Spring Awakening

The Bushnell, Hartford, CT
www.bushnell.org
through February 28, 2010
by Bob Smith

Ah, youth! The enjoyment of "Spring Awakening" will depend in large part on how well the audience has recovered from its own adolescent angst. Based on a scandalous play written in 1891, this Tony Award winning show illustrates that teenagers have always felt oppressed by the adult world and even more terrified by the world in their own heads.

Bringing the story into the present age is the music by composer Duncan Sheik and lyricist Steven Sater. The numbers are at turns rebellious, whimsical and heart wrenching. Reflecting youthful passions, some of the song titles are not even repeatable in print. "The Dark I Know Well" details a horrific subject in a calm but devastating manner. Sarah Hunt and Steffi D delivered a powerful and poignant duet, lending each other the strength of their voices.

This is not theatre for the faint of heart, as these are hormonal teens after all. Even in their attempts to forge meaningful connections with one another, there is brutality and coarseness. The lighting and staging plays an integral role, illustrating the conflicting emotional states between desires and actions. Characters literally are climbing up the walls. The band that propels the emotional score sits on stage, lending a rock-concert quality to many of the numbers.

It is an ensemble piece, but it is well anchored by Jake Epstein and Christy Altomare as the "romantic" leads. From the opening number, one can very quickly start to feel like a voyeur, and it is their earnest portrayals that facilitate your investment in the drama. Parents may nod in recognition of their own experiences while simultaneously dreading the years to come.

"Spring Awakening" is a unique experience. Startling subject matter, atypical songs for a Broadway show, and engaging young performers make it worthwhile theatre for those who are not put off by the excessive emotional tendencies of youth.

Contains mature themes, sexual situations, nudity and strong language.

The Lion King

The Bushnell, Hartford, CT
www.bushnell.org
through February 14, 2010
by Shera Cohen

While many theatre-lovers have taken sides on the Disneyfication of today's musical theatre - its effects on the medium, audiences, and future audiences - this review takes "The Lion King" strictly at face value. The fact that its Broadway opening earned just about every theatre award given is no surprise. Perhaps a bit surprising to some is that the national tour, in cities such as Hartford, is equal in presentation, skill, special effects, costuming, and choreography. "Lion King" in CT compares equally to NYC's "Lion King."

The story, straight from the movie version, offers some life lessons to lions and to humans, particularly the children in both species. There's drama and humor - the later on two levels for the appreciation of the kids and their adult chaperones. Elton John and Tim Rice's music ranges from contemporary rock ("The Morning Report") to ballads ("The Live in You") to calypso, and more. Of course, there is the expected beauty of "Circle of Life" and contagious beat of "Hakuna Matata." Singers shine, particularly in "Shadowland" and "Endless Night." All of this makes for the foundation of a good musical.

The "wow effect" of "Lion King," and far bigger than the songs, singers, and story combined, is the staging. The real stars are exquisitely talented director/costume designer Julie Taymor and choreographer Garth Fagan. Unfortunately, neither appears onstage to receive standing ovations.

"Lion King" is a visual delight with humans portraying life-size animals, birds, and vegetation. It is easy to only see the costumes and masks. Yet the faces of each actor "underneath" perfectly reflect his/her character. The backdrops of shimmering sun, dessert, sky, mountains, and elephant graveyard are massive. Color abounds in the come-to-life imaginations of the young lions. Technology is state-of-the-art in creating the art of live theatre, particularly in the stampede scene. Fagan, known for his choreography of his own famous dance troupe, as well as works performed by troupes across the globe, has created movements perhaps unseen onstage before "Lion King's" debut.

As for opening night's audience, chock full of children, it was a pleasure to hear their sounds of exclamation, lion "grrrrs," and questioning "Is that real?!"

In the Heights

The Bushnell, Hartford
www.bushnell.org
through January 10, 2010
by Shera Cohen

While the title of "In the Heights" refers to New York's Washington Heights neighborhood, this is a musical that's high on life, dreams, challenges, and changes. The story may be universal for all eras, yet this is very much a contemporary show evidenced particularly by the multi-racial cast, songs that toss English and Spanish lyrics back and forth, and atypical choreography unlike any that Rodgers & Hammerstein, Mel Brooks, or the Disney staff could imagine.

First to be noticed is the set. Wow! Against the backdrop of the Washington Bridge are floor to ceiling tenements, quite real with cracks to see through windows, doors, and walls. Storefronts create the ground level, where most of the action takes place. Second noticed is Kyle Beltran as Usnavi (leading role) spouting a rap song about his life and community. This reviewer wasn't the only audience member to worry that the entire play would be rap, hip-hop, and generally not understood by anyone over age 25. Any reservation did not last long, as every word of Beltran's song was not only distinct, but carried the plotline forward. While hip-hoppers jumped and jived all over the stage, this was true to their characters. Twentysomethings are not going to waltz or do precision can-can.

The dialogue is minimal, as the songs flow one after each other, with each better and more rousing that the last. There is the usual showstopper - "$96,000" - surprisingly followed by four more showstoppers. It is hard to keep up with and equally hard to stop clapping. Each actor is given his/her moment in the sun. Those in the roles of Benny, Nina, Carla, Sonny and Nina instantly become individuals to like. Beltran's Usnavi is so charming and naïve that it's hard to resist the temptation to take him home as a pet.

Some of the plot of Act II is a bit disjointed, but minimally noticed against constant dancing that comes from nowhere and is contagious, the clever lighting, a pit band to beat the best of them, and one of the best touring companies to reach Hartford and the U.S.A.

Christmas with the Rat Pack—Live at the Sands

The Bushnell, Hartford, CT
www.bushnell.org
through December 20, 2009
by R.E. Smith

“Christmas with the Rat Pack” reinforces the notion that “they just don’t make ‘em like that anymore”. The personalities, the songs, even the tuxes all serve to transport the audience to a different time and place. The time is the ‘60s, the place is Las Vegas, and the performers are Frank Sinatra, Dean Martin and Sammy Davis, Jr.

These are not impersonators, but rather actors portraying a character and they make it look easy. The presence of the originals literally hangs over the stage, to remind us that no one can duplicate the original, but we can invoke their spirit. The illusion works very well and makes for a great night of old-school “showbiz”.

Tam Ward conveyed Sinatra’s effortless phrasing and delivery on “I’ve Got You Under My Skin” and “The Christmas Song”. Michael Howard Smith, captured Martin’s smooth charm and laid back delivery on “That’s Amore” and “Baby, It’s Cold Outside”. Of the three, David Hayes (Davis) had the greatest physical likeness to his “character” which served him well as Davis was the ebullient song and dance man.

This is no karaoke revue; the 15-piece orchestra was powerful and tight and the men’s voices were strong and well trained. The score must have been based on the original arrangements, because every horn blast and drum hit had the unmistakable sound of that bygone era. These entertainers use no vocal acrobatics or flashy costume changes, leaving the audience to concentrate on the essence of classic songs, seasonal and secular.

The banter retains just enough political incorrectness to remind you that this was a different era, but the material and songs are suitable for the whole family. Take the grandparents for an authentic taste of the good old days and take the tweens so that they can learn to appreciate true, live entertainment.

“Mamma Mia!”

The Bushnell, Hartford, CT
www.bushnell.org
through December 6, 2009
by Shera Cohen

What can a reviewer write about “Mamma Mia!” the fifth time around? First, this musical is obviously worth seeing over and over again. Second, it’s two hours of sheer joy as nearly everyone in the audience has a constant smile. The smile doesn’t come off for the next two days – just about the same time the humming of “Dancing Queen” and “Honey, Honey” disappears from the brains of those in attendance at the Bushnell. Third, the concept of weaving a story and plot around already existing music to create one huge musical success is not so ingenious, yet why wasn’t it done before?

“Mamma Mia!” is the marriage of the old “B” Gina Lolabrigida movie, “Buena Sera, Mrs. Campbell,” with the “A” hits of ABBA. A young Gina slept with three guys; the result was a baby girl. Who’s the daddy? Gina doesn’t really care, but now 20-year-old Sophie yearns for her father to give her away at her wedding. Substitute former rocker Donna for Gina. She’s spent her life as a successful, tough, and vulnerable single mom. Surprise – three possible dads arrive.

The Greek Isle setting is amass with energetic twenty-somethings and six adults. All have the opportunity to sing and dance – sometimes as an ensemble (an opening number “Money, Money, Money”), other times as duos (the poignant “Our Last Summer”) and a string of solos. Michelle Dawson (Donna) has a raspiness to her voice which gives power to “The Winner Takes It All.” Rachel Tyler (Donna’s buddy Tanya) often steals the show with her terrific voice (“Does Your Mother Know”) and comedic movements. Some voices were weaker against the 10-member, highly skilled, rock band. Choreography ranges from a funny romantic flirting of “Take a Chance on Me” to the big numbers with dancers in big feet (scuba flippers).

It can probably be assumed that “Mamma Mia!” is a chick show. Well, yes and no. It wasn’t just the ladies who popped up for the standing ovation and sing-alongs. The hundreds of kid audience members cheered and clapped as well. Alright, this musical is not a cerebral classic, but isn’t it a joy to see children appreciate theatre?

Interview with Estelle Parsons

Massachusetts native and Academy Award winning actress Estelle Parsons stars in the Bushnell’s production of “August: Osage County,” November 17 – 22, 2009

Q: After appearing in the show for almost a year on Broadway, why were you eager to go on the road with this play?

A: I haven’t had much opportunity to tour, because I was always bringing up kids. But I’ve always loved the idea of touring: I have this old dream of being in vaudeville. And there are all kinds of different audiences out there. I learned that from doing summer stock. Audiences are always a learning opportunity.

Q: Actors say that each audience has a certain personality. Do you find to be true?

A: Absolutely, particularly with this play, where the audience is so dynamic and vocal in every way – moaning, groaning, laughing, crying. The audience is really the third essential part. They’re not just sitting on their hands listening. They’re incredible and they’re always different, and as we go from city to city.

Q: Did you audition?

A: I did. I always prefer to audition, because very often when you’re saying the words out loud, you really can tell whether you want to do a play or not. I thought, “Let me work on this for awhile, and see if this is something I really want to be up there doing.” The more I worked on it, the more I loved it. And then when I auditioned, it just came alive, like whoosh.

Q: What do you think your character?

A: I think she’s a wonderful person who went astray. I have sympathy for her. It’s hard to know what’s underneath all that. I think she is basically a colder person than I am, and it’s been very exciting to work on that. I think she was a very smart, sensitive woman who was deeply abused as a child, and bears the scars. Who knows what would happen to people if they didn’t have the background they have.

Q: How did the role come about in Bonnie and Clyde?

A: In 1966, I was doing Berkshire Theatre Festival. I had seen Arthur Penn’s movies, and I wanted to work for him. I managed to get an interview with him for The Skin of Our Teeth, and he hired me. Working with him, I suddenly knew that I was in the right profession. I was [almost] 40. But I used to think, “Maybe I should have kept on at law school, or maybe I should try something else.” Working for Arthur Penn, I realized that I was in the right place. Then he asked me to do Bonnie and Clyde. I was just about join a rep company. The day after he asked me to read, I got a call telling me that funding for the rep had fallen through. I called Arthur and I read the script, and I thought, “Why is he offering this to me?” But the more I read it; I realized it was an incredible part.

Q: Did the Academy Award affect your career?

A: It did in that I could have had a lot of movie success, which I wasn’t really interested in. Looking back on it, I think that’s kind of too bad. I did a few movies when I was on vacation from a theatre job. I don’t think I ever chose a movie job over a theatre job. I love to entertain people.

www.bushnell.org

The Color Purple

The Bushnell, Hartford, CT

www.bushnell.org

through June14, 2009

by Bernadette Johnson

For those who have read the Pulitzer Prize-winning 1982 novel The Color Purple by Alice Walker or seen the film version with Whoopi Goldberg as Celie, that's a step ahead of the game, because this fast-paced musical panorama of Southern U.S. life in the 1930s is a whirlwind of color and sound demanding the full attention of its audience.

There are so many characters to keep track of, the years flit by and many subplots are interwoven. A Greek chorus style trio of matronly church ladies is intended to bridge the time warps, but much of their performance and their explanations were lost due to over-amplified sound.

The story revolves around Celie, played by Kenita Miller, who is the embodiment of the oppressed black female. Poor and uneducated, she is raped by the man she believes to be her father, her children are taken from her, and at 14, she is given away to a man she calls "Mister" (Rufus Bonds, Jr.), who abuses her physically and emotionally.

Hands down and hats off (and that's saying a lot because hats take on a life of their own in this production), Felicia Fields as Sophia, Celie's daughter-in-law (a role that earned her a Tony nomination on Broadway), is the real show-stealer. From the hilarious posturings of her first very-pregnant appearance to the subdued, painful darker moments in Act II, she commands full attention whenever she's onstage, and the audience simply loves every moment, every movement, every expression. "Hell no!" her declaration of independence, is a real show-stopper.

Miller and Latrisa Harper (as Nettie) share many poignant moments, and Miller's "Somebody's Gonna Love You" sung to her baby before it is taken from her, is very moving, as is "I'm Here," her powerful declaration in Act II.

As Nettie relates through her letters to Celie tales of her missionary life in Africa, the African continent comes alive with drumming, dancing and a backdrop of a village in brilliant oranges and blues that reminded this reviewer of a Grandma Moses painting or a stitched sampler.

This talented cast, powerful saga and exquisite score earned the full appreciation of this opening night full house crowd.

Greater Tuna

The Bushnell, Hartford, CT

through May 31, 2009

by R.E. Smith

"Greater Tuna" is a show built for actors and those who appreciate the craft. The action takes place in the third smallest town in Texas where various life stories play out and intertwine. Brian Mathis and Neal Mayer did yeoman's work portraying 21 citizens of Tuna, Texas. Each brought distinctive voice and body language to both male and female characters. Mayer's humane-society worker Petey Fisk was an audience favorite, with his appeals to adopt stray dogs and save homeless ducks. Mathis' embodiment of put upon housewife Bertha Bumiller earned knowing smiles and sympathy. Through use of physical subtleties and facial expressions, each performer brought a measure of humanity to bucolic stereotypes. The costume changes were swift, impressive and never distracting, sometimes achieving great results with just an adjustment of a wig and a shirt.

Advanced press proclaimed that the show was a "comical tour de force" and "side-splitting," but while the characterizations were broad, the humor was subdued. Truth be told, many people left during intermission. There were some amusing vignettes, but no belly laughs. A macabre pall hung over much of the action and those who stayed to Act II were faced with more disturbingly uncomfortable revelations. Many seemed to come expecting Jeff Foxworthy redneck humor and were rightly thrown off by the Faulkner Southern gothic that was presented instead.

A number of factors may have contributed to the displeasure. The producer of the show did warn us to dismiss all notions of political correctness, but the book is becoming dated. Many of the topics (sharecroppers, Agent Orange) are just not that funny anymore or foreign to the current generation. The actors also seemed to be held back by the direction. From the opening music, to the entrances and exits, to the delivery of punch lines seemed to be drawn out. Maybe this was done to suggest the pace of life on a late summer day in Texas, but when comedy and drama are both delivered at the same pace it leaves the audience more time to notice what they don't like. It is to the actors' credit that the most pleasant aspect of the evening comes from the appreciation of two artists working hard to make difficult material palatable.

Phantom of the Opera

The Bushnell, Hartford
through May 10, 2009
April 24, 2009
by Donna Bailey-Thompson

There are big shows and then there is "Phantom of the Opera," an extravaganza. Before the first note is played, billowing yards (tons!) of fabric enhance the proscenium pulling the audience into its dark interior that reeks with mystery. At center stage is a large lump covered with an aging canvas on which is stenciled, "CHANDELIER." Before the performance has yet to begin, seeds of apprehension are planted.

The simple storyline belies the spectacular tension of this world-wide favorite that opened in London in 1986 and is Broadway's longest-running show: a deranged musical genius with horrendous facial scars who lives in the depths beneath the Paris opera house, falls in love with a young soprano. She is seduced by his admiration of her voice but alarmed by his possessiveness. The opera house employees and performers are kept off balance by the Phantom's malicious mischief which becomes progressively violent.

Throughout, under the direction of conductor Jonathan Gorst, the outstanding pit orchestra fills the theatre with the emotional music of Andrew Lloyd Webber and the lyrics by Charles Hart. Directed by Harold Prince, a cast of 36 finds its marks for 19 different scenes. The energy generated on stage is palpable. The intricacy of the sets, the engineering required to swing from one scene to another (54 motors are used to fly scenery on and off stage), the unseen use of pulley, winch, a radio-controlled boat moving through dry ice fog, the crashing of the 1,000-pound chandelier - and more - support the human drama that swirls about the damsel in distress.

The familiar arias - "The Music of the Night," 'All I Ask of You" - are performed with passion that stirs the soul by John Cudia (Phantom), Trista Moldovan (Christine), and Sean MacLaughlin (Raoul). The costumes (230) are electrifying. The entire company is a well-oiled machine which imparts spontaneity. To transport this show required twenty 48-foot semi trucks. In turn, this production transported individual theatergoers into a rapt, wildly-appreciative audience. Applause explosions rivaled the startling pyrotechnic effects.

"Phantom of the Opera" is an over-the-top WOW.

A Chorus Line

The Bushnell, Hartford, CT
through March 29
by R.E. Smith

This is one show had slipped off the musical theatre radar of many people. This reviewer remembers it as being fairly downbeat, and the soundtrack was certainly never purchased. This is not an effects laden musical like "Phantom" or sing-along like "Joseph." That said, the touring company of "A Chorus Line" was so passionate and professional that it prompted a reevaluation.

Seventeen Broadway dancers assemble on stage to audition for a musical. The director only needs eight performers and so he interrogates each one in turn, to discover their motivations and passions for theatre and dance. here is humor and hope, but an undercurrent of pathos is always there as each archetype faces his or her hopes, dreams and fears.

It is truly an ensemble show, with some numbers starting off as what seem to be solos but eventually blending into company pieces. Musicals like "Jesus Christ Superstar" seem so of-their-time and there is no mistaking the decade in which the music was composed. But the score by Marvin Hamlisch, is relatively timeless. "What I Did For Love" turns up with a true freshness, far removed from the endless lite-radio play it received 25 years ago. This is the second standout song delivered by Gabrielle Ruiz (Diana) in the show, the other being "Nothing." Forget the flashier characters; Diana is the real backbone of the show. While all the characters have reasons to be passionate about dancing (escape, fulfillment, vanity, money) Diana truly makes no excuses and expects no quarter in her devotion to the theatre.

A few moments stretch on just a touch too long, as if someone created a great workshop monologue and couldn't bear to edit it down. But then there is the dancing, in any number of styles, which drives the narrative along, expressing as much about the characters as the dialogue. "A Chorus Line" helps illuminate why some people have no choice but to heed the siren call of fickle lady theatre.

Jersey Boys

The Bushnell, Hartford CT
Through February 22, 2009
By Sharon Smith

“Oh, What a Night” at the Bushnell, indeed! That song title is also the best way to describe an enjoyable evening watching a performance of "Jersey Boys," the story of Frankie Valli and the Four Seasons. The quartet may sing “Big Girls Don’t Cry” but if you miss this must-see show, you just might!

"Jersey Boys" recounts the story of how four singers under a street lamp, from the wrong side of the tracks, made it in the big time. Who would have thought that the performers of such wonderful songs as “Sherry”, “Can’t Take My Eyes Off You” and “Walk Like a Man” would have personal histories that include theft, jail time and mobsters?

The incredibly talented Four Seasons are played by Matt Bailey (Tommy DeVito), Joseph Leo Bwarie (Frankie Valli), Josh Franklin (Bob Gaudio) and Steve Gouveia (Nick Massi). Their vocal and physical similarities to their real-life counterparts are uncanny. The actors portray the characters so well that it is difficult to believe they are not the real Four Seasons -- to cry when Frankie cries and feel betrayed when Tommy’s indiscretions tear the band apart.

Jersey Boys moves along quickly and uses effortless transitions to instantly shift focus from a small smoky nightclub to the set of American Bandstand. Even the costumes help trace the band's trajectory and tie it to their name by using vibrant colors for the Spring and Summer of the Four Seasons career and finishing with more muted colors as the (literal) Fall of the band began. As befits the rough and tumble New Jersey upbringing of the boys, their language is also pretty colorful.

A drawback to the "Jersey Boys" is wanting to “Stay” just a little bit longer enjoying the trip back in time. With at least 40 singles on the best- selling charts, the Playbill included a song list of “The Ones That Got Away” (songs that couldn’t be squeezed into the show). Any hope that the curtain call would feature one or more of these songs remained unfulfilled.

Don’t miss this “Fallen Angel” of a show!

Avenue Q

The Bushnell, Hartford
through January 18, 2009
Donna Bailey-Thompson

A possible subtitle for "Avenue Q" could be "Political Correctness Takes a Holiday". Consider what is spoofed: higher education, racism, homosexuality, pornography, not wearing underwear, noisy copulation, enjoying others misfortune, religion, all done with catchy tunes, appropriate choreography, and sassy dialogue performed by an impressively skilled, energetic cast. The production lives up to its billing: hilarious, infectious, subversive.

The Bushnell advises that "due to adult situations (like full-puppet nudity), 'Avenue Q' may be inappropriate for kids under 13." Oh, you think? How about, "Parental discretion is advised." Sesame Street-inspired hand puppets are manipulated by the human actors. All – actors and puppets – are portraying adults, not kids.

The setting is a seedy borough somewhere in New York City where grime-covered tenements provide shelter for folks just a paycheck away from living on the street. Princeton complains that his B.A. in English is not an automatic ticket to being hired. Because "Avenue Q" is a multi-tuneful musical (21 songs plus 4 reprises), Princeton and his neighbors describe their woes in "It Sucks to Be Me." By a few numbers later, they’re on a roll and rock sensibilities with "Everyone’s a Little Bit Racist" which includes the admonition to relax, forget about being P.C. Before there’s time to recover, Trekkie Monster, is declaring, "The Internet Is for Porn." The audience is whooping. In short order, the laughing borders on hysteria as two puppets enjoy simulated sex while the cast sings, "You Can Be as Loud as the Hell You Want (When You’re Makin’ Love)". Halfway through Act II, there’s an upbeat serenade lauding the wickedly satisfactory feelings inherent within "Schadenfreude."

At the 2004 Tony Awards, "Avenue Q" won Best Musical, Best Original Score, and Best Book of a Musical. Not surprisingly, the show is still playing on Broadway and has entertained audiences world-wide. The professional level of this USA touring production is outstanding. Everything works – pit band, costumes, clever special effects, a skilled cast. They’re all terrific but Sala Iwamatsu's humor-infected performance as the no-nonsense Christmas Eve wows with her vim, vigor, and powerful voice.

Nathan Klau - "Jersey Boys" he started in Hartford & he's back

One of the performers in the "Jersey Boys" (2/4-2/20), the story of Frankie Valli and the Four Seasons, is Nathan Klau. Born at Harford Hospital, brought up in West Simsbury, educated at Yale, he will be featured at one of Connecticut's prestigious performance venues - The Bushnell. The following is a paraphrased interview with Klau.

Your playbill credit is "swing". What does that mean?

Swing is anyone and everyone onstage. I'm a standby for several roles, and never know which part I will perform from night to night. That's what makes this job exciting. Someone calls in sick; I'm there. There are 3 male swings. We are back-up, which means we have to know every aspect of the play. On any given performance, I could easily be doing something different. I am a section of a puzzle. If that piece is gone for some reason, I fill the place.

You've been in several musicals. What's special about "Jersey Boys" (JB)?

Several shows on Broadway closed this month, but not JB. It just keeps going and going on Broadway and on tour. It's a fantastic true story paired with wonderful music that touches the older generation and young people. It's vital, exciting music. Even though it's decades old, it feels new and amaging. JB tells the rags to riches story of the group, which is what most people didn't know. My introduction to JB was seeing an excerpt on the Tony Awards. I became obsessed. I had to see it. It was almost like I discovered the play, just for myself, and I had to be part of it. Frankie Valli was at my rehearsal, which was a little unnerving, and he was very supportive. Since July, 2006, I've been in the cast.

You've been on tour for the past 15 months; what is that like?

I've been in musicals since 1994. In regional theatre or national tours, it's still magical, an adrenelin rush. Being employed is a very nice thing, especially in a job that you like very much. Touring is great because the audience is different for each show. They are like a character in the the musical, especially when they sing along, which is all the time. One common thing is that the music, script, and every exciting moment onstage becomes infectious. Every audience is literally on their feet at the end, clapping and dancing.

How did you make the life journey from Hartford, to NYC, to tour the US, and back to Hartford?

My mother was an actress for many years in Hartford productions. I followed in her footsteps, literally, dancing and singing. I was in just about every musical that teenagers do. I became active in theatre at Yale, sang in the chorus, and New York was next. I majored in history, but this was my dream. My first real role was in "Anything Goes"From then on, musicals have been my bread and butter. When I visit my parents in West Simsbury, my mother and I still sing "Les Miz" as she plays the piano. Of course, I had been to the Bushnell, but February 4th will be my first time on its stage. "Oh, What a Night."

Legally Blonde the Musical

The Bushnell, Hartford
through December 14, 2008
by Rachel White

In a time where all that's seen or read on the TV or in papers are grim and depressing accounts of the troubled economy and world affairs, Legally Blonde the Musical debuts in Hartford just in time. Bringing the fabulous movie to life with peppy, fun, toe-tapping songs and wonderful 21st century humor, Legally Blonde is sure to get audiences laughing out loud from start to finish.

Elle Woods, played by Becky Gulsvig, is a sorority girl who ends up at Harvard Law after chasing her ex-boyfriend there in the hopes of proving that she is serious enough for him and win him back. Instead, she encounters a world vastly different than her California fun and sun, and has to learn that glitz, glam and fashion do not always equal happiness. Gulsvig, originally the understudy for Elle in the Broadway cast, seems born for this role. Her natural perkiness and fabulous voice captivate and command attention while on stage. Throughout Elle's journey through her first year of law school. She meets a colorful cast of characters, notably Emmitt Forrest, played by D.B. Bonds, who is not only talented, but exceptionally charming in this role. Great chemistry is obvious between Gulsvig and Bonds, which makes songs and dialog even more believable and enchanting.

Award winning director and choreographer Jerry Mitchell delivers a smash hit for Broadway audiences with this energetic and colorful tale. The cast performs beautifully and delivers this hilarious and high-paced performance that sparkles just as much as the costumes. The music and lyrics are funny and creative, sure to have audiences humming and singing well-after leaving the theatre.

Legally Blonde the Musical is a delight and breath of fresh air. The Bushnell continues to offer the latest and best with their Broadway Series and this debut is proof of that.

Sweeney Todd

The Bushnell, Hartford
through Oct. 15, 2008
By Meghan Lynn Allen

Ominous from the start, The Bushnell lives up to the gory task of bringing Sondheim’s musical tale of revenge to life, or rather, to death. It begins abruptly with Tobias (the insanely talented Chris Marchant) in a dim pool of light bound and gagged, setting the tone of the bleakness and bizarre. As Tobias softly and eerily utters the first few notes into the starkness, we are instantly drawn into Sweeney’s world. Supported by Musical Director/Conductor David Fiorello, the cast succeeds in the spectacle that is Sweeney Todd.

The production gives a fresh take on the performance you may remember from 1979’s original Broadway cast. There is no orchestra pit. Watch in awe as cast members double as musicians, playing multiple instruments on stage. Pirelli (Ruthie Ann Miles) impresses with her talent on flute, keyboard, and accordion. Beggar Woman (Patty Lohr) provides a brilliant, disturbing performance plays an outstanding clarinet. There is another huge difference: minimalism. A hat depicts a dead body, a plate represents an entire pie shop, a bucket of blood symbolizes a murder. Jarring at first, you are soon charmed by this clever construction. This production also pushes the boundaries of the audience imagination with non-traditional casting such as a raven-haired Johanna (the hauntingly sweet Wendy Muir) and a female Pirelli (the diminutive but fiery Miles).

Even Sweeney Todd (Merritt David Janes) is not what you might expect. At first glance, he seems not maniacal and unkempt, but handsome and strong, though obviously darkly living in misery. Janes shrewdly reveals the madness that is Sweeney Todd one little piece at a time. Mrs. Lovett (Carrie Cimma) breathes life into an atmosphere of death, providing comic relief that the audience desperately needs. In addition to her magnificent voice, amusing antics, and delightful sense of comic timing, she plays the tuba, orchestra bells, and percussion throughout the show. The audience is in for a sweet treat when Cimma and Marchant tenderly come together in “Not While I’m Around.”

Sweeney Todd: The Demon Barber of Fleet Street is a true ensemble piece that will repulse and thrill.

Hartford Symphony & Joshua Bell

Bushnell, Hartford
September 24, 2008
By Donna Bailey-Thompson

Expectations that the Hartford Symphony Orchestra’s 2008-09 opening concert and 65th birthday celebration would be a gala affair were exceeded by the musicians under the direction of Edward Cumming and the virtuoso performances by the acclaimed violinist Joshua Bell and an exciting newcomer, organist Christopher Houlihan.

Rossini’s deceptively simple "Overture to The Thieving Magpie" was delightful from the opening snare drumming through sprightly dances, an arresting crescendo, and concluding with a rouser-douser finale. Dvorak’s "Carnival Overture" devoked introspection and exuberant emotions and expansive congeniality culminating in a lively conclusion.

The two overtures were the bookends for the "Toccata Festiva for Organ and Orchestra" by Samuel Barber. The Austin concert organ, a massive cube, was wheeled into place and plugged in. The soloist, Houlihan, age 20, a senior at Hartford’s Trinity College, preceded Maestro Cumming across the stage, walking to the hulking organ as if he were about to reunite with a good friend. Well, they are. The organ responded to his friend’s every wish regardless of location – tiered keys, pedals, pulls. A one-man orchestra in perpetual motion. A pedal solo, black shoes flashing with the speed of fingers. Stunning. Standing ovation. Self-named "Houli-Fans" cheered. The encore reinforced the authenticity of the audience’s enthusiasm.

Following intermission, Joshua Bell stood at stage center, touched his bow to his 300-year-old Stradivarius violin and fused with Tchaikovsky’s "Concerto for Violin and Orchestra in D Major." Bell’s mastery made the familiar new; the combination of artist and composer generated pure bliss. The birds Bell has charmed out of the trees live within his violin. He propelled their gossamer song to its highest note where it turned into mist. Yet bowing into the lower depths conjured a cello’s rich mellowness. His rapid tapping with the bow was a gentle metronome, not a tempo to intimidate. Following a standing ovation and four curtain calls, he pleasured his admirers with a selection from "The Red Violin." More curtain calls. Now only 41, he’s a violinist for the ages.

“Spamalot”

The Bushnell, Hartford
through 9/7/08
By Shera Cohen

There’s one really big thing wrong about “Spamalot” at the Bushnell – only five performances. Given that one fault, audiences have no choice but to fill the seats immediately and to the rafters to experience one of the most outrageous, creative, and funniest musicals ever.

To have remembered and enjoyed the Monty Python series or movies means instant love of “Spamalot,” because it’s more of the same along with music and funky lyrics, cartoon-like sets, costumes from every century (who cares if this is supposedly the Middle Ages), cheeky special effects, and this time it’s all in fabulous Technicolor. Nothing is off-limits – sex, politics, death, or religion. The monk and nun sensual dance is a hoot. To have never seen Python makes little difference. Audiences need only bring open minds, funny bones, and expectations of exaggeration and camp to thoroughly enjoy the play, at least enough to see it once a year.

The story is that of King Arthur, his knights, the Lady of the Lake, and search for the Holy Grail. Ahh, sounds familiar, from books of old. From that basic plot are twists and turns to Casino Camelot, “a very expensive forest,” and Broadway. Blatantly hysterical running jokes are poked at many musicals: i.e. “Fiddler,” “West Side Story,” “Singin’ in the Rain,” “Les Miz,” and “Phantom.” The knights especially like Mel Brooks and especially dislike Sondheim and Sir Andrew Lloyd Webber.

The actors are constant hams, which could give the expectation that the singing skills might not be equal to the shtick. Wrong. There are some wonderful strong voices, in particular Christopher Sutton at Prince Herbert doing a lovely falsetto. Except for those playing Arthur and Lady, all of the actors have at least three roles each. It wasn’t until after the standing ovation to boisterous audience cheers that this reviewer had time to read the playbill. Two of the best acted characters are Sir Lancelot and The French Taunter. What do you know – Patrick Heusinger portrays both.

Ending with an audience sing-along to a reprised “Always Look on the Bright Side of Life,” it is clear that “Spamalot” shines bright.

Ben Davis – “Spamalot’s” Sir Galahad – speaks about hair & other issues

One of the featured actors in the Bushnell’s “Spamalot” (starts September 4) is Ben Davis. He’s young, talented, and already a Broadway star. In multi-roles, including the Black Knight and Prince Herbert’s dad, Davis’ primary role is Sir Dennis Galahad. [Bet you didn’t know that he had a first name.] The following is a paraphrased interview with Davis.

How does Monty Python influence you, the play, and the audience?

I wasn’t bathed in Monty Python when I auditioned. The actors and the audience don’t have to be. The musical was produced brilliantly to appeal to Python fans in particular, but more importantly, to fans of all musicals. There are some scenes straight out of “The Holy Grail,” several of its characters, and sometimes people in the house quote lines right along with the actors. Do you have to be a lover of MP to love “Spamalot”? Absolutely not.

It seems as if the performers are having as much fun onstage as the playgoers.

We are, at every show, in every city. We have a great time, and if you can’t have fun doing this show, then you’re in the wrong business. We don’t do the play by rote. Each audience is different and we feed off and respond to them. They are all ages, and everyone laughs. Although we are professionals, cracking up onstage is not unusual. “Spamalot” is on the edge, it’s purposely outrageous and the audience knows it; they expect the unexpected and that’s what adds to the humor.

You’ve starred in dark dramas (“La Boheme” and “Les Miz”) and fluff. What is your background?

I started as a singer, then became an actor, so now I’m 50% each. I’ve been incredibly blessed. I’ve worked fairly consistently. Baz Luhrmann’s “La Boheme” was amazing. He directed the movie “Moulin Rouge.” I’ve also been in Kenneth Branagh’s “The Magic Flute.” I love opera and would like to perform more some day. Javert in “Les Miz” on Broadway was something I’m very proud of. Then, there’s “Spamalot,” and the enjoyment of performing comedy is equal to that of drama.

What’s in your future?

I’ve been in “Spamalot” one year now. Theatre is exciting and you don’t know what the next jobs will be. For the long run, I’d hope for health and happiness. In the immediate future, I’d hope that the safety pins continue to hold my very long Sir Galahad wig in place. It’s fun doing the hair flips.

Beethoven's Missa Solemnis

Hartford Symphony, Bushnell
May 16 and 17, 2008
May 16, 2008
By Donna Bailey-Thompson

During the concert preview of Beethoven’s monumental Missa Solemnis, Music Director Edward Cumming was moved to remark that it is the single most difficult score he has ever and may ever conduct. That well may be true but with baton in hand, he conducted the assemblage – the full Hartford Symphony, four soloists, and in tandem with Music Director Richard Coffee the 150+ voices of the Hartford Chorale and CONCORA – with a disciplined passion for the demands of the music’s exalted moods. Mouthing the Latin words, exuding love of the score, Cumming belied any difficulty inherent in conducting this complicated, multi-faceted work.

The Mass in D Major, Opus 123, "Missa Solemnis" is a Mass set to music – Kyrie, Gloria, Credo, Sanctus, Agnus Dei – and requires soloists to perform seemingly impossible vocal gymnastics. The distinctive voices of soprano Inna Dukach, mezzo soprano Janine Hawley, tenor Steven Tharp, and bass Kevin Deas were reverent, supplicatory, solemn, joyous, earning heightened appreciation for the wondrous dexterity of the human voice. At times, the chorus sopranos sustained notes that trailed away like a bell: reverberations disappeared into nothingness.

The combined sounds of singing voices and musical instruments, including organ and percussion, enveloped the audience with the brilliance of Beethoven’s genius – variances of harmony, tempo, and subtle surprises that appealed to the soul and the mind. During the Credo, Beethoven acclaimed his admiration of Handel, his favorite composer, by incorporating into the score slightly tweaked phrases from The Messiah. In the Sanctus, there was "Hosanna in the highest," and during the Agnus Dei, "For He will live forever and ever!" Composed during his last years, Beethoven (1770-1827) considered the challenging Missa Solemnis his greatest musical accomplishment. He imbued the notes with his evolving spiritual belief, his awe of and deep love for God.

With the entreaty, "Grant us peace," the final concert of the 2007-08 Masterworks Series came to a hushed conclusion. Within a few moments, the audience was on its feet applauding and cheering, blessing the musicians with multiple curtain calls.

Jesus Christ Superstar

Bushnell, Hartford
May 6, 2008
By Bernadette Johnson

There’s something to be said for the tried and true. Doubtless, it was this that led to the choice of Ted Neeley for the lead role in the current tour of Andrew Lloyd Webber and Tim Rice’s timeless rock musical “Jesus Christ Superstar.”

Neeley, who at age 65 is almost twice the age Jesus was when he died, was nominated for two Golden Globe awards for his groundbreaking performance as Jesus in the 1973 film version and has played Jesus in thousands of performances on and off for decades. A legend is a legend. But is it enough?

It took Neeley a while to hit his stride, his voice a little scratchy and rough during Act I, but he was up to the task in Act II, hitting the high wailing notes of “The Temple” and “Gethsemane,” demonstrating that he still possesses a great vocal range.

JCS standouts included newcomer Corey Glover, lead singer of the rock group Living Colour, in a riveting, heartfelt performance as Judas, and Tiffini Dodson as a tender, solicitous Mary Magdalene. Glover owned the stage from the first notes of “Heaven on their Minds” and never gave it up, culminating his performance with a heart-wrenching “Judas’ Death.”

As Caiaphas, Darrel R. Whitney’s shockingly deep basso profundo tones are rich and ominous, and Craig Sculli is intriguing as Pilate. Adding comic relief is Aaron Fuksa, whose Herod performs his campy routine in multicolored bathrobe and fluorescent Crocs.

Favorite moments included the disciples’ recreation of the poses of DaVinci’s “The Last Supper,” which the audience immediately recognized and reacted to, and the leper scene, where a sea of dark cloth, leaving only hooded heads visible, convulsed and undulated, a writhing mass of suffering humanity.

Strategic lighting (especially beams of white light that appear to trap Judas and prevent him from escaping his guilt), striking audio and visual effects throughout, a simple set (a few platforms and a catwalk bridge), fabric drops, monochromatic costumes, wonderful energy and great sound combine to make this a truly memorable performance.

Respighi, Fuchs, Montague, Elgar

Hartford Symphony Orchestra
Bushnell, Hartford
April 30, 2008
By Donna Bailey-Thompson

Suddenly, organist Edward Clark’s thundering chord opened the latest program in the Masterworks Series, a reverberation that if created within dimmed light and long shadows could inject fear into one’s marrow . But in the lighted safety of Mortensen Hall, with the joining of throbbing cellos and the sweetness of violins, the Cantico of Ottorino Respighi’s (1879-1936) Suite in G Major for Organ and Strings became more celestial than sepulchral.

The composing of "Canticle To The Sun" by Kenneth Fuchs (b. 1956), a concerto for horn and orchestra, was inspired by the "virtuosic playing" of Timothy Jones, principal hornist of the London Symphony Orchestra. The evening’s world premiere featured internationally acclaimed soloist Richard Todd whose burnished French horn shone with the brilliance of a jeweler’s window and sent forth enriched variations of tunes based upon the Protestant hymn, "All Creatures of Our God and King." At times, the dialog between soloist and orchestra seemed to be spontaneous, as if the magnificent horn was saying, "Listen to my thoughts!" and the strings, eager to understand, were responding, "Is this what you meant?"

"Behold a Pale Horse" for organ, two trumpets, two horns, two trombones and a tuba by Stephen Montague (b. 1943), was inspired by The Apocalypse as described by John in the Book of Revelation. Maestro Edward Cumming read aloud: "And when he had opened the fourth seal, I heard the voice of the fourth beast say, Come and see. And I looked, and behold a pale horse: and his name that sat on him was Death, and Hellfire followed with him. And Power was given unto them over the fourth part of the earth, to kill with sword, and with hunger, and with death, and with all the beasts of the earth." For the next fifteen minutes, the eight musicians roiled the score into a cacophony of awesome magnitude. The terror banished in Respighi’s Cantico was transferred with a vengeance into this blaring assault that manifested mental images of a violent end of this world.

Variations on an Original Theme, "Enigma," Opus 36 by Edward Elgar (1957-1934) tapped into what oxygen remained in the hall. According to the composer, the theme is silent but is suggested through a series of clues. We can speculate all we want but we’ll never know what Elgar had in mind. The composer created musical mini portraits of his friends, hence a smorgasbord of orchestrations: if some friends were delightful and some weren’t, the overall effect was charming.

The Music Man- A 50th Anniversary Tribute

The Bushnell, Hartford
April 22nd-27th, 2008
By Rachel White

Marching into Hartford's Bushnell Center for the Performing Arts as part of their 2008 Broadway Series, "Meredith Willson's The Music Man" celebrates the timeless Broadway and film classics' 50th Anniversary and brings with it a star-studded cast, both new and legendary to the musical's history. Produced by the Bushnell's own Vice President and starring the famous mother and son duo of Shirley Jones and Patrick Cassidy, this wonderful story unfolds using the entire theatre as its stage and set.

For those in need of a refresher, Shirley Jones played the role of Marian in the film version, while pregnant with her son Patrick. In this anniversary edition, Jones shines in the role of Marian's mother, Mrs. Paroo, while Cassidy is completely stunning in the role of Professor Harold Hill. Creatively staged, the musical is told by the cast and the orchestra, which stays on the stage throughout the entire performance. The conductor actually plays a pivotal role in delivering the story to the audience and adds his own humor to the performance.

True to film version, the ensemble delivers a colorful and energetic performance to the classic songs such as "Goodnight My Someone," "Marian the Librarian" and ever-famous "76 Trombones," which will have audiences clapping and singing along throughout the evening. Notable and endearing is the roles played by the children actors who completely captivate with their talent and maturity while sharing the spotlight with more seasoned performers.

The Bushnell should be applauded for this wonderful and rare opportunity that it offers to patrons by bringing this fun, family classic for audiences of all ages to enjoy. The chance to see Shirley Jones and Patrick Cassidy perform together is a memory theatre-goers will be sure to treasure long after the curtain closes and the band has marched out of Hartford.

Schumann, Bruch, Mendelssohn

Hartford Symphony Orchestra
The Bushnell, Hartford
April 5, 2008
By Donna Bailey-Thompson

The centerpiece of the program, Scottish Fantasy for Violin with Orchestra and Harp by Max Bruch (1838-1920) rendered what followed ("The Italian" by Mendelssohn, 1809-1920) anti-climatic. How could that be? Because Leonid Sigal stepped out of his role as HSO’s Concertmaster to beguile the audience with his love affair with the violin. At one with his instrument, Sigal embraced the various moods of the Scottish Fantasy, including spirited adaptations of various European ethnic dances and passages of fluid abandonment akin to improvisation. There were moments when it seemed as if the composer might have happened upon a wagon encampment and transferred the experience into music which clicked with the romantic within Sigal whereupon he assumed the identity of a solitary gypsy violinist baring his tortured soul. In the program notes, Dr. Richard E. Rodda’s writes: "The invigorating, tuneful Scottish Fantasy is evidence of Sr. Donald Tovey’s trenchant summation of the music of this composer: ‘It is not easy to write as beautifully as Max Bruch.’ "

During the pre-concert talk, guest conductor Grant Llewellyn described the program as a happy combination of music, in essence a musical European Grand Tour. A native of Wales (born 1962), this engaging musician’s other passion is soccer. Like Mendelssohn 150 years earlier, Llewellyn when almost twenty, toured Italy for a year or so, earning some money from playing the cello but more from playing soccer. He praised the Scottish Fantasy, saying that it "puts the violin through its paces as much as a concerto" and that the harp creates "pyrotechnics of its own."

But Llewellyn was most enthusiastic about the Overture, Scherzo and Finale in E Major by Robert Schumann (1810-1856) which opened the program. Obscure, rarely performed, Llewellyn stated, "I love it to death." Composed during Robert and Clara Schumann’s first year of marriage (her father opposed her marriage with a vehemence to rival Mr. Barrett’s of Elizabeth’s to Robert Browning), their happiness is mirrored in the buoyancy of the score.

Nevertheless, the night belonged to Sigal. When he returned after intermission, having resumed his role as Concertmaster, the audience greeted him with enthusiastic applause. At the conclusion of "The Italian," protracted applause signaled Llewellyn and the orchestra of the audience’s appreciation for an evening of first-rate classical music.

12 Angry Men

The Bushnell, Hartford
through March 30, 2008
By Keith H. Purcell

Reginald Rose’s gritty human drama “12 Angry Men” was vividly brought to life as part of the Bushnell’s Broadway Series. It is a complex study of human interrelationships under stress and how it brings out the worst and the best in men.

The story revolves around jury deliberations of a capital murder case on a hot summer day in 1954. In the locked confines of the jury room, all but one of the jurors believe the young defendant is guilty and would rather get their duty over with quickly and go home.

In this production, which is played in one act without an intermission, Richard Thomas stars as Juror Eight, a role made famous by Henry Fonda in the 1957 movie of the same name. This juror is not so sure about the boy’s guilt, but believes that the jury should not vote to sentence him to death without talking about it first, and discuss it, they do. And so begins the crux of the entire play.

Two performances especially stood out. Julian Gamble as Juror Three portrays a man whose own troubled relationship with his son colors his judgment and arguments and eventually, his vote. His final rant made a few audience members gasp and others silent. Kevin Dobson (of "Kojak" fame) played Juror Ten with such venom and hatred for people of the defendant’s kind, it made audience some members squirm.

Allen Moyer’s set design superbly evoked images of what one would think a New York jury room of a by-gone era would be like on a hot summer day. The lighting and sound design by Paul Palazzo and Brian Ronan also added a just the right touch in the form of a late summer thunderstorm.

The only disappointment in the production was, unfortunately, the performance of Richard Thomas. The portrayal of his character was inconsistent and constantly looking into the audience.

The Drowsy Chaperone

The Bushnell, Hartford
Through February 24
By Shera Cohen

This is an easy review to write. The hard ones are dramas and musical dramas, one-person plays and those with casts of thousands, avante garde and Shakespeare. “The Drowsy Chaperone” has none of the angst, tour-de-force performances, or difficult language found in any or all of the above categories.

The Bushnell has brought in a wonderfully energetic, humorous, oftentimes just plain stupid play with catchy tunes, tap and Charleston dance numbers, and one of the worst titles ever given a musical. It could have been titled “Aldolpho the Lothario” or “Man in Chair” for all it matters. The chaperone is simply the name of one of the roles in this ensemble production.

“DC” is a combination of Busby Burklee and Damon Runyon locked in the 21st century, but only sometimes when the record skips. Hmmm, that makes little sense. That’s exactly what “DC” is – a musical within a comedy (that phrase is taken from the playbill) abounding with froth, shtick, clichés, and nonsense. What makes this musical unique from “Me and My Gal,” “The Boy Friend,” et al is its concept and format. Yes, readers of this review can google and discover the hidden gem that makes “DC” different and funnier than the norm, but our policy is not to “give it away.” It’s better for audience members to walk in unfamiliar with the book and the songs, and simply enjoy everything that happens for the next 90 or so uninterrupted minutes.

Everything is right about this musical – the cast of talented singers/comedians, small band that sounds like an orchestra, and strange sets that seem to come out of nowhere. Who would expect a dozen actors in 1920s costumes to walk out of the refrigerator? Expect for the narrator, the play is populated with caricatures, all played over-the-top, with not a bit of scenery left unchewed. The lyrics are distinct and oftentimes ridiculous (a love song about a monkey), there’s a tap dance on roller skates, cheesy costumes, lampooning of musical theatre, four weddings (no funeral), and Georgia Engel.

“The Drowsy Chaperone” is a delight. Expect no more.

Ravel, Rachmaninoff, Brahms

Hartford Symphony Orchestra
The Bushnell, Hartford
February 16, 2008
By Donna Bailey-Thompson

This Valentine-inspired program featured Ravel’s intricate orchestrations, Rachmaninoff’s scoring skills, and Brahms’ transformation of melancholia into musical majesty. The Hartford Symphony’s salute to romance provided beauty and bite, euphoria and sadness, the skill of a sensitive pianist, all under the baton of guest conductor Tania Miller.

Imagine Tania Miller growing up in Saskatchewan (pop. 1000) who at age 35 is in her fifth season as Music Director of the Victoria Symphony Orchestra. Maestra Miller won the audience’s admiration for her mature, definitive conducting skills; and for her warmth as an engaging young woman, she earned a piece of its heart.

Maurice Ravel’s "Le Tombeau de Couperin" is what impressionistic painting sounds like – shimmering, lush, vivacious, guarded, poignant, muted – particularly when the composer is roiling with emotional pain due to World War One, the deaths of six friends, the passing of his beloved mother, and the effects of brutality on French culture. Sergei Rachmaninoff’s "Rhapsody on a Theme of Paganini" is a collection of variations on one particular theme composed by the legendary violinist Niccolio Paganini. It’s what the scratchings of an algebraist might resemble when trying one hypothesis after another in search of the ultimate equation. But a brainstorm directs the mathematician towards a radically different approach which brings forth an interim possibility of heavenly proportions. The piano artistry of guest soloist Anne-Marie McDermott, tempered by respect for the piece, thrilled the audience.

The Symphony No. 4 in E minor by Johannes Brahms, in four movements, was written while he was warding off depression. Sometimes the music brightens, almost as if he doesn’t dare to feel happy. Ah, the fullness of Brahms! Maestra Miller evoked the orchestra to step up their involvement with the music without compromising their discipline. The repetition of ta dum, ta dum, foretells that something big this way comes. Can it be forestalled? Maybe. No, sorry, it’s inevitable. And this great composition swelled to a majestic, controlled conclusion. The audience was pulled to its feet.

"The Producers"

The Bushnell, Hartford
January 15; runs through Jan. 20
By Bob Smith

Those of you who worry that “THE PRODUCERS” needs star-powered leads to succeed, needn’t fret; the touring production now showing at The Bushnell proves that the material works just fine without a Nathan Lane or Matthew Broderick. The book, music and lyrics, all by Mel Brooks, proudly hearken back to the days when musicals had big songs, big dance numbers and big heart. Of course, it also has Brook’s bawdy humor to keep you rolling in the aisles when you’re not humming the tunes.

Since the show won more Tony awards than any other show in history, there is a good chance you already know the plot. Max Bialystock, a down and out Broadway producer teams up with meek accountant Leo Bloom to stage the worst show in history so that they can pocket the investors’ money and head to Rio.

Brad Nacht, as Max, actually has a number of qualities in greater abundance than Lane, including a stronger singing voice, more imposing physique and better looks. When he sums up the story near the end of the show in “Betrayed” he commands the stage with such physical presence that it feels like he’s singing in your lap. His Max owed more to Zero Mostel, with the heavy shtick toned down and a bit of pathos crossing his face.

Austin Owen, as Leo and Elizabeth Pawlowski as Ulla, each had a chance to bring down the house with his “I Want to be a Producer” and her ‘When You Got It, Flaunt It” and they certainly succeeded. Both were charming and energetic performers. Much credit for the show’s vigor goes to all the ensemble players (female AND male) who played the little old ladies that Max woos for “checkies”.

For this show to be done well, no expense should be spared in the costuming and this production delivers on that requirement. From the dancing girls festooned with sausage, pretzels and beer steins to Ulla’s flowing blue dress, each outfit contributes to the narrative by enhancing a character (See: bawdy humor) or serving as an actual punch line (the shiny $10,000 Chrysler building costume worn by effete director Roger De Bris).

This is fifth version of “THE PRODUCERS” that I have seen; the Broadway version with Lane and Broderick, the Bushnell’s last touring production with Alan Ruck from TV’s “Spin City”, the original movie and the film of the musical. If you haven’t seen any incarnation, then this is a great place to start. This is simply a great show!

Hartford Symphony Masterworks

The Bushnell, Hartford
January 9
By Donna Bailey-Thompson

Today’s inconveniences of international travel were bypassed by the Hartford Symphony saturating a Masterpiece Series evening with the romantic music of 19th century ebullient Vienna.

In his pre-concert talk, Conductor Edward Cumming described "the first half of the program as formal and the second half as fun." The sum was one hundred percent delightful.

Johann Strauss, Jr.’s "Overture to Die Fledermaus" (literal translation: flying mouse) introduced the spirit of the effervescent Viennese who, praise be, escaped being handicapped by Victorian rigidity. The orchestra’s sensitivity to the operetta’s jinks (both high and low) created invisible actors behaving deliciously silly and slamming-doors naughty.

The contrast between the score for the comical farce and Franz Lehar’s operetta, "The Land of Smiles" was stunning from the moment tenor soloist Matthew Plenk began singing the aria "Dein ist mein ganzes Herz!" ("My whole heart belongs to you!"). The audience, spellbound, absorbed Plenk’s strong tone and shading of the heartrending longing for the love of his life. In spite of vigorous applause, the clamoring for more of his voice was not to be. No wonder this young man will make his Metropolitan Opera debut this season as the Voice of the Young Sailor in "Tristan and Isolde"– the first voice that is heard as the curtain rises.

Because Cumming’s teacher had been a student of Richard Strauss, amusing anecdotes now have been passed along during the pre-concert talk. (If you weren’t there, you missed out.) Cumming also waxed eloquent about the four guest soloists, extolling them for their "immaculate intonation" and intelligence of mind and heart. During the suite and final scene from "Der Rosenkavalier" by Richard Strauss, the commingling voices of the three sopranos – Adina Aaron, Janna Baty (mezzo), and Amanda Forsythe – gave me chills.

Following intermission, a baker’s dozen students from the Hartt Music Theater Program shared their youthful dynamics, especially the all-male kick line of "You’re Back Where You Belong" from Lehar’s "The Merry Widow."

HSO’s New Year’s welcoming concert bubbled.

"Wicked"

The Bushnell, Hartford
Running through December 9
By Bob & Sharon Smith

You can tell that the musical WICKED strikes a cord with the audience just based on the excited energy buzzing through the capacity crowd at the Bushnell. The audience responds to this tale of “what happened before Dorothy dropped in” to Oz, partly because it is a stirring production and partly because of the dual personalities of Elphaba and Glinda, the Witches Wicked and Good. Who, at one time or another, has not felt like an outcast or yearned to be popular, as are these two very different schoolmates? The last notes of the final number had not even been sung and the audience was on their feet.

Like the Harry Potter books, WICKED uses a fantasy setting to explore modern themes. “Where I come from,” the Wizard explains, “the best way to unite the people is to give them a common enemy.” When Elphaba discovers that some of the very issues she was hoping “the Wizard” would fix are of his own creation, she vows to use her
powers to set things right. Using misinformation and spin control, she is soon branded a ‘wicked” witch and declared a pubic enemy.

Unlike another fantasy franchise where the “backstory” of the villain is revealed, ("Star Wars" Episodes 1-3) the audience can readily accept and believe this origin story because it is presented with far more emotional and personal investment than that of Darth Vader. All of the characters grow and develop in WICKED and it is
often as much the story of Glinda as it is of Elphaba.

The leads certainly rise to the challenge; Carmen Cusak (Elphaba) and Katie Rose Clark (Glinda) were well matched as friends and foils. The music and lyrics by Steven Schwartz are evocative and stirring, giving Cusak a number of show stopping, emotion-packed numbers. “I’m Not That Girl,” “Defying Gravity,” and “No Good
Deed” brilliantly reinforce Elphaba’s inner life. “Popular” is Clark’s showcase and never has an ode to shallowness been crafted with such heartfelt conviction. In the end, when the two join together in “For Good,” the audience truly believes in the depth of their mismatched friendship.

The costumes of the inhabitants of Oz, despite their bright colors, are a bit grotesque and when they all donned round green glasses it looked like “The Rocky Horror Picture Show,” not Oz. But this is just a minor point in a brilliant production, which is getting its second run through Hartford in recent years.

One technical note: there was a crew member located in the light rigs that had the loudest headset voice ever heard in a professional setting. His voice rang out clearly during two very poignant musical numbers.