The Mikado

Colonial Theatre, Pittsfield, MA
www.thecolonialtheatre.org
March 6, 2010
By Karolina Sadowicz

One of Gilbert and Sullivan's best loved operettas, "The Mikado," is a comic romp set in feudal Japan. It's the tale of Nanki-Poo (John Farchione), a prince disguised as a minstrel, who hopes to marry Yum-Yum (Lauren-Rose King), the beautiful ward and sometime betrothed of the Lord High Executioner of Titipu, the self-involved and cowardly Ko-Ko (Jason Whitfield).

When the Mikado (Andrew Ford), emperor of Japan, demands that Ko-Ko fulfills the duties of his office by actually executing someone within one month, Ko-Ko must find a victim in order to save his own head. Nanki-Poo, who claims he could not bear to live without Yum-Yum, agrees to be beheaded by month's end, as long as he can marry her first. Their scheme is threatened by the arrival of Katisha (Emily Geller), a "cougar" from the Mikado's court who was jilted by Nanki-Poo, and a surprise visit from the Mikado himself.

Mistaken identities, broken hearts, and hidden agendas form this operatic farce, which gleefully makes light of bureaucracy and politicians. Under the direction of Jim Charles, the actors enjoy occasional ad-libs and wink at the audience with jokes about modern politicians, from Governor Peterson, to both Clintons, to Scott Brown, as well as giving nods to the local audience with a few quips about Pittsfield.

The elegant set evokes Japan though screens, red gates, and cherry blossoms, and is dramatically transformed through bold, vivid lighting design. The ensemble is a delight to watch in colorful kimonos, and their vocal performances are superb. Farchione is unassuming and masculine as Nanki-Poo, King is disarmingly alluring as the vain Yum-Yum. Whitfield's Ko-Ko is irresistibly funny and likable despite his cowardice, and quickly becomes the audience favorite. Andrew Lipman is a Falstaffian bureaucrat and earns huge laughs as the corrupt uber-administrator Poo-Bah, insisting on being "insulted" with bribes in order to bend laws and share secrets freely.

Each actor brings excellent vocals and physical comedy to this swiftly moving, delightful production. "The Mikado" is 125 years old, but with modern touches and energy, it thrills and amuses without showing its age.

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.

Spring Awakening

The Bushnell, Hartford, CT
www.bushnell.org
through February 28, 2010
by Bob Smith

Ah, youth! The enjoyment of "Spring Awakening" will depend in large part on how well the audience has recovered from its own adolescent angst. Based on a scandalous play written in 1891, this Tony Award winning show illustrates that teenagers have always felt oppressed by the adult world and even more terrified by the world in their own heads.

Bringing the story into the present age is the music by composer Duncan Sheik and lyricist Steven Sater. The numbers are at turns rebellious, whimsical and heart wrenching. Reflecting youthful passions, some of the song titles are not even repeatable in print. "The Dark I Know Well" details a horrific subject in a calm but devastating manner. Sarah Hunt and Steffi D delivered a powerful and poignant duet, lending each other the strength of their voices.

This is not theatre for the faint of heart, as these are hormonal teens after all. Even in their attempts to forge meaningful connections with one another, there is brutality and coarseness. The lighting and staging plays an integral role, illustrating the conflicting emotional states between desires and actions. Characters literally are climbing up the walls. The band that propels the emotional score sits on stage, lending a rock-concert quality to many of the numbers.

It is an ensemble piece, but it is well anchored by Jake Epstein and Christy Altomare as the "romantic" leads. From the opening number, one can very quickly start to feel like a voyeur, and it is their earnest portrayals that facilitate your investment in the drama. Parents may nod in recognition of their own experiences while simultaneously dreading the years to come.

"Spring Awakening" is a unique experience. Startling subject matter, atypical songs for a Broadway show, and engaging young performers make it worthwhile theatre for those who are not put off by the excessive emotional tendencies of youth.

Contains mature themes, sexual situations, nudity and strong language.

Communicating Doors

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

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

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

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

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

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

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

Rent

Opera House Players, Broad Brook, CT
www.operahouseplayers.org
through March 7, 2010
by Eric Sutter

Love conquers all, even in the worst case scenarios of life. This message is the theme that ties the plots of "Rent" together. "Rent" has a lot going for it... a stellar cast of young actors playing energetic characters that truly deliver. It is fast paced and funny and, at times, soars. This is cutting edge theatre with a radical welcome that deals with modern issues.

The musical drama begins with the soliloquy of the show's narrator Mark (Thomas Jon Creatore) spending a cold Christmas Eve in the Lower East Side industrial loft he shares with his roommate musician Roger (Tom Knightlee). Memorable music fills the story, including the title song. "You Okay Honey," is sung by Angel (Gionannie 'Desio' Mendez), an HIV+ transvestite street musician. The bohemian lifestyles of the characters' risque lives are woven together with a vagabond spirit of fantastic dialogue, song, and dance. In one scene, Angel is outlandishly dressed as a transvestite Santa Claus. Contemporary love songs include "Tango Maureen" and "I'll Cover You."

Act I I begins with the company posing the question "How do you measure a year in the life? ("Seasons of Love"). This is the beauty in the midst of chaos with the entire cast harmonizing. Of course, "Rent" has a lot to say about love and the good measure of things people will do for it in the face of adversity. At times, it was hard to follow the story with all its twists of confusion but "Voice Mail #5" reaffirmed the source of love. The company joined to reprise the affirmation that love is all and that there is no day but today in the finale, "Your Eyes."

Les Liaisons Dangereuses

Shakespeare & Company, Lenox, MA
www.shakespeare.org
through March, 21, 2010
by Shera Cohen

Most of the characters in "Les Liaisons Dangereuses" are evil personified. They are also smart, handsome, sophisticated, highbrow, cunning, vengeful, and, "evil" bears repeating.

Christopher Hampton's play, set in 1780s Paris, is created as a game, both visually and verbally. The squares on the floor and the sharp banter between the two lead roles add up to a championship chess competition. The stakes are high, even for the winner. At play's end, it is difficult to determine who loses more.

"Liaisons" is mounted at the intimate Bernstein Theatre. The 18 scenes fluently move from one to the next in the form of dance, accompanied by period music. From the play's opening note, the chess/dance begins. Clever at first, the characters' jumping from square to square becomes too obvious. It is safe to say that everyone in the audience "got it" - this is a deadly match, albeit with some humor.

It is hard to believe that, when last seen at Shakespeare, Elizabeth Aspenlieder and Josh Aaron McCabe each starred in comedies. They were uproarious, throwing themselves (even physically) into their roles. While reserved in demeanor that befits "Liaison's" characters, the actors portray villains with capital "Vs". Aspenlieder's Marquise is the brighter and worse of the two, excusing her motives because she is of the weaker sex. Ha! McCabe's Vicomte pads his evil ways with humor, making him a bit more palatable as a human being. Aspenlieder surpasses herself in each new role. McCabe has not appeared often to date, but one hopes he will.

Tina Packer directs her actors in supporting roles, some with more stage time than others, so that each embodies a character not to be forgotten. Tony Simotes is to be credited as choreographer of the lengthy frightening sword and dagger fight in Act II.

Normal human emotions of jealousy and revenge, betrayal and cruelty run rampant among "Liaison's" population. The play is far more than a battle of the sexes. Good vs. evil is too simplistic. The Marquise exclaims, "This is war!" And the audience relishes every evil moment. For mature audiences.

The Lady With All the Answers

Hartford TheaterWorks, Hartford, CT
www.theaterworkshartford.org
through March 7, 2010
by Jarice Hanson

Biographical plays are always a challenge to mount when members of the audience have an image of the subject in their minds. David Rambo's The Lady With All the Answers portrays the life of Eppie Lederer, known as Ann Landers, on July 1, 1975 -- the eve of writing a deeply personal column. In this one-woman show, the talented Charlotte Booker bears a striking resemblance to Ann, and charms the audience with rapport and charisma by taking polls of the audience, composing her columns at her Selectric typewriter, and talking on the phone with her daughter, her husband, and her twin sister, the other popular advice columnist, "Dear Abby." Booker's attempt to affect a Chicago accent and Landers' quirky speech pattern are inconsistent, and she relies on smiles and warmth to tell the story of this woman who was reputed to have a temper, sharp tongue, and extravagant lifestyle.

Director Steve Campo effectively uses Adrian W. Jones' set in Lederer's Chicago living room, and Kenneth Mooney's costumes contribute an elegance that reflects Landers' popularity. Much of the material comes from the real letters and responses Ann Landers wrote from 1955-2002, chronicling American values and popular topics, from the correct way to hand a toilet paper roll, to the anguish of a 15-year old boy who struggles with coming out, or ending his life.

Booker represents Eppie as a feisty woman with strong morals, but perhaps because the subjects deal with issues from a simpler time, or because Booker has not yet been able to find the contradictions in Lederer's life that give the play the human tension it needs, the show falls flat.

While the audience awarded Booker with a standing ovation, the production still needs to find the appropriate balance between human anguish and humor, which Ann Landers affected so well.

The Lion King

The Bushnell, Hartford, CT
www.bushnell.org
through February 14, 2010
by Shera Cohen

While many theatre-lovers have taken sides on the Disneyfication of today's musical theatre - its effects on the medium, audiences, and future audiences - this review takes "The Lion King" strictly at face value. The fact that its Broadway opening earned just about every theatre award given is no surprise. Perhaps a bit surprising to some is that the national tour, in cities such as Hartford, is equal in presentation, skill, special effects, costuming, and choreography. "Lion King" in CT compares equally to NYC's "Lion King."

The story, straight from the movie version, offers some life lessons to lions and to humans, particularly the children in both species. There's drama and humor - the later on two levels for the appreciation of the kids and their adult chaperones. Elton John and Tim Rice's music ranges from contemporary rock ("The Morning Report") to ballads ("The Live in You") to calypso, and more. Of course, there is the expected beauty of "Circle of Life" and contagious beat of "Hakuna Matata." Singers shine, particularly in "Shadowland" and "Endless Night." All of this makes for the foundation of a good musical.

The "wow effect" of "Lion King," and far bigger than the songs, singers, and story combined, is the staging. The real stars are exquisitely talented director/costume designer Julie Taymor and choreographer Garth Fagan. Unfortunately, neither appears onstage to receive standing ovations.

"Lion King" is a visual delight with humans portraying life-size animals, birds, and vegetation. It is easy to only see the costumes and masks. Yet the faces of each actor "underneath" perfectly reflect his/her character. The backdrops of shimmering sun, dessert, sky, mountains, and elephant graveyard are massive. Color abounds in the come-to-life imaginations of the young lions. Technology is state-of-the-art in creating the art of live theatre, particularly in the stampede scene. Fagan, known for his choreography of his own famous dance troupe, as well as works performed by troupes across the globe, has created movements perhaps unseen onstage before "Lion King's" debut.

As for opening night's audience, chock full of children, it was a pleasure to hear their sounds of exclamation, lion "grrrrs," and questioning "Is that real?!"

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.

In the Heights

The Bushnell, Hartford
www.bushnell.org
through January 10, 2010
by Shera Cohen

While the title of "In the Heights" refers to New York's Washington Heights neighborhood, this is a musical that's high on life, dreams, challenges, and changes. The story may be universal for all eras, yet this is very much a contemporary show evidenced particularly by the multi-racial cast, songs that toss English and Spanish lyrics back and forth, and atypical choreography unlike any that Rodgers & Hammerstein, Mel Brooks, or the Disney staff could imagine.

First to be noticed is the set. Wow! Against the backdrop of the Washington Bridge are floor to ceiling tenements, quite real with cracks to see through windows, doors, and walls. Storefronts create the ground level, where most of the action takes place. Second noticed is Kyle Beltran as Usnavi (leading role) spouting a rap song about his life and community. This reviewer wasn't the only audience member to worry that the entire play would be rap, hip-hop, and generally not understood by anyone over age 25. Any reservation did not last long, as every word of Beltran's song was not only distinct, but carried the plotline forward. While hip-hoppers jumped and jived all over the stage, this was true to their characters. Twentysomethings are not going to waltz or do precision can-can.

The dialogue is minimal, as the songs flow one after each other, with each better and more rousing that the last. There is the usual showstopper - "$96,000" - surprisingly followed by four more showstoppers. It is hard to keep up with and equally hard to stop clapping. Each actor is given his/her moment in the sun. Those in the roles of Benny, Nina, Carla, Sonny and Nina instantly become individuals to like. Beltran's Usnavi is so charming and naïve that it's hard to resist the temptation to take him home as a pet.

Some of the plot of Act II is a bit disjointed, but minimally noticed against constant dancing that comes from nowhere and is contagious, the clever lighting, a pit band to beat the best of them, and one of the best touring companies to reach Hartford and the U.S.A.

Christmas with the Rat Pack—Live at the Sands

The Bushnell, Hartford, CT
www.bushnell.org
through December 20, 2009
by R.E. Smith

“Christmas with the Rat Pack” reinforces the notion that “they just don’t make ‘em like that anymore”. The personalities, the songs, even the tuxes all serve to transport the audience to a different time and place. The time is the ‘60s, the place is Las Vegas, and the performers are Frank Sinatra, Dean Martin and Sammy Davis, Jr.

These are not impersonators, but rather actors portraying a character and they make it look easy. The presence of the originals literally hangs over the stage, to remind us that no one can duplicate the original, but we can invoke their spirit. The illusion works very well and makes for a great night of old-school “showbiz”.

Tam Ward conveyed Sinatra’s effortless phrasing and delivery on “I’ve Got You Under My Skin” and “The Christmas Song”. Michael Howard Smith, captured Martin’s smooth charm and laid back delivery on “That’s Amore” and “Baby, It’s Cold Outside”. Of the three, David Hayes (Davis) had the greatest physical likeness to his “character” which served him well as Davis was the ebullient song and dance man.

This is no karaoke revue; the 15-piece orchestra was powerful and tight and the men’s voices were strong and well trained. The score must have been based on the original arrangements, because every horn blast and drum hit had the unmistakable sound of that bygone era. These entertainers use no vocal acrobatics or flashy costume changes, leaving the audience to concentrate on the essence of classic songs, seasonal and secular.

The banter retains just enough political incorrectness to remind you that this was a different era, but the material and songs are suitable for the whole family. Take the grandparents for an authentic taste of the good old days and take the tweens so that they can learn to appreciate true, live entertainment.

“Mamma Mia!”

The Bushnell, Hartford, CT
www.bushnell.org
through December 6, 2009
by Shera Cohen

What can a reviewer write about “Mamma Mia!” the fifth time around? First, this musical is obviously worth seeing over and over again. Second, it’s two hours of sheer joy as nearly everyone in the audience has a constant smile. The smile doesn’t come off for the next two days – just about the same time the humming of “Dancing Queen” and “Honey, Honey” disappears from the brains of those in attendance at the Bushnell. Third, the concept of weaving a story and plot around already existing music to create one huge musical success is not so ingenious, yet why wasn’t it done before?

“Mamma Mia!” is the marriage of the old “B” Gina Lolabrigida movie, “Buena Sera, Mrs. Campbell,” with the “A” hits of ABBA. A young Gina slept with three guys; the result was a baby girl. Who’s the daddy? Gina doesn’t really care, but now 20-year-old Sophie yearns for her father to give her away at her wedding. Substitute former rocker Donna for Gina. She’s spent her life as a successful, tough, and vulnerable single mom. Surprise – three possible dads arrive.

The Greek Isle setting is amass with energetic twenty-somethings and six adults. All have the opportunity to sing and dance – sometimes as an ensemble (an opening number “Money, Money, Money”), other times as duos (the poignant “Our Last Summer”) and a string of solos. Michelle Dawson (Donna) has a raspiness to her voice which gives power to “The Winner Takes It All.” Rachel Tyler (Donna’s buddy Tanya) often steals the show with her terrific voice (“Does Your Mother Know”) and comedic movements. Some voices were weaker against the 10-member, highly skilled, rock band. Choreography ranges from a funny romantic flirting of “Take a Chance on Me” to the big numbers with dancers in big feet (scuba flippers).

It can probably be assumed that “Mamma Mia!” is a chick show. Well, yes and no. It wasn’t just the ladies who popped up for the standing ovation and sing-alongs. The hundreds of kid audience members cheered and clapped as well. Alright, this musical is not a cerebral classic, but isn’t it a joy to see children appreciate theatre?

Mistakes Were Made

Hartford Stage, Hartford
www.hartfordstage.org
through November 22, 2009
by Shera Cohen

Hartford Stage has a deserved excellent and long-running reputation of presenting quality productions - in all areas including costumes, special effects, sets, acting, and direction. First and foremost, however, is play selection. Certainly, no one anticipates that every audience member will enjoy every play mounted at Hartford Stage. That is an unrealistic hope, not only in Hartford, but for all theatre companies. That said, "Mistakes Were Made" singles itself out, unfortunately, as the play that puts a crimp in a long list of years of A+ work.

You can't win them all, and "Mistakes Were Made" has many mistakes. Plays about plays usually don't work. Save for "Noises Off" (a hysterical comedy at HS last season), the dialogue is too inside, with the playgoers either unsympathetic to the characters or not understanding the roles. Another general problem is that many audience members do not wish to attend a one-actor piece. There is an offstage female voice - a woman who does appear once for a minute - and a couple of fish, but they don't count much. Yes, there are the exceptions; i.e. Hal Holbrook has become synonymous with Mark Twain. In this case, the character is a theatre producer (Felix) with Will Lebow in the role. While Lebow makes a monumental effort and does yeoman's work, the script is not sufficient enough to warrant his labors. Felix is a fast-talking, used-car salesman in show biz. His specialty is schlock shows. The entire play is a series of phone calls with soliloquies directed to the fish interspersed. "Mistakes" tries to combine Bob Newhart's exasperation (the rotary phone has been replaced) with Neil Simon one-liners. Neither work very well.

Playwright Craig Wright has excellent credentials. In many ways, this seems to be a first draft of a play that could go somewhere. The story builds and adds moments of drama, but these are only teases. Fleshing out the plot along with glimpses of substance earlier in the dialogue will help this play immensely. Billed as a comedy, there are some audience smiles and chuckles.

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.

A Funny Thing Happened on the Way to the Forum

Goodspeed, East Haddam, CT
www.goodspeed.org
through November 29, 2009
by Shera Cohen

The introductory song of "Forum" says it all. "Comedy Tonight" is exactly what takes place on the Goodspeed stage. The plot is silly, the women are sexy, and the characters are stupid - all with a capital "S." One of Stephen Sondheim's early works, it is also one of the more accessible. Perhaps better known for profound lyrics that move the play forward rather than beautiful music, Sondheim does show off his skill as a wordsmith. However, this time the text is all for laughs.

"Forum," set in 200 BC, takes the audience to a cartoon setting painted with bright colors. It's a tale of noblemen and slaves, eunuchs and courtesans, long marriages and young love, warriors and wimps, mistaken identities, and cross dressing. Let's not forget the rubber chicken. This is vaudeville at its best, an increscent flow of one-liners with ba-da-bing endings. The story is sexist, risqué, dated (okay, it's Ancient Rome), and full of shtick. What could have been a drama about a slave seeking freedom is immediately tossed aside and replaced by constant comedy. Throughout the play, the fourth wall (the audience) is completely open. There is no pretense of anything serious, and as the first song also states - expect a happy ending.

There are three categories of characters/actors: an ensemble of those in leading roles, curvaceous women who stand a lot, and a trio of Proteans (think Keystone Cops, each portraying a dozen roles each). Adam Heller (Pseudolus) works up a literal sweat as he creates the chaotic plot. David Wohl (Senex) underplays so well that he becomes one of the top laugh-getters. If John Scherer (Hysterium) had failed in his role of the nervous nelly, by the book, feigned female, a huge chunk of "Forum" would have sunk in the nearby Atlantic Ocean. All went swimmingly well, as this is an actor whose every nuance is the epitome of humor and comic timing.

Director Ted Pappas moves his motley groups of characters (many dressed to look like jesters) at a very fast clip. "Forum" is a broad show with lots of physical humor. As dark winter comes to New England, take a trip to Rome, aka Goodspeed, for bright shiny fun.

Interview with Estelle Parsons

Massachusetts native and Academy Award winning actress Estelle Parsons stars in the Bushnell’s production of “August: Osage County,” November 17 – 22, 2009

Q: After appearing in the show for almost a year on Broadway, why were you eager to go on the road with this play?

A: I haven’t had much opportunity to tour, because I was always bringing up kids. But I’ve always loved the idea of touring: I have this old dream of being in vaudeville. And there are all kinds of different audiences out there. I learned that from doing summer stock. Audiences are always a learning opportunity.

Q: Actors say that each audience has a certain personality. Do you find to be true?

A: Absolutely, particularly with this play, where the audience is so dynamic and vocal in every way – moaning, groaning, laughing, crying. The audience is really the third essential part. They’re not just sitting on their hands listening. They’re incredible and they’re always different, and as we go from city to city.

Q: Did you audition?

A: I did. I always prefer to audition, because very often when you’re saying the words out loud, you really can tell whether you want to do a play or not. I thought, “Let me work on this for awhile, and see if this is something I really want to be up there doing.” The more I worked on it, the more I loved it. And then when I auditioned, it just came alive, like whoosh.

Q: What do you think your character?

A: I think she’s a wonderful person who went astray. I have sympathy for her. It’s hard to know what’s underneath all that. I think she is basically a colder person than I am, and it’s been very exciting to work on that. I think she was a very smart, sensitive woman who was deeply abused as a child, and bears the scars. Who knows what would happen to people if they didn’t have the background they have.

Q: How did the role come about in Bonnie and Clyde?

A: In 1966, I was doing Berkshire Theatre Festival. I had seen Arthur Penn’s movies, and I wanted to work for him. I managed to get an interview with him for The Skin of Our Teeth, and he hired me. Working with him, I suddenly knew that I was in the right profession. I was [almost] 40. But I used to think, “Maybe I should have kept on at law school, or maybe I should try something else.” Working for Arthur Penn, I realized that I was in the right place. Then he asked me to do Bonnie and Clyde. I was just about join a rep company. The day after he asked me to read, I got a call telling me that funding for the rep had fallen through. I called Arthur and I read the script, and I thought, “Why is he offering this to me?” But the more I read it; I realized it was an incredible part.

Q: Did the Academy Award affect your career?

A: It did in that I could have had a lot of movie success, which I wasn’t really interested in. Looking back on it, I think that’s kind of too bad. I did a few movies when I was on vacation from a theatre job. I don’t think I ever chose a movie job over a theatre job. I love to entertain people.

www.bushnell.org

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.

The Andrews Brothers

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

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

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

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

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

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

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

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

Girls Night Out: The Musical

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

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

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

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

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

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

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

The Foreigner

Suffield Players, Suffield, CT
www.suffieldplayers.org
weekends through Oct. 24, 2009
By Donna Bailey-Thompson

The Suffield Players are whooping it up with a wild and raucous comedy that 25 years ago won Obie and Outer Circle Critics awards for Best New American Play. Written by Larry Shue, "The Foreigner" is as timely today and perhaps even funnier because, let's face it, the lousy economy has boosted laughing's value into the realm of a precious commodity. As directed by Robert Lunde, the action never lags, nor does sly humor or bellywhompers.

S/Sgt. Froggy LeSueur, a Brit with a Cockney accent, drags a pathetic Charlie Baker into a Georgia fishing lodge who, if he could, would curl himself into an invisible ball. Froggy (take-charge Mark Proulx) has virtually kidnapped Charlie (Dale Facey kidnaps the role), spiriting him away from the hospital bedside of his supposedly dying wife. Charlie's plight is an absence of self-worth which renders him pathologically shy. He describes himself as profoundly boring and entreats Froggy, "How does one acquire a personality?" The possibility of having to interact for three days with other guests at the lodge fills him with panic. Froggy's solution: tell the lodge's owner, Betty Meeks (a forceful Cynthia Lee Andersen) that Charlie is a foreigner who speaks no English. This thrills Betty who has longed to travel; at least now she'll meet a foreigner.

The other guests are a snippy, unwed pregnant heiress Catherine (as believable as she was as the father-controlled Catherine in "The Heiress"), her simple brother Ellard (the inventive Brian Rucci), her creepy fiancé, the Reverend David Marshall Lee (Christopher Berrien, appropriately mysterious) and the town's racist inspector, Owen Musser (befittingly unlikable).

That the plot is slim is of little consequence because the real suspense is created by Charlie's determination to remain a speechless cipher. His body language, double and triple takes, the play of emotions across his face, are not simply funny, they are endearing. During a protracted scene in the second act, Charlie and Ellard mimic one another with deftly executed sight gags that carry the audience into near hysteria.

The Suffield Players' latest contribution to its 57-year history honors the essence of quality community theatre.

This review was published simultaneously at www.theartsetc.com

The Hound of the Baskervilles

Shakespeare & Company, Lenox
www.shakespeare.org
through November 8, 2009
by Shera Cohen

Leave any reverence for Sherlock Holmes or Arthur Conan Doyle at home before attending “The Hound of the Baskervilles” at Shakes&Co. The play’s title is the only element of Doyle’s work that is still in tact. In just three weeks, director Tony Simotes has created one of the funniest play productions since “The Complete Works” and “Irma Vep.” In fact, blend the ingredients of theme and caricatures of “Works” and “Vep” and mix in dashes of any Monty Python spoof (for younger readers, think “Spamalot” without the music), and the U.S. premier of “Hound” becomes a delicious dish.

While the plot of the original “Hound” forms the framework, it’s easy for the audience to realize within the first minute that this is no ordinary Holmes, the sleuth. The big mystery of this “Hound” is to wonder, how does Simotes pull it all together and how do three actors pull it off? The answers don’t really matter, as the end results are that they succeed phenomenally.

To paraphrase the playbill, Simotes stated that he wanted to present a richly layered play that speaks profound truths about the human condition. “But instead, I directed this.” That was a tease for the next two-hours of non-stop comedy onstage and audience laughter.

The sound effects are howling dogs. The lights are dim, creating gigantic shadows. The set is sparse; i.e. it’s unbelievable what can be done with an old park bench. The costumes are many because two the actors portray multi-roles (male and female). The pace is fast, faster, and fastest as the story moves to its conclusion. Josh Aaron McCabe and Ryan Winkles are flawless in creating physical humor. While McCabe seems quite sober at first, he surprises in his hysterical roles as a Gypsy dancer and diminutive person (okay, a 3 foot hermit). Winkles is this year’s Shakes&Co. shining young star. He can do nothing wrong. His Scottish farmer with lamb in a sack is priceless. Jonathan Croy (a Shakes&Co. old timer) has the unenviable task of playing the semi-straight man, receiving fewer laughs than his cohorts. Ahhh, the price of fame.

Finally, kudos to the costume changers. Thank goodness for Velcro.

American Buffalo

TheaterWorks, Hartford, Connecticut
www.theaterworkshartford.org
through October 25
by Jarice Hanson

"American Buffalo" premiered in 1975, and catapulted David Mamet to fame as one of the most earthy, funny, and intense playwrights of the era. The plot is simple; three guys from Chicago see an opportunity to make an easy buck, but as they hatch their plot, everything falls apart. The three characters are what makes the play compelling; they represent archetypes that reflect American male anger, frustration, and fallibility that emerged in the mid-'70s, as a backlash to the women’s movement. Though billed as a comedy, when well-played, the sadness of people trapped by their own limitations gives the characters greater depth.

In TheaterWorks' production, the actors explore their characters beautifully. Donny, owner of a junk shop (played with excellent control by John Ahlin); Bobby, the slow-witted drug addict, who serves as surrogate son to Donny (portrayed by Zachary Spicer, a young actor with tremendous physicality); and Teach, who delivers some of Mamet’s best lines, like, “The only way to teach these people is to kill them” (powerfully played by Andrew Benator, whose commitment to character is astounding) deliver a production that roars with testosterone and human fallibility.

Director Steve Campo allows Mamet’s dialog to shine; and the set, designed by Adrian W. Jones, and the subtle, effective lighting by Matthew Richards in the intimate TheaterWorks space, seems to encourage the audience to eavesdrop on the ill-fated petty crooks. At the play’s conclusion, the audience, leapt to a standing ovation, but as good as the opening night show was, it will undoubtedly get stronger as these three capable actors find the subtle peaks and valleys in Mamet’s multi-layered script. While it would have been helpful tohear some good, strong Chicago accents to punctuate Mamet’s dialog for a strong sense of place, "American Buffalo" is an actor’s play, and TheaterWorks is delivering Mamet’s work in fine form.

Horton Foote's The Orphans' Home Cycle

Hartford Stage, Hartford, CT
www.hartfordstage.org
in repertory through October 23, 2009
by Donna Bailey-Thompson

Superb! The Hartford Stage world premiere of Horton Foote's "The Orphans' Home Cycle" - Part One, "The Story of a Childhood" - foretells that Parts Two ("...Marriage") and Three (..."Family") will build and deepen the compelling story of Horace's journey from ages 12 (1902) to 38 (1928).

This elaborate production prompts superlatives. A cast of 22 playing 70 roles wears authentic period costumes (David C. Woolard), hair and wigs (Mark Adam Rampmeyer). Subtle lighting design (Rui Rita) enhances the many scenes which dissolve seamlessly thanks to the engineering legerdemain of scenic designers Jeff Cowie and David Barber: huge flats glide sideways and props move forward and back - where stood a boy, now stands a man.

Responsibility for this dramatic tour de force belongs to Artistic Director Michael Wilson. He convinced the aging playwright that the full nine-play cycle Foote had hoped to turn into nine movies (he and his wife succeeded in bringing five to the screen).could be staged in repertory. "The Cycle" is co-produced with New York's Signature Theatre Company where it will play from November to March.

Horton Foote's scripts suggest that he was light years distant from being pretentious. A gifted storyteller who eschewed any tricks, especially maudlin sentimentality, his characters are multi-dimensional; identification with their human nature explains one aspect of Foote's popularity. Another is quite simple: the man could really write.

Act I ("Roots in a Parched Ground" about 60 miles SW of Houston) opens with the dying of Horace's father whose excessive drinking alienated his wife. She marries Mr. Davenport who doesn't drink, smoke, or chew. "He has no problems," she states, except he's a dry drunk with profound control issues. Mr. Davenport's job transfer to Houston includes Horace's mother and sister but young Horace is left behind. In effect, he's an orphan. By Act II, age 14, ("Convicts") he's clerking in a scruffy store on a hardscrabble sugar cane plantation owned by an alcoholic skinflint who uses cheap convict labor. By Act III ("Lily Dale"), Horace is 20. A short visit in Houston with his uneasy mother and self-centered sister is prolonged when he is stricken with malaria. When he leaves, he's still weak but resolved to succeed.

The casting is inspired: Bill Heck (adult Horace), Henry Hodges (Horace, age 14); James DeMarse (plantation drunk), Annalee Jefferies (Horace's mother), and Pamela Payton-Wright (Mrs. Coons) who gives new meaning to "church lady." Michael Wilson's directing reflects the gentle yet precise cadence of Horton Foote's script. The result is immersion in Horace's odyssey - Greek tragedy, Texas style, never hurried, never drags.

Because scheduling of this three-part cycle is complex, theatergoers are encouraged to visit www.hartfordstage.org for ticketing information. Each three-hour performance includes three short plays and two intermissions.

Red Remembers

Berkshire Theatre Festival, Stockbridge, MA
www.berkshiretheatre.org
through November 1, 2009
by Barbara Stroup

Berkshire Theatre presents an engrossing one-person play. "Red Remembers" visits Red Barber in retirement in his Florida home, where he is caring for his ailing wife Lylah, plagued with Alzheimer's. Red recalls the major events of a long career and takes a seat at a 'microphone' to repeat for the audience the moments for which he is most famous - notably the ninth inning hit that broke up a no-hit pitching performance by Bill Bevans in the 1947 World Series.

Tony-nominated veteran actor David Garrison plays Barber. His professionalism shines as he portrays a man beset by responsibility, some failure of memory, and the ravages of a bleeding ulcer. This reviewer particularly liked his use of gesture and movement style. Garrison's voice is sonorous and sportscaster-like, and becomes even more profound when he sits down at the 'microphone'. The beautifully-lit living room becomes a ball field as the lights go down and rear- projection, wall-sized images transport the audience to Ebbetts Field and Yankee Stadium for play-by-play moments.

Garrison has a lot of stage business to manage during the one-act 90-minute play, and he does so with total naturalness and finesse. There are cocktails to mix, phones to answer, garments to pack, and broken tumblers to sweep up - all of this action flows smoothly within the on-going monologue. The script is full of the phrases that made Red Barber's broadcasts famous, and reveals the changing principles of a man who resisted the integration of the sport until he realized that the real requirement of his job was simply to report on where the ball was.

Both set and lighting design make a remarkable contribution to the script. The living room is crisp-looking and complete; mementos stand out. Director John Rando has made all the pieces fit, and David Garrison brings reality to a remarkable script - a rewarding experience for fans of both baseball and good theatre.

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.

Freud’s Last Session

Barrington Stage, Pittsfield, MA
barringtonstageco.org
run extended through October 4, 2009
by Shera Cohen

It was a wise decision to bring encore performances of “Freud’s Last Session” – the play which kicked-off Barrington Stage’s 2009 season – back to complete the company’s summer months of plays. Another excellent choice was to mount “Freud” at Stage 2 located a few blocks from the Mainstage. This intimate theatre with its smaller stage and fewer seats is ideal for the audience to closely eavesdrop on the conversations of Dr. Sigmund Freud and author C.S. Lewis. While Freud and Lewis probably never met in 1939 (the play’s time) or at any other time, does not matter. Their discussion, which is the script, is timeless.

Born a Jew, Freud was a staunch atheist eager to preach his beliefs. Lewis, on the other hand, was a steadfast Christian. Lewis enters the study of the eminent, elderly, and dying Freud, and their 80-minute conversation starts. A one-act play, with only two characters, one of whom audience members might not know (Lewis wrote “The Chronicles of Narnia”), arguing the merits of religion as well as life vs. suicide could easily become a snoozer. Excellent acting, directing, pace, humor, and setting (yes, the couch was ever present) keeps the verbal action intelligent and quick like a fine game of chess.

Martin Rayner’s Freud is sick with incurable cancer, yet still brilliant and witty. The actor, perhaps half the age of Freud at 83, truly fleshes out the doctor. Yes, there is mention of psychoanalysis and sex, but the audience observes far more about Freud as a husband, father, and atheist.

Mark H. Dold (a regular at Barrington) portrays Lewis as unassertive, not yet famous, and intimidated by the renowned Freud. Yet, he grows -- through posture, voice, and physical proximity to Freud -- as a man to be reckoned with. Rather than adversaries, the two men become respectful debaters.

The trappings of the period set, along with sounds of airplane bombers and radio broadcasts of caution, are seen and heard throughout the play. Kudos to the backstage crew.

White People

Shakespeare & Company, Lenox, MA
www.shakespeare.org
through September 4, 2009
by Karolina Sadowicz

Interracial stereotypes and misunderstandings are explored from the point of view of three very different people in J.T. Rogers' award-winning play. Through carefully crafted, bold monologues, three white people explore their own attitudes and assumptions about other races with varying degrees of introspection.

The play is set simultaneously in three locations, represented by three platforms. Each is painted stark white, and containing minimal set pieces and props, be it a section of a park bench or a halved desk, also completely white and entirely blank.

The unique staging is a challenge for both the actors and audience: the entire cast is present from the moment the theatre is open for seating, and they wait along with the audience to begin the show. The unexpected presence of the characters and a subdued soundtrack of eerie music draws an alertness from the audience and steadily builds tension. Feeling under observation takes the audience members from being passive spectators to a sense of being scrutinized as much as the characters.

Jason Asprey plays a well meaning, educated college professor living in New York City, who finds his progressive academic thinking and political correctness challenged when his family is attacked. Michael Hammond is a bold, unapologetic lawyer, transplanted from the big city to St. Louis with the intent of building a safer life for his children and failing. Dana Harrison is a former beauty queen clinging to old values and past glory in North Carolina. Each character is fully realized, complex, flawed, and real.

Rogers' script never asks for sympathy nor absolution for its characters. Sometimes the audience laughs with them, sometimes it winces. The actors give powerful, uninhibited performances that provoke self-reflection. The uninterrupted 90 minute performance gives no opportunity to look away. Each individual storyline reaches an explosive peak when the characters react to violence, horror, or humiliation, and each character leaves us searching for hope, redemption, or understanding.

"White People" captures the complexity of living in a diverse world comprised of people with different experiences, and the ways in which struggling to understand is sometimes the best we can do.