The Four Bitchin' Babes present "Hormonal Imbalance"

CityStage, Springfield, MA
www.citystage.symphonyhall.com
by R.E. Smith
through March 13, 2010

Continuing what seems to be an unofficial "gender based" show theme at CityStage, "Hormonal Imbalance" provided one of the best evenings of entertainment this season. Despite the title, this show was a perfect "balance" of humor, storytelling and musical craftsmanship. The four immensely likable, relatable "babes" whipped up a sparkling concoction that was equal parts Indigo Girls, "Sex and the City" and "Weird" Al Yankovic. Modern folk, girlish confiding and pointed parody added up to a surprisingly well-rounded performance that tickled your funny bone and touched your heart.

From the opening harmony of "Oh, No," which laments the scattered forgetfulness of middle age, it is clear that these are very talented women - accomplished musicians and songwriters who happen to have impeccable comedic timing. Men should have no fear that this is a male-bashing session. The ladies love their "man-babes" and the focus is frustrations life, not the male gender.

To be sure, the draw for the show is the humor, with song titles such as the "Boob Fairy," "Hot Flashes" and "Elastic Waistbands." Some of these observations on the female condition had the audience literally gasping for breath. While not all the songs are humorous, they are all life affirming.

Each babe is given her moment to shine and display her considerable, multiple, musical chops. Debi Smith is a five-octave soprano who also plays the Bodhran (Irish drum). She skewers her own talents by releasing her "Inner Diva" then takes your breath away with her powerful song about parenthood. Deidre Flint, puts her stand-up comedy background to good use on "Cheerleader" and "Here Comes Metric," using impeccable delivery and timing. Sally Fingerett is an accomplished pianist when she isn't raiding her cupboard for "Chocolate." Her strong folk storytelling roots are the most evident. Nancy Moran, a respected Nashville talent, tells it like it is, explaining there is "(No Such Thing As) Girls Like That." She personified the best girlfriend everyone wishes they had.

Despite some turns toward more traditional musical styles, the quartet sends everyone home laughing. Audience members leave the theatre feeling they know these women and hoping for the opportunity to sit down and "dish" with them again.

Black Grace Dance Company

UMass, Amherst, MA
www.fineartscenter.com
by Amy Meek

March 9, 2010

"I am proud to be a Pacific Islander, a Samoan. Equally, I am proud to be a New Zealander, a Kiwi...Despite our struggles, it is in this land and under these Gathering Clouds where I will learn, live and love." These words from choreographer Neil Ieremia are used to describe one of the dances in the program by the Black Grace Dance Company, but they can just as easily summarize the content of the entire show. Ieremia's work fuses his native Samoan roots with his acquired Westernized training to create a unique and vibrant dance form. The dances reflected elements of Samoan culture as well as those of nature and family.

The dancers' movements were athletic, yet artistic -- alternating fluid with percussive moments. The troupe manipulated rhythms through the use of the traditional Samoan dance called Fa'ataupati, in which they furiously slapped their hands together and on their bodies in unison to create complex sounds along with vocalizations. This dance was an intense moment -- amazing to watch as the speed and precision with which the dancers moved was lightening fast.

One of the highlights was Ieremia's personal commentary about every piece in the program. It is not often that the choreographer speaks directly to the audience about his experience in creating the dances, but his insights gave those in attendance wonderful vision into his process. He spoke of the challenges of growing up in his Pacific Island culture and his desire to defend that culture from societal criticisms. His words and choreography showed hope amid change and the celebration of a changing culture of people.

A Man For All Seasons

Majestic Theater, West Springfield, MA
www.majestictheater.com
through April 3, 2010
by Eric Johnson

Conscience. Is it great courage or extreme folly to follow one's conscience if it means losing everything? This is the question Robert Bolt poses in this play, and it is one we are left to answer for ourselves. Faced with the same choices, what would we do?

A Man for All Seasons relates the story of Sir Thomas More and his devotion to his own conscience. The issue is separation from the Catholic Church and subsequent founding of the Church of England by King Henry VIII in order to divorce Catherine of Aragon and marry Anne Boleyn.

The multi-level and multitasking set design by Greg Trochlil is impressive -- no surprise there. Colorful period costuming by Elaine Bergeron and the muted lighting design by Daniel Rist complement each other nicely and create a raw mood that is a perfect setting for this historic tale.

Add to this backdrop, an extremely talented, competent, and confident cast and what follows is, quite simply, good theatre. The performances are all convincing and the "larger than life" characters are portrayed realistically without being overdone. The entire cast works well as an ensemble, the characters believable and genuine. Kudos must be given to director Danny Eaton for taking on this challenging project and bringing it to fruition -a job well done.

A Man for all Seasons is a thought-provoking, dark production and, in all good conscience, one definitely worth seeing.

Communicating Doors

Suffield Players, Suffield, CT
www.suffieldplayers.org
through March 6, 2010
by Shera Cohen

You don’t have to be a “Lost” fan to fully appreciate “Communicating Doors,” but it might help. Britain’s “Neil Simon,” Alan Ayckbourn penned this comic, science fiction, mystery before the cult TV show began. Perhaps “Lost’s” writers saw the play, said “great concept,” and the rest is history? Toss sex and murder into the plot mix and there’s a lot to like in “Doors.”

Set over the course of one day, yet in a 40-year time span (sounds odd, but true) are six characters whose lives intertwine in 1984, 2004, and 2040. The lead role is that of a twenty-something, which makes the literal timing all the more purposely confusing. Time moves back and forth at the drop of a hat – actually at the opening of a door.

The set is a hotel suite, beautifully crafted with three rooms, a balcony, and a surprise. The latter is a key element, as important as any of the characters. Well-executed lighting and sound design help create the mystery.

A novice (yet fully equipped) dominatrix is our heroine. Relative newcomer Becky Rodia Schoenfeld portrays Phoebe with sweetness and naivete. She is ever-present onstage, the lynchpin who keeps the steady swift pace from scene to scene. Schoenfeld is a top-notch young comedian who doesn’t mind throwing her whole body into the action. Much of her time is spent in dialogue and antics with Ruella, played by veteran actress Mary Fernandez-Sierra. The two characters’ immediate connection and rapport is honest. These total strangers care about each other and the audience cares about them.

Dale Facey’s direction nicely transitions from one decade to another and back again, yet on the same set in different time-warps. Albeit, the play is a bit long and small cuts would have been helpful. A section in Act I requires an elderly man to collapse, perhaps with a heart attack. This is done in humor, yet the audience cannot see the actor since the couch blocks the audience’s view. Had we seen it, there would have been more laughs.

The writer has strewn his play with clever dialogue, the director with physical humor, and the actors with the best English accents heard on a community theatre stage.

Men Fake Foreplay

Men Fake Foreplay
City Stage, Springfield, MA
www.symphonyhall.com
through January 31, 2010
by R.E. Smith

"Men Fake Foreplay" is neither as simple nor as crude as the title might suggest. In fact, this witty, funny and insightful show is actually quite complex. Emmy award winning comedian Mike Dugan is an affable and candid performer who has set out to win our trust with humor and then teach us a few lessons. Since the lessons are about men and relationships and sex, we get the pleasure of laughing heartily while taking our medicine. Dugan has created a hybrid show designed to examine the seemingly irrational motivations of men.

"Foreplay" is part monologue because of the autobiographical nature of the material and Dugan's sometimes-surprising revelations. The thread that ties the insights and humor together is the story of his personal journey. He reports that in the past he didn't have relationships because "all of my training had been in casual sex". There's also a motivational aspect, as Dugan lays out the path he took to overcome his failings. This includes such insights as the fact that, like the sports men love, "Our feelings are on tape delay."

There's a bit of one-man play present in the structure, because Dugan touches on characters in his life with effortless mimicry, whether putting a dirty spin on "It's A Wonderful Life" or speaking in the vernacular of his childhood friends. But, like a stand-up show, there are bawdy, laugh out loud moments. Dugan reports that, "Women peak at age 40. Men peek at whatever they can."

The performer has some things he is truly upset about, especially the current culture of "playas" that profit from the degradation of women, and his keen observations of social norms and hypocrisies calls to mind George Carlin. Like Carlin, Dugan has a first class mind with an R-rated vocabulary.

"Men Fake Foreplay" is a unique and worthwhile evening's entertainment. Some men will "get it", some men will learn from it and both their female companions will laugh knowingly.

Rachmaninoff & Brahms

Springfield Symphony Orchestra
www.springfieldsymphony.org
Symphony Hall, Springfield
by Debra Tinkham

The house was full, the orchestra was charged and Maestro Keven Rhodes made his usual exuberant entrance for an action packed evening.

Gaetano Donizetti's Robert Devereau Overture, premiered in the mid-19th century, displayed deliberate patriotic percussion and theme. Being a love triangle - make that a quadrangle - this opera originally had no overture until Donizetti added it for a Paris debut. It was a short and sweet start for a night of some heavy music.

Moving right along to a Springfield Symphony Orchestra first was Sergei Rachmaninoff's moody Piano Concerto No.1 in F-Sharp minor. Maestro Rhodes described it as, "a relatively youthful work of Rachmaninoff's, it has all his hallmarks: great melodies, tremendous excitement and incredible virtuosity."

Alexander Ghindin, a Russian native, who at the age of 35 and already a major player on the international piano scene, performed with the SSO in a riveting rendition of typical "Rach-style." Gindin's beautiful hand style certainly gave the "old Steinway," the orchestra and Maestro Rhodes a workout. The Vivace movement opened with heavy brass, conjoined with Ghindin's rapid finger movements up and down the keyboard. Although short and melodic, the Andante movement demonstrated a nice harmony between piano and bassoon. This was a nice change from your typical solo instruments. The Allegro Vivace finale was "show-off" time for Ghindin as well as the orchestra. You either know this stuff or you don't; no second guessing. It was loud and moving and melodic and exhilarating. Of course, Ghindin received a standing ovation.

The finale was Johannes Brahms' Symphone No. 2 in D Major. The Allegro non troppo (first movement of four) brought out Brahms' melancholy mood, and was even more evident as the second movement (Adagio non troppo) transitioned into a minor key. Throughout this work, Brahms incorporated the use of many (solo and group) instruments, as is displayed in the Allegretto Grazioso (Scherzo). By the fourth movement, the orchestra had blasted to a fantastic fanfare. The only thing missing on this evening were fireworks.

Almost, Maine

Majestic Theater, West Springfield, MA
www.majestictheater.com
through February 14, 2010
by Shera Cohen

"Almost, Maine" is charming, delightful, funny, and sweet. "Almost, Maine" is also poignant, sad, powerful, and harsh. This is a non-existent town located in northern Maine where, on a Friday night, one can see the beauty of the aurora borealis lights, taste moose paddies, and fall in or out of love.

John Cariani's dialogue is as crisp as the cold winter night setting. Scene after scene offers the opportunity for clichéd one-liner responses between characters. Yet, the playwright takes the story on a more difficult path. Lines are tossed back and forth, seemingly on one level - then the surprise, or a series of surprises. Cariani's work is clever as he balances the literal meaning of words with ways in which humans understand them; i.e. "falling in love" does not mean to fall on the ground…or does it?

The play is actually a series of vignettes, loosely strung together. Four actors portray many roles each. Every scene is a mini-play about a couple, with actors pairing off in as many ways as the math will permit. Equity actors Sandra Blaney and Dan Whelton perform with non-Equity players Kait Rankins and Tim Cochran. All actors are evenly matched in skill and versatility. To see the range of talent of each player is worth the ticket price. Any one of the foursome shifts from a half-crazed being to a sober and somber person in the time it takes to change a parka. Segues of fast scene changes and minimal props to create both indoor and outdoor settings seem easy, but are probably not. The constant backdrop of stars, projected moving titles, and music help set up each segment.

Director Keith Langsdale, for the most part, orchestrates his quartet smoothly within scenes and between them. On occasion, one actor completely blocks out another. As the play continues to run its course, this will undoubtedly be "fixed."

For theatergoers looking for a "real" play, "Almost, Maine" might not fit their expectations. However, for those seeking fine theatre starring four outstanding actors, a trip to the deep freeze of a pretend town in Maine is worth the trip.

Barber & Tchaikovsky

Springfield Symphony Orchestra
Symphony Hall, Springfield
SpringfieldSymphony.org
by Debra Tinkham

Kick off your shoes, put your feet up and relax for a quick review of the Springfield Symphony Orchestra's 66th season gala performance with Maestro Kevin Rhodes, now in his 9th season, and guest Janet Sung, performing Samuel Barber's violin Concerto Op 14, on a c. 1600 Maggini violin.

Sung's youthful appearance made it inconceivable that she could be so elegant, so emotional and so talented. The story behind this Concerto is that Barber was commissioned by a man to write a good piece of violin music for his adopted son. As the tale continued, Barber sent two of the three movements to the young violinist and they were considered "too simple." The third movement - to get even - was technically difficult. Sung performed this sweet but complicated masterpiece with ease and grace.

The Allegro (first movement) pushed Sung and her violin to the limit in high tones. The Andante (2nd movement) started with a long break for Sung, while absorbed in the tension between the oboe and strings. Finally, the Rondo - presto (very fast) was electrifying, with some very fancy finger work. Without a doubt, Sung deserved her standing ovation.

Tchaikovsky's Symphony No 3, Op 29 in D Major offered five movements of motion, diversity, broken chords, small doses of melody, divvied up and bouncing around to various instruments. Tchaikovsky was often faulted for his predictability but Symphony No 3 is anything but predictable. Rather, it reflects the composer's world of darkness.

"Rhodes Reflections" stated "… four of Tchaikovsky's most major works rarely get played. Among those is tonight's Symphony Nr. 3, The Polish."

Again, the audience at Symphony Hall thanked Maestro Rhodes for his energy and optimism in putting it all together and bringing such talented musicians to Springfield.

Til Death Do Us Part/Late Night Catechism 3

CityStage, Springfield, MA
www.symphonyhall.com
through November 15, 2009
by K.J. Rogowski

CityStage's "Late Night Catechism 3" confirms what most audience members already know: nuns are really funny people. This one woman show featuring Kimberly Richards as everyone's archetypal nun, has the theatregoers participating and laughing out loud from the moment she steps on to the stage and brings the entire house to a respectful hush with just "that look." And from there it's all down hill for those who are late for class, rustle papers when they should be paying attention to Sister, talk among themselves or, (perish the thought), chew gum in class! Evil doers beware, there's a Nun on the loose, and she's got your number!

The keys that make this show such a roaring success are: one, it is a classic flash back for anyone who ever stepped foot in a fifth grade classroom complete with pop quizzes, stern looks and reprimands for every and any offense, or misstep. Second, it is as much stand up comedy as it is a play, with Richards using local towns and current events as part of the act, having ongoing interaction with the audience and having a witty quip for every interaction. This Nun is "working the house" like a pro while reminding her audience that she is, indeed, the person in charge in this classroom. "You will sit up properly and pay attention and you will laugh." For those who can rise to the occasion and actually quote chapter and verse from the Baltimore Catechism, there just might be an appropriate, yet modest reward. So, for those up for an evening of divine audience participation comedy just say "Yes, Sister," and move to the front of this comedy class for laughs.

Piecemeal - The Frankenstein Musical

Majestic Theater, West Spingfield, MA
www.majestictheater.com
through December 6, 2009
by Shera Cohen

"Piecemeal" has taken a known entity - the story of Frankenstein - and created a humorous, loveable, musical prequel. The Majestic presents local playwright Howard Odentz's version of how Dr. F., Igor, the Monster, et al came to be. Not only did Odentz write the play, he composed the music. Perhaps one of this young man's best talents is his sense of humor with lyrics.

The set is dark with a brick-like haunted house center stage. Dry ice flows thick, bolts of lighting appear. The staging is exactly what it should be, complete with graveyard, damsel in the belfry, and the very important "lab-or-a-tory." Period costumes and coifs, eerie sounds, and body parts strewn about add to the expected macabre tone. Accents are British, but sometimes hard to understand by audience members.

However, most of the major elements are unexpected, which makes "Piecemeal" a pleasure to see. This is not an overdone plot, but one that takes twists and turns from opening number to finale. The main characters are not what audience members would expect either. The focus is on Igor (remember Marty Feldman's "walk this way") as a child who becomes an adult. What a horrible life he has, yet he has dreams that he pursues. He's a Gothic "Rocky," and we root for him. Nick Gilfor (young Igor) is so precious, and Scott Zenreich (adult Igor) is an excellent actor who can also sing well. As if there isn't enough going on, toss in a love story as well a few stuffed animals.

Music abounds throughout, with nearly every song carrying the plot forward. While the story and set bring to mind images of "Oliver" meets "Sweeney Todd," the score moves from honky tonk to 50s doowop to soulful melodic ballads. The cast includes many with skilled, trained voices; i.e. Luis Manzi, Frank Aronson, Laura Lites, and R. Steve Pierce. This is Pierce's first time at the Majestic. His demeanor, voice, and movement create his stylish fop character. "I Love to Sew" is a showstopper. Zenreich and Lite's dramatic and tender duet brings romance into Act II. And Zenreich's "Choices" replicates "Rocky's" run up the steps.

Most of all "Piecemeal" is very funny. Mary Shelley's Frankenstein would burst his stitches enjoying this new musical.

Dan Zanes and Friends

Fine Arts Center, Amherst, MA
www.umass.edu/fac/
by Eric Sutter

Dan Zanes and Friends brought their rollicking rollercoaster of musical fun into the Fine Arts Center for the entertainment of area families. Zanes is a multi-instrumentalist who fronted the 80's rock band the Del Fuegos. The new century has brought him into the children's music market where he has found success with numerous family friendly folk recordings that combine Latin, Cajun/Zydeco, Celtic, Bluegrass, Country, Blues and Rock synthesized into fun world-beat music. The colorful costumed six-piece band rocked with the opener, "Thrift Shop." Zanes was in fine form with vestiges of his Rock n' Roll moves still intact. They shifted to a Cajun/Zydeco rhythm on "Fine Friends" with John Fonti on accordion and Elena Moonpark on violin. "Pay Me My Money Down" found Zanes on mandolin with a bluesy folk harmonica solo as the audience sang along. His banjo provided a hoedown feel to the sea shanty "Farewell Nova Scotia." The folk gospel "Welcome Table" featured ukuleles and the children from the Prelude Pre-School of the Arts daycare who appeared on stage to sing along. "Jump Up" started the audience dancing. The acoustic band could play everything from Puerto Rican Christmas songs to Jugband music, which featured spoons and the stand-up bass.

Silly songs like "Mole in the Ground" and "Monkey's Wedding" caused wild dancing with drummer Colin Brooks' drumstick catches at songs' end. "Halloweentown" was seasonally fun with a Celtic recorder solo. Zanes played Rock n' Roll electric guitar behind his head on "Walking the Dog." The fun multiplied with "Catch That Train" as audience participation resulted in the "Locomotion" dance up and down the aisles. The funky "House Party Time" made it feel like a neighborhood block party. The Mexican folk song "Verde Luz" calmed the children as bubbles were blown into the audience. A flashing lighted disco ball upped the energy with dancing "All Around the Kitchen" and singing "Cock-a-doodle-doo." The group closed with "Bye Bye Roseanna" as they waltzed into the audience with all who swayed to and fro.

Dionne Warwick

Springfield Symphony Orchestra
Symphony Hall, Springfield, MA
www.springfieldsymphony.org
by Eric Sutter

Elegant, graceful and soulful... these words describe popular music icon Dionne Warwick. Through Motown, the British Invasion, Heavy Metal, the 70's singer-songwriter era, Disco and the Big 80's she has weathered the musical storm with class and integrity.

Nightfall in Springfield brought guest maestro Sean Burton to conduct the Springfield Symphony. The evening began with a drum roll into the "Star Spangled Banner." It continued with "The Barber of Seville Overture" by Rossini with the strings and woodwinds mighty expression of passion accented by a flute solo. Then came two selections by Stevie Wonder with "Isn't She Lovely" and "You Are The Sunshine of My Life." An 80's drum beat led to the theme song from "Fame" with the soothing sound of strings which lulled the piece into a wonderful crescendo of percussive happy rhythm.

Dionne Warwick's selections were like a stroll down memory lane of heartache, harmony and heavenly sounds. Songs like "Close To You", "Walk on By" and "Anyone Who Ever Had A Heart" brought a warm assurance of the past. The night was cherished as the audience perked up to sing "I'll Never Fall in Love Again." Some of these are defining moments in music and Warwick's alto voice, although weathered, was still magical. "Message to Michael", "Say A Little Prayer", and "Alfie" demonstrated how her beautiful voice is like a violin with its lilt and fall between notes. The strings supported the Brazilian music she interpreted as her back up band employed a bosa nova rhythm with congas, shakers and drums. "Do You Know The Way to San Jose" was pitched nicely and featured an extended piano solo. Warwick hit and held some high notes on "I'll Never Love This Way Again." "What The Word Needs Now" became the perfect audience sing-along to close. Her encore was breathtaking... her landmark recording to fight AIDS, "That's What Friends Are For."

The Andrews Brothers

Exit 7 Players, Ludlow MA
www.exit7players.com
through Oct. 31, 2009
by Eric Johnson

What is so funny about guys in dresses? In this case, it seems to be these particular guys.

Robert Clark III, Joe Alvernaz, and Steven Sands are hysterical as Lawrence, Max and Patrick Andrews, three USO stage hands who find themselves caught without a headline act (you guessed it, the Andrews Sisters) and have to perform in their stead. There are plenty of belly laughs to be had in Act II as the boys cavort about the stage; Sands in particular has some hilarious scene-stealing moments.

Diane Lamoreaux is the perfect choice for pin-up girl/chanteuse Peggy Jones; her curvaceous physique and sultry voice fit the time period perfectly. It would be nice to see more depth to her character; perhaps it was just opening night jitters but against the bar set by the rest of the cast, her performance seemed somewhat flat.

Creator/author Roger Bean doesn't present anything truly original or fresh, as all of the music is culled from existing songs of the '40s and the story is fairly predictable, but that doesn't make it any less entertaining. The show is also refreshingly short for a musical -- about two hours.

The standout performance comes from the orchestra. Eight musicians (including music director/keyboardist Karla Newmark) create a big band sound that fills the room and gets toes tapping. The vocal performances by the cast are deftly executed with a generous amount of three-part harmony.

Pam Abair's direction creates a wonderful pace that keeps this show rolling along nicely. Kudos to choreographer Jenn Marshall for not going over the top; the movements never seem awkward or beyond the abilities of the actors. Likewise, the set design by Paul Hamel and Abair is just enough to complement the production without going too far.

The cast and crew are to be commended for a balanced and highly enjoyable performance. "The Andrews Brothers" delivers a night of great music, plenty of laughs and, oh yes, guys in dresses.

Girls Night Out: The Musical

CityStage, Springfield, MA
www.symphonyhall.com
through October 25, 2009
by Sharon Smith

The "girls" in the audience of "Girls' Night Out: The Musical" want to have just as much fun as the title implies. Five 40-something friends gather to celebrate the milestone of one of their daughter's engagement. Drinking and karaoke ensue. That the audience comes prepared to party helps create moments filled with laughter and sing-alongs.

"Girls' Night" borrows elements from many sources: "Carousel", "Desperate Housewives", "Mama Mia" and "Sex and the City." The girls reminisce, dish, snipe, gripe and, of course, dance to anthems like "It's Raining Men". The show has a loose, improvisational feel that gives the effect of ease dropping on a drunken bachelorette party.

Kira Galindo, Laura Saenz and Debra Toscano had wonderful voices. Toscano had an especially effective interpretation of "Don't Cry Out Loud". Priscilla Fernandez was often reduced to the role of cheerleader, cajoling the audience to get up and sing along. The female-centric crowd did want to join in, but seemed a bit stifled by the conventional theatre seating.

No prompting was needed for the audience to fully invest in Christina Cataldo's emotionally powerful version of "The Love of My Man". After her scorching performance of this potent song, the audience would have happily listened to her sing about the contents of her purse. She also proved a deft physical performer, breaking out some funky dance moves and high kicks.

It seems, however, that show doesn't seem to know what it wants to be: a cabaret, a musical review or a play with karaoke moments. Some characters are played over the top, others are rather mean spirited at times. The author creates a serious, revelatory moment to explain these traits, but when a show is billed as "hilarious" it only serves to cast bring everybody down.

However, the energy and talent of the performers is enough to carry the evening. The song selections are varied and amusing and the "girls" deliver some funny lines with great timing. Go for the camaraderie and to enjoy some very talented singers. They earn their "one more time!" at the curtain call.

Opening Night

Springfield Symphony, Springfield, MA
Saturday, October 3, 2009
www.springfieldsymphony.com
by Debra Tinkham

Despite a difficult year, Maestro Kevin Rhodes trumped off the 66th opening night red carpet gala with the orchestra playing, and the audience singing, The Star Spangled Banner. Already impressed by the energy emanating from Rhodes, the orchestra and the audience were ready for a dynamic evening. Of course, the lovely Concertmaster, Masako Yanagita, did her usual graceful entrance and continuation of tuning the orchestra.

Richard Wagner's Ride of the Valkyries, Franz Liszt's Mephisto Waltz No. 1, and Liszt's A Faust Symphony were on the menu. Rhodes took a variation on his usual "Saturday Night Live" extravaganza. In Rhodes words, he "…decided to do something completely different than ever before in the history of the symphony." Wagner's Ride of the Valkyries, a very familiar melody, featured lots of brass, with wonderful dynamics. His piano version of Mephisto's Waltz was, to say the least, incredible. The man expects perfection and does nothing less.

Rhodes ricocheted back and forth from Mephisto Waltz No. 1 to A Faust Symphony. While explaining the major, minor and diminished chords to the audience, (which probably most did not understand) Rhodes stated that Liszt was, "A rock star before we had rock music." He is dedicated, a man with high energy, engaged and entertained. This is Rhodes 9th season with the SSO, although there are rumors that he may have a new employers -- the Hartford Symphony Orchestra. That would be a terrible loss!

His narration, explanation and display of virtuosity on the piano, led the audience to a better understanding that Faust's sad and depressing display of Mephistopheles' love of Gretchen and, in the end, Mephistopheles' ultimate redemption and, in Rhodes words, "carried off to heaven in a Hollywood style."

Rhodes never quits, never runs out of energy. We just hope he won't run out of desire to remain in Springfield.

The Porch

Majestic Theater, West Springfield, MA
www.majestictheater.com
through October 18, 2009
by Donna Bailey-Thompson

The porch belongs to the storybook cottage the widowed Alma lives in created by Set Designer Greg Trochlil, so inviting that it's no wonder neighbors Gert, Marjorie, and their husbands Leo and Pat, feel enough at home there to express intimate thoughts restrained by only token self-censorship. Set in 2005, Alma is hosting her first Labor Day family cookout since her husband's death five years earlier.

Gert reeks attitude. She's reading Bill Clinton's book, "My Life," flipping through pages in search of the juicy stuff. When she finds a titillating tidbit, she gasps, "Ohmygod!" Marjorie asks, "What are you reading?" Gert holds up the book. Marjorie's reaction is a sotto voce, "Oh, him." Wordplay gets rolling when Alma takes a cooking break. She doesn't understand the cryptic vocabulary Gert uses when alluding to Bill Clinton's affair with Monica Lewinsky. Alma wonders if "oral sex" means "outloud." After inventive sign language and desperate searches for synonyms, Alma shrugs. "What will they think of next" and returns to the kitchen.

The depth of the husbands' friendship is borne out by Pat's solicitous inquiry about Leo's erectile dysfunction. "You're just having a little down period." The double entendres fly. Whereas Marjorie and Pat's relationship is full of questions. "Would you marry me now?" Marjorie wonders. Pat asks, "Do you mean the way you look now?"

For a while, the gay population is treated to fleeting humor. Alma thinks that "homosexuals" is code for "homeless sexuals." The kidding becomes edgy when pedophilia is mentioned. The personal topics the two couples treat with banter and gags, Alma puzzles to understand. But there's one subject she knows significantly better than they do.

Ellen Colton as a ditzy but sensitive Alma and Cheryl McMahon as good-natured Marjorie honed their roles in earlier "Porch" productions. Barbara McEwen's Gert misses no opportunity to stir the pot. As Leo and Pat, John Thomas Waite and Stuart Gamble are warm, fuzzy buddies.

Somewhere within playwright Jack Neary's entertaining "The Porch," there's a strong play waiting to emerge, one that will also engross and inform. As of now, "The Porch" with its many laughs is less play and more saucy sketches - bawdy humor sporting a college education.

2009 Concert Under The Stars

GOLF: The Musical

Majestic Theatre, West Springfield, MA
www.majestictheater.com
through August 2, 2009
by Frank Aronson and Jarice Hanson

From the title, it is obvious that "GOLF: the Musical" is different from most theatrical fare. This affinity show (meaning that the performance is geared to an audience with a special interest in the topic) by Michael Roberts has played off-Broadway, and in small venues. The songs and sketches range from cliché to clever, but the four performers in the Majestic Theater cast create an ensemble that holds the various pieces together.

Darron Cardosa's sweet tenor shines in "The Beautiful Time," which contains the evening's most surprising lyrical twist. Luis J. Manzi's powerful, supple voice rings, and he deftly portrays a minister in the Church of Golf, and a tour guide at the Golf Museum. Lea D. Oppedisano was a favorite of the audience, especially with her solos "Great Lady Golfer" and "Golf's Such a Naughty Game." One of the sweetest tunes was sung by Bill Nabel, crooning a love song to his golf club, "Big Bertha." His lyrical baritone voice has a surprising range, used to create his own characterizations as well as supporting the ensemble. The foursome trade vaudevillian barbs, step in and out of different characters, and most of all-blend their voices as though they've been together for years.

The spare set is effective for this full-scale cabaret act, which also has a crowd-pleasing audience participation putting contest. Director Danny Eaton has found the most humorous moments in this brazenly self-referential script, and uses the theatre space to great effect. Music Director Amy Roberts-Crawford and percussionists Leo Arthur and Brian Peltier masterfully set the pace for the evening which is par for the course (this joke fits the material). Real golfers will get the inside jokes, while the rest of the audience can laugh at the plaid and the puns.

Springfield Symphony Orchestra

65th Anniversary Concert
Symphony Hall, Springfield
by Shera Cohen

In the distant future, it is possible that audiences will recall the SSO's 2008/09 season as one of its best in decades. In particular, the Grande Finale, will be marked in the symphony program books as a banner concert. Apparently, it wasn't enough to just schedule "Carmina Burana" – which is oftentimes the sole selection on many orchestras' programs. SSO, Maestro Kevin Rhodes, et al, started the evening with Richard Strauss' "Also Sprach Zarathustra" (aka "2001, A Space Odyssey").

The Strauss work commenced with a rumble of music, swelled, and later ebbed and flowed. Percussion on one end of the see-saw balanced with harp strings on the other. Several tease endings preceded the ultimate closing in this long and big piece. Rhodes was always in command of his musicians, one-half second ahead of every note in his instruction. The man and his team worked in perfect synch.

Looking at the stage after intermission, one could see the orchestra spilling out to both sides, complete with two pianos. The setting became a three-quarter thrust arena with the SSO, its Chorus (tenors, baritones and bass), and South Hadley Children's Chorus center stage; the SSO Chorus and Pioneer Valley Symphony Chorus' sopranos stage right; and the latter two groups' altos stage left. The soprano and alto sections sat and stood in the logue, creating a physical and musical vastness to the upcoming "Carmina Burana."

From the first loud and harsh bang of drums to soft and southing strings, lush songs of the soloists to the largess of the 300+ chorus, "Carmina" is and always will be a standout piece. Carl Orff's "Carmina" offers constant contrasts in musical styles, tones, and moods. At times dramatic, then humor follows. Trumpets blast pomp and circumstance, then strings flow operatic. To tackle the difficulty of this marvelous, exhausting, awesome, and sometimes strange epic, is a huge task. "Carmina" is in the proverbial class by itself, with the reputation as one of the most illustrious choral/symphonic works of the 20th century. For the full house at Symphony Hall, their immediate standing ovation applauded more than music, but an experience.

Falsettos

PACE, Academy of Music, Northampton
through May 10, 2009
by Meghan Allen

P.A.C.E. undertakes "Falsettos" at the Academy of Music this month. "Falsettos" is a musical by William Finn that ran on Broadway in 1992 and 1993. The play is the second and third parts of a trilogy. The first show is called "In Trousers", the second is "March of the Falsettos", and the third is "Falsettoland."

"Falsettos" is an operatic musical that deals with the same characters. Marvin (played by Michael Holt), is a gay Jewish man who battles his inner demons while playing ping pong between his wife, his lover, and his son. Holt sinks his teeth into the complexities of Marvin's struggles. Nikkie Wadleigh effortlessly plays Marvin's ex-wife Trina, who is neurotic, loving, and scorned. Amidst the chaos of her failing marriage and therapy appointments, Wadleigh brings a humor to the role that engages the audience, and her voice is a delight. Noah Loving portrays their son Jason. Loving's entertaining facial expressions and interpretation of typical teenage angst make him a pleasure to watch. Rounding out the cast are Ed Ryan as Mendel, the family shrink; Andrew Gilbert as Marvin's lover Whizzer; Stephanie Devine as Cordelia and Rebecca Rose-Langston as Dr. Charlotte. Ryan's sense of coming timing, Gilbert's strong belting notes, and Devine and Rose-Langston's sweet and sassy portrayal of lovers and friends add depth to the piece. Memorable numbers include Wadleigh's hilarious rendition of "Trina's Song" in Act 1 and the ensemble's comic relief number "The Baseball Game" in Act 2.

The score is lyrically sophisticated and chock-full of intricate harmonies. The actors have no time to catch their breath, as there is no spoken dialogue in the "Falsettos." It sounds good on the whole, but some harmonies could use tightening. The piece feels somewhat dated, as it tackles the subject of A.I.D.S., though never mentioning the disease itself. The set is minimal and that is okay, except that the actors constantly move furniture onstage. It can be somewhat distracting, and the direction of the piece seems to be more focused on the furniture moves than the actors conveying of emotions at times.

George M!

Exit 7 Players, Ludlow MA
through May 17, 2009
By Donna Bailey-Thompson

Some may speculate that George M. Cohan's obsessive determination to make it big on Broadway began while he was still in the womb. He was born into a vaudevillian family - father, mother, sister; while just a kid, he wrote routines for the family act. There were setbacks during his climb to the Great White Way, but his goal never wavered, nor did his ego.

Fast forward to 1984 when the love of theatre and no fear of hard work gave birth to a new community theater: today the Exit 7 Players celebrate 25 years of presenting productions of higher and higher calibre. This is where George M! and Exit 7 Players are the rubber that meets the road.

If it's possible for the departed to tune into a theatrical interpretation of his life, then George M. Cohan's ethereal self can extract pleasure from visiting this energetic production. For sure, his notorious ego is getting stroked. As performed by Del Caraway, Cohan's obsession with show business is evident throughout this musical that exacts demanding performances by everyone, from the leads through the chorus. The forgotten songs and the ones still appreciated today (all written by Cohan)- "Yankee Doodle Dandy," "Give My Regards to Broadway" - and the hypnotic tap dancing of a few or the full company, are reminders of Cohan's talent that drove him to greatness and inspires the dedicated cast and crew to put on a winning show. Bravo to Director Bob Sullivan-Neer.

Choreographer David Michael Bovat's innovative combinations have turned neophytes into authentic dancers; thanks to Musical Director Karla Newmark, every sung word is understood; Costume Coordinator and Seamstress Carolyn Samonds has created a calendar of fashion spanning 60 years; Stage Manager Sue Crowther keeps the backstage from becoming a logistical nightmare.

Cohan's friend William Collier said, "George is not the best actor or author or composer or dancer or playwright. But he can dance better than any author, compose better than any manager, and manage better than any playwright. And that makes him a very great man."

Similarly, Exit 7 Players is a fine community theatre that honors professional standards.

What the Butler Saw

Suffield Players, CT
through May 16, 2009
April 30, 2009
By Donna Bailey-Thompson

As it turns out, the butler didn't see anything; however, the audience gets an eyeful. How's that? According to a Wikipedia quote included in the program, "'What the Butler Saw' was a mutoscope reel, and an early example of softcore pornographic films. It depicted a scene of a woman partially undressing, as if 'the butler' was watching her through a keyhole. It was viewed by depositing a coin in a freestanding viewing machine, which then ran the presentation. The title of this feature became widely used in Britain as a generic term for devices and movies of this kind."

As performed by the venerable Suffield Players, "What the Butler Saw" is silly farce on speed that not only has the characters skittering in and out of doors but stripping down to their skivvies, swapping clothes, and when newly garbed, they have new sexual identities, not just once but multiple times. The mayhem is triggered by a randy psychiatrist whose seduction of a secretarial job applicant is thwarted by the surprise visit of his wife who's been indulging in some hanky-panky of her own. Nonsensical confusion is off to the races.

Leading this titillating romp is Dana T. Ring as the lecherous Dr. Prentice whose variety of facial expressions is exceeded only by his appropriately suave or jerky body language. He swigs courage from a bottle of gin housed in his desk top drawer. To protect his own peccadillos and grander lascivious aspirations, he gets identities so twisted that the exasperated clinic director Dr. Rance (Bruce Showalter) fumes the establishment is a lunatic asylum. "The room is full of naked men!" namely, Steve Wandzy as the wife's would-be toy and Larry Chiz as a policeman who assumes so many identities that he loses his own - along with his clothes. As Geraldine, the aspiring secretary, Rayah Martin is a curvaceous, not-so-dumb blonde, and as Mrs. Prentice, Dorrie Mitchell, puts her gorgeous legs to work charging about the stage in high heels. Director Philip Vetro corralled the perfect cast which he guided and drilled before turning them loose.

Springfield Symphony Orchestra Opera Gala

Symphony Hall, Springfield
April 25, 2009
by Shera Cohen

Within the past few months both the Connecticut Opera and the Berkshire Opera closed their curtains forever. Were these statements about today's economy? Have dollars spent on the arts in general, and opera in particular, been far less than in the past? Probably and sadly so. Yet, the Springfield Symphony's Opera Gala saw a near-capacity audience at Symphony Hall. Obviously, those who appreciate opera are there in large numbers.

The SSO promised a gala and that's what they delivered with the full orchestra donned in black and white, Maestro Kevin Rhodes center stage with baton in hand, nine exceptionally professional vocal soloists, and the chorus of 120 synchronized singers. The audience was dressed to the nines - a wonderful and unusual sight in this era when the arts are oftentimes thought of as mere entertainment.

Of the hundreds of operas and thousands of arias ever written, Rhodes, et al picked the exact selections and program order that made the evening's performance perfect. Needless to say, works by Puccini and Verdi made the list, followed by Mozart, Wagner, Strauss, and Bizet. The conductor jovially dubbed the program "the all time great hits of opera." While the subjective votes are still being tallied as to what is "great," it is obvious that pieces like "Un Bel Di," "Habanera," "Nessun Dorma," and "La Donne Mobile" were offered, each excellently sung by soloists.

One stand-out selection was "Viens Mallika" from "Lakme." The opera may not be as well known as "La Boheme," "Il Trovatore" or "La Traviata" (each represented at the gala), yet this gently flowing female duet was exquisite.

The orchestra and chorus were given two pieces in which to shine - The Polovtsian Dances from "Prince Igor" and "Il Trovatore's" Anvil Chorus. The woman who no one sees onstage is Choral Director Nikki Stoia, whose leadership is evidenced by the resulting sounds of her large chorus. Add Rhodes' humorous pithy synopsis of each opera, and one word describes the experience of the gala - bellissimo!

John & Paul

Majestic Theater, West Springfield
through May 24, 2009
By Shera Cohen

For those who enjoy two-hours of non-stop music and lots of energy coupled with a history lesson/nostalgia of pop culture, "John & Paul" ends the Majestic's season with a literal bang. The lives of John Lennon and Paul McCartney are the subject matter of this world premiere. Written and directed by the theatre's founder Danny Eaton, with music and lyrics by Steven Schecter, the show was overwhelmingly received by the full house audience at a Sunday matinee.

John Losito (John) is new to the Majestic and Ben Ashley (Paul) is very-much a regular; i.e. our own Buddy Holly. While the title bears their names, the men are ensemble players. Each has a rich voice as they perform together and separately. "Your Song or Mine" is their best number as a piece of music and acting. In Act I, the song is light, as the boys join to start their band. In Act II, the song is cynical, as these men are now alienated. Through narration of Keith Langsdale, the audience learns the stories of both - their backgrounds, first meeting, years of fame, and disintegration of their creativity and friendship.

Mitch Chakour, music director/keyboards, leads his band of young men in music styles from rock to honky tonk, heavy metal to ballads with ease. The quartet of singers - Tom Knightlee, Kait Rankins, Amy Rist, and Greg Alexander - performs well together and individually. Oftentimes, the singers portray characters, and more of these segments would flesh out the play's story.

Excellent throughout and setting the span of time are center-stage projected photos of John, Paul, the Beatles, flower children, Vietnam, and even Ed Sullivan. To the sides of the stage are song supertitles, yet their purpose is vague.

"John & Paul" might be called a narrative musical revue instead of typical theatre. Little acting or direction are called for. The format is different, but works for this purpose. The audience that wants a good show ("Please, Please Me") gets it.

Mother Load

CityStage, Springfield, MA
through April 19
by R.E. Smith

Who knew parental guilt could be so funny? "Mother Load" spins 75 minutes of genuine laughs around a single notion: "as a mother I am an utter failure." Since every parent has probably had that thought, it is gratifying to see the internal monologue hilariously played out so that one can nod along in agreement.

Betsey Stover was an endearing, identifiable and fearless performer. If you didn't identify with her character Amy's messy living room set, you had to find some common ground when she lamented the condition of her midsection and dejectedly showed it off. She was equally adept with verbal and physical comedy, rapturously enjoying her first child-free exercise class one moment and then skewering a pompous pre-school screener the next. Her vocal delivery of a grandmother's simple assessment of a baby's constant crying was priceless.

Amy Wilson's script is a transcript of common truths that mothers share over frazzled cups of coffee. Pestered by the disembodied voice of "experts" on such topics as "sippie cups of death" and "interpretive dance for toddlers," this "everymom" is confronted with naysayers at every turn. While some one-person shows would grandstand with maudlin asides, Wilson wisely understands that laughs are far more therapeutic.

Julie Kramer's direction keeps the laughs coming fast and their aim is true. The synergy between writer, director and performer is evident in a segment when Wilson realizes that she actually got to sleep through the night. Mom's reaction to even this happy circumstance can have guilty consequences. The moment is fresh and real.

It should be noted that this reviewer was one of only a dozen males in an audience of females, but that in no way detracted from the enjoyment of the material. Certainly some of the most hilarious bits were female-centric: breast feeding support groups that offer no support at all or how easily it is to deviate from your "birth plan" when the pain of childbirth sets in. But the fear that one isn't living up to "best" parent standards crosses gender lines. "Mother Load" is like a big hug that helps a parent know that one is not alone.

Springfield Symphony & George Takei

Symphony Hall, Springfield
by Shera Cohen

"Flights of Fantasy," the Springfield Symphony Orchestra's final pops of the season, was called "the combination of a symphony concert and a Star Trek convention." This might be an odd mix, but consider the source. The man who made such a bold statement was George Takei, aka Mr. Sulu of "Star Trek" fame.

The full house was treated to an atypical event. This concert format was different from the expected, as was the maestro. Oftentimes, guest conductors are hired for pops, with Kevin Rhodes taking the baton for formal symphonic performances. Well, Rhodes was very much present and enthusiastic. It is obvious that his musicians like and respect the man at the podium. Rhodes' mundane repartee and skilled leadership is appreciated just as much by the audience. Rhodes’ introduction to the concert was, "Music can take you into magical worlds." He was right, proving so with significant help from the orchestra and Takei.

Many consider "movie music" less important than works of symphonic masters. Listen again. Composers Jerry Goldsmith and John Williams are familiar names not just for their prolific work but for their outstanding talent. The SSO concert included "Star Trek" (Goldsmith) and "Star Wars" (Williams).

A section of the concert's first half was a Q&A with Rhodes and Takei. While talk about Japanese detention camps (Takei's childhood in the U.S.), gay rights (his recent marriage), and dubbing foreign films ("Godzilla") was interesting, the time could have been better spent making music. Nearly everyone has heard the "Star Wars" theme, but not everyone has heard and seen it live, where it is better and bigger. It's just a little unfortunate that the wonderful SSO didn't have the opportunity to fill the beautiful Symphony Hall with more magical sounds from outer space.

"The Lord of the Rings Symphony" was the post-intermission performance. The long piece seemed incredibly difficult yet flawless, meshing Takei's baritone voice narration and creation of character voices with the SSO instruments' voices. The words and music, sometimes together and other times separate, created strange new (Tolkien) worlds - infinitely beautiful to the ear.

Altar Boyz

City Stage, Springfield
Through March 22
Review by R.E Smith

If shows like "Phantom" or "Company" are a piece of rich, devil's food cake then "Altar Boyz" can only be compared to a light, fluffy piece of Angel food. The latter makes a tasty dessert, but it isn't quite as filling or substantive as the former.

Like a good sitcom premise, the show can be summed up in one line: Catholic boy band. Matthew, Mark, Luke, Abraham and, um, Juan were brought together by the Almighty to spread his word through "rhythm and rhyme." The performers are all hard working and some are successful at showing hints of humanity behind their stereotypes. Philip Drennen, as the group's sincere, sensitive leader, kept things grounded in his own earnest reality.

A real stand out here is the choreography. The "Boyz" come across as a combination of Vegas dancers and NFL cheerleaders. Pay close attention to the "hand moves" and you'll find gang symbols replaced with signs of the cross and genuflections.

The music is certainly well constructed; the melodies cover all the pop music archetypes from power ballads to catchy dance tracks. "The Miracle Song" is a snappy rap that asks Jesus "how’d you do 'dat?" and "Number 918" finds the boys performing a melodic exorcism on the few remaining audience members who haven’t yet heard the call. Sample song lyric: "Jesus called me on my cell phone, no roaming charges were incurred, He told me that I should go out in the world, and spread His glorious word."

For those who have seen late-night commercials for CDs of Christian rock, it's clear that these lyrics are not actually that far removed from their comedic target. Because of that fact, the audience is never quite sure if everyone is harshly ridiculing the genre or gently mocking it with tender affection. It's also unsure who the primary object of ridicule is; boy bands, Christian music or Catholics in general. There are plenty of opportunities to laugh, and the 90-minute show moves along so quickly. After all, who can eat just one piece of Angel food cake?

Springfield Symphony & Corey Cerovsek

Mozart, Vivaldi, Mendelssohn
Symphony Hall, Springfield MA
March 14, 2009

By Donna Bailey-Thompson

Just like families, not all symphony programs are harmonious. The SSO's "Symphonic Seasons" program featuring the distinct sounds of Mozart, Vivaldi, and Mendelssohn, demonstrated that when the musical chemistry is in tune, the audience's pleasure is sensed long before the applause begins.

The title of Mozart's "Adagio and Fugue in C minor" doubled as a roadmap: the orchestra – all strings only – began with alacrity, so merry and bright – and then eased into waves of soft phrasing that invited contemplation and perhaps even levitation beyond the confines of Symphony Hall. Maestro Kevin Rhodes and the dedicated musicians were in tuneful sync.

Much of the evening's pre-concert excitement centered on the return of violinist Corey Cerovsek performing – again – Vivaldi's "The Four Seasons." Each of the seasons (Spring, E Major; Summer, G minor; Autumn, F Major; Winter, F minor) is a concerto, a complete experience, separated by brief pauses. Beyond Cerovsek’s exacting technique, what seemed to impress audiences in particular was his ability to memorize "all those notes." An intense standing ovation persuaded Cerovsek to play what he described as "short and sweet" – an arresting display of pell-mell dexterity that catapulted the audience to clamor for more until he raised his 1728 Stradivarius and announced the next piece was a "slow movement" – of what? Unintelligible words but no matter: his tour de force accomplishment was secure.

The communication between SSO's conductor and musicians was apparent during Mendelssohn's "Scottish" Symphony No. 3, in A minor. Mendelssohn's emotional appreciation of his visit to Scotland was lovingly and meticulously performed. The movements were interconnected; their moods followed natural bridges to the next musical interpretation of sweeping moors, rugged crags, churning clouds, sudden sunshine, and tumultuous history. The SSO's professional growth was especially evident. Unlike major symphonies with a majority of full-time musicians and extended rehearsal opportunities, SSO's first rehearsal for a Saturday concert begins two days earlier, on a Thursday. Knowing their polishing time is precious, everyone arrives prepared. Rhodes' high standards inspire the musicians to exact more of themselves. The result is a win-win for the musicians and audiences. Now "celebrating 65 years of live music," the Springfield Symphony Orchestra is recognized as one of New England’s crown jewels.

Matt Lewis' Elvis

City Stage, Springfield
through March 8, 2009
by Eric Sutter

He was the King... he was the Guitar Man, and was a poor country boy who became a Rock idol. He hasn't left the building. Matt Lewis was raised far away from Tupelo, Mississippi but his spirit for entertainment is similar to that of Elvis. He impersonated the mannerisms, gestures and voice of Elvis extremely well -- almost eerily at times. He began his show with the featured song "A Little Less Conversation" from the 1968 movie "Live A Little, Love A Little." The song kept the memory of Elvis alive when it returned to the charts in 2002 by Remix JXL for the Nike World Cup commercial.

Dressed in the early-years style of gold jacket and black slacks with acoustic guitar, he performed a medley of early hits including "Return to Sender" with back-up by local musicians Jim Henry on electric guitar and Guy DeVito on bass. The show was fast-paced and broken up into segments of Elvis' 23 year career. The movie years featured the "Jailhouse Rock" 6240 prison uniform along with two female dancers as correctional officers. He rocked "Follow That Dream" and ventured into "Blue Hawaii" with "Rock-A-Hula." A warm "Love Me Tender" ended the set.

The '68 Comeback Special had another medley of rockin' hits such as "Heartbreak Hotel." With "Baby Let's Play House," Lewis dressed in black, flirted with the audience, and women screamed as Henry played an exciting guitar solo. "In the Ghetto" was a stand-out that brought forth a strong emotional response. He closed the first half with "If I Can Dream."

The jumpsuit Vegas years with the passionate "Burnin' Love" and "Suspicious Minds" featured the dancers in white GoGo boots and red wide-sleeved mini-skirts. "My Way" readied the thrilled audience for the Gospel sing-a-long "Amen" and the cheer down of "Crying in the Chapel." The patriotic "American Trilogy" moved the audience deeply. Matt Lewis encored with a wild "Viva Las Vegas."

Bus Stop

Majestic Theater, W. Springfield
through April 5
By Bernadette Johnson

Strangers thrown together for any length of time tend to commiserate. And waiting tends to bring out both the best and the worst in people.

In the Majestic Theatre’s production of William Inge’s 1955 hit play “Bus Stop,” a bus driver and his four passengers find themselves stranded in a Kansas diner when a snowstorm leaves roads impassable. The travelers have no choice but to hunker down until morning.

Among the weary passengers are Ozarks-born Cherie (Amy Rist), a small-town nightclub singer and aspiring “chanteuse,” Bo Decker (Dan Whelton), a loud, loutish cowboy (a cross between Li’l Abner and the Beverly Hillbillies) who is determined to marry Cherie and carry her off to his ranch in Montana despite her vehement objections, Virgil Blessing (David Healey), Bo’s older pal and mentor, and Dr. Gerald Lyman (Chris O’Carroll), a pretentious, lecherous windbag whose sketchy past is rife with mistakes and melancholy.

Themes of love, longing and loneliness play themselves out as diner owner Grace (Jaime Taber) and her young, naive waitress Elma (Carolyn Averill) attempt to lessen the tedium by serving up coffee and compassion. Rounding out the cast are frisky bus driver Carl (Stuart Gamble) and brook-no-nonsense sheriff Will Masters (Jeffrey Dreisbach).

Whelton’s bullying personality takes some getting used to, but that’s Inge’s fault, not his. He’s supposed to be obnoxious, and he is. Taber manages more facial distortions than would seem necessary, but they adequately convey her discomfort and distaste for Whelton’s one-sided idea of “courtship.” And O’Carroll’s lecherous professor provokes just the right balance of disdain and sympathy as he attempts to impress, and seduce, the young Emma with a tiresome stream of Shakespearean quotes. As for Taber and Healey, though both in supporting roles, they are the most convincing characters of the lot.

Greg Trochlil’s authentic set deserves special mention, taking us back as it does to another era, and special effects are so realistic they have us actually “feeling” a cold draft every time the diner door opens. Great place to hunker down as March winds roar through.

Springfield Symphony Orchestra & Peter Serkin

Symphony Hall, Springfield
February 28, 2009
By Donna Bailey-Thompson

Although the music selected by Music Director Kevin Rhodes for SSO’s first concert of 2009 was distinctly different, one from the other, the overall effect was artistically compatible. Each composer – Respighi, Bach, Beethoven – developed his own unique sound to create not merely harmony but moments of humor (Respighi), precision (Bach), and the sublime (Beethoven).

Respighi’s "The Birds" began and ended with a rhythm worthy of inspiring the dancing feet of mincing courtiers; in between, the composer brought to musical life feathered friends worthy of an ornithologist’s scholarship. Respighi transformed the bird calls with musical cunning: his "The Dove" was not the pristine white of peace but a pair of ground-feeding, dull brown mourning doves, cooing an oboe lament, that dissolved into nothingness as they flew skyward. However, "The Hen" was barnyard savvy, a possible prototype for the comical "Pick-A-Little, Talk-A-Little" busy-bodies in "The Music Man;" and oh-oh, watch out, the rooster’s arrival was heralded by the combined blasting of trumpet and clarinet. "The Nightingale," shy, hidden, its sweet calls of a flute were a harbinger for romance. Finally, "The Cuckoo" appeared with a Disney-like shimmer; its signature two notes continued with such abundance that the woods seemed full of Black Forest clocks. Truly, "The Birds" was an enchanting collection.

Guest artist Peter Serkin, his tall frame accentuated by his erect posture, performed the Bach Keyboard Concerto in D minor, BMV. 1052 with elegance, not as a finger exercise, but as a story complete with dialog and high drama. Following Intermission, he returned to enthrall the packed house with Beethoven’s Piano Concerto No. 2 in B Flat Major. Those who attended Maestro Rhodes’ pre-concert talk could spot Beethoven’s take-no-prisoner attitude when he boldly shifted from the key of C to B flat. During the Adagio, Serkin played a series of single notes with such simplicity and emotional restraint that their beauty moved hearts to ache. His playing met the audience half way, thus creating a collaborative adventure, as if saying, "We came through that melancholia, now we may go on."

Under the energetic Rhodes’ inspired leadership, the SSO’s performance earned an enthusiastic standing ovation.

"Who's Afraid of Virginia Woolf"

Exit 7 Players, Ludlow MA
through February 28, 2009
By Donna Bailey-Thompson

This outstanding production of "Who’s Afraid of Virginia Woolf" is a triumph worthy of an Off Broadway venue. Under the sensitive, vigorous direction of Marck Morrison, playwright Edward Albee’s masterpiece is as fresh and cogent today as when its debut rocked Broadway in 1962. Four accomplished actors give stellar performances – Claire Bertrand (Martha), Bob Laviolette (George), Jami Byrne Wilson (Honey), and Brian Dickey (Nick). There is not one false note during the play’s three hours. From the blaring opening scene through the final heart-wrenching moments, Ludlow’s Exit 7 Players present riveting first-rate theater.

A bare-bones, no-meat synopsis of the play: Martha and George are serious swillers of booze who have honed verbal abuse to an outrageous art form. After they arrive home from a faculty gathering, Martha informs George that she has invited a young teacher, Nick, and his wife, Honey, to stop by for a drink. Throughout the night into the dawn, emotional mayhem prevails. Scabrous exchanges substitute for polite conversation. Terrible psychological scars are semi-exposed that beg the question: truth or illusion? Regardless, there is "blood under the bridge."

Each actor skillfully balances the character’s facade with its underlying reality. George and Martha’s symbiotic relationship hovers at a parasitic level; both Laviolette and Bertrand through subtle body language convey within their mutual contempt a complicated, revengeful respect. Nick, the supposedly fair-haired young man is exposed as being as unscrupulous as his hosts. His fragile wife Honey’s slow motion progression from tipsy into alcoholic stupor is pantomimed virtuosity. Throughout all three acts, Morrison’s directorial skills have become the actors’ own. His respect for the audience’s need to absorb their insight into Martha and George’s convoluted natures is the gift of decompression – a protracted final scene of George putting the house to bed before he cradles Martha, his spent other.

Productions of this caliber demonstrate that the bottom line difference between a quality community theater and a regional or NYC venue is money: the pros are salaried, whereas the "amateurs" are dedicated volunteers. Those who lump all community theater into a slapdash hobby category will have their parochial opinions torpedoed by Exit 7's "...Virginia Woolf."

Be advised: for mature audiences only.

Four Dogs and a Bone

Suffield Players, Suffield
through February 28, 2009
By Donna Bailey

As befits their reputation, the Suffield Players are presenting a demanding play whose success is contingent upon savvy direction and an experienced cast. This production scores on all counts.

"Four Dogs and a Bone" is a biting comedy about the dirty little details encountered when filming an underfunded movie. Written by John Patrick Shanley, a veteran Hollywood script writer and best known recently for his honored Broadway play and now a movie "Doubt," three of the dogs are a dishonest producer and two actresses who are rapacious carnivores: their diets include ingesting their own kind. The fourth dog is the script writer whose desperation to save the movie does not include devouring the others through bloodless means.

The first act covers a lot of expository ground, of the shock and awe variety. At times the abrasiveness seems nonstop, especially as spewed forth by Lea D. Oppedisano who as Colette, knows she is no longer an ingénue to reap empathy but is now headed for character roles where she can be type cast as incarnate evil. Oppedisano’s Colette’s is a force of nature – major disaster category. Her adversary is the supposedly sweet Brenda (Megan Fish) who chants and plots mischief. During the second act, their scene within a minimized dressing trailer is as tight as the space itself.

As Bradley, the money-short producer who is plagued with a flaming hemorrhoid (nothing like a little bathroom humor), Josh Guenter seems to channel Paul Giamatti – glib, light on his feet, as tailored as an unmade bed. Robert Lunde as the fair-minded script writer, Victor, throws up his arms in frustration at the unbridled shenanigans. His disapproval gives the audience permission to feel shocked by the despicable behavior, even while laughing at scabrous remarks they would not tolerate elsewhere.

Director Meghan Lynn Allen prevents "Four Dogs and a Bone" from becoming farcical melodrama. The production can inspire anything from the killer comment, "That was much ado about nothing!" to the exclamation, "What a hoot!"

Spectrum & SSO

Symphony Hall, Springfield
February 7, 2009
By Eric Sutter

Imagine entertainment that beat the winter blues into the ground: four incredible singers, all experienced stand alone soloists, who combined their smooth voices to create Spectrums' beautiful harmonies backed by the Springfield Symphony Orchestra under the direction of guest conductor Jonathan Lam.

The joy began with the Springfield Symphony Orchestra's performance of "Love's Theme" by the Love Unlimited Orchestra. The audience was captivated by an evening of Spectrums' renditions of the best of Motown, leading off with classic Temptations' hits such as "Get Ready", "The Way You Do The Things You Do" and a Four Tops medley that consisted of "Same Old Song", "Standing In The Shadows Of Love" and "Bernadette" all with the hand clapping, rolling arms and exciting dance steps that moved the audience too. Dressed in blue sports coats and white pants, Spectrum performed a neatly choreographed "Under The Boardwalk" (The Drifters). Other stirring songs had the audience singing -- "Ooo Baby Baby" (Smokey Robinson and the Miracles), "LaLa...Means I Love You" (Delfonics) and "Rubberband Man" (Spinners).

Wearing red sequined jackets and black slacks, the quartet opened the second half with "Reach Out, I'll Be There" (Four Tops). "Backstabbers" featured some visually stunning dance moves and the audience reveled at the sight as the group built the dramatic tension to a high point -- group founder Cushney Roberts' leap from the stage into the audience, still in song and dance mode. The Drifters' "Up On The Roof" featured smooth soul singing with the nearly full audience in a swoon. David Prescott hit high marks in sound with the Stylistics' "You Make Me Feel Brand New". The Temptations' "Just My Imagination" with it's dreamy lyrics and melody showcased a nice electric guitar solo by James Davis that was complemented by the string section of the orchestra. Tex Richardson on grand piano and keyboards provided a warm textural component to the overall sound of the night as the orchestrater of the music. They closed with the sing-a-long "My Girl" (Temptations) and a rhythmically rousing "Can't Help Myself" (Four Tops). A standing ovation led to an encore, "Soul Man" (Sam and Dave).

Happy 50th Anniversary, Motown!

Mama's Night Out

CityStage, Springfield
through January 25, 2009
Donna Bailey-Thompson

Three certifyingly funny comediennes who got to where they are – first-class professionals – by honing their craft, perform their "Mama’s Night Out" for predominantly women, but as long as men are as comfortable as women about laughing at themselves, their material is any-gender friendly.

Karen Morgan, a transplanted Georgian who lives in Maine, opened the show with a burst of amusing stories about her three young children’s speaking idiosyncrasies: because their sentences include words and phrases that embrace both their mother’s Southern and father’s Down East accents, Morgan said, "They’re bilingual." She tossed in cracks about Southern cooking: "There are four food groups – sugar, salt, fat and alcohol." As for skinny women who are a size 0, she quipped, "If you’re not big enough to have a number, don’t leave home. Eat a sandwich!."

During the next half hour, Nancy Witter kept the laughs coming. The audience learned that she’s 50, enjoys a drink, and recently married a man who is 60. She spoke of her mother who drank vodka, even when nursing, and consequently, "I had my first White Russian when I was four hours old." She blames her battle with the bulge on having an "insatiable appetite, slow metabolism, and yeast infection." As for anyone who wears a size 2, she said, "I could cook you, eat you, and still be hungry."

Sherry Davey’s comedy was the edgiest. She skewered the overuse of prescription medicine for children: "...dispensing Benadryl for hay fever in February?" She referenced the Inauguration and poked fun at President Obama’s dancing style. Her rift about the stereotypical foibles of husbands had the women in hysterics. "I look forward to being a widow: the thank you cards are already written." Following her set, all three women took the stage, swapping banter and jokes. Nancy Witter said, "An Irishman walks out of a bar. Well, it could happen!"

These three mamas met when they competed in Nick at Nite’s Search for America’s Funniest Mom and became finalists, beating out over 1000 hopefuls. They’re worthy of a return booking at CityStage.

Lumberjacks in Love

Majestic, West Springfield
Through 2/15/09
Shera Cohen

Last year’s Majestic sleeper was “Guys on Ice.” It will be no surprise if this season’s “Lumberjacks in Love” becomes the surprise hit in The Theater Project’s 12th anniversary. Brought to you by the “Guys” guys – writers/lyricists/musicians Fred Alley and James Kaplan and director/designer Danny Eaton – “Lumberjacks” is similar in style, script, and sound.

The audience sees a rustic set depicting what will become indoor and outdoor scenes. The cabin wood and real trees smell freshly cut. Musical director Amy Roberts-Crawford fingers the first notes of the title song on her keyboard as the quartet of actors (donned in corduroy, flannel, and plaid) sing and dance. They are all having fun, and that feeling is responded to in kind by the full house in attendance.

Lumberjack buddies of some years; these are comrades who know each other well – warts and all. While only in rehearsal for six weeks, the actors are also very much in synch. A series of small musical numbers strings the plot together to include many ensemble songs. Also, each actor is offered his chance to shine alone.

Eric Love, Van Farrier, David Mason, and Alec Nelson give their characters humor, warmth, and depth. Nelson (also in “Guys”) essentially portrays the same man – dim yet lovable. As the leader of the pack, Love is a convincing life-long bachelor. A regular on the Majestic’s stage is Farrier, who makes his “Dirty Bob” a charm. Mason’s “Muskrat” was probably the most difficult role as it was his job to make the audience feel empathy and, at the same time, laugh outrageously. Toss in a couple of gals – after all, the lumberjacks are “in love” – portrayed by the young Shelby Leshine and Equity actress Cate Damon, and this musical is completely entertaining.

Choreographer Brian Fournier sets a good deal of the action as purposely clumsy 1950s-style singer and back-up dancers’ movements. Damon and Love are perfect in the very funny “Hernando’s Hide-away” duet. As director Danny Eaton said in the talk-back, these are excellent actors who can also sing and dance, which is why he selected this cast. He selected well.