The Mikado

Colonial Theatre, Pittsfield, MA
www.thecolonialtheatre.org
March 6, 2010
By Karolina Sadowicz

One of Gilbert and Sullivan's best loved operettas, "The Mikado," is a comic romp set in feudal Japan. It's the tale of Nanki-Poo (John Farchione), a prince disguised as a minstrel, who hopes to marry Yum-Yum (Lauren-Rose King), the beautiful ward and sometime betrothed of the Lord High Executioner of Titipu, the self-involved and cowardly Ko-Ko (Jason Whitfield).

When the Mikado (Andrew Ford), emperor of Japan, demands that Ko-Ko fulfills the duties of his office by actually executing someone within one month, Ko-Ko must find a victim in order to save his own head. Nanki-Poo, who claims he could not bear to live without Yum-Yum, agrees to be beheaded by month's end, as long as he can marry her first. Their scheme is threatened by the arrival of Katisha (Emily Geller), a "cougar" from the Mikado's court who was jilted by Nanki-Poo, and a surprise visit from the Mikado himself.

Mistaken identities, broken hearts, and hidden agendas form this operatic farce, which gleefully makes light of bureaucracy and politicians. Under the direction of Jim Charles, the actors enjoy occasional ad-libs and wink at the audience with jokes about modern politicians, from Governor Peterson, to both Clintons, to Scott Brown, as well as giving nods to the local audience with a few quips about Pittsfield.

The elegant set evokes Japan though screens, red gates, and cherry blossoms, and is dramatically transformed through bold, vivid lighting design. The ensemble is a delight to watch in colorful kimonos, and their vocal performances are superb. Farchione is unassuming and masculine as Nanki-Poo, King is disarmingly alluring as the vain Yum-Yum. Whitfield's Ko-Ko is irresistibly funny and likable despite his cowardice, and quickly becomes the audience favorite. Andrew Lipman is a Falstaffian bureaucrat and earns huge laughs as the corrupt uber-administrator Poo-Bah, insisting on being "insulted" with bribes in order to bend laws and share secrets freely.

Each actor brings excellent vocals and physical comedy to this swiftly moving, delightful production. "The Mikado" is 125 years old, but with modern touches and energy, it thrills and amuses without showing its age.

Melanie in Concert

Colonial Theatre, Pittsfield, MA
www.thecolonialtheatre.org
August 21, 2009
by Eric Sutter

Deja Vu... Melanie is back but she never really left. Just like a circle, she came back around to defeat the nay-saying voices of the new century. But first, a new spirit of voices spread their light. As part of the Woodstock at 40 series at the Colonial, Arlo Guthrie's daughter Sarah Lee Guthrie and her husband Johnny Irion performed a short set of singer-songwriter material. "Bright Examples" featured their acoustic guitar strumming interplay punctuated by Irion's clear harmonica solo. "Don't I Fit in My Daddy's Shoes" was inspired by their daughter Sophie. Irion conjured up the romantic Southern imagery of a fisherman's town on his bluesy guitar as they sang "Emily's". They closed with a song about their Berkshires' home, "When The Lilacs Are in Bloom."

An impassioned Melanie appeared on stage with her son Beau Jarred Schekeryk to a warm receptive audience. With Beau on viola guitar and bow and Melanie on fingerstyle acoustic, they performed her debut single "Beautiful People" from Woodstock to unanimous approval. Jess Leary on acoustic guitar joined them for the 1971 hit "Brand New Key". Melanie's songs have positive messages and unique insights from the mystique of the feminine. "Smile" written after 9/11 shined with the light hearted sing-along chorus, "I Love People Who Smile." With loveable disarming humor she belted out "I Tried to Die Young" with Beau as chorus. She sang an emotionally powerful "Love Doesn't Have to Hurt" with a tender viola guitar solo by Beau. "Ruby Tuesday" was a beautiful duet with the audience. After her Woodstock rap, a peace sign appeared on the backdrop as she sang "Summer of Love." Starting in French, Melanie sang "Look What They've Done To My Song, Ma" as she blew kisses to the audience. She rapped about being regarded as the female Bob Dylan. She introduced the song which she sang as the youngest performer at Woodstock. "Lay Down (Candles In The Rain)" was performed during a rainstorm that day and was resurrected at this concert, ironically after a storm in the Berkshires. It's a song with a timeless message...love one another.

Harry Chapin: Celebration in Song

Colonial Theatre, Pittsfield
www.thecolonialtheatre.org
August 1, 2009
by Karolina Sadowicz

Outnumbered at least 2 to 1 by instruments, Tom and Steven Chapin took the stage with the Steve Chapin Band with no fanfare nor attitude. From the moment the lights go on, they were relaxed, at ease, and warm. This musical tribute to Harry Chapin's catalog included original numbers from both his brothers, and other surprises from the Chapin family.

Weaving in lesser known songs, the Chapin brothers also delivered crowd-pleasing classics like "Cat's Cradle," "30,000 Pounds of Bananas," "Taxi," and "Circle" to a resounding chorus of tapping toes and clapping hands. Tom Chapin shared the spotlight with Steven and guitarist "Big" John Wallace, but as frontman always encouraged the audience to sing along.

Wallace and Steven Chapin also invited their sons to accompany on guitar for several songs, hinting at a Chapin family tradition that will continue for years to come. Anecdotes and friendly banter intermingled with the songs, and bold lighting changes added visual flair to an otherwise simple presentation.

The superb acoustics of the Colonial and overall sound design ensured the music was bold, but always clear, and never overpowering. Even when the Chapins occasionally struggled with a higher note, they still sounded crisp. A true testament to their musicianship, all members of the performing ensemble entertained even when tuning their instruments. During times of spirited, dynamic play, none seemed to even break a sweat.

For a fan of any of the Chapins, the show was a treat, full of familiar words and sounds. The unfussy demeanor of each performer drew attention away from just how skilled they are. The Chapins and Wallace made this look easy, although what they do was anything but. The audience was treated to top-notch musical skill in a performance that felt relaxed and personal, as though it took place at a Chapin family reunion. Everyone was invited to participate, reminisce, and enjoy.

The Temptations/James Naughton

Colonial Theatre, Pittsfield, MA
www.thecolonialtheatre.org
by Shera Cohen

Separated by 24 hours, the Colonial Theatre played host to two extremely diverse evenings of music. It's not at all hard to believe that the rockin' doo-wop sing-alongs of the 50s/60s would be equally appreciated by an audience as the smooth, jazzy, cabaret songs of numerous eras. Yet, this was the case for The Temptations concert on a Sunday night followed by James Naughton on Monday.

Perhaps one difference between the two was the familiarity. For anyone over age 50 (which seemed to account most in the full house), The Temptations evoked memories including the lyrics of nearly all of their big hits. Think "How Sweet It Is," "Just My Imagination," and "My Girl." The latter is dubbed The Temptations National Anthem. The five-member group, backed by a sometimes too loud band, included those who started 48-years ago. But age didn't deter the old-timers onstage, or those in the audience from moving, grooving, clapping, and swaying. Indeed, the quintet's choreography was that of the guys' groups of the 50s. Perhaps it looks comical today, but not then, and the Colonial audience ate it up.

Selections from The Temptations platinum records and 57 CDs included showstoppers "Get Ready" and "Since I Lost My Baby." While two singers were obviously newcomers, the guys age 70+ held their own with still fine voices, including one whose bass went down to the proverbial floor.

The stage belonged to James Naughton on Monday. His is a name well-known in the Berkshires as an actor whose primary venue is Williamstown Theatre. His is also face that most have seen on TV or in the movies; i.e. Ally McBeal's dad, Meryll Streep's husband in "The Devil Wears Prada." Naughton works steady, particularly on Broadway, where he is a Tony Award winner. He calls himself an actor who happens to sing. And, he sings very well.

Naughton mixed a repertoire of oldies ("Star Dust" - yes, real oldies), a Duke Ellington medley, and rarely heard ditties full of odd lyrics sung at breakneck speed. The latter proved Naughton's agility and humor. While the Colonial is a large, elegant theatre, a cabaret setting was the format. In keeping with that, Naughton told many backstage anecdotes, which were equally as entertaining as the music.

Mandy Patinkin: "Dress Casual"

Colonial Theatre, Pittsfield

www.thecolonialtheatre.org

by Karolina Sadowicz

When Mandy Patinkin says "Dress Casual," he means it. The set for his show befits this atmosphere. Dressed in a black shirt, black slacks, and sneakers, he appears on a stage that seems more fitting of a rehearsal or audition. There are boxes, a ladder, seemingly misplaced furniture, and of course a piano. His performance, however, carries no slack. Though the promise of a Broadway star, now in his mid-50s, singing old standards does not seem to offer the unexpected, Patinkin's energy, affability, and humor bring new life to the familiar.

Patinkin commanded the Colonial stage for nearly two hours with the accompaniment of longtime, performing partner Paul Ford on piano, and occasional choral backup from the audience. Though there appear to be no frills, his singing is the main event and rises above expectations. He bobs and weaves between up-tempo, fast-talking numbers from "Oklahoma" to thoughtful, wistful selections from "Sunday in the Park with George." With a vocal range that refuses to diminish, he moves from grave baritone to surprisingly youthful falsetto, all while maintaining a level of energy and intensity that commands respect and attention.

Patinkin and Ford keep the pacing swift and playful, and Patinkin tosses in anecdotes and manages to slip in a quick "bless you!" to sneezing audience members without missing a beat. Losing a contact lens on the stage while belting out a showstopper, he laughs it off, and then reels the audience back into the song.

As for the surprises, it would be a shame to give them all away here, but Patinkin also pays homage to Charlie Chaplin and silent cinema, and gets everyone in stitches by singing "God Bless America" - among other songs - in Yiddish. With a fresh and joyous approach to the classics of Irving Berlin, Sondheim, and others, quick humor, and unparalleled singing, Patinkin gives a show that evolves with time and the venue, and exceeds expectations on every note.

Bela Fleck/The Africa Project

Colonial Theatre, Pittsfield
by Eric Sutter

Premier banjo virtuoso Bela Fleck's The Africa Project kicked off its world debut at Colonial Theatre with bandmates Toumani Mahlesela (Mali), Vusi Mahlesela (South Africa), D'Gary (Madagascar), Anania Ngoliga(Tanzania) and Casey Dreissen (Nashville). In 2005, Fleck journied to Africa to perform with great musicians and look into the roots of the banjo -- he found what he was looking for in Gambia and Mali with its deep -rooted banjo heritage. This sold-out "Throw Down Your Heart Tour" mixed the sounds of the banjo with African folk music and united two different musical traditions that came from the same place. The tour began with Fleck's banjo instrumental, after which each amazing African performer demonstrated his music solo followed with collaborations with Fleck and each other.

Ngoliga is a blind marimba maestro who performed his chill inducing music which sounded like a vibraphone. He played in a spiritually jazzy style joined by Fleck in a melodic timbre of gentle sound that expressed sweet as honey joy. This was deep and intimate music, acoustic and intense. Banjo and Swahili voice were tenderly interwoven in a uniform dialogue. Fleck played an African folk instrumental from Mali on a cello banjo. D'Gary played a jazz-folk guitar instrumental with accompaniament by a hand-percussionist. As they sang in their tribal African voices, the percussionist let out a high whistle from his voice. Fleck joined on banjo and Dreissen on fiddle. This was not bluegrass, but an African country song "Kanetsa," with stop-start percussive rhythms and pregnant pauses that resumed with loud yee-haw voices.

The second half brought out the soulful voiced Mahlesela on acoustic guitar. who sang a joyful "Beauty of Our Country." His vocalizations mimicked his guitar playing precisely while he danced playfully. The soul of Africa met the drive of country as Fleck joined in. Meditative jams combined with flashy instrumentals to create musical fireworks in this cultural exchange. Diabate closed the evening with the Kora (a 21 string harp from Mali); he is the 72nd generation of players in his family. The audience was spellbound. The entire cast joined him on stage for a memorable musical moment.

Guitar Blues

Colonial Theatre, Pittsfield
By Eric Sutter

From 1967's "Surrealistic Pillow" to his Fur Peace Ranch Guitar Camp, Jorma Kaukonen continues to be the torchbearer for guitar blues. A founding member of two legendary bands - Jefferson Airplane and the still touring Hot Tuna, he is a 1996 inductee into the Rock and Roll Hall of Fame. The evening's music began with one of three of Guitar Blues blues-happy trio... Kaukonen, Robben Ford and Ruthie Foster.

Foster opened with a short acoustic set of gospel, soul and blues from her CD "The Truth According to Ruthie Foster." A bluesy tune, "Lowdown Living in a Small Town," made the connection to a spiritual from Sister Rosetta Thorpe's "There's a Heaven Somewhere." She closed with "Travelin' Shoes." Her songs can be heard in the upcoming feature film, "Gospel Hill."

Jorma Kaukonen also connected the real world to spirit with "Comeback Baby" and "There is a Bright Spiritual Side Somewhere." He impressed the audience with his acoustic fingerstyle guitar playing, which was flawless as he interpreted the Reverend Gary Davis' "Death Don't Have No Mercy." He is a master interpreter of roots music, blues and Americana such as "Trouble in Mind."

Robben Ford is a fusion guitar player who combined elements of blues with jazz and R&B. He rocked "Spoonful" with bassist Duane Pate and his nephew drummer Gabriel Ford. He played "Supernatural," a funky jazz-blues workout. He also performed "Peace on My Mind" from 2007's "Truth" as Foster joined in on electric piano. She moved to acoustic guitar and added "Stone Love" to the peaceful mood. Her voice was a full-on blast of soul and blues as she sang, "I Really Love You" to the band's cool reggae vibe. Ford riffed electric guitar solos over "Rock Me All Night Long" with Kaukonen's powerful voice singing strong over his center stage lead guitar lines. The blues troupe encored with a spirit raising gospel consciousness version of Dylan's "Gotta Serve Somebody" to a standing ovation.

Winter Dance Party

Colonial Theatre, Pittsfield
January 3, 2009
Shera Cohen

The temperature was 10 degrees with a wind chill that blew snow sideways. This third day in 2009 was the most appropriate night to see the Winter Dance Party. What better way to warm the soul than with fond memories of the good ol’ days, when the 50s meant watching Ed Sullivan on the new TV set, sledding instead of shoveling, and eating the original “comfort food”. This era marked the start of Rock ‘n Roll.

The Party replicated the concert which took place in 1959 featuring The Big Bopper, Ritchie Valens, and Buddy Holly. The audience in Pittsfield became the audience of 50 years ago on that fateful evening preceding the death of these three legendary singers. Yet, no reference was made to the tragedy. The crowds of then and now (full capacity at the Colonial) were there for one reason – to experience the music of these three young men.

JP Richardson, Jr. (son of The Big Bopper) started the program. Like his dad, his was not the best of voices, but that was fine. The Bopper was a showman and comic. One poignant number referenced the Bopper. Of course, the signature piece “Chantilly Lace” was an expected audience-pleaser.

Ritchie Valens was portrayed by the sweet-faced Ray Anthony. The lyrics of “Oh Donna” spoke of tenderness. While this reviewer has no idea what the words of “La Bamba” translated, this speed-of-lightning song proved to be powerful and effervescent.

While it appeared obvious that John Mueller had “been” Buddy Holly for many years (over 10 and still counting), his presentation was as fresh as if he stepped onto the stage for the first time. Give the man a guitar, bow tie, horn-rimmed glasses, and a voice to match his namesake, and Mueller became the deserved star of the party. From “Peggy Sue” to “Rave On” to “Johnny B. Good,” Mueller/Holly constantly built the shows’ momentum.

The quartet was perfectly in synch as back-up and as part of the act. Oftentimes, sometimes encouraged by the actors and other times out of sheer necessity, the audience sang along.

A note about Colonial – masterful renovations have recreated (it dates to 1903) one of the finest theatres in New England, and it’s not just a summer venue.

Arlo Guthrie

Nov. 20, 2008
Colonial Theatre, Pittsfield
by Eric Sutter

Folk troubadour and Berkshire resident Arlo Guthrie brought his Lost World Tour before a full house hometown crowd with a Rock n' Roll band which included his son Abe Guthrie on keyboards. The Colonial was an acoustically perfect fit for Guthrie's brand of folk-rockin' music. Armed with a 12-string guitar and harmonica, he strummed an early period love song, "The Chilling of the Evening" with drummer Terry a la Berry's punctuated beats keeping time. They performed a comical version of "In The Shade of the Old Apple Tree" with typical Guthrie humor throughout.

Guthrie introduced a trio of women, the Burns Sisters, who provided harmony back-up singing on "St. James Infirmary" as he played the ragtimey fingerpicking gambler's blues on his acoustic 6-string guitar. Guthrie's playing is primarily folk-based, but his use of country style flat-picking was evident on his father's song, "Do-Ri-Me" with accompaniement on fiddle by Bobby Sweet. The songs performed were representative of a large variety of styles from a rocked up version of "The Motorcycle Song" to an instrumental piece from the 90's television show, "Byrds of Paradise" in which he appeared. "Coming into Los Angeles" featured great solo keyboard work by Abe Guthrie and an extended electric guitar solo by Bobby Sweet. The first half ended with a rousing Leadbelly tune, "Alabama Bound."

Guthrie opened the second half with a pretty Hoyt Axton song, "Evangeline," and followed with a song written about Axton by Guthrie -- the whimsical "My Old Friend." He moved to piano and plunked out a boogie with "I'm Changing My Name to Fannie Mae" as well as his 1972 hit "City of New Orleans." He debuted his folk rocker "Ride until the Morning Comes" with good response. The closer was the sing-a-long, "This Land is Your Land." After a standing ovation, he performed the prayer song, "Forgiveness and Love" and his father's "My Peace," both of which received standing ovations.

Toby Lightman & Marc Cohn

Colonial Theater, Pittsfield
August 28, 2008
by Eric Sutter

Sometimes a reviewer gets lucky to hear two phenomenal aritsts on the same bill. Such was the case with the performance by acoustic guitarist Toby Lightman and singer/songwriter Marc Cohn at the Colonial Theater. Lightman shined as she played her acoustic guitar and sang a short set of original relationship songs with a gutsy delivery. The songs "Fair Weather Boyfriend" and "Milk and Honey" expressed different emotions from opposite viewpoints. She covered Carole King's "I Feel the Earth Move" with uncanny perception of the original. She closed with her upbeat sing-a-long "Love is All Around," while the audience joined in on the chorus.

Singer/songwriter extraodinaire Marc Cohn appeared with his band and showed why he was chosen Best New Artist of 1991 when he debuted. Proficient on piano and guitar, he began this evening on piano with "Live Out the String," which is a song he wrote after being caught in the crossfire of a stray bullet. He lived and sang with a deep abiding joy from the vestige of his ordeal. His excellent CD from 2007, "Join the Parade," is his testimony. He performed other notable songs from the CD such as "The Calling (Charlie Christian Tune) and the tribute to the New Orleans Katrina disaster, "Dance Back From the Grave." "Listening to Levon" was his ode to young love in his father's blue Valiant that name dropped songs from Levon Helm and the Band. His voice was very soulful on "Lay Your Healing Hands on Me." He told a story of a chance encounter with a 70-year-old black pianist/singer named Muriel Davis Wilkins who inspired the song that launched his career -- Walking in Memphis" was staged with gospel fervor by Cohn and bandmates and dedicated to Wilkins. Cohn's lead guitarist Shane Fontayne tingled the audience's senses with his solos as Cohn emptied his heart and soul in voice.

"Miles Away" was a vexed mid-tempo rocker that featured Shane Fontayne's ringing acoustic guitar and wailed harmonica playing. Cohn offered a nice piano ballad in "Silver Thunderbird" and countered with a rockin' "Let Me Be Your Witness." By this time he gave his audience a gift of two encores, ending with "True Companion," which received a standing ovation. A true talent with words of wisdom, Cohn gave it his all to a very appreciative audience.

Livingston Taylor & Kate Taylor

Colonial Theatre, Pittsfield
June 23, 2008
By Eric Sutter

Two members of the illustrious singing Taylor clan appeared at the Colonial Theatre to start the summer season. Livingston Taylor and back-up singers kicked it off singing CSN's "Find the Cost of Freedom" a capella. Kate Taylor took the stage in cowgirl hippie attire with a crack band and rocked Carlene Carter's "I Fell In Love." She sang, in her reedy alto voice, the spiritually minded "Beautiful Road" written by Northampton's Erica Wheeler. Kate then covered the Carole King song made famous by the Everly Brothers with "Crying in the Rain" and later demonstrated an intriguing performing style with wide-ranging musical tastes running the gamut from country, R&B to soul rock. Kate ended her concert segment with the traditional Irish ballad "Water is Wide" which warmed the audience.

Livingston Taylor is a keen and literate observer of life which came through as his music unfolded with humor in his songs and speech. His folksy style and softer gentle love ballads in "I Must Be Doing Something Right" and "There I'll Be" reflected this sensitivity. He performed a 2006 song from his mid-50's stage of life called "Never Lose Hope" with the line "even Boston lost its curse." His fingerstyle guitar playing was impeccable.

Livingston shifted to piano playing and sang "Kitty Hawk, 1903" about the Wright Brothers, in addition to the love ballad "There You Are Again." Kate joined him for "Moon River," while he played piano. The lovely duet of sister-brother vocal harmony in "Best of Friends" especially touched the audience. Livingston's comical versatility was exposed in the subtle"Wish I Were a Cowboy" and whimsical "Railroad Bill." His gentle folk-soul voice and guitar style shined on the optimistic "Life is Good." He encored with "My Romance," which morphed into his rendition of "Somewhere Over the Rainbow." Using voice only, Livingston Taylor treated the audience to Bill Wither's soul shakin' "Grandma's Hands."

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.