Berkshire Theatre, Stockbridge>
through November 9
By K. J. Rogowski
Berkshire Theatre Festival's production of "Eleanor: Her Secret Journey" is a one woman show of power, passion and change, that documents her reflections on the early years with yet to be president, Franklin. Equally important is a look at her personal observations on both world and intimate personal events that were to shape her future from 1945 on.
Elizabeth Norment's skill as an actor captures the panorama of that world stage as she plays Eleanor, Franklin, and a cast of others notables, as they discuss, debate and sort out the morals, mania and politics of world powers and family domination. Here, she faces the challenges of dealing with an unfaithful husband, a manipulative mother-in-law, the senseless inhumanity of man at war, and the strange, seductive power that each possesses. Through her journey, Eleanor strips away the grandeur and the public face of war, and those who manipulate that machine, and shows, instead, the back story, the human frailty that actually drives world events. She humanizes the inhumane, and reduces it to its most basic components. She reveals the personal quirks and idiosyncrasies of the great and near great, and casts a light on the personal toll of being a public figure, that the public sometimes thinks it owns.
Norment does all this with humor, passion and vulnerability, that make the view into the lives of these very public figures a true journey of little-known human struggles. Stephen Temperley's direction keeps the action smooth, uncomplicated, and focused on the message, as does the simple, yet elegant, set design. The use of lighting shifts and occasional sound effects to set the tone and to punctuate the changing emotions of Eleanor's pilgrimage are also nicely played. For an evening of drama, humor and humanity, Eleanor's journey is well worth the trip.
August 30, 2008
August 28, 2008
Toby Lightman & Marc Cohn
Colonial Theater, Pittsfield
August 28, 2008
by Eric Sutter
Sometimes a reviewer gets lucky to hear two phenomenal aritsts on the same bill. Such was the case with the performance by acoustic guitarist Toby Lightman and singer/songwriter Marc Cohn at the Colonial Theater. Lightman shined as she played her acoustic guitar and sang a short set of original relationship songs with a gutsy delivery. The songs "Fair Weather Boyfriend" and "Milk and Honey" expressed different emotions from opposite viewpoints. She covered Carole King's "I Feel the Earth Move" with uncanny perception of the original. She closed with her upbeat sing-a-long "Love is All Around," while the audience joined in on the chorus.
Singer/songwriter extraodinaire Marc Cohn appeared with his band and showed why he was chosen Best New Artist of 1991 when he debuted. Proficient on piano and guitar, he began this evening on piano with "Live Out the String," which is a song he wrote after being caught in the crossfire of a stray bullet. He lived and sang with a deep abiding joy from the vestige of his ordeal. His excellent CD from 2007, "Join the Parade," is his testimony. He performed other notable songs from the CD such as "The Calling (Charlie Christian Tune) and the tribute to the New Orleans Katrina disaster, "Dance Back From the Grave." "Listening to Levon" was his ode to young love in his father's blue Valiant that name dropped songs from Levon Helm and the Band. His voice was very soulful on "Lay Your Healing Hands on Me." He told a story of a chance encounter with a 70-year-old black pianist/singer named Muriel Davis Wilkins who inspired the song that launched his career -- Walking in Memphis" was staged with gospel fervor by Cohn and bandmates and dedicated to Wilkins. Cohn's lead guitarist Shane Fontayne tingled the audience's senses with his solos as Cohn emptied his heart and soul in voice.
"Miles Away" was a vexed mid-tempo rocker that featured Shane Fontayne's ringing acoustic guitar and wailed harmonica playing. Cohn offered a nice piano ballad in "Silver Thunderbird" and countered with a rockin' "Let Me Be Your Witness." By this time he gave his audience a gift of two encores, ending with "True Companion," which received a standing ovation. A true talent with words of wisdom, Cohn gave it his all to a very appreciative audience.
August 28, 2008
by Eric Sutter
Sometimes a reviewer gets lucky to hear two phenomenal aritsts on the same bill. Such was the case with the performance by acoustic guitarist Toby Lightman and singer/songwriter Marc Cohn at the Colonial Theater. Lightman shined as she played her acoustic guitar and sang a short set of original relationship songs with a gutsy delivery. The songs "Fair Weather Boyfriend" and "Milk and Honey" expressed different emotions from opposite viewpoints. She covered Carole King's "I Feel the Earth Move" with uncanny perception of the original. She closed with her upbeat sing-a-long "Love is All Around," while the audience joined in on the chorus.
Singer/songwriter extraodinaire Marc Cohn appeared with his band and showed why he was chosen Best New Artist of 1991 when he debuted. Proficient on piano and guitar, he began this evening on piano with "Live Out the String," which is a song he wrote after being caught in the crossfire of a stray bullet. He lived and sang with a deep abiding joy from the vestige of his ordeal. His excellent CD from 2007, "Join the Parade," is his testimony. He performed other notable songs from the CD such as "The Calling (Charlie Christian Tune) and the tribute to the New Orleans Katrina disaster, "Dance Back From the Grave." "Listening to Levon" was his ode to young love in his father's blue Valiant that name dropped songs from Levon Helm and the Band. His voice was very soulful on "Lay Your Healing Hands on Me." He told a story of a chance encounter with a 70-year-old black pianist/singer named Muriel Davis Wilkins who inspired the song that launched his career -- Walking in Memphis" was staged with gospel fervor by Cohn and bandmates and dedicated to Wilkins. Cohn's lead guitarist Shane Fontayne tingled the audience's senses with his solos as Cohn emptied his heart and soul in voice.
"Miles Away" was a vexed mid-tempo rocker that featured Shane Fontayne's ringing acoustic guitar and wailed harmonica playing. Cohn offered a nice piano ballad in "Silver Thunderbird" and countered with a rockin' "Let Me Be Your Witness." By this time he gave his audience a gift of two encores, ending with "True Companion," which received a standing ovation. A true talent with words of wisdom, Cohn gave it his all to a very appreciative audience.
August 25, 2008
Noel Coward in Two Keys
Berkshire Theatre, Stockbridge
through August 31
By Shera Cohen
Long before “Private Lives” and “Blithe Spirit” Noel Coward wrote two one-act plays which very few people have ever heard of, let alone seen. Berkshire Theatre mounted these together as their mainstage final play of the season. A substitute for the previously scheduled “Who’s Afraid of Virginia Woolf,” this reviewer had low expectations. Coward’s pithy British wit could not compare with the drama with a capital “D” of “Woolf.” Having experienced the plays, however, the comparison was as unfair as the proverbial apples and oranges. This was, surprisingly, an entertaining evening of theatre.
The concept of the plays was unique as common denominators linked the two; i.e. the same actors, setting, director, and stage crew. It’s an audience’s dream come true – to see three actors portray completely different characters in back-to-back plays with only a 15-minute intermission in the middle. Since play #1 was a comedy and #2 was a drama (yes, Coward wrote something serious), the actors were forced to use opposite sides of their brains, so to speak, in developing their roles. This was, assuredly, not an easy task, even for the best of thespians.
Maureen Anderman essentially played the same character. The actress would have shined in Coward’s later plays (a perfect Elvira in “Blithe Spirit,” for example), but was a bit too affected in these one-acts. Casey Biggs (the husband in each scenario) was type-cast as an unhappy, quick to cheat man which he took on with workmanlike skill. His challenge was in play #2 as a man with a title, fame, and a secret – this he did quite well, as the audience saw his pain and bravado. Mia Dillon created a loud rich American visiting Europe and later a demure and smart post-World War II escapee. Dillon was extremely talented in both roles – first an in-your-face boar, and second a stand-by-your-man lovely lady. Of the three actors, her roles called for the broadest stretch and Dillon was keenly able.
through August 31
By Shera Cohen
Long before “Private Lives” and “Blithe Spirit” Noel Coward wrote two one-act plays which very few people have ever heard of, let alone seen. Berkshire Theatre mounted these together as their mainstage final play of the season. A substitute for the previously scheduled “Who’s Afraid of Virginia Woolf,” this reviewer had low expectations. Coward’s pithy British wit could not compare with the drama with a capital “D” of “Woolf.” Having experienced the plays, however, the comparison was as unfair as the proverbial apples and oranges. This was, surprisingly, an entertaining evening of theatre.
The concept of the plays was unique as common denominators linked the two; i.e. the same actors, setting, director, and stage crew. It’s an audience’s dream come true – to see three actors portray completely different characters in back-to-back plays with only a 15-minute intermission in the middle. Since play #1 was a comedy and #2 was a drama (yes, Coward wrote something serious), the actors were forced to use opposite sides of their brains, so to speak, in developing their roles. This was, assuredly, not an easy task, even for the best of thespians.
Maureen Anderman essentially played the same character. The actress would have shined in Coward’s later plays (a perfect Elvira in “Blithe Spirit,” for example), but was a bit too affected in these one-acts. Casey Biggs (the husband in each scenario) was type-cast as an unhappy, quick to cheat man which he took on with workmanlike skill. His challenge was in play #2 as a man with a title, fame, and a secret – this he did quite well, as the audience saw his pain and bravado. Mia Dillon created a loud rich American visiting Europe and later a demure and smart post-World War II escapee. Dillon was extremely talented in both roles – first an in-your-face boar, and second a stand-by-your-man lovely lady. Of the three actors, her roles called for the broadest stretch and Dillon was keenly able.
August 24, 2008
Goatwoman of Corvis County
Shakespeare & Co., Lenox
through August 31
By Shera Cohen
It’s not every day that an audience member has the opportunity to see the world premiere of a play which is also the first play in a new venue. This was the case with “The Goatwoman of Corvis County” at Shakespeare & Company’s Bernstein Theatre.
This play, which was one of the semi-staged readings at the end of Shakes & Co.’s last season, was brought to life as a full-blown production. [September 1st marks the full-day of this year’s readings.]
“Goatwoman” has a strange title, indeed. Its characters and plot are equally as strange and quirky. Charlotte, a healer of goats, is a five-time married woman who has huge difficulties healing her own life. Keira Naughton commands the stage in nearly every scene. This young actress, who also starred this season at Berkshire Theatre Festival’s “The Book Club,” is both strong and subtle in her performances. Charlotte is a mentally sick woman, and Naughton portrays her perfectly – as if we (the audience) are eavesdropping into her life.
Charlotte’s husband is a brute with a low IQ, yet he is smart enough to know that his wife could get him into trouble. Thomas Kee nicely creates a wise-guy Randy who no one would possibly like, let alone love. David Rosenblatt (Charlotte’s son) and Daniel Berger-Jones (an attorney) don’t have a lot to do, but are effective as foils in fleshing out the characters of Charlotte and Randy.
Kudos to set designer Susan Zeeman Rogers, who brought the audience immediately into the story. Through smells and sounds, even from the lobby and rounding the corner into the theatre, it was obvious to theatre-goers that every detail had been attended to. The working kitchen, garage, patio, and secret room clearly defined the parameters of the story and its characters. Seamlessly segued in were many flashbacks arranged by director Robert Walsh.
The playwright, Christine Whitley, attended the performance. She is so young, and she is so talented. Watch for her name in the future.
through August 31
By Shera Cohen
It’s not every day that an audience member has the opportunity to see the world premiere of a play which is also the first play in a new venue. This was the case with “The Goatwoman of Corvis County” at Shakespeare & Company’s Bernstein Theatre.
This play, which was one of the semi-staged readings at the end of Shakes & Co.’s last season, was brought to life as a full-blown production. [September 1st marks the full-day of this year’s readings.]
“Goatwoman” has a strange title, indeed. Its characters and plot are equally as strange and quirky. Charlotte, a healer of goats, is a five-time married woman who has huge difficulties healing her own life. Keira Naughton commands the stage in nearly every scene. This young actress, who also starred this season at Berkshire Theatre Festival’s “The Book Club,” is both strong and subtle in her performances. Charlotte is a mentally sick woman, and Naughton portrays her perfectly – as if we (the audience) are eavesdropping into her life.
Charlotte’s husband is a brute with a low IQ, yet he is smart enough to know that his wife could get him into trouble. Thomas Kee nicely creates a wise-guy Randy who no one would possibly like, let alone love. David Rosenblatt (Charlotte’s son) and Daniel Berger-Jones (an attorney) don’t have a lot to do, but are effective as foils in fleshing out the characters of Charlotte and Randy.
Kudos to set designer Susan Zeeman Rogers, who brought the audience immediately into the story. Through smells and sounds, even from the lobby and rounding the corner into the theatre, it was obvious to theatre-goers that every detail had been attended to. The working kitchen, garage, patio, and secret room clearly defined the parameters of the story and its characters. Seamlessly segued in were many flashbacks arranged by director Robert Walsh.
The playwright, Christine Whitley, attended the performance. She is so young, and she is so talented. Watch for her name in the future.
August 23, 2008
Trey McIntrye Project
Jacob's Pillow, Becket
August 23
by Colleen Moynihan
What makes an artistic endeavor great, enjoyable or memorable? In dance is it the choreography, the personality of the dancers, the marriage of music, form and energy? Jacob's Pillow ended its 2008 season with a new dance ensemble, the Trey McIntrye Project, that absolutely delighted the audience on every level.
Artistic director/choreographer McIntrye has been recognized as an innovative choreographer since 1989. His troupe combines the discipline of classical ballet and the energy of modern dance.
The program opened with a quiet, tender piece, "Surrender," a world premiere. The dancers captured the audience with an engaging interpretation of 60's music by Carole King and John Lennon interspersed with Tschaikovsky's "Dance of the Mirlitons". It was easy to follow, pleasant to view; athletic but simple.
Another premiere, "Leatherwing Bat," featured John Michael Schert, the image of American youth. His ability to move in space around the other dancers while containing himself without any rigidity was compelling to watch and added depth to the story.
The unique style of the Project lies in its use of intricate interlocking body movements that lead to subtle interpretations of space -- vertical, horizontal or within the personal realm of self. Their closing piece demonstrated this skill by seamlessly combining the elements of classical ballet and modern dance. Four women were on point; four men executed their roles in vibrant modern dance tradition. The result was a mix of physical dynamism and restraint that was elegant, energetic, playful and sensuous. Dvorak's "Serenade in E, Op22" sounded ever so sublime augmented by the visual interpretation of the dancers, also providing a rollicking background to the ensemble's effective play on form through body movement and varying spatial effects.
The troupe's strength is in its modern dance elements: athletic energy and control. The classical ballet movements are safe and correct but lack the stretch, height or stamina associated with electrifying ballet. McIntrye's integration of the two dance forms increases the interpretation opportunities and delights the viewer with the results.
August 23
by Colleen Moynihan
What makes an artistic endeavor great, enjoyable or memorable? In dance is it the choreography, the personality of the dancers, the marriage of music, form and energy? Jacob's Pillow ended its 2008 season with a new dance ensemble, the Trey McIntrye Project, that absolutely delighted the audience on every level.
Artistic director/choreographer McIntrye has been recognized as an innovative choreographer since 1989. His troupe combines the discipline of classical ballet and the energy of modern dance.
The program opened with a quiet, tender piece, "Surrender," a world premiere. The dancers captured the audience with an engaging interpretation of 60's music by Carole King and John Lennon interspersed with Tschaikovsky's "Dance of the Mirlitons". It was easy to follow, pleasant to view; athletic but simple.
Another premiere, "Leatherwing Bat," featured John Michael Schert, the image of American youth. His ability to move in space around the other dancers while containing himself without any rigidity was compelling to watch and added depth to the story.
The unique style of the Project lies in its use of intricate interlocking body movements that lead to subtle interpretations of space -- vertical, horizontal or within the personal realm of self. Their closing piece demonstrated this skill by seamlessly combining the elements of classical ballet and modern dance. Four women were on point; four men executed their roles in vibrant modern dance tradition. The result was a mix of physical dynamism and restraint that was elegant, energetic, playful and sensuous. Dvorak's "Serenade in E, Op22" sounded ever so sublime augmented by the visual interpretation of the dancers, also providing a rollicking background to the ensemble's effective play on form through body movement and varying spatial effects.
The troupe's strength is in its modern dance elements: athletic energy and control. The classical ballet movements are safe and correct but lack the stretch, height or stamina associated with electrifying ballet. McIntrye's integration of the two dance forms increases the interpretation opportunities and delights the viewer with the results.
August 16, 2008
Tilted House
Chester Theatre Company
Chester MA
Now through August 24, 2008
August 14, 2008
By Donna Bailey-Thompson
Chester Theatre Company’s problem is one any acting troupe would welcome: regardless of a script’s popularity, their productions are noted for being interesting, indeed, provocative. Again, for their 2008 season, Chester has presented four disparate plays which have elicited reactions ranging from high praise to "Oh, please." The season’s finale, the world premiere of Tilted House by Susan Eve Haar, falls somewhere in between.
Not that Tilted House is a so-so play. The story line is there. The editor husband (Victor Slezak) has invited his wife’s old love, a successful novelist (Michael Milligan) to their summer seaside retreat which confuses the banked ennui in the restless wife (Ylfa Edelstein), mother of Henry (Alex Slezak, making his theatrical debut weeks before entering first grade). These are attractive people who, with the exception of Henry, are rife with nefarious goals, nagging doubts and occasional insights: "I should never marry a man who hates his mother." During an emotional meltdown, the wife begs her husband, "Reach for me, even if you don’t love me," only to have him say, "I can’t," which may be his way of saying, "I won’t."
If ever a play has potential, it’s Tilted House. There are sustained moments that pull the audience into the play but then, suddenly, there’s a glitch that breaks the bond: a succession of scene changes contributes to a choppiness; a few scenes take more time to set up and tear down than they do to play. The audience scrambles to find an opportunity to renew the caring they developed for the characters. These interruptions in the flow beg the question: Is it possible to reduce the number of scene changes, perhaps by spotlighting the actors, and so keep the story moving forward?
Against an idyllic background of sand, beach grass, ocean, blue sky, fair weather clouds and the screech of gulls, the characters cope, and sometimes toy, with the strain of resolving the messy issues perpetuated within a triangle of bruised egos. In sharp contrast is the sweet innocence of the boy. He does not deserve to live in a tilted house.
Chester MA
Now through August 24, 2008
August 14, 2008
By Donna Bailey-Thompson
Chester Theatre Company’s problem is one any acting troupe would welcome: regardless of a script’s popularity, their productions are noted for being interesting, indeed, provocative. Again, for their 2008 season, Chester has presented four disparate plays which have elicited reactions ranging from high praise to "Oh, please." The season’s finale, the world premiere of Tilted House by Susan Eve Haar, falls somewhere in between.
Not that Tilted House is a so-so play. The story line is there. The editor husband (Victor Slezak) has invited his wife’s old love, a successful novelist (Michael Milligan) to their summer seaside retreat which confuses the banked ennui in the restless wife (Ylfa Edelstein), mother of Henry (Alex Slezak, making his theatrical debut weeks before entering first grade). These are attractive people who, with the exception of Henry, are rife with nefarious goals, nagging doubts and occasional insights: "I should never marry a man who hates his mother." During an emotional meltdown, the wife begs her husband, "Reach for me, even if you don’t love me," only to have him say, "I can’t," which may be his way of saying, "I won’t."
If ever a play has potential, it’s Tilted House. There are sustained moments that pull the audience into the play but then, suddenly, there’s a glitch that breaks the bond: a succession of scene changes contributes to a choppiness; a few scenes take more time to set up and tear down than they do to play. The audience scrambles to find an opportunity to renew the caring they developed for the characters. These interruptions in the flow beg the question: Is it possible to reduce the number of scene changes, perhaps by spotlighting the actors, and so keep the story moving forward?
Against an idyllic background of sand, beach grass, ocean, blue sky, fair weather clouds and the screech of gulls, the characters cope, and sometimes toy, with the strain of resolving the messy issues perpetuated within a triangle of bruised egos. In sharp contrast is the sweet innocence of the boy. He does not deserve to live in a tilted house.
August 11, 2008
Not Waving
Williamstown Theatre Festival
through Aug. 17
By Bernadette Johnson
An afternoon at Williamstown Theatre Festival might be your safest bet these days for a storm-free day at the beach. But don’t be too sure. While there are only light, wispy clouds on the horizon, there are definitely storms brewing in Ellen Melaver’s “Not Waving.”
Melaver gives the audience permission to eavesdrop on three separate couples who stake out their claims for an afternoon on a stretch of beach near where a man has recently drowned. David Korins’ beach is definitely inviting with its dunes and driftwood, sea grasses and gently sloping sandy surfside expanse. An empty lifeguard stand adds an ominous note. There was no lifeguard on duty the day of the drowning.
The three couples as settle in: Matt and Lizzie (Nate Corddry and Maria Dizzia), a young married couple determined to relax (“We agreed on fun”); Patsy and Peter (Harriet Harris and Dashiell Eaves), a mother and her 32-year-old son seeking quality time together (at least she is); and Bo and Cara (Will Rogers and Sarah Steele), teenagers out for a fun day at the beach (Bo less enthusiastic than Cara, who has a subtler plan). The roles are well cast, each player contributing substantially to the unfolding drama.
It is as if the waves wash away all pretense, and layer by layer, we discover the issues that lie just beneath the surface. Secrets are revealed, emotions laid bare. Harris and Eaves play out the friction between mother and son, which is apparent and harmless enough from the outset then deepens. He eventually reveals that he finds her snobbish and she that she finds him forbidding and intimidating.
And from his “I’m bored” (minutes into their arrival) to his frantic attempt to build a gigantic skate park, Rogers captures the restlessness of one who isn’t quite thrilled with being at the beach.
There is very little interacting among the couples. Plot lines are not interwoven. These could easily be three separate vignettes if it were not for the underlying theme, three couples dealing with life situations, “the waves that knock you down.”
through Aug. 17
By Bernadette Johnson
An afternoon at Williamstown Theatre Festival might be your safest bet these days for a storm-free day at the beach. But don’t be too sure. While there are only light, wispy clouds on the horizon, there are definitely storms brewing in Ellen Melaver’s “Not Waving.”
Melaver gives the audience permission to eavesdrop on three separate couples who stake out their claims for an afternoon on a stretch of beach near where a man has recently drowned. David Korins’ beach is definitely inviting with its dunes and driftwood, sea grasses and gently sloping sandy surfside expanse. An empty lifeguard stand adds an ominous note. There was no lifeguard on duty the day of the drowning.
The three couples as settle in: Matt and Lizzie (Nate Corddry and Maria Dizzia), a young married couple determined to relax (“We agreed on fun”); Patsy and Peter (Harriet Harris and Dashiell Eaves), a mother and her 32-year-old son seeking quality time together (at least she is); and Bo and Cara (Will Rogers and Sarah Steele), teenagers out for a fun day at the beach (Bo less enthusiastic than Cara, who has a subtler plan). The roles are well cast, each player contributing substantially to the unfolding drama.
It is as if the waves wash away all pretense, and layer by layer, we discover the issues that lie just beneath the surface. Secrets are revealed, emotions laid bare. Harris and Eaves play out the friction between mother and son, which is apparent and harmless enough from the outset then deepens. He eventually reveals that he finds her snobbish and she that she finds him forbidding and intimidating.
And from his “I’m bored” (minutes into their arrival) to his frantic attempt to build a gigantic skate park, Rogers captures the restlessness of one who isn’t quite thrilled with being at the beach.
There is very little interacting among the couples. Plot lines are not interwoven. These could easily be three separate vignettes if it were not for the underlying theme, three couples dealing with life situations, “the waves that knock you down.”
