ON THE ROAD: Berkshires Summer Vacation 2024 or, what to do in 5 straight days at 90+ degrees

by Shera Cohen

Each day predicted rainfall was over 60% with strong winds, thunderstorms, lasting for hours, even potential hail. Not that I’m complaining that none of this did occur, although it might have given a bit of reprieve from the heat. But then, I had no choice but to manipulate my plans and try to be spontaneous – yes, an oxymoron. 

The following were the “go to” and “stay home” programs on my “How I Spent [part of] My Summer Vacation” agenda.

"Mornix"

Jacob’s Pillow, Becket www.jacobspillow.org – I won’t pretend to be a connoisseur of dance.
Yet it’s a pleasure to learn about art genres that are not my bailiwick, while explaining to readers that, perhaps like them, I know what I like and no more. One professional, international dance company takes the Ted Shawn Stage for a week. Good to know: the barn-like theatre has AC. In many cases, young girls fill the seats; wannabee dancers. It’s obvious that they love the programs.

Since the horrible fire of a few years ago which destroyed the Pillow’s second stage, JP’s summer program is atypical, yet it works. The Pillow utilizes its Outside Stage more often than ever to showcase numerous smaller dance companies or individual artists proving their talents for one-shot gigs. What an excellent opportunity for many who might not have had on a stage, let alone the prestigious JP stage.

Switzerland’s Ballet du Grand Theatre de Geneve has been prominent throughout Europe for over 60-years. The term “ballet” seemed to be a misnomer, as the three pieces were not indicative of my expectations. “Noetic” created full-company modern dance tableau images. “Faun,” developed a growing love story between a male and female faun. Not that the Each dancer’s nuance from head to toe transformed themselves into two lovely animals. The final piece, “Strong,” was the epitome of a 40-minute flawless program of mesmerizing, synchronized movements; a nonstop performance that required incredible strength, focus, and stamina.

Argentina-based Social Tango Project combined equal parts: dance, live music, still images, and video documentary. This genre of dance brings tango to the concert stage in a way that audiences have not seen before. The dancers had been primarily based in Argentina. The essence of the South American culture is at the core of “the project”. 

Fragile Beauty Exhibit

Clark Art Institute, Williamstown – www.clarkart.edu/museum From various readings, I believe that Clark is considered one of the finest museums in the country. I am thrilled that this large, multi-faceted building which is home to the “A List of Artists” of the past two centuries is here in MA, and a “must” on my Berkshires vacation calendar. Only by coincidence on my part, did we visit Clark on opening day of the Edgar Degas exhibit (through 10/6/24). This artist’s name is synonymous, along with that of others, with Impressionism.

The large billboard signs depicting Degas throughout the Berkshires are, however, a bit of a misnomer. I was mistaken that Clark had mounted a Degas exhibit of many of the artist’s genres; these were works on paper only, such as sketches and essentially first drafts.

The star of Clark’s 150th Anniversary of the First Impressionist Exhibition (through 10/14/24) is Guillaume Lethiere. Who? This man, whose skills to my untrained artistic eye, are equal to those whose names we all recognize. At least one-half of the Clark Center’s lower level is devoted to Lethiere as well as his followers in the same era; late-18th/early 19th centuries. 

Usually, I pace myself too quickly when viewing galleries. I do not give the artist his due. Yet, Lethiere’s images and accompanying stories alongside grabbed me, in a sense, as if he would say, “Hey, 21st century woman, I realize that my name isn’t Cassatt, Renoir, or Manet, but I’m damn good. Just take a look.”

Shakespeare & Company, Lenox – www.shakespeare.org If you like, or even love, the Bard, this is a must. If you like (primarily) contemporary theatre, S&Co. is still a must. “A Body of Water” is a contemporary play about a senior couple and a young woman who invades their privacy. The Roman Theatre is a snug alcove adjacent to one of the property’s buildings. The site is intimate, sound is flawless, yet mosquitos are aplenty. Spray and/or a bug bracelet will pretty much cure that problem. See review.

Back home, South Lee – Scrabble. We play a mean game. Suggestions: bring a game or book, watch HBO, or all 3. 

Great Barrington Public Theater, Great Barrington - www.GreatBarringtonPublicTheater.org GBPT is a relatively new group, located on the campus of Simon’s Rock.  I couldn’t have written a better review of “Survival of the Unfit,” a drama/comedy than that of In the Spotlight’s reviewer. One important suggestion: this is a college campus with many buildings, we spent a half-hour to find the theatre. SIGNAGE please. 

Mass MoCa, Williamstown – www.massmoca.org While looking forward to the Plastic Bag avant guard exhibit we couldn’t fit in the time; this unique static show is featured hand-in-hand with a movie specific for the exhibit. Just because I missed it, doesn’t mean you have to. 

Emanuel Ax

Tanglewood, Lenox – www.bso.org/tanglewood The coolest day in July, at 78 degrees, was ideal for a trip to the best-known attraction in the Berkshires. Many don’t realize that Saturday mornings offer music on the pristine acreage of Tanglewood. All rehearsals are open, whether sitting in the shed or on the lawn, for the BSO musicians to prep for Sunday afternoon’s concert. In most cases, the schedule is performed in its entirety with a few notes to artists from conductor Andris Nelsons. Those onstage are dressed in casual summer wear, as is the audience.

The program’s highlight was pure excellence to listen to pianist Emanuel Ax play Beethoven’s  Piano Concerto No. 3 in C. minor. Opus 37. Not being familiar with the music, my focus was on Ax, who always appears to be one of the unassuming geniuses of this era.

Richard Strauss’ sprach Zirathustra, a very long, powerful symphonic poem for full orchestra seemed to reach the sound panels of the shed to ricochet throughout the tent. This could be wrong, but quick research on my part implies that composer Gustov Holst borrowed some sections of Zirathustra for his own The Planets. Even later still John Williams used several portions of this same music. I was convinced that I was listening to Star Wars. I googled to check if all this borrowing was legal and kosher. Yes. 

Back home – More Scrabble. By this point it was nearly 100 degrees; even too hot to walk to the pool.

Don Quixote at TurnPark

TurnPark, West Stockbridge – www.turnpark.com Not so long ago, I visited TurnPark the year it opened. There wasn’t much to see, except huge, whimsical sculptures of Einstein and Don Quixote. Both still reside on the boulders and shrubbery of the large expanses of land. The owners are a Ukrainian family from who traveled through Russia, Europe, and finally the U.S. to pick the exact location they wanted for their sculpture showcase. By chance, TurnPark’s address is Moscow Road. New this summer is “Lost and Found,” a series of homes for gnomes; sweet, charming, and small. Hikers would be especially interested in this art venue.

Back home – Scrabble, yet again. 

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However, yet to come as my Berkshires Vaca continues are the following. 

The Mount, Lenox – www.edithwharton.org The ongoing, amazing, huge sculptures throughout the  acre of Edith Wharton’s home. Plus, a summer of weekly or bi-weekly author talks. I’ll be there at least twice. 

"Boeing" photo by David Dasheill

Barrington Stage Company, Pittsfield – www.barringtonstageco.org Earlier in the summer, I had seen the marvelously entertaining “La Cage aux Folles”. See review here. Next up will be Boeing, Boeing starring 3 of my favorite actors in the Berkshires.

Berkshire Museum, Pittsfield – www.berkshiremuseum.org On my docket for next week is to see three new exhibits: The Wild Indoors paintings, Black Woman as Muse photography, and Imaging Women in the Space age multi-media program. For a relatively small museum, it’s packed with a lot. 

Berkshire Theatre Group, Stockbridge & Pittsfield – www.berkshiretheatregroup.org The week prior to my vaca, I spent 2.5 hours laughing at “Mel Brooks’ Young Frankenstein”. See review at inthespotlightinc.org. It seems to me that BTG has put a lot of effort in mounting its best season in many years; I want to attend everything! A good mix, more musicals, small plays, and casts of thousands, or less.

REVIEW: Shakespeare & Company: So, you don’t like Shakespeare…or you think you don’t like Shakespeare

REVIEW: Shakespeare & Company, “The Comedy of Errors”

Shakespeare & Company, Lenox, MA

www.shakespeare.org

through August 18, 2024

by Shera Cohen

So, you don’t like Shakespeare…or you think you don’t like Shakespeare

Photo by Katie McKellick

Every decade or so, I write an article focused on my annual visits to Shakespeare & Company, Lenox, MA (S&Co). At the same time, each year, I make a point that my Plus 1 guest is a person who falls into either of the categories of this article’s title.

My mission is to convert Bard naysayers to Team Will Cheerleaders. Okay, that’s a big challenge. At the very least, I hope to help others appreciate the stories of 500-years-ago and realize that perhaps there are lots of things about attending live performances that can be enjoyable.

“The Comedy of Errors,” running July 13-August 18 at S&Co, as the venues “big play” of the season, is an ideal piece of theatre for novices for a variety of reasons. 

1) This is, as the title states, a comedy; far easier to understand than the dramas or history plays. If some of the language is difficult, the actors’ movements onstage (a lot of running around) fill in the blanks. You don’t need to understand every word. You won’t, and that’s okay. A suggestion would be to ask any of the many kids in the audience. They “get it”!

2. The time period is Coney Island in the early 1900’s. Oh, not in the 1500’s somewhere in Italy? Would Shakespeare approve of S&Co taking such liberties with his work? I think so. In fact, I believe that he would be the first to applaud the creativity of a different era and location that never existed in his own lifetime.

Photo by Katie McKellick

3. S&Co takes its productions very seriously, but no one says that you can’t laugh hysterically as well. Its directors, set and costume designers, and vocal coaches are all pros, many of whom are experts on the Bard.

S&Co has replicated the original Globe Theatre in England on an open-air stage, mounting the play on its outdoor amphitheater. The story takes place on flat wooden flooring in the center base surrounded by seating for approximately 200. There is nearly always a full house.

4. Adjectives that describe “Errors” are fun & fast, colorful & crazed, loud & louder. Be assured that every Bard play at S&Co has music; “Errors’” is honky-tonk and jazz. Actors wear a lot of day-glow yellow and motley attire. The lighting is a mix of electronics with nature when the sun gradually dims on the 7pm show.

5. The plots of Shakespeare’s comedies are, for the most part, similar: mistaken identity, usually twins mistaken for each other. In the case of “Errors,” there are two sets of twins; double the laughter, double the gymnastics, and double the pratfalls.

Experience “The Comedy of Errors”. You might not be a convert, but you will have fun. 

REVIEW: Tanglewood, "Tanglewood Music Center Orchestra Concerts"

Tanglewood, Lenox, MA

www.bso.org/tanglewood

July 8 & 15, 2024

by Michael J. Moran

Na'Zir McFadden

Each summer over a hundred young musicians starting their careers, from across and beyond the United States, gather for eight weeks at Tanglewood, where, tutored by Boston Symphony Orchestra members and visiting artists, they soon begin to sound as if they’ve been playing together for years. The first two concerts by 2024’s TMCO strongly affirmed the value of this training model.    

TMC conducting fellows Finnish-British Ross Jamie Collins and American Na’Zir McFadden
shared leadership duties at these concerts with BSO Music Director Andris Nelsons (July 8, in the Koussevitzky Music Shed) and BSO guest conductor Dima Slobodeniouk (July 15, in Ozawa Hall)). Collins opened the first concert with a thrilling account of Antonin Dvorak’s exuberant 1892 “Carnival” Overture. McFadden followed with a dramatic reading of African-British composer Samuel Coleridge-Taylor’s dynamic 1898 Ballade in A minor.

Nelsons closed the program with a powerful rendition of Dmitri Shostakovich’s 1937 fifth symphony, whose immediate success restored the composer to the good graces of Soviet authorities after harsh official criticism of his popular opera “Lady Macbeth of Mtsensk.” A haunting “Moderato” opening was followed by a sarcastically humorous “Allegretto,” a deeply moving “Largo,” and a potent mix of jubilation and doubt in the “Allegro non troppo” finale.   

  

Ross Jamie Collins

Ross began the second concert with a perceptive take on African-American composer Julia Perry’s 1952 “Study for Orchestra,” sharply characterizing the frequent mood shifts in this brief, mercurial piece. McFadden led a sweeping performance of a symphonic suite that Leonard Bernstein extracted from his score for the 1954 film “On the Waterfront,” which displayed a jazzier sensibility than most of his Broadway and classical works.    

Slobodeniouk, a regular BSO guest with Finnish-Russian roots, concluded the program with two rarities by Igor Stravinsky. Twenty-three members of the TMCO’s woodwind and brass sections expressed the austere sonorities of the 10-minute “Symphonies of Wind Instruments,” written in 1920 and revised in 1947, with piercing clarity. The full TMCO found more warmth and drama in Stravinsky’s 1945 “Symphony in Three Movements,” which includes music he had written for several abandoned film projects while living in Los Angeles during that period.  

Upcoming TMCO concerts in Ozawa Hall at 8pm will pair TMC conducting fellows with BSO guest conductors Alan Gilbert (August 5) and Hannu Lintu (August 19).

REVIEW: Jacob’s Pillow, "MOMIX"

Jacob’s Pillow, Becket, MA

www.jacobspillow.org

through July 28, 2024

by Josephine Sarnelli

MOMIX identifies itself as “a company of dancer-illusionists.” The genre of entertainment it offers might best be described as a dance derivative, where the underlying value is based in the dance art form but is actually much more complex. The sixteen performance pieces demonstrate the troupe’s proficiency in theatrics, acrobatics, athleticism, inventiveness and humor.

Founder and choreographer Mose Pendleton formed MOMIX in 1981 as an offshoot of Pilobolus, which he had previously co-founded and performed with. A master in the use of dance props, he incorporates items as diverse as pool noodles, a table, strings of light and rolls of banner paper, as well as complicated constructions. Each choreographic work is a creative and exhaustive exploration of the potential for one such prop.

Both the costuming and lighting were an integral part of the visual effects. Using the stage as a canvas, Pendelton often relied on negative space to create his illusions. As an accomplished photographer, he crafted scenes for the audience to immerse themselves into to enjoy a burst of childlike imagination.

Photo by Jamie Krause

The opening and finale were high energy performances by the entire troupe. “Solar Flares” utilized props resembling painted pool noodles danced to the tribal music of “Mr. Mahalo Head” by Brent Lewis. The company worked well together to synchronize movements. In the closing piece “If You Need Some Body” each dancer partnered a life size rag doll that was humorously tossed about with frenetic movements.  The dancers all looked genuinely happy as they danced and responded to the audience’s laughter.

Seah Hogan performed two noteworthy solos, “Queen of Diamonds” and “Aqua Flora.”  In both she demonstrated her incredible ability to spin, first while suspended from the ceiling with bungee cords and in the second act wearing a prop that appeared to be strings of pearls.  She received recognition from the audience during the program and again during the standing ovation given to the entire ensemble.

A unique visual effect was offered during “Echoes of Narcissus” in which the soloist laid on a full-length mirror. At first it created a sensual illusion of two dancers, but the image turned into kaleidoscopic motions of arms and legs. The simplicity of the prop highlighted Pendelton’s ability to look at the world through different eyes.

In “Marigolds” the ruffled costume metamorphosized from flower petals surrounding the dancers’ faces to full length gowns. As with the other performance pieces, dancing was merely a vehicle for developing an illusion.  While lovely, the dancing was secondary to the choreographer and audience.

The magic of MOMIX was the continual flow of routines, each offering a distinguishing feature. The dancers were all very talented and deserving of the standing ovation. But Pendelton as choreographer-illusionist is the true genius behind this incredible ensemble.

REVIEW: Great Barrington Public Theater, "Night At The Speakeasy"

Great Barrington Public Theater, Great Barrington, MA

www.GreatBarringtonPublicTheater.org

through August 11, 2024

by Suzanne Wells

Great Barrington Public Theater wraps up their summer season with the immersive production of “Night At The Speakeasy.” Directed by Wendy Welch, this swell show features a series of cabaret songs interspersed with historical dialogue that captures the essence of the Roaring Twenties, including the dancing, the lingo, and the freedom to express oneself.

Photo by Katherine Humes

Juliana von Haubrich and Matthew Adelson spare no detail in creating a smoke-filled,
underground gin joint. To enter, one walks down a darkened stairwell, lined with foliage and garden statues, to a red door. Presenting a password grants admittance to a dimly lit, smoke-filled bar where the stage is filled with clothed tables and chairs for the audience, who are encouraged to dress for the occasion, so don’t forget a feather boa or fedora. Art, along with an old-fashioned telephone, hang along the walls, and a myriad of chandeliers adorn the ceiling.  A cozy corner with velvet-lined chairs and a cigarette creates a lovely selfie-station. The stage, located where the audience would normally sit, consists of a velvet-lined chaise lounge and an upright piano. The intimate setting allows the audience to socialize while enjoying the entertainment.

Speaking of entertainment, Janelle Farias Sando’s performance is the “bee’s knees”! Her basic black costumes with glittering accessories are sexy and evocative.  Singing a variety of romantic, comical, and soulful jazz songs allows Ms. Sando to show off her dynamic vocal range and comedic style.  Kicking off the show with a performance of “Let’s Be Bad,” she maneuvers her way across the room, acknowledging each table, before taking the stage. And her risqué rendition of “Paris Makes Me Horny”, might make one miss their landline.

Accompanied by Hudson Orfe, a master tickler of the ivories, he also contributes to the vocals and an occasional joke.  Together, the duo create a memorable experience.

The only thing missing from “Night At The Speakeasy” is a police raid and paddy wagon. Otherwise, it is an entertaining evening filled with laughter, libations, and liberties — one might even say it is the “cat’s pajamas"!

REVIEW: Tanglewood , "Serge Koussevitzky Day"

Tanglewood, Lenox, MA

www.bso.org/tanglewood

July 26, 2024

by Michael J. Moran

Three events today celebrated the 150th anniversary of Koussevitzky’s birth in Russia and the 100th anniversary of his arrival in Boston as Music Director of the Boston Symphony Orchestra. By 15 years later he had also founded the Tanglewood Music Festival and the Tanglewood Music Center.

First came an insightful conversation before a packed house in the Linde Center’s Studio E, with music scholar Harlow Robinson, NPR radio host Tom Godell, and Koussevitzky biographer Victor Yuzefovich, who turned 600 boxes of scattered memorabilia into the Library of Congress’s Serge Koussevitzky archive. Clips of Koussevitzky speaking and excerpts from his BSO recordings conveyed his charismatic personality, his transformative effect on the BSO, and his championship of new music, especially by American composers. Russian-born Yuzefovich, while assisted by Boston-based translator Olga Birioukova, quipped that he speaks better English than Koussevitzky ever did.

Koussevitzky’s legacy as a double bass virtuoso before he became a conductor was showcased at the evening’s “Prelude” concert in Ozawa Hall, where BSO double bassists Carl Anderson and Benjamin Levy demonstrated the unwieldy instrument’s versatility in Giovanni Bottesini’s lively “Gran Duetto No. 3.” Levy joined BSO violinist Bonnie Bewick for a rollicking “Three Forks of Cheat,” based on a West Virgina fiddle tune. With BSO colleagues Danny Kim, viola, and Mickey Katz, cello, they revelled in Bewick’s arrangement of Bottesini’s “Tarantella” for double bass and string trio. The trio’s sprightly take on Erno Dohnanyi’s “Serenade” opened the concert.

The evening’s main event in the Music Shed highlighted its namesake’s small but notable output as a composer with Koussevitzky’s rarely heard 1903 concerto for double bass and orchestra. BSO principal double bass Edwin Barker and his colleagues under their Music Director Andris Nelsons played the 20-minute Tchaikovsky-influenced showpiece with technical polish and Romantic bravado. The concert opener, an evocative account of Steven Mackey’s colorful 2013 “Urban Ocean,” which Mackey introduced as depicting the mysterious interaction of the sea with humanity, recalled Koussevitzky’s legendary support for American composers.  

The program closed with lesser-known pieces by two Koussevitzky contemporaries whose music he especially favored. Jean Sibelius drew on Finnish mythology for his 1902 “The Origin of Fire,” for baritone, men’s chorus, and orchestra. Alexander Scriabin based his version of the story on Greek mythology in his 1910 “Prometheus, Poem of Fire,” for piano, chorus, and orchestra, which Koussevitzky premiered in Moscow, with the composer at the piano. Will Liverman was a forceful soloist in Sibelius, and Yefim Bronfman, seductive at the keyboard in Scriabin. Nelsons, the BSO, and the Tanglewood Festival Chorus, prepared by their conductor, James Burton, offered sumptuous backing in both these fascinating scores.

More background information is available at the BSO’s Koussevitzky 150th anniversary website: https://www.bso.org/exhibits/koussevitzky-150th-anniversary

 

REVIEW: Williamstown Theater Festival, "Pamela Palmer"

Williamstown Theater Festival, Williamstown, MA.

www.wtfestival.org

through August 10, 2024

by Jarice Hanson

 

Photo by Arden Dickson

The name of David Ives’ newest play at the Williamstown Theater Festival is an enigma. “Pamela Palmer” is the title, and while the name tells the audience nothing about the play, the title is perfect. 

 

The character named Pamela Palmer is seemingly perfect. She’s blonde, beautiful, happily married to a man “in the money industry,” and has a strong spiritual life. Her problem is that something seems wrong with this perfect life, and that makes her anxious. To help her figure out why she feels impending doom, she hires a private eye. She doesn’t expect to be attracted to him, but as the story unfolds in this 85-minute one-act, the perfect life is upended with surprise turns for Pamela, her husband, the private eye, and Pamela’s lower middle-class mother from Akron.

 

David Ives’ writing is heavy on dialogue and often peppered with genuinely funny lines, but the mood of the piece is a spoof on the noir detective theme. Billed as an “existential romance,” the overarching message is that perfection is an illusion and conspicuous consumption can destroy lives.  

 

What makes the piece work well is the extraordinary collaboration of Ives and Director Walter Bobbie. The two have a long history of collaborating on projects and the harmony they’ve developed shows in this work. Bobbie’s direction in the intimate Centerstage Theater is elegant.

 

Added to their exploration of such broadly conceived ideas about God, happiness, and anxiety, is a very talented cast that walks the fine line between reality and fiction.

 

Tina Benko plays Pamela, drawing on traditions of noir and the “beautiful blond” essential to a good detective story. Clark Gregg as the private investigator is seething, sexy, and earthy as gumshoes are. In the role of the erudite husband is Max Gordon Moore who plays the part with a British accent and mannerisms reminiscent of David Niven. Becky Ann Baker portrays Pamela’s cancer-surviving, lower middle-class mother. The actress fills the stage with her presence and provides a key to unlocking Pamela’s past. These actors handle the playwright's dialog masterfully. In one rapid, talky scene between Benko and Moore, the two actually seem to produce electricity. It’s an amazing scene and aptly shows the genius lurking behind the dialog, direction, and actors’ abilities.

 

This is a play that leaves audience members scratching their heads at the end. There's lots to ponder. It is not neatly wrapped up, but rather, continues the enigmatic metaphor. For those who enjoy this type of ambiguity, "Pamela Palmer" will please. However, as Williamstown’s big production of the summer, it may leave viewers wanting more.