REVIEW: Barrington Stage “Estate Sale”

Barrington Stage Company, Pittsfield, MA 
www.barringtonstageco.org
through July 25, 2026 
by Jarice Hanson 

  
As the audience files into the theatre through a back door, onto a stage that looks like a thrift store, there’s a feeling that this show is going to be unlike anything they’ve ever seen before. This may be very true. What the audience is about to see is familiar, revelatory, and profound. It’s also emotionally laden, heart-wrenching, and wonderful. 

  

The world premiere of Keelay Gipson’s “Estate Sale” at Barrington’s intimate St. Germain Stage has something for everyone. The playbill warns that it is a play about grief—which is true—but it is also so much more. The play deals with memory, family, love, loss, and the gifts that growing up in a loving household bestows on the home’s occupants. 

  
Jayson Lee, described in the script as “Executor” is a marvel as the storyteller of the play. He uses a microphone which at first, seems like something an auctioneer would use, but the device also suggests he may tell the story the way a stand-up comic might. He even starts with three jokes that tell the audience he is now an orphan, and his feelings of aloneness are

clear, though implied rather than articulated. This is a clever device to key the audience into the back-and-forth time references that unfold as the characters enter the stage. First, a long-lost friend from the neighborhood called “Youth”. Then Father, “Truth” and Mother, “Beauty” appear. The last two happen to be ghosts.  

Photo: Roman Iwasiska

  
This is primarily the Executor’s story, and Lee is a wonderful actor who does a superb job suggesting different ages as he introduces memories, enacted by the other characters.

 

“Youth” is played by Christopher B. Portley; Father, by Blake Morris; and Mother, by Gillian Glasco. The team of talented actors show the audience the range of emotions of family and friends throughout different time periods and give the impression that they (the actors) have known each other for decades.    

  
They are surrounded by the detritus of life that the Executor now has to deal with; and the items, complete with price tags, are beautifully staged by scenic designer, You-Shin Chen. Director Steph Paul guides her actors around the stage integrating memory and objects and ruminating on the joys and sorrows of family life. What emerges is a story of love, remembered differently through the objects that we imbue with meaning, all the while reminiscing of the small acts of love that ultimately make us who we are.  

  

“Estate Sale” transcends time. The Executor says, “There’s good shit. And there’s bad shit.” The simplicity of those lines hides the multi-layers that emerge as this play evolves. From the audience's reaction, nearly everyone can relate to the emotions that arise as worlds shift with the passing of time, people, and the things that give meaning to an individual's position in the world.  
       

Since this is production is the world premiere, it's a good guess that "Estate Sale" will take to many stages in the near future; perhaps enough to become a modern-day classic. It's that good.

Review: Barrington Stage "The Zionists": A Family Storm

Barrington Stage Company, Pittsfield, MA

www.barringtonstageco.org

through July 3, 2026

by Shera Cohen

What happens when the members of a well-to-do Jewish family spend vacation time together at a posh resort? No surprise that all is not a happy reunion.

 

The story of the Rosenberg family focuses on two menacing and simultaneous storms; one indoors and the other outdoors. The storm of dialogue between various family members escalates from conversations to accusations to outright fights. The storm outdoors, which the audience can see through the set's windows, is just as intense growing into a full-on hurricane.

Which storm is worse, more unsettling, fierce, and enough to change the dynamics of the roles and outcome of the play? The answer is up to the audience, but each violent predicament is profound.

The story is time-sensitive and the time is now. Playwright S. Asher Gelman, a Jew entrenched in the contemporary status of Israel, states in Barrington Stage's playbook, "[It is] my most personal play, coming from a rich history of Jews arguing about, well, everything." Gelman's mantra is that many things can be true at once, "especially when they are in direct conflict."

The cast of eight create an ensemble piece; although Coby Getzug (Aaron) and Gregg Weiner (David), who depict brothers, are at the core of the bitter arguments. This is not sibling rivalry; but on a much higher and moral level. In fact, their conflict is on a global scale. 

 

Their war of increasingly passionate and sharp words becomes the crux of the second part of Act I and into Act II. Zionists vs. Palestinians -- whose atrocities are worse, is one evil equal to another? The brothers' sister Bex (Dani Stoller) soon becomes a third player, not defending either brother, but defending herself and her own beliefs.

Toss into the storm is the issue of money -- lots of it. Again, brother vs. brother with dollars spent to support each side of the cause doesn't sit well with all assembled.

To the actors' credit, what appears on stage is real. Yet, the dialogue is oftentimes so fast and overlaps that the arguments are not verbally clear to the audience. Yes, this occurs in real-life fights when one person doesn't or doesn't want to hear the other well enough to understand. Sometimes slower is better. Sometimes fewer words are better.

Scenic design by Adam Koch, lighting design by Solomon Weisbard, and sound design by Salomon Lerner and Andy Evan Cohen deserve kudos. To offer specific examples would be spoilers. The fictional rain, hail, thunder, lighting, crashes, and swooshes of 100+ mph winds is enough for many in the audience to be a bit fearful to take a breath of the cool Pittsfield air during intermission.

Director Chloe Treat places her characters in specific locations, using center stage only when the entire family gathers, stage right as Bex's apartment in Israel, stage left as Aaron's home in the US. Then sections switch again, developing wise use of space. Each sibling has a partner. The brothers' fight is, at first, a match of words, then shouting, soon physical with each man on his side of the stage, hurling "rights" and "wrongs" at each other. 

Yet, the story takes no sides. What is offered are opinions; albeit strong opinions which make this play complete.

Review: Barrington Stage Company, “Driving Miss Daisy”

Barrington Stage, Pittsfield, MA

www.barringtonstageco.org
May 26 – June 21, 2026
by Shera Cohen

Over the 26 years since Barrington Stage Company (BSC) began, most season openers have been big musicals; a strategic and smart choice as an audience draw.This summer of 2026 differs.

photo credit Roman Iwasiwka

“Driving Miss Daisy” is a small play with a few big messages. Essentially a comedic drama (dramady) with a cast of only three, it is the talents of the actors that can make or break the spirit of the story. Add the fourth vital player in the mix -- a tried ‘n true director – and what appears on stage are live characters, telling their story, in a quality production.

Set in 1948, Georgia, is spunky Jewish widow Daisy. Her trappings are upper-middle class, although she refuses to admit it. She is spunky and stubborn. At the start of the play, the world revolves around her. Enters an unwanted hire, who Daisy’s son insists on as Daisy’s driver. Apparently, the widow Daisy has had one too many car accidents. For good or bad, Hoak, a middle-aged, unemployed, African-American man gets the job. The plot becomes the developing relationship between these two disparate people.

Debra Jo Rupp, a frequent player at BSC, as well as one of the audience’s favorites, becomes Daisy, not so much in broad comedy strokes as she has depicted in other BSC plays, but subdued, befitting her character. For the most part, Rupp makes for an ideal Daisy. Even wearing a grey-haired wig, Rupp belies Daisy’s age as 72, and throughout the scenes she ages to 97, the audience must forgive the aging process asfiction. Rupp is too young and cute.

Ray Anthony Thomas, a newcomer to BSC as Hoke, comes with an impressive resume. Thomas effectively grows from Daisy’s chauffeur to become her friend. This is Daisy and Hoke’s play against a background of prejudice and racism in the U.S.

Matthew Korinko, as Daisy’s son, serves as the conduit between the other two characters. Boolie’s role doesn’t call for deep analysis.

“Daisy” especially benefits by the direction of BSC’s founder and artistic director of over 20 years, Julianne Boyd. Although now retired, Boyd keeps her creative mind and hand in a few productions this summer. It is assuring that she has not completely left the theatre that she created.

BSC’s St. Germaine Stage provides the intimacy for the acting trio, plus the caricaturized car -- front and center. The venue would offer plenty of stage space even for a much larger cast. A point, however, regards the division of the stage space in three equal sections: Daisy’s home, the automobile, and Boolie’s office. A recommendation would be to minimize the office portion. Scenes that take place here are not as important as those in the other two sections. There is no need for all spaces to be equal.

Effective videos and still black & white photographs tell the audience that years are passing. Immediately following “Driving Miss Daisy’s” run at BSC, it moves a bit up north in geography to Williamstown, MA from June 26 – July 5, 2026.

A personal note: In its first 11 years, BSC operated from rented space at a high school in Sheffield, MA. I remember seeing the world premiere of “The Putnam County 25^th Annual Spelling Bee” performed in the school’s band room. The composer and author sat directly in front of me. “Spelling Bee” went on to Tony Awards and other accolades on Broadway! How fortunate was I?!

Review: Barrington Stage Company, “The Weekend”

Barrington Stage Company, Pittsfield, MA

www.barringtonstageco.org

through October 12, 2025

by Shera Cohen

The treat on the weekend of September 20 – 23 was a discussion by writer Ben Diskant, playwright of “The Weekend: A Stockbridge Story” premiering at Barrington Stage Company, which was the final show of the 2025/26 summer series. Director Alan Paul (Artistic Director of BSC) also fielded intelligent questions from those in attendance – some who had seen the production and some who had yet to see it.

Barrington Stage Company

Various versions of Diskant’s responses about his play focused on the themes of 1) romantic love and 2) the physical setting in which the story takes place. Without spoilers, the writer loaded his answers with “what if” this, that, etc. Such is the life of essentially everyone: the all-encompassing and important question, “what if?” Diskant’s answers and examples, to some degree, focused on his writing process, especially because his lead character just happens to be a playwright writing his own play.

Next: the play at the St. Germain Stage.

The story of two couples takes place in the 1960’s in a cabin in Stockbridge, MA. Music at the start of the play is an obvious queue to the era, and the painted backdrop scene explains the location.

Tom and Beth have marital problems. Allan and Jordan, once a couple, are estranged while the spark remains between them. All actors are 30-somethings, portraying characters whose backgrounds intersect. The play works as an ensemble piece; each actor holding his/her own on an equal skill level with the others. No one outshines, yet none shine either. Bill Army takes the script given and uses it far more than the other actors to create his character. The other actors are Molly Jobe, Ben Rosenfield, and Sasha Diamond.

Anticipating the importance of the setting, as a part-time Berkshire resident and lover of all things Berkshires, the play’s title is a disappointing tease to bring in local audiences. Yes, there are often-repeated references and pictures of the Berkshires, but the play could have easily taken place anywhere and anytime.

Going back to the playwright’s talk in which Diskant spoke about each of his characters, their interactions with each other, and with their environment, told an involved, important story worthy of seeing.

Unfortunately, the end result did not carry out what was obviously intended by the writer. There is a core play here. With deeper insight of characters and backstory, “The Weekend” could be a weekend to remember.

REVIEW: Barrington Stage Company “Joan”

Barrington Stage Company, Pittsfield, MA

www.barringtonstageco.org

July 31 – August 17, 2025

by Simon Brighenti

 

“How far is too far?” That is a theme that permeates “Joan” presented at the Barrington Stage Company. The titular character is, of course, the pioneering female comic Joan Rivers. 

 

Photo by Scott Smeltzer

This critique includes the word “female” often, for reasons explained shortly. In an effective technique, playwright Daniel Goldstein has the cast of a quartet of actors playing several roles. 

Tessa Auberjonois nails the roles of “older Joan” as well as Joan’s mother Mrs. Molinsky; Elinor Gunn portrays both “younger Joan” and Joan’s daughter Melisa. (Melissa Rivers is Executive Producer). Andrew Borba shines as the mercurial Edgar Rosenberg, Joan’s second husband and the tragic figure most famously associated with the comedian. He also embodies a variety of other parts, including Joan’s father, and Johnny Carson. Rounding out the cast is a versatile Zachary Prince, convincingly portraying several characters vital to the story, ranging from a bellhop to Jimmy Fallon. 

Auberjonois has the nasal intonation and vocal cadences down cold. Gunn presents a calming presence as daughter Melissa as well as a confidently striving young Joan. 

As a female – yes, again that matters as she was one of the first of her gender-comedian growing up in the 1950’s and ‘60’s, Joan had no map to follow, no real mentor from whom to seek guidance. 

Standup comedy was a man’s world at that time and television, still in relative infancy, was also total testosterone territory. She knew she was funny and could write jokes with the best of them -- many of which brought hearty laughter from the nearly full house. But how to get an audience to realize that fact was something she had to figure out as she went along.

As her early years are highlighted on stage, we see Joan’s parents expressing their determination to get Joan married off. The persona that elevated her to being one of the most famous women in the country at one time was one of self-deprecation; her most famous punchlines relate to her purported unattractiveness.

The play effectively exposes at least two levels of the question presented at the outset. How much do you give up in terms of family, relationships, money, and self-respect to get to where you want to be? And, to a lesser extent, how crude can a woman be, how many taboos can she break and not have it backfire. There ARE stretches of vulgarity that could make some more sensitive observers blush; exposing Joan’s raw material. 

There are scenes where Joan and Edgar acknowledge that the people who know “Joan” do not know Joan. The comedianne's story shows her oftentimes as a meal ticket to her so-called friends. Some scenes presented a poignant and revealing side to Joan.

The set is essentially a few tables and chairs, and some neon signs effectively suggest where the business is taking place. The costuming is time and persona appropriate.  

The overall impact of this performance is an enjoyable tour through a life of laughter and persistence, of calculation and compromise, exposing the times of a true comic legend; a life in full. 

REVIEW: Barrington Stage Company, “Camelot”

Barrington Stage Company, Pittsfield, MA

www.barringtonstageco.org

through July 19, 2025

by Michael J. Moran

Based on T. H. White’s 1958 novel The Once and Future King, "Camelot" tells the story of 6th-century King Arthur of England and his Knights of the Round Table, who became known for settling disputes not through war but through law and who attracted recruits from far and wide. When virtuous Sir Lancelot arrives from France, his growing love for Arthur’s Queen, Guinevere and the treachery of Arthur’s illegitimate son Mordred put the peaceful kingdom in peril.

Photo by Daniel Rader

With a book and lyrics by Alan Jay Lerner and music by Frederick Loewe, BSC’s enthralling production of the Tony-winning 1960 musical features a knockout cast of 17 talented singer-actors. Ken Wulf Clark brings a boyish charm to his exuberant portrayal of Arthur, who never loses his sense of wonder and curiosity about the world. The difference between his joyous take on the title song early in Act I and its more somber reprise at the end of the show is heartrending.

 

Ali Ewoldt is a resourceful Guinevere, who grows from a fearful girl in “The Simple Joys of Maidenhood” just before meeting Arthur to an achingly mature woman in “Before I Gaze at You Again” after falling for Lancelot. Emmett O’Hanlon as Lancelot finds the perfect mix of gravitas and humor introducing himself in “C’est Moi” and of rapture and vulnerability in his show-stopping ode to Guinevere, “If Ever I Would Leave You.” Ewoldt has remarkable chemistry with both her co-stars, more protective with Clark, more sensual with O’Hanlon.

Dakin Matthews offers rich comic portraits in the dual roles of Arthur’s mercurial teacher, the magician Merlyn, and of King Pellinore, a dotty more or less permanent house guest of Arthur and Guinevere. Danny Kornfeld’s gleefully malicious Mordred received an appreciative chorus of boos at his opening night curtain call. The men and women of the ensemble are versatile and seamless throughout.

Director Alan Paul (BSC’s Artistic Director) draws nuanced performances from his players and propels the action forward. Choreography by Brandon Bieber and Michele Lynch is graceful and witty, especially in “The Lusty Month of May.” Music director Darren R. Cohen’s eight-member band has outsize impact. Minimalist scenic design is by Lee Savage, tasteful costume design by Lia Wallfish and Ana Kuzmanic, and subtle lighting design by Christopher Akerlind.

BSC’s thrilling recreation of this musical theater classic is highly recommended to all audiences.

REVIEW: Barrington Stage Company, "N/A"

St. Germain Stage, Pittsfield, MA

www.barringtonstageco.org

through June 22, 2025

by Jarice Hanson

 

While there is no doubt the “N” of “N/A” is Nancy Pelosi and the “A” is Alexandria Ocasio Cortez, the names of the two political powerhouses are never mentioned in the 90-minute play at the intimate St. Germain Stage at  Barrington Stage Company. Still, the two actresses, Kelly Lester (Pelosi) and Diane Guerrero (AOC) not only resemble the two women, but they channel their energy and mannerisms to a “T.”

 

Mario Correa’s ambitious script is deliciously constructed to pose several questions to the audience generally dealing with the overarching theme: “What do these women have in common, and where might they clash?”  There are many suggestions of where the internal conflict comes from. It this relationship one of “old” politics clashing with “new” politics? Are these two women destined for a power struggle that insures they never work together or that one must capitulate to the other? Is there any one way for an organization to function smoothly when one person has privilege and the other has little? What is moral leadership, and who gets to define the terms? 

Photo by Daniel Rader

 

The brilliance of the script is that the decisions are left to the audience, and according to the playwright’s perspective written in the playbill, the delicate balance relies heavily on the fact that: “…people in the audience have a strong feeling about those people and events to begin with…”  Correa’s experience as a staffer to a member of Congress informed his approach to thinking about how politics work at a practical level, as well as how ideology influences behavior.

 

In this whip-smart, fast paced, dialog-laden production, director Katie Birenboim does not allow her actors to rely on stereotypes or dwell on media images, but rather, gets to the heart of what makes each woman a leader. Learning of family relationships—who knows whether Nancy Pelosi actually gave her granddaughter an Eleanor Roosevelt Barbie or not—or how AOC’s family experience impacts her decisions about immigration—ground the individuals in unique ways of seeing the world and shaping how they view their responsibilities as leaders for the people they serve.    

 

The spare set by Brian Prather is central to involving the audience in the sense of place. Suggestions of what the view from each one’s office enhances the sense of power for the two women, and Wheeler Moon’s effective lighting design serves as a reference to time as the characters learn more about each other, and themselves.

 

The topics drawn from history are very real, and Brandon Bulls’ sound design is haunting as it recalls January 6th and the violence inflicted on those public servants attempting to do their duty.

 

The play reminds audiences that real people work on behalf of the public every day. To be successful leaders, they grapple with moral ambiguity, a sense of honor, and that democracy is a system that requires vigilance, checks, and balances.

 

This is an important play, and when told through the eyes of two powerful women, leaves a lasting impression on the state of our nation.

REVIEW: Barrington Stage Company, " EISENHOWER: This Piece of Ground"

Barrington Stage Company, Pittsfield, MA

www.barringtonstageco.org

through June 8, 2025

by Jarice Hanson

 

Watching actor John Rubinstein on stage is like observing a master class in acting. In the solo show, "Eisenhower: This Piece of Ground," written by Richard Hellesen and produced and directed by Peter Ellenstein, Rubinstein brings the life of the 34th President of the United States, Dwight D. Eisenhower into focus. He does not impersonate Eisenhower, but fully portrays the former President’s irascible tendencies, depth, and moral conviction. 

 

The play is set in 1962. John F. Kennedy is the President at the time, and “Eisenhower” minces no words about his feelings toward JFK. He says: “I didn’t particularly like him, but I respected him.” 

Photo by Maria Baranova

 

Through clever projections designed by Joe Huppert, the audience observes Eisenhower’s childhood and family in rural Kansas, through his education at West Point, to his work as an aide to General Omar Bradley in WWII and Korea, his time as a University President, and eventually to the Presidency. 

 

The setting is the retired President’s home in Virginia, where he hints at what family life is like, and his deep love for his wife, Mamie. When Rubinstein engages in a phone call with Mamie, his voice softens ever-so-gently, and his face becomes that of a man who truly understands the sacrifices of a military wife. 

 

It is the portrayal of Eisenhower that leaves the strongest impression. Rubinstein is a joy to watch as he personifies this man struggling with what he hopes to include in a book. He is not happy with the description of being ranked in the lower quarter of the list of public ratings of presidents, but the plot device gives him an excellent reason to reflect on his past, including what he thinks was one of his own personal failings, which forms one of his deep regrets. 

 

The script offers many pithy contrasts with post-Eisenhower cultural references and political characters, but it never betrays Eisenhower’s own commitment to honor and serving the people of the country. The real Eisenhower may have had his weaknesses and faults, but his integrity never wavered, and the life of a good, honest man who believed that it was better to do “the harder right, rather than the easier wrong” is an important historical note.

 

This is a story that deserves to be told, and thanks to the charismatic John Rubinstein, Eisenhower, the man, emerges as a complex, real human being.

REVIEW: Barrington Stage Company, “14th Annual 10 x 10 New Play Festival”

Barrington Stage Company, Pittsfield, MA

https://barringtonstageco.org

through March 16, 2025

by Shera Cohen and Jarice Hanson

Barrington Stage

As the theater season opens in the Berkshires, Barrington Stage Company’s “Annual 10 x 10 New Play Festival” is like the first birdsong of the season. After emerging from a frigid winter, this show seems like a harbinger of what is ahead—gathering in theaters, enjoying fine acting, and breathing the fresh air of new ideas. This year’s “14th Annual 10 x 10” is no exception.

As per usual, the “10 x 10” features 10 new works, each 10-minutes long.  This year’s acting troupe includes regulars, like Matt Neely, Peggy Pharr Wilson, and Robert Zukerman—all accomplished artists who are like old friends on stage. They are joined this year by Raya Malcolm, Xavier Reyes, and Lori Vega, three younger actors who prove they too, can master the art of capturing a character and establishing a fully realized show in 10-minutes. The plays are crafted by writers who really understand the challenges of producing a fully realized play in only 10 minutes—a superhuman feat. All shows are directed by either Alan Paul or Matthew Penn, who are masters of the craft. Each act has five shows that vary in substance from laugh out loud funny to deep, and sometimes poignant stories.

Every year, the opening number is a clever parody of a major Broadway musical, and this year the lyrics were penned by one of the company, Matt Neely. The entire acting team performed a version of “Les Misérables” that had the audience roaring with laughter, thereby setting up the non-stop entertainment to come.

Act I opened with one of the most satisfying plays that established the humor and fun of the purpose of 10 x 10. In “Ordained,” by Mark Harvey Levine, a newly ordained minister from a dot.com church, has decided to practice the craft of marrying people—even though the two people she chooses to marry don’t even know each other. Her obliviousness to their concerns is hilarious -- Peggy Pharr Wilson, Raya Malcolm, and Xavier Reyes are wonderful together as this short play reaches toward a very happy ending.

In “Wheel of Fortune Reversed,” Reyes along with Robert Zuckerman play chess, but the stakes are high. One character is clearly death, with his black hooded robe, and sickle. The other, a younger man opines on what he wants to achieve before dying. In this philosophical, but funny play, Scott C. Sickles weaves a number of themes together to question whether fate is inescapable.

“The Friendship Dynamic” with Malcolm, Reyes, Vega, and Neely, written by Alex Dremann, explores human relationships, and “A Happy Child” by Melinda Gros with Wilson and Malcolm, delves into the sorrow of mothers and daughter interaction. Act I concludes with “Poetry, Prose and…Pirates!” by Ken Preuss which situates Vega, Wilson, Zukerman, Neely and Reyes in a writing group where everybody steals ideas and formats from each other. The clever wordsmithing in this show is a wonderful capper to the first act.

Short intermission. The final five plays in Act II balance humor, angst, and sometimes a bit of both in each scene. The versatility of the actors is top-notch, with none outshining the others, and the comedies just as strong as the dramas.

"Senior Prom," the best script and best acting prowess of the quintet, stars Wilson and Zukerman -- the Barrington Stage Company (BSC) stalwarts of the cast. Some 50 years since the two classmates were only passers-by in the high school corridors, they unexpectedly meet and reminisce. What has consistently separated the "10x10" series apart from similarly structured multi-plays strung together, is to expect the unexpected. BSC preps their audiences without spoilers.

Not every play is for everyone. That's okay. Without a doubt, patrons will enjoy the majority. Perhaps equally important is the concept that a very short play (none exceed 10-minutes) is as real as all others mounted on the BSC stage; complete stories, developed characters, set & lights & sound, and audience.

REVIEW: Barrington Stage Company, “Next to Normal”

Barrington Stage Company, Pittsfield, MA

https://barringtonstageco.org

through September 8, 2024

by Michael J. Moran

Winner of three Tony Awards in 2009 and the Pulitzer Prize for drama in 2010, “Next to Normal” is one of the most acclaimed and widely produced musicals of the 21st century.  The Pulitzer board called it "a powerful rock musical that grapples with mental illness in a suburban family and expands the scope of subject matter for musicals.” BSC’s intensely moving production shows just how powerful it can be in the right hands.

 

Photo by Daniel Rader

The story focuses on Diana Goodman’s struggle to manage her psychotic disorder and its effects on her family -- husband Dan, son Gabe, and daughter Natalie. The other two characters are Henry, Natalie’s high school classmate; and Dr. Madden, Diana’s therapist. The plot merges scenes of Diana’s treatments with past and present scenes of her family life and Natalie’s budding romance with Henry, leading to hope for a life that, if not exactly “normal,” is at least “next to normal.”

The six-member cast of singing actors uniformly realizes the often-heroic demands of Tom Kitt’s searing score and Brian Yorkey’s lucid book and witty, poetic lyrics. Natalie Joy Johnson is sensational as Diana, capturing the full range of her emotions, from rapture in “I Miss the Mountains,” to sardonic humor in “My Psychopharmacologist and I,” to despair in “Didn’t I See This Movie?” Alan H. Green, a resourceful veteran of many BSC shows, is stalwart as Dan in “A Promise” and vulnerable in “Song of Forgetting.”

Adante Carter is a mesmerizing Gabe, defiant in “I’m Alive” and haunting in “There’s a World.” Madison McBride and Ben Clark are appealingly awkward and resilient as Natalie and Henry in their duets (“Hey” and “Perfect for You”). Joseph Morales is an empathetic Dr. Madden. The full ensemble is impressive together in a resonant choral finale, “Light.”    

Director Alan Paul (BSC’s Artistic Director) creatively uses Nicholas Hussong’s live video projections to immerse the audience in the characters’ emotions throughout. Choreographer Eamon Foley imaginatively deploys the cast and scenic designer Wilson Chen’s flexible set to suggest the fluidity of the characters’ experiences. Music direction by Angela Steiner and a powerhouse band of six under Jacob Carll binds the musical forcefully together.    

BSC’s “Next to Normal” is “must see” theatre for all fans of serious musical drama.

REVIEW: Barrington Stage Company, "Happy 30th Anniversary and Boeing, Boeing"

Barrington Stage Company, Pittsfield, MA

www.barringtonstageco.org 

runs through August 3, 2024

by Shera Cohen

Life got in the way, and I offer sincere apologies to Barrington Stage Company (BSC) and to In the Spotlight’s readers for the lateness of this article/review of the amazing production of “Boeing, Boeing”.

I’d seen the movie decades ago, and disliked its slapstick shenanigans; it starred Jerry Lewis, of course. However, I had never seen “Boeing” as a play, not to mention produced by BSC, starring two of my favorite actors in the Berkshires and beyond.

Photo by David Dasheill

I have deemed myself co-president of the Mark H. Dold Fan Club. The actor is a master at drama and equally superb at comedy.

Debra Jo Rupp’s forte is getting the driest of laughs, milking optimum humor with every vocal nuance, facial expression, and even the minutia of opening a door.  

The plot is simple: bachelor in Paris juggles his romantic liaisons with the comings and goings of three airline hostesses (it’s the 1960’s). Neither lady knows about the other. What a surprise! Yet, simple it is not, as the script calls for tight, split-second timing by director Julianne Boyd, cast, and crew. Welcome back, if even for a moment, Ms. Boyd; retired founder of BSC.

Ol’ friend Robert (Dold) surprises Bernard (Christopher Innvar) with a visit. Thus begins an excellent example of the epitome of French farce at its most uproarious. I looked the term up for accuracy. What French farce is not is slapstick or broad humor solely for audience laughs. Moliere set the tone centuries ago. No wonder Moliere is one of my favorites. 

Some key elements of farce are physical acrobatics and clowning. Literally from the moment that nerd-like Robert enters the flat, the action begins. But Dold’s character isn’t just a man who acts geeky in the midst of the norm. Each character has his/her distinctness in a 60’s era that could have settled for stereotypes. It is Dold’s adeptness at playing the sympathetic dweeb in the midst of running around from room to room with doors opening, closing, opening again, that anchors the play.

A personal note: It was my pleasure to attend BSC’s plays in its premier year. The location was a high school in Great Barrington, MA. I believe that the stage was a rather messy basement level music room. I felt that this new theatre had potential, but launching a troupe at without the right venue, not to mention the all-important funding challenge would be tough.

Flash forward 30 years and my ego was sky-high when en route to the current home of BSC. But in the midst of miles and miles of open fields to find the location, we became lost. My philosophy is that reviewers must arrive on time, not leave early, and compose themselves.

Anyway, staff at BSC literally held the curtain for me. Me? I think I might have been the only reviewer at the time, or for that particular play. BSC has been gracious since Day 1, continuing to present quality theatre in the Berkshires. 

Three decades! Congratulations!

Review: Barrington Stage Company, “La Cage aux Folles”

Barrington Stage Company, Pittsfield, MA

www.barringtonstageco.org

June 11-July 6, 2024

by Shera Cohen

Father’s Day was the perfect date to see “La Cage aux Folles”. The heart of “La Cage” is love, sacrifice, and trust; all qualities of the best of dads.

Yes, it’s glitzy, bold, funny, and charming. BSC has, again, created an exceptional season opener musical in their 30th year.

Central characters Georges and Albin, long-time married, are still in love with each other and with life. The characters are self-described near-opposites – one gay and the other a drag-queen. To their world on a cabaret stage in Saint-Tropez, France, they are the epitome of family. To outsiders, not the case. This musical’s question might be, “Who set the rules”?

Photo by Jeremy Daniel

Tom Story (Georges) and Alex Michaels (Albin aka ZaZa) give equally balanced
performances; Story emphasizes his acting talents with vocals secondary (“Look Over There”), and Michaels the reverse. Although Michaels exceedingly dramatic skills punctuate his songs with either pizazz or heartbreak. The latter, likely featured on the list of Top 10 Emotionally Powered Songs, is “I Am What I Am”. 

Central to the plot is Georges’ son Jean Michel (an accident that happened 20+ years ago) and his engagement to a girl. Yes, a girl. The actors in this straight family have little to do, which is probably why each (except mom) is rather stiff. 

Perhaps equal in emphasis, importance, and stage-time are Les Cagelles; the shocking, motley, and hysterically dressed and quaffed 10 drag-queen dancers/singers featured in the cabaret show within the play. Choreographer Paul McGill is obviously having fun, which is delightfully imparted to the audience, at the same time never forgetting precision. 

Kudos to costumer Rodrigo Munoz Benjamin Weigel, make-up artist Kyle Krueger, and the backstage, quick-changing dressers.

The audience cheers and laughs through the cabaret numbers, yet a suggestion would be some snips and tugs to save 10-15 minutes. Leave them wanting more. That said, some individual scenes are “must saves”; the acrobatics of the solo dancer in the elevated birdcage, and the macho grunts of the Village People.

One sign of a talented director is that no one notices the direction. Mike Donahue has done his homework and sets his large cast exactly where and when everyone should be.

The same theory essentially holds true for the orchestra of eight. The audience is oblivious to its professionalism.

“La Cage” clocks in at over two and a half hours (includes intermission). Yet, at no point did the production drag (pardon the pun). Success can be giving the audience what they want, or don’t know what they want until they see it.

Composer/lyricist Jerry Herman, of “Mame” and “Hello, Dolly” fame, in many ways replicates his own formula, lead-character exuberance, and plot. 

BSC’s opening show audience held back nothing. The matinee patrons whooped & hollered, laughed & shouted accolades throughout the performance. No shock that the musical’s end received an instant full house standing ovation. 

REVIEW: Barrington Stage Company, "10x10 New Play Festival"

Barrington Stage Company, Pittsfield, MA

www.barringtonstageco.org

through March 10, 2024

By Jarice Hanson

Kicking off Barrington Stage Co.’s 30th year, the 13th annual “10 X 10 New Play Festival” is
ceremonially the start of the theatre season in the Berkshires. The “10 X 10” is often bold, edgy, and frequently, very funny. It  allows audiences to see some stalwart Barrington actors switch characters seamlessly as they leap into 10 different 10-minute plays.  

 

The opening number is always a highlight of this festival and this year’s “Winter Nights,” sung to the tune of “Summer Nights” from “Grease,” is particularly witty and representative of cold New England and in particular, the Pittsfield location and the long theatrical legacy of BSC.

 

The very talented cast this year includes Ross Griffin, Gisela Chípe, Matt Neely, Peggy Pharr Wilson, Naire Poole, and Robert Zuckerman. These consummate pros know how to take the intimate stage and play to the audience. When they seemingly morph from one character to another, sometimes transforming their look, age, and ethnicity, their talents are on full display.

 

The plays chosen for this year’s collection range widely in scope and style. The playwrights include some veteran writers and some relative newcomers. Five of the plays are directed by Alan Paul, Artistic Director of BSC, and Matthew Penn, television and theatre director. One of the joys of the collection is that each play is presented as a unique vision of the authors’ work. Congratulations to the directors for finding the right balance and interpretation of these very different short plays.

 

Evaluating 10-minute plays is sometimes tricky. Often short plays lack any wrap up, or conclusion. But even more importantly, can the authors, directors, and actors tell a complete story? Among the most successful in this year’s lineup are “The Consultant” by Brent Askari, which pits a senior couple (Peggy Pfarr Wilson and Robert Zuckerman) who have won a session with a sex therapist in a raffle, against the methods of the therapist (Gisela Chípe). “Meeting Fingerman” by Mark Evan Chimsky prompts painful thoughts of life in a pogram where Zuckerman portrays an elderly Jewish man who recalls a shameful past when confronted by a younger writer, played by Ross Griffin. A note about this one—Zuckerman’s portrayal is so beautifully crafted; the price of admission is worth watching his master class in character interpretation. 

 

“Snow Falling Faintly” by James McLindon tells the story of a mother and son, lovingly portrayed by Peggy Pharr Wilson and Ross Griffin in an existential treatise about snow shoveling, loss, and moving on. Finally, Glenn Alterman’s clever “A Doubt My Play” with the entire cast, is a very insightful examination of playwriting from inside the playwright’s head!

Review: Barrington Stage Company, "A New Brain"

Barrington Stage Company, Pittsfield, MA

www.barringtonstageco.org

August 16 - September 10, 2023

by Shera Cohen

The most important attribute that can be applied to Barrington Stage Company's (BSC) presentation of "A New Brain" is "collaboration". That is the play, and this production, in a nutshell. Yes, one word, when a lengthy review is in certainly in order (keep reading).

Kudos must be shared, first by the teamwork of two of the Berkshire's finest theaters, Williamstown Theatre and Barrington Stage Company. Artistic Directors of both venues introduced this musical, with extreme obvious pride. Each was thrilled that co-creator William Finn was present, seated in the audience, undoubtedly reflecting on his semi-biographical story. "A New Brain" is a marriage between BSC and Williamstown Theatre with the ultimate production on the Barrington's Boyd-Quinson Stage.

The second major collaboration is of co-creators Willliam Finn ("The Putnam County Spelling Bee" which premiered at BSC) and James Lapine ("Into the Woods.") Finn did the music and lyrics while Lapine wrote the book. In many ways, Finn's name is synonymous with the success of BSC.

Surprisingly to me is that the list of musical numbers was approximately 30. I had no idea that I was about to see a non-stop musical in the vein of many current, popular shows on Broadway. "A New Brain" premiered off-Broadway in 1998. How did I never hear of this sweet story about life and near-death, flooded with a diverse group of ancillary characters, each with his/her own purpose?

Lead character Gordon, portrayed by Adam Chanler-Berat, is a wanna-be writer, stuck at his computer, making very little progress. It's likely that the stalling of his career is due to a developing brain tumor. Of course, Adam is concerned, as are others. But Adam is not obsessed; in fact, many of his songs are humorous. The same for most of the ten actors in the cast. The actor doesn't have a resounding voice, but one that befits his character. He is "everyman". Gordon depicts your "average Joe", and that helps the audience relate to the story.

Playbill photo by Darrell Purcell, Jr.

Mary Testa as his mother and Darrell Purcell, Jr. as Gordon's lover are the top-notch singers in the ensemble, with Tally Sessions as The Doctor, a bass singer commanding the stage in three guest appearances. All singers/actors played their roles well. 

 

The final collaboration of note is director Joe Calarco, choreographer Chloe O. Davis, and music director Vadim Feichter. If "A New Brain" is destined for Broadway again, many cuts are recommended; some songs completely and others shortened. The stream of music telling an essentially true story is reminiscent of "Far from Away" (another true story) yet lacks the audience's closeness with each character.

With the help of these three vital collaborations, "A New Brain" may just have a chance and a hope to make its way back to NYC.