REVIEW: Berkshire Theatre Festival, "Edward Albee’s “Seascape”

Berkshire Theatre Festival – Unicorn Stage, Stockbridge, MA

www.BerkshireTheatreGroup.org

through October 23, 2022

by Jarice Hanson

Photo by Emma K. Rothenberg-Ware

What happens when you put a married couple in their not-quite-later-life years on a beach, only to find that the most engaging interactions they have are not with each other, but rather, with a couple of lizards? In the fertile mind of Edward Albee, the answer is not only self-examination, but a treatise on life itself.

For those who are new to Albee, “Seascape” is a lot to absorb, but if you know the author’s body of work, this play, which won the 1975 Pulitzer Prize, reflects some of his most common themes, like two couples whose generations are marked by social and cultural values, and the irony of humanity as a self-reflexive activity.

In the Berkshire Theatre Group’s production of “Seascape” David Adkins and Corinna May play the married couple, Charlie and Nancy, who know how to goad each other into an argument. Act I is entirely a window into their lives and despite their repartee, we see the characters as the couple they have become, rather than the individuals who were initially drawn together. 

Then, just before intermission, Tim Jones and Kate Goble, as two lizards, Leslie and Sarah appear, and the proverbial plot thickens. Act II features some of Albee’s most insightful dialog and this foursome masterfully mine the humor and raise the question of which couple represents “the beast.” All four actors play their roles beautifully, but Jones’ physicality is mind-boggling as he crawls from level to level with lizard-esque ease.

Director Eric Hill and the production team that includes Movement Director Isadora Wolfe, Scenic Designer Randall Parsons, Costume Designer Elivia Bovenzi Blitz (who should get a special shout-out for the magnificent lizard costumes), Lighting Designer Matthew E. Adelson, and Composer/Sound Designer Scott Killian (who provided seat-rattling sound effects that bring the audience into the tension of the moment) all contribute to the suggestion of reality in an unrealistic and absurd situation.    

The press announcement quotes The New Yorker; “Of all Mr. Albee’s plays, 'Seascape' is the most exquisitely written'.”  That statement may be true, but it takes an audience with a little Albee-savvy and a willingness to explore humanity from an inter-species perspective to give oneself to this type of theatrical experience. But in a world in which space aliens and super-heroes dominate popular culture, “Seascape” fits the zeitgeist.  

A special sensory-friendly performance will take place on October 13.

REVIEW: Berkshire Theatre Festival, “Once”

Berkshire Theatre Festival, Pittsfield, MA

www.BerkshireTheatreGroup.org

through July 16, 2022

by Stuart W. Gamble

Based on the Oscar-winning film written and directed by John Carney and the winner of 8 Tony Awards, “Once" makes its Berkshire debut at the Colonial Theatre. And what a show it is, indeed! From the sweeping, pre-show fiddling, dancing, and singing to lovely Irish shanties to its contemplative ending with the cast singing on the Cliffs of Moher, Greg Edelman’s sparse, yet glowingly beautiful show, is a feast for the ears and eyes.

Set in the early years of the 21st Century (compact discs play a crucial role in the story), Edna Walsh’s adaptation of the film centers on a chance meeting between Guy (David Toole) and Girl (Andrea Goss) on the streets of Dublin, Ireland. We learn that Guy is distraught over the break-up with his girlfriend (EJ Zimmerman), while Girl, we later learn, is estranged from her husband in the Czech Republic, leaving her to care for her young daughter Ivanka (Ella Fish).

After Guy sings “Leave,” declaring his wish to divorce himself from his guitar and singing forever, Girl insists: “Don’t be mad. You Must Sing!” And so he does, warbling out the well-known and heartfelt song “Falling Slowly”. With perseverance and prodding, Girl eventually is able to rent a recording studio for a day so Guy can record his music.

The central characters and music are both gritty and gossamer in the way in which they expose their souls to the audience through words, emotion, and especially the music that envelops them both. One character states: “You can’t have a city without music”.  since the music in “Once” forms the structure of the play. It transitions one scene to the next, defining the characters, and touching the hearts and minds of the audience.

Both Toole and Goss are wonderful in the leads, simply named Guy and Girl, as they can represent anyone, anywhere, who has been touched, broken, and reborn by love. Toole is especially good in evoking the woeful demeanor of his character. At one moment of heightened emotion, I saw the most tears fall from his eyes than I have ever seen from a performer on stage. Goss has a challenging role as she guards her feelings by repeatedly saying (to the audience’s delight): “I am always serious. I am Czech.” But she releases her aching hurt in both “If You Want Me” and “The Hill”.

The supporting cast is uniquely versatile, both as performers and musicians, transforming themselves in an instant from anonymous instrumentalists (banjo, recorder, guitar, accordion, fiddle) to various characters. Kurt Zischke (Da), Shani Hadjian (Barushka), Benjamin Camenzuli (Andrej), Will Boyajian (Svec) and especially Adam Huel Potter (Billy) and Andy Taylor (Bank Manager) dynamically display their comedic and musical skills as both Irish and Czech denizens of Dublin.

Elevia Bovenzi Blitz’ earthy yet vibrant costumes complement the performers as do the dilapidated building facades of scenic designer Josafath Reynoso. Mathew E. Adelson’s moody stage colors maintain the melancholy tone.

Despite its superlative production values and marvelous performances, it was rather strange that audience members did not applaud after such stellar songs as “Gold” and “Sleeping” ended. Perhaps they were too mesmerized by "Once's" haunting mood to acknowledge its greatness.

BSC & BTG Awarded Million Dollar Gift

Pittsfield, MA (October 29, 2020)

Barrington Stage Company and Berkshire Theatre Group each Awarded Over $1 Million Dollar Gift In Memory of Mary Anne Gross

Barrington Stage Company (Julianne Boyd, Founder/Artistic Director) is pleased to announce that a generous gift of just over $1 million dollars has been made to the company by the family of the late Mary Anne Gross in recognition of her lifelong love of theatre and the Berkshires. This award also recognizes the heroic and tireless efforts of Barrington Stage Company in producing the first live Equity theatre in the United States in summer 2020, following the shutdown of live performing arts due to the onset of the COVID-19 pandemic in March. 

The Gross Family gift will support payroll and basic operating costs for the next six months in order to ensure that there are no furloughs or layoffs while the theatres continue to raise funds in support of future artistic programming.

Lost Lake

Berkshire Theatre Festival, Stockbridge, MA

www.berkshiretheatregroup.org

through October 22, 2017

by Barbara Stroup

Photo by Emma Rothenberg-Ware

Renting a lakeside cabin for a week should be a simple transaction, but for the two characters in “Lost Lake,” it becomes a learning experience. Their lives start intersecting when city-based Veronica, making summer plans for her kids, inspects Hogan’s lakeside cabin. She sees that he is an overeager advice-giver in a near-subsistence existence. Unimpressed, she rents it anyway. Over the course of her week’s stay and a visit six months later, these two reveal their back stories to each other.

David Auburn’s two-character play is never wordy; it is serious when it needs to be with interjections of humor just when they are needed. Quentin Maré brings the perfect voice and physicality to the part of Hogan – it seems to have been written for him. His gradual self-revelations allow the audience to grow into a relationship with the character, to appreciate his torments and see his vulnerabilities. Maré’s timing is exquisite.

Lynnette R. Freeman’s Veronica is less volatile but still finds herself suppressing frustration with Hogan – the audience learns that she has her own set of problems. Hogan’s presence both unsettles and saves her. Honesty between them is the result of these struggles, and admiration from the audience as well.

The clever set design has three entrance doors and ample space; the characters’ movements seem appropriate and not excessive. The backdrop shows a dreamy lake view where the audience can imagine the dock Hogan promises to repair and Veronica’s children splashing in the water. Time and seasonal changes are signaled clearly but unobtrusively by the writer and the director.

This play is a quiet triumph of character writing and narrative and a fitting finale to the season. Next year, Berkshire Theatre Festival celebrates 90 years of bringing live theatre to Stockbridge residents and visitors; one looks forward eagerly to plays of this quality in 2018.

Brace Yourself

Berkshire Theatre Festival, Stockbridge, MA

www.berkshiretheatregroup.org

through August 25, 2012

by Kait Rankins

Directed by two-time Tony Award winner James Naughton, “Brace Yourself” is the story of Sunny, an uptight and tense mother of two who just wants to hold on to control of her life. But with an easygoing husband who just wants to go fishing, a daughter rebelling against her meticulously-planned and lavish wedding, a son who’s gaining a reputation for being promiscuous and extremely noisy neighbors, keeping control isn’t easy. Add to that a 92-year-old aunt dying suddenly in her living room and a hurricane threatening evacuation of the island, things feel about as out of control as possible.

David Epstein’s breezy one-act comedy about kids growing up and leaving the nest threatens to become predictable, but it’s saved by a few plot surprises, unexpected irreverence, and charmingly funny characters. Golden Globe winner Jill Eikenberry is brilliant in her deadpan and grouchy portrayal of Sunny, and her chemistry with real-life husband Michael Tucker (Sunny’s husband Milt) is spot-on. Also of note is Clea Alsip (the son’s girlfriend) with adorable believability that makes her a breath of fresh air. Jackie Hoffman steals the show as Sunny’s chain smoking friend and neighbor Jeannette, delivering most of the play’s punch lines.

Special recognition needs to be given to scenic designer Hugh Lendwehr, lighting designers Paul Gallo and Craig Steizenmuller, costume designer David Murin, and sound designer Scott Killian for creating a fully-immersive set that can make the audience forget that they’re sitting in a theatre and not at Sunny and Milt’s island summer home.

Both the cast and the design keep the play grounded in realism, which is ultimately its greatest asset. “Brace Yourself” could easily fall flat if played solely for laughs, but Naughton’s direction keeps the characters from becoming abrasive caricatures. The plot can read like a sitcom episode where all the characters shout at one another and mug for the audience, but that kind of heavy handed approach is gracefully avoided. The result is a production that is lighthearted but realistic, and it’s a charming end to BTF’s summer season.

A Thousand Clowns

Berkshire Theatre Festival, Stockbridge, MA

www.berkshiretheatregroup.org

through July 28

by K.J. Rogowski

The Berkshire Theatre Festival’s production of “A Thousand Clowns” is a tight, well paced and very funny show. As with any good comedy, it calls for great timing and delivery, and this cast does indeed deliver.

CJ Wilson and Russell Posner as Murray and Nick, respectively, set a lively pace with their ongoing banter, songs, games, and general disregard for whatever the outside world may think of their cavalier take on life. Their situation, of Murray being five months unemployed, and Nick not really being under his legal care, is punctuated by the antics of James Barry and Rachel Bay Jones as the wonderfully uptight Albert Amundson, and his partner/ fiancée, the very sympathetic Sandra Markowitz of child welfare. Add to this comic mix the characters of Murray’s brother and agent, Arnold, played by Andrew Polk, who makes every effort to bring Murray back on board to write for the Chuckles the Chipmunk television show, and Jordan Gelber, as the jolly old chipmunk and equally self-centered and irritating kids show host, and the audience has a host of memorable characters, and comic moments to appreciate.

The story of Murray and Nick plays out a gamut of emotions, expectations and disappointments, pitting their off the cuff life style against the demands of social norms, legalities, and the oftentimes drudgery of every day life and survival. The play depicts the art of compromise and the test of wills in action. Randall Parsons’ set design too plays a role, with its tall dull grey walls looming over Nick and Murray’s apartment sanctuary, dotted with colorful stuffed toy eagles, and too many clocks ticking away their hopes. "A Thousand Clowns" is an evening of wit and wisdom, played out by a fine cast, delivering close to a thousand laughs.

Sylvia

Berkshire Theatre Festival, Stockbridge, MA
www.berkshiretheatre.org
through July 30, 2011
by Barbara Stroup

In a twist on the usual scenario --- "Please Mom, can we get a dog?" --- A. R. Gurney lets his mid-life protagonist propel the expansion of the family in this light-hearted play at Berkshire Theatre Festival. The real center of the play is Sylvia, the dog herself, played by (human) Rachel Bay Jones. Ms Jones captures the antics and habits of everyone's favorite pet with her large eyes and expressive face. If dogs make the best people, Ms. Jones definitely makes the best dog.

Greg's attachment to Sylvia is immediate and adoring - he is clearly a man in love. Sylvia adores him back. David Adkins plays Greg, and to his credit, is an unflinching recipient of licks and love attacks from Ms. Jones, the 'dog.' Dog lovers usually welcome these canine expressions of affection with joy, but it takes a real actor to welcome them from a human!

The conflict in the play arises from the reaction of Kate, Greg's wife, and her attempt to keep the couple on the path they had mapped out for this child-free stage of their lives. Kate is played sternly by Jurian Hughes. The director dresses her in neutral no-nonsense business wear, just in case we need reminding that this lady has a Plan.

Three supporting characters appear, and all three are played with comic excellence by Walter Hudson. Tom, a dog owner, counsels Greg about spaying. Phyllis, an old friend, gives up abstinence after an encounter with Sylvia. Leslie, a psychotherapist, hides all gender clues in his counseling practice, and then challenges Greg to 'guess.' These characters take the play out of the living room making them a welcome addition to the narrative, especially because of Mr. Hudson's talent for bringing them to life. The play becomes a musical at one point, with a trio of "Every Time We Say Good-bye I Die a Little" --- a seriously sad song given a comically bizarre twist.

The playwright resolves the conflict off-stage making the final epilogue seem a bit anti-climactic, but the play deals nicely with the pleasure and peril of canine companionship and its effect on a human relationship -  while dispensing nicely with cats !

moonchildren

Berkshire Theatre Festival, Stockbridge, MA
www.berkshiretheatre.org
through July 16
by Jennifer Curran

Michael Weller’s moonchildren opened on Broadway in 1972 to small audiences and rave reviews.  There have been scores of plays written about the 1960's, but precious few that get it right. Moonchildren isn’t about tie dyed shirts or love beads; it is as rich and complicated as the time.  Weller’s decision to choose a tiny slice of an era allows his audience to go beyond picket and peace signs.

With scenic design by John Traub and costumes by George Veale, the mid 1960’s are brought to life in the most real way possible. The play itself is complex and its characters can feel just out of reach. Viewers go home without learning who everyone truly is or where they come from. The direction by the very talented Karen Allen bridges those gaps and allows the characters to take on lives on their own.

The impeccable comedic timing of Joe Paulik (Mike) and Matt R. Harrington (Cootie) drive the show. In a master’s class of one-upmanship and rapid fire one-liners, Paulik and Harrington are brilliant. The two actors play so well together they could easily steal every scene, that they don’t is mostly due to Hale Appleman.

Appleman’s Bob, the center of the story, is played with an understated grace and powerhouse of emotional reserve. The audience can see the rising frustration and fear and anger at the changing tides in Bob’s world. We watch as Bob struggles to find his way through death, both figuratively and literally.

As a story about growing up, generational gaps and the certainty of change, moonchildren is a rarity. It defies its time and is as relevant today as it was in 1972. The casting is spot on and nary a weak spot to be found.

Macbeth

Berkshire Theater Festival, Stockbridge
www.berkshiretheatre.org
through August 14, 2010
by Stacie Beland

Few would argue that "Macbeth" is a play which demonstrates how evil perpetuates, mixes with ambition and envy, and rarely comes to a clean resolution. Macbeth is urged by his wife's undermining his manhood until he consents to take fortune into his own hands. As Macbeth moves to carry out his destiny, the bodies begin to pile up and Macbeth grows literally mad with ambition.

The production, which was laden with quasi-Japanese elements, was stylistically flavored with elements of honor and precisely choreographed, war-like movement. The recitation of the text and the movement by the actors were very stiff and, although correct in the rhythm and musicality of the speech, the line delivery suffered because of this. It was almost as if the stylized movement and costuming stilted the flow of the language and acting. Truly, the production value of this show was extraordinarily high. The performances, however, weren't quite up to the par of the visuals. The rigidity of the movement, the costuming, and the line delivery juxtaposed with the primeval stage dressing, left for a muddled show.

Few can argue that the defining relationship to highlight is that between Macbeth and his Lady. Unfortunately, there seemed to be no discernable connection between the two characters in this production. While C.J. Wilson (Macbeth) and Keira Naughton (Lady Macbeth) are both clearly gifted actors, the relationship between their characters seemed to lag beyond anything past a superficial connection.

As the most striking part of the production, the Three Witches deserve special mention. Their collective performance was quite good, perhaps dangerously so as they sometimes appeared to be in a different show from the rest of the cast. Though more could have been done with their cauldron which was left onstage and unused for the vast majority of the show, it did prove an effective set piece when used.

Berkshire Theatre Festival offers a visually beautiful production of "Macbeth," though there was a disappointing lack of connection between design and the execution of theme. While stunning in its precision, the show ultimately fails in connecting all of its elements.

Noises Off

New Century Theatre, Northampton, MA
www.newcenturytheatre.org
through June 27, 2010
by Eric Johnson

Sardines. It's all about the sardines. Well, not really. What Michael Frayn's "Noises Off" is about is love, jealousy, anger, weakness, etc. Sounds like a drama, doesn't it? This play is a comedy about drama, the drama that inevitably occurs when offstage romance blossoms.

New Century Theatre (NCT0 is celebrating their 20th anniversary this year, and the entire season is comprised of audience favorites from the past. Director Sam Rush has assembled a wonderfully talented and experienced cast to take on this production, most of whom are reprising roles from the 2000 season production.

In an ensemble cast, Sara Whitcomb, Phil Kilbourne, Patrick Tango, Lisa Abend, Molly Haas-Hooven, Buzz Roddy, Cate Damon, James Emery and Steve Brady all give spectacular performances in this extremely demanding show. At times the pacing of the play is insanely fast and furious, and this group of actors manages to pull it off without missing a beat. All of the ingredients of a typical British farce are present here - slamming doors, various states of undress, split-second timing, all deftly executed by this cast. Add to this, the actors are playing actors who then have to play characters and it becomes clear just how challenging this show is.

Daniel D. Rist once again creates a lavish set and complementary lighting design that draws appreciative "oohs" and "aahs," and applause from the audience when revealed.

Congratulations to the NCT patrons for picking a marvelous show to kick off the 20th season, and kudos to Sam Rush for his precise direction of what could be a very unwieldy piece in less capable hands.

This reviewer is pretty certain it will be awhile before he can say, or even think of the word 'sardines' without cracking a smile or chuckling to himself.

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.

Candide

Berkshire Theatre Festival, Stockbridge, MA
www.berkshiretheatre.org
through August 15, 2009
by Shera Cohen

Many know that the musical "Candide" was composed by Leonard Bernstein. That's about all that even the most avid theatergoer is aware of. This can change, as Berkshire Theatre Festival mounts the satirical operetta based on the work of Voltaire, yet set in the 21st century - well, more or less.

The theme that life as we know it is "the best of all possible worlds" runs through both the dialogue and music. Also running (literally) is a hodgepodge of characters, scenes, and strange people. The action begins in a colorful jungle gym school setting full of children and their teacher Dr. Pangloss - the latter, effectively portrayed by Ben Rosenblatt - who is another thread stringing the plot along.

Songs like "Life Is Happiness" and "Oh Happy We" fill the Pollyanna-like Act I. The story increasingly adds war, death, and rape, so that perhaps the audience is not viewing such a lovely world onstage? Like "Pippin" and "Into the Woods," this musical twists its plot and fleshes out its important characters from one dimension to two or three. McCaela Donovan (heroine Cunegonda) is a charmer with excellent comedic timing and mannerisms, not to mention a wonderful soprano voice. Her "Glitter and Be Gay" is the play's showstopper. Julia Broder (The Old Woman) portrays a gypsy character with bold Lucille Ball-like humor and a tad of reality.

Director Ralph Petillo deserves bravos for manipulating his cast of 20 around the stage, down the aisles, on the floor, and perched on scaffolds into nearly as many separate scenes. Two pianists hold it all together through 22 songs. Important to add is the fact that every lyric of every song is distinct.

Opening night saw a full house. Some youth attended. At first, "Candide" seems like a fairytale for children. They can certainly enjoy the play and excellent production values. Yet, like the old "Rocky & Bullwinkle" cartoons, there are two layers of humor - one blatant and the other black. The adults will easily "get" and thoroughly enjoy both.

Faith Healer

Berkshire Theatre, Stockbridge
through July 4, 2009
By Barbara Stroup

Berkshire Theatre Festival starts its season of "theatre that matters" with "Faith Healer." This three-character play revolves around Francis Hardy who offers the Welsh and Scottish locals one night only performances. Waited on and accompanied by his wife Grace and manager Teddy, Francis uses a spoken incantation of Welsh village names as a mantra to quell the self-doubt inside, a characteristic exceeded only by his self-absorption.

The play is divided into four solitary monologues by Francis, Grace, Teddy, and again by Francis. The fourth wall is gone as they each address the audience about the events of their ravaged lives and a trauma that ended their travels. Francis perceives that "the lame, the crippled, the barren, deaf, or blind" come to him not to be healed, but to confirm the absence of hope. Grace, portrayed by Keira Naughton, offers a different set of memories. Though she claims health, the audience senses her fragility. David Adkins' Teddy - whose comb-over sets a record by starting just above his ear - begins Act II. He brings some much-needed comic relief, and skillfully evolves it into the passionate disappointment of a human being whose unrewarded love persists. His intensity is the high point of the evening. As each subsequent character tells a different story about the same events, the actors' strengths are evident - the audience is both convinced and skeptical. Were ten people healed one night in Scotland? As facts are supplanted with each new version, is it memory that fails...or is it distorted by time, need, attachment, and the human frailty so well portrayed?

Directed by Eric Hill, these three fine actors - Adkins, Naughton, and Colin Lane - possess the ability to convince the audience that they live inside their characters. In this intimate theatre and with little blocking or stage business, the audience feels in close conversation with the actors. Each have complex and beautiful vocal characteristics, and the various accents were either 'spot on' or their own. The set was spare, dominated by a large aged-looking "Faith Healer" poster with graphics typical of the genre. Many audience members left without being sure they heard the final word clearly - Lane may have lost or dropped his voice inadvertently, but it was pivotal to understanding the tragedy to which all three characters referred.

"Eleanor: Her Secret Journey"

Berkshire Theatre, Stockbridge>
through November 9
By K. J. Rogowski

Berkshire Theatre Festival's production of "Eleanor: Her Secret Journey" is a one woman show of power, passion and change, that documents her reflections on the early years with yet to be president, Franklin. Equally important is a look at her personal observations on both world and intimate personal events that were to shape her future from 1945 on.

Elizabeth Norment's skill as an actor captures the panorama of that world stage as she plays Eleanor, Franklin, and a cast of others notables, as they discuss, debate and sort out the morals, mania and politics of world powers and family domination. Here, she faces the challenges of dealing with an unfaithful husband, a manipulative mother-in-law, the senseless inhumanity of man at war, and the strange, seductive power that each possesses. Through her journey, Eleanor strips away the grandeur and the public face of war, and those who manipulate that machine, and shows, instead, the back story, the human frailty that actually drives world events. She humanizes the inhumane, and reduces it to its most basic components. She reveals the personal quirks and idiosyncrasies of the great and near great, and casts a light on the personal toll of being a public figure, that the public sometimes thinks it owns.

Norment does all this with humor, passion and vulnerability, that make the view into the lives of these very public figures a true journey of little-known human struggles. Stephen Temperley's direction keeps the action smooth, uncomplicated, and focused on the message, as does the simple, yet elegant, set design. The use of lighting shifts and occasional sound effects to set the tone and to punctuate the changing emotions of Eleanor's pilgrimage are also nicely played. For an evening of drama, humor and humanity, Eleanor's journey is well worth the trip.

Noel Coward in Two Keys

Berkshire Theatre, Stockbridge
through August 31
By Shera Cohen

Long before “Private Lives” and “Blithe Spirit” Noel Coward wrote two one-act plays which very few people have ever heard of, let alone seen. Berkshire Theatre mounted these together as their mainstage final play of the season. A substitute for the previously scheduled “Who’s Afraid of Virginia Woolf,” this reviewer had low expectations. Coward’s pithy British wit could not compare with the drama with a capital “D” of “Woolf.” Having experienced the plays, however, the comparison was as unfair as the proverbial apples and oranges. This was, surprisingly, an entertaining evening of theatre.

The concept of the plays was unique as common denominators linked the two; i.e. the same actors, setting, director, and stage crew. It’s an audience’s dream come true – to see three actors portray completely different characters in back-to-back plays with only a 15-minute intermission in the middle. Since play #1 was a comedy and #2 was a drama (yes, Coward wrote something serious), the actors were forced to use opposite sides of their brains, so to speak, in developing their roles. This was, assuredly, not an easy task, even for the best of thespians.

Maureen Anderman essentially played the same character. The actress would have shined in Coward’s later plays (a perfect Elvira in “Blithe Spirit,” for example), but was a bit too affected in these one-acts. Casey Biggs (the husband in each scenario) was type-cast as an unhappy, quick to cheat man which he took on with workmanlike skill. His challenge was in play #2 as a man with a title, fame, and a secret – this he did quite well, as the audience saw his pain and bravado. Mia Dillon created a loud rich American visiting Europe and later a demure and smart post-World War II escapee. Dillon was extremely talented in both roles – first an in-your-face boar, and second a stand-by-your-man lovely lady. Of the three actors, her roles called for the broadest stretch and Dillon was keenly able.

A Man for All Seasons

Berkshire Theatre, Stockbridge
Through August 9
By Shera Cohen

It’s been several seasons since Eric Hill was last on stage. The opportunity to observe Hill’s portrayal as Sir Thomas More in “A Man for All Seasons” is one important reason to catch this play before it closes. Another is to watch the other actors, as this is a collection of thespian work at its best.

“Man” is based on the true story of More, of which there is much history. Set in the era of Henry VIII, is the battle of church and state over the divorce of the king’s first wife, Catherine. Equally, it is the conflict of conscience and convenience. The plot is far from black and white or right vs. wrong. The play could, indeed, be titled “A Man for all Days” or “Years” or “Centuries.” Beliefs and convictions of 1530 may as well be the same, with the same vehemence in 2008.

Richard Corley directs his cast in a series of chronological segments in the life of More, his family, and constituents. The thread linking each part is The Common Man, portrayed exceptionally well in multiple roles by Walter Hudson. David Chandler’s Cromwell plays sinister to perfection, Gareth Saxe’s Henry combines humor with determination in his king, and Diane Prusha evenly balances love and strength for and against her stubborn husband as More’s wife.

Hill is quite understated, except for a few short moments, as More. As a man of the cloth and of government, More’s professions pulled him in two directions, resulting in deadly consequences. Through Hill, we see the struggle of a man who willingly sheds both exterior garments to live solely by his own judgment.

The trappings of staging and costuming create 16th century England. Yet, actors do not feign British accents, and much of the playwright’s dialogue seems quite 20th century. Throughout, the play asks the question, “What is a man without principles and values?” Today’s audience members leave asking the same question of themselves.

Candida

Berkshire Theater Festival, Stockbridge
through July 5th
By Eric Johnson & Laura Lezon

Desire! No wonder it’s a favorite topic of playwrights, it is emotional, dramatic, and universal. George Bernard Shaw’s treatment of the subject is most enjoyable indeed, no surprise. Shaw’s amusing yet poignant tale of love, courage, cowardice, jealousy and, yes, desire comes alive at the hands of director Anders Cato and the extremely talented cast.

Morell (Michel Gill) and Gene (Finn Wittrock) achieve a wonderful chemistry as rivals for the affection of the charismatic Candida. Jayne Atkinson’s portrayal of Candida is charming indeed. Her energy and magnetism light up the room, nurturing the desire of her socialist minister husband and the aspiring young poet. Samantha Soule brings a delightfully dutiful yet feisty Prossie to the performance. Soule’s subtlety in letting out hints of the very prim secretary’s not so subtle desires is most entertaining. David Schramm’s Burgess is full of self importance yet, judging by his enigmatic accent, not so far from the struggling working class he exploits for profit. Jeremiah Wiggins contributes a nice dose of naiveté and shyness as the young Reverend Alex.

Olivera Gajic’s costumes, Hugh Landwehr’s set and Dan Kotlowitz’s lighting all served this production very well. The unusual set design, in another production, might have been considered too avant garde for Shaw. In this case however, it fit seamlessly into the production. When first lit at the beginning of the show, the cyc wall appears to be sky above a beautiful tree-lined park, but soon reveals several levels of poor row houses. It is not a scene through a window of the Morell’s house, but the backdrop of the play. A few wonderful period furniture pieces are set on stage in front of this scene. There is a remarkable “scene change” at the beginning of Act III, appropriate symbolism for the beginning of this metamorphic act.

Shaw’s work is well served by this cast and crew. It is a production worth seeing, if that is your desire.

The Caretaker

Berkshire Theater Festival, Stockbridge, MA
through June 28th
By Eric Johnson

As subtle as a sledgehammer; that’s how this show comes across. The harshly lit, rubble strewn attic set assaults the eyes and the loud, discordant jazz interlude music assaults the ears. The performances of the three actors seem barely in control as they disgorge dialogue at an almost suicidal cadence.

Director Eric Hill’s choices are sound ones and the total commitment to these choices by the cast and crew is what makes this production work.

James Barry (Mick), Jonathan Epstein (Davies), and Tommy Schrider (Aston) are fully believable as they portray their respective characters, all of them severely damaged in one way or another by life and circumstances. One never questions the authenticity of these individuals as the details of their lots in life are revealed. Kudos to this talented ensemble cast on a job well done.

The attic set by Jonathan Wentz is a study in disheveled detail. One will notice a vast collection of cast-off junk forming a perimeter around the stage as well as several bits of newspaper that appear to have fused into the floor which adds a particularly nice touch.

Matthew Adelson’s use of mostly harsh white light is the perfect choice to add to the general feeling of discomfort and chaos. The costumes by Yoshinori Tanokura work very nicely with the other elements while not attracting undue attention. One might say the costuming is the only aspect of the production that may be deemed subtle.

J Hagenbuckle’s “avant garde” soundtrack, with percussion that sounds like a hammer on steam pipes and a generous dose of dissonance, certainly enhances the overall distress level.

All of these elements, designed to assault the senses, come together as a nicely executed production of Harold Pinter’s work which keeps the audience on the edge of their seats physically and emotionally.