Relativity

TheaterWorks, Hartford, CT

www.theaterworkshartford.com

through November 26, 2016

by Shera Cohen

Richard Dreyfuss

A few years ago, I discovered a little theatre located on a side street in downtown Hartford. The venue is not typical; audience members enter through an art gallery, walk a long staircase, then to seats and stage surrounded by metal poles. This is TheaterWorks. Its current play, “Relativity,” is “little” at 85 minutes and three characters. This is where to find a triumvirate of talent: renowned actor Richard Dreyfuss, creative director Rob Ruggiero, and flawless playwright Mark St. Germain.

With a title like “Relativity,” it’s not surprising that Albert Einstein is its central character. To a large degree, the word “relativity” delves into Einstein’s family rather than science; in other words, his relatives. His wives, sons, daughter, grandchildren – who would have thought that geniuses like Einstein also have mundane lives? We watch a journalist’s interview with the famous man. The clue comes immediately when she questions Einstein about his first wife and his sons – this is no ordinary interviewer asking very personal questions.

“Relativity,” one of St. Germain’s fictionalized biographies succeeds, as all his works do, as a dramedy. An unfolding mystery evolves. More important are conflicting questions of greatness for mankind vs goodness for one’s small world of family.

Credit to the audience that did not applaud when Dreyfuss first appeared onstage. Oftentimes, famous actors are acknowledged simply because they are well-known. Dreyfuss, disheveled and sporting the iconic hairdo, immediately becomes Einstein. Dreyfuss portrays the scientist as steadfast and egotistical. Yet, we can see the wheels turning in his head, as Einstein questions if goodness and selfishness can possibly go hand in hand, even for him. Dreyfuss is as brilliant an actor as his character is a scientist.

Christa Scott-Reed, the journalist, holds her own in the role of woman on an important mission. Verbal fisticuffs with Dreyfuss are an even match. Lori Wilner, the housekeeper, makes a formidable appearance in a role that helps define her friend/employer more than herself.

Director Rob Ruggiero (who wears many creative hats at TheaterWorks) places every movement, moment, and word of dialog in unison. There is no waste. Masterful set designer Brian Prather provides a strewn-about private space with an always-closed door that the interviewer enters, somewhat at her own risk, and more at Einstein’s risk.

Unfortunately, the run of “Relativity” is just about sold out, even with two weeks added. But call the box office, just in case; there might be a seat for you.

Love, Loss, and What I Wore

Majestic Theater, West Springfield, MA

www.majestictheater.com

through December 11, 2016

by Barbara Stroup

Eight lively actresses grace the Majestic Stage in the current production of “Love, Loss, and What I Wore.” The steady appearance—on hangers, one at a time— of a lifetime’s wardrobe prompts memories, both poignant and amusing. As they take turns describing the events that surround the occasion when each particular dress was worn, they reveal fragments from the stories of their lives. Experiences shared by so many women – body awareness and shame, comical interactions with mothers, sales clerks, and the men in their pasts – prompt laughter and sympathy.

However, this Nora Efron piece lacks a story arc, character development and conflict, plot, and other elements we rightly expect of live theatre. At best, it seems the writer could have used a one-person monologue as the vehicle for this memoir, in the style of Billy Crystal’s recent “700 Sundays.”  We never really get to know any of these women (we see only one relationship among them), nor are we told why they have assembled and how they relate to each other. Where does their bond come from? What prompts these confessional-type revelations? Our emotions are buffeted about, from sadness to comedy and back again, and stereotypes keep emerging.

Because their assigned roles vary as well -- each actress takes on different parts during the play—the audience is further distanced from the possibility of character growth and familiarity. They vow devotion to dressing in black, but this production’s lighting makes their black clothing go flat and dull. Both this absence of costume and the minimal set rob the audience of visual interest and make this production feel under-funded.

In spite of these limitations, the matinee audience (largely female) supported the performance with frequent laughter and the almost universal recognition of women’s shared experiences. Ephron’s script – tying memoir to outfits – just needed a better concept.

Unnecessary Farce

Playhouse on Park, West Hartford, CT

www.playhousetheatregroup.org

through November 20, 2016

by Shera Cohen

 

When I look at the word “farce” in a play’s title or as a key description of what I am about to see, I immediately count the number of doors onstage. As it turns out, the cover of Playhouse on Park’s program book for “Unnecessary Farce” had already printed the words in a large font – eight doors. Eight, hmm? This was sure to be fun.

Playhouse is a small theatre, both outside and in, yet its stage is large, permitting enough room to hold just about any piece of theatre. The audience sits on three sides, evenly distributed, with the stage as the fourth wall. Sight-lines are perfect. Its actors are a mixture of Equity and community pros – it is impossible to know which actors have the credits and which do not. Besides, it doesn’t matter.

Comedies, especially those with an emphasis on farce, are about as brainless as one might expect. Playhouse does perform some meaty works; i.e. a Eugene O’Neill play is scheduled for this winter. However, this lark is sheer fun. And, yes, every door is opened and shut (sometimes slammed) countless times.

Our heroes, two rookie cops on their first stake-out, set up a sting to catch the mayor’s embezzlement scheme. With an invisible wall center-stage, are two abutting hotel rooms. There are lots of fast comings and goings which also include a couple of crooks and an “assistant crook”.

Although “Farce” is an ensemble work, Susan Slotoroff (Police Officer Billie) takes the helm. Slotoroff plays newbie Billie with humorous bravado and effervescence. Will Hardyman (Officer Eric) embodies his nebbish role with fun. Julie Robles makes her Playhouse debut as a purposely over-the-top lovelorn accountant, Mike Boland gives his Agent Frank a no-nonsense ridiculous Jack Webb demeanor, and John-Patrick Driscoll depicts physical humor with aplomb.

Director Russell Treyz creates “Farce” somewhat as a circus. Every member of his cast moves fast and is extremely agile. The two side-by-side beds quickly become the literal jumping off point when the play’s action sparks. Even the 6’+ Driscoll is nimble on his feet. It must also be noted that Driscoll’s indecipherable Scottish brogue offers the play’s funniest moments.

“Unnecessary Farce” might not be necessary to see. For those who want laughs, it comes close.

A Gentleman’s Guide to Love & Murder

The Bushnell, Hartford, CT

www.bushnell.org

through October 30, 2016

by Shera Cohen

“The musical’s first song, ‘A Warning to the Audience’ [to go home] is, of course, not heeded. No one should leave the theatre until our young, handsome, serial killer/hero and his eight victims receive standing ovations.”

Photo by Joan Marcus

I quote the last line of my own review of “A Gentleman’s Guide to Love & Murder,” having seen it in 2012 as a world premiere at Hartford Stage. Within what seemed like a New York second, “Gentleman” landed on Broadway, won a ton of Tony Awards, to then come full circle to Hartford – this time to the larger Bushnell stage. The saying goes, “You can go home again,” and in the life of “Gentleman,” welcomed by a full house, rousing cheers, bold laughter, and yes, a standing ovation. Frankly, I easily could have spent another two hours watching the erstwhile protagonist knock off another eight preys, but I doubt if the cast members had the stamina to keep up the physical and verbal speed.

The plot: Rent the 1949 Alec Guinness splendid macabre comedy, “Kind Hearts and Coronets,” add romantic and devilish music, 20 or so elaborate cartoonish scenes, and four leading actors/singers. Without movie CliffNotes, think: poor, orphaned (okay, so he’s 25ish) low class Monty discovers that he has a slew of upper class relatives, each of whom he must murder in order to climb the ladder to success. While nice-guy Monty is at first reluctant to pursue his mission, he quickly gets over it. What singles out this farce from other musicals and plays is that the role of all eight family members (men, women, young, old) is portrayed by the same actor.

Kevin Massey (Monty) acts as well as he can sing. It is obvious why he has earned his Broadway credits. His bittersweet “Sibella” is offset by a spritely “Poison in My Pocket.” John Rapson (Monty’s kin; i.e. cousins, uncles, aunts) purposely milks the bizarre humor of each family member to perfection. Just when one would think that Massey is ONLY a funny man, he sings a brassy “Lady Lyacinth Abroad” or dramatic “Looking Down the Barrel of a Gun.” Best of all is the duet, “Better With a Man,” which without going into details, is exactly what you would guess.

If a competition was held as to which of the two actresses has the best soprano pipes it would be a tie. Both Kristen Beth Williams and Kristen Hahn could easily be mistaken for opera divas. Indeed, Williams plays her role as diva-like as is possible. Hahn’s character, on the other hand, is proper and demure. Monty loves them both. So does the audience. Perhaps the show-stopper is the trio’s (Monty and ladies) “I’ve Decided to Marry You,” with each woman on the opposite side of a wall, Monty between them, with doors slamming, running about, and gymnastics to give Moliere a smile.

Director Darko Tresnjak and Scenic Designer Alexander Dodge work in sync flawlessly. This half-paragraph does not property credit their skills. Music Director Lawrence Goldberg and his talented orchestra carry refrains of hysterically yet ghoulish sounds throughout.

A flaw with “Gentleman”? There has to be something? Ah, the musical runs less than a week at The Bushnell.

Little Women: The Musical

Exit 7 Players, Ludlow, MA

http://exit7players.org

through November 6, 2016

by Michael J. Moran

Louisa May Alcott’s classic novel “Little Women” tells the story of the four March sisters – Jo, Meg, Amy, and Beth – coming of age during and just after the American Civil War in the 1860s. The musical version debuted on Broadway in 2005, and has been a popular choice ever since for college, school, and regional theatres.

The luminous production by Exit 7 Players makes a strong case for the show. The central character is the headstrong tomboy Jo, and 17-year-old Stephani Bauduccio is sensational in the role.  Bauduccio’s kinetic energy and plastic face unerringly convey all of Jo’s shifting emotions as she matures from an adventure-seeking teenager to an insightful young woman on the verge of a successful career three years later as a writer about her beloved family and community. Bauduccio’s lovely singing voice makes her big number, “Astonishing,” a real tour de force. This is a local actress to watch.

The other nine cast members fill out a convincing ensemble, with especially fine musical acting by Janine Flood as the girls’ mother, Marmee, whose rendition of “Here Alone” is heartbreaking; Gavin Kramar as their student neighbor, Laurie, whose “Take a Chance on Me” brims with lovesick enthusiasm; and Jarod Bakum as Professor Bhaer, whose subtly shaded “How I Am” perfectly expresses the gradual opening of this stern academic’s heart to love.

Director Jenn Marshall is also responsible for the nicely varied choreography and the resourceful set design. Judy Hemingway’s appealing costumes are period appropriate. Musical director Dan Monte leads a spirited eight-member band.

Those who frequent community theatre know that each troupe uses every opportunity possible to fundraise; i.e. raffles, homemade refreshment sales, and “telegrams” to actors.. These helpful traditions have not only helped the company to maintain and improve its historic Ludlow theatre, but built them a loyal following.

Musical theatre lovers in the Pioneer Valley are urged not to miss this delightful telling of a timeless tale for all ages.

MA CRITICS CIRCLE $500 ANNUAL WALTER HAGGERTY SCHOLARSHIP

Eligibility: any high school senior (public, private, home school) in WMA/ NCT who has been accepted by any college/certificate program leading to a degree in any of the arts.

Arts: theatre, music, dance, writing, backstage, mime, painting, sculpting, choreographer, etc. 

Requirements: 1 page (ONLY) Letter of Interest describing your experience in your chosen art and goals for college.  Include your name, address, phone number, cell number. 

1 Letter of Reference from any of the following: teacher, artist, art venue manager, etc.

Samples of work (as many as you wish, cannot be returned, copies are fine); i.e. theatre program book  with your name, a painting, recording of song you wrote, etc. 

Judges: The MA Critics Circle Scholarship Committee 

Deadline: MAY 1, 2017; winner will be announced at the Awards in early June, date TBA. 

Mail to: Shera Cohen, In the Spotlight, 235 State Street, #102, Springfield, MA 01103 

Questions: spotlightinc@verizon.net

MA CRITICS CIRCLE $500 ANNUAL WALTER HAGGERTY SCHOLARSHIP

Eligibility: any high school senior (public, private, home school) in WMA/ NCT who has been accepted by any college/certificate program leading to a degree in any of the arts.

Arts: theatre, music, dance, writing, backstage, mime, painting, sculpting, choreographer, etc. 

Requirements: 1 page (ONLY) Letter of Interest describing your experience in your chosen art and goals for college.  Include your name, address, phone number, cell number.

1 Letter of Reference from any of the following: teacher, artist, art venue manager, etc.

Samples of work (as many as you wish, cannot be returned, copies are fine); i.e. theatre program book  with your name, a painting, recording of song you wrote, etc. 

Judges: The MA Critics Circle Scholarship Committee 

Deadline: MAY 1, 2017; winner will be announced at the Awards in early June, date TBA. 

Mail to: Shera Cohen, In the Spotlight, 235 State Street, #102, Springfield, MA 01103 

Questions: spotlightinc@verizon.net