A Little Night Music

Exit 7 Players, Ludlow, MA
Now through May 17, 2008
May 9, 2008
By Donna Bailey-Thompson

If the meanings within the song, "Send In The Clowns" have eluded you, the answers await within the musical now glowing at Exit 7 Players theater. At the core of this engrossing marriage of lyrics which along with the spoken word propel the plot forward, is love that reveals its link with the four basic emotions: mad, glad, sad, and afraid.

"A Little Night Music" bursts open with a Greek-like chorus of five superb singers: Harrison King III, Mary Annarella, Michelle Liaszenik, Katie Clark (who knows how to sell a song) and at the performance I saw, Director Robert Laviolette filled in for laryngitis-silenced Ken Hebert. They deliver Stephen Sondheim’s intricate lyrics and music at a steady clip – the Sondheim signature: do not to fret if there’s not time to catch every word.

A plot synopsis can only hint at the rampant hanky-panky, the desperate longings, the pain of betrayals. An aging attorney, Fredrik (winningly portrayed by Phil Prather) has wed Anne, a mere girl (the delightful Stephanie Devine). His former lover, Desiree (Roxanne Labato, a polished pro), is a worldly courtesan, and her current amour Count Carl-Magnus (forceful Andy Banas) is jealous and his wife Countess Charlotte (Mary Fernandez-Sierra who almost steals the show) grows a spine, sort of. When she describes her pain as a betrayed wife in, "Every Day A Little Death," the destructive power of adultery is laid bare. Featured in the large cast is the young love-starved seminarian Henrik (an endearing Michael Holt), perky Petra (Jami Wilson), winsome Fredrika (Sara Banning) and her weary grandmother Madame Armfeldt (Esta Busi). Zack Parizo, Aileen Terzi, Sarah Dion and Marc Parsons perform their supporting roles with imbedded characterization.

Act One ends with all liaisons poised to implode during Act Two – a weekend in the country at Madame Armfeldt’s palatial mansion (designed and painted by Ken Samonds). Costumer Maryann Scognamiglio has created a symphony of beautiful, lush costumes. that reflect early 1900 styles.

Kudos to Director Robert Laviolette and Musical Director Bill Martin for bringing in an intricate, tricky, first-rate show in keeping with the Exit 7 Players commitment to present quality performances. Their "A Little Night Music" is a community theater triumph.

All My Sons

Exit 7 Players, Ludlow
Weekends through February 16, 2008
By Donna Bailey-Thompson

This play is worth seeing.

At the end of the first act, there was silence. No applause. No one moved. For two reasons: the audience had become riveted by a masterfully-written story performed by a fine cast and the house lights had not brightened enough to signal that intermission had arrived.

Exit 7 Players have bestowed upon Arthur Miller’s emotionally-stirring, "All My Sons" the highest honor: respect for the material and for the craft itself. Noted for their upbeat productions of such musicals as "Gypsy," "Sweet Charity" and "Cabaret," presenting this particular drama now is as timely as it was when it opened on Broadway in 1947. There’s not an old bone in its body because "All My Sons" is about timeless concerns – family and business, love and ethics, courage and cowardice – huge subjects that beset ordinary people.

Director Jennifer Curran has stated, "This is the story I needed to tell. What we can choose to ignore, what we can and cannot live with and what we cannot forgive." Her emotional connection with the script is reflected in the performances, especially those of Kate Keller (Jennifer Bauduccio), Joe Keller (Fred Piel), Chris Keller (Charles Holt) and George Deever (Dan Derby). The conflicted Kellers and the accusatory Deever are superb. Special kudos go to Bauduccio who stepped into a demanding role less than two weeks before the opening. As Anne Deever, Lea D. Oppedisano plays an establishment daughter, a far cry from her most recent Exit 7 Players role as Charity Hope Valentine in "Sweet Charity."

Once again, Paul Hamel (Set Designer/Technical Director/Set Construction) has fashioned a set that complements the play’s theme, especially as represented by family and business: the Keller’s house dominates the stage but visible across the road is the factory.

There are strong similarities between "All My Sons" and Miller’s play "A Death of a Salesman." But to paraphrase a line from "Salesman," more attention must be paid to "All My Sons" because, to paraphrase a cosmetic’s advertising pitch, it’s worth it.

"Christmastime is Here"

Exit 7 Players, Ludlow
Weekends through December 15
By Donna Bailey-Thompson

If you want to be entertained and charmed, check out the Exit 7 Players’ "Christmastime Is Here," an original musical production that rediscovers the enchantment and humor within this hectic season.

For a cast that ranges in age from seven to decades more, the premise is ideal: dress rehearsal of a Christmas musical review. Their director is harried but everyone else is relaxed, upbeat. The first non-catastrophe is the unfinished painting of a cut-out horse (for drawing the sleigh) which the sleigh’s passengers take turns pushing and pulling, all the while singing, of course, "Sleighride." The power of a well-paced performance is off to the races.

There are 22 acts, all done well and some are outstanding. Such as a condensed version of "The Nutcracker" performed to Tchaikovsky’s music by the children’s ensemble and a few key adults (the Nutcracker, the Sugar Plum Fairy). The choreography (Aileen Merino Terzi and Amy Szczepaniuk Meek) is pleasing and appropriate for the fledgling corps de ballet. Mice, the Nutcracker’s army, The Russian Dance, The Chinese Dance (super delightful), and a dazzling Christmas tree – and that was only the third act.

Mini bursts of levity included a running gag (sometimes literally) of a cast member’s determination to sandwich in her rendition of "The Twelve Days of Christmas" in spite of the director’s objection; pantomimes of Guy vs. Tangled Lights while Gal Wrestles with Wrapping; and of two last-minute, desperate shoppers squabbling over a piece of clothing which they render into pieces.

In this spirited, gentle, amusing, wholesome musical, the commercialization of Christmas is banished. Instead simplified pleasures prevail, including the readings and recitations of Christmas classics and a letter from Iraq, a living Nativity scene, even a Carol sing and a rafter-rockin’ "Rockin’ Around The Christmas Tree."

The Exit 7 Players’ Christmas show generates good cheer. Kudos to the writers and creators of "Christmastime Is Here" – Rebecca Sullivan, Robert Sullivan-Neer, Amanda Davis and Andy White; and to Director Amanda Davis; Musical Director Bonni Drumheller; Technical Director and Master Carpenter Paul Hamel; Calvin Anderson’s Lighting Design.

And bravo to the talented, enthusiastic cast, all 39 of them – the Adult Ensemble (16) and the Children’s Ensemble (23).

Next: Arthur Miller’s "All My Sons" in February 2008

"The Glass Menagerie"

Exit 7 Players, Ludlow
February 2, 3, 9, 10 at 8 p.m.; matinee Feb 10 at 2 p.m.
By Donna Bailey-Thompson

When Tennessee Williams wrote "The Glass Menagerie," he was writing about what he knew: the mother is a stereotypical faded Southern belle who exaggerates the comforts of her youth; the sister has a slight limp (Williams’ sister was mentally retarded); and the brother is a stand-in for Williams himself – an aspiring writer who feels trapped by the financial and emotional needs of his mother and sister. Like his real father who abandoned the family, the play’s father has been gone for almost 20 years. And like the brother in the play, Williams walks out, in effect, leaving the mother and sister without hope.

Under the direction of Nathan Newton, Ludlow’s Exit 7 Players do their best to breathe new life into this 63-year-old play which has been analyzed almost to death, its symbolisms enumerated and debated. In bare-bone language, "The Glass Menagerie" is about an unhappy family headed by an aging mother who is panicking at the likelihood her withdrawn daughter will never marry and her son who to avoid suffocation of his psyche, must break away.

As Jim O’Connor (the gentleman caller), Doug Wilson gives a creditable performance. Betty Burrage as the frantic mother, Amanda Wingfield, hits her marks often; her nattering and verbal bullying of her children (one could argue for their own good) succeeds in deepening the reclusiveness of her daughter and the inevitable flight of her son. Brianna E. Stronk’s Laura Wingfield is emotionally repressed and physically shy: she wears her interior pain on her sleeve. She breaks your heart. Dan Derby’s Tom Wingfield is imbued with hair-trigger frustration, tender feelings for his impaired sister, and banked fantasies of flight.

Technical Director/Master Carpenter Paul Hamel and Scenic Designer Ken Samonds’ multi-level set reflects Amanda Wingfield’s attempt at creating a pleasant apartment off an alley. Costume Designer Rosalie A. Dialessi catches the flavor of the early Depression years.

Next: "Sweet Charity" in May and "Nunsense II" in June.