Escanaba in Love

Majestic Theater, West Springfield, MA
www.majestictheaeter.com
through December 5, 2010
by Shera Cohen

How does a theatre troupe take a poorly written play and make it a successful production? Not easily. The Majestic, from those onstage to those backstage, do their damnedest to create the absolute best possible work with the material given. For those who experienced "Escanaba in da Moonlight," presented at this venue ten years ago, one cannot help but laugh again, simply upon remembering that play's dialogue and action. Given "Moonlight's" hilarity, it is hard not to expect the same from "In Love."

Taking the production as it stands, there are many fine qualities to what is especially a drama about how to define love, coupled with some laughs. The story takes place in Michigan in 1944 at a hunting cabin. Gramps and the men in the family are on their annual quest to kill deer. No women allowed - this is a guy thing. Greg Trochlil's decrepid, rustic, messy set is exquisite for its purpose. The details are perfect, from the ripped upholstery to the birch trees.

Photo by Lee Chambers

The task of the actors to make their characters' words depict real people is brought to the test. Each in the quintet is excellent, albeit in primarily caricature roles - quite common it many plays. The interaction increasingly becomes better, poignant, and humorous with the entry of each new character. John Thomas Waite's and Chris Shanahan's roles set the long opening-act scene. Save for a few off-color jokes, their story-telling is serious. Enter Shaun Barry (a former Majestic "regular" who has been long missed) as a friend whose role is weaker than the actor deserves. Paul DeVries, as the youngest male in the family, is wonderful as the naïve and smitten son. Upon the scene is "the woman," Big Betty. Meghan Lynn Allen takes her job seriously; at the same time deservedly getting the most laughs in the play. Her make-up is dirt, her clothes are plaid, and her demeanor is raunchy. Yet, Allen gives Betty a hidden charm.

A recommendation is to arrive early to see the Majestic's new second floor gallery. Featuring the work of 30 local artists, this is a lovely exhibit/store.

Three Cups of Tea

University of Massachusetts, Ahmerst, MA
www.umass.edu/fac/
October 27, 2010
by Robbin M. Joyce

There's an African Proverb that goes, "Educate a boy and you educate an individual. Educate a girl and you educate a community." That is what Three Cups of Tea did for the UMass community. Male and female, young and old were in the audience to be educated on Greg Mortenson's quest to make a difference.

Actor Curtis Nielsen appeared in Wynn Handman's adaptation of Three Cups of Tea, written by Greg Mortenson and David Oliver Redin. Handman took Mortenson's experiences and distilled them down into a 60+ minute series of vignettes about the first school he was able to build in Pakistan. These vignettes alternated in location between Pakistan and the U.S. The stage was bare, save for a single wooden bench representing Pakistan and two mismatched chairs representing the U.S. Perhaps the sparse set was an analogy for how little it takes to educate a child; a mere $600 will pay an annual salary for a teacher.

Nielsen took his audience on a virtual jeep ride of emotion. We sped around boulders, over speed bumps and went off-roading as he relayed the obstacles in his path from his original failed attempt to climb K2 and subsequent stumbling into a remote village whose children gave him his ultimate purpose in life: to promote peace one school at a time. Nielsen adeptly switched pace and volume according to where he was in the world. Although at times his inflection seemed overwhelmingly emphatic, ultimately the picture he painted was touching and real.

Once the story telling was over, the house lights came up for a Q&A session. It was a satisfying opportunity to gain a little more insight into both Nielsen's process and the Central Asia Institute, founded by Mortenson after his initial experiences relayed in this play. And if questions weren't enough, the audience could also donate to Pennies for Peace to help build schools in Afghanistan and Pakistan.

Blue Man Group

The Bushnell, Hartford, CT
www.bushnell.org
through October 31, 2010
by R.E. Smith

"Ready, go!"  As those words flash across an LCD message board, the Bushnell theatre roars to life as the Blue Man Group takes the stage and transports the audience to a world of wonder.  Rock concert, pantomime, performance art, silent movie, percussion showcase, visual pun; a performance by BMG is all these things and more.

It is safe to say that the Bushnell has never seen anything like the Blue Man Group before.  Using old and new material and rebuilding it for traditional Broadway style houses, the BMG has taken the group experience and made it intimate.  There are new sequences that jab at our multi-tasking culture as well as famous segments featuring black lights, splashing paint and drums.

Who or what the BMG are/is can be left open to individual debate.  Lost tribe?  Alien race?  Mutants from the future?  The missing link?  In the end it really doesn't matter; these silent, bald, and blue beings are incredibly talented.  Lights flash, drums pound, plumbing becomes musical instruments, music becomes something you can see and feel.

www.blueman.com

Perhaps the show's reputation has made people worried that the show is too "out there" for their taste.  But this presentation appeals to young and old, as was evidenced by the make-up of the audience at opening night.  Grandfathers and children were clamoring for the opportunity to participate.  Who hasn't wanted to play with 10 ft round glowing beach balls, or dance to a song devoted to the human posterior?

The show is playful, intelligent, and good fun.  Whether catching gumballs in their mouths, or creating beats with Captain Crunch, the BMG explores the environment with child-like intensity.  The result is a permanent smile on the face of every audience member.

Any devotee of theatre, music, and/or physical comedy needs to see this show.  Anyone who needs to smile, laugh, or lose themselves for a while needs to see this show.  Theatergoers leave the theatre energized and never looking at a Twinkie the same way again.

Radiance - Music of Motown

Springfield Symphony Orchestra
Symphony Hall, Springfield, MA
www.symphonyhall.com
October 25, 2010
by Eric Sutter

As freedom goes, the music of Motown is about joy. The magic of Motown was presented by the Las Vegas vocal quartet Radiance to a packed house of delighted fans. Guest conductor William Grimes did an "awesome" job of keeping the Symphony Orchestra in time with the hits of Motown. He began the evening with "The Star Spangled Banner." Radiance sparkled with their opening number by Martha Reeves and the Vandellas, "Heat Wave." The purple dressed Divas combined to work the audience into a singing frenzy. All the ladies were lead vocalist quality and Wendy Edmead did her best to sing Aretha Franklin's "Freeway of Love." Lush harmonies and superb voices were crafted in support of classic Supremes' tunes "Come See about Me" and "Love Child" with the Symphony strings as excellent, albeit atypical, back up. The rhythm section of Land Richards on drums and Marcus Van on bass accompanied by Wilson Richardson on piano worked up the Donna Summer disco dance medley to close the first half.

The after intermission concert coaxed the audience into dancing in their seats (so to speak) with "Dancing in the Streets." Dancing ensued in the aisles with "I'm So Excited" along with an emotional piano solo. The girls flirted with the audience and the conductor. Dressed in gold, Edmead's solo "Natural Woman" was a very good interpretation of Lady Soul which imbued the audience with soulful memories. The mid-70's pop love ballad, "When Will I See You Again?" had a similar effect with a nice touch by the strings. "Love's Theme" began with the intricate violin playing of first violinist Masako Yanagita which weaved into the introduction as the girls cavorted in red evening gowns. They finished with a sweet voiced triple play of Supremes' favorites - a shot stopper. Flute, along with touches of percussion (especially xylophone) during the Diana Ross spoken portion of "Ain't No Mountain High Enough" was a lovely change. Radiance  brought down the house with the hand clapping dance number by Sister Sledge, "We Are Family."

How to Succeed in Business Without Really Trying

Goodspeed Opera House, East Haddam, CT
www.goodspeed.org
through November 28, 2010
by R.E. Smith

"How to Succeed in Business. . ." is a musical that is as much fun to watch as it is to hear.  Colors, shapes, choreography, and costumes all serve to enhance and propel the story of J. Pierrepont Finch.  "Ponty" is an ambitious window washer who  flatters, winks, and ingratiates himself a quick move up the corporate ladder.  Despite the play's being over 40 years old, the characters of this business world will be quite familiar to today's "tired working man.”

Every member of the cast and ensemble is top-notch.  One could choose to watch any supporting player in the background for a whole scene and still be treated to a well-rounded, smile-producing, performance.  The choreography is energetic and strong.  The show’s biggest stopper, "Brotherhood of Man" can barely be contained in the Goodspeed's intimate setting.

Photo By Diane Sobolewski

Despite the male protagonist, the ladies are really in charge of this "Business.”  Natalie Bradshaw, as Rosemary Pilkington, has the presence and voice of an ingénue from an earlier time.  Her voice is strong but sweet and she has a confident sparkle in her eye.  Erin Maguire as "Smitty," Rosemary's best friend, has the genuine voice, rhythms, and delivery of a classic screwball comedy "pal.”  From Jennifer Smith's executive secretary to Nicolette Hart's blond bombshell, every actress delivers strong style, wit, and comedic chops.

Even the set is a stand out.  Since the Goodspeed is often home to revivals set in more rustic or rural times, it is a bit startling to see the "modern" lines and colors of the early sixties.  But what a unique and lively set it is!  Doors and panels slide about, shuffle, and rearrange, creating offices and elevators.  Desks, chairs, and coffee carts glide around giving every transition a fluid energy.

The score by Frank Loesser includes classics like "Happy to Keep His Dinner Warm", "Grand Old Ivy," and "The Company Way".   Audience members will literally tap their feet along with the score.  As always, the Goodspeed proves that "they don't make them like this anymore," but shows like this are every bit as worth seeing as ever.

Monty Python's Spamalot Kicks off Symphony Hall's 2010/11 Broadway Season

Symphony Hall, Springfield, MA
www.citystage.symphonyhall.com
series through May, 2011

The Tony Award-winning Best Musical of 2005, "Monty Python's Spamalot," will visit Springfield for one performance only on November 4 at Symphony Hall. Lovingly "ripped-off" from the internationally famous comedy team's most popular motion picture, "Monty Python and the Holy Grail," this musical is the winner of three Tony Awards including Best Musical and Best Director (Mike Nichols), as well as the Drama Desk and Outer Critics Circle awards for Best Musical.  

Telling the legendary tale of King Arthur and the Knights of the Round Table, and their quest for the Holy Grail, "Spamalot" features a chorus line of dancing divas and knights, flatulent Frenchmen, killer rabbits, and one legless knight.

Monty Python isn't a person, but a group of British actors and writers (and one American) that performed their famous comedy show "Monty Python's Flying Circus" on the BBC from in the 70's, with subsequent international fame and success.

For ticket information on this and the rest of the Symphony Hall Broadway Series (which includes "Fiddler on the Roof," "Grease," and "Legally Blonde") call the box office 413-788-7033.

Antony and Cleopatra

Hartford Stage, Hartford, CT
www.hartfordstage.org
through November 6, 2010
by Stacie Beland

Hartford Stage is offering a decadent performance of "Antony and Cleopatra," hallmarked by a rich tapestry of solid ensemble acting and stunning production value. With so many aspects of the production being so original, it's difficult to give credit where it's due.

Tina Landau's direction is spot-on. It resonates in the performances of the featured players, but is also visible in the performances of those characters who, under Landau's brilliant direction, remain wordlessly (but not silently) onstage. An example of this lies with Julio Monge's Soothsayer, who witnesses most of the dramatic action from the shadows. Monge never lets his focus waver even as the action shifts away from him. Truly, each and every actor's performance is layered with character development. Alexander Cendese's excellent portrayal of a frat-boy Pompey, Keith Randolph Smith's boisterous and ultimately repentant Enobarbus, Jake Green's much-maligned Messenger, and Scott Parkinson's simpering and snapping Cesar all deserve more praise.

John Douglas Thompson, as Antony, raises the bar for the ensemble. While careful not to outshine any other performance, Thompson sparks onstage. That spark never leaves, even as he is lying motionless onstage after meeting his inevitable end. Thompson perfectly balances clear recitation and honest character. His portrayal of Antony's actions and the emotions behind them were are such that probably each audience member can feel them.

As for Cleopatra, Kate Mulgrew's performance quality is up to the task, but more so than her physicality permits; she seems to push a youthful and impetuous Cleopatra. Her recitation and the sheer exuberance, however, make it an eminently watchable and enjoyable performance.

Every so often, a production comes around that reminds one what it is like to see a Shakespearean performance, instead of a performance of Shakespeare. This is that production. Pre-modern language is made modern, relevant, and eminently alive at Hartford Stage. This is a seamless balance of design, performance, and production that is simply not to be missed.