REVIEW: Springfield Chamber Players, "Broadway With Strings Attached"

52 Sumner, Springfield, MA

www.springfieldsymphonymusicians.com

April 26, 2025

by Lisa Covi

To echo a question from Cabaret, "What good is sitting alone in your room?"

 

An enthusiastic crowd answered the siren call of musical theater to experience a unique program of favorites and hidden gems at 52 Sumner, Springfield. 

Mark Auerbach, a performer, journalist and PR consultant for the Springfield Chamber Players (formerly called MOSSO) along with Marty Kluger (narrator, vocalist and conductor) compiled selections from 21 Broadway musicals for string quartet and voices.

Each selection related to orchestral strings: "Fiddler on the Roof," characters who are string players ("A Little Night Music"), or Thomas Jefferson's courtship by "Violin" ("1776").

 

The virtuosity of Beth Welty, Delores Thayer, Yoonhee Ko and Ronald Gorevic transformed their instruments into harmonious and atonal passages that furnished both setting and Greek chorus to the gifted singers. Spencer Reese and Sara Vincelett Dredge delivered expressive vocal interpretations that made even the most familiar ballads such as “Send in the Clowns” or “The Impossible Dream” unique characterizations. Orchestral passages showcased breadth and depth in “The Band's Visit” Israeli bleatings, “Oklahoma” broad square dance twangs and “On The Town” New York's romp of fleet week.

Although the 52 Sumner venue provides fine acoustics, comfortable seating and cash bar, the stage layout seemed a bit awkward with Kluger conducting the quartet occasionally from the center of the stage between the other vocalists and the strings seated on the far left.

The informal tone struck a pleasant chord with the humor in the narration, the named t-shirt costume, surprisingly choreographed dance and finale sing-along.

The Springfield Chamber Players are a valuable cultural resource which provided a convenient and pleasant opportunity to enjoy a well-crafted Pops program.

REVIEW: Theatre Guild of Hampden, "Jerry’s Girls"

Hampden Senior Center, Hampden, MA 

http://theatreguildofhampden.org

Through May 4, 2025

by Michael J. Moran

This “musical revue of songs from classic Jerry Herman musicals” premiered on Broadway in 1985. It features 33 numbers from seven of the prolific composer/lyricist’s Broadway shows, from “Milk and Honey” (1961) to “La Cage aux Folles” (1983), and one Off-Broadway revue, “Parade” (1960).

Director Mark Giza stages the Theatre Guild of Hampden’s elegant production in the intimate cabaret setting of the Hampden Senior Center’s community room. Audience members are seated at round tables, and the low stage against a simple backdrop of colorful banners for Herman’s shows allows the cast of nine singing actresses, all clad in stylish black, to mingle easily with attendees.

Most selections are sung by multiple cast members, but they range from solo performances to full ensemble numbers. The mix of slow ballads and upbeat showstoppers reveals the breadth of Herman’s talent and moves the show forward with satisfying variety. Imaginative choreography by Dina Del Bueno (who tap dances adroitly several times) keeps the cast in constant graceful motion. One-man-band musical director Parker Eastman coaxes a vast range of sounds from his keyboard.  

With no weak links in this strong cast, everyone has at least one highlight, including: Jessica Glasser’s rapturous “It Only Takes a Moment” (“Hello, Dolly!”); Amanda Emet’s scathing “Wherever He Ain’t” (“Mack and Mabel”); a joyous full-cast “We Need a Little Christmas” (“Mame”), complete with garland and twinkling headgear; and Robyn Scott’s heartbreaking “I Won’t Send Roses” (“Mack and Mabel”).

 

Equally impressive are: Margie Secora’s rousing soliloquy and “Before the Parade Passes By” (“Hello, Dolly!”); a devastating “I Don’t Want To Know” (“Dear World”) by Becca Greene-Van Horn; Kate Fusco’s poignant “Time Heals Everything” (“Mack and Mabel”); Andrea Stolar’s hilarious “Gooch’s Song” (“Mame”); and a few delightful cameos by stage manager Gail Weber.

 

But the star performer of the evening, who keeps stealing the show, is veteran Kathy Renaud, who delivers: a witty “Bosom Buddies” (“Mame”) with Secora; a shattering “If He Walked into My Life” (“Mame”); an uproarious “Nelson” (“A Day in Hollywood/A Night in the Ukraine”), ending on a clear high C; and a defiantly vital “I Am What I Am” (“La Cage aux Folles”).  

 

Fans of entertaining cabaret sung with heart and spunk by a talented team of resourceful women should waste no time getting tickets.

REVIEW: Hartford Stage, “Romeo & Juliet”

Hartford Stage, Hartford, CT

www.hartfordstage.org

through May 18, 2025

by C. L. Blacke

The brilliance of Director Melia Bensussen’s production of “Romeo & Juliet” cannot be overstated. With a deft hand, she peels back the play’s many layers of pervasive prejudice, generational divide, familial complications, and yes, even young love. She makes one of Shakespeare’s most recognizable plays accessible and relatable to viewers of all ages.

Photo by T. Charles Erickson 

Retaining classic elements of Verona, Italy while imbuing the world with Latin American traditions, Bensussen’s production of “Romeo & Juliet” is as entertaining and lively as it is eerie and tragic. Her inspiration based on Día de los Muertos (the Mexican Day of the Dead) weaves throughout the play in both theme and design. These fragile relationships between light and dark, life and death can be seen in costume designer Fabian Fidel Aguilar’s flower-adorned papier-mâché skull masks, lighting designer Dan Kotlowitz’s hanging tin star lanterns, and scenic designers Christopher and Justin Swader’s lace trimmed bed turned cold, marble tomb. Even choreographed sword fighting is juxtaposed against court dancing with a flamenco flair.

But it’s the cast of many talented equity actors that ultimately makes this production a resounding success. Niall Cunningham as Romeo and Carmen Berkeley as Juliet both embrace their characters’ childish passions and overwrought emotions so convincingly that the audience experiences their relationship’s growth from infatuation and sexual desire to an unbound maturity and purity. The viewer is reminded of their own teenage years when everything is dire and the consequences indeed mean life or death.

This production owes just as much to the lovable duo of Juan Arturo (Benvolio) and Alejandra Escalante (Mercutio). Together, they capture the true comedy of Shakespeare with their bawdy conversations, lewd mannerisms, and good-natured teasing. Despite the many laugh-out-loud moments they provide, they just as expertly sever the lighthearted mood with the clash of two swords. Without pretense, Escalante’s portrayal of Mercutio’s mortal wound turns the story towards its dark and deadly conclusion.

Honorable mentions must also go to Annemarie Kelly’s over-the-top mannerisms of The Nurse and Carman Lacivita’s steady benevolence and guidance as Friar Laurence.

There is no attitude of preciousness in Bensussen’s production. Having stripped away the reverence and sanctity of a Shakespearean play, she exposes “Romeo & Juliet” for what it is—a bawdy, silly, absurd, and tragic love story. Indeed, this production is how every high school student should experience Shakespeare.

Review: Majestic Theater, “Waitress”

Majestic Theater, West Springfield, MA

www.majestictheater.com 

through June 1, 2025

by Shera Cohen

The Majestic Theater traditionally ends its seasons with musicals; always audience pleasers which leave theatergoers on a literal “high note”.

“Waitress” fills the bill with its contemporary, mostly light, story of everyday folk just making their way through life. The plot takes ordinary characters and, in many cases, makes them special each for their own personality and talents. 

The setting is an aging small-town diner, and the focus is the staff, who just happen to sing and dance. Ahh, such is the formula for a musical. Although “Waitress” is based on the adorable dramedy movie of the same name.

Chelsie Nectar as Jenna

Chelsie Nectow (our lead, waitress Jenna) is a pie-maker extraordinaire. Appearing in nearly every scene, Nectow has a lot of work to do as an actress and cook. Nectow is a dynamic singer who can act, as opposed to the reverse – actress who can sing. There is a distinct difference.

Two other waitresses form the triumvirate; it is these ladies who bring the audience into their fun and foibles. Lyndsay Hart (Dawn) and Yewande Odetoyinbo (Becky) possess vocal skills and acting chops. It is Hart who steals the show, not just because of her multi-talents; also because Director Sue Dziura gives her the opportunity.

Nectow must show more emotion as Jenna who is pregnant by her ne’er do well husband and not at all happy about it. As beautiful as many of her solos are, the actress faces the fourth wall; separated from everyone and everything else. This doesn’t work. The audience must care about her fate and that of her baby.

The two male actors, in lesser roles, are each a breath of fresh air. Nicholas Futris portrays Ogie as a sweet yet crazed wannabe boyfriend to Dawn, and Gregory Boover becomes the antithesis of all that a proper gynecologist should be. It’s obvious that Boover has lots of credits on his acting bio. He is effervescent and hysterical. The horny episodes between Jenna and the doc on the examining  table, complete with stirrups, are certainly funny.

Whether the problem was the sound system or the actresses’ voices during the first three songs, lyrics were oftentimes indistinguishable. From that point on, all was clear.

Josiah Durham’s set, front and center as the café, and backdrop for Jenna’s living room and later the doc’s office, work well with zero lag time changing scenes.

It’s no surprise to expect anything but the best from the Majestic’s band with Music Director Elisabeth Weber at the helm.

REVIEW: TheaterWorks Hartford, “Primary Trust”

TheaterWorks Hartford, Hartford CT

www.twhartford.org

through May 11, 2025

by Jarice Hanson

In Eboni Booth’s Pulitzer Prize winning play “Primary Trust,” audiences are treated to an
extraordinary story of a young man who, at the age of 38, comes to terms with a childhood trauma and finds himself with an odd group of new friends who show him the path to becoming a man. This story is so well crafted it’s hard to realize it began in the playwright’s classroom, and the universal themes of friendship, loss, and hope are just what is needed at this time in history. Booth’s clever story is one of the most imaginative new works in the past few years. 

The hero of the story is Kenneth, played by the exceptionally talented actor, Justin Weaks. The actor’s physicality, his exceptional diction, and his full commitment to embodying Kenneth is a master class in performance.

He is ably supported by the vivacious Hilary Ward who makes changing characters (sometimes in mid-scene) seem easy. Much of the comedy is carried by Ricardo Chavira who plays a number of characters as diverse as an enthusiastic bank manager to a snooty French waiter, often suggesting the character’s attitude with a slight gesture or facial tic. Samuel Stricklen as Kenneth’s best friend, Bert, is everything you would want in a friend. He is truthful, helpful, and acts as the conscience to Kenneth’s outbursts. But is he real?

Directed briskly by Jennifer Chang and set in Nicholas Pontin’s very ingenious set design, suggestive of “anywhere” in a small town, the play is enhanced by Bryan Ealey’s innovative lighting and Frederick Kennedy’s sound design. The 95-minutes fly by, though every word can be heard clearly throughout the theater.

TheaterWorks is an intimate space, and shows with this much heart and commitment seem to resonate with the audience. It is not surprising at all to hear strangers entering into conversations about how good the show was, and what touched them deeply.  

“Primary Trust” is an extraordinary play that makes audience members think for days after seeing it. A recommendation to future audiences is to experience this production in order to fully understand not only the power of theater, but the power of humanity.

REVIEW: Springfield Symphony Orchestra, “Something New”

Symphony Hall, Springfield, MA

www.springfieldsymphony.org

April 19, 2025

by Michael J. Moran

In her first return engagement since a triumphant SSO debut two seasons ago, guest conductor JoAnn Falletta, Music Director of the Buffalo Philharmonic since 1999, followed a world premiere with two popular favorites.

McAllister and Chooi

She opened the concert with the “something new” of its title, the world premiere performance of “Eventide,” a 2023 concerto by Kenneth Fuchs for alto saxophone, harp, percussion, and string orchestra. A series of variation on the spirituals “Mary Had a Baby” and “Swing Low, Sweet Chariot," though neither tune is directly quoted, it balanced moods of pastoral calm with jazzy effervescence. Internationally acclaimed saxophonist Timothy McAllister was a nimble and virtuosic soloist, and the ensemble offered colorful support. Fuchs, who teaches composition at the University of Connecticut, took the stage to a warm ovation.

Next came a dramatic reading of the beloved 1844 “Violin Concerto in E minor” by Felix Mendelssohn, written in three movements played without pause. To a mercurial opening movement, a tender “Andante,” and a fleet-footed finale, Nikki Chooi, concertmaster of the Buffalo Philharmonic and an international soloist of growing stature, brought technical finesse and interpretive poise. Falletta and the SSO were committed partners.

This being a rare concert with two guest soloists, Chooi and McAllister gave a rip-roaring joint encore, creatively arranged for violin and saxophone, of Vittorio Monti’s famous 1910 “Czardas,” a Hungarian-style dance which they dispatched with abandon and hilarity.      

The program closed with a brilliant account of Modest Mussorgsky’s 1874 suite for solo piano, “Pictures at an Exhibition,” as orchestrated by Maurice Ravel in 1922. It depicts ten paintings by Mussorgsky’s friend Viktor Hartmann in a memorial tribute to the artist, several linked by a recurring but varied “Promenade,” as the viewer moves through the gallery. Highlights included: a playful “Ballet of the Unhatched Chicks;” a demoniacal “Hut on Fowl’s Legs,” the home of the Russian witch Baba Yaga; and a majestic closing “Great Gate at Kiev.” Brass and percussion players deserve special praise for their stellar contributions to this performance.

Video projections behind the stage of six surviving Hartmann paintings and related images by “visual choreographer” Adrian Wyard offered entertaining and imaginative commentary.

The next SSO concert will take place on May 3, 2025.