Review: “Amchitka,” Chester Theatre

Chester Theatre, Chester, MA

www.chestertheatre.org

through August 8, 2026

by Shera Cohen

“Amchitka” is the name of a new play presented at Chester Theatre. It is also the name of a basically uninhabited island located off of Alaska. Its historical context during WWII and in the mid-1960’s are the reasons that some people might have heard of it. In November 1971, the United States (the country which owns these islands) conducted a series of nuclear tests, albeit extremely controversial and news-worthy at the time.

Playwright Mark St. Germain is well-known in the Berkshires, particularly for his fictionalized biographical plays about famous individuals; i.e. Sigmund Freud, Alan Turing, Dr. Ruth. While “Amchitka” does not focus on any one person, his latest story utilizes the setting and its history as historic backdrop in which he places three fictitious characters.

Diana (Kelly Lester), Nate (Will Maizel), and Connie (Hero Marguerite) portray scientists living and working in close quarters for an extended period of time on the island. They are colleagues; not friends. Their mission for the U.S. Department of Energy is vitally important; to oversee the long-term effects of nuclear contamination. The actors’ skills are fine and evenly matched.

Photo credit: Andrew Greto 

Another familiar and highly respected name in the Berkshires’ theatre scene is Julianne Boyd, director of this play and Founding Artistic Director of neighboring Barrington Stage Company. Boyd does the best that she can using a static, uninteresting, white lab as backdrop for the primarily static and generally boring characters.

The plot focuses on personal conflicts among the trio, yet more importantly on decisions that will affect world history. In truth, the play’s plot is difficult to fully understand, and spoilers won’t permit a critique that gives the particulars of what happens before, during, and after these scientists study and work at “Amchitka” except to say that the happenings of nearly 50 years ago are in many ways too close to home for the audience’s comfort level in the 21st century.

Unlike St. Germain’s other work, “Amchitka” is extremely talky – between three characters that the viewers care little about. Had each been a person who walked out of a history book (even Richard Nixon who was president in this era), the story would have been worth the time to explore.

Perhaps others will find the play a chilling look into today’s political and environmental tensions as foreseen in “Amchitka”.

 

Review: “Lovesong” Berkshire Theatre Group

Berkshire Theatre Group, Stockbridge, MA

www.berkshiretheatregroup.org

Date: August 29, 2026

by Shera Cohen

“Lovesong” at Berkshire Theatre Group’s Unicorn Theatre stars four actors as two characters. The quartet is extraordinary as a whole and individually. Without hesitation, this play is assuredly one of BTG’s best in many years.

The story is somewhat universal about your average married couple; at the same time unique in the execution of the lives that these two develop for 40 years. At the start of the story is the older Maggie and Billy; the husband is a retired dentist; his wife, retired as well, never really had a career. They love each other. Deeply? Or, after many decades, is it the best alternative to any other choice? The answer is for the characters and viewers to decide, yet most would likely lean toward the answer, “both”.

The same couple is depicted in the early years of marriage, as the play’s timeline, while chronological, shifts back and forth between the couples, who are indeed the same pair. The success of this achievement of the ebbs and flows, coupled with joys and many sorrows of the same characters is drawn deftly with emotional nuances by director David Auburn. “Lovesong” is a director’s dream challenge, and Auburn (whose day job is as Associate Artistic Director at BTG) handles the extraordinary task with precision beyond expectations. This is a director’s play.

Photo credit: Caelan Carlough

The production also shows the immense talent of scenic designer Alexander Woodward. The staging, a house seen as if sliced horizontally, is the only setting. This is an entire house with several rooms the size of an actual kitchen bedroom, and bathroom, for example. The backyard, complete with hammock, is natural. Stairways and halls lead to other parts of the home. This, in itself, is no magical feat. Yet the transition of the young Margaret and William immediately and almost mystically becoming the older Maggie and Billy and vice versa simply within the confines of a house is enormous.

Of course, the remarkable direction and design would be static without four extraordinary actors. The love, expectations, and trust that grows in an even somewhat, if not a long, marriage is realistic. The actors work brilliantly as a small ensemble. Margaret almost flows into the body of Maggie. Rebecca Brooksher holds her own with Karen Allen (whose name is recognized as a movie star in epic blockbusters), each as the vulnerable woman living the best she can for herself and for her husband. Shawn Fagan and David Garrison (the latter, recognizable from TV roles) are the Williams, as a man working on sensitivity through the years.  

There are a few subtle attempts for the actors to look alike through the decades, although some clothing styles are consistent. The Williams seem to consistently like plaid shirts. Mirror-looks are unnecessary.

The characters’ words and demeanor are significant tools for the actors to truly become the person on stage. And these four actors are remarkable.

Review: A.I.M. by Kyle Abraham: “White Space”

Michela Marino Lerman “Steppin’ with ‘The Kid’: A Celebration of Betty Carter”
Jacob’s Pillow, Becket, MA
https://www.jacobspillow.org/
July 15-19, 2026 (A.I.M. by Kyle Abraham)
July 16&17, 2026 (Michela Marino Lerman)
By Melissa Roti

It was a beautiful, clear day for one of our afternoons at Jacob’s Pillow. My mother and I have been coming for world renowned dance performances for over a decade now and we have always loved the variety of dance genres at the ‘Pillow’. We found several in the U.S. Premiere of “White Space” by the contemporary dance company A.I.M. by Kyle Abraham at the Ted Shawn Theater.

This was a celebration of movement using the dancers, the music and the visuals to paint an engaging artwork on a blank canvas. “White Space” was rich with collaborations, conversations and contrasts. This performance was outside the boundaries of a typical performance with dancers moving on and off stage in warm-ups as the audience was being seated and the house lights were still up. There were 12 white chairs, 11 dancers, three white walls, one white floor, white balloons, one piano, two musicians and four hands playing the live piano.

Music shifted tempo and genres from “trip-hop” to the piano composition by Jason Moran and Nico Muhly, to Shubert and even a bit of tossed chair cacophony. Most of the music was performed by the two pianists (Stephen Gosling and Derek Wang) on one open top grand piano. They skillfully performed various styles of music creating different moods, even strumming the strings through the open lid.

With these varied music conversations, Kyle Abraham takes us on a journey of different of body movement styles including contemporary, hip-hop, and classical. The dancers painted movement ideas in solos, duets and varied groupings. The entire ensemble of dancers is not only versatile but also expressive. They told stories of contrast: chaos vs. order, grief vs. celebration and struggle vs. hope. In all these juxtapositions they come back to the importance of support, connection and community.

Contrasts were enhanced by the visuals and stage elements. The lighting created different moods, times of day and seasons all on the blank canvas of a white space. White objects of differing scale included snow, balloons and chairs. The dancers’ black or white mesh clothing practically disappears on body, allowing the viewer to see every deliberate move, while simultaneously highlighting the flow of movement. Meanwhile, there is one dancer in a bright blue bodysuit slowly marking the space.

This thought-provoking performance was rich with symbolism, especially the hope that can grow in a supportive community. This was a theatrical experience that celebrated movement and collaboration in both its creation and performance.

After a delicious early dinner at the Pillow café, we then settled on the benches at the Henry J. Lier outdoor stage. The outdoor stage is an amazing setting with the hills of the Berkshires as its backdrop; it truly is my favorite venue.

We are big fans of percussive dance and Michela Marino Lerman and her ensemble of both tap dancers and musicians, including the amazing singer Charenee Wade, brought the jazz of Betty Carter to life. The ensemble considers themselves all musicians with the percussive dance as a form of music. With only three tap dancers it was better to watch their amazing footwork. Tap dance is so intertwined with rhythm, you feel it in your bones.

Although these were very different performances they both pushed the boundaries of music and reminds us how dance has been intertwined with it throughout the course of history. This was a day celebrating the musicality of dance.

Review: “Twelfth Night,” Shakespeare & Company

Shakespeare & Company, Lenox, MA
www.shakespeare.org
Through July 26, 2026
by Shera Cohen

A shipwreck, disguises, twins, mistaken identities, paired-off lovers, and the ever-present wise fool(s) are the basic elements of most Shakespearian comedies. “Twelfth Night,” one of the Bard’s last in this genre, is also one of his best. S&Co. mounts this rapid-action farce with aplomb. No matter how often S&Co. presents this comedy; given different actors, director, and sets, the play is always fresh.

S&Co. formula is emphasis on confusion. Please take this comment in the good humor in which it is intended. Yes, there is a plot, albeit convoluted, hackneyed, and thin. More importantly is the cast of fit and misfit characters, each with his or her own ingredients to dump into the mix to ultimately create an “all’s well that ends well” story. Alas, that is yet another one of Shakespeare’s numerous comedies.

Twins are lost at sea (of course), are rescued, and somehow get to the same seacoast dukedom unbeknownst to the other. In this scenario the duo (one male and one female) supposedly look exactly alike. Hmm? Therein lies the first of many misperceptions. Will the twins find each other? Will each find their true love at first sight? Will the clowns upstage the main characters? The answers: yes, yes, and oh yes!

Photo by Nile Scott Studios

Shakespeare’s clowns, also called fools, are those characters (usually male) who serve the play as comic relief, yet oftentimes have a great deal of intellect and cunning. “Twelfth Night” tops an already funny play with even more laughs which is why this is one of the best of the Bard.

Kate Bohler Amory directs. Assumedly, the most difficult job for Amory is moving a 2+ hour play from an outdoor setting onto an indoor stage. A guess would be that in outdoor productions, the actors normally utilize trees and paths in the woods as part of the staging. Yet, the Tina Packer Theatre permits scaling scaffolding and running up and down aisles. All parts must be reassembled in the indoor Arthur S. Waldstein Amphitheatre. 

Hers is a dream cast of current S&Co. regulars plus some from decades ago; it is refreshing to see the return of some ‘ol timers. Several actors deserve praise, but let’s not so arbitrarily focus on Allyn Burrows, who happens to also wear the hat of Artistic Director. If a star character of “Twelfth Night” was to be chosen, it would be Malvolio – the arrogant, snobby, prissy, and put-upon servant portrayed by Burrows. It’s a toss-up as to which of Malvolio’s episodes gets the most laughs: donning the yellow leggings and parochial school-like plaid kilt, imprisonment in a tiny caged cubical, or reading a feigned and overly demonstrative love letter from his mistress. Burrows’ facial nuances of scorn and misery say more than most actors would hope to accomplish.

Another ‘ol-timer (45 years employed) is Govane Lohbauer, costume designer extraordinaire. From clown Feste’s motley mix of colors and styles to Countess Olivia’s elegant runway dress, creativity is seen in every stitch.

To review any S&Co. production one must start at the beginning and end at the same point – with music and dance. While the Bard’s intended location of the story is a fictitious city in Illyria; sounds Italian. No matter. Here we have a land where the tongue and songs have a melodic Irish lilt.

Program Note: When the weather hits 84+ degrees, the play is brought inside the air-conditioned theatre. Thank you, S&Co.!

Review: “Rebel Town” America 250 Commutative Production

McDermott Auditorium, Great Barrington, MA

www.rebeltownthemusical.com

through July 19, 2026

by Shera Cohen

The first thing audience members see on stage is a city. Yes, not just pieces of wood, for example, strewn here and there to sketch out images of a location, circa 1700’s. Here are homes, workplaces, a tavern, walkways, a harbor, and a boat. Not just any boat. A ship. A freighter of the 18th century. Kudos to Set Designer Rob Dumais for his imaginative creation of Boston of old.

“Rebel Town,” a new musical for 2026, celebrates the foundation of the United States 250-years ago. What was old has become new for audiences in Great Barrington, MA not so far from Boston.

Combining fiction with history, “Rebel Town” depicts what might have been the lives and settings of everyday individuals and families who became the Sons of Liberty, along with a few noted “stars” from our past; i.e. Paul Revere, John Hancock, and Samuel Adams.

 Photo credit: Jonathan Doster

“Rebel Town” accounts the months, then days prior to the Boston Tea Party, focusing on fictitious patriot William Grey, one of the event’s leaders. To a degree, the audience participates in the onstage action. And there is a lot of action. Does the audience see the infamous tea tale? Yes. Indeed, this is a shining moment.

“Rebel Town” is the dream of John Alan Segalla, wearing many hats: author, composer, lyricist, producer, and star. Is it too many? Maybe. Yet, without the ambition of single individuals in this world, what would not happen? Segalla’s most obvious talent is singing. However, he is not alone, as nearly all of those in major roles have exquisite voices.

Some suggestions are offered. Why? Because this musical could soon have a successful future!

Cuts & tweaks. Coming in at over two hours plus intermission, “RT” is long with too many songs. Since it’s difficult to choose any individual melody as they are equally fine, axing a few would be for the company to decide. Another cut would be to delete several characters and/or double up more roles; this would include some actors portraying actual characters. For example, if Lt. Colonel Leslie or Mercy Otis Warren happen to be at the “tea party,” it doesn’t mean that the audience needs to see them. Finally, with 26 songs, “RT” could do fine minus several. In other words – tighten it up.

Yet, with all that said, director Michael Siktgerg moves his characters (sometimes dancing, sometimes singing, sometimes both) at a continuous and steady pace.

Even the halls, lobby, and concession stand keep with the theme of the play. You’ll see when you get there. “Rebel Town” is very much a musical for families. Take yours. BTW, the venue is air-conditioned.

Review/Article: “The Secret Garden”

“The Secret Garden” Mac-Haydn Theatre

Mac-HaydnTheatre, Chatham, NY

www.machaydntheatre.org

by Shera Cohen

While Mac-Haydn Theatre has been mounting musical productions since 1969, and I have been attending musicals even longer, the twain never crossed. Not that I had any negative thoughts about attending, but traveling to Chatham, NY seemed so far away from Springfield, MA. I had also never thought of NY as being a component of the Berkshires geographic area. Apparently, I was wrong, especially since just about every tourist map, magazine, and MapQuest search pointed a bit northwest to a small town called Chatham.

Fortunately, In the Spotlight has a crew of excellent writers with expertise in reviewing coupled with a love of the performing arts. In the case of Mac-Haydn, our reviewer Simon Brighenti had already attended a few M-H shows this season. I am a bit ashamed to say that I used Simon as our reconnaissance man to test the talents of M-H. It was his “job” (okay, we are all volunteers) to return with the findings. Take a look at Simon’s M-H reviews at
 www.inthespotlight.org. It is clear that he thoroughly enjoyed each musical. 

This week was my turn to journey across the line from nearby Stockbridge, MA to New York State. A description of the roads leading to the theatre are the proverbial hills and dales alongside town names that reflected the early Dutch settlements. A bit out in the middle of nowhere, alongside the greenery of the picturesque Berkshire mountains, there was finally a sign with the theatre’s name. Perhaps we were lost, and you really can get there from here, because the ride back to Stockbridge took approximately one-quarter of the length and time. It might take a little exploration to get to M-H. It is definitely worth the trip!

Although not on my Top 10 List of Musicals, “The Secret Garden” was and still is one of my favorite books. For years, it was read to me; I’m sure that many parents recall their children pleading, “Read it again.” Years later, I read it on my own. You never get too old for a classic.

My heart and my memories were full of joy. M-H’s production of “SG” was near flawless, especially given the hurdles that this particular musical demanded for theatre-in-the-round. A large cast, set on a relatively small stage, with a smattering of scenery were the essential production elements. Yet, the set extended beyond the stage walls to immediately capture the attention of the audience with trellises, vines, and fencing around the circumference of the interior. In other words, we were in the garden – dark and sad-looking at first, to grow into splendid colors and warmth by play’s end.

Those in lead roles demanded vocal skills that matched their acting talent. The numerous ensemble pieces were whispery and haunting. “Always, the price of admission for me is “Lily’s Eyes,” a wonting emotional duet by brothers in love with the same woman. I would find it nearly impossible to name a melody as sad yet loving in any other musical.

Yet, the book and the musical are all about Mary – a young, hardened orphan whose life is transformed by the secret garden, and in turn, she transforms the lives of others. Wild Handel (Mary) shined onstage, never scene-stealing, but taking command of her leading role with intelligence, vulnerability, and a pure soprano voice. Without a doubt, this young lady has a future in theatre.

M-H musicians are all pros. Whether the sounds came from the talents hidden backstage or tape recorded didn’t matter to me.

Don’t be a slowpoke like I was. Don’t put off a trip to Mac-Haydn. Upcoming are: “Newsies,” “Beautiful: The Carole King Musical,” “Hairspray,” and “Daddy Long Legs”.

Review: Jane & Jay Braus Memorial Concert, Andris Nelsons, Conducting

Boston Symphony Orchestra, Tanglewood, Lenox, MA  
July 11, 2026  

https://www.bso.org/tanglewood

by Jarice Hanson 

  

After a hot summer day, there is nothing more refreshing and rejuvenating as a Boston Symphony Orchestra performance on a lovely evening at Tanglewood. On July 11th, the BSO, conducted by Andris Nelsons presented the audience with a magnificent concert featuring Emanuel Ax playing Mozart’s "Piano Concerto No. 25 in C, K.503," and in the second half, Gustav Mahler’s "Symphony No. 4 in G," featuring the talented coloratura soprano, Erin Morley.  

  

The evening opened with audience favorite Emanuel Ax performing a concerto that one might think Mozart wrote specifically for him. Surprisingly, there were many children in the audience for this portion of the evening’s entertainment, and one youngster was so excited to see Mr. Ax come back to the stage for a wonderful encore, he excitedly shouted “He’s going to play again. He’s going to play again!” to the delight of the adults seated near him, many of whom sported red roses and t-shirts honoring Conductor Nelsons.   

  

Photo: Hilary Scott, courtesy of the BSO

The perennially popular Ax then proceeded to play Schubert’s "Schwanengesang, D. 957: No. 4 Ständchen" as an encore that proved once again why he is a “rock star” who can touch the hearts of both children and adults with his skill and personal warmth. 

  

The second portion of the evening was dedicated to Mahler’s "Symphony No. 4 in G," the composer’s shortest symphony and one that starts with a motif that has become synonymous with Mahler’s creativity in blending instruments that seem to produce sounds that no individual instrument could affect. Somewhat poetic, somewhat of a fairytale, the 4^th is drawn from a compilation of German folk poetry from the early-19th century called “Des Knaben Wunderhorn,” (trans.“The Boy’s Magic Horn). In the final movement, Erin Morley, taking a break from one of her operatic engagements, joined the BSO to provide an ethereal vocal triumph that showed how skilled singers and musicians create memorable aesthetic audio experiences for audiences. She was simply, and undeniably, superb. 

  

In an evening that suggested hope and beauty, along with the energy of youth and the mastery of some of the world’s greatest musicians and composers, Maestro Nelsons brought down his baton, put his palms together as though in prayer, held the moment, and created a memorable evening in honor of all who have graced the stage at the BSO, and at Tanglewood.    

  

  

 

Review:Playhouse on Park "The Wild Party"

Playhouse on Park, West Hartford, CT
https://playhouseonpark.org

July 8 - August 16, 2026

By Suzanne Wells

Inspired by Joseph Moncure March’s poem, Andrew Lippa’s “The Wild Party” turns Jazz Age excess into a dark, volatile theatrical event.

Set in New York City in 1927, “The Wild Party” plunges into a single feverish night when restraint gives way, desire curdles into danger, and the glitter of excess darkens into brutality, leaving emotional wreckage by morning.

Scenic designer Kim Zhou creates a stage that shifts from an intimate apartment bedroom to a living room ready to burst with heat, noise, and recklessness. Costume designer Micah Ohno heightens the production’s decadence, dressing the women in silks, sequins, and furs, while the men move through the room in smoking jackets, tails, and suspenders.

Queenie, played by Mollie Downes, is a leggy blonde sex kitten caught in a volatile love-hate relationship with the manic-depressive Burrs, portrayed by Trevor Bunce. Restless and hungry for distraction, they throw a party and fill the room with a vivid assortment of guests, each arriving with appetites, secrets, and trouble in tow.

Downes is an athletic, graceful dancer, commanding the stage with restless movement even when the choreography leaves her circling or reclining. Her voice, however, raises the roof with “Out of the Blue” and “Maybe I Like It This Way,” and her ability to let distress seep through the melody of “How Did We Come to This?” is genuinely moving.

Bunce, also an athletic dancer with a strong voice, gives Burrs a jagged, combustible presence. His portrayal of the boorish, abusive lout who uses anyone and everyone to appease his physical hunger emphasizes the character’s cruelty feel immediate and makes it easy to question why anyone would love him.

Maddi Bowman brings bright, mischievous energy to Kate, the favorite party girl and sly instigator whose charm helps keep the night’s excesses evolving.

Directed by Sean Harris, with music direction by Colin Britt and choreography by Darlene Zoller, “The Wild Party” opens a window on a room where pleasure keeps edging toward punishment and glamour frays into consequence.

This production is not recommended for children.

Review: “Crazy For You” Goodspeed Opera House

Goodspeed Opera House, East Haddam, CT
www.goodspeed.org
extended through August 16, 2026
by Shera Cohen

“Crazy For You” is one of those musical reincarnations from days of old; in this case from “Girl Crazy” in the 1930’s and revived in the early 1990’s. “If you’ve seen one, you’ve seen ‘em  all,” assuredly someone must have said. In this case, repetition breeds smiles, laughs, and joy to Goodspeed’s audiences.

This work of the brothers Gershwin, strewn with at least a dozen familiar songs, deservedly became one of the 20 longest-running musicals in Broadway history by the end of its run.

The plot, such as it is, pays tribute to black & white movies. Actually, the musicals preceded the movies. Their monikers are huge, costumed dance numbers by what appear to be a cast of thousands. Most of Act I and all of Act II are populated by a cadre of townsfolk characters, initially skeptical as to why on earth would anyone come to “East Podunk,” NV for culture? In short time, they enthusiastically shout the proverbial -- let’s put a show on in the barn. Welcome to Off-off-off-Broadway with a twang.

Familiar is the boy meets girl love-at-first-sight plot. It’s so easy to lock lips when the two have a common interest; tapdancing. Will Burton (Bobby…aren’t all young men called Bobby?) is a terrific dancer who can also sing well. Brittany Zeinstra (his love interest, Polly) is an exemplary mezzo-soprano who can also tap. Burton plays a naïve and somewhat goofball lead to Zeinstra’s cowgirl with a head on her shoulders. Zeinstra’s “Someone to Watch Over Me” and “But Not for Me” show off her melodic and wispy vocal style. Burton and Zeinstra’s chemistry go beyond that of most musicals of this ilk. The audience anticipates before their first important duet, “Shall We Dance?” that these two will hit it off. 

The charm of “Crazy For You” doesn’t rest on the love-interest. There are other individuals to applaud. Edward Juvier (Bela Zangler, the erstwhile in-debt empresario), coupled with Burton, gets the most laughs in a lengthy slapstick bit. This element has the talents of Ken Ludwig written all over it. Ludwig, a prolific contemporary playwright whose forte is comedy, happens to have penned the musical’s book. Hailey Thomas and David Andrew Morton (showgirl and cowboy) squeeze every ounce of sex appeal in their stand-along number “Naughty Baby”. The piece is an unnecessary filler; it seems that the Gershwins liked it enough to make room for it anywhere. The audience is glad. 

The make-it-or-break-it bottom line for Goodspeed’s successful musicals is the compiled talents of Director, Choreographer, and Music Director. In this case, Michael Fling, Kelli Barclay, and Adam Souza, respectively, form the ideal mix of humor, pace, and creativity on a small stage for as many as 20+ dancers at any given time.

In addition to this triumvirate of skills, life on the Goodspeed stage would be lacking without costumes by Joseph Shrope. So many instant changes, colors ‘n glitter, and tap shoe steps that are easily the most important staccato instrument.

Perhaps the biggest problem for audience members at “Crazy For You” is deciding which song becomes the one stuck in their heads on the ride home.

REVIEW: Honoring Abraham Lincoln

Boston Symphony Orchestra, Tanglewood, Lenox, MA 

https://www.bso.org/tanglewood
July 5, 2026 

by Michael J. Moran 

The BSO’s first concert of the 2026 Tanglewood season offered an imaginative program of music by three major American composers honoring Abraham Lincoln during the nation’s 250th birthday weekend. 

First up was the world premiere of Philip Glass’ Symphony #15, subtitled “Lincoln.” Seven of its eight short movements set excerpts from speeches and autobiographical writings by the 16th U.S. president. They were sung or spoken by Broadway actor and operatic baritone Zachary James, who created the role of Abraham Lincoln in Glass’ opera “The Perfect American.” He and the concert’s guest conductor, frequent Glass collaborator Karen Kamensek, were making their BSO debuts. 

Kamensek, the first woman to direct several opera companies, led the BSO in a sumptuous and stirring account, building the composer’s repeated rhythmic patterns to a powerful and mesmerizing climax. James spoke Lincoln’s words with clarity and passion;  text was helpfully projected above the stage. Standout moments included the poignant “Slavery” movement, quoting the Emancipation Proclamation, and the modest brass fanfare that closes the “Farewell” movement and the symphony. Taking a post-performance bow with James and Kamensek, the 89-year-old composer received an enthusiastic standing ovation. 

Next came a four-movement suite from John Williams’ score for Steven Spielberg’s film “Lincoln". The music’s “Americana feeling” noted by program annotator Robert Kirsinger often recalls the style of Aaron Copland. Distinguished solo turns were taken by BSO members Thomas Rolfs (trumpet) in the touching “Elegy” and quiet “With Malice Toward None,” acting concertmaster Alexander Velinzon (violin), Blaise Dejardin (cello), and Elizabeth Klein (flute). 

The program culminated, fittingly, in its most familiar piece, Copland’s “Lincoln Portrait.” Written in 1942 at the request of conductor Andre Kostelanetz, its two orchestral sections suggest what Copland called “the mysterious sense of fatality that surrounds Lincoln’s personality” and evoke his era. A third section includes narration with excerpts from Lincoln’s Gettysburg address and other speeches. Actor Alec Baldwin read the text with precision and drama, using gestures for emphasis (“…even we here hold the power…”). Kamensek and the orchestra provided forceful support. 

As in many afternoon concerts in the Koussevitzky Music Shed, all three selections were enhanced by occasional snatches of birdsong from neighboring trees on a lovely Berkshire day. 

 

REVIEW: Barrington Stage “Estate Sale”

Barrington Stage Company, Pittsfield, MA 
www.barringtonstageco.org
through July 25, 2026 
by Jarice Hanson 

  
As the audience files into the theatre through a back door, onto a stage that looks like a thrift store, there’s a feeling that this show is going to be unlike anything they’ve ever seen before. This may be very true. What the audience is about to see is familiar, revelatory, and profound. It’s also emotionally laden, heart-wrenching, and wonderful. 

  

The world premiere of Keelay Gipson’s “Estate Sale” at Barrington’s intimate St. Germain Stage has something for everyone. The playbill warns that it is a play about grief—which is true—but it is also so much more. The play deals with memory, family, love, loss, and the gifts that growing up in a loving household bestows on the home’s occupants. 

  
Jayson Lee, described in the script as “Executor” is a marvel as the storyteller of the play. He uses a microphone which at first, seems like something an auctioneer would use, but the device also suggests he may tell the story the way a stand-up comic might. He even starts with three jokes that tell the audience he is now an orphan, and his feelings of aloneness are

clear, though implied rather than articulated. This is a clever device to key the audience into the back-and-forth time references that unfold as the characters enter the stage. First, a long-lost friend from the neighborhood called “Youth”. Then Father, “Truth” and Mother, “Beauty” appear. The last two happen to be ghosts.  

Photo: Roman Iwasiska

  
This is primarily the Executor’s story, and Lee is a wonderful actor who does a superb job suggesting different ages as he introduces memories, enacted by the other characters.

 

“Youth” is played by Christopher B. Portley; Father, by Blake Morris; and Mother, by Gillian Glasco. The team of talented actors show the audience the range of emotions of family and friends throughout different time periods and give the impression that they (the actors) have known each other for decades.    

  
They are surrounded by the detritus of life that the Executor now has to deal with; and the items, complete with price tags, are beautifully staged by scenic designer, You-Shin Chen. Director Steph Paul guides her actors around the stage integrating memory and objects and ruminating on the joys and sorrows of family life. What emerges is a story of love, remembered differently through the objects that we imbue with meaning, all the while reminiscing of the small acts of love that ultimately make us who we are.  

  

“Estate Sale” transcends time. The Executor says, “There’s good shit. And there’s bad shit.” The simplicity of those lines hides the multi-layers that emerge as this play evolves. From the audience's reaction, nearly everyone can relate to the emotions that arise as worlds shift with the passing of time, people, and the things that give meaning to an individual's position in the world.  
       

Since this is production is the world premiere, it's a good guess that "Estate Sale" will take to many stages in the near future; perhaps enough to become a modern-day classic. It's that good.

REVIEW: Mt. Holyoke College Summer Theatre, "Agatha Christie's Murder on the Orient Express"

Mt. Holyoke College, South Hadley, MA

MHCSummerTheatre@MtHolyoke.edu

through July 11, 2026
by Nechama Katan

All aboard! After a 25 year wait, Mt. Holyoke College Summer Theatre has finally pulled its inaugural season into the station, and the ride is well worth the ticket.

For those who don't know the story: when a passenger turns up murdered in his locked compartment on the snowbound Orient Express, the world's most famous detective, Hercule Poirot, must sift through a train car full of secrets, lies, and suspects before the killer strikes again. Ken Ludwig's stage adaptation of the Agatha Christie classic keeps the whodunit twisty right up to the final reveal.

Sam Samuels anchors the show as Poirot, bringing the detective's fussy precision and quiet command to every scene without ever tipping into caricature. Wally Marsano-Lesnevich is a delight as Monsieur Bouc, the railway director whose composure crumbles convincingly as the suspect count grows. Emma Yee, a student performer, makes the mousy missionary Greta Ohlsson genuinely memorable, no small feat in a play stuffed with big personalities. 
 
This company is built on an unusual mix: students and professional actors. There are too many to mention each one's performance. The professionals take on the larger roles, and the pairing works. It's difficult to discern which actors belong in which category. That's the whole point, and it works.
 
Artistic Director Noah Ilya-Alexis Tuleja, who said of the production, "After 25 years this train is finally leaving the station and you won't want to miss this ride!", threads in touches of humor that keep what could be a very heavy play light on its feet.
 
Alina Tschumakow's set is more functional than fancy, a handful of pieces that the cast itself wheels and carries into place to turn a hotel in Istanbul into first class train compartments and then a dining car. It sounds like it shouldn't work, but it does. The curtain gets a real workout too, doing double duty as scenery and as its own bit of stagecraft. Managing Director and costume designer Jensen Glick, along with Sam Skynner's lighting and Gillian Tomlinson's sound design, round out a team clearly working with a modest budget and a lot of imagination. There are more names on the crew list, and every one of them earns a bow.
 
The venue is a dance theatre pressed into service as a playhouse, general admission. There truly isn't a bad seat in the house, and air-conditioning held up well during this heatwave. The seats are surprisingly comfortable for a studio space. The audience's attention leans in at exactly the right moments for a mystery plot. Enjoyable, as with most who-dun-it plays are the murmuring theories at intermission.

 For those not particularly familiar with Christie's stories, watching how the characters build out and are played will be enjoyable. Those in the audience who do not know the story will enjoy a genuinely fun puzzle. Mt. Holyoke is an easy trip from the Springfield area, and the acting is stronger than the price has any right to promise. When this train pulls out of the station, make sure you are on it, and pencil in "39 Steps" for later in the season. 

Review: Fannie: The Music and Life of Fannie Lou Hamer

Chester Theatre Company, Chester, MA

www.chestertheatre.org
July 12, 2026
By Suzanne Wells

It is hard to sit through “Fannie: The Music and Life of Fannie Lou Hamer” without feeling that the past is pressing urgently into the present. Written by Cheryl L. West and directed by Gilbert McCauley, the production gives Fannie Lou Hamer’s story the force of testimony, music, and memory.

Set during the 1960's Civil Rights Movement, “Fannie” carries the audience through the remarkable life of Fannie Lou Hamer—from her childhood picking cotton to her courageous fight for the right to vote, her tireless work encouraging others to register, and her own historic run for office. What primarily moves those at Chester who learn Fannie's story most is not only the scope of what Hamer endured, but the strength she kept returning to: faith, hope, humor, and determination. 

Her story brings the injustices of the era into sharp focus while celebrating a woman whose courage, voice, and unshakable spirit still feel necessary.

As Fannie, Shannon Lamb does more than command the stage—she makes history feel immediate. Whether she is offering warm Southern hospitality, delivering a stirring speech, or reliving the frightening and brutal moments Hamer witnessed and endured, Lamb fully opens a first-hand view into the world of the Civil Rights Movement.
 

With remarkable energy, powerful storytelling, and a beautiful voice that carries the songs of the era, she turns the theatre into a pulpit of witness and song, complete with heartfelt Amens and Hallelujahs.

Kevin Sharpe’s musical accompaniment deserves special recognition. His playing helps shape the emotional rhythm of the production, moving from moments that make audience members want to stand up and rejoice to quieter passages that ask listeners to be steady and listen.

Jeremy Winchester’s scenic and projection design also leaves an impression, supporting the story with images that sharpen its emotional impact without overwhelming the audience.

Hamer’s fight still echoes in the civic life of today. This is the kind of story that belongs not only on a stage, but in classrooms, and election-year conversations. Searching for some inspiration and a little hope, “Fannie: The Music and Life of Fannie Lou Hamer” continues through July 12, 2026.