REVIEW: Hartford Symphony Orchestra, "Gershwin, Marsalis & Bartok"

Bushnell, Belding Theater, Hartford, CT
www.hartfordsymphony.org
through September 26-28, 2025
by Michael J. Moran

For the first weekend of their 2025-2026 “Masterworks” series, the HSO’s Music Director, Carolyn Kuan, selected orchestral showpieces by four composers and featured an orchestra member as soloist in an impressive HSO premier.

photo by Eric Hutchinson

A heartfelt traditional season-opening national anthem was followed by a vigorous reading of French composer Paul Dukas 1897 masterpiece “The Sorcerer’s Apprentice.” Based on a story by German writer Goethe, it was imaginatively popularized by Mickey Mouse in Walt Disney’s 1940 movie “Fantasia.” Kuan and the HSO captured the excitement of this 12-minute drama about magic run amok with flair and finesse.   

The HSO premiere was a sensational performance of jazz trumpeter and composer Wynton Marsalis’ 2021 “Concerto for Tubist and Orchestra” by the HSO’s own Principal Tuba Jarrod Briley. With few breaks from playing, Briley met the 25-minute piece’s technical challenges with unflagging energy and apparent ease. He made his unwieldy instrument sound surprisingly agile in the opening “Up!” movement, funky in “Boogaloo Americana,” soulful in the gospel-inspired “Lament,” and virtuosic in the
closing “In Bird’s Basement.” Conductor and ensemble offered their colleague strong support. 

Next came a thrilling account of the raucous suite from Hungarian master Bela Bartok’s 1919 ballet “The Miraculous Mandarin.” Its lurid tale of seduction, robbery, and murder led to few early performances of the ballet, but its eerie, suspenseful music and culmination in a wild chase scene made the concert suite more appealing. Kuan and the HSO played this colorful score with power and sensitivity.

The program closed with a lively rendition of George Gershwin’s 1928 tribute to the “city of light,” “An American in Paris.” Though Gershwin’s own program notes cite a trumpet passage as signaling the traveler’s homesickness, it can also be heard as a quiet, restful interlude in a busy day of sightseeing. The musicians reveled in the music’s overall spirit of celebration, a fitting way both to end the concert and to begin a new year, their 82nd season, of music-making together.

Review: The Bushnell, "The Notebook The Musical"

The Bushnell

www.bushnell.org

through October 5, 2025

by Suzanne Wells

The Bushnell presents “The Notebook The Musical” by Bekah Brunstetter, music and lyrics by Ingrid Michaelson, based on the novel by Nicholas Sparks.

A trio of heartfelt and poignant tales—of young love, mature love, and enduring love—are beautifully woven together and brought to life in this musical production. 

Three pairs of actors portray the leads; Noah and Allie, each capturing a distinct chapter in their love story. As the young lovers, Kyle Mangold and Chloë Cheers infuse the stage with vibrant energy and heartfelt enthusiasm, embodying the innocence, nervous anticipation, and earnest devotion of first love. Mangold brings an undeniable charm reminiscent of a young Luke Perry, blending swagger and humor with a warm vocal presence—even when reaching for the highest notes, which unwittingly reflect his character’s journey from boyhood to manhood. Cheers delivers a stunning vocal performance that grows in brilliance throughout the show; her voice shines in numbers such as “I Paint” and “If This Is Love,” each song revealing greater confidence and depth as her character matures.

The older lovers, played by Alysha Deslorieux and Ken Wulf Clark, display exceptional vocal talents and impressive acting skills. Their love story centers on the intense emotions that swiftly spark both conflict and passion between them. While the narrative tends to gloss over the difficulties of healing past hurts and misunderstandings, highlighting their surrender to desire, Deslorieux and Clark's performances are so compelling that the audience is left longing for more.

The true stars of the show are Sharon Catherine Brown and Beau Gravitte. Brown's performance as a woman grappling with severe dementia is fearless, deeply moving, and utterly convincing. She masterfully conveys disassociation, fear, and fleeting moments of recognition, each emotion pulling at the audience’s heartstrings. Paired with Gravitte’s blend of grumpy old man humor and unwavering hope for one more moment with his beloved, their scenes elicit both tears of joy and sadness.

Although the musical may not feature a tune that lingers in the minds of audience members, the crowd of appreciative theater goers are undeniably inspired for a longing of love as enduring as the one portrayed in “The Notebook.”

While several characters offer moments of comic relief, Connor Richardson stands out with his perfectly timed humor, providing a delightful counterpoint to the emotional intensity of the love story.