Review:Playhouse on Park "The Wild Party"

Playhouse on Park, West Hartford, CT
https://playhouseonpark.org

July 8 - August 16, 2026

By Suzanne Wells

Inspired by Joseph Moncure March’s poem, Andrew Lippa’s “The Wild Party” turns Jazz Age excess into a dark, volatile theatrical event.

Set in New York City in 1927, “The Wild Party” plunges into a single feverish night when restraint gives way, desire curdles into danger, and the glitter of excess darkens into brutality, leaving emotional wreckage by morning.

Scenic designer Kim Zhou creates a stage that shifts from an intimate apartment bedroom to a living room ready to burst with heat, noise, and recklessness. Costume designer Micah Ohno heightens the production’s decadence, dressing the women in silks, sequins, and furs, while the men move through the room in smoking jackets, tails, and suspenders.

Queenie, played by Mollie Downes, is a leggy blonde sex kitten caught in a volatile love-hate relationship with the manic-depressive Burrs, portrayed by Trevor Bunce. Restless and hungry for distraction, they throw a party and fill the room with a vivid assortment of guests, each arriving with appetites, secrets, and trouble in tow.

Downes is an athletic, graceful dancer, commanding the stage with restless movement even when the choreography leaves her circling or reclining. Her voice, however, raises the roof with “Out of the Blue” and “Maybe I Like It This Way,” and her ability to let distress seep through the melody of “How Did We Come to This?” is genuinely moving.

Bunce, also an athletic dancer with a strong voice, gives Burrs a jagged, combustible presence. His portrayal of the boorish, abusive lout who uses anyone and everyone to appease his physical hunger emphasizes the character’s cruelty feel immediate and makes it easy to question why anyone would love him.

Maddi Bowman brings bright, mischievous energy to Kate, the favorite party girl and sly instigator whose charm helps keep the night’s excesses evolving.

Directed by Sean Harris, with music direction by Colin Britt and choreography by Darlene Zoller, “The Wild Party” opens a window on a room where pleasure keeps edging toward punishment and glamour frays into consequence.

This production is not recommended for children.

REVIEW: Playhouse on Park, “Gutenberg! The Musical!"

Playhouse on Park, West Hartford, CT 

www.playhouseonpark.org

January 21- February 8, 2026

Review by Simon Brighenti

Most people can be moved by a variety of ideas and experiences, whether it is art or inspirational historical figures or events. And even if audience members are not the movable type, they will enjoy "Gutenberg! The Musical!" 

 

For the purposes of this review, I must place quotation marks around the word “based on” when I say it is “based on” the life of the historical figure and his claim to fame, known as the printing press. As there is only the wispiest of historical records regarding the man and his machine, the subject of this production is ripe for the imagination of talented writers, lyricists, and actors to fill in the gaps.

 

This is the case with the current production at Playhouse on the Park. Written by Anthony King and Scott Brown and starring (only) Jeremiah Ginn and John Wascavage as perhaps the playwright’s alter egos, this play is as multi-layered as a German Baumkuchen. The premise could seem to be at the same time obscure, uninteresting and a setup to belabor a single joke for two hours. That is all incorrect.

Photo by Meredith Longo

 

The two talented actors, ably assisted by Miles Messier on piano, present an enthusiastic and tuneful romp that is deeper than one might think. If I were wearing a hat, I would have to take it off to Director Sasha Bratt for pulling off such an enjoyable work with few props and only the sparest suggestion of a set.

 

Ginn and Wascavage set the scene as two playwrights, perhaps overly optimistic and idealistic, explaining their idea for a play based upon the 15th century German wine presser who helped the world make a leap of Biblical proportions from illiteracy to having access to the written word. Their dearest dream is getting their oeuvre to Broadway.

 

Themes of who gets to control the means of communication of ideas, antisemitism, maternal disappointment with filial life choices, and (of course) unrequited love all get incorporated in an entertaining and at times comical manner. The clever conceit -approaching at times a meta commentary -of the two actors serving to some extent as a Greek chorus to each other and explaining various aspects of the playwriting process as they embody a raft of characters, works exceedingly well. It is rare to find performers who are equally adept at riding the line between too broad and appropriately winking comedy while also having the chops to sing the delightful tunes splendidly. Playhouse has done this with Wascavage and Ginn -- definitely a play meant to impress and successful at doing so.

Review: Playhouse on Park, “Toni Stone”

Playhouse on Park, West Hartford, CT

www.playhouseonpark.org

through June 16, 2024

by Shera Cohen

Temptation was to skip a play about baseball, albeit a potentially interesting subject matter of a woman, a black woman, in the 1930’s – 50’s, in a man’s world of the great American pastime. “Toni Stone” is testament to cease prejudging.

Toni Stone, the first woman player on an American major-level professional baseball team -- a regular for the Indianapolis Clowns in the Negro American League -- is the central character, who stands onstage from the opening scene caressing her baseball to the last scene a few decades later, trading in her apron for a return to baseball. Not to worry; this is not a spoiler.

Photo by Meredith Longo

Constance Sadie Thompson portrays Toni as a plucky young gal who knows early-on that baseball will be her life-time career. More than that, it will be her self-described mission to prove to the world and to herself that she is the best. Thompson, a non-Equity actor, creates Toni as a spitfire who is full of bravado; yet in many cases is scared and sensitive. 

Thompson is a young actress who seemingly, easily, carries the play’s weight on her shoulders. She is literally in the center of the stage and dialog throughout the 2.5 hours; a herculean role.

A suggestion to Director Jamil A.C. Mangan might want to cut several scenes and trim others. While almost reading like a beautiful poem to baseball, the opening five minutes introduce the play to its audience at such a slow pace that the actors are burdened with a stagnant start to launch action. The play is in its infancy, written in 2019, so there is time edit if needed.

The story is a biography of Toni Stone. The majority of the other cast members, all black males, become the ballplayers of the team; also cast in double and triple roles. The director distinguishes each player as a singular person, not merely one among many.

Branden Alvion as Millie, the woman of the night, gives the audience a personification of drama and commentary on men of that era, when congregated, can be cruel to women. Millie and Toni become friends; each at diverse ends of the definition of female. Their story is heartfelt and lovely, primarily because of Alvion’s talent.

Costumes are period baseball uniforms, primarily 1940’s. Even when actors portray roles that are not in the world of baseball, the costumes never change, yet all is clear to the audience.

At two points, “Toni Stone” pumps up the action with music and dance; quite fun at first. Later on, choreographer Maurice Clark gradually turns the baseball players/dancers 180 degrees; a joyful movement segueing into slaves’ lament in the fields of the America. The play becomes dark and raw; no longer fun and “games”.

This venue (POP) has a reputation of producing atypical, new, and/or relatively unknown plays. “Toni Stone” is among them. Those who don’t care much for baseball might become fans of POP and Toni’s near homerun.

Review: Playhouse on Park, “Ms. Holmes & Ms. Watson – Apt. 2B”

Playhouse on Park, West Hartford, CT
www.playhousetheatregroup.org 
January 24 – February 18, 2024
by Shera Cohen

Needless to say, the title prepares the audience; this play will have two important elements – comedy and espionage. Written by Kate Hamill, whose genre is primarily revisits of classic novels, “Ms. Holmes & Ms. Watson – Apt. 2B” brings these sleuths into the 21st century.

The erstwhile duo solves three mini-mysteries before the ultimate cat and mouse game to apprehend Holmes’ arch enemy Moriarty. The unlikely duo does the best they can, even though they are girls. Hamill often pokes fun at male egos.

Hamill spins and twists, all the while tossing in puns, TV theme music, and malaprops.
The cast of four work well together; the two women as well as two other actors in multiple roles, totaling an approximate 12 characters populating the stage, but never all at once. 

Holmes and Watson, acted by Kirsten Peacock and Kelly Letourneau, respectively, create completely opposite characters in stance, voice, and appearance. Each are obviously fine actors, having their fingers on what makes audiences laugh.

Director Kelly O’Donnell moves her characters at a clip in what is a long play that easily could have been boring. However, the Holmes and Watson of Arthur Conan Doyle’s novels boasted humorous repartee with a twinkle in their eyes. O’Donnell and the actresses definitely bring out the fun, but one dimensionally. I don’t know if in the script and/or the director’s vision, but the two lead characters don’t like each other for most of the play.

Nick Nudler, as every male, introduces the play directly to the audience as a macabre soothsayer. Breaking the fourth wall immediately brings us onto the stage. This schtick repeats a few times, adding an unexpected comic touch. It is a pleasure when Nudler enters, literally opening the door to add more humor to what is already onstage.

In four separate roles is Megan McDermott. Her primary skill is physical humor, which along with her effective English accent, make her quite a hoot. Never upstaging, McDermott is given her moments to shine, and she grabs them.

Playhouse on Park (POP, to me) has 14 years under its belt. It’s a small theatre, employs talented actors, and the presenters and crew hold nothing back in creating the best that theatre can be.

Review: Playhouse on Park, "The Complete Works of Jane Austin (Abridged)"

Playhouse on Park, West Hartford, CT

www.playhouseonpark.org

through October 22, 2023

by Shera Cohen

First, don’t let the title, “The Complete Works of Jane Austin (Abridged),” steer you away from a play about a writer whose books we have all read and loved. That’s an exaggeration. Admit it, we’ve seen the movie versions. Even me.

Second, the reasons to witness and be drawn into the more or less fictitious life of this author are many; tops being humor. The program book’s cover illustration depicts a cartoon-version of Jane winking at the reader.

Regular theatregoers realize that whenever a title includes the word “Abridged” that they will be spectators of a whirlwind mix of stories with a common thread which will be very funny. Playhouse on Park (POP) does not disappoint.

Three actors (two women and one man) each portray dozens of characters. Director Kathryn MacMillian moves her actors in and around a large living room set of early-19th century opulent England. It’s no wonder that no one bumps into each other especially when portraying two characters simultaneously.

MacMillan, doubling as one of the co-playwrights (plus Jessica Bedford, Charlotte Northeast, Meghan Winch), has already escalated POP’s reputation to a high level of audience expectations for the rest of its 15th year. Each season, the theatre mounts at least one period-piece, as well as one premier. “Jane” eagerly fills both categories. 

Photo by Meredith Longo

Charlotte Northeast and Brittany Onukwugha introduce themselves as monologues to their
audience in order to present the play (the abridged novels) within the play. Northeast as the older and prim Jane as well as numerous other uses every nuance of her body and face to say more than the dialect. Onukwugha, younger and free-spirited, also embodies Jane at different points and, of course, the rest of the women. It is fun to watch her naivete and charm.

Literally stepping into the play after about 10 minutes is Shannon Michael Wamser as Mike, the substitute actor who walks onto the POP stage. Charlotte and Brittany quickly make him the male lead, as the ersatz actor reluctantly steps into the era 400 years earlier. It is a bit confusing, but you have to be there. Wamser portrays Darcy as arrogant and every male role as a bit dim-witted. Good job.

A suggestion. The running antic of Wamser segwaying from one character into another, literally at the drop of a hat, is overdone. Three hat tosses are enough, not 7 or 8.

Another suggestion must be coupled with the ultimate praise of “Jane,” is the text. Reviewers try to avoid critique of the scriptwriting because that is the given. The job is to focus on the production values. Given that “Jane” is a premier, I’ll take some liberties; the dialect and story are amazingly creative and flowing. Yet, the play could have ended at several points prior to the ultimate final curtain, so to speak, as there is no curtain. Editing out the last scene, which returns to the actors’ prologue to the audience, would better put closure to this delightfully acted and produced theatre piece.

Preview: Playhouse on Park, "Dandelion"

Playhouse on Park, West Hartford, CT

www.playhouseonpark.org

May 21 - June 15, 2023

by Shera Cohen

Instead of our usual reviews and previews, here is another angle, a personal story about my entree into theatre.

Playhouse on Park presents a world-premiere of "Dandelion". Unfortunately, none of In the Spotlight's reviewers could attend the show, one reason being that none of us have young children. The ideal critique would be an adult writer attending with a child. We have printed and/or posted reviews like this in the past. Getting the two perspectives is one of my joys of theatre.

My personal story about my entrance into theatre began as a child. One assignment from our fifth grade teacher was to produce an original play. As I think back about Alan Taylor, then in his first year of teaching straight out of college, I am still in awe of this man whose work with children, including me, was so creative. I have never had a teacher like Mr. Taylor since, including college and grad school.

Looking back decades later, I can appreciate that the task for his class of 10-year-olds was mammoth. What was he thinking?! "Produce a play" had many important components to the job. The "to do list" included: write the play with dialogue for each character, make the cast of hand-made string puppets, design and build a stage with a shoe box backdrop, select actors and crew. In most cases each of us wrote, designed, starred, and produced our own plays which were then performed one by one to the rest of the class.

My play was a mini-biography of Helen Keller. Her life and accomplishments were and still are beyond my comprehension. I knew that, at the very least, she deserved a play written about her by an elementary school kid. To this day, I have my Helen Keller puppet in a storage room in an old Forbes & Wallace paper bag. 

I honestly say that my play was quite good. I could never create objects that in any way looked like humans now, but the fifth grader me could do it. String-puppets are a whole lot tougher than hand puppets or dolls. Mr. Taylor challenged each of us in his class, all the time knowing that we could do this project, feel wonderful about our newly acquired skills, and hopefully learn to love theatre.

 

I doubt if I could take all on-stage and backstage work myself like I did as a child. Besides, I shouldn't Theatre is a collaborative creation. Mr. Taylor threw me in the deep end of the pool and said, "make a play". I did and continued in theatre ever since.

I'm sure that your child or any child would enjoy "Dandelion". Although I haven't seen it, I have done my homework. This experience at POP might be the catalyst into theatre as a hands-on person or a member of the audience.

REVIEW: Playhouse on Park, "stop/TIME dance MACHINE"

Playhouse on Park, West Hartford, CT

https://playhouseonpark.org

March 24-April 2, 2023

by C. L. Blacke

photo by Zee Rubin

Stop/TIME Dance MACHINE is not just a string of hit-and-run dance routines; it’s a time-
travelling extravaganza. With its cohesive and imaginative storyline, the 18th annual all-original stop/time dance theater production features comedy, singing, and of course, dancing as award-winning choreographer Darlene Zoller disappears into a time machine seeking inspiration. Left behind, her dancers are forced to send delegate parties into the space-time continuum to find their fearless leader.

As the resident dance company of Playhouse on Park, stop/time dance theater is made up of 15 dancers and singers with full-time jobs and families, who dedicate their free time to doing what they love. And it shows in a big way. Each member commits to their role not only in nailing their steps but in their facial expressions as well. It’s hard to tell who’s having more fun—the dancers or the audience.

The program opens in a flurry of pirouettes with two numbers both before and after Darlene’s disappearance. David Lewis’s science lab set design features a backdrop of buttons, keyboards, junction boxes, and, of course, the time machine door. With delegates off on adventure, singer/dancer Victoria (Tori) Mooney stays behind to figure out a way to bring them all home safely. Visible at all times, the set anchors the storyline to the present day and creates a sense of urgency as scenes with Tori manning the controls are interspersed throughout, including one with her hilarious rendition of “Baby One More Time”.

Dance styles run a nonlinear gamut from a turn of the (20th) century synchronized swimming routine to a prehistoric tribal rhythm dance, from the 1920s Charleston to a futuristic “Dance Apocalyptic”.

Audience favorites include the foot-stomping, hand clapping, finger-snapping tap routines to “Sing, Sing, Sing” and “In the Mood”, as well as the heartfelt Act II opening duet, “We Are Never Getting Back Together”, sung by Amanda Forker and Rick Fountain. But by far, the standout full-group number, complete with MTV theme song and astronaut, is the Act I closer “Smooth Criminal”, a dance tribute to Michael Jackson performed in 1930s gangster suits and fedoras.

Will Darlene reunite with her dancers? Does she find inspiration? Or is she just out of time? These answers will only be revealed by attending this annual production worthy of many standing ovations.

Preview: Playhouse on Park, "Indecent"

Playhouse on Park, West Hartford, CT

www.playhouseonpark.org

January 23-February 26, 2023

Photo by Meredith Longo

"Indecent" by Paula Vogel will run at Playhouse on Park for one month this winter.

This production will be directed by Kelly O’Donnell, with music direction by Alexander Sovronsky and choreography by Katie Stevinson-Nollet. The theme of "Indecent" and the other plays featured in POP's 14th season is Perseverance. This season highlights stories of fighters and survivors, to coincide with the Playhouse’s journey of persevering through the pandemic. 

Pulitzer Prize-winning playwright Paula Vogel tells the explosive and deeply moving story of the controversial 1923 Broadway debut of Jewish playwright Sholem Asch’s God of Vengeance—a play about a forbidden lesbian romance that enchanted and outraged audiences. We follow the path of the artists who risked their careers in order to perform it. It actively pays tribute to the Yiddish, immigrant families, Jews, theater makers, and the women, specifically the queer women, who are erased from historical narratives. "Indecent" is a riveting backstage drama filled with music, movement, groundbreaking theater, and stage magic. 

Director Kelly O’Donnell is a theater and film director based in New York City who believes that theater can be a powerful tool for fostering peace. Kelly is returning to POP, after having directed last season. A co-founder of the critically acclaimed and nationally recognized Flux Theatre Ensemble, she has directed throughout New York City in numerous venues.

About Playhouse on Park: Managed under the direction of Playhouse Theatre Group, Inc., Playhouse on Park is Greater Hartford’s award-winning destination for the performing arts. Playhouse on Park offers a wide range of thought-provoking, inspiring and thoroughly enjoyable professional theatre productions that leave audiences often smiling, sometimes crying, and always talking about what they have just experienced. 

There will be a talk back with the cast after each Sunday matinee. COVID-19 Policy: Vaccination card checks and masks are not required. However, masks are strongly recommended. 

The Presenting Sponsor of Playhouse on Park’s 2022-23 Season is The Richard P. Garmany Fund at the Hartford Foundation for Public Giving. 

REVIEW: Playhouse on Park, "Fences"

Playhouse on Part, West Hartford, CT

www.playhouseonpark.org

through November 20, 2022

by Gene Alan

Photo by Meredith Longo

August Wilson's play "Fences," the sixth in Wilson’s 10-part “Pittsburgh Cycle,” is deeply rooted in Connecticut. It was introduced at the Eugene O’Neill Theater in Waterford in 1983 and had its world premiere at Yale Rep in 1985. The play went on to Broadway in 1987, starring James Earl Jones, winning the Pulitzer Prize for Drama as well as the Tony Award for Best Play and Best Performance by a Leading Actor in a Play. Denzel Washington starred in the 2010 Broadway revival, as well as directing and starring in the 2016 film adaptation.

Set in 1957 Pittsburgh, in the backyard of former Negro Baseball League star Troy Maxon (the brilliant Jamil A.C. Mangan) and deals with the literal and symbolic “fences” that he creates in his life. Here we meet the principal characters in Troy’s life: his best friend Bono (Eric Carter), a prison-mate, now both working as garbage collectors; Rose, Troy’s loving and devoted wife (Yvette Monique Clark); Lyons, his son from a previous marriage (Jerry Hamilton) Troy’s brother (Daniel Danielson), suffers from brain damage caused in WWII and thinks he’s the archangel of the same name. Finally, we meet and Rose’s son Cory (Khalfani Louis), a high school student and promising football player.

Many themes are explored in this snapshot of Troy’s life and the emotional scenes that enfold in this 2 ½ hour play – racial barriers, discrimination, infidelity, responsibility to family, great love and loss, friendship, betrayal, hubris and the destruction of hopes and dreams in an effort to set things right.

Director Kenney M. Green has done a wonderful job telling this story with a very competent group of actors. Mangan carries the weight of the entire play and does so with great power and touching moments of insight, in what is truly a bravura performance. Carter’s subtle and nuanced portrayal of Bono brings a genuine believability to the character and his relationships. Danielson, as Gabriel, makes bold choices in both voice and body movement that were so well executed and consistent that I couldn’t take my eyes off him. It was so joyous and so heartbreaking to watch.

At this performance, a pre-show announcement was made that the original actor playing Lyons had taken ill. A replacement was found and arrived at the theater just an hour or so before. Hats off to Jerry Hamilton who went on with script in hand and did a good job playing the role and allowing the show to go on as scheduled. Well done, Jerry!

Also, a shout out to the young, local actress Gibson Quinn who played Raynell. In a scene in Act II, a gin bottle left behind on the porch was accidentally kicked over. As the “gin” started to pour down the steps, Gibson calmly acknowledged what had happened and smoothly kept the dialogue going, not skipping skip a beat.

All of the technical elements in this production are very well executed, which is the norm at Playhouse on Park. Baron E. Pugh’s set is simple and effective. Multi-talented theater artist Johann Fitzpatrick’s lighting design is clean and subtle and utilized beautifully to show the passing of time. Valinda McGregor’s costume design is accurate and purposeful and adds a lovely authenticity to the characters.

This is a stirring production of "Fences". 

REVIEW: Playhouse on Park, "Pippin"

Playhouse on Park, West Hartford, CT

www.playhouseonpark.org

through August 21, 2022

by Rebecca Phelps

 

Upon arrival at Playhouse on Park one becomes immediately aware that this is a much beloved, and well cared for little gem of a downtown theatre. The main stage is an intimate, black-box style theatre with seating three quarters around the stage and pit band tucked into the remaining side. Although tight and without wings or proscenium, the configuration is a perfect one for the musical Pippin which is set in no particular time or place, or as the director puts it, "Perhaps right in your head." It brings the magic up close and personal as the cast and action are never farther than arms reach from the audience.

 

The cast is as strong as one could ever imagine. Pippin is a showcase for classic Bob Fosse style choreography, which is fully explored in this production by the artful and imaginative direction of Darlene Zoller, director/choreographer, and co-founder of Playhouse on Park. Zoller has a lot to work with; this cast being exceptionally gifted dancers. Each has vocals strong enough to carry off the significant demands of the fantastic Stephen Schwartz score, performed flawlessly by an accomplished pit band.   

 

Photo by Meredith Longo

The story of King Charlemaigne's son, Prince Pippin, a naive seeker of true happiness and
fulfillment in life, has a familiar ring for today's current atmosphere of angst, anxiety and confusion. Ultimately, Pippin's decision to take control away from the Leading Player and submit himself to the "unextraordinaryness" of a more life-affirming path leads to a rather anti-climactic ending. But then, here comes young Theo; and the next generation of seekers begins all over again with the classic "Corner of the Sky" anthem. The Leading Player (performed perfectly by Thao Nguyen) and all his Players, stand-outs: Fastrada (Kate Wesler) and Lewis (Brad Weatherford), provide irresistible entertainment as they draw us into their intrigue, illusion, humor and magic, right along with Prince Pippin (played to perfection by Shannon Cheong).

Preview: Playhouse on Park, The Agitators

Playhouse on Park, West Hartford, CT

www.playhouseonpark.org

May 25 - June 12, 2022

Photo by Meredith Longo

The contemporary play "The Agitators," by Mat Smart tells of the enduring but tempestuous friendship of Susan B. Anthony and Frederick Douglass. Great allies? Yes. And at times, great adversaries. Young abolitionists when they met in Rochester in the 1840s, they were full of hopes, dreams, and a common purpose. As they grew to become the cultural icons we know today, their movements collided, and their friendship was severely tested. This is the story of that 45 year friendship – from its beginning in Rochester, through a civil war, and to the highest halls of government. Anthony and Douglass agitated the nation, they agitated each other, and, in doing so, they helped shape the Constitution and the course of American history.

According to the Seattle Times, "The Agitators unfolds like a scrapbook, with snippets of conversation between Douglass and Anthony during their decades-long struggles for abolition and voting rights."

For tickets and information about Covid 19 safety rules, check Playhouse on Park's website at www.playhouseonpark.org.

PREVIEW: Playhouse on Park, Divas: Double or Nothing

Playhouse on Park, West Hartford, CT

www.playhouseonpark.org

through March 27, 2022

Photo Credit: Rich Wagner

Ever wish you could see all of your favorite DIVAS on one stage? Well, thanks to award-winning choreographer/director, Darlene Zoller, West Hartford is getting the DIVA treatment! Our resident dance company, stop/time dance theater, now in its 17th year, is bringing the heat and paying homage to all of your favorites: Cher, Tina, Gloria, Shania, Dolly, Whitney...and more! DIVAS is an original show featuring 18 outstanding company members who will sing and dance their way into your heart with a mix of tap, jazz, swing and funk. This will be a non-stop, high-energy extravaganza with high kicks and even higher notes, so grab some friends and get your tickets today! And remember...what happens at Playhouse on Park stays at Playhouse on Park (but you’re going to want to tell everyone you know)!

COVID-19 Policy: All patrons must be fully vaccinated. Vaccination card, government issued ID, and masks are required for all patrons.

REVIEW: Playhouse on Park, Five Guys Named Moe

Playhouse on Park, West Hartford, CT
www.playhouseonpark.org
through February 27, 2022
By Stuart W. Gamble
 
Sometimes thinly plotted music revues can be just okay. Playhouse on Park's production of "Five Guys Named Moe" does not fit that description. This production, both directed and choreographed, by Brittney Griffen is simply wonderful. Full of lively, upbeat, charming tunes sung, danced, and acted by a fabulous ensemble cast, POP's current production is a surefire antidote to the winter blues and COVID-related dread.

Clark Peters’ musical features the greatest hits of composer Louis Jordan. The story begins with Nomax (Marcus Canada) sitting alone by a vintage radio with a bottle of scotch on hand, singing the bluesy “It’s Early in the Morning”. Troubled by romantic angst, Nomax is suddenly visited by Five guys named Moe, who are seen from behind a sheer curtain, also revealing a music ensemble of top-notch musicians on percussion, piano/keyboard, trumpet, bass, reeds, and trombone.

"The Five Guys..." includes Eat Moe (Arnold Harper), Four-Eyed Moe (Jacquez Linder-Long), Big Moe (Darren Lorenzo), Little Moe (Devin Price),  and No Moe (Josh Walker). These extremely talented actors/singers/dancers work beautifully together. Their timing (both musical and comedic) is seamless, moving from banter of songs to fancy foot work. Kudos to the guys in what is a fine display of a truly ensemble performance. Although Canada has the less flashy role, his pitch-perfect tenor resonates the central character’s emotional dilemmas.

The score’s 25 songs, which are utilized to try to persuade Canada's character Nomax into changing his bad habits (mainly drinking and smoking to excess), are all finely sung by the superb cast. Personal favorites are “I Like ‘em Fat Like That” featuring all the Moes, the call-and-response “Caledonia” led by Lorenzo, and the Act I closer and sing-along Calypso “Push Ka Pi Shi Pie”. Most impressive is Harper’s hilarious “Ain’t Nobody Here But Us Chickens” (complete with plumage) and his utterly heart-rending solo “Don’t Let the Sun Catch You Crying” sung in a sparse Paris Café designed by James F. Rotondo III.

"Five Guys...s" is a breath of theatrical fresh air. The music (fine work by Music Director Dexter Pettaway Sr.) and performances are ably supported by Vilinda McGregor’s period costumes (especially the sequined blue jackets) and Marcella Barbeau’s mood-enhancing lighting design). "Five Guys..." reminds us of the monumental contributions of African-American musicians and performers, as we celebrate Black History Month in February.

REVIEW: It's a Wonderful White Christmas at Pemberly! Or...3 in 1 Winter Weekend

It's a Wonderful Life, Hartford Stage, Hartford, CT

www.hartfordstage.org

through December 26, 2021

Irving Berlin's White Christmas, Colonial Theater, Pittsfield, MA

www.berkshiretheatregroup.org

through December 23, 2021

Miss Bennet: Christmas at Pemberley, Playhouse on Park, West Hartford, CT

www.playhouseonpark.org

through December 19, 2021

by Lisa M. Covi

The end of the year brings some a yearning for familiar traditions and home. Three theatrical experiences offer satisfaction and delight with a heaping dollop of holiday joy.

Photo by T. Charles Erickson  

As a self-professed “It's a Wonderful Life” fanatic, I was both satisfied and surprised by Joe Landry's adaptation into a Radio Play at Hartford Stage. The production delivered treasured humorous moments and extended the sentimentality of this morality tale. As a radio play, the cast included new characters; the actors who read multiple roles on the stage that evokes a 1940's Hartford studio. This storytelling device provides delightful juxtapositions: Freddie Filmore as the announcer performs several scenes between the scheming Henry Potter and bumbling Uncle Billy channeling each character with change of hat. Jennifer Bereilles alternates between the flirtatious Violet Bick and earthy Ernie the cab driver among other roles. The audience was captivated by the interactions between the radio actors who were also able evoke pathos from the story. For someone unfamiliar with the film, the pace of the story may be initially hard to follow. It may be an inadequate substitution for bringing your kids to “A Christmas Carol.” However, Act II adds a dramatic element of direct action as the depiction of George's wish come true sweeps away the radio elements adding costuming, blocking and lighting as they assume the trappings of a traditional play. The choice to add endearing Spanish phrases by Geraldo Rodriguez to George Bailey's dialog and the casting of Shirine Babb as a darker skinned actor playing both Mary and Joseph (the angel's supervisor) creates some multicultural inclusion to the depiction of small town life. The audience also appreciated the local color provided by the performance of radio commercials for now defunct G. Fox department store, and reference to local resident Mark Twain.

Photo by Emma K. Rothenberg-Ware

The Berkshire Theater Group's production of “White Christmas “at the Colonial Theater also has as point of departure, a classic film set after World War II. However, this production sticks more closely to the original musical theater format. Veterans Wallace and Davis find themselves at a Vermont Inn at Christmas and decide to put on a show with the Haynes sisters to save the faltering business and honor their Commanding Officer, the owner, Henry Waverly. Cast and crew delivered an energetic experience that set toes tapping, audience joining in and holiday joy spilling out after the curtain call. The dazzling musical numbers, costumes and props channeled many of the film's choices and transported us to studio productions that showcased and celebrated theatrical show business. Although Michael Wartella and Michael Starr gave strong individual performances as Wallace and Davis, the plot lacks some momentum in Act I. Fans of the number “Sisters” will be delighted that Judy and Betty Haynes are played by real-life sisters Alanna and Claire Saunders. The final number of Act I turns around the pace with “Blue Skies.” This show-stopper has the costumes and choreography of a Fosse/Verdon piece and the synchronized tap dancing support the strong melody but spare lyrics of Irving Berlin. Allison Briner Dardenne's vocals as Martha Watson add to the upswing of energy in Act II especially with the sisters in “Falling out of Love Can be Fun.” Among the stellar ensemble, Aliah James, Kelly Sheehan who have speaking parts and newcomer Joel Douglas gave impressive contributions. This production delivers a classic show with the caliber of performance that meets the higher bar for Broadway musical theater recent years have raised.

Photo by Meredith Longo 

The most traditionally dramatic of the three productions is the 2016 play by Lauren Gunderson and Margot Melcon, “Miss Bennet: Christmas at Pemberly” now at Playhouse on Park. Two years after the events in Jane Austen's “Pride and Prejudice” finds Miss Mary Bennet, and married sisters Elizabeth, Jane and Lydia spending the 1815 holiday at the Darcy's estate. There are resemblances and differences to film and television productions in the actors portrayals. More importantly, the cast succeeds in immersing us in both Austen's world where women chafe against social restrictions and captivate with the familial relations among almost every character. The story is familiar, a comic romance among Mary, played by Sydney Torres who has since come of age and Arthur de Bough played by Ted Gibson, a relative of Darcy's newly returned from Oxford. In modern style, this young couple are the nerdiest in their set, preferring books and the life of the mind to preoccupation with emotion and status of their times. Elizabeth Darcy (Dakota Mackey-McGee) has erected a Christmas tree, a rare German tradition in Georgian England, Jane Bingley (Kristin Fulton) is expecting her first child and Lydia Wickham (Laura Axelrod) creates havoc and worry arriving sans husband. Another modern touch is the changing relationship between old friends Darcy (Griffin Stanton-Ameisen) and Bingley (Karim Nematt) who have adapted to a less conventional Bennet marriage and learned from past mistakes. The talk-back after the Sunday matinee confirmed the cast and director's great enthusiasm for the material and their exuberance of returning to live theater after the pandemic hiatus. The blocking of the production for audience seated on three sides of the stage provide opportunities for various actors to showcase their movement and self-expression in careful English dialect. Set design, costumes and hair make for a faithful period depiction. You need not be a Jane Austen fan to enjoy the production; it may also be a humorous salve to many of us facing familial drama of our own during the December holidays.

All three productions are enjoyable and well worth the time and money for live theater. I would recommend them as traditional introductions to different genres for younger people, some of whom were in attendance. In fact, these classic stories performed with such care and feeling would be appropriate for multiple viewings.

Preview: Playhouse on Park, Two Jews Walk Into A War

Playhouse on Park. Hartford, CT

www.playhouseonpark.org

through October 10, 2021

Rehearsal photo by Nina Elgo

"Two Jews Walk Into A War" is the first production of Playhouse on Park’s 13th Main Stage Season. This production is directed by David Hammond. The cast includes Mitch Greenberg (Ishaq) and Bob Ari (Zeblyan).  The show is produced in partnership with The Jewish Community Foundation of Greater Hartford and the Jewish Federation of Greater Hartford. 

  

Ishaq and Zeblyan are the last remaining Jews in Afghanistan. They share the only remaining synagogue that has not been destroyed by the Taliban. They share a mission to repopulate the Jewish community in Kabul. But they also hate each other. Can this Middle Eastern odd couple commit to one incredible act of faith to keep the diaspora alive without killing one other? A modern vaudeville full of schtick, sorrow, and survival. 

Tickets are now on sale and range from $40-$50. Student and Senior discounts are available. Student Rush is $10 (cash only), available 15 minutes prior to curtain. 2pm matinees are on Tuesday, Saturday, and Sunday. Evening performances are at 7:30pm on Wednesday and Thursday, and at 8pm on Friday and Saturday.

COVID-19 Policy: All patrons must be fully vaccinated. Vaccination card, government issued ID, and masks are required for all patrons. For Playhouse on Park’s full COVID-19 Policy, please visit www.PlayhouseOnPark.org.

Review: Ct. Shakespeare Festival, “Snow White”

Playhouse on Park, West Hartford, CT

https://connecticutshakespearefestival.org

through August 22, 2021

by Tim O’Brien

 

Got kids? Grab them and go see this show. Got no kids? Go see this show anyway. You’ll leave the theater happy.

 

Director Moira O'Sullivan has hit a legitimate all-ages home run here, taking an already charming script, adding two terrific young actors and complementing them with a talented on-stage musician/live Foley-ist. (Is that a word? It should be.) You heard it right; just TWO thespians handle all the parts, with a little help from a friend, and it’s a downright blast.

 

This script hews closer to the original Grimm than the animated Disney film of the 1930’s. When Snow White meets the dwarves, they take her in as an equal, not so much as the maid-like domestic of the movie. A prince eventually shows up, but it’s clear she doesn’t need him for validation, or much else.

 

Harvey & Mishina

Part of the big fun lies in the gleeful destruction of the fourth wall. From the jump, Snow White (a radiant and confident Resa Mishina) and Dwarf #4 (rubber-faced cutup Patrick Harvey) realize “the others” aren’t coming to help “tell the story.” Acknowledging they’ll be hard-pressed to accomplish that goal properly as a duo, the pair push on gamely.

 

Game afoot, Harvey provides a comic tour de force, interchangeably portraying a narrator-like Dwarf #4, the huntsman, the six other dwarves, the put-upon castle page, the evil stepmom, most of the magic mirror and prince moments, and at times, Snow White herself. During one segment, his character changes come at a furious pace, recalling Robin Williams at the peak of his zany powers.

Mishina, while clearly older, perfectly presents “Snow” initially as the innocent 11-year-old of the book, and later as a strong young woman who knows her mind. She earned some good laughs taking her own turn as some of the other characters, as well.

 

The “secret sauce” of this so-tasty production is the accompanist, Katrien Van Riel. Her in-the-moment sound effects and musical interjections were spot-on, and this reviewer especially enjoyed her Greek chorus-like facial expressions, which helped the littler ones understand some of the emotions on stage. And, as Sullivan explained later, Van Riel wrote several clever original song snippets (which well deserve to be expanded, if possible.)

 

The set is adorable but spare, by necessity; it “belongs” more to the simultaneous run of “Into the Woods.” But it’s not even necessary. This production of “Snow White” could be held in a stark black box without losing a drop of its whimsical sweetness.

 

Get thee hence, pronto.

REVIEW: Playhouse on Park (Streaming), All Is Calm

Playhouse on Park, West Hartford, CT

www.playhouseonpark.org

from Dec. 17, 2020 – Jan. 3, 2021

by Shera Cohen

For one exceptional week in the midst of WWI in Europe, with soldiers up to their knees in the
trenches sinking in the mud, surrounded by countless numbers of rats, shells firing in an unsteady rhythm, life was as calm as it could possibly be on Christmas Day, 1914. “All Is Calm” depicted a true story, or at the very least historical fiction. The theme took a smidgen of history out of the textbooks to show the audience how one moment in time could be insignificant or monumental depending on life’s circumstances. This was called, “The Christmas Truce.”

Playhouse Theatre Group, a division of Playhouse on Park, had intended to mount the play on the Playhouse stage in West Hartford. Covid-19 and many of the roadblocks that came with the disease, forced major direction changes, remarkedly puzzled together and alleviated by director Sasha Bratt. Stage or no stage, the play must go on, utilizing outdoor sections of forestry as the sole scenery, never forgetting social distancing between the actors.

The week before Christmas, 1914, the war literally halted. It is not easy to classify “All Is Calm” as a play, although that was the initial intent. “All Is Calm” seemed to fit into its own niche as theatre. It could be considered a play with music [not a musical], or music with a play wrapped around it. Another label might be an extraordinary documentary. Audience members will likely experience far more of this performing arts classification in the future as the post-Covid years go by.

Three actors portrayed as many as 10 roles each. British and German accents intermixed, and at no better time did the sounds and words of “Oh, Tannenbaum” illustrate the perfect example that whether on the “good side” or the “bad side” of war, all men were equal; just doing their jobs and oftentimes not knowing why. Good vs. bad was of little matter on this particular eve and day. Life was by no means a picnic, but a picnic it would be on December 25, 1914.

One might suppose that the playwright’s sparse dialogue subtracted from the play’s affect. In fact, the opposite held true, adding to the milieu of the actual events and the story on the stage. Playhouse’s actors/singers gave life, in the midst of war, to Peter Rothstein’s work, portraying at its core, strength of character, wonder, confusion, and camaraderie.

Preview: Playhouse on Park, All is Calm: the Christmas Truce of 1914.

Playhouse on Park’s 12th Main Stage Season will continue with Peter Rothstein’s "All is Calm: the Christmas Truce of 1914." This production will be available to stream at home beginning December 16, 2020 through January 3, 2021. There will also be in person screenings at Cinestudio in Hartford, CT on December 18 and 19, 2020.

It’s a remarkable true story of World War One and relives an astounding moment in history; in a
silence amid the combat, a soldier steps into no man’s land singing “Silent Night.” Thus begins an extraordinary night of camaraderie between the Allied troops and German soldiers. They lay down their arms to celebrate the holiday, share food and drink, play soccer, and sing carols. This dramatic retelling weaves together firsthand accounts of World War I soldiers with patriotic tunes, trench songs, and Christmas carols. Musical arrangements by Erick Lichte and Timothy C. Takach. Directed by Sasha Brätt, with music direction by Benjamin Rauch.

This play was originally scheduled to be produced by Playhouse Theatre Group, Inc. live at Playhouse on Park. As a result of guidelines put forth by Governor Ned Lamont and out of concern for the safety of our staff, cast, and crew, the play was filmed outdoors without the presence of a live audience. All involved in the making of the film of this play were required to adhere to an extensive safety plan.

Stream-at-home tickets are $20 per stream plus an additional $3 service charge. Online orders are subject to an additional $1.50 processing fee. In person and phone orders do not have the additional $1.50 fee. All fees are passed on directly to the companies that charge us for their services. You will be able to access the film from December 16th - January 3rd only. For more information on streaming, or to purchase tickets, visit www.PlayhouseOnPark.org. 

In person screenings at Cinestudio in Hartford: Tickets are $20, reserved seating. Screenings will be held on Friday, December 18th at 7:30pm and Saturday, December 19th at 2:30pm and 7:30pm. Tickets must be purchased through Cinestudio. You may either purchase them online at www.cinestudio.org or in person the day of the screening.

Review: Tales of Two Women: Lizzie and Jane

“Pride and Prejudice”

Playhouse on Park, West Hartford, CT

www.playhouseonpark.org

through March 8, 2020

“Jane Eyre”

Hartford Stage, Hartford, CT

www.hartfordstage.org

through March 14, 2020

By Shera Cohen

Lizzie Bennet and Jane Eyre are approximately the same age, intelligent and clever, and live in England, albeit a few decades apart, but that is really no matter in the productions of Jane Austen’s “Pride and Prejudice” at Playhouse on Park and Charlotte Bronte’s “Jane Eyre” at Hartford Stage, respectively.

Back-to-back performances in one weekend are a theatre-lover’s dream come true. The plays, obviously based on the famous novels of the same names, bring required high school English class assignments to life. Lizzie and Jane take steps off the page to the stage, seemingly with ease. If only Austen and Bronte could experience their works, having been adapted and molded by Kate Hamill (“Pride’) and Elizabeth Williamson (“Jane”) for today’s audience, they would be ecstatic. The authors of these two, now classic, 19th century books shunned the mores of their female peers; wanting more than a life of boredom, seeming content, and marrying up. In her own way, Lizzie and Jane demand respect.

Photo by Meredith Longo

The contrasts of the primary character, her setting, and those who surround each are distinctly opposite. Austen’s story of brightness and gaiety is oftentimes outright funny. The plot instantly reveals that Mrs. Bennet’s (well-acted by Maia Guest) sole mission in life is to find husbands for her four daughters, especially the single-minded Lizzie. While Mother Bennet sees no problem in marrying off Jane (the pretty one) and eventually Lydia (the young one), she has given up on Mary (the plain one, charmingly depicted by Jane Bradley). Lizzie becomes the challenge.

Except for two actors, the remaining six portray over a dozen characters with gender and age-switching fast and furiously behind the curtain, onstage, and in the aisle directly in front of the audience. Many times an actor dresses and speaks as one character on the right side of her body and the left side as the man. However, rest assured, there is never confusion as to who is who in this pseudo combination of any Shakespearian comedy and/or Moliere farce.

A special bravo to Matthew Krob as Miss Bingley (a zaftig gentile lady), Winkham (a slippery military officer), and Mr. Collins (a prissy preacher). Kimberly Chatterjee and Nicholas Ortiz, our flirtatious lovers bring Beatrice and Benedict of “Much Ado About Nothing” to mind, offering proof that the woman is of superior intellect and the male the well-meaning dullard.  Chatterjee and Ortiz create a nice match as they coquettishly play the game of teasing the other into an admission of their character’s love.

What makes “Pride” run like a well-wound clock are Kate Hamil’s adaptation and Jason O’Connell’s direction. The costumes, set design, English accents appropriately depict the early 1800’s. Ratcheting up the humor a few notches are the dance interludes between scenes; you know, those boring 30-seconds when sets are changed. Not at POP! The actors dance and audience stomp their feet to Bee Gees’ disco. “Pride and Prejudice” takes very little seriously.

Photo by T. Charles Erikson

For the most part, “Jane Eyre” lives in a dark, shadowy place with black silhouettes. The set is stark, and huge drawing room doors connote the many rooms and floors of the house. But darkness is even more than Jane Eyre would hope for. In few words, looks, and stances actress Helen Sadler, seated in a dark blue matronly dress at a small desk, narrates Jane’s story. It is a harder story to hear than for her to tell. Jane expects so little; anything can mean a lot. Yet Sadler slowly creates an intelligent and subdued wont in Jane’s demeanor and words, that she is due more than scraps of an existence.

“Jane Eyre” is a love story classic with a capitol “L”. Yet, trust is an equal partner for both lead characters. Chandler Williams begins his relationship with Jane as happenstance, then feigned gruffness, an awkward yearning, and eventually love. Williams is superb as the brooding, enigmatic Rochester. It doesn’t hurt that he is a Colin Firth look-alike and sound-alike.

The story is as much a mystery as it is a romance. Elizabeth Williamson directs her own adaptation of Bronte’s book in small bits and pieces strung together prudently with the sliding doors to create scenes.

“Pride and Prejudice” and “Jane Eyre” were written in the 19th century. These characters and stories are apropos today; women are recognized as stronger than even they thought they were. Standing up for oneself isn’t a concept; it is a conscious action.

Review: Playhouse on Park, Tenderly: The Rosemary Clooney Musical

Playhouse on Park, Hartford, CT

www.playhouseonpark.org

through February 2, 2020

by Lisa Covi

On a wintry day, Playhouse on Park seems set for the pedestrian experience of a musical matinee. A bus rolls up with a mainstay of theater support – the group audience, which enters a stylishly decorated black-box set for an afternoon of Rosemary Clooney's “adult bio-musical” by co-authors Janet Yates Vogt and Mark Friedman. Named after her 1951 hit “Tenderly,” one would expect a similarly haunting story of her struggles with mental illness in the face of a rags-to-riches career during the waning days of pre-rock ‘n roll Hollywood. Then something surprising happens. Between vaguely familiar performances of Come On-a My House, Hey There, and Straighten Up and Fly Right, materializes an extraordinary and intimate production.

A cast of two actors populate and embody the principal family members and stars of Clooney's universe. Around the satellite of Susan Haefner’s Clooney, her costar Samuel Lloyd Jr. alternately plays a psychiatrist, Bing Crosby, Frank Sinatra and Jose Ferrer, in addition to sister Betty and her mother. At one point, he portrays her therapist reenacting key moments in Clooney's life and career. Lloyd even pulls off a rendition of White Christmas' duet Sisters complete with choreography and fans made out of patient file folders. Lloyd is in fine voice as male and female.

The musical backdrop, under the director of Robert Tomasulo, is performed with a three- piece band occasionally visible behind the picture window of the set. Haefner's bearing and vocal phrasing provides the lush contours of Clooney's passage from star-struck ingénue through marriage and family years and the return from hospitalization and revival of her career. The arc of the star's story sounds familiar, but Clooney's unique grit, humor, and unprepossessing work ethic emerge in concert with vignettes provided by Lloyd's cast of supporting characters. The one-room office set is lit from all angles, providing a wide variety of indoor and outdoor scenes. The costumes and props are simple but evocative.

As with many biographical dramatizations, the second part of the script fails to match the substance of the events leading to the climax. As a story of healing, self-acceptance and realization, the play struggles with the denouement since the conquest of suffering and addiction is rarely as compelling and straightforward as Clooney’s characters in movie musicals. At the talkback, Haefner explained that the authors are more eager to license the production for widespread availability than to bring it to New York (still a possibility). Another note for Broadway is that the casting seems slightly mismatched. Although he brings an impressively wide range of characterizations to the role, Lloyd does not fully equal Haefner's highly dynamic stage presence.

Photo by Meredith Longo

This loving exposition of her talent and heart sticks closely to Clooney’s biographies as source. Her brother Nicky has expressed a desire to extend the influence of her existence and joins her family and foundation endorsing this work. This production stirs our souls with the vibrancy of vocal performances and reminds our conscience of the private challenges public celebrities face at the depths and summits of their careers.