REVIEW: “Little Bear Ridge Road”

Photo: Curtis Brown Photography

TheaterWorks, Hartford, CT

Through November 8, 2026 

https://twhartford.org/

By Jarice Hanson 

  

In director Rob Ruggiero’s program notes, he says: “Sometimes, the people who drive us crazy may also be the ones we need the most.” That provocative comment is at the heart of this moving, emotional character study of the reclusive Aunt Sarah, played brilliantly by Denise Cormier, and her troubled nephew Ethan, boldly portrayed by Mishka Yarovoy. 

  

Set in a small town in northern Idaho during the Covid-19 pandemic, Ethan comes to town to settle the estate of his late father, an abusive parent responsible for many of Ethan’s troubles, and reconnects with his Aunt who has her own challenges. Can these two overcome the painful obstacles in their lives, or will they aggravate each other so much that they become estranged?  

  

The script, penned by Samuel D. Hunter, is painfully honest, but the play is so full of heart it involves the audience by forcing them to remember the pain of isolation during a time of fear and social distancing. The dialog unfolds like a beautiful dance around the issues that make us human. 

The play is an “actor’s play” in that it gives the actors a chance to use their physicality to overcome the words they cannot speak. This technique allows each character to develop an inner drive that takes the audience on a journey of feeling and compassion. 

  

Two additional characters help this “family drama” by offering solace, joy,and wisdom. Travis Anderson as James, a lonely gay man hoping for his own connection, and Janelle Anne Robinson playing the dual roles of Paulette and Vickie brings humor and comfort at the moments when they are most needed.  

  

The set, designed by Michael Schweikardt and lighting by Matthew Richards, do more than create a mood. They work together to suggest the majesty of the universe and the solitary beauty of a place where the topography dictates how “close” or “far” the characters are from others. The beautiful backdrop plays against a simple couch where most of the action takes place, giving a televisual feel to the 95-minute drama. In fact, it’s easy to see why the show was originally written for Laurie Metcalf, known to many as Roseanne Barr’s wacky sister, Jackie, to play Aunt Sarah at the Steppenwolf Theater Company in Chicago, her “home” theatre company. She also reprised the role when the show opened on Broadway in 2025. Cormier has moments when she looks and sounds a little like Metcalf, but her performance is original and highly effective.    

  

Original music was written by Billy Bivona, who not only wrote original music for the memorable TheaterWorks production of “Constellations,” has toured the country as a guitarist for the hauntingly powerful “Come From Away.”  

  

This is a show that grabs the audience and takes them on a journey of self-reflection and empathy. It’s about as perfect a production as one can be.

Review: TheatreWorks, “The Cannibals of McGower County”

TheatreWorks, Hartford, CT

Photo:  Curtis Brown Photography

https://twhartford.org/

through August 30, 2026

By Jarice Hanson

 

TheaterWorks Hartford has mounted a play that is disturbing, violent, and very current. Four outstanding actors tell the story that unfolds before the audience’s eyes with honesty and full commitment. 

 

Playwright Drew Larimore’s note in the playbill explains that this show is part one of a trilogy he is writing that he classifies as “Southern Gothic.” The characters each have backstories of abuse, lies, poverty and disappointment, and Larimore workshopped the play with the four actors over a two-year process, undoubtedly learning each actor’s strengths and mining their ability to behave like disparate members of the community that has seen better days in McGower County in West Texas.

 

Director Jen Wineman finds humor at the right moments but never allows the story to get silly or lose its momentum. Instead, the story emerges like an onion, shedding its skin and drawing one deeper into the human condition. There are twists and turns aplenty, and many of them unexpected. If this show had men at the center of the action it would be just another treatment of men behaving badly, but because two of the leads in this ensemble piece are women of a certain age, the behaviors are unexpected and shockingly powerful.

 

Anchoring the play are two gifted actresses, Annalee Jefferies as “Lindalyn,” a curmudgeonly woman who seems bitter and unfulfilled. She walks with a cane and a limp—signs of an injury that never healed correctly. Constance Shulman as “Viola” seems simple-minded but loyal to Lindalyn, who she’s known most of her life.  The two women are wonderful together, especially as they enter the broken-down diner wearing what looks like miners' hats with headlamps, planning to steal whatever they can sell. 

Costumes by Alejo Vietti tell the story of their personalities, and Tim Mackabee’s set design gives them plenty of props on the realistic set that looks like a deserted bar in a place where no one wants to live.

 

The young lovers are Gus Birney as “Sarah Nell,” a sweet, beautiful girl who hasn’t had much life experience, and Edward Hoke as Blaze" who comes from privilege and has purchased the old bar.

What do these two have in common besides a load of chemistry and passion? That’s where the story that brings these four people together starts to get juicy.

 

There are more sudden shifts in tone than could be described in this summary, but that would spoil the moment-by-moment pleasure of the audiences’ discovery of these characters and the lives of the three women who try to guard a lifetime of secrets. 

 

“Cannibals of McGower County” is not a perfect play (yet), but this is an excellent production and shows the promise of the character-driven study that emerges as the story spirals deeper and deeper. This creative cast and production team work seamlessly together to reach into the audience’s collective soul and remind us that there are places in this country that have suffered from ignorance and poverty. 

McGower County is a place where even people who mean well, are sometimes damaged and dangerous. 

 

Constance Shulman and Annalee Jefferies in "Cannibals of McGower County"

 

Review: TheatreWorks, “Circus Fire”

TheatreWorks, Hartford, CT
https://twhartford.org/
through May 31, 2026

By Shera Cohen

On a hotter-than-usual July 4th weekend approximately 80-years ago the circus came to town, specifically Hartford, CT. Families, especially children, cheer and laugh at the hire-wire acts, horses, clowns, et al.

Theater Works takes on the daunting task of mounting "Circus Fire" for the first large-scale professional production about one of the most horrific dates in CT history and likely circus history. Not coincidentally, the drama is set at a location near where the actual fire took place on July 6, 1944. 

 The count of those who perished is still a bit uncertain at 167 with more than half children.

It takes an amazing, intelligent, and sensitive triumvirate, along with dozens of actors and crew under their helm, to establish the facts with an oh-so-human touch to the 12 actors, in at least the roles of four characters each.

 

The threesome includes Rob Ruggiero, Artistic Director of the theatre for some 30 years, who often takes on risks and new works. He is the man at the core. Oftentimes, TW does not receive attention and accolades that it deserves alongside some of the other, larger theatre venues in and around Hartford. A suggestion is to pay attention to TW, especially “Circus Fire”.

 

The second of the three talents is Jacques LaMarre, playwright. Well-known in CT, primarily as a writer of comedic plays, his “Circus Fire” exposes his chops at drama at its most raw and extreme, all the time true to this account in history. He develops a somewhat linear flow – individual families eager to attend the circus, then tragedy and its aftermath, next inquiry. There is not a solitary word of dialogue that is unnecessary. The last section, the investigation, intersperses though the latter half of the play. The audience participates in the entire event including the prosecution. LaMarre presents this story of shock, helplessness, and comradery with depth and compassion. 

 

Director Jared Mezzocchi moves his players into a circus-like tent setting in the middle of the theatre with audience seats on raised levels along the perimeter. Directing in-the-round is not an easy task with a large cast. Adding a very limited number of props, centerstage also turns into settings for homes, offices, and back to the circus.

 

What makes Mezzocchi’s skills extraordinary are his multimedia show primarily appearing in black and white on the tent’s ceiling and as a circle on the inside of the entire tent/theatre. From the play’s start (names of those who died are scattered above audience's seats) to its conclusion (moving images of the actual fire), these pictures (both still and moving) indicate circus atmosphere. With projection, the play's circular center stage becomes that of the circus. Mezzocchi's work is beyond clever; it is extraordinary. "Circus Fire" is extraordinary. 

 

NOTE: This play takes place at the First Company Governor’s Foot Guard, 159 High Street, downtown Hartford. The venue proves ideal and historically fitting. Check with the box office if seats remain; it's that wonderful a play.

REVIEW: TheaterWorks Hartford, “Primary Trust”

TheaterWorks Hartford, Hartford CT

www.twhartford.org

through May 11, 2025

by Jarice Hanson

In Eboni Booth’s Pulitzer Prize winning play “Primary Trust,” audiences are treated to an
extraordinary story of a young man who, at the age of 38, comes to terms with a childhood trauma and finds himself with an odd group of new friends who show him the path to becoming a man. This story is so well crafted it’s hard to realize it began in the playwright’s classroom, and the universal themes of friendship, loss, and hope are just what is needed at this time in history. Booth’s clever story is one of the most imaginative new works in the past few years. 

The hero of the story is Kenneth, played by the exceptionally talented actor, Justin Weaks. The actor’s physicality, his exceptional diction, and his full commitment to embodying Kenneth is a master class in performance.

He is ably supported by the vivacious Hilary Ward who makes changing characters (sometimes in mid-scene) seem easy. Much of the comedy is carried by Ricardo Chavira who plays a number of characters as diverse as an enthusiastic bank manager to a snooty French waiter, often suggesting the character’s attitude with a slight gesture or facial tic. Samuel Stricklen as Kenneth’s best friend, Bert, is everything you would want in a friend. He is truthful, helpful, and acts as the conscience to Kenneth’s outbursts. But is he real?

Directed briskly by Jennifer Chang and set in Nicholas Pontin’s very ingenious set design, suggestive of “anywhere” in a small town, the play is enhanced by Bryan Ealey’s innovative lighting and Frederick Kennedy’s sound design. The 95-minutes fly by, though every word can be heard clearly throughout the theater.

TheaterWorks is an intimate space, and shows with this much heart and commitment seem to resonate with the audience. It is not surprising at all to hear strangers entering into conversations about how good the show was, and what touched them deeply.  

“Primary Trust” is an extraordinary play that makes audience members think for days after seeing it. A recommendation to future audiences is to experience this production in order to fully understand not only the power of theater, but the power of humanity.

Review: TheaterWorks Hartford, "King James"

TheaterWorks Hartford, Hartford CT

www.twhartford.org

through March 2, 2025

by Jarice Hanson

 

Photo by Mark Marques

Rajiv Joseph, the playwright who penned King James, now on stage at TheaterWorks Hartford, obviously loves language. Set in Cleveland over a period of 12-years, Joseph shows his knack for colloquial speech, and in this well-crafted piece, his clever wordplay is a joy. He was a Pulitzer Prize for Drama finalist in 2010 for his Bengal Tiger at the Baghdad Zoo, and he won an Obie for Best New American Play for Describe the Night. The initial 2022 production of King James at the Steppenwolf Theater in Chicago garnered rave reviews. Undeniably, Joseph is an American playwright who understands Americana.

 

Director Rob Ruggiero capitalizes on his two actors’ distinct physicality to bring out the comedy of these characters who become friends over a mutual love of the Cleveland Cavaliers, and especially, LaBron James.

 

Gregory Perri (Matt) and George Anthony Richardson (Shawn) may be an unlikely pair for a bromance, but the duo develop a chemistry through the four snapshots of their friendship that smacks of reality and life’s ironies. Told in sections, or “four quarters” a la basketball game, this odd couple portrays a solid reminder that real friendship grows over time, despite life’s ups and downs.

 

The set, stunningly designed by Luke Cantarella, is detailed and realistic, i.e. a mid-level wine bar that magically turns into Matt’s parents’ eclectic neighborhood antique store/upholstery shop. The vibe is quintessentially midwestern, as are the values the men share. Matt aspires to own his own wine bar, and Shawn is destined to become a writer. Over the four quarters, the playwright shows the audience how his characters are drawn into their stories.

 

Perri and Richardson are a wonderful team, and their wordplay is fast and funny. The jokes are well set-up and each land with meaning. When Matt lists names of the women he’s dated, including “Katie and Katie 2,” Shawn doesn’t miss a beat when he lets Matt know that the likely reason his engagement failed was that he kept referring to his intended as “Katie 2.” These are the things that only good friends can say to each other, and those in the audience are happy to see people who care about each other enough to be honest, even when they may not be that honest with themselves. 

 

Point should be taken about the oftentimes delivery of Matt's lines which were directed toward the back wall of the stage. In an intimate setting like TheaterWorks, this seemed to create a little unevenness between the characters, to some degree implying that Matt’s nervous energy was being defused. This may have been intentional, but because both actors had such expressive faces, it would have been lovely to see more of a reaction to each other—though the decision may have been to keep the focus on the words, and that’s a fine choice too.

REVIEW: TheaterWorks Hartford, “Sanctuary City”

TheaterWorks Hartford, Hartford CT

www.twhartford.org

through April 25, 2024

by Jarice Hanson

 

“Sanctuary City” at TheaterWorks Hartford is an ambitious contemporary play by Martyna Majok, the author of the 2018 Pulitzer Prize for drama, “Cost of Living.” The 90-minute play is written in three parts and structured (somewhat) like a three-act play.

 

Photo Credit: TheaterWorks Hartford

The characters are “B” (for Boy) played by Grant Kennedy Lewis, and “G” (for Girl), played by Sara Gutierrez. It is no accident that these characters do not have an identity in the sense of having a name. They represent the many boys and girls who find themselves undocumented in America and burdened by the limitations made on them by the decisions of their parents. A third character is introduced in the third part of the play. It is “Henry,” played by Misha Yarovoy, who upends the situation and forces B and G to rethink their plans and choices.

 

All three of these characters are courageous, and the actors who inhabit them are likable. Each is smart, resourceful, and kind. The audience can’t help but hope for a happy ending. Still, there is an overriding feeling of gloom that permeates the situation, so that when the inevitable conclusion arrives, we feel a level of empathy that teaches us a lesson about people whom we may not understand. This is good playwriting, and excellent acting.

 

The play is set in the Ironbound section of Newark, shortly after 9/11. The place is a bleak, poverty ridden area known as a tough place to live. Immigration has just become a major topic for the country, and the fear immigrants experienced then, as now, is a constant undercurrent of the play’s meaning and message. When we meet B and G, they are children, facing an uncertain future, but as they grow and get to know each other, they hatch a plan for their long-term survival. Each lives with their mother, and each of those mothers are representative of so many single mothers who want the best for their children. When the children grow to be young adults living in America, we see a very different viewpoint of survival and desire.

 

This play was developed in partnership with Long Wharf Theatre, New Haven, and is listed as having two co-directors, Jacob G. Padrón, and Pedro Bermúdez. The publicity for the show states it as an “immersive environment,” largely due to Bermúdez’ stunning video projections and video design, enhanced by Emmie Finckel’s imaginatively spare set. The multi-media aspect of the show is visually arresting and flawlessly executed, but despite the augmented backgrounds and suggestion of three-dimensionality as characters are displayed against a series of screens that suggest a maze, the play itself is almost unabashedly traditional in structure and impact. The special effects are nice, but the message of this play is what stays with the audience and gives this play a social currency unlike others.

 

REVIEW: TheaterWorks Hartford, “The Garbologists”

TheaterWorks Hartford, Hartford CT

www.twhartford.org

through February 25, 2024

by Jarice Hanson

 

Photo by Mike Marques

With a title like “The Garbologists” you have to be ready for just about anything. TheaterWorks Hartford’s newest show has a promising premise.  Two sanitation workers, an old hand, and a newbie, are assigned to work together. The one with experience, Danny, played by Jeff Brooks, is a White career sanitation worker with no pretense about what he does, and a wealth of knowledge about how to do the job right. For him, being a sanitation worker is an art form, and he subtly instructs us about the dangers of doing this type of essential work.  

 

Marlowe, played by Bebe Nicole Simpson, is Black and has an Ivy League degree. There’s something in her past that she doesn’t want to talk about, and why she has become a sanitation worker is part of the unfolding of this story.

 

The comedy begins with both starting their day in the sanitation truck.  Danny cracks Dad jokes, and Marlowe scrolls on her phone while sipping coffee. They are clearly mismatched, so where might this plot go? Will it be a love story? A buddy adventure? A race/class theme? 

 

There’s a lot to like in this 90-minute production, including Director Rob Ruggiero’s clever use of the stage crew dressed as sanitation workers themselves. The amazing set design by Marcelo Martínez Garcia, with authentic costumes by Joseph Shrope and lighting design by John Lasiter present a unified vision of the garbage-laden streets of New York City.The pacing is brisk and there is something very appealing about a story focusing on people who are often overlooked.

 

Lindsay Joelle’s script is effective in giving the characters backstories and focusing on the idea of a civilization’s record being comprised of what we throw away, but the writing is somewhat uneven and at times the dialog seems a bit manipulative. What seems to be lacking between the characters is chemistry that raises the possibility of an outcome that propels the action toward the conclusion. At the same time, what emerges is a heart-felt twist that is realistic, and at the same time contrived.

 

Theatre depends on the characters changing as the plot develops, and Brooks infuses his performance with an energy that is consistent and totally believable. Simpson’s authenticity is charming, and she is most effective when warning Danny to curb his exuberance in a heated family confrontation, but the tension between the two seems uneven. At the same time, the show its audience sees on opening night is not the same show that emerges throughout the show’s run, and as these two talented performers become more connected over time, “The Garbologists” may become the type of play that has a long life on many stages.  

REVIEW: TheaterWorks Hartford, "Christmas on the Rocks"

TheaterWorks Hartford, Hartford CT

www.twhartford.org

through December 23, 2023

by Jarice Hanson

 

Jen Cody as "Karen"

From the moment you enter the theater and see the set flanked by two video screens running scenes from favorite childhood classic television shows and hear pre-show Christmas carols at bar-level volume, you know this show will be something a little different. The references to childhood icons and contemporary music trigger memories of Christmases past—the good—the bad—and the weird. For 95-minutes the audience becomes a family of strangers who are united by the collective popular culture that surrounds the Holiday Season.

 

“Christmas on the Rocks” was originally conceived of and directed by Rob Ruggiero in 2013, and Ruggiero has continued to direct all 11 iterations of the show since then. The concept is simple, but beautifully set up: the set is a seedy bar on Christmas Eve, with various characters from old TV programs popping in for a scene with the bartender. This year, the bartender, “Larry,” is played by the wonderful Richard Kline, known to many in the audience from the old television show, “Three’s Company” where he also played a character named “Larry." And the audience loves him.

 

Two actors, Harry Bouvy and Jen Cody have returned this year to alternate in the 8 scenes written by 7 different playwrights: John Cariani, Judy Gold, Jenn Harris, Jeffrey Hatcher, Jacques Lamarre, Edwin Sanchez, and Matthew Wilkas. One of this year’s new offerings, “A Smidge of Midge” by Edwin Sanchez and Jacques Lamarre, capitalizes on this year’s big hit, “Barbie,” but the show wraps up with an old favorite, “Merry Christmas, Blockhead” by Lamarre that is funny, poignant, and just the right note on which to tie the bow on this Holiday gift to the audience. 

 

It's clear that this show has become a favorite for many families (those with older children because of the adult situations and language) and groups of friends, because some people in the audience couldn’t help but laugh out loud or mutter something like “I love this one” when they saw Bouvy or Cody enter as characters they loved. Familiarity, whether it is with the actors, the characters, or the situations, fits the intimate space of TheaterWorks Hartford and makes this a Holiday celebration even the most holiday-weary audience member can enjoy. 

 

Kline, Cody, and Bouvy obviously love working together and their chemistry on stage is palpable. They seem to be having a wonderful time, and the audience apparently agrees. “Christmas on the Rocks” is a marker of our culture—especially for those of us who grew up with television as a part of our holiday, and a celebration of our collective past. It’s nice to see characters we recognize, even though they’ve grown up and have grown-up problems.  And yes, as the program professes, it is a little bit naughty.

REVIEW: TheaterWorks Hartford, "Clyde’s"

TheaterWorks Hartford, Hartford, CT

www.twhartford.org

through July 30, 2023

by Jarice Hanson  

 

Two time Pulitzer Prize-winning author Lynn Nottage’s most recent Broadway hit, Clyde’s is a masterful comedy that makes you feel good and gives you a lot to think about. The production currently running at TheaterWorks Hartford features an exceptionally adept ensemble cast that transcend what could be stereotypical characters, to form a tight knit family of sympathetic, fully-realized individuals who touch the audiences’ collective heart.

 

The beautifully rendered, realistic set designed by Collette Pollard makes you feel that you’re in the kitchen of a greasy spoon diner, somewhere along a highway where truckers are the primary customers. Country music plays in the background as the characters are introduced;  Clyde (Latonia Phipps) is the authoritarian proprietor who, at one point, is referred to, as “a licensed dominatrix."  Montrellous (Michael Chenevert) is the senior member of the kitchen staff who continually thinks about how new, more delicious sandwiches could be the ticket out of Clyde’s and on to better things. Letitia (Ayanna Bria Bakari) is a single mother of a disabled daughter who needs the job desperately, and Rafael (Samuel Maria Gomez) is the “sous chef” who mans the griddle. Into this eclectic group comes Jason (David T. Patterson), with a face and body full of tattoos proclaiming his penchant for white supremacy. The only thing all of the characters have in common is that every one (including Clyde) is a former prison inmate.

 

Nottage is a national treasure when it comes to capturing American culture by shining a spotlight on our commonalities rather than our differences.  Her work allows us to contextualize situations and empathize with the characters, all of whom have a backstory that would excite a novice social worker. Director Mikael Burke skillfully weaves each character’s life story into a colorful, bold tapestry that is intensely optimistic and self-affirming. The actors almost dance in the busy kitchen choreography that juxtaposes the mundane world of sandwich making with growing pride in themselves and what they do. Each one of them is honest, to a degree, and the honesty they discover about themselves in this 90 minute one act is an optimistic prism that drives the action of the show forward. 

 

Photo by Mike Marques

There have been other, equally compelling stories on stage and television recently that set the action in a professional, high-stakes kitchen. Theresa Rebeck’s comedy Seared, and the hit Hulu Series The Bear both come to mind—but Nottage’s play has an added element of whimsy and fantasy about these characters that the other productions lack.  This is not a spoiler, but it is a delicious detail that provides a hint of the unique take on the workplace comedy that is Clyde’s. As the marquee reminds us, “the devil’s in the details.”

This fast, funny comedy will have you smiling throughout the play, and there are wonderful surprises and events that will have you laughing out loud. This is a not-to-be-missed production.

Preview: TheaterWorks, "Queen of Basel"

TheaterWorks, Hartford, CT

https://twhartford.org

Feb. 3-26 and steaming Feb. 19-26

Cast members of "Queen of Basal"

TheaterWorks Hartford, under the leadership of Producing Artistic Director Rob Ruggiero, is proud to present the New England Premiere of "Queen of Basel" by Hilary Bettis. Directed by Cristina Angeles, Queen of Basel is a bold adaptation of Strindberg’s Miss Julie set within the Latinx community during Miami’s Art Basel. The production features an all Latinx cast and creative team.

It’s Miami’s Art Basel, where real estate heiress Julie reigns over the blowout her mogul father is throwing at his South Beach hotel. But after tangling with him and a tray of drinks, Julie plots her next move in the hotel’s storage kitchen with Christine, a waitress who recently fled violence in Venezuela, and Christine’s fiancé John, an Uber driver with ambitions. This explosive elixir of power, class, and race within the Latinx community examines the timelessness of love and betrayal in this bold new play.

Artistic Director Rob Ruggiero commented, “Queen of Basel" is a play that has excited me since I first read it a couple of years ago. When planning the 2022-2023 season, I felt it was essential to include a story that speaks to our Latin community. 

The cast includes Silvia Dionicio as Christine, Kelvin Grullon as John, and Christine Spang as Julie.

The running time is 80-minutes with no intermission.

Note: The play contains strong language and adult content. It is not recommended for persons under the age of 18. 

REVIEW: TheaterWorks, "Fun Home"

TheaterWorks, Hartford, CT

www.twhartford.org

through November 6, 2022

by Rebecca Phelps

 

Photo by Mike Marques

Who knew that such a fraught story: a gay, closeted 60 something-ish Dad who commits suicide, and his relationship with his gay daughter who is struggling with her own identity, could be so much FUN!? Really! 

Under the experienced direction of Rob Ruggiero, music director Jeff Cox, and the rest of the production crew, TheaterWorks pulls off this unimaginable feat with a beautifully rendered production of "Fun Home". Every element of the show fits together perfectly in the intimate, black box-like venue. One is drawn into the home and the family with a carefully appointed, spare set, with minimal but important elements including a real coffin (in addition to being an English teacher Dad is also a funeral director - hence "Fun [funeral] Home"). 

The production creates the feel of its graphic novel origins (Fun Home: A Family Tragicomic) by using projections of handwriting and sketches from Alison Bechdel's own notebooks. The gorgeous musical score, written by highly acclaimed Jeanine Tesori, is superbly performed by every actor in the show as well as the first-rate pit band which is hidden behind a backdrop. 

A relatively short show it is 95-minutes played straight through without intermission and kept buoyant and engaging by the steady dose of humor laced throughout. The moment youngest Alison, played by Skylar Lynn Matthews, walks on the stage by herself to open the show, with all her confidence and command of the stage, you know you are in for something unusual and wonderful. The show culminates in a glorious trio sung by the three Alisons, sending us off with a message of self-acceptance and the freedom to fly.  

Preview: TheaterWorks, "Secondo"

TheaterWorks, Hartford, CT

www.twhartford.org

July 29, 2022 - August 28, 2022

TheaterWorks is thrilled to present the world premiere of SECONDO the sequel to our beloved hit show, I LOVED, I LOST, I MADE SPAGHETTI by Jacques Lamarre based on stories by Giulia Melucci. Directed by Rob Ruggiero, the production marks the 10th anniversary since Lamarre's first play was produced at TW.  

TheaterWorks welcomes back Antoinette LaVecchia in the role she premiered 10 a decade ago at Playhouse, Cincinnati Playhouse and Asolo Rep. Audiences are familiar with LaVecchia's 30-year career on Broadway, Off Broadway and in film and TV including a recurring role on the 2020 reboot of the popular TV series Mad About You and for Hartford audiences, most recently in Eugene O’Neill’s Ah, Wilderness! at Hartford Stage.

Giulia invited her audience into her kitchen for a homemade Italian dinner and to share the hilarious highs and lows of her dating life. On the evening of her 10th wedding anniversary, we’re back together to discover how married life has provided unexpected delights and challenges. While Giulia rushes to prepare her anniversary dinner, we learn that a boyfriend from the past has resurfaced to complicate her recipe for a happy marriage. SECONDO serves up new stories, delicious food, and a bellyful of laughs. You don’t need to have seen I LOVED, I LOST, I MADE SPAGHETTI to enjoy this tasty world premiere!

Review: Theaterworks, Someone Else’s House (Virtual Performance)

Theaterworks, Hartford CT and Virtually

www.twhartford.org

through October 31, 2021

by R.E. Smith

“Someone Else’s House” replaces the glow of a campfire with that of a computer screen for
this seasonally appropriate, hybrid virtual/live performance ghost story. These types of performances are hard to delineate. Yes, it is a one-man performance, supported by a live production crew, but certain important elements are achieved by video magic, making it very much more like a film.

Jared Mezzocchi, solo actor and the playwright, recounts what he tells us is the true tale of the brief time his family lived in a supposedly haunted house in New Hampshire. Mezzocchi has an amiable presence and laid-back demeanor, which puts the audience immediately at ease, and most importantly, willing to trust his narrative. He’s clearly comfortable with the peculiar foibles of interacting with people who are not really in the room.

The interactive parts are important. As anyone who has attended a Zoom meeting from home knows, the attention can wander when you’re distracted by things like kids and cats. Using a “conjuring packet” containing documents related to the previous occupants, the audience gets to help sketch in some background details. Its disappointing though that the clues really don’t contribute much to the finish of the story. One of the papers is not used directly at all, leaving the participants to wonder when it will be called into action.

Director Margot Bordelon and Mezzocchi work deliberately to keep the proceedings grounded, though sharp-eyed observers will notice little details that hint at something going on beneath the scholarly surface of the script. Though it is his family’s story, Mezzocchi approaches it more as a disinterested observer, making some turns of character later in the show more jarring. They build up such a trust in the exposition that the turning point and denouement seems sudden and rushed.

“Someone Else’s House” is ultimately a shaggy-dog story, a slow build to the trick ending that one knows must come from a scary story, told under the sheets with upturned flashlights. But that’s what makes it both familiar and entertaining, especially in the heart of “spooky season.”

Note: The show can be “attended” in 2 ways, via Zoom viewing from home or by a hosted watch party at the Theaterworks venue. Check website for availability types and dates.

REVIEW: TheaterWorks, (Virtual) "Christmas On The Rocks"

TheaterWorks, Hartford, CT
www.theaterworkshartford.org
through December 31, 2020
by Jarice Hanson
 
As the iconic Jerry Herman song says, “We need a little Christmas this year.” Thanks to TheaterWorks in Hartford, audiences can stream a top notch production of what has become a holiday tradition. For eight years TheaterWorks has produced “Christmas On The Rocks,” a laugh-out-loud comedy for adults that reminds us of the Holiday Specials we knew as children. Six of the seven short segments feature two actors—the featured “character” and the bartender in a run-down tavern on Christmas Eve. In the last segment—well, you just have to see this, because it’s the bow that wraps the whole package! 
 
This year’s "Rocks" was recorded for home streaming with a special creative twist.  The performers include last year’s cast as well as both ‘men’ from previous seasons - so audiences are treated to the talents of Jenn Harris, Randy Harrison, Matthew Wilkas and Harry Bouvy, with Ted Lange joining virtually from the West Coast as the Voice of the Bartender. The stream is recorded from the perspective of the bartender, and the creative set by Michael Schweikardt and costumes by Alejo Vietti pop on your television or computer screen. Director Rob Ruggeiro, who conceived of the original play, leaves his creative fingerprints all over this year’s virtual production and has come up with an adaptation for the screen that works beautifully.
 
While “Christmas On The Rocks” is, in itself, a fresh take on holiday fare (along with a few cocktails to set the mood) the wonderfully creative plays by John Cariani, Jeffrey Hatcher, Jacque Lamarre, Theresa Rebeck and Edwin Sanchez weave a spell of nostalgia, humor, pathos, and memories of holidays past. While in the physical theater audiences might react in part to the interaction of the actors, material, and audience responses—this production leaves room for the laughs and still provides the emotion to warm your heart. It’s as fulfilling as a good jolt of spiked egg nogg and it packs the same wallop. 
 
While many theaters are experimenting with reaching their audiences with virtual programming, TheaterWorks has deftly delved into exploring the medium of video and the distribution form of streaming with exceptional success. They keep the joy and creativity of theater alive and remind us that a good story, well told by people who understand how to communicate with audiences, will keep theater alive until we can share space in an actual venue again. This year, perhaps giving the gift of theater and laughter to your friends and family by way of buying them a ticket to attend “Christmas On The Rocks” can be a way of sharing this Christmas with those you love.

REVIEW: TheaterWorks, The Lifespan of a Fact,

TheaterWorks, Hartford, CT

www.twhartford.org

through March 8, 2019

by Jarice Hanson

Every once in a while what is seen on stage mimics real-life so closely that an audience member feels it necessary to either laugh, or curl up in a fetal position. In the very clever, “The Lifespan of a Fact,” now playing at TheaterWorks, the emphasis is on the laughter, but the honesty of the theme does elicit some cringes. However, in the hands of a talented production team and three excellent actors, this play definitely resonates with today’s preponderance of “alternative facts,” “misinformation,” and “true-ishness.”

The plot is based on a true story involving an author and the young intern assigned to fact-check a 15-page magazine essay. The play uses the names of the real duo who engaged in the controversy which took place over a seven-year period, though the play compresses the time to five days. The writer, John D’Agata, played by Rufus Collins, and the intern, Jim Fingal, played by Nick LaMedica, are the odd couple who contrast in both appearance and belief. Though the script was adapted from the co-authored book by the real D’Agata and Fingal by Jeremy Kareken, David Murrell, and Gordon Farrell, a third actor to play the fictional magazine editor, Emily Penrose, was added to heighten the contrasts among belief, journalism, honesty, and fictional interpretation of the “facts.” In this role, Tasha Lawrence has the difficult but very effective role of representing both the harried editor and the audience, all of whom are necessary to interpret the events as they fold into each other and the stakes are raised.

The pace of the 75-minute story continually builds to a suspenseful conclusion in part to Tracy Brigden’s wonderful direction as well as the skill of these actors who are fully committed to the difficult dialog and passion of the characters. Obadiah Eaves’ sound design incorporates split -second timing of cell phone and computer sounds to seemingly regulate the heart-beat of the piece reflecting the passage of time.

This show captures contemporary reality and reminds us that whether something is fact or fiction—there can be many ways to tell a story to make an impact. Each decision has weight and the ultimate interpretation, no matter how controlled, is less than certain. The humor in this play is sincere and honest, but the meaning is heavy and it packs a wallop. Kudos to this cast and production team for brilliantly interpreting a show of depth, in a way that reminds the audience every person plays a part in understanding the “facts.”

REVIEW: TheaterWorks, American Son

TheaterWorks, Hartford, CT

www.twhartford.org

through November 23, 2019

by Shera Cohen

Having experienced the world premiere of “American Son” at Barrington Stage Company in Pittsfield three years ago, seeing the play again was a must. This powerful, dramatic, and timely story kicks off TheaterWorks’ 34th year.

While “kick” is used metaphorically, the word serves as a perfect description of the crux of the play. “American Son” is a kick in the gut to audience members no matter what side you are on, or color. Each of the four characters has his/her own perspective on situations. In the case of “American Son,” the situation is life or death.

Racial tension at its height, racial profiling, interracial marriage, the race card, and black lives matter; it’s all there in your face, especially if your face is black. It would have been impossible for writer Christopher Demos-Brown to pen “American Son” 20 years ago, even 10 years ago to share the tension and meaning of its message. At the very least, patrons likely would have felt that the plot was unfamiliar; yet in the 21st century the story is, as the phrase goes, “ripped from the headlines,” and uncomfortable.

The central characters are an estranged couple; wife is black, husband is white. The set is a police station waiting room. The pair start off as any worried parents would, waiting for their missing teenage son. with questions and angst. Layer upon layer the plot adds questions, angst, remorse, speculation, and psychological and physical combat.

Ami Brabson (wife/mother) paces every crevice of the room. She enunciates her words and speaks “white,” having assimilated into the world that her PhD requires. She speaks fast, as if rushing will make her crisis over sooner than later. Brabson displays internal torture, oozing out of every pore in her body and every syllable from her lips.

J. Anthony Crane (husband/father) portrays a dad who has raised his son in the practical ways of life. Without ever seeing the main character, the son Jamael, the audience knows who this young man is, especially through his relationship with his father. Brabson and Crane make for a purposefully uneven match in a marriage which had problems even before it began.

Supporting actors John Ford-Dunker (young police officer) and Michael Genet (senior police officer), flesh out the story primarily through their often-used and hesitant politically correct dialogue.

“American Son” is a tough play to watch, perhaps more difficult for black audience members. It speaks to any parent who cares for and fears for his/her child. Not being in either of these categories, “American Son” cannot help but affect everyone.

Kudos to TheaterWorks on its renovations. TW has turned their once dreary and somewhat confusingly navigational venue into a spiffy venue. Finally, the theatre looks worthy of the quality of TW’s productions.

REVIEW: TheaterWorks, Fully Committed

TheaterWorks, Hartford, CT, at Wadsworth Atheneum

www.twhartford.org

through September 1, 2019

by Jarice Hanson

For anyone who appreciates an actor with the talent, energy, and total commitment necessary to capture an audience for 80 minutes of non-stop entertainment—Jamison Stern is golden. In “Fully Committed,” a clever, well-written comedy penned by Becky Mode, Stern performs 33 characters, portraying each one so clearly, the audience never doubts what they look like. In fact, those watching Stern, left wondering if he was portraying a number of people we knew.

Undoubtedly, many of the audience members recognized and appreciated Stern’s comedic ability from last year’s “The Legend of Georgia McBride” at TheaterWorks, or perhaps from his success as Zaza in “La Cage Aux Folles” at the Goodspeed. Audience expectations were high, and from the final ovation, all expectations were satisfied.

Director Bill Fennelly keeps the pace fast and Brian Prather’s ingenious set design shows us the bowels of a New York City restaurant where “Sam,” an aspiring actor, makes ends meet by taking reservations and fielding phone calls for the upscale restaurant where the chef’s creations have built a clamor for reservations three months out. The description of the cuisine is hilarious, as are the characters who make up the staff—all portrayed by Stern, who juggles phone calls and the in-house communication system. 

Though “Fully Committed” is a comedic tour-de-force for an actor as skilled as Stern, the script itself is a work of comedic art. This show has warmth, heart, and the type of ending that makes an audience cheer when our hero takes matters into his own hands. Human communication, the pomposity of the rich, and the insecurity of the powerful become showcased so that for anyone who has every felt belittled by someone else (and who hasn’t had that experience?) finds self-worth.  

TheaterWorks originally staged this play in 2002 with another actor, at a time when the show was a regional theater hit across the country. This production has been updated for relevance and the updates hit home. As the last production staged at the Wadsworth before TheaterWorks returns to its renovated Pearl Street home, the intimacy and poignancy of “Fully Committed” is an appropriate way to mark the passage of time. 

REVIEW: Theaterworks, A Doll’s House Part 2

Theaterworks, Hartford, CT

www.theaterworkshartford.org

through February 24, 2019

By Stuart Gamble

 In 1879, Henrik Ibsen’s revolutionary, pro-feminist play “A Doll’s House” stunned its middle-class audience when the play’s heroine Nora Helmer opened the door and walked out on her husband and three young children. Now, 140 years later, playwright Lucas Hnath’s sequel, “A Doll’s House Part 2,” speculates on what happens after that iconic moment of a women’s battle against an oppressive existence.

It is now 15 years later and a middle-aged Nora returns. She is greeted by the Helmer’s faithful housekeeper/nanny Anne Marie. Understandably shocked by Nora’s sudden appearance, Anne Marie expresses both disbelief and a distant relief upon learning Nora’s reason to return. Soon, Nora also confronts her controlling husband Torvald, who is also visually shaken by Nora’s unexpected homecoming. Finally, Nora reunites with her daughter Emmy in a rather ironic mother-daughter first meeting.

Tasha Lawrence, Photo by Lanny Nagler

Tasha Lawrence’s Nora is a multi-layered characterization. Filled equally with fire and ice; her Nora is unafraid to let her feelings be known. Both sympathetic and frank, Lawrence shows the sound and fury of a woman who has boldly survived in a truly Darwinian way. Both warm and harsh, she confronts her accusers like a wrongly persecuted victim on trial who must defend her reputation and even her very reasons to exist.

The supporting cast performs equally as well with Lawrence. Amelia White’s Anne Marie nervously tries to quell Nora’s anger and newly-found freedom with disapproval and guilt for deserting her family. She even drops a few F-bombs that put Nora’s ego in its place. Sam Gregory’s Torvald at first appears rather doltish, but soon evolves into an equal sparring partner with Nora. Finally, Kira Player’s cold as ice Emmy, would have been better named Torvald Jr. for her passive aggressive insidious plan to silence Nora for good.

Director Jenn Thompson’s simple staging place actors merely confronting each other about Big issues. The production’s austerity is further emphasized by Alexander Dodge’s set consisting of two elegant chairs and three framed light panels that zap on and off at scene changes (courtesy of Phillip Rosenberg and Broken Chord’s respective lighting and sound design). Alejo Vietti’s elegantly simple costumes depict the rigidness of Victorian life.

One question lingers in this reviewer’s mind: Is a sequel necessary? And can it ever compare to the original? The answer is an unqualified Yes. The most relevant evidence is in Nora’s line to her daughter: “I’m not going to follow these bad [societal] rules, this is my chance to change the rules..”

A note to theatre-goers: This is the last Theaterworks’ 2018/19 play to be staged at its Pearl Street location. The remainder of this season will be performed at the Wadsworth Athenaeum’s Auditorium, while renovations take place at TW in anticipation of its 2019-20 season.

REVIEW: Theaterworks, The River

Theaterworks, Hartford, CT

www.theaterworkshartford.org

through November 11, 2018

by Barbara Stroup

After its first three productions this season, Theaterworks will move temporarily to the Wadsworth Athenaeum while renovations are completed at the Pearl Street venue in the spring and summer of 2019. For its "renovation season" production, Theaterworks presents “The River” by Jez Butterworth. Inhabited by only three unnamed characters, the play focuses on The Man (and his method of serial seduction?), who brings The Woman to his inherited cabin to “fish.” He reveres the nearby river and the silver trout that, when conditions are perfect, are available to “catch.”

Critical restraint forbids revealing more than would rob future patrons of the enjoyment they deserve, so plot points cannot be contained here. There is an air of mystery to the reality of the two female characters, but no mystery envelopes the very real fish-gutting that The Man performs on stage, posturing and contemplating the silvery flesh on the table in front of him.

Patrons will not need hands-on experience with fly fishing to appreciate The Man’s speech about how his love of it began – it’s a beautiful fish story and the highlight of the play, raptly absorbed by The Other Woman. Their vows of love – forever - seem sincere. The Other Woman in turn reveals much about her past and describes the scene of her father’s death that is reminiscent of the fish just dressed before our eyes. Unfortunate staging places her back to the audience during the delivery of this speech.

Entrances and exits are pivotal in this play, and the set design aptly places them at center stage where they belong. Gentle night sounds permeate the intimate space and lighting works its magic, too. But too many mysteries abound during it all (and afterward as well) to lead to satisfactory drama. The Man might be trying hard to step in the same river twice but being witness to his success or failure does not allow the viewer much sympathy. The audience is held in the cabin as tightly as the two women, and breathed sighs of relief at the surprise ending. But all was not revealed, and much discussion must have ensued on the drive home.

The 2018-2019 season includes a return of “Christmas on the Rocks,” their popular holiday show.