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.

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.

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.

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.

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.

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.

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.

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.

Jerry & Ed

Majestic, West Springfield MA
through November 30 2008
By Donna Bailey-Thompson

Life-long friendship, mutual respect and tomfoolery, and the vicissitudes and nonsense of aging are woven into an original play that entertains while unloosing emotions – especially love.

"Jerry & Ed" has come along at the right time, a best buddy play that momentarily blocks out today’s downer news. The charm doesn’t unfold immediately because Jerry’s opening monologue is a collection of cornball one-liners that net painful groaning. But once Jerry (Steve Henderson, who also wrote the play) gets that painful shtick out of his system, the play rocks and rolls.

The plot is simple: Jerry and his life-long best friend Ed (Dick Volker) are widowers residing at the Garden Acres Retirement Community. They have walkers they don’t need; with a wink they let the audience in on the scam, "It’s an insurance thing." When their tempers flare, the walkers held at shoulder level turn the aging bad boys into antlered game who lock horns, so to speak. If their balance were better, they’d probably paw the ground.

As one memory leads to another, their adventures and misadventures are resurrected. They take us and the girls they’re courting, Margaret and Doris, to an amusement park where they hate the ferris wheel and are not thrilled with the rollercoaster. Their romancing is interrupted by World War II. During one firefight, pinned down by ordnance, Ed is injured in the leg. Even in the midst of battleground horror, their love and exasperation with one another spawns humor. When the war ends and their troop ship arrives in New York, they phone Margaret and Doris. They are battle-tested veterans, giddy with romantic longings. When their barely articulate proposals are accepted, they are euphoric.

Henderson’s Jerry and Volker’s Ed are fully developed characters. Volker’s restrained remembrance of Doris’s final illness grabs the heart. Jack Neary’s direction is sensitive to Henderson’s deceptively simple script that teems with the high drama of ordinary human beings’ basic emotions. Throughout "Jerry & Ed" a sweetness permeates. Regardless of how old and wise they get, their boyish innocence endures.

The Miracle Worker

Majestic, West Springfield
through 10/12/08
By Shera Cohen

The staging is the first clue that the Majestic’s opening play, “The Miracle Worker,” launches a wonderful professional 2008/09 season. Set designer Greg Trochlil and lighting designer Daniel Rist arrange multiple areas, representing indoors and outdoors, clearly defined by outlines of wooden panels and variations of spotlights.

The high caliber of the play continues from the very first words spoken to final words of Helen Keller fingered in the hand of her teacher Annie Sullivan. Playwright William Gibson’s dialogue is exquisite as he initially hints at the potential of each character, and then proves it. Just as Gibson depends on choosing the right words, the plot is about words and language. Communication is the crux of the play – without it, the human spirit is locked. Helen and Annie’s story is real, and playgoers know its beginning, middle, and end. Yet, seeing it often never seems to be too often.

Zoya Kachadurian skillfully directs her cast of 14 (including some adorable children) in a well-paced natural clip. The flow is seamless, especially when moving in and out of flashbacks. There are no weak actors. Marianna Bassham (Helen’s mother) portrays a gentile Southern lady with a backbone when it comes to her child. Eric Love (father) could have easily phoned in his performance as one-dimensional, but this was far from the case. Dan Whelton (brother) shows the clear growth of his character’s inner self.

Wherever did the Majestic staff find Brittany Andrea? Actually, the answer isn’t important. What is pertinent is that she is a must-see young actress who is only in town for one month in the physically and emotionally demanding role of Helen. She balances relentless frustration with naïve awakening. Andrea is Helen.

The play is truly the story of Annie Sullivan, who was the miracle worker. Jen Schwaber gives Annie a dichotomy of forthrightness and doubt, strength and vulnerability, courage and bravado, humor and drama. Her battles with Andrea call for shear stamina, and perhaps accepting some bruises throughout the play’s run. Schwaber is an actress who easily meets the many challenges of Annie.

While at the Majestic, note the beautiful paintings by Willie Ross School for the Deaf students which are on display throughout the run of this play.

Rounding Third

Majestic Theater, West Springfield
through August 2
By Shera Cohen

It’s no surprise that the subject matter of a play titled “Rounding Third” is baseball. This all-American sport is not, however, a favorite pastime of many theatre-goers, and vice versa. The Majestic cast and crew had to do a lot of skilled work to win over this reviewer. Interestingly, one of the running themes throughout the play is that never the twain (jocks and thespians) shall meet.

Readers…not to worry. Knowledge of home plate, dugouts, and shortstops is not necessary to thoroughly enjoy “Rounding Third.” The only requirement for audience members to laugh at, sympathize with, and appreciate the play is the huge achievement of having survived childhood. There’s no doubt that everyone left the theatre having seen a “home run.”

The play takes place today in Any Town, USA. The set is simple – a backdrop fence of a baseball field and benches. Steve Henderson stars as an experienced little league coach and John Hart is the new guy assistant coach. While there are no other actors onstage, these two men, under the direction of Danny Eaton, bring to life a team of 12-year-olds, none of whom are ever seen. These little leaguers – Frankie, Eric, Timmy, et al – fill the stage. Now, that’s an accomplishment!

The essence of the story is to win at all costs even if it means tossing away one’s integrity vs. enjoying the journey while trying and hoping to succeed. Through dialogue, body language, and impeccable timing, the actors seamlessly react of each other. Occasionally, the banter is a little too fast, leaving some humor unheard or ignored.

Henderson and Hart create three-dimensional real life roles which are far from stagnant. Henderson is always a pro on the Majestic stage. It was a pleasure to see Hart return. When he was younger, Hart was just fine in small roles. He’s paid his proverbial dues in New York City and earned his Equity card. His talent continues to grow. His soliloquy in a final scene is so poignant that it undoubtedly touches anyone who has a heart.

Take a ride around the rotary to the Majestic to see “Rounding Third.” It’s “way cooler” than seeing a real ballgame, and it’s air conditioned.

“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.

“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.

“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.

"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."