Freud’s Last Session

Barrington Stage, Pittsfield, MA
barringtonstageco.org
run extended through October 4, 2009
by Shera Cohen

It was a wise decision to bring encore performances of “Freud’s Last Session” – the play which kicked-off Barrington Stage’s 2009 season – back to complete the company’s summer months of plays. Another excellent choice was to mount “Freud” at Stage 2 located a few blocks from the Mainstage. This intimate theatre with its smaller stage and fewer seats is ideal for the audience to closely eavesdrop on the conversations of Dr. Sigmund Freud and author C.S. Lewis. While Freud and Lewis probably never met in 1939 (the play’s time) or at any other time, does not matter. Their discussion, which is the script, is timeless.

Born a Jew, Freud was a staunch atheist eager to preach his beliefs. Lewis, on the other hand, was a steadfast Christian. Lewis enters the study of the eminent, elderly, and dying Freud, and their 80-minute conversation starts. A one-act play, with only two characters, one of whom audience members might not know (Lewis wrote “The Chronicles of Narnia”), arguing the merits of religion as well as life vs. suicide could easily become a snoozer. Excellent acting, directing, pace, humor, and setting (yes, the couch was ever present) keeps the verbal action intelligent and quick like a fine game of chess.

Martin Rayner’s Freud is sick with incurable cancer, yet still brilliant and witty. The actor, perhaps half the age of Freud at 83, truly fleshes out the doctor. Yes, there is mention of psychoanalysis and sex, but the audience observes far more about Freud as a husband, father, and atheist.

Mark H. Dold (a regular at Barrington) portrays Lewis as unassertive, not yet famous, and intimidated by the renowned Freud. Yet, he grows -- through posture, voice, and physical proximity to Freud -- as a man to be reckoned with. Rather than adversaries, the two men become respectful debaters.

The trappings of the period set, along with sounds of airplane bombers and radio broadcasts of caution, are seen and heard throughout the play. Kudos to the backstage crew.

A Streetcar Named Desire

Barrington Stage Company, Pittsfield, MA
www.barringtonstageco.org
through August 29, 2009
by Meghan Lynn Allen

When the four words "A Streetcar Named Desire" are uttered, a few classic images instantly pop into mind. Barrington Stage rises to the task of living up to those images many have held onto for all these years.

Scenic Designer Brian Prather and Lighting Designer Scott Pinkney immediately draw the audience into 1940's New Orleans and the Kowalski household that subsist in the slums of the French Quarter. Marin Mazzie plays Blanche Dubois, the unstable, delicate, gracelessly aging, southern belle who makes a game of avoiding reality at all costs. Mazzie's progression as Blanche transforms from fragile, needy, and worn down to completely unhinged and tragic in three acts is admirable. Christopher Innvar portrays the role of Stanley Kowalski, made most famous by Marlon Brando. Innvar fits the bill as muscular, imposing, and brutish, as well as tall, dark, and handsome. The audience adores him when he passionately and literally sweeps Stella (Kim Stauffer) off her feet, and despises him when he is heartlessly cruel to Blanche and needlessly and excessively aggressive to everyone else. Stauffer tenders a believable depiction of Stella, Stanley's wife and Blanche's younger sister. Her performance, though understated in comparison to her counterparts, offers a truth and innocence to the piece that is required. Kevin Carolan (Mitch) and Jennifer Regan (Eunice) provide stand-out supporting performances.

Directed by Julianne Boyd, "A Streetcar Named Desire" mostly lives up to its iconic predecessors. However, there are a few missteps. Amazingly talented blues singer Chavez Ravine and jazz musician Thom Rivera offer spectacular performances that set the mood of New Orleans, though their performances feel unconnected to the reality of the piece and at times distracting. Overly stylized silhouettes of townspeople and exaggeratedly symbolic marching of the doctor and nurse also garner unwanted attention away from such a meaty piece. Finally, for an iconic story that is inherently graphically violent and sexual, somehow the rape scene falls a bit flat and incongruous to the excellent work of the actors and Tennessee Williams.

Sleuth

Barrington Stage Company, Pittsfield, MA
www.barringtonstageco.org
through August 1, 2009
by Meghan Lynn Allen

A quirky, gruesome detective story unfolds at Barrington Stage Company. "Sleuth," starring Charles Shaughnessy of TV’s “Nanny” fame, is a Tony Award winning 1970 play by Anthony Shaffer. Shaughnessy plays Andrew Wyke, an exceptionally successful mystery writer, whose manor house in Wiltshire, England is dark, creepy, and full of surprises. He brings a charm and playfulness to Wyke’s devilish character that makes the show fun to watch. Shaughnessy deftly portrays Wyke as he engages in an outlandish game of cat and mouse with his wife’s lover, Milo Tindle. Jeremy Bobb plays Tindle, and Bobb rises to the task of sharing the stage with experienced stage and screen actor Shaughnessy. Bobb epitomizes Tindle at the heights of his idiocy, craftiness, obsession, and zeal.

Set designer David Barber deserves kudos for his massive and thrilling mansion interior, fully-equipped with hidden passageways that open at the pull of a lever and all the lavish little details that continually engage. Lighting Designer (Jeff Davis) and Sound Designer (Brad Berridge) have much to be proud of as well; their talents add to the frighteningly fun experience of "Sleuth." Director Jesse Berger expertly accomplishes the job of bringing a play that has had world-wide success back to life (and death) again.

Though riddled with adult references, this show is fun for all ages.

Carousel

Barrington Stage, Pittsfield, MA

www.barringtonstageco.org

through July 11, 2009

by Shera Cohen

Theatre audiences of today expect musicals that meld the lyrics with the music so that there is little doubt that the two easily become one. This was not the case in 1945 when Rodgers & Hammerstein's "Carousel" hit New York. Rolling in and off the stages were songs, dance, dialogue, and sometimes plot. According to Time Magazine, this time it was different, calling R&H's work "the best musical of the 20th Century."

In recent years, "Carousel" has not often been produced. Barrington Stage mounts the play as the opening mainstage show in their 15th season. Barrington has not so much taken on a huge task, but given itself a box office test. Yes, the replicated 1900s New England wharf, colorful petticoat dresses, "human" carousel of horse bodies (beautiful, gently moving), and some big dance numbers make for an ambitious undertaking, and all succeed very well. Yet, the play is dated in theme and style - perhaps a minus, or perhaps a plus. It's 2009, the economy dips daily; is this something to be constantly reminded of 24/7? Maybe not, and just maybe the 21st Century audience needs the nostalgia of joy and even sadness of experiencing "Carousel" again, or for the first time.

Julianne Boyd's well-directed performance has exactly what this musical should have. It's old in look and feel, and probably very similar to the original of 60+ years ago. While the reprises seem to go on and on; well, that's what R&H wrote. However, "Carousel," Barrington, Boyd, and company give it all they've got for the important stuff, and oftentimes that means long sections of the play. Patricia Noonan and Aaron Ramey, in the lead roles, have wonderful voices which launch the show with "If I Loved You." Noonan's "What's the Use of Wond'rin" poignantly foreshadows her life. Surely, the single best reason for hiring Ramey is to sing the exquisite, emotional, and so lengthy that it takes a 180 degree turn - "Soliloquy." He nails it. Normally, the role of Carrie is annoying, but Sara Jean Ford's smart soprano gives her character charisma. Finally, kudos to the piano duet that manages to easily carry the dance pieces, "Carousel Waltz" and "Ballet."