A Funny Thing Happened on the Way to the Forum

Goodspeed, East Haddam, CT
www.goodspeed.org
through November 29, 2009
by Shera Cohen

The introductory song of "Forum" says it all. "Comedy Tonight" is exactly what takes place on the Goodspeed stage. The plot is silly, the women are sexy, and the characters are stupid - all with a capital "S." One of Stephen Sondheim's early works, it is also one of the more accessible. Perhaps better known for profound lyrics that move the play forward rather than beautiful music, Sondheim does show off his skill as a wordsmith. However, this time the text is all for laughs.

"Forum," set in 200 BC, takes the audience to a cartoon setting painted with bright colors. It's a tale of noblemen and slaves, eunuchs and courtesans, long marriages and young love, warriors and wimps, mistaken identities, and cross dressing. Let's not forget the rubber chicken. This is vaudeville at its best, an increscent flow of one-liners with ba-da-bing endings. The story is sexist, risqué, dated (okay, it's Ancient Rome), and full of shtick. What could have been a drama about a slave seeking freedom is immediately tossed aside and replaced by constant comedy. Throughout the play, the fourth wall (the audience) is completely open. There is no pretense of anything serious, and as the first song also states - expect a happy ending.

There are three categories of characters/actors: an ensemble of those in leading roles, curvaceous women who stand a lot, and a trio of Proteans (think Keystone Cops, each portraying a dozen roles each). Adam Heller (Pseudolus) works up a literal sweat as he creates the chaotic plot. David Wohl (Senex) underplays so well that he becomes one of the top laugh-getters. If John Scherer (Hysterium) had failed in his role of the nervous nelly, by the book, feigned female, a huge chunk of "Forum" would have sunk in the nearby Atlantic Ocean. All went swimmingly well, as this is an actor whose every nuance is the epitome of humor and comic timing.

Director Ted Pappas moves his motley groups of characters (many dressed to look like jesters) at a very fast clip. "Forum" is a broad show with lots of physical humor. As dark winter comes to New England, take a trip to Rome, aka Goodspeed, for bright shiny fun.

Camelot

Goodspeed Opera House, East Haddam, CT
www.goodspeed.org
through September 19
by Karolina Sadowicz

The tale of Camelot begins with a somber, apprehensive prologue. King Arthur is about to go to war against Lancelot, his beloved friend and knight, who stole off with the queen. The story is so familiar, and yet the mournful chorus and rumbling orchestra make the blood rush with anticipation as the audience is whisked away to the day it all began.

Broadway regular Bradley Dean commands love and respect as a gregarious, playful King Arthur. Erin Davies as Guenevere is lithe and alluring in her vanity and lust for romance, and awakens in her king a desire to be a great man. In their first encounter they charm and disarm each other with such delight that it's hard to believe there is heartbreak ahead.

"Camelot" exceeds expectations from the first note. Though the theatre is small and intimate, the sound, light, and performances are Broadway caliber. Richly costumed by designer Alejo Vietti, the production is an ongoing exhibition of gowns, fur capes, and armor that ooze with royal splendor and lush textures. The simple but versatile set changes drastically with evocative, dramatic lighting, and creates a very strong sense of place.

There is, however, nothing static about the performance. Superb vocal performances from the leads and ensemble carry notes of joy, excitement, longing, and anguish, making each moment bigger and more powerful. French actor Maxime de Toledo is effortlessly charming as Lancelot, and affable both in his hopeful grandeur and surprising humility. No one is surprised when Guenevere gives him her heart, because the audience has already done the same.

Ronn Carroll plays a hilarious Pellinore and carefree foil to an increasingly mature and troubled Arthur. Adam Shonkwiller slithers about as the villainous Mordred, impossible to like even before he orchestrates the downfall of Guenevere, Lancelot, and all of Camelot. Creative staging by director Rob Ruggiero makes use of the aisles, allowing the actors to make the performance both more intimate and grand.

Full of emotional peaks, beautiful music, and flawlessly timed humor, "Camelot" is an absolute delight that can be relished for days after the final bow.

42nd Street

Goodspeed, East Haddam, CT
through July 4, 2009
by Shera Cohen

"The show must go on!" This cliché is the entire plot of the sparkling, toe-tapping "42nd Street" at Goodspeed Opera House. The story is the backstage life of a new musical - the audition, rehearsal, and tour of "Pretty Ladies" (the play within the play). The era is the Great Depression. Why "great" was ever linked with the economic doldrums of "Depression" is a question to ponder. "Great" can, however, apply to this revival in 2009. Perhaps it was not a coincidence when Goodspeed planned its season opener to be more apropos in theme than one would have guessed.

As the sounds of the pit orchestra hit that strong opening note and the ruby red curtain rises, onstage are 14 hoofers tapping away. Their shoes are another instrument, and one that never stops during the entire musical, thank goodness. The ensemble is first and foremost superb dancers. They are young, energetic, attractive, in unison, and can sing. The production itself is the "star" and can be compared to a large canvas - on it are colors, swooshes, vibrancy, glitter, boldness, and whimsy. Some of these colors are literal in the costumes (the musical becomes a 1930s fashion show) and the lighting.

That said, this is not to discount those in leading roles, with each actor playing his/her caricature exceptionally well. Kristen Martin (ingénue heroine) is a sweet soprano who taps as fast as a speeding bullet. Austin Miller (her beau and Harry Connick look-alike) is sassy with feet that keep up with his gal. James Lloyd Reynolds (the boss) doesn't sing much, but delivers comedy so straight to get extra laughs. Laurie Wells (leading lady) is the real singer in this quartet. And what do they sing that leaves the audience unable to eradicate tunes from their collective heads for the next week? "We're in the Money," "Lullaby of Broadway," "Shuffle Off to Buffalo," and the title number.

The other important stars are choreographer Rick Conant and director Ray Roderick - a dynamic duo who set the tone and spirit of "42nd Street" to please the likes of Busby Berkeley.

Big River

Goodspeed, East Haddam, CT
through Nov. 30, 2008
by Shera Cohen

Advertisements refer to “Big River” as “a slice of pure Americana.” Who was better than Mark Twain, through his most famous character Huck Finn, to simultaneously weave a tale of our county in its glory and shame?

“Big River” jam-packs most of the Huck Finn story (it was a thick book) along with 17 songs into two and a half hours. It’s a big task to accomplish this successfully. Goodspeed, known for its excellent productions of tried and true musicals as well as those fresh out of the computer, is the ideal setting for this important story. Many read Huck’s tale as a high school assignment. On the surface, Twain’s dialect is melodic and humorous which gives the tone of froth. Yet, the author – and in the case of the musical, the composer, lyricist, director, and actors – is dead serious in the subject matters of conscience, trust, humanity, and slavery.

Huck (Will Reynolds) and Jim (Russell Joel Brown) seek their own freedom. At times they are equals, yet circumstances of the 1840s make that impossible. The camaraderie between the actors/characters is obvious, particularly in the songs “River in the Rain” and the showstopper “Muddy Water.” While the lanky, curly top Reynolds portrays Huck with vim, naiveté, and a voice to accentuate his character, he seems a bit old for the role. Brown brings depth, sorrow, and his own innocence in his portrayal of the slave Jim. His only solo, “Free at Last,” shows off his pure baritone voice.

Director Rob Ruggerio, along with his crew, creates sets with minimum multi-purpose staging and maximum skillful lighting. The pit orchestra is as fine as any at Goodspeed, with the wonderful addition of The Musician (David Lutken), an ever-present figure onstage as he plays the guitar, harmonica, banjo, and zither. Tunes run the gamut, including country, gospel, ballads, and blues. The large ensemble of townsfolk, Huck’s buddies, and slaves fill the small stage with song and dance from the opening funny number “Do a Wanna Go to Heaven?” to the reprise of “Muddy Water” finale.

The Sunday matinee full house loved Twain and Huck in October, 2008 as much as readers must have loved both in 1885.

“Half a Sixpence”

Goodspeed Opera House, East Haddam, Conn.
Through Sept. 19, 2008
by Bernadette Johnson

Goodspeed patrons have come to expect nothing but high quality musical productions. As usual, “Half a Sixpence” fits the bill. A musical comedy extravaganza directed by Gordon Greenberg, a rags to riches and back to rags tale, it provides the kind of feel-good entertainment for which Goodspeed is famous.

Based on the 1905 HG Wells novel “Kipps,” “Half a Sixpence” follows the adventures and misadventures of Arthur Kipps, a shop clerk in an English seaside town who suddenly inherits a fortune and leaves all behind in order to claim his place among the “la-di-dah” gentry and make a mess of his life in the process. Among the “discards” is Ann, his lifelong sweetheart, who holds the token of his love, half a sixpence.

Jon Peterson, a newcomer to Goodspeed, is first-rate in the demanding role of Arthur Kipps. Peterson is never off-stage and never out of the spotlight, whether acting, singing, dancing or cavorting. His thick Cockney accent, a bit difficult to adjust to at first, complements his quirky personality, and his societal faux-pas and often-exaggerated silliness, demand terrific energy and conviction to keep the character believable. But this is not a one-man show, and there are many stand-outs among the cast, among them Jeff Skowron as the aspiring playwright Chitterlow, whose every entrance provokes an audience reaction, and Sara Gettelfinger, whose vivacious yet demure disposition well suits the jilted Ann.

The show is fast-paced and high-spirited. Choreographer Patti Colombo, who wowed Goodspeed audiences with 2005s “Seven Brides for Seven Brothers,” has outdone herself once again. From banjos to beer steins to umbrellas, sights and syncopation keep frenetic pace with the relentless momentum of such numbers as “Money to Burn” and “Flash Bang Wallop,” and this amazing ensemble doesn’t miss a step.

Scene changes are so seamless and free-flowing as to be imperceptible. Robert Bissinger’s backdrops materialize out of nowhere, either gliding up from the floor or floating across in panoramic fashion. To sum it up, “Half a Sixpence” delivers and you won’t be disappointed.

“Happy Days - A New Musical”

Goodspeed, East Haddam, CT
through June 29, 2008
By Shera Cohen

Expect the expected at Goodspeed Opera House for their run of “Happy Days – A New Musical.” For the millions of baby boomers and their parents who loved the TV series, this is a step back in time to fun of the fifties, rock ‘n roll, perfect families, and poodle skirts.

The musical’s title is a bit of a misnomer. Yes, the production is “new.” But there is nothing “new” about “Happy Days.” That’s quite alright. There’s Richie and his buddies, Mr. & Mrs. C, Joanie and Chachi, Arnold’s hangout, and dialogue that’s “really cool.” While not a series regular, Pinky – the hot chick in pink – plays a major role in the musical. Of course, there’s Fonzie. Ronny Howard was credited as the show’s star, but it was Henry Winkler who stole the show. Well, there’s no pretense this time. This play belongs to The Fonz.

Joey Sorge and Sandra DeNise (Fonz and Pinky) create characters, both rough on the outside and fragile on the inside, who are perfect together as they sing to or about each other. Sorge’s “Heartbreak” and DeNise’s “Message in the Music” offer examples of the singing and acting skills of the duo.

There is next to no story. Audience members could have easily turned on a “Happy Days” rerun on “Nick at Nite.” Important is the energetic, athletic, youthful cast of what seem like a dozen “American Idol” top winners, on a colorful and brightly lit set. Put together, these elements make for wholesome entertainment.

Many actors take double and triple roles. While not on the “star” list, Matt Merchant is particularly noticeable as Elvis and later as a tough guy wrestler. Merchant creates caricatures that don’t need to sing very well, but his voice is one of the best onstage.

It is obvious that the actors were cast to look like those on TV. At times, the musical even makes fun and inside jokes about the series. It’s doubtful that the balcony of school kids “got” all of the humor. What they got was a look at times when the worst problem of the day was which plunger to purchase or picking a favorite song on the jukebox.

"1776"

Goodspeed Opera House, East Haddam, CT
Running through December 9
By Shera Cohen

While historians may guess at facts about the creation of these United States of America, no person in this century can go backwards 230 years. The most anyone can really know is hearsay. Given this obvious information, the musical "1776" is probably the best depiction of what happened on those hot summer days in Philadelphia.

"1776" is a thrilling, you-are-there (well, almost) account of the months, days, and literally the minutes leading up to July 4th. In spite of our knowing the outcome – to separate from England or not – there is definite tension in the play as the audience awaits the final count of the 13 voting colonies. The story is dramatic at its core, yet so full of humor that one can't help but laugh out loud, and often. The dialogue and song lyrics are purposeful and important.

How Goodspeed fits 26 actors on its small stage is still a wonder. In the play's first minutes, a huge British flag/curtain rises on the poised and motionless image of our founding fathers. It is stunning and receives instant applause. Every stage element is there and is perfect; i.e. set design, costumes, hairdos, lighting. In spite of having the burden of directing such a large cast, Rob Ruggiero makes each character an individual.

Peter Carey (John Adams) leads a troupe of excellent, professional actors/singers. His is a demanding role as he portrays this physically slight man with gigantic dreams, power, ego, and even self-doubt. Carey has the most lines and songs; he is the linchpin that holds the plot and the other 25 characters together. In significant supporting roles are Ronn Carroll (Ben Franklin) who looks exactly like he should look and spouts Franklin-isms constantly; Jay Goede (John Dickinson) as the uptight, conservative naysayer of the Declaration; and Glenn S. Allen (Edward Rutledge) whose "Molasses to Rum" song is almost frightening dramatic. There are only two women in the cast, and they hold their own well with the men. In particular, Jayne Paterson creates a very real Abigail Adams.

As it began, the final curtain is quite memorable with a trick which this reviewer will not give away. Every citizen in this country should see this play at least once.