"Holes"

Greene Room Productions, Monson
through May 16-18, 2008
May 14, 2008
By Donna Bailey-Thompson

"My no good, dirty rotten pig-stealing great-great-grandfather!" is the rationale spouted by Stanley, the hero of "Holes," for being wrongly accused, convicted and sentenced to a juvenile detention center preposterously named Camp Green Lake: there is no lake, no lanyard-braiding, no s’mores. Further, the camp uniform is an orange jumpsuit, the camp talisman is a long-handled shovel, and every day every "camper" has to dig a five by five foot hole. The soil is the desert sand in the wilds of West Texas, the home of rattlesnakes and poisonous lizards. Stanley’s orientation is brief. Because of the camp’s remote location, there are no fences; to run away would be tantamount to running into death.

"Holes" began as a novel (1998) by Louis Sachar; the book won many awards including the National Book Award. The play premiered in 2002 and the 2003 movie starred Sigourney Weaver, Jon Voight and Shia LaBeouf .

The cast is huge – 32 characters – ranging from children to the middleaged. There are, seemingly, separate story lines, that begin in 19th century Latvia, switch to Texas at the beginning of the 20th century, and come together in today’s West Texas. There’s a gypsy, Madame Zeroni (Deb Sprout) and the pig-stealing ancestor as a young man (Kasey Greene). There’s Sam, the onion man (James-Ethan Linton) and schoolmarm Katherine Barlow who transforms herself into the outlaw, Kissin’ Kate Barlow (Emmy Cote).

Most of all there are the delinquents – Xray (David Clark), Magnet (Jin Choi), Armpit (Joe Masterjohn), Zigzag (Jacob LaPierre), Zero (Josiah Durham) and Stanley (Paul Adzima) – each one a full-fledged character. Adzima is outstanding. Produced and deftly directed by Erin Greene, the all-volunteer crew and cast have created a polished production

As farfetched as it may seem, "Holes" and the perennially popular, "The Christmas Story" (think Red Ryder BB gun) are similarly engaging. Both pass the family entertainment litmus test. However, "Holes" exudes non-stop energy.

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.

Rossini, Chopin, Brahms

Springfield Symphony Orchestra
Symphony Hall, Springfield
April 25, 2008
By Donna Bailey-Thompson

What a satisfying program, one that began with Music Director Kevin Rhodes pre-concert comments about what we were about to hear. Chopin’s Piano Concerto No.2, F minor "is beautiful from beginning to end." His talk focused on Brahms’ Symphony No. 3 in F Major, "the least played of his four symphonies" and his favorite, "if one can say such an insane thing."

The first few seconds of Gioacchino Rossini’s (1792-1868) sprightly Overture to "La scala di seta" (The Silken Staircase) featured screeching violins reminiscent of Hitchcock’s horrific shower scene. What followed was not a slashing knife but background music suitable for a flock of hummingbirds whose geometric flight pattern continuously surprises.

Pianist Claire V. Huangci’s spirited playing of Frederic Chopin’s (1810-1849) concerto was the evening’s piece de resistance. She glided onto the stage wearing a frothy white strapless gown with a full bell-like skirt sprinkled with sparkling ,mini stars. The orchestra’s long introduction heightened anticipation. When her cue arrived, she attacked the keys – clean, sharply-delineated chords and passages – serving notice that she was in charge, a girl just 18, playing Chopin’s concerto as if she were channeling him or Lizst. From the high registers, clusters of descending notes sounded like a delicate clinking of crystal cubes. During interludes ideal for profound thinking, Huangci's nimble fingering loosed hundreds of butterflies into meadows of wildflowers. With her third curtain call (even the orchestra applauded), she graciously returned to the piano to play Mozart’s intricate and rousing Turkish March, further energizing an enthralled audience. Of all the glowing comments overheard by the smitten at intermission, the most-often expressed was, "A tour de force!"

Under the energetic direction of Maestro Rhodes, the full-bodied tones of Symphony No. 3 in F Major by Brahms (1833-1897) were brought forth. The composer’s virtuosity was showcased along with the need by Rhodes to mop his head, face and neck. During the third movement, the plaintive melody was woven like a dance – disappearing briefly before reappearing. Brahms indulged his pleasure of the theme by gifting future audiences frequent repetitions of the exquisite melancholic theme. He knew a good tune when he heard it.

“The Full Monty”

Majestic Theater, West Springfield
Through May 25
By Shera Cohen

Colloquial definitions of “the full monty” mean: the whole lot, entire pot, full amount, and the more commonly understood “full striptease routine.” The Majestic’s interpretation of the musical “The Full Monty” gives many meanings to the word “full.”

“Monty” tops off what has been a creative and exceptional season at the Majestic. From a two-character play, to Shakespeare, to a hysterically funny show on ice-fishing, to the large-cast and full-fledged musical of “Monty,” this company continues to prove that home-produced theatre is among the best. It’s costly and a risk, yet mounting plays from scratch instills a pride in cast and crew, not to mention audiences.

This musical, the story of down and out unemployed factory workers, is far from a “downer.” Yes, the characters are broke, with family problems, and depressed. Yet at the same time, they are full of hope, dreams, and the potential for self-esteem. Their means to the latter are unorthodox in the reluctant plan to become Chippendale-wannabes.

Randy Ronco (leader of the troupe) has energy, relates to his stage-son in poignant scenes, and represents a flawed man who doesn’t give up. Robert Clark (big-lug buddy Dave) portrays a pussycat with a heart. Darron Cardosa (mama’s boy) is the best of the singers. Also in this wonderful ensemble are Tom Knightlee, Van Farrier, and Dann Black. They are a perfect motley team, especially in their song and dance (creatively choreographed by David Wallace) piece “Michael Jordan’s Ball.”

While it’s the guys who “are” the play, Paula Cortis and Lea Oppedisano (wives) develop background of whom these men really are. Their juxtaposed scenes, in song and physical placement on the stage, in “You Rule My World” are highlights of the show.

Director Danny Eaton has a lot to do connecting the many segments to the next, as he works with Set Designer Amy Davis (creating a warehouse simply with moving panels) and Band Leader Mitch Chakour keeping up the pace.

“Monty” is a play with lyrics that move the story along, no hard-to-understand British accents (remember the movie version), and proof that there is no difference in talent between Equity and non-Equity actors.

The Nields, Shawn Mullins, Dar Williams

Calvin Theater, Northampton, MA
April 12, 2008
by Eric Sutter

The Nields from Western, MA performed songs from their current release "Sister Holler" at the Calvin. The14th recording in their career, it emphasized an abundance of old folk songs mixed witha surprisingly new radical edge. Of course, the trademark harmonies of the sister duo of Nerissa and Katryna Nields was intact as they sang the popular anthem "This Train." With Nerissa on folk guitar, the pair were joined by Dar Williams on keyboards and sang three part harmony on "Endless Day" to glorious effect. The sisters harmonized their hit "Easy People," which had the audience singing. Their close was the blues of "When I'm Here."

Native Georgian, Shawn Mullins sang a plethora of folk-rock and blues songs to an appreciative audience. "Shimmer" was the Australian's Olympic Team anthem. He continued in sequence of character sketch song-stories of humanity from his latest disc, "Honeydew." Tales of genuine heartache tugged at the heart and pleaded for the listener's ear. A plainspoken power was reflected in his voice as he sang "For America," which outlined the story of an Iraqi War veteran's loss of a limb. He performed the"Scrubs" theme song "All in My Head." The mellow psychedelic country "Blue As You" set the tone for a couple of hits with "Beautiful Wreck" and his Top 10 hit "Lullaby," for which he received a Grammy nomination.

Dar Williams capped off the evening of music in her resonant folk-pop style that worked her life scenarios into music that connected with the audience. Although she continued to have problems with tuning her guitar, the beautifully-voiced songbird sang lovely renditions of favorites, "Calling the Moon," "The Babysitter's Here" and "Book of Love." With humor and wit, she called out Shawn Mullins to join her in a duet of "Comfortably Numb." Williams' clear high voice and acoustic guitar on "Mercy of the Fallen" was backed by Nields. This was pleasant folk-pop for Northampton.

The Smothers Brothers & Springfield Symphony Orchestra

Symphony Hall, Springfield
April 12
By Shera Cohen

Tommy is age 70 and Dickie is age 68. Yet, the Smothers Brothers performance might as well have taken place in the 1960s. The “boys” never skipped a beat in impeccable timing, topical humor, irreverence, and their well-known stage personas. By the way, each aged very well.

Tommy’s trademark stupidity and naiveté bounced off brother Dickie’s exasperation and seriousness just as they had done throughout the past 50 years. Yes, a half-century! The audience got exactly what they expected in style, comedy, and music. Which was more perfect – the material or the delivery? It’s a toss up. Each went hand-in-hand to create a terrific show.

There was simply too much to remember for this critic to write, because the performance was extremely fast-paced and funny. Among the highlights were the following: the trilogy of “dog songs” coupled with a lame dog joke; the feigned gratefulness to perform in Springfield; and Tommy’s avocation as a trained pilot. As his brother commented, “Just because you accumulated thousands of skymiles, it doesn’t make you an airline pilot.”

Sometimes, it’s forgotten that the brothers are also very skilled musicians. With Tommy on guitar and Dickie on bass, their music and voices (Dickie, the better singer) make for an important part of the act – that is until Tommy always interrupts. The duo never managed through an entire song, but that’s what the routine is all about.

When music segued into comedy, that was the best of the routines; i.e. a tender Spanish song reverted to German, then yodeling (Tommy’s the culprit, of course). Another “normal” melody turned its notes to “Dueling Guitars,” only this time guitar vs. piano.

Special appearance by The Yo Yo Man (Tommy) and Voice of Yo (Dickie) had both back and forth on stage performing yo yo tricks and extemporaneous commentary. Who would think that a yo yo could be that much fun to watch?

A video of the brothers’ lives capped off the evening. The longest section showed excerpts from “The Smothers Brothers Comedy Hour,” including anti-Vietnam scripts, commentary by Pat Paulson, and being axed in the prime of the series. Thank goodness, the boys never really went away.

Brighton Beach Memoirs

Theater Guild, Hampden, MA
Weekends through April 5
March 29, 2008
By Donna Bailey-Thompson

Although this warm, funny, problem-ridden family play is set in September 1937, there are similarities with today’s vicissitudes and the inevitable maturations of human nature. Still mired in The Great Depression, the Brooklyn family has reconfigured their living space to accommodate recently widowed and destitute Aunt Blanche (Kathleen Epaul) and her two daughters, young Laurie (Angelina Cavallini) and impatient teen Nora (Christine Arruda). Because Hitler has shredded the Treaty of Versailles and positioned his army to invade Poland, concern for their European relatives and keeping a roof over their own heads beset the mother and father of the household – Kate (Patricia Colkos) and Jack (Jonathan Trecker). Their two sons, young adult Stanley (Dan Tapper) and teenager Eugene (Michael Piel) are wrestling with their own rites of passage. Shepherding this cast is Mark Giza, director, whose vision as founder of the Theater Guild of Hampden is not sabotaged by negatives.

Consider the L-shaped set designed from space stolen from the Hampden Country Club’s dining room. The approximate six foot depth of the staging supports an outdoor porch at right angle to an interior that includes a hallway, two bedrooms, dining and living rooms, furnished with tables, a console radio, easy chair, settee, upright piano, sewing machine, and more, in which seven actors inhabit as a family to bring Neil Simon’s semi-autobiographical play to life.

Michael Piel as Eugene chronicles the family’s events with a stage presence generously endowed with aplomb. There is no mistaking Eugene’s self-absorbed anguish and wonder about advancing puberty. The hilarity this awareness engenders evokes Philip Roth’s classic, "Portnoy’s Complaint." Compared to 1937, now formerly naughty French postcards are benign.

As the no-nonsense mother, Colkos is appropriately stressed by running a house bursting at its seams. As the exhausted father working two jobs to support the family, Trecker’s performance is reminiscent of a physically worn out Willy Loman but unlike Willy, Jack has a philosophical overview who gently guides those who come to him for advice. The love emanating from the parents is that intangible glue that keeps the disparate souls anchored as a family.

The Capitol Steps

CityStage, Springfield
March 26, 2008
By Lauren Duquette

The Capitol Steps provided a hilarious evening of over the top political satire on every current political scandal. Songs like "I'm So Indicted" and "God Bless My SUV" to "The Impossible Dean" gave the much-appreciative audience tons of belly laughing comedy in between.

Produced by Elaina Newport and directed by Bill Strauss, the antic-filled program was cabaret style at its absolute best! Capitol Steps was reminiscent of another great political satirist -- Tom Lerhrer, who wrote melodies like "Poisoning Pigeons in the Park" and "The Vatican Rag". This show was LOL from start to finish!!

The troupe began in 1981 at a Christmas party in the office of former Senator Charles Percy. Over the past 25-years they have recorded 27 extremely successful albums.

Not coincidentally, many of the performers have actually worked on Capitol Hill -- some for Republicans and some for Democrats and some who sit firmly on the fence.

Basically the formula for their show starts with a well known tune that has nothing to do with politics. Next, one of the cast members inserts some hysterical ideas, and the next thing you know the audience is listening to a familiar song with screamingly funny lyrics.

For those who missed Capitol Steps, here's hoping they will be back. It was a great time in Springfield at CityStage. A fabulous show!

25 Questions for a Jewish Mother

CityStage, Springfield
through March 9
By Shera Cohen

Judy Gold, star and co-writer of this stand-up comedy performance, has a Jewish mother. Judy Gold is a Jewish mother. This talented, funny woman is also 6’3” and gay. These facts are not passing tidbits of information, but are essential to the story told onstage.

Perhaps one would anticipate this latest program on the CityStage roster to be a show replicating one from Channel 98’s Comedy Central. Well, there is that, and the audience certainly enjoyed those many moments. Speaking of audience, opening night’s attendance was huge.

The voice over of a “typical” Jewish mother (from New Jersey, not the Bronx) starts the show as Judy comes onto the stage – a set with one microphone and one chair. The pace is fast, the flow from story to story is smooth, and the Jewish phrases are liberal. While she defined many of the terms, it would be curious to know if parts of her act were missed by non-Jews. The saying about Woody Allen might apply – you have to be Jewish or from Manhattan to fully appreciate him. Yet, Judy has a huge following, numerous awards, television appearances, so undoubtedly, many appreciate her. Equal in affect to the humor is her candor. Her life story becomes an open book, with the good, the bad, and the ugly. Yet, even the latter are given comedic spins.

Most impressive are the numerous segments when Judy portrays the Jewish mothers who she interviewed across the United States. That one chair is the complete set for this myriad of unique women, as Judy turns on her acting talents. Merely with accents and her seating position, Gold takes on the persona of the Jewish women, each having their own dramatic story. Perhaps a half-dozen segments are strewn throughout the act, when Judy the comic becomes Judy the actress. Indeed, these reminiscences are quite serious; i.e. intermarriage, female segregation in synagogues, and death in concentration camps. It’s these vignettes which make Judy Gold and her performance different, and much better, than even the best of television or touring shows.

“Enchanted April”

Majestic Theater, West Springfield
through April 6
by Shera Cohen



It’s March 2nd, dirty snow aligns the streets and sidewalks of downtown West Springfield. Yet inside the Majestic, it’s a warm spring full of flowers that could have been painted by the best Impressionists, setting the stage for rebirth and renewal. The current production at the Majestic is “Enchanted April,” which accomplishes all of the above and more.

It’s 1922 England at the play’s start. Two strangers, both dressed in black on a bleak stage with next to no furnishings, are the catalysts that change this setting, and indeed themselves and others, into bright and shining individuals. Act I creates a motley quartet of women, each leaning close to caricatures. As the story evolves, however, these stereotypes truly become characters with personalities, people to take seriously, laugh with, sympathize for, and perhaps emulate.

Lisa Rowe-Beddoe and Cate Damon lead the cast. Both are housewives in their own uneventful worlds. On first look, they portray the antithesis of each other, but beneath the exterior each needs to fill her own hole of things lost in life. The women play off of each other well, with the former acting crass and in-your-face, and the latter demure and saintly. Joining them on their journey toward hope are Margery Shaw (dowager) and Sandra Blaney (socialite). As their characters require the four actresses to become more and more real, the audience appreciates each as somewhat injured yet with purpose to go on. Blaney, who was so wonderful in this season’s “Trying,” is an especially welcome addition to this cast.

Yes, there are some male actors, who get more onstage time in Act II. Keith Langsdale (uppity lawyer/husband) makes the most of his role, particularly as he receives the longest laughs in this serio-comedy. Actually, every actor was well-chosen for his/her skill, not to mention keeping English accents going throughout the play.

Special kudos to the stage hands, which swiftly created each of the many scenes. The artistic crew – Bev Browne, Gary Miller, and Danny Eaton – made seeing believing, and believing is the core of this enchanted play.

The Last Five Years

Greene Room Productions, Monson
Weekends through March 9, 2008
February 24, 2008
By Donna Bailey-Thompson

A sophisticated retrospective of a five-year relationship – courtship, marriage, and disillusionment – is Greene Room Productions’ midpoint attraction of their second season. For "The Last Five Years" 2001 off-Broadway debut, the multi-talented Jason Robert Brown – book, composer, lyricist – won Drama Desk Awards for Best Music and Best Lyrics. Two years earlier, he won a Tony for his "Parade" score. Although "The Last Five Years" is a popular choice for community theaters, this may be its Pioneer Valley premiere.

This premiere is worthy of an appreciative audience.

Its intricate contemporary score – think Sondheim – and demands upon the two actors’ emotional range – think pithy drama – posits an intriguing twist: the husband plays the last five years from the beginning while the wife retraces backward from the end to the beginning. The one time they meet is when they marry. Along their disparate time-travel paths, they love, complain, whine, soul search, quarrel. Based upon the divergent trajectories, the suggestion is that one of the partners grows.

Presented in the three-quarter round, the cavernous space of Monson’s historic Memorial Hall becomes an intimate arena that Director Robert H. Clark III uses well. Here Erin Greene (Cathy) and David Wallace (Jamie) share their memories and reflections, their candor at times unsettling, provocative, and occasionally humorous. They disclose feelings that range from the banal to the esoteric and universal touch points in between, a gamut that is familiar to anyone who has experienced an emotionally-charged relationship. Their performances are polished and so very human.

Music Director Neal Schermerhorn leads a first-rate orchestra – Rob Degree (guitar), Kevin Germain (sub guitar), Julia Kay (bass), and Elaine Holdsworth (violin) – which does not distract but enhances, especially the aching bowing of the violin.

This production has everything going for it except the sound system it deserves – a glitch on the way to being resolved.

Mozart & Mendelssohn

Springfield Symphony Orchestra
Symphony Hall, Springfield
February 9, 2008
By Donna Bailey-Thompson

The music of a revered classicist opened the evening’s performance – the Overture to the opera, "Cosi fan tutte" ("women are all the same"), a lively five minutes, composed when Mozart was 33. His Symphony No. 29 in A Major followed, written when he was 18. During Music Director Kevin Rhodes’ pre-concert talk, he mentioned that Mozart could "imagine the entire piece in his head" before beginning to write. Honored by admirers as the most accomplished composer ever, the Mozart sound is readily recognized which is rather amusing inasmuch as he often mimicked others’ music. However, his unique essence cannot be eclipsed because often even his slow passages described by one Mozart aficionado as "pure silk."consist of millions of notes. That’s an exaggerated number but not by much.

Following intermission, Mendelssohn’s richly melodic Symphony No. 4 in A Major – The Italian – filled Symphony Hall with Romantic strains (revised by Mendelssohn in 1834 and not discovered until the 1990s). Of particular beauty were the French horns in the third movement. By presenting familiar passages followed by their revisions, the audience could play Holmes to Maestro Rhodes’ Dr. Watson. Not so fast! Without in-depth familiarity with the original score, pinpointing any changes was difficult to impossible with one exception: the revised final movement is a heightened triumph of whirling rhythms that brought the audience to its feet.

Here’s another nugget shared by Rhodes during his pre-concert talk: strictly speaking, Classical is not a blanket adjective but refers to music composed between 1730 and 1820. Other named periods begin with Medieval (476-1400) followed by Renaissance (1400-1600); Common (1600-1750); Romantic (1815-1910); Modern/Contemporary (1900-2000). Perhaps eons from now there’ll be assigned a contemporary avant garde classical period which will have been a stepping stone for an au courant classical body of work. And the beat goes on.

"Almost Heaven - Songs of John Denver"

CityStage, Springfield
February 13, 2008
By Eric Sutter

CityStage played host to a wonderful feel-good musical theatre production with "Almost Heaven - Songs of John Denver." Songs of love and hope were nestled nicely alongside songs of open country and playfulness. The players, including Ryan Nearhoff as John Denver, sported a clean-cut whole-earth image. The choral group consisted of three men and two women and with back-up musicians on fiddle, guitar, and keyboards they conjured up a sensitive portrayal of the music of Denver.

The talented group cleverly cultivated the era's folk-rock and country-rock feeling of getting back to the basics of country living with the aid of visual images displayed on the theatre's backdrop. The males harmonized vocals on Denver's first love song "For Bobbie" to great effect. "Country Roads" shifted to a female lead voice with the others harmonized to perfection. "Fly Away" was lead by a beautiful female voice and a carefully balanced arrangement of supportive vocals with a ministerial tone. "Rocky Mountain High" created a comfortable image of rural utopia as the Rocky Mountains flashed in the background. Edgier emotions emerged as the singers tackled the love and war-themed "Matthew/Weapons." The first half ended with the ecological dream song "Calypso," with its high yodel set against images of the sea.

The second half started with a rousing "Thank God, I'm a Country Boy" and a playful "Grandma's Feather Bed" with some fine harmony singing and dancing. The "Love/Leave Medley" featured "Back Home Again" vocally interwoven with "Leavin' On A Jet Plane." "Sunshine on My Shoulders" showcased the powerful gospel voice of female vocalist Vernae Taylor as a sunny-scened backdrop lightened the stage. The classic "Poems, Prayers and Promised" closed the evening. A short film clip of John Denver singing "Yellowstone" at a campire followed, after which the cast sang an encore of "Rocky Mountain High."

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.

AeroPlane 1929, Low Anthem & More

Pioneer Arts Center of Easthampton
January 26, 2008
By Eric Sutter

Music is sound arranged into pleasing or interesting patterns. This evening proved three distinctively different sounds could co-exist in an often inspiring manner. The triple bill featured a fine array of diverse talent from the Pioneer Valley and beyond. First up was Aeroplane 1929 from Springfield and New Haven. The 5-piece band at first glance looked like any number of indie-rock bands. The sudden impact of the opening song from their 2007 CD, "The Holy Ghost," with its persuasive sound permeated the core of the listening audience. Acoustic guitar slowly built the musical tension with the addition of lap steel, electric guitar, keyboard and cornet in succession. It was topped off with Alex Mazzafero's singing the red, white and blues. The quintet performed songs strong enough to break through radio's stonewall. The stampeding "Hounds at Heels" showcased a garage rocker with drummer Wil Mulhern's steady beat. Insightful lyrics and melodic guitar riffs evoked and transcended what could be ready radio play. The title cut, "The Holy Ghost" began with subtle finger snaps as the music swelled up to an upbeat crescendo of electric guitar and keyboard accented by a pleasant glockenspiel solo from Wil Mulhern.

Low Anthem from Providence performed in a mellow down easy alt-country style complete with a three part harmony sound. Diverse and versatile in styles that ranged from folk/country to roots rock, the trio employed acoustic guitar, harmonica, stand-up bass, banjo and clarinet to amazing effect. "The Ballad of the Broken Bones" and "A Weary Horse Can Hide the Pain" were moody pieces that lulled the audience into intense lyric listening. Multi-instrumentalist Jocelyn Adams bowed a banjo and played a clarinet solo in the course of the evening. Their vocal harmonies with the man out front were what shined and had the audience singing the A.P. Carter classic "Keep on the Sunny Side." moving bowed bass solo.

Vocalist Julia Suriano and acoustic guitarist Steve Biegner joined forces to enlighten and inspire with their wonderful music. The pop love song, "February's Moon Rise" was beautiful. Most of the evening was shared between this girl's gorgeous voice and this guy's brilliant guitar playing duets. The urgency of "The Water that Cut the Canyon" exposed their wide range in voice. It's not surprising with this much talent that they will play the lead roles in "West Side Story" at the Academy of Music on April 23-27.

“My Sister’s An Only Child”

CityStage, Springfield
Through January 27
By Shera Cohen

Steve Solomon’s “My Sister’s An Only Child” is the stuff that the Comedy Central network is made of, yet perhaps a little cleaner and more wholesome. Special to CityStage is that this show is a world premiere. Solomon’s last production, also at CityStage, has run off-Broadway for 500 performances. Who’s can predict if this will be a repeat of that success? Based on the audience reaction, it probably will be.

Solomon ended his 90-minute, no-intermission stories by answering two questions that are often asked of him. First, did he write the material? “Yes.” Second, is it true? “Unfortunately, yes.” The negative yet humorous response refers to the saga of his own life and that of various family members: mom (Italian), dad (Jewish), sis (chain-smoker), cousin (dim whit), ex-wife (dictating), and dog (flatulent).

Vocal tricks are Solomon’s gift as he replicates numerous sound effects, accents, and voices of men and women of all ages and ethnicities. He throws these tricks in throughout the act. While starting slowly with very clean humor, he escalates in speed and tended toward PG ratings. In fact, one of his stories relates to movie ratings, which he didn’t understand as a child. He told his aunt that P was pretty good and X was excellent, so she took him to an X-rated movie.

It’s so hard to remember the funny lines, but a few stick out; i.e. “I tried on a Speedo. I’m well over the Speedo limit.” A long bit was his embarrassing story of purchasing feminine products for his sister. “Do I go with the wings or without?” Another story was about his gigs on cruise ships and their tiny bathrooms. A fourth was a reminder that airline travel with babies is not a fun experience.

The show is a stream of personal funny stories and jokes. Some of the latter are not new. Most are. Solomon’s life experiences made many shake their heads with the expression, “That’s so true; that’s my life too.”

SSO Classical Folk

Symphony Hall, Springfield
January 12
By Wendy Sutter

On Saturday evening, the Springfield Symphony Orchestra offered up their version of "Classically Folk" featuring the works of Aaron Copland and Antonin Dvorak.

Maestro Rhodes and company opened with a rousing rendition of Copland's Rodeo Suite. Written as a ballet showcasing the talents of the infamous Agnes de Mille, Rodeo is an ode to the glories of the Old West and its pioneering spirit. The four-part piece follows the misadventures of a lonely cowgirl searching for love. Permeated with the spirit of Americana, SSO aptly captured the rousing, toe-tapping flavor of Copland's work.

The second selection for the evening featured the considerable talents of Michael Sussman, principal clarinetist for SSO. Mr. Sussman, whose curriculum vitae is of global proportion, impressed the audience with his interpretation of Copland's Clarinet Concerto. Originally commissioned by the late Benny Goodman, the Concerto is a dizzyingly technical work whose appeal lies in the hands of the soloist. Delivered with perfection by Mr. Sussman and company, the Concerto is a spirited piece of modern "classical" music.

Dvorak's Symphony No. 7 closed out the evening. Symphony No. 7 was also a commissioned work written at the request of London's Royal Philharmonic Society for the 1885 musical season. Full of nationalistic sentiment, the work exudes a feeling of Slavic pride and folk spirit associated with many of Dvorak's works. Written in grand style, the symphony is often larger than life. This is a bold work that captivates not only the senses but also the emotions of the listener, who is drawn to the haunting melodies that flow from movement to movement as the orchestra surges forward then softly pulls back. Maestro Rhodes and his ensemble shone brilliantly during this performance and once again brought the audience to their feet. A sparkling ending to an otherwise dull January evening!

“Guys on Ice”

Majestic Theater, West Springfield
Through February 10
By Shera Cohen

No, the musical currently running at the Majestic is not about Brian Boitano, Scott Hamilton, or even Will Farrell. “Guys on Ice” is, however, a lot slicker than any movie starring Farrell.

When this play was listed on the Majestic’s 2007/08 roster it brought quizzical looks and “I never heard of it” comments. Written by Fred Alley and James Kaplan added little insight. This was not to be a “Miss Saigon” – the Majestic’s huge hit in recent years. Yet, this musical, with its cast of three, may go down in WestSide as the funniest ever produced.

With the backdrop and floor of pastel blue and white, lighting created the set for this contemporary Wisconsin winter fishing hole. A rustic shanty turns 180 degrees for the audience to see the exterior and interior. Throughout the play, two buddies prepare to ice fish as they await a local television crew to film them. The men are equally dim, nice people, who seek very little in life but their 15-seconds (not minutes) of fame.

Equity actor Sam Rush and novice Alec Nelson are Marvin and Lloyd, respectively. Each is perfect for his role, and they are perfect together as they portray guys just being guys, telling jokes, drinking beer, wishing their love lives were better, drinking more beer. Neither actor is a great singer, and that’s how it’s supposed to be. The songs are funny; i.e. Rush doing “King of the Icemen” a la Elvis, and the showstopper “Snowmobile Suit” with its ingenious choreography. Without “giving it away,” never before have Velcro and zippers been utilized to achieve such humor. Special note must be made on their wonderful ability to maintain their accents. It wouldn’t be a surprise if after six weeks in this play, the actors find it hard to kick the Wisconsin “yaaah.”

Frank Aronson, in a smaller role, creates an intermission segment with audience participation that has everyone laughing. Talented Amy Crawford “is” the orchestra, on her piano.

“Guys on Ice” is a musical play to warm your heart with a smile and a belly laugh. Both are welcome. The Majestic has the perfect show for this season.

"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

"Sister's Christmas Catechism"

CityStage, Springfield
Through December 2
By Bernadette Johnson

Words prove inadequate to describe just how entertaining this production is. It’s one of those "you-had-to-be-there" shows. You don’t even have to be Catholic or “in recovery,” but if you are, Sister is sure to stir up more than one memory of your Catholic school days and provide fodder for many "tales told out of school." Yes, public schoolers, most of those stories you’ve heard have at least some basis in reality.

There is a set script, hilarious in itself, but spontaneity reigns. Mary Zentmyer brings wit and wisdom to the role and has an uncanny knack for catching members of the audience, make that her classroom, behaving badly. Classroom etiquette is de rigeur. Gum chewers beware. And keep those hands out of your pockets. There are consequences to pay for misbehavior. But then, there are also the holy cards ("baseball cards of the Catholic Church") and other "holy" trinkets to reward right answers. There are even pointers on what to buy (and not buy) nuns for Christmas, any perfume bearing Elizabeth Taylor’s name being particularly taboo.

Hilarity reigns in the second half of the show as Sister recruits, then dresses audience members for a Nativity tableau unlike any other. Much of the fun is due to the willingness of "volunteers" to laugh at themselves and allow Sister to bedeck them in shower curtains, lampshades and other makeshift costumes for the pageant. And let’s not forget Sister’s fascination with "Forensic Files" and her determination to find out what became of the Magi’s gold.

Yes, here is the Christmas story like it has never been told, and, hopefully, Sister's brief visit will become a holiday tradition at CityStage.

Arlo Guthrie

Symphony Hall
Springfield
November 17
By Eric Sutter

The opening Springfield Pops concert with Arlo Guthrie and the Symphony Orchestra was well done with the help of guest conductor John Nardolillo who recorded with Guthrie on his 2006 CD, "In Times Like These" with the University of Kentucky's Symphony Orchestra. Nardolillo opened with a lush Gershwin's "American in Paris" to great effect. The Symphony added new dimensions to Guthrie's songs providing appropriate shadows or light to the folk gospel "Last Train" and the harmonica and guitar based, "Darkest Hour." They strolled through a traditional reading of "St. James Infirmary" with a horn drenched funeral march and Guthrie's ragtimey fingerpicking guitar. The ballad, "Last To Leave" featured Guthrie on piano and majestic swelling chords for maximum impact. The strings of the orchestra complemented his folk-pop style admirably. He finished the first half with the ticklish delight of a nameless ragtime piano piece.

After a brief intermission, Guthrie opened with his epic song, "Alice's Restaurant" the classic anti-Establishment folk song that helped define the Woodstock era and launched him to the forefront of the anti-war movement. The year 2007 officially marks the 40th anniversary of the "Alice's Restaurant" recording and has become not only and anti-war anthem but a Thanksgiving anthem as well. With Guthrie on piano, the "City of New Orleans" was performed, happily it's rails made new with brass and strings from the orchestra. His love ballad to his wife of 39 years, "You Are The Song" was rendered with affection. With an accompanied monologue, he followed with the title cut of his latest CD, "In Times Like These" which is about the Katrina disaster. The inevitable "This Land is Your Land" became an audience sing-a-long. Woody Guthrie's "My Peace" was in good hands with Arlo's cover. Guthrie shared a heartfelt childhood story about his father's friend, Lead Belly which set up the finale, an audience sing-a-long "Good Night Irene."

"The Taming of the Shrew"

Majestic Theater, West Springfield
Through December 9
By Shera Cohen

For Shakespeare purists, the Majestic's production of "Taming of the Shrew" might disappoint. For the rest of the world (okay, Western MA), it is a huge hit. What a shame many believe Shakespeare and 16th century dialogue is over their heads. "Shrew" is especially easy for Bard novices to understand – perhaps the reason it is often performed and the reason it will receive kudos for the next six weeks in West Springfield.

The plot is well-known, with the overall concept being the battle of the sexes. Five centuries ago, women did as their husbands commanded. Shakespeare, however, was a playwright ahead of his time, whose females were oftentimes strong-willed. "Shrew" can be a benchmark for feminism.

This production is based on the original script – a play within a play. A troupe of actors happen by a drunkard, don him in regal duds, tell him that he slept for 15 years, and entertain him. The drunkard becomes a member of the audience.

This presentation, more than any other, takes the play within a play quite literally and hysterically, with an abundance of shtick, cheesy props, and oh-so-fake sound effects. Chris Rohmann directs his cast of 15 with a sense of delight and whimsy as a mix of Keystone Cops, Three Stooges, and "Mad TV." There is no shame (in fact, the opposite) in jamming as many gimmicks, pratfalls, and slapstick that can possibly fit in the two-hour show. Several lines stolen from other Shakespeare plays add to the fun. One would guess that William (Will, to his friends) is smiling at this 21st century adaptation.

Alan Schneider and Marina Morrow handle their leading roles with determination and fun. Schneider revels in taming his shrew. It is a pleasure to see some Majestic "regulars" tackle Shakespeare: David Healey, Steve Henderson, Chris Carey, Stuart Gamble, and Roger Patnode. The latter portrays the sound effects man with the job of ringing the Round 1 boxing bell as the men and women fight. Dan Robert is especially funny and very cute in drag.

Amy Davis' huge landscape stage design of brick, glass, cement, and wood easily creates multiple sets. The sound crew cleverly fills any time gaps (the play's start, set changes) with music, appropriately, from "Kiss Me Kate."

Man and Nature

Springfield Symphony Hall
November 3
By Wendy Sutter

On Saturday night classical music aficionados from across the Pioneer Valley were treated to another rousing performance by Maestro Kevin Rhodes and the Springfield Symphony Orchestra. The evening's theme Man and Nature included works by Smetana, Bernstein and Beethoven.

The program opened with an enchanting rendition of Smetana's The Moldau, a lilting tribute to the river of the composer's native Bohemia. What began as a murmuring of solo strings conjuring images of a meandering brook slowly gathered speed as the entire orchestra joined together in the birth of a triumphant musical maelstrom cascading headlong to its astounding finish. The Moldau is a perfect example of the sentimentality heard in most symphonic poems: the music pulls at the heart-strings of the listener who yearns for those care-free, idyllic days spent in the company of nature alone.

Second on the program for the evening was Leonard Bernstein's Serenade for Violin, String Orchestra, Harp and Percussion. Bernstein's composition is a musical ode to Plato's Symposium, a conversation amongst friends on the "nature" of love. The winding solo violin slyly manipulated the musical dissertation throughout its five movements only to be answered in return by an orchestral cacophony of objections and assents reminiscent of any good philosophical argument. Guest soloist Glenn Dicterow delivered a performance of technical perfection and lyrical aplomb that brought the entire house to their feet.

The final selection was Beethoven's Symphony No. 6 in F Major. Like the Smetana work, Beethoven's symphony is considered a symphonic poem meant to call upon pleasant imagery for the listener. Indeed, such was the case. As the orchestra flowed effortlessly from one movement to the next, the audience was transported back in time to a more "romantic" era of music replete with echoes of happy country folk enjoying the offerings of nature. Certainly a fitting ending for any classical connoisseur!

“Shout! The Mod Musical”

CityStage
through October 21
By Barbara Stroup

“SHOUT ! The Mod Musical” opened at CityStage to long and well-deserved ovations. President Cynthia Anzalotti chose this colorful celebration of the ‘60s show to mark the beginning of the theatre’s 10th anniversary year.

Five amazing ‘girl’ singers populate the stage throughout the no-intermission and high-energy production - they are named only by the colors they wear. These talented performers bring just the right sensibility to the production’s 30 songs of London’s mod ‘60s as they sing in solos and in varying ensemble combinations. Director Jay Falzone’s choreography never overtakes the music and none of the songs go on too long. Four decades later we hear a sameness to these rhythms and orchestrations, but the production’s volatility overcomes it. These athletic performers are having fun with the music and although it took a while, the audience soon caught on to the humor.

Weaving these songs together into a coherent whole are a few recurring plot substitutes – a large “SHOUT” magazine reveals the year on its back cover and gives the girls insights into mod culture. Off-stage, advice-giving voices preach put-down answers to universal relationship questions.

While referencing the best of mod London’s music, the production refuses to take the ‘60s too seriously. In fact, the lyrics are often mocked by literal stage movements – ecstatically so in one case. One-liners delivered in the style of television’s “Laugh-In” give us even more opportunity to laugh. One awkwardly serious moment comes up toward the end; it reminds us what happens to some women in every decade behind doors that hide the abuse of power and violence. But the mood quickly turns light again with a nostalgic “Those Were the Days,” and the audience sings along until the show’s terrific finale and curtain calls.

This reviewer would love to have seen this production with live musicians. These talented women deserve the opportunity to interpret the songs beyond what’s available with a pre-mixed, back-up recording. First night glitches in the sound and miking will surely disappear. For an ensemble that probably saw the theatre for the first time that afternoon, Wednesday night’s opener looked polished and practiced. Anzalotti greeted the audience like old friends who all seemed happy to be kicking off a new season at CityStage -- “Downtown!”.

Rachmaninoff and Mahler

SSO
Symphony Hall
Springfield
September 29
By Donna Bailey-Thompson

The opening night gala of Springfield’s Symphony Orchestra offered an evening of contrasts – in apparel, from glittery chic to tailored casual – and in music, either heart-embracing or mentally-challenging. Under the baton of Kevin Rhodes (a gift from the universe to the SSO and to Springfield) the performance demonstrated that the SSO is a musical force worthy of accolades, regardless of how affected (or disaffected) one may be by the program.

Guest artist pianist Ralph Votapek’s interpretation of Rachmaninoff’s beloved Piano Concerto No.2 in C Minor (remember "Full moon and empty arms..."?) filled Symphony Hall with one musical hug after another. His disciplined technique rendered a clean concerto, as opposed to muddied sentimentality, thus enhancing its passion. His cascading notes were waterfalls of crystals. In emotional sync with the orchestra, this full-bodied concerto was an ideal de-stressor that could put shrinks out of business.

Whereas Gustav Mahler’s Symphony No.5, performed brilliantly by dedicated musicians, could have passed as the stream of consciousness of an emotionally conflicted mental health client. Much of Mahler’s music is polarizing; some have said that it engenders "fierce adoration to outright dislike." It’s not for sissies. The opening trumpet fanfare heralded that important music was to follow – doleful, tormented, a touch of a waltz, more anguish. Throughout this long symphony, Maestro Rhodes’ cajoled the musicians to honor the details. The final passages shot the audience to its feet and the conductor off the podium who after kissing the hand of the Concertmaster, immediately sprinted into the horns (I think: my sightlines were compromised) where he hugged musicians. Meanwhile, the applause continued, smiles everywhere. Kevin Rhodes and his devoted musicians had delivered a winning concert.

The Valley Advocate’s full page ad in the program declares in white ink on black, "We think the Maestro is the man." They got that right.

Paradise City Arts Festival Preview

Three County Fairgrounds, Northampton – upcoming Oct. 6-8
By Shera Cohen

During our growing up years, traditions are started. In the case of this reviewer, Memorial Day meant a family trip to the Connecticut shore to clean the cottage for the summer ahead. Columbus Day meant watching the annual Springfield parade and leaves turning color. Past traditions have been abandoned, for at least the past 15 years now, for the biannual trip to the Paradise City Arts Festival.

For those seeking the best – yes, BEST – arts and crafts show in New England, this is it. Paradise City is an exquisite and whimsical art gallery as well as a “window shopper’s” dream come true. It is also the opportune time to purchase the perfect wedding, new home, or Christmas gift. Admittedly, I treat myself to a gift. After all, who can buy exactly what you want other than you?

Be prepared to see the unusual, no matter what the art genre. It is guaranteed that there will be enough art worthwhile to make the trip – some in the form of jewelry, photography, furnishings, clothing, glass, sculpture, and paintings. Pieces are as small as earrings and as large as lawn ornaments. Artists are from near (Northampton) and far (California). Actually, more and more, these artists are local residents. It is important to support this talent.

Speaking of local talent – there’s also music in the adjacent tent and the culinary talent of numerous Northampton restaurants. To do Paradise City justice, plan on spending at least three hours, which probably means you will be hungry at some point in this arts’ sojourn. Sight see, shop, dine, and be merry.

Green River Festival

Greenfield Community College
Greenfield
July 19-21
By Eric Sutter

The 21st annual Green River Festival kicked off on Thursday, July 19th at the Second Congregational Church in Greenfield, MA with a double bill of Boston-based new voices. Eilen Jewell, part country twang and blues delivered a mix of rootsy singing styles backed by a hot honkytonk band. Crooked Still played a rock inspired style of country, bluegrass and folk.

Friday night shifted to Greenfield Community College with the Bayou Blast represented by the New Orleans styles of Terrance Simien and the Zydeco Experience and the Subdudes.

Saturday kicked into high gear with the Godfather of Pioneer Valley rock, Ray Mason. The Ray Mason Band cranked out a riveting set or Rock n' Roll revelry, including the title cut of their latest 2007 CD, "Don't Mess With Our Routine." Regional favorites, Rani Arbo + daisy Mayhem followed with their rootsy swingin' bluegrass. Rich four part harmonies touched off by her alto and fiddle flourishes kept upbeat numbers from her their new CD, "Big Old Life", alive and fresh.

The second stage featured performances in an intimate setting with bands Kamikaze Hearts, The Kennedys and Northampton's Primate Fiasco which played a mix of styles in the spirit of "Let The Good Times Roll" as hot air balloons were launched into blue skies. The Main Stage showcased Erin McKeown in her cool syncopated guitar style singing in a beautiful clear mezz-soprano voice. Another treat was an outstanding performance by British R+B singer, James Hunter in a smooth soulful singing style. Tight horn arrangements punched up the soul of "People Gonna Talk." Southern Culture on the Skids played a unique brand of Americana Rock n' Roll. Surf instrumental "Skullbucket" and rockabilly "Mojo Box" conjured up the hellish verve and wild abandon of the late 50's and early 60's. Neko Case sang her mix of Indie-pop and country with a sextet that included pedal steel and banjo. Her lush voice sounded comfortable singing Dylan's "Buckets of Rain" as the pink and blue sunset brought twilight to Greenfield. Headliner Buddy Guy strode on to the Main Stage blues happy at nightfall with electric guitar that cut into "Hoochie Coochie Man." He performed indescribably blue with "Dreams to Remember" Making every possible guitar sound imaginable, Guy imitated his peers playing snippets from B.B. King and Albert King. He segued into John Lee Hooker's "Boom, Boom" and Cream's "Strange Brew" interspersed with Jimi Hendrix. Between his accomplished side guitarist Rick Hall and himself, Guy stylized every major blues player from the last century. The two master guitarists closed with Eric Clapton's "Sunshine of Your Love."

"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.