Preview: Wilbraham United Players, Present Laughter

Fellowship Hall Stage, Wilbraham United Church, Wilbraham, MA

wilbrahamunitedplayers.org

Weekends, May 13-22, 2022

Poor Garry Essendine, the famous leading man is not having a good week. The world that
revolves around him is just not behaving as it should. As he faces down the years of middle-age the ingenue he brought home from a party wants to stay with him forever; his not really “ex” wife has him conspiring against his friend and director. His producer’s wife is trying to seduce him; his long-suffering secretary and his servants serve with a side of “sass” and to top it all off a crazy playwright who is a dedicated fan just won’t leave him alone.

Tickets can be purchased in advance on the Player’s website, wilbrahamunitedplayers.org

The Man Who Came to Dinner

Wilbraham United Players, Wilbraham, MA

www.WilbrahamUnitedPlayers.com

 through November 16, 2014

by Walt Haggerty

“The Man Who Came to Dinner,” an inspired comedy by George S. Kaufman and Moss Hart, was a major success in 1939, and still sparkles with its authors' sophisticated wit, much of which was derived at the expense of their friend, Alexander Wollcott. Wilbraham United Players' production is a delight, capturing all the humor of the original through the efforts of a multi-talented cast expertly directed by Deborah Tremble.

As the story unfolds, Sheridan Whiteside is a reluctant house-guest in a small Ohio town, where he was to deliver a lecture. Entering the home of the Stanley’s, he has fallen. In his least charming and most aggravating manner, he proceeds to terrorize everyone. Paul Nesbit plays Whiteside with great vigor and matchless timing, never missing a laugh at the expense of his hosts or anyone else.

In addition to Nesbit, other standout performers include the Stanleys, expertly played by Kevin Kary and Patricia Colkos. Janet Crosier as Whiteside’s frazzled and frustrated nurse is priceless. Stacy Gilmour is outstanding as the patient and understanding secretary in love with the strong, handsome local editor, ideally played by David Chivers. Carolyn Averill’s Lorraine Sheldon is hilarious in her dual pursuit of the editor as she awaits a long sought proposal from a stuttering English lord.

The play overflows with amusing cameo appearances by Whiteside friends and others including Mark Jacobson as a devastatingly funny Beverly Carlton. Don Clements contributes knockout comic twists that nearly derail the proceedings, and Paul Rothberg as Dr. Bradley has only to appear to have the audience roaring. Other cast members giving winning interpretations include Joe Van Allen and Christine Zdebski, the Stanley children and Michelle McBride as Mr. Stanley’s sister. Jay Muse and Gina Marieparo are the Stanley’s butler and cook, (whom Whiteside is trying to hi-jack to New York).

 “The Man Who Came to Dinner” is a perfect example of a laugh-a-minute comedy from another era when theatre did not need to resort to shock or foul language to find success.

The Light in the Piazza

Wilbraham United Players, Wilbraham, MA

www.wilbrahamunitedplayers.com

through May 18, 2014

by Walt Haggerty

With “The Light in the Piazza” the Wilbraham United Players have created an unforgettable evening in the theatre. One of the most beautiful of recent musicals, as well as one of the most challenging to perform, the United Players are giving “Piazza” a thrilling, luminous realization by an extraordinary cast.

A young girl has suffered a brain injury through an accident at an early age that has impeded her development, while physically she has matured as a beautiful young woman. Now in her twenties, Clara, played with amazing range by Carolyn Averill, is on a European vacation with her mother, Margaret, performed as unforgettably tender and caring by Teri LaFleur. A chance meeting with a handsome young Italian, Fabrizio, passionately delivered by Franklyn (Jay) Lee, sets the romantic story off on its difficult path. The exceptional performances of these three are most demanding and contribute immeasurably to the success of this production.

With book by Craig Lucas, and an incredible musical score and lyrics by Adam Guettel, (grandson of Richard Rodgers), the story flows through a series of gorgeous musical interludes, bordering at times on the operatic. The enormously talented cast is blessed with outstanding voices that are always up to the vocal demands of the score.

Fabrizio’s parents are flawlessly played by Kevin Kary and Lisa Woods, with warmth, plus meticulous Italian accents. Fabrizio’s brother and sister-in-law, Joe Van Allen and Shelly Capen, provide humor tinged by flashes of friction. Clara’s father, in his brief scenes, is brusquely acted by David Chivers. A large ensemble contributes effectively as tourists, priests, nuns, and other locals.

The setting, by Greg Trochlil, conveys the atmosphere of Florence without attempting a literal treatment. The superb musical accompaniment by Larry Picard and a six-piece ensemble is exemplary, particularly in view of the complexities of the score.

Top honors go to Director Deborah Trimble, who has brought this fragile, beautiful work of art to life. It is a not-to-be-missed production for every theatre lover.

The Game’s Afoot

Wilbraham United Players, Wilbraham, MA

www.wilbrahamunitedplayers.com

through November 10, 2013

by Eric Johnson

 “Dying is easy, comedy is hard," an oft repeated quip in the theatrical community. If comedy is hard, then farce is a monumental task indeed. Author Ken Ludwig offers up a nice foundation for some out of control, sidesplitting hysteria that doesn’t quite hit the mark in this production.

Greg Trochlil did a very nice job on the set design with functional elements that help bring the castle setting to life.

Pace and energy are the key to pulling off a farce of this ilk and, although there were some very funny moments, this performance never quite conveys the obligatory sense of urgency and impending doom consistently. One of the aforementioned funny moments comes at the beginning of Act II with Kevin Bechard as William Gillette and Heath Verrill as Felix Geisel. Theirs is an enjoyable synergy between the two characters and the scene rolls along nicely.

In general, the acting is good yet understated, almost as if there was a fear of going over the top. The character of Daria (played by Patricia Colkos) seems to be particularly underplayed. This role is begging for some scenery chewing, which just doesn't happen. Perhaps it can in upcoming performances.

This show has the potential to be quite good, the director and cast just need to release the brakes and trust their instincts.

1776

Wilbraham United Players, Wilbraham, MA

www.wilbrahamunitedplayers.com

through May 19, 2013

by Shera Cohen

The musical “1776” is not often performed in community theatre, one good reason being that the cast includes 25 men. From the start, mounting this show is a huge undertaking. Add to the “crowd” on stage, the fact that not many are familiar with “1776” adds stress to the troupe to get decent size audiences. While Wilbraham United deserves praise for taking on the challenge, the results sometimes fall apart.

The plot is the one learned in elementary school – the founding of these United States – focusing on the personalities of the Declaration signers and set to song. Assuredly, there is much fiction, and at the same time a humanized history lesson. All of the usual suspects appear; i.e. Adams, Franklin, Jefferson, et al. There is not much opportunity to individualize the other 22 men.

Brad Shepard and his character John Adams hold the play together which is a difficult job because there are so many people onstage, let alone on very small stage. Little did the audience know that the original Adams was “obnoxious and disliked,” performed admirably and with intelligent humor by Shepard. Franklin (Paul Nesbit) and Jefferson (Brian Freeman), as Adams’ cohorts in creating a new nation, hold their own. Except for solos by South Carolina’s Rutledge (Jay Lee), Pennsylvania’s Dickinson (David Chivers), and Virginia’s Lee, the rest of the founding fathers just happen to be in the room. Color-blind and sex-blind casting has become familiar, yet casting some women in these roles was a mistake, even when desperate for actors to audition.

It’s probably a good guess that few readers have ever heard of the songs “Till Then” and “Yours, Yours, Yours.” Both are lovely warm duets and highlights of “1776” as sung by Adams and his wife Abigail (Teri LaFleur). In spite of the fact that LaFleur is only slightly visible as she stands behind a scrim throughout the play (why?), a mature romance comes through because of the ability of the two actors. Although a minor role, JohnMartin Patton’s courier sings a haunting “Mamma, Look Sharp.”

Director Deb Trimble, whose work has wowed audiences in the past, moves her actors at a very slow pace, oftentimes blocking each other. A good effort is made in costuming, although the ill-fitting wigs are distracting. Perhaps “1776’s” second weekend will pick up and/or sections cut and/or choruses deleted.

Joseph and the Amazing Technicolor Dreamcoat

Wilbraham United Players, Wilbraham, MA
www.wilbrahamunitedplayers.com
through May 16, 2020
by Shera Cohen

It's not necessary to be knowledgeable about stories of the Old Testament to enjoy Andrew Lloyd Webber and Tim Rice's early creative collaboration of "Joseph." In fact, it is probably helpful to set all remembrances of Sunday school learning aside. Very loosely based on the tale of Jacob and his 12 sons, one of whom is Joseph, is this delightful energetic musical.

Wilbraham United Players (WUP) takes on the large task of mounting the 30+ member cast in a very small stage space at the pulpit of a church. Kudos go to director Deborah Trimble and choreographer Dina Del Buono for their collaboration with each other and with the cast of singers and dancers in this fast-paced, non-stop production. It seems as if every inch of space is utilized, as actors - initially seated in the audience - jump from their seats to become characters in the aisles and onstage.

While titled, "Joseph…," the star is the narrator played by Carolyn Averill. An Anne Hathaway look-alike with a lovely soprano voice, Averill leads her young "flock" of adorable child singers who are onstage, through every scene. This is community theatre at its best as local youth become actively involved.

The orchestra of seven is so professionally skilled that it could (and should) be hired by area restaurants, nightclubs, and outdoor festivals. However, it does not quite belong in the same venue as the cast. Summing it up - too loud. Solos such as Joe's "Close Every Door" and Pharaoh's "Stone the Crows" are nearly inaudible for those seated further back than the fourth row. Yet the ensemble pieces like the brothers' fun "Those Canaan Days" are unscathed by the belting music, and/or acoustic problems inherent in the facility. Indeed, the group numbers fair especially well, particularly in the endings of Act I and II. Recommendation to the musicians: turn down the synthesizers and percussion.

Watch for Anthony Yacovone (brother Judah) as a young man destined for fame on any theatre stage. His "Benjamin Calypso" is one of the highlights of the evening. He's enthusiastic, humorous, and commands stage presence while never upstaging.