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 Lady With All the Answers

Hartford TheaterWorks, Hartford, CT
www.theaterworkshartford.org
through March 7, 2010
by Jarice Hanson

Biographical plays are always a challenge to mount when members of the audience have an image of the subject in their minds. David Rambo's The Lady With All the Answers portrays the life of Eppie Lederer, known as Ann Landers, on July 1, 1975 -- the eve of writing a deeply personal column. In this one-woman show, the talented Charlotte Booker bears a striking resemblance to Ann, and charms the audience with rapport and charisma by taking polls of the audience, composing her columns at her Selectric typewriter, and talking on the phone with her daughter, her husband, and her twin sister, the other popular advice columnist, "Dear Abby." Booker's attempt to affect a Chicago accent and Landers' quirky speech pattern are inconsistent, and she relies on smiles and warmth to tell the story of this woman who was reputed to have a temper, sharp tongue, and extravagant lifestyle.

Director Steve Campo effectively uses Adrian W. Jones' set in Lederer's Chicago living room, and Kenneth Mooney's costumes contribute an elegance that reflects Landers' popularity. Much of the material comes from the real letters and responses Ann Landers wrote from 1955-2002, chronicling American values and popular topics, from the correct way to hand a toilet paper roll, to the anguish of a 15-year old boy who struggles with coming out, or ending his life.

Booker represents Eppie as a feisty woman with strong morals, but perhaps because the subjects deal with issues from a simpler time, or because Booker has not yet been able to find the contradictions in Lederer's life that give the play the human tension it needs, the show falls flat.

While the audience awarded Booker with a standing ovation, the production still needs to find the appropriate balance between human anguish and humor, which Ann Landers affected so well.

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.

Tchaikovsky Symphony No. 5, et al

Hartford Symphony Orchestra
The Bushnell, Hartford, CT
www.hartfordsymphony.org
by Terry Larsen

When the leader of an ensemble is in complete control it might be said that he had them eating out of his hand. Regarding the Hartford Symphony's concert, it is more fitting to say that the orchestra and guest conductor Andrew Grams were feeding off each other. Each of Grams' evocative gestures was rewarded by an artful response as three courses of delicious Romantic era music were served to an appreciative audience.

Smetana's programmatic piece The Molda" was beautifully performed - each gesture of sound evoking every eddy, ripple, and relentless current of the river Moldau as it transformed from stream to river while passing through the Czech heartland. The players and conductor were in perfect accord, dedicated to achieving every nuance possible. This synchronicity was evident throughout the entire concert.

Sibelius' Violin Concerto in D minor comprised a contrasting second course of angularity served cold…a work no less passionate than The Moldau, but spiced with the half light of an arctic summer evening. Solo violinist Leonid Sigal was undaunted by the difficult and idiosyncratic solo line, playing with a generous warmth of timber and lyrical fluidity. Maestro Grams successfully maintained a delicate balance between Sigal's bravura performance and the often extroverted, savory underpinnings of the orchestral texture.

The final course, Tchaikovsky's Symphony No. 5, requires a large appetite for civil but passionate interaction and the full sonority of all sections of the orchestra; as well as for contrasts in texture, mood, tempo; and compelling melodic contours. The orchestra gave its all with no coaxing necessary as Grams illustrated each passing moment and the spaces between. Solos in the wind section in the second movement were beautifully rendered.

Dessert for the feast unexpectedly appeared in the form of a grin and thumbs up from Maestro Gram to enthusiastic members of the audience who had inappropriately applauded at a grand pause before the final maestoso section of the symphony. This welcome gesture of goodwill reassured all that a concert really is about living in the moment for its own sake. The feast was ended. Those in attendance were well served.

“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?

Schumann & Brahms

Hartford Symphony & Hartford Chorale
The Bushnell, Hartford, CT
www.hartfordsymphony.org
by Terry Larsen

So many love choirs, orchestras, and the great musical works that feed them, with the monumental “Ein Deutches” Requiem being one of the most cherished. The instruments and vocals all meet with the other necessary element of the ritual sharing of sonorous beauty -- the audience. These are people who hope to leave those great halls changed, at least for the moment; and somehow better for having been there.

The Bushnell's intimate Belding Theater was set for just such an experience. The event had the added appeal of being an audition for the post of Musical Director of the Hartford Symphony by guest conductor Constantine Kitsopoulos.

The orchestra and chorale were very well prepared for the pairing of Romantic era works on the bill. The orchestra performed both pieces concisely, with dedication to the score and an understanding of the style of the period. Although there were some of the inevitable balance issues that occur when voices and instruments occupy the same time and space, the chorale and orchestra performed admirably throughout the Brahms. Both soloists sang beautifully: Mr. Deas with fine diction, a compact, expressive power, and rich timbre; Ms. Forsythe with a lithe, well supported line that floated beautifully above the accompanying orchestra and chorale.

That being said, this reviewer was a bit disappointed by both performances, reluctantly laying the responsibility on the shoulders of Kitsopoulos. His direction seemed bland, without passion or real conviction. His gestures and demeanor were square, perfunctory, and did not anticipate from moment to moment the changes in dynamic, velocity, and emotion demanded by works of this period. There was no sense of urgency in the story telling. He made no compelling demands on the performers to aspire to that ineffable moment that transcends the requirements of the page and the beat pattern. Despite the polite standing ovation offered by the audience, I left the hall with a somewhat puzzled feeling that I must have missed something. The forces were very much in place and a beautiful was moment at hand, however, Kitsopoulos did not seize the opportunity to bring it all to life.

Mistakes Were Made

Hartford Stage, Hartford
www.hartfordstage.org
through November 22, 2009
by Shera Cohen

Hartford Stage has a deserved excellent and long-running reputation of presenting quality productions - in all areas including costumes, special effects, sets, acting, and direction. First and foremost, however, is play selection. Certainly, no one anticipates that every audience member will enjoy every play mounted at Hartford Stage. That is an unrealistic hope, not only in Hartford, but for all theatre companies. That said, "Mistakes Were Made" singles itself out, unfortunately, as the play that puts a crimp in a long list of years of A+ work.

You can't win them all, and "Mistakes Were Made" has many mistakes. Plays about plays usually don't work. Save for "Noises Off" (a hysterical comedy at HS last season), the dialogue is too inside, with the playgoers either unsympathetic to the characters or not understanding the roles. Another general problem is that many audience members do not wish to attend a one-actor piece. There is an offstage female voice - a woman who does appear once for a minute - and a couple of fish, but they don't count much. Yes, there are the exceptions; i.e. Hal Holbrook has become synonymous with Mark Twain. In this case, the character is a theatre producer (Felix) with Will Lebow in the role. While Lebow makes a monumental effort and does yeoman's work, the script is not sufficient enough to warrant his labors. Felix is a fast-talking, used-car salesman in show biz. His specialty is schlock shows. The entire play is a series of phone calls with soliloquies directed to the fish interspersed. "Mistakes" tries to combine Bob Newhart's exasperation (the rotary phone has been replaced) with Neil Simon one-liners. Neither work very well.

Playwright Craig Wright has excellent credentials. In many ways, this seems to be a first draft of a play that could go somewhere. The story builds and adds moments of drama, but these are only teases. Fleshing out the plot along with glimpses of substance earlier in the dialogue will help this play immensely. Billed as a comedy, there are some audience smiles and chuckles.

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.

The Foreigner

Suffield Players, Suffield, CT
www.suffieldplayers.org
weekends through Oct. 24, 2009
By Donna Bailey-Thompson

The Suffield Players are whooping it up with a wild and raucous comedy that 25 years ago won Obie and Outer Circle Critics awards for Best New American Play. Written by Larry Shue, "The Foreigner" is as timely today and perhaps even funnier because, let's face it, the lousy economy has boosted laughing's value into the realm of a precious commodity. As directed by Robert Lunde, the action never lags, nor does sly humor or bellywhompers.

S/Sgt. Froggy LeSueur, a Brit with a Cockney accent, drags a pathetic Charlie Baker into a Georgia fishing lodge who, if he could, would curl himself into an invisible ball. Froggy (take-charge Mark Proulx) has virtually kidnapped Charlie (Dale Facey kidnaps the role), spiriting him away from the hospital bedside of his supposedly dying wife. Charlie's plight is an absence of self-worth which renders him pathologically shy. He describes himself as profoundly boring and entreats Froggy, "How does one acquire a personality?" The possibility of having to interact for three days with other guests at the lodge fills him with panic. Froggy's solution: tell the lodge's owner, Betty Meeks (a forceful Cynthia Lee Andersen) that Charlie is a foreigner who speaks no English. This thrills Betty who has longed to travel; at least now she'll meet a foreigner.

The other guests are a snippy, unwed pregnant heiress Catherine (as believable as she was as the father-controlled Catherine in "The Heiress"), her simple brother Ellard (the inventive Brian Rucci), her creepy fiancé, the Reverend David Marshall Lee (Christopher Berrien, appropriately mysterious) and the town's racist inspector, Owen Musser (befittingly unlikable).

That the plot is slim is of little consequence because the real suspense is created by Charlie's determination to remain a speechless cipher. His body language, double and triple takes, the play of emotions across his face, are not simply funny, they are endearing. During a protracted scene in the second act, Charlie and Ellard mimic one another with deftly executed sight gags that carry the audience into near hysteria.

The Suffield Players' latest contribution to its 57-year history honors the essence of quality community theatre.

This review was published simultaneously at www.theartsetc.com

American Buffalo

TheaterWorks, Hartford, Connecticut
www.theaterworkshartford.org
through October 25
by Jarice Hanson

"American Buffalo" premiered in 1975, and catapulted David Mamet to fame as one of the most earthy, funny, and intense playwrights of the era. The plot is simple; three guys from Chicago see an opportunity to make an easy buck, but as they hatch their plot, everything falls apart. The three characters are what makes the play compelling; they represent archetypes that reflect American male anger, frustration, and fallibility that emerged in the mid-'70s, as a backlash to the women’s movement. Though billed as a comedy, when well-played, the sadness of people trapped by their own limitations gives the characters greater depth.

In TheaterWorks' production, the actors explore their characters beautifully. Donny, owner of a junk shop (played with excellent control by John Ahlin); Bobby, the slow-witted drug addict, who serves as surrogate son to Donny (portrayed by Zachary Spicer, a young actor with tremendous physicality); and Teach, who delivers some of Mamet’s best lines, like, “The only way to teach these people is to kill them” (powerfully played by Andrew Benator, whose commitment to character is astounding) deliver a production that roars with testosterone and human fallibility.

Director Steve Campo allows Mamet’s dialog to shine; and the set, designed by Adrian W. Jones, and the subtle, effective lighting by Matthew Richards in the intimate TheaterWorks space, seems to encourage the audience to eavesdrop on the ill-fated petty crooks. At the play’s conclusion, the audience, leapt to a standing ovation, but as good as the opening night show was, it will undoubtedly get stronger as these three capable actors find the subtle peaks and valleys in Mamet’s multi-layered script. While it would have been helpful tohear some good, strong Chicago accents to punctuate Mamet’s dialog for a strong sense of place, "American Buffalo" is an actor’s play, and TheaterWorks is delivering Mamet’s work in fine form.

Horton Foote's The Orphans' Home Cycle

Hartford Stage, Hartford, CT
www.hartfordstage.org
in repertory through October 23, 2009
by Donna Bailey-Thompson

Superb! The Hartford Stage world premiere of Horton Foote's "The Orphans' Home Cycle" - Part One, "The Story of a Childhood" - foretells that Parts Two ("...Marriage") and Three (..."Family") will build and deepen the compelling story of Horace's journey from ages 12 (1902) to 38 (1928).

This elaborate production prompts superlatives. A cast of 22 playing 70 roles wears authentic period costumes (David C. Woolard), hair and wigs (Mark Adam Rampmeyer). Subtle lighting design (Rui Rita) enhances the many scenes which dissolve seamlessly thanks to the engineering legerdemain of scenic designers Jeff Cowie and David Barber: huge flats glide sideways and props move forward and back - where stood a boy, now stands a man.

Responsibility for this dramatic tour de force belongs to Artistic Director Michael Wilson. He convinced the aging playwright that the full nine-play cycle Foote had hoped to turn into nine movies (he and his wife succeeded in bringing five to the screen).could be staged in repertory. "The Cycle" is co-produced with New York's Signature Theatre Company where it will play from November to March.

Horton Foote's scripts suggest that he was light years distant from being pretentious. A gifted storyteller who eschewed any tricks, especially maudlin sentimentality, his characters are multi-dimensional; identification with their human nature explains one aspect of Foote's popularity. Another is quite simple: the man could really write.

Act I ("Roots in a Parched Ground" about 60 miles SW of Houston) opens with the dying of Horace's father whose excessive drinking alienated his wife. She marries Mr. Davenport who doesn't drink, smoke, or chew. "He has no problems," she states, except he's a dry drunk with profound control issues. Mr. Davenport's job transfer to Houston includes Horace's mother and sister but young Horace is left behind. In effect, he's an orphan. By Act II, age 14, ("Convicts") he's clerking in a scruffy store on a hardscrabble sugar cane plantation owned by an alcoholic skinflint who uses cheap convict labor. By Act III ("Lily Dale"), Horace is 20. A short visit in Houston with his uneasy mother and self-centered sister is prolonged when he is stricken with malaria. When he leaves, he's still weak but resolved to succeed.

The casting is inspired: Bill Heck (adult Horace), Henry Hodges (Horace, age 14); James DeMarse (plantation drunk), Annalee Jefferies (Horace's mother), and Pamela Payton-Wright (Mrs. Coons) who gives new meaning to "church lady." Michael Wilson's directing reflects the gentle yet precise cadence of Horton Foote's script. The result is immersion in Horace's odyssey - Greek tragedy, Texas style, never hurried, never drags.

Because scheduling of this three-part cycle is complex, theatergoers are encouraged to visit www.hartfordstage.org for ticketing information. Each three-hour performance includes three short plays and two intermissions.

Yesterdays/An Evening with Billie Holiday

Hartford Stage, Hartford, CT
www.hartfordstage.org
through August 22, 2009
by Donna Bailey-Thompson

Playwright Reenie Upchurch was 16 when she met Billie Holiday. "I told her I wanted to be just like her. Billie replied, never in a billion years would I want to be like her. I didn't understand that statement then, but I would a couple years later...Billie was staggering around the stage talking out of her head, trying to make a connection, laughing and crying sporadically." This is the Billie that Upchurch's play focuses on.

"An Evening with Billie Holiday" May 1959. New York City. A small club. Three musicians wander onto the stage. Levi Barcourt (Musical Director/Pianist), resplendent in a shimmering sharkskin suit, sits down at the piano and blisters the keys with a hands-blurring arrangement of "The Lady Is A Tramp." A master is in charge. Plucking the bass is another pro, David Jackson. On drums is Bernard Davis; his sticks never over shadow, they always enhance. But no Billie. The musicians wonder, "Where is she?" and "I'm getting tired of this." In she drifts, slightly swaying, clinging to glamour in a white satin halter neckline gown; matching gloves top her elbows. Stuck in her hair is a shiny white artificial flower, not a real gardenia like back when times were good. She holds a short, fat glass, half full of a clear liquid, as much as saying, "I don't give a damn." Pure bravado. She fools no one.

Billie, as interpreted by Vanessa Rubin, charms and breaks hearts with her soulful songs. Rubin doesn't impersonate Billie; she embraces her memory and out pours loneliness, sadness and psychic pain. The Washington Post has raved, "Vanessa Rubin is one of the most gifted jazz vocalists of her generation." Officers wait to arrest Billie - again; she knows they're there. Within a few months, at age 44, she will die of heart and liver failure, a direct result of the demons she couldn't conquer.

The naturalness of this musical portrait disarms: the musicians' concern for her well-being, Billie's sly asides, her rough life (she was raped when only nine), the arc of her love for and from the audience; her phrasing that beguiles - she was a natural. Bravo Director Woodie King, Jr.

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.

ABBAmania

Talcott Mountain Music Festival, Simsbury Meadows, CT
www.simsburymeadows.com
Various events through July 17, 2009
by Eric Sutter

ABBA is Love! The super group came alive again in this spirited tribute to the 70's musical sensation. Beautiful weather, Swedish accents and the re-Bjorn sounds of ABBA combined to raise goose bumps at Talcott Mountain.

"Knowing Me, Knowing You" created a party atmosphere as the large crowd joined in on the background vocals. People sighed and moaned at the opening chords of romantic ballads such as "I Do, I Do, I Do" and "Fernando" with instantly recognizable flute and drum solo intros.

Andrea Pressburger (Agnetha), brought strong, haunting vocals to "Mamma Mia". Mathew Whale (Benny) provided memorable musical moments and swelling keyboards during "Chiquitita ". Nick Pattison's (Bjorn) electric guitar chimed in with the strings of the Hartford Symphony Orchestra, which lightened the spirit of the songs. Guest conductor Glen Adsit had his work cut out for him as ABBAmania performed the disco tinged hits "Voulez Vous" and "Summer Night City." "Super Trouper" closed out the first half with Pressburger out front working the audience.

"Lay Your Love On Me" featured percussive keyboard that caused the female back-up singers to cavort with Pattison in a Conga line. As Monica Tietz (Anni-Frid) sang "I Have A Dream", a giant mirror disco ball appeared. The audience went wild over the swirling lights, propulsive sound and lavish costumes. They sang, swayed and waved hands in the air as Pressburger belted out a powerful "The Winner Takes It All". The happy beat of "Take A Chance On Me" with its warm vocal harmonies was a crowd pleaser and the cast encored with a zesty "Dancing Queen" with, of course, dancing everywhere.

Testimony to ABBA's mass appeal was the age range of the audience members who instantly reacted as the keyboard intro to "SOS" began. It was amazing to see 20-somethings (mostly female) clapping, dancing and singing along to ABBA's first big hit, "Waterloo", released way back in 1974.

Summer Groove

Talcott Mountain Music Festival, Simsbury Meadows, CT

www.simsburymeadows.com

Various events through July 17, 2009

by Eric Sutter

Summer Groove at the Performing Arts Center at Simsbury Meadows was a rainbow full of sound. Under Edward Cumming's inspired direction, the Hartford Symphony Orchestra backed David Foster and the Mohegan Sun All Stars for a sizzling but soothing night of rhythm, blues and soul. With Foster's lead vocal out front, the All Stars' horn section set aflame "Powerful Stuff." It was wonderfully unexpected to hear their popular musical stylings with the strings of the orchestra, collaborating on the rock ballad "A Whiter Shade of Pale."

The band was pumped as it shifted into the R&B tune "What a Life" with its fancy sax lines. Guest vocalist Christine Ohlman paired up with Foster on a lively "Soul Shake" performed Delaney and Bonnie-style. Foster played the tender love ballad "You Are So Beautiful" with Mitch Chakour on piano and Maceo Parker, who soloed on saxaphone. Parker sang "Georgia" lovingly accompanied by piano and strings. The nine-piece band cranked up "Soul Man" as Foster and Parker traded lead vocals and hot horns all around.

At twilight, the band resumed with a touching tribute to Michael Jackson on "I'll Be There" with the audience joining in. Chakour's soulful rendition of "What's Going On" was puntuated by the horn section, as was "The Letter," replicating a Joe Cocker style. Billy Holloman's sax intro and vocal on "Stand By Me" were heavenly, accented by a melodic guitar solo by Kal David. Parker's "Pass The Peas" showcased his funky saxaphone playing that caused a stir with throngs of people who moved to the groove. Foster asked for participation on the closer... a Woodstock revival anthem. "With a Little Help from My Friends" became a communal sing and sway. Peace was back by popular demand.

Speech & Debate

TheatreWorks, Hartford, CT

www.theaterworkshartford.org

through July 26, 2009

by Meghan Lynn Allen

Stephen Karam's contemporary comedy follows three Oregon high school misfits and their timeless dilemma of how to be comfortable in their own skin. From coming out of the closet to how to find love to how to just plain fit in, Karam flawlessly articulates the dialogue of today's youth in crises. The three teens' lives are intertwined in a maze of internet blogging, chat rooms, and instant messages. Karam addresses the teens' struggles and issues that the adults in their lives refuse to talk about freely.

Jee Young Han plays Diwata, an aspiring and repeatedly non-cast actress in her school who is obsessed with starting a speech and debate club in order to be noticed as a performer. Han steals the show with her hilarious musical podcasts and complete over-the-top commitment to her drama queen character. Her energy is contagious. Ben Diskant portrays Solomon, a high-strung, self-conscious, sexually-repressed son of religious conservative parents. As a school paper journalist, he gets more than he bargains for as he tries to expose a possible teacher/student sex scandal. Diskant perfectly captures Solomon's uptight ways and vulnerable heart so that the audience truly feels him. The third in this comic/tragic trio is Carl Holder as Howie, an openly gay teen who faces the hurdles of a closed-minded community. Holder tackles the challenge of representing out gay youth in Karam's piece, and does so without being a trite caricature. Holder's quirky mannerisms bring a lightness to the piece that is a relief as he deals with heavy topics.

Eva Kaminsky is the voice of "the adult," and plays the roles of both a teacher and reporter. Kaminsky is a believable and welcome distraction to the fast-paced world of Karam's younger generation. The direction, set design, and lighting pop and are just as exuberant as the actors in "Speech & Debate." This comedy feels fresh and current, and it is a must-see for high school and college audiences.

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.

Dividing the Estate

Hartford Stage, Hartford, CT

www.hartfordstage.org

through July 5, 2009

by Shera Cohen

Broadway comes to Hartford in the package "Dividing the Estate." This tragicomedy was nominated as one of Tony Awards best plays of the year and The New York Times pick among the10 Best Plays of 07/08. The entire play and nearly the full cast was lifted up and placed at Hartford Stage without skipping a beat. In fact, Michael Wilson's direction is the essence of perfect timing of actors reacting to each other and movement on stage. In addition, the 1980s Recession somewhat mirrors today's economic times.

To write that "Estate's" characters depict a dysfunctional family is too broad and simple. Is not every family a bit dysfunctional? The location is the home of the extended Gordon clan. They employ African-American servants who, from the start, let it be known that they are equals to their bosses. Plot points include sibling rivalry, greed, shallowness, death, and selfishness. Doesn't sound too funny, but it is one of the best black comedies written (by the late Horton Foote) in many years.

It is difficult to single out any particular performance in this ensemble cast. Watch the actors whose turn it is to speak, and watch the others who are silent and even seated in the corner. Do they react in character? That's one sign of an excellent production. Wilson makes sure that every person and piece of furniture has a purpose at every moment. Speaking of furnishings, Scenic Designer Jeff Cowie deserves and did receive special kudos from his opening night audience; the scrim lifted to reveal a majestic plantation home to great applause.

All difficulty aside, some actors must be recognized as superb. Arthur French (Doug) portrays a delightful nonagenarian whose moments onstage are precious. Hallie Foote's "Sister" (yes, characters call each other Sister, Son, Mother-in-Law) sparkles annoyingly with fast one-liners in her steadfast avarice. Gerald McRaney depicts Brother/Uncle with an unexpected poignancy.

About 200 floor seats were added in the theatre in anticipation of large audiences. That was a smart decision, as every chair was needed for the full house. Hartford Stage should take a bow as it ends this 2008/09 season as one of their best in decades.

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.

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.

Noises Off

Hartford Stage, Hartford, CT
through May 17, 2009
by Shera Cohen

"Noises Off" is either a director's dream or nightmare, depending if the fun of working such a production outweighs the torture of creating a play-within-a-play, three times. From the end result, it seems as if director Malcolm Morrison had a wonderful time, and took the audience along for the fast and furious joy ride. It is difficult enough for a good director to mold the script, actors, and crew into a successful play. Add on, purposeful bad directing of a pathetic play within the umbrella play. Confusing? Yes, and it works fabulously at Hartford Stage.

Before the lights dim, three clues let the audience know that this is a play(s) for laughs. There's the pompous British voice-over advising turning off cell phones, the playbill's cover is a misnomer including the hysterical bios of the pretend cast, and the set has 10 doors. Lots of doors equals farce - the more doors, the funnier the production.

The plot is a behind the scenes look at an English theatre troupe as they rehearse and then tour. The ensemble of nine actors begin their roller-coaster ride at a moderate pace, rev up to full throttle, and then to warp speed. It's hard to image that on some days, Hartford Stage mounts a matinee and evening show. The actors must be exhausted. The characters are caricatures. There's the proverbial dumb blonde, the funny drunk, mistaken identity, sexual innuendos, a burglar, love triangles, an IRS agent, and sardines. Props, particularly dead fish, are key to "Noises Off."

Scenic Designer Tony Straiges deserves endless kudos for his ingenious creation of two entirely different sets - the elegant "fake play," and the backstage 2-by-4 "real play." A line in the script credits actor "Tim" as having built the stage himself in just 48-hours. While Straiges' skills are obviously A+, he certainly had help from a very talented crew, and undoubtedly it took at least three days of hammering and drilling.

Physical humor, with a capital "P" and "H" abounds, from pratfalls to pantomime, dropping pants to (of course) slamming doors.

The Year of Magical Thinking

TheaterWorks, Hartford
through May 24
By Karolina Sadowicz

"Do you think it will be sad?" a woman in the audience asks her companion. The subject of "The Year of Magical Thinking" makes the audience uneasy. The play, and the book on which it's based, was written by Joan Didion about the loss of her husband and daughter, and the mental game of avoidance and denial--or magical thinking--that followed.

Annalee Jeffries portrays Didion, in the one-woman show with an abundance of terse, dry wit and a creeping vulnerability that resurfaces when least expected. Though the tragedies at the core of "Thinking" are overwhelming, Jeffries fearlessly navigates Didion's tightrope walk to escape grief. When the audience anticipates a breakdown, she is controlled, defiant, often sarcastic. In a brightly lit living room, she recounts feigning the process of grieving, but inside rejecting grief in hope that not yielding to it will bring back her husband.

The strength of the story and the performance is that it defies expectations, in particular for those who are not familiar with the book. The set and Didion's clothing are in pale neutral colors; the lighting changes subtly to signal shifts in tone or mood, but is rarely stark. The music, too, is soft, spare, and ethereal. Despite Didion's direct, unflinching manner, there are no harsh notes, no melodrama. There is no self-pity. Steve Campo's disciplined direction keeps the production focused, even when Didion's intensity wanes.

With the writer's suffering kept at bay, the audience never experiences the quick descent or visceral meltdown that might be expected from the subject. But what is revealed, and completely entrancing, is a capacity in humans for both hope and self-delusion, and the deep need to transcend the darkest of times. In her controlled and willful avoidance of the reality of death, Didion exposes the fragility and uncertainty in all those who have family, friends, and the capacity to love.

Jeffries' performance brings depth to the narrative voice, never apologizing for its bluntness, but never registering as cold. Her voice, mannerisms, and spot-on timing create an electrifying, honest performance of this thought-provoking memoir.

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.

To Kill a Mockingbird

Hartford Stage, Hartford
through April 4, 2009
by Shera Cohen


Why would anyone who has already read the book, or watched the movie, or both (perhaps a couple of times each) want to spend time seeing a theatrical production of “To Kill a Mockingbird”? The answer is not necessarily “wanting” but “needing”. Every decade or so, audiences/readers must be reminded of the tale of the mockingbird and its themes of justice and courage amidst ignorance and fear.

Hartford Stage has, thankfully, brought this Depression-era story set in the Deep South to today’s New England audiences. While Harper Lee’s characters lived 70-years ago, it is not hard to understand and empathize with many of the important issues that, to a large degree, remain the same.

Throughout the play, a narrator (the adult Scout) reflects on episodes in one particular year in her young life. Her presence, coupled with floating sets and seamless onstage movement by cast and crew, creates an unbreakable line of content and emotion that build to the perfect crescendo. All the time, director Michael Wilson uses every scene – even those that are but three minutes long – to subtly maximize the audience’s belief of the times, struggles, and characters.

Matthew Modine is one of those actors seen often on TV and in movies, but few remember his name. He’s not an “A List” guy, but he should be. To be equally excellent on screen and on the stage is rare. This man is the consummate professional. Modine’s Atticus Finch personifies a man of integrity who, by the way, is one of the wisest father figures in literature.

The three child actors (Olivia Scott, Henry Hodges, and Andrew Shipman) probably have the most onstage time and dialogue, yet each is ideal in his/her role. It’s hard to imagine others cast in these parts. They create the mold that structures the play with their innocence, respect, fearlessness, lack of prejudice, and frankness (“out of the mouths of babes”). Their characters exemplify the qualities that ought to be and that there might be hope for the future.

A visionary director, exemplary actors, and skilled crew make “Mockingbird” a piece of theatre to experience more than once.

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!

Dead Man's Cell Phone

TheatreWorks, Hartford CT
Through March 15, 2009
By Jarice Hanson

In Sarah Ruhl’s comedy, "Dead Man’s Cell Phone," the audience enters a world of feelings and emotion by eavesdropping on cell phone messages. Two people are in a café, where a woman is annoyed by the constantly ringing cell phone of the man at the other table. When she grabs the cell phone to answer it, she realizes he is dead.To protect his dignity, she lies to a series of callers, leading her to ultimately meet and confront Gordon Gottlieb’s overbearing mother, miserable wife, ineffective brother, and exotic mistress.

The protagonist, Jean, is played by Finnerty Steeves, an appealing actress who can communicate much by just raising an eyebrow. We meet her in the stark café, wearing a frumpy gray and black outfit that matches her life, before she is catapulted into Gordon’s life, illustrated on stage by colorful backlighting and an annoyingly effective sound design that assaults the senses the way an incessantly ringing cell phone does. As a result of the world she finds herself in after taking Gordon’s phone, Jean begins to expand her senses (and those of the audience) beyond what she hears on the cell phone to touch, taste, and sight. Each of the other characters, also fully realized and expertly directed by Rob Ruggiero, find what they need in life, through Jean’s interpretation of Gordon’s wishes.

In addition to Steeves’ portrayal of Jean, Craig Wroe as Gordon, stands out in this ensemble piece, for his expository monolog from another dimension—letting those seated in the theatre in on the real Gordon. With a touch of absurdity in the second act, carried through by the audience’s immediate cell phone use after the show, the play ends with an appreciation and marvel at Ruhl’s comic absurdity of contemporary life.

Dying City

Hartford Stage, Hartford
through February 8, 2009
Donna Bailey-Thompson

A spirited discussion among strangers following the play demonstrated that the advance publicity description of "Dying City" remained accurate even after the play had ended: the "mystery drama" generated more questions than it answered. From the tension-filled disjointed dialog of the opening scenes through switchbacks in time and attitude, the story line resembled the stop and go rewinding of a ball of yarn. Unlike the unfolding of a linear plot, "Dying City" demands unbroken attention while it parries, thrusts, twists and dodges. If playwright Christopher Shinn’s intent was to mimic dysfunctional behavior spawned by the family of origin, this Pulitzer Prize-nominated play scores.

Simply stated, Peter (Ryan King) is a self-absorbed actor chasing love while his twin brother, Craig (Ryan King), a soldier bound for Iraq, can’t accept the love given to him by his wife, Kelly (Diane Davis), a psychotherapist whose compassionate beliefs are ridiculed. Their interlocking personal dramas are played out within a setting, designed by Wilson Chin, that reflects their circumscribed characters – a boxy greatroom (perhaps a loft) that contains utilitarian kitchen counters and a living area dominated by a massive, multi-paned cantilevered window that frames the silhouetted cityscape of New York. The decor is stark, almost sterile, appropriate for the walking wounded.

Director Maxwell Williams keeps the brothers’ flawed emotional development teetering on the edge of awakening while simultaneously maintaining Kelly awhirl within bewilderment. Alejo Vietti’s clever costume designs double as calendar clocks which help the audience keep track of time and year.

Actors Davis and King (and King) are well cast. As twenty-somethings, they contend with ongoing international instability personified by the Iraq debacle. While macho Craig champions a shooting war, his gay twin’s mouth unleashes supposedly innocuous words that give new meaning to dying by a thousand cuts. Davis, as their verbal punching bag, strives to discover the origin of the brothers’ anger.

Perhaps the best way to "get" the allegorical "Dying City" is to see it twice.

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.

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.

The Seafarer

Theatreworks, Hartford
through December 21, 2008
Reviewed by: Meghan Lynn Allen

It wouldn’t be Christmas if you weren’t a little depressed, but Theatreworks’production of Conor McPherson’s The Seafarer pushes the envelope with a menu of drunken Irishmen, repulsive relatives, fist fights, disgusting bodily functions, arguments, loneliness, gambling, and regret …and that’s all before Satan knocks on the door!

There are fun, light moments born out of the depression of this Dublin dwelling. Ivan (John Ahlin) is a clown of a grown man who is too drunk and foolish to find his car and glasses after an all-nighter, but is relentless in his crusade to track down one more swig of whiskey. Richard (Edmond Genest) authentically masters the art of all things revolting from self stench to toilet trouble to a boil on his, well…it has to be seen to be believed.

But at its core, the piece explores the dark tones of the human experience. Sharky (Dean Nolen) made a deal with a devil of sorts over 20 years ago that comes back to haunt him on Christmas Eve. When Sharky is forced to confront his troubled past, Nolen delivers a contained and agonizing collapse that is heartrendingly inspired. Sharky’s brother Richard (Genest) portrays a real codger of an old man who is steeped in human failure. The brothers’ dilapidated home oozes with the hopelessness that emerges from every new day being just a little bit worse and yet just barely different than the last. McPherson carves out a world of existential angst fueled by massive quantities of alcohol. Fortunately, he also provides us a flicker of hope before the curtain comes down.

Chris Genebach (Nicky) and Allen McCullough (Mr. Lockhart) round out this talented cast. Director Henry Wishcamper brings all 5 men to sad life. Take advantage of this dysfunctional Christmas gift before it’s gone on December 21st!

Resurrection

Hartford Stage, Hartford
through Nov. 16, 2008
By Bernadette Johnson

It’s not arbitrary that "Resurrection" cast members are identified in the program initially by their ages, then by the roles they play. From 10 to 60, the six male figures who bring this powerful drama to Hartford Stage are separated by decades. They share the same plight, however, lives rooted in the history of oppression of the black man, the context from which author Daniel Beaty draws so eloquently.

From 10-year-old Eric (Thuliso Dingwall) to The Bishop (Jeffery V. Thompson), a sexagenarian, there are no weak characters on this stage. Set against a single backdrop of a stylized cross, "Resurrection" tells the story of five black men and a boy who individually struggle with their collective past and personal demons all the while clinging to shared hopes and dreams, a vision that moves them beyond an “historical identity based on being property.”

The characters share the multi-level set for much of the 90-minute (no intermission) performance. Dingwall is the youngest cast member and holds his own remarkably well for a 10-year-old as a child scientist in search of a magic formula that will heal all ills. He is everyone’s hope, the future embodiment of “the better life.”

There are several powerfully moving scenes. In a tribute to black mothers who have sacrificed themselves for their sons, the litany “Dance, mama, dance” (for all the dreams you forgot) resounds, a plea increasing in intensity with each repetition. Che Ayende, as 30/Dre, recently released from prison and trying to build a new life for his “family,” his girlfriend and their baby, but seeing past mistakes catching up to him, delivers a heart-wrenching “how to be a man for you” monologue.

Not to be forgotten is 60/The Bishop, who adds a touch of humor Overeaters Anonymous style. It’s hard to know if the Amens from the front and center section were plants or spontaneous responses, but either way, they added a spark of authenticity to Thompson’s delivery.

Symbolism plays a role, as African robes yield way to tattered cloaks. Finally, although the ending seemed a bit too pat and predictable, there is great theatre here.