a woman portrayed with vulnerability, lack of confidence, and inner torment. The purposeful hesitation in her words as she speaks to the audience as her confidants is an easy, instant give-away of what is to come.

Playwright David Grimm’s dialogue is elegant and artful, with the words depicting the characters that speak them so well that this could have been a radio drama and essentially achieve the same goals. There are many lines that should later be quoted by anyone interested in the arts.

A short video of the Wadsworth’s Paper Ball is shown between two of the acts. Many in the audience seemed to be familiar with this spectacle. One wonders, however, if this play would work as well on tour, or if it must and can only be presented at Hartford Stage.

“Shout! The Mod Musical”

CityStage
through October 21
By Barbara Stroup

“SHOUT ! The Mod Musical” opened at CityStage to long and well-deserved ovations. President Cynthia Anzalotti chose this colorful celebration of the ‘60s show to mark the beginning of the theatre’s 10th anniversary year.

Five amazing ‘girl’ singers populate the stage throughout the no-intermission and high-energy production - they are named only by the colors they wear. These talented performers bring just the right sensibility to the production’s 30 songs of London’s mod ‘60s as they sing in solos and in varying ensemble combinations. Director Jay Falzone’s choreography never overtakes the music and none of the songs go on too long. Four decades later we hear a sameness to these rhythms and orchestrations, but the production’s volatility overcomes it. These athletic performers are having fun with the music and although it took a while, the audience soon caught on to the humor.

Weaving these songs together into a coherent whole are a few recurring plot substitutes – a large “SHOUT” magazine reveals the year on its back cover and gives the girls insights into mod culture. Off-stage, advice-giving voices preach put-down answers to universal relationship questions.

While referencing the best of mod London’s music, the production refuses to take the ‘60s too seriously. In fact, the lyrics are often mocked by literal stage movements – ecstatically so in one case. One-liners delivered in the style of television’s “Laugh-In” give us even more opportunity to laugh. One awkwardly serious moment comes up toward the end; it reminds us what happens to some women in every decade behind doors that hide the abuse of power and violence. But the mood quickly turns light again with a nostalgic “Those Were the Days,” and the audience sings along until the show’s terrific finale and curtain calls.

This reviewer would love to have seen this production with live musicians. These talented women deserve the opportunity to interpret the songs beyond what’s available with a pre-mixed, back-up recording. First night glitches in the sound and miking will surely disappear. For an ensemble that probably saw the theatre for the first time that afternoon, Wednesday night’s opener looked polished and practiced. Anzalotti greeted the audience like old friends who all seemed happy to be kicking off a new season at CityStage -- “Downtown!”.

“High School Musical”

The Bushnell
Through Oct. 14
By Bernadette Johnson

There was no mistaking fans of the 2006 Emmy Award-winning “High School Musical” who turned out en masse for the stage version. They tended to be well under five feet tall, wide-eyed and expectant, parents in tow.

In this smash Disney Channel hit, popular basketball jock Troy (John Jeffrey Martin) and class brainiac Gabriella (Arielle Jacobs) defy their friends’ expectations by auditioning for the school musical, much to the dismay of to-date undisputed star Sharpay (Chandra Lee Schwartz) and twin brother Ryan (Bobby List). Landing a callback, the budding thespians are thwarted by Sharpay and by well-meaning classmates and teammates, who are intent on upholding the “status quo.”

The touring company wowed with their unflagging high energy, crisp precision and timing of intricately choreographed numbers. The fact that the band often overpowered the cast (and the cast our eardrums) didn’t seem to matter to the denizens of Disney Channel, who knew all the lyrics and sang along and clapped spontaneously.

While Martin and Jacobs quickly won hearts with their youthful innocence and tender duets, Ellen Harvey as Ms. Darbus, the school’s drama coach, upped the ante with a quirky no-holds-barred delivery, while Schwartz and List dazzled and delighted as the scheming arch rivals, particularly with their rendition of “Bop to the Top.”

Script writers have met challenges head-on as have set designers. The film’s laid-back detention scene evolves into farcical improvised drama onstage, and scenic designer Kenneth Foy arranges for too-numerous-to-count scene changes (hallway to gym to chem lab to theater to cafeteria etc. and back again) to flow seamlessly.

If there was any doubt about the popularity of this production, it was obliterated by screaming tweens, who took to their feet with Troy and Gabriella’s first kiss and whose deafening cheers rocked the house through the very last bow and final curtain.

“The Secret of Sherlock Holmes”

Shakespeare & Company, Lenox
Through October 28
By Shera Cohen

Just when you think you couldn’t possibly see another Sherlock Holmes play, movie, book, or PBS special, along comes Shakes & Co.’s current production of “The Secret of Sherlock Holmes.” Is it worth seeing this dark, brilliant, and tortured detective along with this faithful friend Watson again? Yes!

This look at Holmes is different from the norm, which makes it especially enjoyable. The play could easily be subtitled “Holmes & Watson,” as both men receive equal stage time. To date, Holmes’ mysteries have always included his sidekick Dr. Watson. But, did anyone ever think how Watson became Holmes’ friend, confidant, and housemate? Playwright Jeremy Paul did, and with the assistance of director Robert Walsh, they have created a relationship play about two men who we thought we knew so well – but perhaps not.

Michael Hammond (Holmes) and Dave Demke (Watson) are each Shakes & Co. “regulars.” Both are adroit at spouting Shakespeare’s language, or that of Wharton or Hawthorne. Paul’s crisply written script, which says much with few words, requires a talented duo to create the relationship between Holmes and Watson. These actors are up to the task, becoming their characters. This is the first Holmes’ story in which the audience learns about who Watson is, how he came to live on Baker Street, and why he stayed.

Often dark in mood (Holmes’ cocaine addition is important to the play), there is room for much humor, oftentimes very dry. The balance is well paced particularly in Act I. Walsh’s direction of Act II needs a couple of jumpstarts to move it along and it seems that the actors will succeed at doing this in upcoming performances.

The set is as perfect as anyone can imagine Holmes’ environment would be, literally ripped out of the pages of a London story. The play opens with a shadow of Holmes growing to 20 feet or so, then subsiding. This occurs again later on, both to the accompaniment of classical violin music.

Shakes & Co. has given its audiences a wonderful summer. Now enjoy the fall in Lenox with a trip back in time to London, mystery, the powers of deduction.