The Ten Tenors

Colonial Theatre, Pittsfield
March 14
By Shera Cohen

Two math questions. What is Il Divo x 3.33? Hummm? Let’s make it easier? What are The Three Tenors x 2.5? Answer -- The Ten Tenors, or affectionally dubbed TTT. These Aussies combine camaraderie, energy, and animated choreography of a football team with debonair charm, wit, and professionalism of Wall Street bankers. They are personable, relaxed, and as one of the members referred to all, “incredibly good looking.” They are the boys next door, if the boys had voices like Pavarotis in the making.

Starting as impromptu street singers, the classmates launched their career performing in every town and hamlet in their homeland, quickly cut a CD, and then ventured to Europe. Except for one PBS performance, few in this country have had the opportunity to hear TTT. Now on their first North American tour, these boys are fast becoming known and applauded, and not just for their pretty faces. They can sing!

As a unit, TTT is at its best – whether singing as one voice or as a group sporadically highlighting individuals within sections of songs. It is clearly evident that each vocalist has his unique singing style, range, and genre expertise. They also can sing anything – and do!

There are folk, pop, rock, Australian pieces, disco, and a lot of opera. One of the men told the audience that they would perform, “opera without the boring bits.” The repertoire shifts from Puccini to Queen, “Waltzing Matilda” to Dean Martin’s “Volare,” the Tarantella to Simon & Garfunkle, and Verdi to the Bee Gees. Envision ten businessmen walking out of an office, instantly singing “Saturday Night Fever” as a chorus line performing disco moves.

While the singers promised no encores, they lied. There were three, with standing ovations after each. The last was perhaps the best tenor aria ever written – “Nessun dorma” from “Turandot.” What an evening!

The wonderful experience of this concert starts before spotlights go up and a note is sung. It begins upon entering the newly renovated 100-year-old Colonial Theatre. Millions have obviously been spent in keeping the original historic luster. The venue was breath-taking, and every dime was well-spent. Pittsfield’s residents should feel proud of their good work in turning their arts around 180 degrees. Pittsfield is very much a destination point.

Natalie MacMaster

Colonial Theatre, Pittsfield
March 2, 2008
by Eric Sutter

Natalie MacMaster comes from the high cliffs of Cape Breton, Nova Scotia. She started fiddling at age 9 and step-dancing at age 5. With attractive looks she lives and breathes this unique culture through her music and dance.

In all her splendid glory she moved from Gaelic airs to reels and jigs. Her back-up band included equally competent musicians who quickened the spirit. The spritely "Sweet as a Bird" was an exquisite balance of sweetness and sinew. Clog rhythms were evidenced in the spine-tingling excitement of "Volcanic Jig" as she tapped out the tune with fancy dance steps. With driving energy and irresistible charm she showed the audience what a Cape Breton party was all about. Evidently there existed plenty of Celtic DNA in the audience judged by the response of sheer joy. "Joshephine's Waltz" was a soulful balanced interplay between heartfelt cello and fiddle.

Into the light she played and danced while the backdrop lighting changed from hues of pink and blue to green and purple which softened or bolstered the music accordingly. She was dressed in effervescent blue. Oftentimes she cavorted around the cello player or bass man and coaxed them to play mightily. Drawing energy from them she suddenly turned and cut into rousing fiddle tunes.

The second half of the program brought an awesome bagpipe solo. The woeful slow air "Lament for the Death" conjured up a graveness of spirit. The delicate calm lasted until the fired up and mischievous, "Madness Medley" which oscillated between flashy fiddling and funky world beat bass and drum jams interspersed with Nathaniel Smith's moving cello solo, "What a Wonderful World."

MacMaster's boundless energy was displayed on the closing foot-tapping rave-up, "Pretty Mary." She performed a Celtic Michael Jackson moonwalk dance which was pure exhilaration. To be sure, MacMaster possesses Celtic beauty, grace and soul and is a source of inspiration to many lovers of modern Celtic and Appalachian music.

Elvis Birthday Party Bash

Colonial Theatre, Pittsfield
January 19
By Eric Sutter

"We will all be received in Graceland"... so goes the line of the song by Paul Simon. The Elvis Birthday Bash starring Scot Bruce as the young Elvis and Mike Albert as Elvis of the 70s proved the spirit of Elvis Presley transcended the ranks of mortal fame. Since his death in 1977, this ever-changing 20th Century icon has survived and spawned countless Elvis impersonators to keep the Elvis mythical status growing in the new century.

Scot Bruce uncannily resembled the young Elvis dressed in black slacks, blue sports coat, black and white two-tone shoes and a pompadour haircut. Along with the 7 piece Big E Band, he strummed his Martin guitar and shook his hips to early hits including "Heartbreak Hotel", "Don't Be Cruel" and "Love Me Tender." Halfway through, he pared down to a trio and performed the first Sun singles, "That's All Right (Mama) and "Blue Moon of Kentucky." Other hits followed as the band rocked "A Fool Such As I" and Bruce crooned "Can't Help Falling In Love." They ended with the swivel of "Hound Dog" as Bruce swaggered like the Fifties Elvis rocker.

Mike Albert proved Elvis has survived in more than one form. Albert added a female back-up singer and celebrated his 70's Vegas showman Elvis. Dressed in a Tiger decorated white jumpsuit with bell bottoms he cut into "C.C. Ryder" and the smash from 1972, "Burning Love." Albert's charisma and ability to involve the audience proved to be a crowd pleaser. As he sang the ballad "Are You Lonesome Tonight" he beckoned a female to join him on stage for a sing and swing. His powerful voice lent itself well to "It's Now or Never" and "My Way." His versatile voice cried the "Steamroller Blues" and gospel "How Great Thou Art" equally well. During the swamp-rocker "Polk Salad Annie" he relished it's stop-start rhythm which gave him an opportunity to demonstrate his karate routines during the instrumental breaks while the exaggerated imagery of flashing lights worked it's magic. A couple of songs, "In the Ghetto" and "Suspicious Minds," pushed a strong emotional response during the Comeback Special segment of the show.

In true Vegas style, "Viva Las Vegas" veered into cabaret-style slickness with the ensemble dramatically successful. The closing "American Trilogy" was thrillingly loud but soothing as the American Flag descended on to the center of the stage above the entertainers. Happy 73rd Birthday, Elvis.

“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.

All-Gershwin Program

Tanglewood, Lenox
August 26
By Shera Cohen

Summer is officially over. Although there are remaining weeks on the calendar, the rumor that summer is still with us is a lie. Here is the fact. The final musical note, the last cheers, and the fourth standing ovation at Tanglewood’s culminating concert mark the true end to the season.

Knowing that today was the last (but just for this year) of orchestral excellence at Tanglewood was a bittersweet occasion. Conductor Keith Lockhart led his Boston Pops in one of its most exciting concerts to date. Playing before a full shed and full lawn, there was little doubt that everyone present left with a smile and perhaps humming. A combination of several factors made this concert a huge success, with none being more important than any of the others; i.e. The Pops, Lockhart, Gershwin, familiar music, Brian Stokes Mitchell, a cool day, and no rain.

Three of Gershwin’s most famous works made for one-half the program. Pianist Jean-Yves Thibaubet laid his fingers on the keyboard to, undoubtedly, create the sounds exactly as Gershwin intended for “I Got Rhythm” and “Rhapsody in Blue.” Each piece included solo sections, and balancing acts between dramatic and humorous, slow and fast, and symphonic and jazzy music. Gershwin, who died at age 39, was certainly a genius, and it is sad to think what else he could have written besides these two classics and “An American in Paris.” The latter ended the afternoon at Tanglewood. Even without images of Gene Kelly in our heads, this piece deserves its lofty and honored place in music history. The Pops and Lockhart also +deserved their numerous standing ovations.

The other half of the performance were Gershwin songs led by two of current Broadway’s best – Marin Mazzie and Brian Stokes Mitchell. Most of the music was light, as the two sang solos and duets. Mitchell had fun with his audience. Also, he can probably hold a note longer than any living singer. He’s handsome, charismatic, and a PBS favorite.

A couple of words of advice – instead of lamenting summer’s departure, remember Tanglewood’s music in the woods. For those only reading what they missed, there is always next year.

Hubbard Street Dance Chicago

Jacob's Pillow
August 22
By Rachel White

Wrapping up their 75th season, Jacob's Pillow Dance Festival welcomes world renowned Hubbard Street Dance Chicago to the Ted Shawn Theatre. Respected as "America's Dance Company" for their popularity throughout the country an around the globe, the contemporary company brings a wonderfully diverse repertoire to the stage.

Opening the evening, the first of five pieces is titled Baker's Dozen, choreographed by the widely famous and beloved Twyla Tharp. Set to solo piano music, the work is playful and flirty, while it is performed with the precise technique the company has been famed for. The second work, Kiss, is innovative and intensely passionate. Staged with dramatic lighting, the two dancers are suspended by rope harnesses throughout the entire piece. Telling an incredible story of the highs and lows a romance endures, the work is crafted with deep emotion and personal conviction.

Lickety-Split is the third performance on the evening's repertoire. Choreographed by company member Alejandro Cerrudo, the piece is set to the unique music by songwriter Devendra Banhart. This sensual and playful work is peppered with delicate gestures amongst the beautiful lines and shapes created by the three talented couples. Passomezzo, the fourth number, is dynamic and wonderfully athletic. Performed by a perfectly paired couple, the duet tells an emotional story of the give and take a romantic partnership requires.

The final work of the evening, Gnawa, is by far an amazing and breathtaking journey to experience. Danced by seven couples, all tremendously talented with beautifully sculpted bodies, the work is crafted with captivating energy and grace. Formations and lines are endless throughout the piece, while the seductive fluidity is simply inspiring to watch. The piece truly exemplifies the beauty and art that the human body can create through movement.

Hubbard Street Dance Chicago is truly a company that continues to evolve and amaze through the years. A force to be reckoned with on the world stage of dance, they are sure to leave their audience inspired and in awe long after the curtain has closed.

News in Revue & The Capitol Steps

"News in Revue," Pittsfield, through 9/2
"Capitol Steps," Lenox, through 9/2
By Shera Cohen

For those who like current event reports somewhat edgy, oftentimes risque, and always humorous, audiences have two live performances to choose from this summer. Step away from TV's Jon Stewart and The Colbert Report for a few hours and enjoy both "News in Revue" and "Capitol Steps." Similar shows in style, music, and calibre of talent, one can never laugh enough at today's politics. Being a political contest year, each program had far too much material to pick from. Needless to say, Bush and Cheney were jabbed a lot.

"News" features a quartet and pianist. "Steps" has a quintet and pianist. Both take familiar songs ("News" uses a lot from the past decades; "Steps" from Broadway), add contemporary offbeat lyrics, odd costumes, clumsy props, and hideous hairdos to create excellent and very funny shows. Surprisingly, all of the comediens have good voices. It's surprising because that's not necessary for this.

"News" differs in that the sketches are longer, fewer, offer terrific choreography, end on a solemn note; and dinner is included. "Steps" gives its audiences more fast-paced vignettes, and has a gem of a segment as one of the actors speaks backwards. It's a challenge to understand at first, but catches on quickly and he had the audiences laughing in their rows.

"News" is in its new location at the Bousquet Ski Resort, Pittsfield, and "Steps" is in "News'" old location at the Cranwell Inn, Lenox. Both are easy to find, and worth the find.

A Quick Glance at Summer at Shakespeare & Company

Lenox
through 9/2
By Shera Cohen

During its 30th anniversary year, Shakespeare & Company never waivers in its excellence in presenting the best in the Berkshires. Especially amazing is the fact that the same actors perform in two plays each (oftentimes on the same day, two in English and two in 16th century English), not to mention their "day jobs" in managerial capacities. Do any of the actors/employees get much sleep? Perhaps not, as they run the summer series from May through September.

The seldom staged "Antony and Cleopatra" was a tour-de-force for actors Tina Packer and Nigel Gore and director Michael Hammond. This tragic and fabled love story amid years of war made for a dramatically balanced play. Having the opportunity to sit in on a rehearsal offered this reviewer a keen look at the challenges faced by actors and crew.

The Bard's often staged "A Midsummer Night's Dream" was the other selection on the roster, and as different from "A & C" as night and day. How these same actors keep their lines straight and never mix the language of the two plays is sheer professionalism. "Dream" is a romp in the forest, literally, with lots of fun had by all, including the audience.

Tom Stoppard's "Rough Crossing" could also be dubbed a romp -- this time onboard ship in the 1930s. Dialogue connecting one player's words with another's was a common humorous thread -- what had meaning for the first player had a second meaning for the other. This was a leave-your-brain-at-home experience.

Shakes & Co.'s Bankside Festival is always free of charge and equally delightful. It includes lectures, mini-pre-shows, dances, and one fully-staged comedy all performed by the student acting troupe. Moliere's "Scapin" took the tent stage. Fitting the usual Moliere formula, this was one of his funniest and less political plays. Full of slap-stick, malaprops, whimsy, mistaken identities, and chase scenes, "Scapin" had it all -- for all ages.

Note: Catch Shakes & Co.'s bonus play, "Sherlock Holmes," in late September/early October.

Mark Morris Dance Company

Jacob’s Pillow
Aug. 7-11
By Stacy Ashley

The Mark Morris Dance Company returned for the Pillow’s 75th Anniversary Season with four pieces. Recognizing the opportunity to put live music with live dance, Morris invited musicians and vocalists from the Tanglewood Music Center. There is just something about having live music with live dance that makes it so much more.

The first two pieces were recently premiered and are nice additions to long list of works by Morris. In Italian Concerto the dancers move with precision performing trademark steps- the syncopated movements and the pendulum type swinging with arms and legs. I
In the piece Looky the dancers drift on and off the stage becoming either onlookers or the exhibit itself at a museum. Dancers move from one tableau to another, while other dancers perform ballet moves with mock histrionics. Morris, known for his humor and satire, didn’t miss the opportunity for some of the dancers to then become critics as they scribbled notes onto an imaginary notebook.

The last two pieces performed were Candleflowerdance and Love Song Waltzes. Candleflowerdance is a beautiful piece set to Stravinsky’s ‘Serenade in A’. The stage is set with scattered lit candles and flowers in a vase. The lighting is subtle to accentuate the mood. The six dancers push, pull, lean and collapse against each other, another Morris specialty. In Love Song Waltzes dancers shift through different partnering, moving across the stage creating formations that fold into one another. A witty and sentimental statement about love, Love Song Waltzes, was a beautiful way to end the evening.

Ballet du Grande Theatre de Geneve

Jacob's Pillow
August 1
By Rachel White

Staying true to founder Ted Shawn's vision and promise to bring the world's most innovative and diverse dance companies t Jacob's Pillow, the world famous dance community welcomes Ballet du Grande Theatre de Geneve to it's main stage this week. Performing two original pieces for their U.S. debut, the Switzerland based company bring a taste of the European dance scene for art enthusiasts to enjoy.

Opening the evening with Para-dice, the piece is performed with six dancers, all beautifully trained with exceptional classical ballet technique. The choreography, however, is anything but classical ballet. Crafted to demonstrate the dancers diversity, the contemporary work is performed to a variety of music, ranging from wildly exotic to tearfully beautiful. The dancers are fluid and dynamic all in the same moment and the symmetry of the lines and formations are molded with true artistic talent.

Loin is the second work performed of the evening and is a very diverse and complex piece of choreography. As a former professional dancer, turned educator and choreographer, this critic was awe inspired with the array of creative and passionate energy of which this piece was brought to life. Peppered with amazing timing and synchronized patterns, Loin is performed with beautiful athleticism and technique. A section that should be celebrated is performed wit two couples, all gorgeously trained and sculpted. A very modern twist on the classic pas de quatre, the couples demonstrate sheer grace and fluidity.

Ballet du Grande Theatre du Geneve brings a beautiful evening to their audience from the minute the curtain opens and leaves a lasting impression long after the evening ends. Though geared for the open minded dance enthusiast, the company brings a wonderful glimpse into the world of European dance and is sure to be enjoyed by all who venture into this rare and unique performance.

"Blue/Orange"

Shakespeare & Company, Lenox
Through September 2, 2007
By Donna Bailey-Thompson

Those who determine the summer’s schedule have done it again: they’ve included a gem that is both provocative and entertaining, and then had the audacity to assign a sensitive director (Timothy Douglas) and cast three stellar actors who, seemingly, become the characters. And the other good news is that "Blue/Orange"is playing through September 2.

Presented in the 3/4 round, this engrossing drama takes place within a London psychiatric hospital where a young man, Christopher (LeRoy McClain) prior to his scheduled release the following day is interviewed by his psychiatrist Bruce (Jason Asprey) and the facility’s senior psychiatrist Robert (Malcolm Ingram). Chris is happy, ebullient, "I’m going home!" He springs about the room on the balls of his feet. Bruce sets out to demonstrate that Chris, diagnosed as having borderline personality disorder, is not well enough to be discharged. Robert has a different opinion. What begins as an academic disagreement becomes loaded with personal agenda witnessed, in large part, by the patient who misinterprets what he mis-hears. The younger doctor pushes for a schizophrenia diagnosis and lobbies for treating Chris as an inpatient whereas the older doctor favors sending Chris home "while he still knows what home is" before he becomes more comfortable living within an institution than on the outside. He quotes Allen Ginsberg: "Human is not a noun. It’s a verb."

Strategically placed situational humor provide brief tension breaks within playwright Joe Penhall’s tight script’s dedication to emotionally-loaded issues–-imperfect health professionals within an imperfect health care system trying to bring psychically-damaged patients to a mental health level where they are neither a threat to others nor to themselves. Further complicating this effort are moral and ethical questions that swirl about the effects of race on both medical judgments and patients’ interpretations.

"Blue/Orange" is not a simple entree: it is a theatrical banquet.

Vivaldi and Bach

Aston Magna Summer Concerts
Simon’s Rock College
Great Barrington
June 30
Debra Tinkham

Aston Magna is the Mecca of Baroque excellence. In celebration of their 35th Anniversary, one of the founding fathers of Aston Magna, Stanley Ritchie, graced us with music of Vivaldi and J.S. Bach. In addition, Maestro Ritchie brought five of his students; four violinists and one harpsichordist. Not on the program, was a sweet treat by Ritchie’s students, a four movement Concerto by Telemann. The students were talented, performed effortlessly, all well-degreed, but, they were a testimony that, with age, comes experience and wisdom beyond a young performer’s ability. Given time and experience, for sure they will one day be as awesome as the regular talents of Aston Magna.

Vivaldi’s Four Seasons, spring and summer, were performed at the onset of the program, followed by Bach’s Concerto in C minor, in three movements, for oboe and violin. Stephen Hammer on oboe, and Daniel Stepner on violin, were, as usual, at their best. There are just no words to describe Stepner’s enthusiasm, artistic talent and pure love of the music. Hammer and Stepner performed flawlessly.

The finale was Vivaldi’s autumn and winter. A passionate and perfect Vivaldi year. Picture, if you will a very fine, hand-blown wine glass. The end product is clarity, beauty, delicacy and void of imperfections. Before this end product became a beautiful wine glass, though, it took years and hours to perfect such excellence. Please mark your calendar for July 7, 2007, at Simon’s Rock College, for an evening of more Baroque excellence.

I Love My Vacation Rut…or, 11 years and counting

By Shera Cohen

In 6.5 days, four women enjoyed 21 cultural events within a 20-mile radius for the cost of $25 per night per gal. Where is this place? My beautiful Berkshires, which I share with you and millions who know the secrets of this small, yet world-renowned site for the best in the arts.

Before I purchased my Stockbridge timeshare, the salesman plied me with benefits of switching locations; think of winter in Hawaii. Who needs Hawaii when I had the option of the Berkshires’ aesthetic landscapes and abounding cultural choices one hour away?

To avoid confusion in reading this article, the content is dated on purpose. I began writing the Berkshire stories for my own monthly publication, Bravo. Rather than printing a summer story in September, we held it as a preview for the following year. The goal was/is to entice readers to attend arts events at these venues.

In preparing our week’s itinerary, I spread dozens of Berkshire flyers, booklets, and calendars across the floor. The selection criteria of where we go are: 1) fit in every art genre, 2) add one new site, and 3) include all Shakespeare & Company plays. I am an admitted Shakes & Co. groupie.

In case readers think this quartet of women is solely into highbrow arts – not so. We always MAKE time for the Lee Outlets, Joe’s Dinner, and miniature golf.

Friday, 8pm – “Coastal Disturbances” Berkshire Theatre Festival, Stockbridge
I always count on BTF for the ultimate in professionalism (actors and crew), staging that seems to have Broadway budgets, and skilled actors with recognizable TV/movie names. This odd, romantic comedy by Tina Howe was depicted on a beachfront set. On the avante garde side, it’s always wonderful (even for me) to experience theatre other than by the Bard. berkshiretheatre.org

Saturday, 11:30am – Church on the Hill Craft Show, Lenox
This little white church, literally on a hill, annually holds a gem of a craft show. Outdoors, with dozens of tents, some of the finest crafters sell their pieces. It’s a mini-Paradise City Crafts where thousands flock even in the heat.

Saturday, 2pm – Ballet Flamenco/Eva Yerbabuena, Jacob’s Pillow, Becket
Considered one of the masters of Spanish flamenco, Yerbabuena and her troupe of dancers, singers, and musicians captured the full-house audience. In traditional folk dresses and later in an exquisitely flowing white gown, clothes (plus fiery and fierce dance steps) do make the woman. Two theatres permit different performances simultaneously. We also saw the Trey McIntyre Project – a young, modern dance group. jacobspillow.org

Saturday, 8pm – Berkshire Choral Festival, Sheffield
For five consecutive Saturdays the all-volunteer members of the BCF perform, accompanied by the Springfield Symphony. The setting is a huge shed on the grassy campus of what was once a monastery. The 200 singers come from throughout the world to rehearse for just one week. Add soloists and a children’s choir and these contemporary South American pieces were enthralling. berkshirechoral.org

Sunday, 10:30am -- “Enchanted April” Shakespeare & Company, Lenox
It’s up early to take in a Shakes & Co. plays, but well worth it. Yet, only half of the plays are by Shakespeare (no surprise). “Enchanted April” was, well, enchanting. Some of best of the Berkshire actors mounted this stage as a motley quartet of strangers vacationing together in Italy. The audience stole a bit of the joy and mystery of the characters’ lives in what was a transforming setting. shakespeare.org

Sunday, 2:30pm -- Tanglewood, Lenox
Arriving early, we ate our picnic on the grounds. A walk followed along the paths and through the woods of this simultaneously pristine and rustic heaven on earth. Oftentimes, it doesn’t matter what music program is, the composer, and/or the conductor; the joy of being at Tanglewood is enough. This isn’t to say that Mendelssohn’s Symphony No. 4 wasn’t rousing or that Midori (age 35!) didn’t put her whole body into her interpretation of Bruch’s Violin Concerto No. 1. bso.org

Sunday, 8pm – “Hamlet” Shakespeare & Company, Lenox
Updated to the 21st century, “Hamlet” proved timeless in story and characters. On a stark, black stage accompanied by shocking moments with lights and sound, these nimble actors double and triple-roled. Jason Asprey, a “regular” who has paid his dues, was given his first starring role; he portrayed the tortured protagonist with angst and wit. This venue is ideal for any first-timer to Shakespeare.

Monday, 4pm – Lectures at The Mount, Lenox
Combine the following for what was a delightful afternoon at The Mount (home of author Edith Wharton): one famous, deceased person in history; a well-spoken author on the subject; Wharton’s old horse stable but with seats; a walk up the shady trail to Wharton’s house; lemonade, cookies, and book signing; and a journey through the gorgeous gardens. Multiply this times 10 (each week a different subject and author). edithwharton.org

Monday, 8pm “The News in Revue” – Cranwell Inn, Lenox
“Saturday Night Live” met “Politically Incorrect” set to Broadway music and fresh contemporary lyrics – it’s The result is “The News in Revue.” Just when we thought this quintet couldn’t be cleverer (after 6 years), they were. Everyone in the news is a potential target for parody. With a minimum of props, wearing purposely pathetic costumes, they present terrifically funny scripts. NIR has moved to Pittsfield. newsinrevue.com

Tuesday, 3pm – One-Act Plays, Shakespeare & Company, Lenox
While one-act plays aren’t very popular, Shakes & Co. puts two side-by-side for an afternoon theatre experience. “Martha Mitchell Calling” (tour de force by actress Annette Miller) told the behind-the-scenes story of this 60s notorious figure and predictor of the Nixonian brouhaha. Followed by “No Background Music,” also staged in the 60s, was an even darker look through letters of a Vietnam army nurse. Was there a dry eye? I doubt it.

Tuesday, 8pm – “Merry Wives of Windsor” Shakespeare & Company, Lenox
This was not only Shakes & Co’s most lavish production of the season, it was also the funniest. Even for those not familiar with the buffoon Falstaff character, the story was crisp, colorful, and clear (to any novice of The Bard). The core of the company’s best actors proved their talents, not to mention the crews’ skills at staging fights, dance, music, and keeping giant coifs in place.

Wednesday, 2pm – Norman Rockwell Museum, Pittsfield
I’m American with a capital “A,” loving Mom, apple pie, and Norman Rockwell. A walk down memory lane through Rockwell’s now famous scenes and portraits should not be missed. We received a bonus as the Berkshire Chorus performed a free I Hear America Sing” concert. Now this was a perfect match made in the good ol’ USA. nrm.org

Wednesday, 8pm – “Pilgrim Papers” Berkshire Theatre Festival, Stockbridge
Expect the unexpected at the Unicorn Theatre. This world premiere satire on the first Thanksgiving was an odd look at what history could have been? Underneath the fun were questions of church vs. state, bigotry, feminism, and terrorism. The cleverly scripted play was unlike the works of Shaw, Thomas, Simon, or even Mamet – and that’s just fine.

Thursday, 8pm – “Wonder of the World” Barrington Stage, Sheffield
Life is chock full of serendipity – people meeting who should never encounter each other, episodes in no order of sequence. It’s a wonder how we all exist. This “Wonder” was a hysterically funny contemporary look at odd circumstances that bounced off each other. Directed with a fast pace and coupled with one-liners, this is a play to see twice to not miss everything. Barrington is in its new home in Pittsfield. barringtonstageco.org

We had one problem – there’s too much culture to opt for in the Berkshires. We missed Williamstown Theatre Festival, Naumkeg, Berkshire Opera, and Santarella. Oh, to have such a terrific problem every year.