The Visit

Williamstown Theatre Festival, Williamstown, MA

www.wtfestival.org

through August 17, 2014

by Walt Haggerty

“Here we go again. It’s all about fresh starts, new beginnings,” commented legendary superstar Chita Rivera. Based on Friedrich Durenmatt’s play, "The Visit" has been turned into a musical by John Kander and Fred Ebb, with a book by Terrance McNally.

“The Visit” tells a dark and foreboding tale of a woman betrayed, abandoned and shamed by her lover. Late in life Claire returns to the village of her youth. The once beautiful and thriving community is decayed and the townspeople impoverished, including Anton, her former lover. Following a series of profitable marriages, Claire has become a woman of enormous wealth. Her mysterious visit is anticipated with curiosity as to why she has elected to return. The hope is that she will rescue her former neighbors. On arrival she makes an extraordinary offer, but demands an even more extraordinary price.

As Claire, Rivera delivers a dynamic performance destined to cap a career of more than half a century. She is incomparable. Roger Rees, as Claire’s former lover, portrays a character deserving of total contempt. Enacting Claire and Anton as young lovers are Michelle Veintimilla and John Bambery, respectively, who reflect the youth and beauty that once existed. As schoolmaster, Jason Danieley makes his solo, “The Only One,” powerful and moving. Distinctive characterizations are also contributed by Judy Kuhn, Melanie Field, and Rick Holmes.

The score and lyrics (Kander & Ebb) make this musical one of the team’s best, with each selection tailored precisely to the situations and characters as reflected in Claire’s bitter “I Walk Away” and “Anton’s egotistical, “I Must Have Been Something.” “Love and Love Alone,” sung and danced by Claire and Young Claire, is beautiful and moving.

“The Visit,” directed by John Doyle and choreographed by Graciela Daniele, is still a work in progress. The strong, sturdy framework is in place for a memorable, even great, evening of theatre. Perhaps a reconsideration of the most recent cuts and condensation of the current production might be revisited, with an eye to adding definition to key characterization. More extensive use of the marvelous music would also be most welcome.

It’s a Wildly Adventurous Summer of Theatre

Shakespeare & Company, Lenox, MA

www.shakespeare.org

by Shera Cohen

On any single weekday, you can see five plays at Shakespeare & Company (S&Co). On any single weekend, (how about a short stay in the beautiful Berkshires?) you can see as many as 11 performances. A significant number of the plays are those by Shakespeare, of course. However, for those who might not feel comfortable with the Bard, then there’s the “& Company” part of the troupe’s title.

Let’s take an arbitrary day. How about Wednesday, August 6th. The day’s offerings are:  “A Midsummer Night’s Dream” (this is Shakespeare’s writing at its best, but updated to 1930’s New Orleans), “The Servant of Two Masters” (by Carlo Goldoni with adaption by long-time S&Co. creative master of wit Jenna Ware at the helm), “Vanya and Sonia and Masha and Spike” (Christopher Durang’s contemporary salute to Chekhov), “The Complete Works of Wm Shakespeare - Abridged” (a modern day Cliff Notes compilation of all of Shakespeare’s 36 plays in two hours.) The latter is far from a history lesson; instead a somewhat risqué, non-stop, crazy, and hilarious look at the Bard’s works as performed by three actors in dozens of roles each. While it might help to be familiar with these works, audience members who are novices to Shakespeare will appreciate the ridiculously intense humor. This is definitely not a trip down the memory lane of high school English classes. And, if by chance, you might be tired of sitting all day, take a Behind the Scenes Tour to observe the inner workings of what makes S&Co. tick.

Romeo & Juliet

Can’t take time off from work? How about next weekend? Or any weekend? To the above list of five theatre experiences, let’s add performances of “Romeo & Juliet,” “Julius Caesar,” and “Henry IV, parts I & II,” (each unmistakably Shakespeare) along with “Shakespeare’s Will” by Vern Thiessen, starring S&Co. veteran Kristin Wold.

The only reason for it being impossible to see every program at the venue’s four stages is because some play times overlap, particularly as one production takes the Tina Packer Playhouse, another is mounted at the Bernstein Theatre. Yet, four of the five offerings on that Wednesday, and eight of the eleven on the weekend might be enough -- more than enough -- to entrench yourself in theatre.

Sorry...you can’t make it on Wednesday. Tuesday is better? Then add the Tuesday Talks to your “to do” list. Join actors, directors, et al at 5pm for discussions and Q&A on each of the season’s plays. For those about to experience a lesser-known Shakespeare play, in particular, the talk offers particular insight in a non-didactic environment.

Having already seen most of plays on the menu, let’s take a closer look to entice infrequent and new audiences.

A Midsummer Night's Dream

“Midsummer” It’s a literal and verbal romp in the forest, yet in Louisiana some decades ago. Would Shakespeare mind the update? Purists would say “yes.” I think he would say “Bravo.” With a large cast of S&Co. vets, Johnny Lee Davenport shines as the common man turned mule.

“Complete Works...” Twice might not have been enough times for me to see this fun piece. Jonathan Croy directs his trio of actors in a raucous melding of dramas, comedies, and histories in a Monty Python-ish spoof (yes, there is dismemberment).

Shakespeare's Will

“Shakespeare’s Will” You’re thinking, “I don’t like one-person plays.” Right? Kristin Wold as Will’s wife Anne Hathaway will change your mind about the merits of what one highly talented actor can produce on stage.

“Julius Caesar” Here, the company took the exact opposite approach as “Will” with six actors portraying 100 or so roles. The Talk immediately prior offered a focus on this warrior, his methodical mind, and his adversaries.

“Servant of Two Masters” The play highlights the talents of the student actors. The tent stage turned into centuries-old Italy coupled with commedia dell’arte mistaken identities, comic confusion, and lots of door slamming all in the sake of fun.

For information call 413-637-3353 or log onto www.Shakespeare.org.

Note: S&Co. doesn’t close the doors on Labor Day. Fall and winter productions mount the main stages.

Other Desert Cities

New Century Theatre, Northampton, MA

www.newcenturytheatre.org

through August 9, 2014

by Konrad Rogowski

The unearthing and ghoulish autopsy of old family secrets, deceptions and plots creates the conflict and intrigue of New Century Theatre's production of Jon Robin Baitz's "Other Desert Cities."

The premise of the play is pulled straight from the often times brutal reality of today's "tell it all" autobiographies, recounted, most often, by the children of the rich and famous; and so it is with the Wyeth family. Author Brooke Wyeth (Cate Damon) arrives on Christmas Eve at the home of her movie star/high powered political hob-nobbing parents (Richard McElvain and Carol Lambert) with a present that promises to blow the lid off of a well-kept family secret. She presents them with her "tell all" book that suggests what happened to drive her younger brother to both acts of mass violence and suicide. The author, who has her own take on the family dynamics which caused this situation, give other family members -- brother Trip (Sam Gillam) and aunt Silda (Ellen W. Kaplan) -- the chance to read and to deal with what has occurred.

Each of the actors creates characters dealing with a family imploding into a series of hateful accusations and counter accusations. The interesting and different facet of the play here is that each of these characters makes points that ring true in their facts and their hypothesis, only to be countered by the others' equally valid points, leaving the audience wondering just who's version of the truth is the one to believe. To compound the issue, Rand Foester has successfully directed his cast to express flawed people who deal with others, equally flawed. By play's end, a truth does come out. The audience discovers why Brooke finally takes the road she talks about to other desert cities.

Foester keeps the action tight, and the arguments crisp and ringing of reality. Daniel D. Rist's set design creates the scene...and like the conflicts played out, it is panoramic in scope, and appears, at least to the uninitiated, picture perfect.

A Number

Chester Theatre Company

www.chestertheatre.org

through August 10, 2014

by Bettie Hallen

When staged in London in 2002, this play was identified by The London Evening Standard, as “the first true play of the 21stcentury." As its five scenes unfold, the audience is immersed in a depth of bio-socio-medical-ethical questions to ponder. This puzzler of a psychological thriller heads straight into the middle of the situation when, after having seen something unnerving, Bernard, a son questions Salter, the father who has raised him. "Are you my father? Was I the first one, the original? Would you know me in the batch?” The father answers somewhat evasively, often changing his story, finally telling Bernard, “I am your father (long pause) genetically.” At this point in the first scene, the audience, if not already confused, realizes it has no idea what is going on. Why does Bernard ask if he was the first of ‘a number’? Who are the “they” whom Salter wants to sue for a huge amount of money?

Caryl Churchill’s intriguingly styled script allows for a great deal of free rein of which director Byam Stevens thoughtfully takes full advantage. In a discussion with opening day audience, he would not categorize the play for all of the many questions which it poses. The script has no stage directions and little punctuation. Learning this, its audience realizes what imaginative command both Stevens and his truly brilliant actors have staged to create amazing characterizations.

The versatile Jay Stratton returns to Chester as Bernards 1 and 2, and Michael Black, three of the identical sons who are not at all similar in behavior nor demeanor; this is most impressive acting. As Salter, Larry John Meyers is a brilliant choice in his first appearance at Chester. He adeptly changes in his behavior as each of the young men confront him. Audience members must watch carefully during the scene changes; that there are no black-outs is another clever directorial decision. Both actors speak with a gentle, easily understood British accent, while standing or sitting across from one another in unmatched kitchen chairs on an otherwise bare platform stage encircled with 19 slightly out of focus, varyingly angled mirrors.

Be sure to see this play with a full carload of folks for a lengthy discussion on the ride home of the questions and their possible answers introduced by “A Number.”

Lizzie Borden

Tanglewood, Lenox, MA

www.bso.org

July 31, 2014

by Michael J. Moran

American composer Jack Beeson, scenario writer Richard Plant, and librettist Kenward Elmslie first published their opera “Lizzie Borden” in 1965. A new version for chamber orchestra with orchestration by Todd Bashore and dramaturgy by John Conklin was commissioned and debuted by Boston Lyric Opera in November 2013. The same forces recently presented it at Tanglewood.

Although the real Lizzie Borden was acquitted of killing her father and stepmother with an ax in 1892 at the family home in Fall River, MA, suspicions of her guilt still persist. The stark and stylized BLO production, performed in 90 minutes without an intermission, built a mood of almost unbearable tension from early scenes of family life to the murders just before the end.

The orchestra was situated at stage right in Ozawa Hall. Set designer Andrew Cavanaugh Holland placed a table with four chairs downstage center, and most of the action was movement of chairs around the otherwise empty stage by the six cast members. Stage director Christopher Alden provided some comic relief by using the floor as a bed for Lizzie’s father, Andrew Borden, and his wife, Abigail, and the table as a piano and lounging area for Abigail.

Soprano Caroline Worra played Abigail to the hilt, garnering much appreciative laughter from the enthusiastic audience. Bass-baritone Daniel Mobbs as Andrew, soprano Chelsea Basler as Lizzie’s younger sister Margret, baritone David McFerrin as Margret’s ship captain fiancé, and tenor Omar Najmi as the pastor of the Borden family church all sang with clarity, focus, and strong characterization. But the evening belonged to mezzo-soprano Heather Johnson as Lizzie, whose heartrending and harrowing account of the tragic heroine won sympathy as well as horror for her actions.

BLO music director David Angus led a tight, intense performance, and the reduced orchestration highlighted both the astringency of the often violent score and the tenderness of its rare lyrical interludes. Members of the Voices Boston children’s chorus sang with spirit from the first balcony. 

Projected titles and a post-show panel discussion featuring the composer’s daughter further enhanced this rare opportunity to hear an American operatic masterpiece.

2014 Newport Music Festival

Newport Music Festival, Newport, RI

www.newportmusic.org

July 11-27, 2014

by Michael J. Moran

Celebrating its 46th season in 2014, the Newport Music Festival is newer but longer, if still perhaps less famous, than its Jazz and Folk counterparts. This year 62 performers presented 68 concerts of music from the Romantic Era and beyond in twelve sites from 18 countries, with 27 making their Newport and/or American debuts. Seven concerts showcased over 100 works by Richard Strauss in observance of his 150th birthday anniversary.

This year’s repertoire continued last year’s expanded focus on jazz and Latin music. The closing weekend, for example, featured “Ragtime Jazztime,” a program that included rags by Scott Joplin and William Bolcom, and a “PercussionFest” marking the Newport debuts of Spanish percussionists Rafael Galvez and Juanjo Guillem. Mike Mower’s “Deviations on The Carnival of Venice,” puckishly played by flutist Goran Marcusson and pianist Tim Carey, and two movements from Claude Bolling’s first Suite for Flute and Jazz Piano, lovingly rendered by Marcusson and pianist Kevin Fitz-Gerald, were audience favorites in the first concert.     

A festival highlight was a “Viennese Evening” program at the Breakers, in which chestnuts by Johann Strauss II, Fritz Kresisler, and Franz von Suppe shared the stage with lesser-known fare like a delightful set of Viennese Waltzes by Robert Fuchs. Violinist extraordinaire Eugen Tzikindelean led two ensembles in rousing and idiomatic performances, but charismatic tenor Jason Karn stole the show with a dramatic account of Lehar’s “You Are My Heart’s Delight.” 

The bane of any festival director’s life must be the occasional last-minute need to replace an ailing performer. But when popular pianist John Bayless was indisposed, impresario Mark Malkovich IV had only to call on his roster of musical stars to whip up an instant new concert that featured knockout renditions of Chopin’s Piano Sonata No. 2 by rising young American pianist Chad Bowles and of Ravel’s Violin Sonata in G by Tzikindelean and Fitz-Gerald.

The glamour of the performance venues, including the Newport Art Museum as well as several mansions, and the evident joy of music making by a longtime family of returning artists make the Newport Music Festival a uniquely intimate and enjoyable attraction.

Cedars

Berkshire Theatre Group, Stockbridge, MA

www.berkshiretheatregroup.org

through August 9

by Jarice Hanson

Have you ever wished you could tell a parent what you thought of what they had taught you, and not have them interrupt? In Cedars, a one-man play in five acts starring the talented James Naughton, currently at the Fitzpatrick Main Stage theatre, this premise is examined from the perspective of a self-absorbed 59 year old lawyer who talks to his comatose father while his own life is falling apart. The imagined location is the Cedars-Sinai hospital in Los Angeles, and the script, penned by Erik Tarloff is full of LA-speak; the criticism of pop culture, morals, and fractured families.

Naughton is commanding on stage. His rich voice is polished and every syllable is clear. Director Kiera Naughton (his daughter) has some good ideas; shifting the passage of time visually with projections and costume changes, and setting up hospital background sounds from the time the house is open are nice touches, but the minute Gabe, the lawyer is introduced by way of jarring music, the hospital illusion falls apart. Gabe could be anywhere, and until the end of the fifth act, the fact that he’s speaking to his father seems irrelevant, if not inappropriate. Naughton spends a good deal of time wandering around the stage, without clear physical moments to help punctuate the story. But when Gabe’s moment of truth emerges, the scene is heartbreakingly beautiful.

The problems with the show are in Tarloff’s script. The over-written dialog is too literary for this type of intimate show, and some of the dialog is crude and insensitive. Naughton gets a few moments where he shines like the star he is, but even he has a hard time overcoming the dialog that masks the truth Gabe and the audience need to find to make this show really memorable.