Some Last Notes on Summer 2019

by Shera Cohen

The final notes of Beethoven’s Symphony #9 are the traditional sign that summer in the Berkshires has ended. I was there on August 25th, along with a shed full, and lawn equally full, of thousands of music-lovers. On a lovely, low-humidity, 74 degrees, semi-sunny Sunday, the day seemed hand-picked for Tanglewood’s swan song.

However, a correction is in order. Neither Tanglewood, the BSO, or even Beethoven had the last words or notes of the region’s season. Summer is not over in the Berkshires, yet.

Shakespeare & Company, Lenox: “Time Stands Still,” a contemporary drama, takes the stage in September into October. Occasional readings are scattered throughout the fall including the Bard’s “Julius Caesar.”

South Mountain Concert Series, Pittsfield: For five weekends in September and October, small-group classical music performing “A List” composers by professional musicians takes place.

Barrington Stage, Pittsfield: BSC’s summer season showcased some heavy-duty dramatic plays and will mount one more for the entire month of October; “American Underdog”.

Berkshire Theatre Group, Stockbridge & Pittsfield: Because BTG encompasses five stages, there is lots of room and time for summer to extend. “What the Jews Believe,” on the Stockbridge campus begins in late September, and Colonial Theatre, Pittsfield, continues year-round with music, dance, theatre, and comedy.

Berkshire Bach Series, Great Barrington: Beginning in November, monthly concerts are performed, primarily on Saturday afternoons. Combining the Berkshires with Bach makes a wonderful duo.

The Whit, Pittsfield: Whitney Center for the Arts mounts three plays, one each month in the fall which include “Orion,” Dream Awake,” and “This Wonderful Life.” The latter is a one-man play based on (you guessed it) “It’s a Wonderful Life.”

WAM Theatre, Lenox: Where Arts & Activism Met, WAM is a collaboration primarily of women artists performing for women and men. Its next full-length play, “Pipeline,” will be seen in October.

Close Encounters with Music, Great Barrington: Mahaiwe Theatre is the perfect venue for the six concerts of CEWM series of professional orchestral concerts by small groups performing classics and newly penned compositions.

REVIEW: Shakespeare & Company, “Topdog/Underdog”

Shakespeare & Company, Lenox, MA

www.shakespeare.org

through September 8, 2019

by Shera Cohen

Photo courtesy of Shakespeare & Co.

Two black brothers: as close as they can be and as far as they can ever be. One “the winner” (Topdog), one “the loser” (Underdog). Then circumstances switch and switch again as soulmates quickly become Cane and Abel. At one point, the younger of the two asks, “Do you think we’re really brothers?” The older man says that they are. But what is kinship? If people just happen to live in the same house, does that make them even remotely the same?

“Topdog/Underdog” poses these questions between the brothers and for the audience. All the while, Booth (performed by Deacon Griffin-Pressley) acts like a puppy dog jumping around, literally and figuratively, trying to be noticed by Lincoln (Bryce Michael Wood), the more mature and steadfast of the two, yet very much a man with his own problems. Packed with symbolism, the play’s text takes every opportunity to blatantly pose difficulties that seem unsolvable. From the very start, the characters’ name, Booth and Lincoln, set up the action, which the audience will immediately realize, will not end pleasantly.

Director Regge Life has staged this two-plus hour play, equally balancing the good and bad, pros and cons, hits and misses that can possibly make each or both brothers succeed. The director throws out tiny bits of hope that maybe, if these brothers united it could be them against the world. Yet, the audience knows that this is a long shot.

Griffin-Pressley portrays immaturity and bravado with a child-like attitude. His career is that of a petty thief. He probably doesn’t love his brother, but more importantly, he respects his skills. Wood’s character has been there/done that and learned the hard way. While far from perfect, he gives the straight life a try, at the same time humiliated by his efforts.

“Topdog/Underdog” is a very good, well-written play that sets the issues, the place, and the characters connected seamlessly to each other. Yet, this is a play where the two actors’ talents are superior to the script. The audience is often left questions; i.e. is Booth feigning his involvement with Grace (an unseen character), conniving his next moves, or just so crazed by his own impossible life that he barely exists as a real person?

Some thoughts about the set: the NYC co-op is much too large with decent furniture; the elegant chandelier in a rundown building makes little sense.

Note: Looking around the theatre, it was obvious that there were few or no people of color in the audience. That is a missed opportunity; theatre is for everyone.

REVIEW: Berkshire Theatre Group, Hershey Felder as George Gershwin Alone

Berkshire Theatre Group, Colonial Theater, Pittsfield, MA

www.BerkshireTheatreGroup.org

through August 31, 2019

by Jarice Hanson

Hershey Felder is a multi-talented performer who researches the lives of some of our great composers and weaves their personal histories into tapestry of music and heart-felt storytelling and performance like no other. Seated at the Steinway piano, Felder concertizes, expounds on artistic inspiration and genius, and takes his audience by the hand and heart to better understand the music and the composers who have given us a rich cultural history of music.

In “Hershey Felder as George Gershwin Alone” at the Colonial Theatre, part of the Berkshire Theatre Group’s summer season, Felder examines the work of one of our greatest American composers who transcended Tin Pan Alley to crossover into opera with “Porgy and Bess”) and symphonic work, such as “Rhapsody in Blue.” From the time Gershwin started playing as an accompanist for theatrical performers at the age of fifteen, through the first sale of one of his compositions (“Swanee”) to Al Jolson at the age of twenty-one, to his untimely death at the age of thirty-eight, Gershwin composed some of the most memorable music of his day. Songs like “Fascinating Rhythm,” “S Wonderful,” and “Someone to Watch Over Me,” are but a few of the thousand-plus songs he penned over a short lifetime.

The Gershwin show includes some incongruous moments, such as George’s self-promoting radio show in which his tune, “The Man I Love,” and the Parisian car horns that inspired “An American in Paris backed the Feenamint commercial for laxatives.” His close relationship with his brother, Ira, the lyricist of the duo, is a prominent feature of the current show.

Photo by Mark Garvin

Felder is an accomplished musician, but his own evocative style as a pianist, singer, and raconteur shows a special understanding of genius, time in history, and understanding of the human spirit. He does not try to imitate the composers he features, but he suggests mannerisms and speech styles that are true to the subject at hand. He works with the audience to touch the right cords of emotion that help him communicate effectively, appearing to work effortlessly, but in reality, drawing on his own skill and desire to make the music of bygone artists accessible and meaningful for a contemporary audience. Watching his concentration at the piano is a moving experience, and the beauty he creates with “Rhapsody in Blue” brought tears of emotion to many in the audience.

Whether you love the American Songbook, or just appreciate an artist at the top of his game, you owe it to yourself to see Hershey Felder in action. There is an honesty and artistry in every moment of a Hershey Felder production.

REVIEW: Jacob’s Pillow, Boston Ballet

Jacob’s Pillow, Becket, MA

www.jacobspillow.org

through August 25, 2019

by Josephine Sarnelli

Photo by Rosalie O'Connor

Last appearing at Jacob’s Pillow in 2004, the Boston Ballet’s return visit was long overdue. Their program highlighted versatility and their commitment to classical roots, yet an understanding that any art form should be forward-looking to remain meaningful. The standing ovation demonstrated the audience’s agreement.

The Bach Cello Suites opened the evening with ten dancers and cellist Sergey Antonov. It was a beautiful marriage of contemporary ballet with concert quality cello playing. Jorma Elo, the resident choreographer, employed movements that demonstrated the strength and athleticism of the performers with nontraditional lifts and asymmetrical balancing.

The Boston Ballet is fortunate to have the only domestic licenses to the choreography of Leonid Yakobson, a contemporary of George Balanchine. The Pas de Quatre, performed to selections from Bellini’s opera Norma, was the climax of the program for lovers of classical Russian ballet. Of note was the setting; the backstage of the theatre was open to reveal the night forest. Costumed in long white tutus, the four ballerinas were personifications of grace and beauty. Their emphasis on hand and arm gestures was true to the Russian style. It was a magical and memorable performance.

The second choreography by Yakobson was entitled Rodin, as it brings to life four sculptures by this artist. Through expert lighting, the four couples clothed in metallic unitards transform from inanimate statues to take on human emotions. The dancers exploit the realism and physicality that were the focus of criticism and controversy surrounding Rodin’s works. The Eternal Spring expresses newfound love with playfulness. The Kiss explores tenderness. Intimacy and passion are manifested from The Eternal Idol. The piece dramatically concludes with the lustful Minotaur and Nymph.

The finale, excerpts from Playlist (EP), was a pleasant surprise of classical dance movements juxtaposed to hip hop music. Newly choreographed by William Forsythe, it premiered in Boston in March. It has the many qualities of a team sport with quick formations and costumes with names across the back. The male performers’ high leaps, multiple pirouettes and batterie bring to mind the Enrico Cecchetti ballet style and worked well with the fast, upbeat tempo. Equally impressive was the performance by the six female performers en pointe. Their jazz-style movements were overlaid on exquisite technique. As Forsythe had expressed in an interview, this “…. work is just another way to love ballet.”

Review: Chester Theater Company, Curve of Departure

Chester Theatre Company, Chester, MA

www.chestertheatre.org

through August 18, 2019

by Stacie Beland and Hilde Axelson

Curve of Departure, by Rachel Bonds, is an extraordinary play that is beautifully brought to life under Keira Naughton and through its performers, who portray a snapshot of a family. The set, lighting, and sound design allow us to truly feel as though we are inside a small New Mexico hotel room. Tiny details—such as flashes of blue as a family member watches TV and the many bottles of medications, visible but not prominently displayed, tucked near the bathroom sink—allow us to become fully engrossed in what unfolds before us.

Fascinatingly, there is no antagonist in the script, though it is not without conflict. It is a simple study, a slice of American life and daily struggle. We first meet Rudy and Linda as Linda is ironing Rudy’s funeral clothes in the room. Rudy’s son, Linda’s ex-husband, has passed. Linda, despite the divorce, has remained a dedicated caretaker and companion to her ex-father-in-law. They are eagerly anticipating the arrival of Felix, Linda’s son and Rudy’s grandson. Felix is expected to arrive with his boyfriend, Jackson. As we wait for the boys to arrive, it becomes clear that Rudy is struggling with some unnamed form of dementia; he is struggling with memory loss and is burdened by a body that is turning against him. Linda remains upbeat and unflappable. When the boys arrive, it is revealed that they are caring for and potentially adopting Jackson’s niece, something for which Felix feels unprepared.

Ami Brabson’s is a wonder as Linda. She is a woman on the edge, but is never hesitant to speak her mind and offer advice. Whether cheerfully escorting Rudy to the bathroom, cleaning him, or counseling both Felix and Jackson, all among the undercurrent of her ex-husband’s death and having to face his “new family,” she is the glue that holds this night (and morning) together. When she finally breaks down, it is decidedly well earned. Her portrayal is stunning.

Raye Birk, as the aging and curmudgeonly Rudy, portrays his character with perfect precision in loveable dotage. When Rudy reveals his plans for the future, we grieve with his family but also cheer for what may be his last assertion of his wishes. He is a man that has lost so much, but not so much that he’s ignorant to the loss itself. Birk is a fantastic in this role.

As Jackson and Felix, Jose Espinosa and Paul Pontrelli (respectively), are an engaging couple. Truly, Pontrelli’s Felix steals the show and somewhat overshadows Espinosa’s Jackson. Pontrelli’s intensity on the stage is unmatched; there is never a moment where he isn’t completely engaged in what is happening around him. His subtle facial expressions and barely perceptible nervous affectations combine to form a well-rounded, highly believable character.

Truly, upon seeing this performance, one cannot help but leave the theater and want to spend more time with this family, to somehow ingratiate oneself into their fictional lives—you develop such a care and concern for all of them that, upon waking the next day, you want to call them to make sure they’re okay. It is a fantastic, highly believable performance.

REVIEW: Barrington Stage Company, Fall Springs

Barrington Stage, Pittsfield, MA

www.barringtonstageco.org

through August 31, 2019

by Michael J. Moran

The cast of "Falls Springs"

With music and lyrics by Niko Tsakalakos and book and lyrics by Peter Sinn Nachtrieb, “Fall Springs” is making its world premiere full production at Barrington Stage after seven years in development. The title setting is “a town somewhere in the USA” which sits atop “one of the largest Essential Oil reserves in the country.” The nine-member cast includes five middle-aged adults, four of whom are single parents; and four teenagers, one child of each parent.

Mayor Robert Bradley introduces the town (“Fall Springs”) and promotes its advantages “as the 4th fastest growing, the 11th safest, and 14th most aesthetically pleasing smallish town not including locations near water or mountains.” After his daughter, aspiring geologist Eloise, worries about environmental damage (“Gimme Science”), Beverly Cushman, head of the Fall Springs Essential Oil Drilling company, gets the Town Council to approve “Hydraulic Fracking,” which threatens the community’s very foundations.

The teenagers’ band, “Impending Doom,” is convinced that the town is “Sinking in to Oblivion,” and when more potholes and pavement cracks are reported, the adults wonder if “The Birds Have Come Home” to roost. Disaster strikes by the end of Act One, and its aftermath is explored, with humor, pathos, and hope, following intermission in Act Two.

The cast, all but one experienced Actors’ Equity members, bring the satirical spirit of the text and the plot to stirring life. Matt McGrath is a pompous and superficial Mayor, while Ellen Harvey’s Beverly is a hilariously over-the-top monster of corporate greed. Alyse Alan Louis is a forceful yet touching Eloise, while Sam Heldt is haplessly endearing as Beverly’s nerdy son Felix. Ken Marks is an affecting scold as Nolan Wolanske, “the town genius/vagrant” scientist colleague of Eloise’s late mother, who perished in a mysterious accident.

Mike Pettry’s five-piece band, featuring keyboards, guitars, percussion, and bass, nails the infectiously appealing rock-based score, which also sports witty and incisive lyrics, and supports director Stephen Brackett’s absurdist vision of this ecological parable. So does imaginative scenic design by Tim Mackabee, resourceful costumes by Emily Rebholz, and zany choreography by Patrick McCollum.

In the honorable tradition of 2001’s “Urinetown,” this delightful production delivers a sobering message in an entertaining package and deserves a longer life in this era of the ongoing discussion of climate change.

REVIEW: Tanglewood, Bach, Yo-Yo Ma

Tanglewood, Lenox, MA

www.bso.org

August 11, 2019

by Karoun Charkoudian

Yo-Yo Ma photo by Jason Bell

Imagine playing a musical instrument alone for two and a half hours straight without an intermission, in front of thousands of people. A feat of stamina -- physically, mentally, and emotionally. Who was up for this? Yo-Yo Ma, of course. This night was a part of Ma’s “Bach Project,” performing Johann Sebastian Bach’s six suites for solo cello in one sitting in 36 locations around the world.

After sitting through grueling traffic (because two Tanglewood concerts were scheduled back to back, both with big names), the crowds gathered, looking forward to a 7:30pm concert, only to find out that the concert was rescheduled to 8pm. The evening was off to a late start and the audience wasn’t happy.

Yo-Yo Ma, with incredible energy and vivaciousness, had clearly been working with audiences for decades and understood, not only was this concert an Olympic feat for him, but it was a feat for the audience as well. He included a “7th inning stretch” after Suite No. 3, and between Suite No. 5 and Suite No. 6 he did not stop for applause, only paused for a few seconds, so no audience members could slip away in hopes to beat traffic. For those who did stay until the end, they earned a special surprise when James Taylor appeared on stage to play the encore (this concert was in fact sponsored by Caroline and James Taylor in honor of Andrew Previn).

The Bach Suites are all structured similarly, all with seven movements with almost identical names. Highlights were the deep extended regal chords of the Sarabande, the dance-like feel of the Menuett (sometimes replaced by a Gavotte or Bourree), and the fast and fiery Gigue which concluded every Suite. The third and sixth suite are purportedly the most difficult, (claims the average cellist), and the suites were numbered based on chronological time, when they were written by Bach.

Ma’s vision is to celebrate humanity and to bring people conjointly through The Bach Project. Ma announced that this was a celebration of coming together. As we struggle to make meaning in our lives we can look to Bach. Bach’s writing is about human nature and the infinite variety of life; this music can unite us while helping to understand each other.