Beethoven’s Emperor Concerto

Springfield Symphony, Springfield, MA

www.springfieldsymphony.org

January 21, 2017

by Michael J. Moran

Conductor Kevin Rhodes

The classical music repertoire doesn’t get more “standard” than Mozart and Beethoven, so it might shock followers of the adventurous Kevin Rhodes to find him scheduling a full program of their music. But, as the canny maestro notes in his “Rhodes’ Reflections” column in the program book, “after a fall season of fairly weighty works, I thought it would be fun to start the New Year with some lighter fare.”

Well, not all that light, except for the concert opener, Mozart’s thirteenth serenade, which he called “A Little Night Music.” Serenades in Mozart’s late-18th century Vienna were usually played as background music at social events, and this lively piece, in four short movements totaling about 15 minutes, has been pleasing crowds for over 200 years. Rhodes led the strings of the Springfield Symphony in a sparkling, vivacious account.

Mozart’s fortieth and next-to-last symphony dates from 1788. All four movements, except for the brief Trio section of the Minuet, reflect a dark overall mood, but its emotional intensity and the beauty of its melodies have made this the most popular of all Mozart’s symphonies. The performance was urgent and moving, as Rhodes’ fleet tempos pressed the music relentlessly forward.

The program closed with an exhilarating rendition of Beethoven’s fifth and final piano concerto, nicknamed “The Emperor.” In his third SSO appearance, the rising young American soloist, Spencer Myer, launched into the vigorous opening movement with power and precision, played the lyrical melody of the radiant “Adagio” with quiet finesse, and romped through the exuberant closing “Rondo” with controlled abandon. Conductor and orchestra partnered him with sensitivity and enthusiasm.

So while this “greatest hits” program may have lacked Rhodes’ customary innovation in repertoire, the freshness and clarity of his energetic and imaginative approach to these three “warhorses” made each of them sound almost new again.

Beautiful-The Carole King Musical

The Bushnell, Hartford, CT

www.bushnell.org

through January 22, 2017

by R.E. Smith

One need not fear that “Beautiful-The Carole King Musical” is simply another “jukebox review” of well known songs loosely strung together with a “theme.” Rather, it is the fascinating story of songwriter/singer Carole King’s life and career (actually, a fairly straightforward tale of love and friendship) staged so well, and so spectacularly, that it practically knocks the audience’s socks off.

Julia Knitel

Julia Knitel as King is absolutely outstanding. Her energy, delivery, and genuineness of spirit fills the stage even when 16-year-old King is just starting to find her voice. The audience is instantly hers, aided by a spot-on dialect, remarkable piano skills, and powerhouse singing voice. Playing a living icon does not diminish her ability to deliver a genuine, multi-faceted character.

Baby boomers that grew up listening to King’s 1971 Grammy winning “Tapestry” album will undoubtedly be moved with nostalgia. But the sheer volume of popular music that she and her husband, Gerry Goffin (Liam Tobin), created together will floor those not so familiar with the artist. Perhaps it would be best not to read the list of songs so that the revelation of the hits is even more amazing. Rather than just recreating the songs verbatim, the book gives us insight in to how they were developed and shaped.

Douglas McGrath’s script crackles with heartfelt New York energy and speed, with lines both humorous and insightful. The story is generous in crediting another songwriting team, Cynthia Weil and Berry Mann as playing an important role in King’s life and career. As both friends and friendly rivals, Erika Olson and Ben Frankhauser quickly become audience favorites and a vital compliment to King and Goffin. The addition of their work in the famous Brill Building brings still more hits to the stellar line-up. Indeed, the show is generous on every level, with all members of the ensemble given a chance to shine.

The choreography of Josh Prince embraces and enhances the styles of the 60’s, delivering an unbridled exuberance to the proceedings and smile to the face. Coupled with the gorgeous costume design and simple, but dazzling, scenery, the show is worth seeing for the visual touches alone.

All the elements in “Beautiful,” from performances, to songs, to the dancing are executed flawlessly, making it deserving of all the “gorgeous”, “dazzling”, “lovely”, “magnificent” synonyms that one can list.

[title of show]

Playhouse on Park, West Hartford, CT 
www.playhouseonpark.org 
through January 29, 2017
by R.E. Smith

The Urban Dictionary defines "Meta" as "a term, especially in art, used to characterize something that is characteristically self-referential." Beginning with the name of the musical itself, Playhouse on Park’s latest production is extremely “meta.” It is the tale of a playwright and composer and their trials and tribulations in crafting a new musical about themselves as they write a new musical (about themselves). With a treasure trove of inside-theatre references and jokes, [title of show] has earned a reputation as a cult classic among theatre geeks. For the casual theatergoer, however, [title of show] also has universal truths to explore concerning creativity, collaboration, and friendship.

Photo Credit: Meredith Atkinson

Given the ever-changing narrative that led the production to Broadway, the book can be a bit uneven at times. What works best about this production are the absolutely charming performers. As one music teacher pointed out in the talkback after a Sunday matinee, the four leads had an “impeccable harmony.” With songs running the gamut in style and execution from showstopper to Sondheim, the cast has plenty of opportunities to shine. Standout numbers include the winking “Untitled Opening Number,” defiant “Nine People’s Favorite Thing,” and the empowering, “Die, Vampire, Die”.

Miles Jacoby as “Jeff” the composer/lyricist and Peej Mele as “Hunter” the writer have a wonderful chemistry and uniquely contrasting characters that are sometimes missing in musicals. They are comfortable and playful with each other, and very believable in the give-and-take of their partnership. Ashley Brooke and Amanda Forker as “Susan” and “Heidi” the “supporting characters” also provide a study in contrast and believability as two unique talents looking to make their mark. It will come as no surprise to anyone who has hung out with theater folk that the dialogue is quite profane and bawdy at times. The idea of which even gets its own number “Change It, Don’t Change It,” as the cast struggles to decide if they’re creating art just to please themselves or others.

Masterfully assisted by on-stage musical director/pianist/actor Austin Cook, and four chairs, the cast serves up boundless energy for 100 non-stop minutes in what is, ultimately, a love letter to musical theatre. It is such enthusiasm and love of the material that makes [title of show] enjoyable to watch whether you know who someone like Donna Murphy is or not.

Amadeus

Majestic Theater, West Springfield

www.majestictheater.com

through February 12, 2017

By Shera Cohen

Photo by Lee Chambers

Before entering the theatre, the audience hears the sounds of Mozart. Immediately, is the sight of expansive floor-to-ceiling, wall-to-wall staging which creates the lush 18th century Viennese court backdrop to “Amadeus.” Clocking in at 3-hours, this exquisite drama with comedy (as opposed to “dramedy”) uses every well-crafted word and purposeful movement to tell the story of composer Antonio Salieri and his nemesis Mozart. Whether the script is based on reality or not or even partially, is curious, yet not important.

Probably the only character who most theatregoers are familiar with is Mozart – his name, some of the titles of his plethora of compositions, and little else. Yet, Salieri is the star of the play who breaks the fourth wall in conversation with the audience at the start and end of the work, reliving the saga of his life intertwining with that of Mozart. It is not a pretty story, but one of jealousy, bravado, status, ego, and mistrust. Covering this combination of unpleasantness with ever-present, foreboding religious dogma, and “Amadeus” becomes the stuff of excellent craftsmanship by writer Peter Shaffer.

Keith Langsdale creates his Salieri as the evil-doer – smart, manipulative, and even slimy. It’s a very thin line for an actor to convince his audience to hate Salieri (perhaps Mozart’s murderer, thus depriving the world and centuries to come of such genius) and simultaneously feel incredibly sorry for this self-loathing man who realizes that he will never fulfill his dreams. I can’t think of a better actor in voice, mannerisms, and skill than Langsdale to accomplish such a task.

Stephen Petit plays the precocious man-child Mozart, at first with naivety, foolishness, and spunk. Gradually, Petit sinks his character into desperation in all aspects of his life. Like Langsdale, Petit has the perfect voice and body for his role. He is young and adorable like a puppy, with a contagiously cackling nervous laugh.

Who knew that J.T. Waite, an accomplished actor often seen on the Majestic’s stage, is also a director. He pays attention to every minute detail to bring the drama or the comedy (whichever called for at the time) to its fullest. Yes, I said the play is long, yet at no point is it sluggish. In fact, the opposite.

Each actor fulfills his role with panache, indicative of the century. A note about Jack Grigoli and Rich Vaden as Tweedle-dee and Tweedle-dum clowns. Their lickity-split repartee is a hoot to watch and hear.

It’s been a while since the Majestic has tackled a period piece, complete with costumes, make-up, and wigs of the era. Bravo to all of those backstage and onstage.

The Curious Incident of the Dog in the Night-Time

The Bushnell, Hartford, CT

www.bushnell.org

through January 1, 2017

by Jarice Hanson

Photo by Joan Marcus

Told from the perspective of Christopher, a 15-year old autistic boy, this play overwhelms the audience with heightened sensory overload. The touring company’s rendition of “Curious Incident” at the Bushnell is largely effective, even though the play most certainly works even more effectively in a slightly smaller theatre where the sound system is more evenly balanced. Still, the grid-like set, complete with video projection and LED lighting contributes to an evening that draws the audience into the story and makes you understand what life is like for an autistic individual who struggles with complex situations. 

Christopher becomes obsessed with trying to find out who killed his neighbor’s dog. As he begins his detective work, he learns a family truth that has been withheld from him, and he goes about seeking answers—a difficult path for a young man who doesn’t comprehend irony or metaphor. The role of Christopher is exceedingly physically and vocally demanding and for this company, performances are shared by Adam Langdon and Benjamin Wheelwright. On the evening I saw the show, Langdon embodied the role with dexterity and energy, though his voice is a bit too mature for a teen. I’ve seen this performer before, and Langdon is undoubtedly an actor to watch as his career develops. He’s aided in this production by a multi-racial ensemble of seasoned veterans. Gene Gillette as Christopher’s father is particularly effective as a parent who tries to do the right things for his special-needs son, only to find that good intentions sometimes backfire.

The Broadway production of the play received five Tony Awards in 2015 for Best Actor, Best Play, Best Director, Scenic Design, and Lighting Design. The success of the show is balanced with all of the components, though the actor playing Christopher has the greatest burden in terms of maintaining stamina and gaining sympathy from the audience. Based on the first-person book written Mark Haddon in 2003, the story gives the audience a sense of what it is like to live with autism, and we cheer when we find this truly original hero optimistic about his future and his ability to live in the complicated “typical” world.

BRAVO/IN THE SPOTLIGHT AWARDS

As Bravo Newspaper, Bravo-on-the-Air, and In the Spotlight celebrate 25 years, special awards were given to the following:

• Lauren Grossman: co-producer, editor, host, etc., etc.
• Keith Purcell: CPA extraordinaire
• Angie Phelan: Bravo could NOT have done without
• Bob Smith: 1st & still best writer, web guy, go to guy
• WMAS: 13 years of free broadcasts on the arts
• Springfield Cultural Council: initial grant to start Bravo

As In the Spotlight continues, thanks to all of you for helping to create Bravo (in all of its forms).

BRAVO TO US ALL!

Bravo to “Bravo”

In March, 1991 Bravo Newspaper was founded, serving the local arts community as a free monthly publication. Twenty-five years later, Bravo has become In the Spotlight, a website primarily promoting the arts in Greater Springfield. Many from the former Bravo staff and current In the Spotlight staff will get together on December 14, 2016 at 235 State Street, Springfield at 7:30pm to celebrate this anniversary.

Equally important is formal acknowledgement to the Springfield Cultural Council for its initial grant which launched Bravo. That successful application for $6450 provided financial support, along with at least 50 grants from throughout Pioneer Valley, for the next 25 years.

Shera Cohen, of Springfield, and Lauren Grossman, of Longmeadow (now Arizona) ended their work for the Chicopee Centennial in December, 1990. “What to do now?” Both women had theatre backgrounds. “Let’s start a theatre newspaper,” Grossman said. Cohen followed with, “I don’t even know how to use a computer.” They both learned the mechanics; the subject matter grew from theatre to all the performing and visual arts; and office space moved from Grossman’s pool table, to Cohen’s living room floor, to a tiny office with stained glass windows, to one larger office on State Street, finally to three different spaces on Main Street, with each location larger than the one before.

The Springfield Cultural Council grant paid for production and printing of 1,000 papers monthly with distribution only in Springfield. Cohen and Grossman were the entire “staff” of Bravo which included writing articles, selling ads, design and paste up (computers didn’t perform as they do now), and delivery. Year #2 of Bravo increased distribution city-wide and to five cities/towns – each due to receiving more grants from as many cities. A few writers and a salesperson were added to the team. At its 12-year mark, Bravo delivered boasted 50,000 readers in 48 cities with a staff of approximately 50 at its high point. 

Radio media came next, when Cohen and Grossman approached WMAS for a weekly arts program, hosted by themselves. Did either have radio experience? No. But staff at WMAS offered free air-time on its AM station on Sundays – first for 15 minutes at 6:15am, then at 6:30am when more listeners might be awake, eventually to a half-hour at 9am. Thirteen years later, the show ended with a huge thank you to the five additional hosts subbing for Cohen and Grossman and the many, many listeners who said, “I heard you on the radio.”

Looking toward the 21st century here, Bravo printed its last publication in 2003, at the same time morphing Bravo to In the Spotlight electronic media. Many writers from the newspaper continued with Spotlight, even those who joined in 1992. 

In the Spotlight continues as a local source of reviews, previews, interviews, and “on the road” features on community and professional performing arts in the region.