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.

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.

Cymbeline

Arts Theatre, London, England
www.artstheatrewestend.com
through October 24, 2009
by Emily List

In 2006, England's National Youth Theatre celebrated "50 Years of Giving Youth a Voice." Three years later, that voice resonates strongly in the NYT's latest production to date, Shakespeare's Cymbeline. Directed by Brendan O'Hea, the cast members (all of whom are under age 21) expertly handle a play that lends itself to the melodramatic. Imogen, the play's heroine, goes through several ordeals before being united with her true love, Posthumus. She is unjustly accused of being unfaithful, threatened with death, forced by circumstance into the guise of a boy and unsuspectingly drugged in a plot laid by her wicked stepmother, the Queen. Playing the part of Imogen, Rosie Sansom carries the audience through this unlikely chain of events with a consistently tight grasp of Imogen's strong-willed character. Providing a marked constrast to Sansom's serious-minded Imogen is Will Edelston in the role of the cocky prince, Clotten. Edelston plays the oblivious fool with flair and with his servants, provides welcome comic relief.

As a whole, the cast handles the themes of jealousy, treachery, betrayal and war with gentle consideration and cunning. The Queen, played by Catriona Cahill, exemplifies the sentiment of Shakespeare's Richard III that one "may smile and smile, and be a villain." Decked in gothic fishnet tights and a black-corseted ball-gown, Cahill flits gracefully about the stage, plotting murder with piercingly witty asides aimed at the audience. Luke McEwan brings a quiet dignity to the role of Cymbeline, playing a man caught between his own emotions and the duties he must perform as King.

The supporting players add color to the performance, doubling in their roles as musicians, dancers and martial artists. In a surprisingly lighthearted moment, a band of court musicians called on by Clotten to woo Imogen, rebelliously breaks out into a blue-grass style jam session. The creative playfulness, depth of character and mastery of a complicated plotline demonstrated by the cast of Cymbeline furthers the argument that young artists should be seen and heard.

One of Spotlight's reviewers is out of the country, but we put her to work. Emily List is in the Masters program at UMass studying Theatre and Media for Development. The play was performed at the Arts Theatre in Leicester Square, London.

Visiting the Cape in Off-Season

By Alyce Skelton

Wellfleet Harbor Actors Theatre
Harbor Stage
"Sexual Perversity in Chicago"

Located along a stretch of the docks and beach that looks out over boaters and kayakers, the theatre is a double decker building. The letters WHAT - several feet high - sitting atop the theatre reminded me of the Hollywood Hills sign. Floodlit, the letters are hard to miss. This production of "Perversity"- one of David Mamet's earliest works - received a terrific reception. The audience had a shocked response. Some of the dialogue sounded a bit dated, yet the production was fast moving, funny and thought provoking. In an interview in the Village Voice, Mamet said the characters were losers. The characters might be losers, but in this production the cast members certainly were winners. The play is, obviously, about relationships, featuring a cast of four outstanding young actors. The minimalist set design was very effective in keeping with the pace of the story. The wide lapels and polyester leisure suits fit the times perfectly. Sliding doors that had a 90's disco dance club look allowed the cast to quickly switch from set to set.

Wellfleet Harbor Actors Theatre
Julie Harris Theatre

"The George Place"

The play explored the decision of an older couple who have decided to sell the family home and move into a retirement community. They have only 60 days to tell family members and sell the house. So goes the story line, as the seniors relate their information to the important people in their lives, as well as the reactions that follow. The struggles of these characters to communicate and understand each other were sometimes touching, sad, amusing and at the same time funny. The play took place on the porch of a wonderfully designed home. The lighting highlighted the innovative and realistic set design which left the audience seeing a warm and inviting home despite the problems that sometimes trouble all families. www.what.org

Thornton W. Burgess Museum

The museum, a quaint Cape Cod structure, houses the author's room in which he wrote his beloved children's books and displays of Harrison Cady illustrations of Burgess' menagerie. Burgess, a naturalist and conservationist, had influenced conservation efforts in Massachusetts both during his lifetime and afterwards. In addition to Laughing Book, I was amazed to find that Sandwich, his birthplace, had four similar sites that were directly the result of his influence.Burgess began writing the stories which he told his son at bedtime. Ultimately, the author penned the tales to create Peter Rabbit, Jimmy Skunk, Sammy Jay, and Bobby Raccoon www.thorntonburgess.org/

Sandwich Glass Museum

This museum has a phenomenal history of glassmaking, and its staff daily demonstrates that techniques have changed since 1825 when Demming Jarvis incorporated the Boston and Sandwich Glass Company. The company led the world in the manufacture of glass during the early 19th century. The best part of the exhibit was watching molten glass drawn from the furnace, blown and pressed into unusual shapes. A glass blowing demonstration was scheduled every half hour. Another favorite was viewing the Levine Gallery of Early American Lighting, demonstrating the evolution of early light fixtures from 1825 through the onset of electricity. A recording accompanied the demonstration of the 50 lamps as they light in sequence. Viewing the magnificent collections of glassware, where over 6000 glass pieces of lead glass, opaque blue glass, beehive glassware, molded blown glass and pressed glass were exhibited, is well worth follow up visits to this museum. www.sandwichglassmuseum.org

Yesterdays/An Evening with Billie Holiday

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

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

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

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

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

Capitol Steps

Cranwell Resort, Lenox, MA
www.capsteps.com
through September 6, 2009
by Shera Cohen

Lightning, thunder, near-hail size rain, and a dark sky at 6:30pm in July were reasons not to venture out for any cultural activity. However, the show was Capitol Steps, and even though this reviewer has seen CS a half dozen times in the past, every show is new. Get the raincoat and run from the car to the vestibule of Cranwell.

A quintet of comedians/actors (2 women, 3 men), plus one pianist are the members. While material, both in stories and songs differ from week to week, the show's format is constant. The purpose: lambaste politics, celebrities, and current events to the tunes of familiar music with clever and oftentimes uproarious lyrics, while wearing incredibly awful costumes. Each of the five play numerous roles as one skit immediately follows the next, giving the audience little time to breathe between laughs.

No one is off limits to receive a jab. Of course, those in government receive the brunt of the satirical lyrics; i.e. Obama, the Clintons, Biden, Pelosi, McCain, and even George W. The latter never knew that the White House had a library. An example of the to-the-minute CS's script was the rifle-packin' ex-governor of Alaska, Sarah Palin.

Starting with three songs to the tunes of "Mama Mia," the troupe's other background music included Broadway and 50s/60s sounds. Octomom was picked on for "littering," Susan Boyle had not yet discovered make-up, Korea's leader needed a haircut, and auto company execs bemoaned their decreased bonuses. The greening of America was set to song, as was the topic of prescription drug commercials.

A constant treat in each show is the backwards, twisted malaprops of contemporary politics. The first letter of a word is juxtaposed with that of the next word. Just when it seems impossible to understand this very fast repartee, it's all clear and very, very funny.

One word of advice is to arrive early for two reasons: pick your seat in the least cramped aisle, and CS is often a sell-out.

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.

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.

Wishful Drinking

Hartford Stage
through Aug. 17
By Bernadette Johnson

Carrie Fisher reels in her audience hook, line and zinger. What an entrance. To a star-studded backdrop a la “Star Wars”, Fisher showers the audience with handfuls of glitter as she belts out “Happy Days are Here Again” (yes, she can sing too) while fake tabloid headlines from the lives of her famous Hollywood icon parents, Eddie Fisher and Debbie Reynolds, the not so happy days, stream behind her. Then comes the standard AA introduction “…and I’m an alcoholic.”

The audience feels almost guilty laughing as Fisher recounts the ordeal of waking up next to a corpse, her “gay, Republican drug-addict” friend who died in her bed. “Republicans contributed to his death,” she assures us and thus sets the no-holds-barred tone for the evening. Everyone and everything is fair game for her hilarious anecdotes, from her matinee idol parents, to George Lucas and his wardrobe theory (“There is no underwear in space”), to her famous Princess Leia honey-bun hair, to her first husband, Paul Simon, and finally to her own mental illness, drug dependency and ill-fated romances. Not even her “blue blood, white trash” Texan grandmother is immune.

Fisher, dressed mainly in black with a slight wardrobe variation in Act 2, paces the stage, frenetically at times, smokes clove cigarettes and constantly interacts with the audience, particularly patrons in front-row seats. She is the quintessential story teller and stand-up comic. A hilarious first act “Are they related?” segment titled “Hollywood Inbreeding 101” takes the form of a CSI-style photo board/flow chart of the generations, tracing Debbie’s and Eddie’s descendents through their marriage, breakup, subsequent marriages (multiple), their exes’ subsequent marriages and so forth.

For those in the audience who fall in Fisher’s generation, “Wishful Drinking” is a trip down Memory Lane, tabloid sensationalism plus all the juicy details, the inside scoop. Fisher‘s formula for comedy is “tragedy plus time.” She doesn’t lay blame, doesn’t offer excuses for herself or others, doesn’t provide any psychological insight. It is what it is. The “funny slant” is her key to survival. It’s not surprising that among her “Special Thanks” in the program she includes “all 12 of my shrinks.”

Capitol Steps

Capitol Steps
Cranwell Resort, Lenox
through August 31
By Shera Cohen

The presidential campaign is perfect timing to see Capitol Steps – a parody on the news of today for the sheer purpose of laughs. Each summer, Cranwell hosts these zanies as they take the headlines and rewrite them into new lyrics to familiar songs.

A quintet of exceptionally talented comedians/actors/singers takes the small stage.

The emphasis is on comedians, however it must be noted that each is a skilled vocalist as well. Humor is the key to getting to the audience’s non-stop laughter. The troupe is lively, energetic, not subtle, and work up a visible sweat. Pianist Marc Irwin is a whiz at the keys, as he musically holds the program together.

Combine “Saturday Night Live” with “Mad TV” and “South Park” (yes, it is a bit adult-rated) and there you have Capitol Steps. Add on the ugliest and cheapest costumes, wigs, and a mustache made of duct tape; props that look stolen from an elementary school playground; and the show gets better and better with each vignette.

No celebrity or political figure is sacred: Obama, McCain, Hillary and Bill, Gore, Huckabee, et al. No subject is taboo with the funniest being the mangled lyrics of “What Kind of Fuel Am I,” the Chinese president’s take on the Olympics, and the ozone problem sung in-the-round. Of course, GW was the brunt of many skits, including one spoken backwards.

For those who have seen Capitol Steps and think there is no reason to go again, there is. As the news constantly changes so do the segments, music, and lyrics of this show. If you’ve seen it once there’s plenty of reason to return.

"How I Spent My Summer Vacation Last Summer...and How I Will Do Nearly the Same This Summer"

by Shera Cohen

It's all in the numbers. Take seven women (a motley group of divorced, married, single, and widowed) from the Atlantic coast (Maine, Boston, Springfield, and North Carolina). Add 22 cultural events. Mix with three essential take-along items - food, event tickets, and bug spray. Leave behind six important items - dogs, cats, men, plants, mail, and computers. You are now ready to vacation in the Berkshires. And, think of the number of dollars saved in gas because everything is situated close together.

In past years, my Summer Vacation article has read like a diary. To make life easier on the reader, the following is an alphabetical list of our arts' experiences, followed by a look at some of this year's plans.

Berkshire Choral Festival, Sheffield

I don't know why I hadn't attended a BCF performance until recently. Perhaps I thought that Sheffield was a distance; it isn't. Knowing that the Springfield Symphony is the "backup" should have indicated that this was the place to be. Each week, 200 or so amateur choral singers descend on the Berkshire School to rehearse for 6-days, perform one concert, and return to their homes throughout the world. The next week, it happens again with a different group, conductor, and music. We heard Dvorak's rarely performed spectacular "Stabat Mater." I'll attend two concerts this July including my favorite, "Carmina Burana." www.choralfest.org

Berkshire Fringe, Great Barrington

New to the Berkshires, Fringe is experimental, novel, and avante garde music, theatre, and dance. I applaud the trio of young producers who have created workshops, free concerts, children's shows, and extremely low-admission theatre for audiences of all ages. I saw two plays, both one-acts; a stand-up comedy-ish play and the other an excerpt of seven vignettes taken from "365 Days/365 Plays." What I didn't see included "Lounge-Zilla" and the chamber opera "Venus in Furs." Fringe asks its audience to "alter your view," and it certainly offers many ways to do just that. This summer, we'll spend an entire day participating in play readings, hearing a free concert, and attending a play. Long day, but I'm sure, worth it. www.berkshirefringe.org

Berkshire Scenic Railroad, Stockbridge

Maybe it wasn't exactly "art" but it was fun. Adult women riding the rail felt like many steps back in time. At least the train and tracks were older than we were. This 1920s passenger coach traveled 20-minutes back and forth, so we saw the same view frontward and backwards. We heard a voice giving us facts about the area. The ride was bumpy, the squeaks loud, and the seats hot. The kids alongside us didn't care. Nor did we. The end of the run was the Railway Museum to see memorabilia and photographs. This is a weekend journey only, also along a 90-minute route. www.berkshirescenicrailroad.org

Berkshire Theatre Festival, Stockbridge

BTF has two theatres and just because one is bigger than the other in no way reflects on the quality of acting, directing, or production values. About to celebrate its 80th year, they will have to perform quite well to outdo their 79th. At the Unicorn Theatre, where more experimental plays take place, was "My Pal George," a political satire and guess who George was? "The Two-Headed" had one of the oddest titles yet was one of the Unicorn's best dramas staged in many years. On the Mainstage, "Morning's at Seven" starred a bunch of TV actors, and that helps to bring in new audiences, but "names" were not important for this delightful tragicomedy set in the 1920s. On this summer's calendar is "The Pageant Play," "A Man for All Seasons," and "Noel Coward in Two Keys." www.berkshiretheatre.org

Chesterwood, Stockbridge

This is the home of the man who created the Lincoln statue. Chesterwood is, essentially, a tour in three parts. There's the guided tour of the sculptor's studio and home which includes information on the process of creating such large pieces. Follow with a self-guided walk through the beautifully landscaped acres of property to see modern sculpture with price tags in the hundreds of thousands. Finally, look closely at the prolific work of Andrew DeVries. Since we wanted to see more DeVries, we ventured to his studio in downtown Lenox. The floating bronze dancers seen throughout the Berkshires are his pieces. www.chesterwood.org

The Clark Art Institute, Williamstown

One of the most beautiful museums in New England, the Clark is renowned for its on-going collection and special touring exhibits. Monet was the "star" at this visit. Titled "The Unknown Monet," participants could easily trace the progression of his work from a caricaturist to one of the most justifiably famous Impressionists through dozens of paintings. Monet is in good company, alongside pieces by Degas, Pissarro, Cassatt, and especially prominent at the Clark is John Singer Sargent. Numerous special events, free concerts, and lectures take place all year. It's worth stopping by the delightful Moonlight Café straight out of the 1950s. www.clarkart.edu

Cranwell Resort, Lenox

No, we didn't have massages or play golf; although both would be nice. We did, however, laugh continuously to Capitol Steps. The satirical, nationally known comedy troupe began their annual summer tour at Cranwell last year, and they are a welcome addition. For those who like current event reports edgy, risqué, humorous, and with music, Steps outdoes Jon Stewart and The Colbert Report. The quintet pens offbeat and topical lyrics (and there is an abundance to choose from in this political year) to Broadway tunes. Certainly, our President was the butt of many jabs. They'll still have Bush to bash this summer when I attend. www.cranwell.com

Jacob's Pillow, Becket

It was nice to sit in the Pillow's barn on a comfortable day. Yet, even when the temperature is in the 90s, I have always seen a full-house. This is the arts venue where more teens (and younger) attend than any other. Bravo to our next generation of art lovers. The Royal Danish Ballet presented a world premiere. Set against backdrops of art or simply the back of the stage, the dancers paired, worked in trios, quartets, and ensembles in seven pieces. While I don't excel at understanding dance, I had no trouble here. The ballet was light and humorous. I will be seeing the Hofesh Shechter Company. www.jacobspillow.org

Mass MoCA, North Adams

MM has become a staple for tourists. It's no wonder, with their mix of music, dance, film, and huge pieces of modern sculpture and other art forms. Sometimes the canvas stretches the entire length of a wall, other art hangs above your head, and there might also be a dinosaur-size can opener in an exhibit. Creators are professionals from New England to the Netherlands. Admittedly, I sometimes question why a 36-foot watercolor with thousands of dots is called art. But, I will not define "art" for anyone else. "Band on a Can Festival" was such a success that it continues this summer. www.massmoca.org

The Mount, Lenox

You thought there was nothing to do in the Berkshires on a Monday. Wrong. For the past 15 years, The Mount Lecture Series has presented afternoon talks by authors of recently published biographies. It matters little if you have heard of either the author or his/her subject. The lectures are conversational, insightful, and entertaining; the Q&A is lively. Frances Kiernan spoke about Brooke Astor - an anti-Astor who gave her money away in the true definition of philanthropy. For our second lecture, Judith Farr's talk on Emily Dickinson proved that Farr was enthralled with Dickinson, as we were with both women. I will see three authors in July and August, as the series runs for two months. www.edithwharton.org

Norman Rockwell Museum, Stockbridge

Is there an American alive who does not know at least one of Rockwell's works? Probably not, and hopefully not. This prolific artist (in my humble opinion) was never given due credit as a consummate talent. Perhaps his stories were too familiar that we took him for granted? Maybe we saw The Post or other media with his cover art and dismissed the extraordinary skills? Whatever the case, this museum is dedicated to Rockwell, along with touring exhibits of his contemporaries. Participate in gallery talks, listen to concerts, let the kids join workshops - there is something to do 24/7. www.nrm.org

Shakespeare & Company, Lenox

I admit it without shame - S&Co. is my favorite place in the Berkshires, and perhaps in the whole USA. If they had more plays, I would be there all summer. A misnomer about S&Co. is that they only perform works by the Bard. That's the case about half the time. The other half are all in plain English, some familiar plays and some brand new. Extremely skilled directors to watch for are Jonathan Croy, Michael Hammond, and Tina Packer. All three are equally talented actors. The requirement of all at S&Co. is multi-talent from acting to directing to mopping the floor. No prima donna's here. There's just too much to write about S&Co. See my website instead. As for this year, there's "Othello," "All's Well that Ends Well," "The Ladies Man," "The Mad Pirate & the Mermaid," "The Goatwoman of Corvis County" and free Shakespeare lectures. www.shakespeare.org

Tanglewood, Lenox

What can I say about Tanglewood's music, conductors, orchestra, soloists, concert halls, outdoor setting, and even the gift shops, that many others have not already written? All of the accolades are true. On any given week, you can attend as many as four concerts as well as public rehearsals. And on any given week the performers are the Boston Symphony, the Boston Pops, a guest orchestra, and do not forget the Tanglewood Music Center Orchestra and the Boston University Tanglewood Institute. The latter are students who perform and sound every bit as wonderful as the pros. Again, just check my website for many Tanglewood review. The writing might seem repetitious. After all, how many superlatives are there? As for this summer, we will go to just about anything, because everything is "a winner." www.tanglewood.org

Williams College Museum of Art, Williamstown

Experience one of the best no-cost activities in the Berkshires - Williams College Museum. But it's on a campus and only students are allowed. Nope. It's for everyone. Considered one of the finest college art museums in the country, there are 12,000 works. Huge eyeball sculptures greet you upon entering. Once there, the large staircase is backed by a rainbow of vivid colors. A photo exhibit from the 1920s was the summer attraction. Yet, on every day but Monday, the public can enjoy Mary Cassett's pastels and Winslow Homer's seas, for example. www.wcma.org

Williamstown Theatre Festival, Williamstown

I hadn't been to WTF to see their new, modern, comfortable theatre. The venue doesn't change the quality of the productions, but amenities are appreciated. Oftentimes, the play selections have been old chestnuts, or at least, the tried and true. I'd never seen better productions of "Hedda Gabler" or "A Doll's House" anywhere. Falling in the chestnut category was "Blithe Spirit." TV's Wendie Malik was a great plus for the play. Later on we saw the drama "The Corn Is Green" starring mother and son, Kate Burton and Morgan Ritchie. This was truly one of WTF's best in recent memory. Our plan is to attend "Brokology," "A Flea in Her Ear," and "The Understudy" this summer. www.wtfestival.org

Whew…exhausted. Yet, we didn't see everything; there's Barrington Stage, Berkshire Museum, Mahaiwe Theatre, Berkshire Botanical Garden, and Colonial Theatre. I hope to fit each in this summer. You might think that all we "do" is culture. Well, almost. We always wedge in time to shop at the Lee Outlets, walk through the Town of Lenox, and sit on the rocking chairs of the Red Lion porch. After all, we could use a rest.

Jacob's Pillow photo of Rasta Thomas of Lar Lubovitch Dance Company by Erin Baiano.

Norman Rockwell Museum image "Clash of the Titans" ©2008 Stephen Bodner. Used by permission. All rights reserved.

The Smothers Brothers & Springfield Symphony Orchestra

Symphony Hall, Springfield
April 12
By Shera Cohen

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

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

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

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

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

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

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

Go West…Middle-Aged Woman from Springfield…Go West

By Shera Cohen

When a friend moved to Arizona in 1995, I was given an open invitation. “But there are no arts in Tucson, just cactus,” I replied. Thirteen years later, I finally traveled out West to learn that I was completely wrong about my perception of their arts.

I jam-packed about 20 arts and cultural activities into one week. My friends thought that this was not the definition of “vacation.” Relax, sleep late, enjoy the cool weather (86 degrees), eat Mexican food. None of that was for me.

Art in nature was surely abundant. Yes, cacti (about 100 varieties) were everywhere – the ones called barrels with yellow flowers on top that are chewed up at night by wild hog/pig creature, the flat purple Mickey Mouse ears-type, and the tall ones with arm that seem to say “hello.”

The majestic perimeter to the city were the mountains, some grassy, others all rock, or with snow atop (a beautiful sight from the plane). At times, their height and breathe looked like a child’s drawing of the outline of mountains in the background. It was not until moving closer that the 3D, cinematic scope loomed. After all, this was the location for many western movies and TV shows.

There were also sights not often found in New England – my first ostridge farm, pistachio groves, never-ending trains, bridges over what once was water, and snakes that come within inches of you with no Plexiglas in between. Another reptile, of sorts, was a long walking bridge which linked two sections of highway. Drivers had the best view of the head with open mouth, body with scales, and rattler tail of perhaps the world’s longest (yet happy) rattlesnake.

On sidewalk corners, highways, and tree belts was a plethora of public art. Sculpture, murals, pottery, paintings and other genres could not escape my view. Many were whimsical, others Mexican, some brass and others multi-media and colorful. I thought, wasn’t it wonderful that a city appreciated its artists by displaying their work for all to see.

What follows is a diary of the highlights of my arts education in Tucson.

Day #1

Bookman’s Used Bookstore – For those who remember the wonderful Johnson’s Used Bookstore, this site was ten-fold in size and contents. You might not think of a bookstore as culture, but this was unique by its unabashed lack of décor, sheer volume (literally), and crowds of readers.

Congress Hotel – Its floors were made of wall-to-wall pennies, there’s the same old switchboard, message boxes, beds, and the over-night stay is probably the same price as it was in 1919. The hotel is infamous on the map as the location where John Dillinger was caught.

Tucson Children’s Museum –Pioneer Valley families would be lucky to have such a wonderful place for youngsters to play and interact without ever realizing that they are also learning. On any given day there was enough to do to tire out any kid, let along his chaperone. With under a one million budget, it’s amazing how much TCM has done over the years, recreated their physical space into multi-use areas, and educated/entertained youth. The emphasis is on “play” in all aspects and for all ages, as the Children’s Museum is very much a Family Museum.

Day #2

Sabino Canyon – It was time for a “city girl” to venture into the great outdoors. This

Was a tram tour through miles of mountains, dried but beautiful stream beds, green rocks, and homes for scorpion. The driver’s talk of the Canyon’s history brought me back to the days of volcanoes, rooming buffalo, and John Wayne (in that order). The Canyon is a living museum of Tucson’s past.

DeGrazia Gallery – Not only was the gallery of this famous artist (known for UNICEF cards) packed with works representing Spanish and Indian culture; the entire grounds were as well. Each room held artwork which flowed in sequence to create mythical stories. The prolific DeGrazia made 1500 paintings and thousands of sculpture in nearly all media, and placed it from floor to ceiling in a large house-like gallery. One room is devoted to a Christian art-theme, another displays works of his wife, and in a tranquil environment outdoors is DeGrazia’s own grave surrounded by his creations in wood, mosaic, glass, and ceramics. In protest to taxation of inherited art work, DeGrazia burned hundreds of his own paintings. It’s hard to image such a waste, not only for the artist but for art-lovers. Exhibits rotate, so a visit is possible whenever one arrives at what is called “Gallery in the Sun.”

Tucson Jazz Society – While my vacation timing did not fit their concert schedule, this hard-working staff of jazz lovers told me the story of their agency. For someone in the arts field, learning about jazz genres and musicians, audience likes and dislikes, hiring the best musicians, selecting venues, the importance of collaborations, and funding sources was information to take back home.

Day #3

San Xavier del Bac Mission – Aside from the mountains and the cacti (the later grow one inch per year), this gorgeous mission from the 1700s represented an important part of Tucson’s history. On the grounds was a one-room chapel with rustic benches, candles, and no window. A wedding took place that morning, and anyone could attend. The mission is a national landmark and huge in structure. At its center is a circular garden and fountain, straight out of a Zorro movie.

Tubac – If all that I had seen in Arizona was Tubac, this would have been enough. It’s a dream village for anyone who loves visual art. Hundreds of artists sell their works from their small galleries, all aligned row upon row. Just when you think you have seen every shop, every craft, every painting, there are more. I allotted three hours, and could have spent the entire day.

Arizona Theatre Company – It was a privilege to interview the director of “To Kill a Mockingbird” immediately prior to the performance. Her perspective into the making and nuances of this wonderful play were enlightening. Everything about ATC was professional onstage and lovely outside in the front courtyard. The stage is quite large. Unique to ATC is its two venues – one in Tucson and the other in Phoenix. By means of collapsible sets, the entire cast and crew performed in both cities, back to back. This particular play was also co-produced with Kansas Repertory Theatre. [See sidebar]

Day #4

Tombstone – I am your typical tourist, and proud of it. But this wasn’t the pretend, shoot ‘em up, cowboys & Indians – this was the real Tombstone, a whole town/museum of stores, taverns, inns, dirt streets, the O.K. Corral with the Earps vs. the bad guys played a dramedy in the streets. And, yes, photos of Kurt Russell and Kevin Costner were also on sale.

Boothill – The famous graveyard with dozens of outlaws, town folks, and many unnamed souls was “The Real McCoy.” I walked through the aisles of stone graves, each marked with wooden signs; i.e. “He was hanged by mistake, and now he is ded.”

Day #5

Beowulf Alley Theatre Company – This small, young troupe took on the ambitious undertaking of Tom Stoppard’s “Arcadia.” Talking to the founder and director after the curtain fell was an up-front and personal theatre education. It wasn’t enough that each had her/his role, each also handled the box office, concessions, and swept the floor. No prima donnas here; that’s what thespians do. [See sidebar]

Day #6

Tohono Chul Park – I strolled through this lovely garden with its landscape of familiar flowers among cacti. The latter were “deceptive,” as some look soft and light with prickers that could wound. The “beware of rattlesnakes” signs didn’t scare the prairie dogs, but did me, especially when a huge black snake (so it wasn’t a cobra) slid faster than the speed of light after an equally large lizard.

Day #7

Invisible Theatre – This theatre was so tucked away and nearly hidden that its name was appropriate. Yet, for 30 years, the troupe has presented hundreds of plays with a bent toward the new and unique. With no show on this day, I interviewed IT’s stalwart/founder – an Edith Head look-alike, who also tours the world in her own play about this famous designer. [See sidebar]

Presidio Arts – A walk along an avenue of paintings, crafts, jewelry, and more was the place to buy gifts that I promised to bring back. In spite of, or because of, the lovely buildings that linked together, I guessed that prices for this art were prohibitive for my budget. I was wrong.

I must especially thank the staff of the Greater Tucson Convention & Visitors Bureau, who gave me lessons on the history of Tucson and its cultural sites. A recommendation to any traveler is to first contact the CVB. My friends asked if it would take me another 13 years for me to return. I only made a dent in all of the arts and culture that Tucson had to offer. I think I’ll make it before 2021.

25 Questions for a Jewish Mother

CityStage, Springfield
through March 9
By Shera Cohen

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

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

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

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

Maine In Winter

Maine in the Winter
By Shera Cohen

Why would a person who doesn’t ski take a vacation in Maine in the winter? Well, it’s not crowded with tourists. It’s not even crowded with anyone. For those who like their arts indoors, why not Maine? Museums, theatres, music, and art galleries offer a wealth of cultural pleasure, and so what if you have to wear a coat and hat to get from one attraction to the next.

City Theater in Biddeford is an historic opera house that once presented vaudeville and movies, and now mounts locally produced and touring plays, musical concerts, and comedy improv. Operating year-round, City Theater offers children’s programs, theatre workshops, the works of Rodgers & Hammerstein, and Tennessee Williams.

Not being a cat-lover, it was good public relations that pushed me in the door to see “Spay Misty for Me.” Yes, it was a benefit for an animal welfare society. This evening of improv was a near-copy of Drew Carey’s “Who’s Line Is It Anyway?” Ten young actors were given the start of slim scripts to flesh out, often with prompts from the audience. The show was exactly what you would expect it to be – lots of laughs, some skits funnier than others, a little bit “R” rated, and people getting drenched with water (including those seated in the front row). www.citytheater.org

From the ridiculous to the sublime was the world premiere of “Longfellow: A Life in Words” at the Portland Stage Company. The theatre has two stages – the main stage for its major productions and an intimate 60-seat theatre for the Studio Series plays. At some point in high school or college pretty much everyone had to read, analyze, and perhaps memorize a Longfellow poem. You know, the man who wrote “The Song of Hiawatha.” Ahh, I remember it well. Little did I know that Longfellow lived in Portland.

Performed by the play’s author Daniel Noel, the three-member cast in this long one-act brought Longfellow to life. Noel did his homework, weaving words from the poet’s memoirs and correspondence with the poetry. In celebration of bicentennial of the poet’s birth, Longfellow surely looked down on this production with a smile. While Noel had the brunt of the work in the lead role, the two other actors took on the characters of at least a dozen each. I had the good luck to speak to Noel following the show. The man was as humble as the man he portrayed. His plan was to flesh out the story to become a two-act play. His hope was to tour with it. I have no doubt that this talented actor/writer can spread the poignant and beautiful words of Longfellow. www.portlandstage.com

A visit to the Portland Museum of Art was not what I expected. Actually, it exceeded my expectations. While I don’t know when the museum was built, it wasn’t long ago. Yet, needless to say, its art spanned the decades and centuries, genres, and continents. Works by my favorites lined the walls – John Singer Sargent, Mary Cassatte. A large exhibit was dedicated to Winslow Homer. Looking at the pieces, one realizes why they laud “the rocky cliffs of Maine.” This touring exhibit was “Both Sides of the Camera”; the photography of father and daughter Irving Ellis and Judith Glickman. This was yet another premiere, as it was the first public showing of 132 works from the collection of both artists. Running the gamut of people, places, and things beginning in the 1930s, there was no doubt of Ellis’ talent passed onto his child.

The McLellan House, a huge extension of an actual home, as “attached” at the rear. The grandeur of years ago, coupled with exquisite sculpture and paintings, made this a museum within a museum. Yet there was even more to the Portland Museum, as this happened to be Jazz Sunday. The large café area was chock full of people of all ages, nibbling on muffins or fruit, reading the newspaper, and enjoying the Dixieland-style music. The atmosphere was friendly for residents and tourists alike. Although, I might have been the only tourist. www.portlandmuseum.org