Review: “Amchitka,” Chester Theatre

Chester Theatre, Chester, MA

www.chestertheatre.org

through August 8, 2026

by Shera Cohen

“Amchitka” is the name of a new play presented at Chester Theatre. It is also the name of a basically uninhabited island located off of Alaska. Its historical context during WWII and in the mid-1960’s are the reasons that some people might have heard of it. In November 1971, the United States (the country which owns these islands) conducted a series of nuclear tests, albeit extremely controversial and news-worthy at the time.

Playwright Mark St. Germain is well-known in the Berkshires, particularly for his fictionalized biographical plays about famous individuals; i.e. Sigmund Freud, Alan Turing, Dr. Ruth. While “Amchitka” does not focus on any one person, his latest story utilizes the setting and its history as historic backdrop in which he places three fictitious characters.

Diana (Kelly Lester), Nate (Will Maizel), and Connie (Hero Marguerite) portray scientists living and working in close quarters for an extended period of time on the island. They are colleagues; not friends. Their mission for the U.S. Department of Energy is vitally important; to oversee the long-term effects of nuclear contamination. The actors’ skills are fine and evenly matched.

Photo credit: Andrew Greto 

Another familiar and highly respected name in the Berkshires’ theatre scene is Julianne Boyd, director of this play and Founding Artistic Director of neighboring Barrington Stage Company. Boyd does the best that she can using a static, uninteresting, white lab as backdrop for the primarily static and generally boring characters.

The plot focuses on personal conflicts among the trio, yet more importantly on decisions that will affect world history. In truth, the play’s plot is difficult to fully understand, and spoilers won’t permit a critique that gives the particulars of what happens before, during, and after these scientists study and work at “Amchitka” except to say that the happenings of nearly 50 years ago are in many ways too close to home for the audience’s comfort level in the 21st century.

Unlike St. Germain’s other work, “Amchitka” is extremely talky – between three characters that the viewers care little about. Had each been a person who walked out of a history book (even Richard Nixon who was president in this era), the story would have been worth the time to explore.

Perhaps others will find the play a chilling look into today’s political and environmental tensions as foreseen in “Amchitka”.

 

Review: “Lovesong” Berkshire Theatre Group

Berkshire Theatre Group, Stockbridge, MA

www.berkshiretheatregroup.org

Date: August 29, 2026

by Shera Cohen

“Lovesong” at Berkshire Theatre Group’s Unicorn Theatre stars four actors as two characters. The quartet is extraordinary as a whole and individually. Without hesitation, this play is assuredly one of BTG’s best in many years.

The story is somewhat universal about your average married couple; at the same time unique in the execution of the lives that these two develop for 40 years. At the start of the story is the older Maggie and Billy; the husband is a retired dentist; his wife, retired as well, never really had a career. They love each other. Deeply? Or, after many decades, is it the best alternative to any other choice? The answer is for the characters and viewers to decide, yet most would likely lean toward the answer, “both”.

The same couple is depicted in the early years of marriage, as the play’s timeline, while chronological, shifts back and forth between the couples, who are indeed the same pair. The success of this achievement of the ebbs and flows, coupled with joys and many sorrows of the same characters is drawn deftly with emotional nuances by director David Auburn. “Lovesong” is a director’s dream challenge, and Auburn (whose day job is as Associate Artistic Director at BTG) handles the extraordinary task with precision beyond expectations. This is a director’s play.

Photo credit: Caelan Carlough

The production also shows the immense talent of scenic designer Alexander Woodward. The staging, a house seen as if sliced horizontally, is the only setting. This is an entire house with several rooms the size of an actual kitchen bedroom, and bathroom, for example. The backyard, complete with hammock, is natural. Stairways and halls lead to other parts of the home. This, in itself, is no magical feat. Yet the transition of the young Margaret and William immediately and almost mystically becoming the older Maggie and Billy and vice versa simply within the confines of a house is enormous.

Of course, the remarkable direction and design would be static without four extraordinary actors. The love, expectations, and trust that grows in an even somewhat, if not a long, marriage is realistic. The actors work brilliantly as a small ensemble. Margaret almost flows into the body of Maggie. Rebecca Brooksher holds her own with Karen Allen (whose name is recognized as a movie star in epic blockbusters), each as the vulnerable woman living the best she can for herself and for her husband. Shawn Fagan and David Garrison (the latter, recognizable from TV roles) are the Williams, as a man working on sensitivity through the years.  

There are a few subtle attempts for the actors to look alike through the decades, although some clothing styles are consistent. The Williams seem to consistently like plaid shirts. Mirror-looks are unnecessary.

The characters’ words and demeanor are significant tools for the actors to truly become the person on stage. And these four actors are remarkable.

Review: A.I.M. by Kyle Abraham: “White Space”

Michela Marino Lerman “Steppin’ with ‘The Kid’: A Celebration of Betty Carter”
Jacob’s Pillow, Becket, MA
https://www.jacobspillow.org/
July 15-19, 2026 (A.I.M. by Kyle Abraham)
July 16&17, 2026 (Michela Marino Lerman)
By Melissa Roti

It was a beautiful, clear day for one of our afternoons at Jacob’s Pillow. My mother and I have been coming for world renowned dance performances for over a decade now and we have always loved the variety of dance genres at the ‘Pillow’. We found several in the U.S. Premiere of “White Space” by the contemporary dance company A.I.M. by Kyle Abraham at the Ted Shawn Theater.

This was a celebration of movement using the dancers, the music and the visuals to paint an engaging artwork on a blank canvas. “White Space” was rich with collaborations, conversations and contrasts. This performance was outside the boundaries of a typical performance with dancers moving on and off stage in warm-ups as the audience was being seated and the house lights were still up. There were 12 white chairs, 11 dancers, three white walls, one white floor, white balloons, one piano, two musicians and four hands playing the live piano.

Music shifted tempo and genres from “trip-hop” to the piano composition by Jason Moran and Nico Muhly, to Shubert and even a bit of tossed chair cacophony. Most of the music was performed by the two pianists (Stephen Gosling and Derek Wang) on one open top grand piano. They skillfully performed various styles of music creating different moods, even strumming the strings through the open lid.

With these varied music conversations, Kyle Abraham takes us on a journey of different of body movement styles including contemporary, hip-hop, and classical. The dancers painted movement ideas in solos, duets and varied groupings. The entire ensemble of dancers is not only versatile but also expressive. They told stories of contrast: chaos vs. order, grief vs. celebration and struggle vs. hope. In all these juxtapositions they come back to the importance of support, connection and community.

Contrasts were enhanced by the visuals and stage elements. The lighting created different moods, times of day and seasons all on the blank canvas of a white space. White objects of differing scale included snow, balloons and chairs. The dancers’ black or white mesh clothing practically disappears on body, allowing the viewer to see every deliberate move, while simultaneously highlighting the flow of movement. Meanwhile, there is one dancer in a bright blue bodysuit slowly marking the space.

This thought-provoking performance was rich with symbolism, especially the hope that can grow in a supportive community. This was a theatrical experience that celebrated movement and collaboration in both its creation and performance.

After a delicious early dinner at the Pillow café, we then settled on the benches at the Henry J. Lier outdoor stage. The outdoor stage is an amazing setting with the hills of the Berkshires as its backdrop; it truly is my favorite venue.

We are big fans of percussive dance and Michela Marino Lerman and her ensemble of both tap dancers and musicians, including the amazing singer Charenee Wade, brought the jazz of Betty Carter to life. The ensemble considers themselves all musicians with the percussive dance as a form of music. With only three tap dancers it was better to watch their amazing footwork. Tap dance is so intertwined with rhythm, you feel it in your bones.

Although these were very different performances they both pushed the boundaries of music and reminds us how dance has been intertwined with it throughout the course of history. This was a day celebrating the musicality of dance.

Review: “Twelfth Night,” Shakespeare & Company

Shakespeare & Company, Lenox, MA
www.shakespeare.org
Through July 26, 2026
by Shera Cohen

A shipwreck, disguises, twins, mistaken identities, paired-off lovers, and the ever-present wise fool(s) are the basic elements of most Shakespearian comedies. “Twelfth Night,” one of the Bard’s last in this genre, is also one of his best. S&Co. mounts this rapid-action farce with aplomb. No matter how often S&Co. presents this comedy; given different actors, director, and sets, the play is always fresh.

S&Co. formula is emphasis on confusion. Please take this comment in the good humor in which it is intended. Yes, there is a plot, albeit convoluted, hackneyed, and thin. More importantly is the cast of fit and misfit characters, each with his or her own ingredients to dump into the mix to ultimately create an “all’s well that ends well” story. Alas, that is yet another one of Shakespeare’s numerous comedies.

Twins are lost at sea (of course), are rescued, and somehow get to the same seacoast dukedom unbeknownst to the other. In this scenario the duo (one male and one female) supposedly look exactly alike. Hmm? Therein lies the first of many misperceptions. Will the twins find each other? Will each find their true love at first sight? Will the clowns upstage the main characters? The answers: yes, yes, and oh yes!

Photo by Nile Scott Studios

Shakespeare’s clowns, also called fools, are those characters (usually male) who serve the play as comic relief, yet oftentimes have a great deal of intellect and cunning. “Twelfth Night” tops an already funny play with even more laughs which is why this is one of the best of the Bard.

Kate Bohler Amory directs. Assumedly, the most difficult job for Amory is moving a 2+ hour play from an outdoor setting onto an indoor stage. A guess would be that in outdoor productions, the actors normally utilize trees and paths in the woods as part of the staging. Yet, the Tina Packer Theatre permits scaling scaffolding and running up and down aisles. All parts must be reassembled in the indoor Arthur S. Waldstein Amphitheatre. 

Hers is a dream cast of current S&Co. regulars plus some from decades ago; it is refreshing to see the return of some ‘ol timers. Several actors deserve praise, but let’s not so arbitrarily focus on Allyn Burrows, who happens to also wear the hat of Artistic Director. If a star character of “Twelfth Night” was to be chosen, it would be Malvolio – the arrogant, snobby, prissy, and put-upon servant portrayed by Burrows. It’s a toss-up as to which of Malvolio’s episodes gets the most laughs: donning the yellow leggings and parochial school-like plaid kilt, imprisonment in a tiny caged cubical, or reading a feigned and overly demonstrative love letter from his mistress. Burrows’ facial nuances of scorn and misery say more than most actors would hope to accomplish.

Another ‘ol-timer (45 years employed) is Govane Lohbauer, costume designer extraordinaire. From clown Feste’s motley mix of colors and styles to Countess Olivia’s elegant runway dress, creativity is seen in every stitch.

To review any S&Co. production one must start at the beginning and end at the same point – with music and dance. While the Bard’s intended location of the story is a fictitious city in Illyria; sounds Italian. No matter. Here we have a land where the tongue and songs have a melodic Irish lilt.

Program Note: When the weather hits 84+ degrees, the play is brought inside the air-conditioned theatre. Thank you, S&Co.!

Review: Jane & Jay Braus Memorial Concert, Andris Nelsons, Conducting

Boston Symphony Orchestra, Tanglewood, Lenox, MA  
July 11, 2026  

https://www.bso.org/tanglewood

by Jarice Hanson 

  

After a hot summer day, there is nothing more refreshing and rejuvenating as a Boston Symphony Orchestra performance on a lovely evening at Tanglewood. On July 11th, the BSO, conducted by Andris Nelsons presented the audience with a magnificent concert featuring Emanuel Ax playing Mozart’s "Piano Concerto No. 25 in C, K.503," and in the second half, Gustav Mahler’s "Symphony No. 4 in G," featuring the talented coloratura soprano, Erin Morley.  

  

The evening opened with audience favorite Emanuel Ax performing a concerto that one might think Mozart wrote specifically for him. Surprisingly, there were many children in the audience for this portion of the evening’s entertainment, and one youngster was so excited to see Mr. Ax come back to the stage for a wonderful encore, he excitedly shouted “He’s going to play again. He’s going to play again!” to the delight of the adults seated near him, many of whom sported red roses and t-shirts honoring Conductor Nelsons.   

  

Photo: Hilary Scott, courtesy of the BSO

The perennially popular Ax then proceeded to play Schubert’s "Schwanengesang, D. 957: No. 4 Ständchen" as an encore that proved once again why he is a “rock star” who can touch the hearts of both children and adults with his skill and personal warmth. 

  

The second portion of the evening was dedicated to Mahler’s "Symphony No. 4 in G," the composer’s shortest symphony and one that starts with a motif that has become synonymous with Mahler’s creativity in blending instruments that seem to produce sounds that no individual instrument could affect. Somewhat poetic, somewhat of a fairytale, the 4^th is drawn from a compilation of German folk poetry from the early-19th century called “Des Knaben Wunderhorn,” (trans.“The Boy’s Magic Horn). In the final movement, Erin Morley, taking a break from one of her operatic engagements, joined the BSO to provide an ethereal vocal triumph that showed how skilled singers and musicians create memorable aesthetic audio experiences for audiences. She was simply, and undeniably, superb. 

  

In an evening that suggested hope and beauty, along with the energy of youth and the mastery of some of the world’s greatest musicians and composers, Maestro Nelsons brought down his baton, put his palms together as though in prayer, held the moment, and created a memorable evening in honor of all who have graced the stage at the BSO, and at Tanglewood.    

  

  

 

REVIEW: Honoring Abraham Lincoln

Boston Symphony Orchestra, Tanglewood, Lenox, MA 

https://www.bso.org/tanglewood
July 5, 2026 

by Michael J. Moran 

The BSO’s first concert of the 2026 Tanglewood season offered an imaginative program of music by three major American composers honoring Abraham Lincoln during the nation’s 250th birthday weekend. 

First up was the world premiere of Philip Glass’ Symphony #15, subtitled “Lincoln.” Seven of its eight short movements set excerpts from speeches and autobiographical writings by the 16th U.S. president. They were sung or spoken by Broadway actor and operatic baritone Zachary James, who created the role of Abraham Lincoln in Glass’ opera “The Perfect American.” He and the concert’s guest conductor, frequent Glass collaborator Karen Kamensek, were making their BSO debuts. 

Kamensek, the first woman to direct several opera companies, led the BSO in a sumptuous and stirring account, building the composer’s repeated rhythmic patterns to a powerful and mesmerizing climax. James spoke Lincoln’s words with clarity and passion;  text was helpfully projected above the stage. Standout moments included the poignant “Slavery” movement, quoting the Emancipation Proclamation, and the modest brass fanfare that closes the “Farewell” movement and the symphony. Taking a post-performance bow with James and Kamensek, the 89-year-old composer received an enthusiastic standing ovation. 

Next came a four-movement suite from John Williams’ score for Steven Spielberg’s film “Lincoln". The music’s “Americana feeling” noted by program annotator Robert Kirsinger often recalls the style of Aaron Copland. Distinguished solo turns were taken by BSO members Thomas Rolfs (trumpet) in the touching “Elegy” and quiet “With Malice Toward None,” acting concertmaster Alexander Velinzon (violin), Blaise Dejardin (cello), and Elizabeth Klein (flute). 

The program culminated, fittingly, in its most familiar piece, Copland’s “Lincoln Portrait.” Written in 1942 at the request of conductor Andre Kostelanetz, its two orchestral sections suggest what Copland called “the mysterious sense of fatality that surrounds Lincoln’s personality” and evoke his era. A third section includes narration with excerpts from Lincoln’s Gettysburg address and other speeches. Actor Alec Baldwin read the text with precision and drama, using gestures for emphasis (“…even we here hold the power…”). Kamensek and the orchestra provided forceful support. 

As in many afternoon concerts in the Koussevitzky Music Shed, all three selections were enhanced by occasional snatches of birdsong from neighboring trees on a lovely Berkshire day. 

 

Review: Fannie: The Music and Life of Fannie Lou Hamer

Chester Theatre Company, Chester, MA

www.chestertheatre.org
July 12, 2026
By Suzanne Wells

It is hard to sit through “Fannie: The Music and Life of Fannie Lou Hamer” without feeling that the past is pressing urgently into the present. Written by Cheryl L. West and directed by Gilbert McCauley, the production gives Fannie Lou Hamer’s story the force of testimony, music, and memory.

Set during the 1960's Civil Rights Movement, “Fannie” carries the audience through the remarkable life of Fannie Lou Hamer—from her childhood picking cotton to her courageous fight for the right to vote, her tireless work encouraging others to register, and her own historic run for office. What primarily moves those at Chester who learn Fannie's story most is not only the scope of what Hamer endured, but the strength she kept returning to: faith, hope, humor, and determination. 

Her story brings the injustices of the era into sharp focus while celebrating a woman whose courage, voice, and unshakable spirit still feel necessary.

As Fannie, Shannon Lamb does more than command the stage—she makes history feel immediate. Whether she is offering warm Southern hospitality, delivering a stirring speech, or reliving the frightening and brutal moments Hamer witnessed and endured, Lamb fully opens a first-hand view into the world of the Civil Rights Movement.
 

With remarkable energy, powerful storytelling, and a beautiful voice that carries the songs of the era, she turns the theatre into a pulpit of witness and song, complete with heartfelt Amens and Hallelujahs.

Kevin Sharpe’s musical accompaniment deserves special recognition. His playing helps shape the emotional rhythm of the production, moving from moments that make audience members want to stand up and rejoice to quieter passages that ask listeners to be steady and listen.

Jeremy Winchester’s scenic and projection design also leaves an impression, supporting the story with images that sharpen its emotional impact without overwhelming the audience.

Hamer’s fight still echoes in the civic life of today. This is the kind of story that belongs not only on a stage, but in classrooms, and election-year conversations. Searching for some inspiration and a little hope, “Fannie: The Music and Life of Fannie Lou Hamer” continues through July 12, 2026.

Review: "Fireflies" Shakespeare & Company

Shakespeare & Company, Lenox, MA

http://www.shakespeare.org 

through July 19, 2026

by Shera Cohen

Once the audience moves beyond adjectives like mundane, sweet, and humble to describe "Fireflies," written by Matthew Barber, there is more to examine. However, if those three words are what fully define this play, that is enough.

To newcomers to Shakespeare & Company, don't be caught up in the venue's title. Yes, there are plays by the Bard in the little town of Lenox, probably one of the best performing arts venues concentrating on 1500's theatre in New England. There are also the comedies, dramas, youth shows, and dramedies; "Fireflies" is a fine ideal example of the latter.

Four characters tell their stories over the course of a couple of weeks in another little town, Groverdell, TX. The year is 1995, although the decor implies decades earlier. Marcelo Martinez Garcia's scenic design speaks to the steadfast, humdrum life of the players. Petty much everything stays the same.

Isabel Keating portrays retired teacher Eleanor Bannister whose somewhat strict education style remains at her core; i.e. correcting others' grammar. She can't help it. Eleanor could easily become a cliche; a 60-something woman with an unbending personality. Yet, Keating instills both gumption and wanderlust in Eleanor's dialogue and simply when just standing still...thinking.

Eleanor needs a foil to converse with, so the playwright creates Grace played by Shakes & Co. stalwart Annette Miller. Usually Miller portrays upstanding, both figuratively and literally, characters. It is pleasant to observe her skills at comedy plus bits of dim whit tossed in. Miller's skills stretch beyond her norm. Grace is the epitome of chatterbox, funny at first, but her dialogue, especially at the play's start, could easily be cut. None of it helps the plot.

While actor Gregory Boover is the youngest cast member and has the least number of lines, he plays naivety and sweetness as the town policeman just as anyone would depict the clean-cut boy next-door whose former teacher had been Eleanor. They show mutual respect.

Drifter Abel Brown, played by Jeb Brown, could be friend or foe; probably the latter because why would anyone purposely come to Groverdell? He is the subject of scuttlebutt, so the audience is eager to meet him. Both Browns are charming, sweet talkers, and burly enough to put a roof on a schoolteacher's old house. Eleanor and Abel's relationship of "will they or won't they is" not obvious. 

In a sense, "Fireflies" is a chick play. It's a guess that Director Daniela Varon chooses that definition to be simple and a maybe demeaning. More so, the play can best be appreciated by those who are older and maybe wider.

REVIEW: Berkshire Theatre “The American Five”

REVIEW: “The American Five”

Berkshire Theatre Group, Stockbridge, MA

www.BerkshireTheatreGroup.org

June 18 – July 11, 2026

by Simon Brighenti

“For nothing was simply one thing.” So wrote Virginia Woolf in “To the Lighthouse.”  That statement, which gets more profound as one contemplates it, applies to the brilliant regional premiere of “The American Five,” running at the Unicorn Theatre, one of the venues of Stockbridge Theatre. The production, which won the Helen Hayes Award for Best New Play, chronicles the lead up to the iconic speech given by Reverand Dr. Martin Luther King, Jr. on the steps of the Lincoln Memorial on August 28, 1963.

The story by writer and environmental social scientist Chess Jakobs, in his playwriting debut, starts out in a nondescript DC hotel room just hours before Dr. King’s monumental oration. Four of the titular American Five are introduced as they trade ideas and theories on what Dr. King should say and how he should say it. The audience meets Dr. King (Rashun Carter), his wife and chief sounding board, Coretta Scott King (Sydney Elisabeth), a force of her own with which to be reckoned; Dr. King’s eminence grise Bayard Rustin (Destan Owens); and erstwhile LA lawyer-to the stars Clarence Jones (Brett Diggs). The key fifth main character – wealthy Jewish (yes, the fact he is Jewish is important to both his character and his relationship with the others) lawyer Stanley Levison (Harry Smith) is introduced shortly and soon joins the others in their march toward destiny.

This initial exposition foreshadows the theme within the production that nothing is indeed simply one thing. The audience finds that the four words most remembered – “I have a dream” – are the distillation of years of struggle and thought and, once the idea of a march on Washington is nurtured and developed, a scant few weeks of writing, rewriting, and deliberation.

The story, as skillfully directed Gerry McIntyre, weaves back and forth among key points in the life of Dr. King, exploring an early meeting between the idealistic not-yet-Dr. King and Coretta Scott who is initially hesitant to let herself fall under the rhetorical spell of her suitor, depicting his incarceration in the Birmingham Jail, and capturing the intense dynamic among the five characters as they work with and against each other toward a common goal. 

Each of the obviously talented actors is given an opportunity to explain and explore why they believe what their characters and Dr. King are doing is a worthy cause and calling and how they can relate to him and to the African American experience in part, as well.

The set, few era-appropriate props and overall mise-en-scene, including actual newsreel ambient footage, combine to emphasize well the key points of each year, location, and scene depicted. Scenic designer Baron E. Pugh leads a team of artists that allows the audience to immerse fully in the lives and times portrayed.

Virtually every worthy artistic piece or production has a resonance and relevance to the times in which it is produced, even if – and especially if in this case – the segment of history portrayed occurred decades prior. "The American Five" vibrantly and brilliantly portrays a moment in time that still resonates today.

REVIEW: Chester Theatre Company, "R. Buckminster Fuller: The History (and Mystery) of the Universe"

Chester Town Hall Theatre, Chester, MA 
https://chestertheatre.org/  
June 19-28, 2026   
by Nechama Katan

 

Chester Theatre Company opens its season with a fun and exhilarating journey through the mind of one of the 20th century's great visionaries. "R. Buckminster Fuller: The History (and Mystery) of the Universe," written by D.W. Jacobs from the life, work, and writings of R. Buckminster Fuller and directed by Barbara Karger, follows the futurist, environmentalist, architect, inventor, and geodesic dome designer from his childhood in MA, to a meeting with Albert Einstein, through the extraordinary inventions that shaped his belief that doing more with less can save both humanity and the planet. 

Photo Credit: Andrew Grecco

 

More than a biography, the evening is an invitation to step out of our crazy lives for a couple of hours and see the world in a genuinely different way. The one-man-show format proves enormously enjoyable, though "one man" undersells it. Michael Preston shares the stage with a remarkable set, lighting, music, and video that he engages as though they were fellow actors, trading energy with each cue and image. 

 

Preston is amazing throughout, inhabiting the material and the character so fully that Fuller comes alive in movement, dance, and a sheer love of life that radiates from the stage. He draws the audience in at the play's start with Fuller's own story of being unable to see until he got glasses at the age of four, of learning who people were by smelling them, and of the wonder that washed over him when he finally put on those glasses and could see the world for the first time. It is a human moment that sets the tone for everything that follows.The lines themselves are a delight, from sharp jabs at Boston life to Preston's lucid account of Ephemeralization, the accelerating ability of technological advancement to do "more and more with less and less until eventually you can do everything with nothing," an idea that clearly touches our lives today. 

 

For those who think the pace of change feels crazy now, the production offers a steadying reminder of the people who lived through the beginning of the last century, the staggering changes they witnessed, and how much there still is to learn. One example is Fuller's tireless drive to be creative, to ask questions, and to think.

 

Audience members are sure to walk into this play with a settled view of how the world works and the pace at which it changes; yet walk out as many scratch their heads, happily rethinking much of what was known isn't necessarily the case. 

Scenic design by Tim Latta and Barbara Karger's direction make the show come alive, and sound design by Raphael Hendrick-Baker adds an additional dimension that deepens the whole experience.

Chester Theatre Company's season is just kicking off, with two shows running now and many more planned. The venue sits at the end of a beautiful drive through western MA, and the drive itself is worth the trip.

Review: WAM Theatre, "Rooted"

Shakespeare & Company, Lenox, MA 
www.wamtheatre.com
through May 16, 2026
by Jarice Hanson 
  
When walking into the Elayne P. Bernstein Theatre at Shakespeare & Company, audiences may wonder whether a show can live up to a scenic design so intricate and so creatively rendered. 
 
There are plenty of clues to what this enigmatically named play, Rooted, could possibly mean. Branches hang from the theatre ceiling and living plants onstage all establish that this production is set in a well-loved treehouse, somewhere in a rural area. When meeting Emery, talking into her laptop and demonstrating her experiments by dropping plants, the mystery of the play’s name begins to unfold. 
  
Rooted, by the highly original playwright, Deborah Zoe Laufer, works by creating metaphors that don’t provide answers—but they do raise possibilities.  Emery (Marcy McGuigan) looks like a seasoned gardener. It takes a few minutes to realize she’s talking to her fans on her YouTube channel. She considers herself a scientist, but her fans consider her a cult-like personality who holds the secret to life itself. 
 

Photo Credit: WAM Theatre

Her sister, a waitress at the only restaurant in town, Hazel (Jennie M. Jadow) climbs up through a trap door to deliver food, and the necessities Emery needs while squirreled away in her tree house with her plants. Soon it becomes apparent that Emery’s followers have come to the treehouse to hear her words of wisdom, but Hazel thinks it would be much better if Emery abandoned her “science” and came back to the real world below. 
 
When they are joined by the third character, Luanne (Mei MacQuarrie), a new set of circumstances begin to unfold and the audience is left to figure out how these women connect, and how their different beliefs influence how they make sense of the world inside the treehouse and outside in the rest of the world.  
  
There is much to praise in this highly original production. The three actresses are outstanding and have done the playwright proud by demonstrating these complex characters.
 
Director Maggie Mancinelli-Cahill has a wonderful eye for bringing out the comedy in the script and she keeps the pacing lively and visually interesting (a major accomplishment since the playing space inside the treehouse is limited). Nora Marlow Smith’s scenic design is outstanding and should be nominated for a Berkie Award this year, and David Lane’s use of puppetry adds to the wonders raised by the details of the set. Madeleine Hebert’s lighting design is subtle and effective, and Jane Shaw’s sound design adds whimsy and a contemporary feeling that helps create the total environment. Stella Schwartz’s costumes are perfect for an audience looking for clues to a character’s backstory.   
  
This is the type of play in which the audience participates (silently) to find the meaning. There are moments of wonder about the kind of celebrity a YouTube Content Creator cultivates, what brings people together at certain times in social life, and the role of nature as having healing power. Many more contemporary issues are hinted at, and the audience is free to interpret at their will.   
  
As WAM’s first mainstage production of the season, Rooted anchors a season of powerful plays by-and-with powerful women, that have meaning for all.  
  
 

REVIEW: Jacob’s Pillow,

Preview: Jacob's Pillow 2026

www.jacobspillow.org
May 3, 2026
By Suzanne Wells


Jacob’s Pillow has wrapped up its vibrant second annual spring session, which featured the rhythms of Soles of Duende and romance of ROWDIES IN LOVE. With the echoes of these performances still resonating, the organization is now eagerly preparing for its much-anticipated Summer Festival.

Nestled in the scenic foothills of the Berkshires, Jacob’s Pillow blends rustic charm and contemporary innovation. Its campus features a harmonious mix of historic barns and state-of-the-art buildings, all designed to foster the creation and appreciation of bold, diverse, and captivating choreography.
 
Among its most unique spaces are the indigenous garden and fire pit honoring the Mohawk people, an outdoor stage boasting breathtaking views, and an archive dedicated to preserving and sharing the vibrant legacy of dance.

In addition to its diverse performance spaces, Jacob’s Pillow offers enriching educational opportunities. Many are unaware that in addition to dance performances, the Pillow presents a wide range of lectures, workshops, and classes tailored for all ages and skill levels, inviting participants to deepen their understanding of dance. Public tours and engaging exhibits further encourage visitors to connect with the art form and each other.

Photo Credit: Theik Smith

The archive at Blake’s Barn stands as a vibrant center for exploration, currently showcasing “Connecting Through Time: 50 Seasons with Norton Owen”—a tribute to dance heritage and curatorial excellence.
 
Looking ahead, upcoming exhibits are poised to inspire and inform, including “The Legacy of Martha Graham,” which highlights the profound influence of this modern dance pioneer, emphasizing her political and social activism. Also featured is “Parable or Portals: The Acorn Archives,” an immersive, multisensory journey into Black thought and Afrofuturism. Rounding out the future offerings is “Illuminating the American Experience: Groundbreaking U.S. Women in Dance,” which honors the pioneering women whose contributions have transformed the American dance landscape.

Opening on June 20th and running through August 30th, the summer lineup features Shamel Pitts with “Touch of RED,” a powerful exploration of identity and resilience; Akram Khan Company’s “Thikra: Night of Remembering,” an evocative tribute to ancestral traditions through tribal dance; Circa Contemporary Circuit’s “Wolf,” an acrobatic spectacle; and Ilya Vidrin’s “Proxies,” which links technology and movement. These performances represent a small glimpse of the artistry on the Pillow's calendar.

Whether you are a longtime dance lover or a newcomer to the festival, Jacob’s Pillow invites you to experience its welcoming spaces, inspiring performances, and vibrant sense of community this season.

Review: Shakespeare & Company, "Mother Play: A Play in Five Evictions"

Shakespeare & Company, Lenox, MA

www.shakespeare.org

through October 5, 2025

by Jarice Hanson

Pulitzer Prize-winning playwright, Paula Vogel, is a national treasure. “Mother Play: A Play in Five Evictions,” her most recent work, is having its New England Premiere at Shakespeare & Company. The semi-autobiographical work is layered with meaning and goes beyond most memory plays to effectively chronicle 40-years of American history and culture as experienced by an American family. 

 

Tamara Hickey plays Phyllis, a single mother. She smokes and drinks to cope with her depression. She has a low-wage job and can only afford for rent of a caretaker’s basement quarters in an apartment building. Carl, played by Eddie Shields, is 16 and bright. He looks forward to a full scholarship in college, while daughter Martha, played by Zoya Martin, is instructed to study typing in high school so she’ll “always be able to support herself.” 

 

This is a family experiencing the dissolution of the nuclear family. Within the opening minutes of the 95-minute play, the audience is left to wonder if the children will ever succeed, or if they will repeat their mother’s “mistakes".

 

Photo by Nile Scott Studios

The subtitle of the play, “A Play in Five Evictions” is an important hint that signals the trio's development as each, in their own way, strives to become self-realized. Like every family, there are fun times, but there are painful times. The brother and sister form a tight bond, in part to support mother, but also to survive her. 

 

A challenge for the three actors in the play is for each of them to age four decades from the play’s beginning in 1962 to shortly after the beginning of the 21st century.

 

Beautifully communicated physically and emotionally by the actors with the aid of clever costumes by Arthur Wilson, delightful choreography by Susan Dibble, and a timeless set by Omid Akbari, the family shows that they may not be able to address honesty collectively, but that honesty, loneliness, and self-determination are values that one must negotiate to become a “whole person.” 

 

Director Ariel Bock keeps the story driving forward until the inevitable conclusion that is both heartbreaking and very real. 

 

This play is multi-layered with something to touch the hearts of every audience member. While there is undeniable sadness and survival portrayed, the trio become representative of changing times, social and economic unrest, and most of all, changing social norms. The audience can't help but feel sad, seeing this mother and her children try to support each other while destined to disappoint, but there is hope in realizing that even dysfunctional families can come to terms with fate. 

 

The ending of the show can be hard for some. While giving the talented actors a well deserved standing ovation, sobs could be heard in the audience. This is a tough emotional show, but well worth the effort to understand, and forgive family transgressions. 

REVIEW: Boston Pops Orchestra, "Keith Lockhart 30th Anniversary Celebration"

Tanglewood, Lenox, MA 

www.bso.org/tanglewood

August 22, 2025 

by Michael J. Moran 

Keith Lockhart, photo by Hilary Scott

Perfect Berkshire weather graced the opening evening of Tanglewood 2025’s closing weekend. Friday’s “Prelude” program featured internationally acclaimed pianist and Smith College music professor Jiayan Sun and four Boston Symphony Orchestra members in forceful accounts of Carl Reinecke’s romantic 1905 “Trio for clarinet, horn, and piano” and Ludwig van Beethoven’s sprightly 1797 “Quintet in E-flat for piano and winds.”  

The evening’s main event was a celebration of Keith Lockhart’s 30th anniversary as conductor of the Boston Pops. The program’s variety show for at showcased the broad repertoire of a typical Pops concert in guest appearances by artists from many musical genres. The Pops opened with lively takes on the overture to Leonard Bernstein’s “Candide” and “Everything’s Coming Up Roses,” from Styne and Sondheim’s “Gypsy.” Next, jazz guitarist John Pizzarelli played and sang a soulful “The Nearness of You,” by Carmichael and Washington, and a virtuosic “I Got Rhythm,” by the Gershwins. 

Other performers included genre-bending string trio Time for Three, with a showy excerpt from a concerto by jazz composer Chris Brubeck. Broadway star Mandy Gonzalez sang a tender “Home,” from “The Wiz,” by Smalls. The ageless Bernadette Peters (who promised to return for Lockhart’s 60thanniversary) sang a rousing “Before the Parade Passes By,” from Jerry Herman’s “Hello, Dolly!” Broadway leading man Brian Stokes Mitchell sang a fervent “Impossible Dream,” from “Man of La Mancha,” by Leigh and Darion. Elegant Pops arrangements and lush support by the Tanglewood Festival Chorus, prepared by their conductor, James Burton, enhanced many numbers. 

Two of the video sequences shown were particularly effective: excerpts from the documentary film “From Sea to Shining Sea,” about Massachusetts author Katharine Lee Bates, who wrote “America the Beautiful,” stirringly narrated by Boston actress Paula Plum; and a witty adaptation by David Chase of “I’m (He’s) Still Here,” from Sondheim’s “Follies,” with Lockhart-specific lyrics, and cameos by 30+ friends of the Maestro, from Leslie Odom, Jr. to Boston Mayor Michelle Wu, toasting Lockhart's longevity. Seamless direction by Broadway veteran Jason Danieley moved everyone smoothly around the stage. 

Reflecting on the Tanglewood 2025 season, this frequent visitor (4 Shed concerts, 11 in Ozawa Hall) was impressed with the high levels of attendance by patrons of all ages, despite heat waves and rainy days, and with the continuing balance of traditions (like “Talks and Walks” by artists and “Tanglewood on Parade”) with new offerings (Linde Hall lectures, etc.). 

REVIEW: Berkshire Opera Festival, “La Traviata”

Berkshire Opera Festival, Great Barrington, MA

www.berkshireoperafestival.org

August 26 & 29, 2025

by Michael J. Moran

To celebrate its tenth season, the Berkshire Opera Festival presents its third Verdi opera (after “Rigoletto” in 2018 and “Falstaff” in 2021): a winning production of what BOF Artistic Director and Co-Founder Brian Garman calls in a program note the composer’s “most intimate opera:” “La Traviata.” After its 1853 premiere, Verdi never returned to this small-scale style, focusing instead on grand opera.

Photo by Ken Howard

In the libretto by Francesco Maria Piave, based on the 1852 play The Lady of the Camellias, by Alexandre Dumas, Violetta, a Parisian escort, falls in love with Alfredo, a young nobleman. When his father, Giorgio, asks Violetta to give up Alfredo to protect his family’s reputation, she agrees. After Alfredo misunderstands her sacrifice and Giorgio realizes the depth of Violetta’s love for Alfredo, they reconcile with her just before she dies of tuberculosis.  

Soprano Vanessa Becerra is a sensational Violetta, singing and acting with passion and beauty of tone, portraying Violetta’s joy in finding love and her despair in losing it with total commitment. Tenor Joshua Blue is a volatile Alfredo, moving from brash defiance to tender affection with equal intensity. Baritone Weston Hurt plays Giorgio with dignity and command. Mezzo-soprano Erin Reppenhagen as Violetta’s friend Flora, baritone Yazid Gray as Baron Douphol, and mezzo-soprano Kalia Kellogg as Violetta’s maid Annina all make strong impressions in supporting roles.

Vocal highlights include: Blue’s hearty Act I toast to Becerra, “Let’s Drink from the Joyful Cup;” their ardent Act I love duet “One Day, Happy;” Becerra’s exuberant Act I aria “Always Free;” Hurt’s poignant Act II aria “The Sea and Soil of Provence;” and Becerra’s anguished Act III aria, “Farewell, Happy Dreams of the Past,” as she fears Alfredo won’t return before she dies.

Imaginative direction by BOF Co-Founder Jonathon Loy brings out the best in a uniformly excellent cast. Resourceful choreography by Sara Erde features a stunning flamenco solo by Glenda Sol Koeraus. Flexible scenic design by Hannah Postlethwaite, elegant costume design by Brooke Stanton, and subtle lighting design by Alex Jainchill and Alejandro Fajardo add vital support. Vibrant performances under Garman by the BOF orchestra and chorus (prepared by Chorus Master Luca Antonucci) bring Verdi’s powerful score to evocative life.

This marvelous “Traviata” shouldn’t be missed by lovers of Italian opera.

REVIEW: Tanglewood Music Center Orchestra, "3 Season End Concerts"

Tanglewood, Lenox, MA

www.bso.org/tanglewood

August 4, 11, & 18, 2025

by Michael J. Moran

The last three TMCO concerts gave the two 2025 TMC conducting fellows two more chances to share the podium with Boston Symphony Orchestra guest conductors and a unique opportunity to co-conduct a one-act opera.

Leonard Weiss, photo by Hilary Scott

That was a magical semi-staged TMC production of Maurice Ravel’s 1925 “The Child and the Spells," of which Leonard Weiss led the first half and Yiran Zhao, the second. In a pre-concert talk, renowned soprano Dawn Upshaw, the lead TMC faculty organizer of the event, called the opera “a series of life lessons.” A seven-year-old boy rebels against doing his homework by harming objects and animals around him, who realize, when he bandages a baby squirrel he’s wounded, that, in Colette’s libretto, “he is a good child after all.” TMC vocal fellows and instrumentalists responded with equal sensitivity and charm to Weiss’ suave, elegant leadership and to Zhao’s more overtly emotional conducting style.

Ravel, photo by Hilary Scott

A week later, Zhao opened the program with a soulful reading of BSO composer Carlos Simon’s BSO commission, “Four Black American Dances,” sharply differentiating the “Ring Shout,” “Waltz,” “Tap!,” and “Holy Dance.” Weiss followed with a lively account of Sergei Prokofiev’s “Classical” symphony, featuring a spacious “Allegro,” a warm “Larghetto,” a stately “Gavotte,” and a brisk “Finale.” Colombian-born conductor Andres Orozco-Estrada closed the concert with a colorful take on Ravel’s orchestration of Modest Mussorgsky’s piano suite “Pictures at an Exhibition.” Standout numbers included: a haunting “Old Castle;” a playful “Ballet of Chicks in Their Shells; and a majestic “Great Gate at Kiev.”

Weiss opened the August 18 concert with a carefully shaped “Chairman Dances: Foxtrot for Orchestra,” an “out-take” from John Adams’ 1987 opera “Nixon in China.” Zhao next led an exuberant rendition of Bartok’s Hungarian-flavored 1923 “Dance Suite.” Finnish conductor Dima Slobodeniouk closed the program with an electrifying performance of Tchaikovsky’s dramatic fourth symphony. The orchestra played an anguished “Andante-Moderato,” a melancholy “Andantino,” a sprightly “Scherzo,” and a whirlwind “Finale” with passion and poise.  

At the end of every 2025 TMCO concert with three conductors, the guest conductor has brought out the TMC conducting fellows for a group bow (and hug), a respectful gesture that literally embraces them as peers in the making.