“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."