Review: “The Legend of Georgia McBride,” Berkshire Theatre Group

Berkshire Theatre Group, Pittsfield, MA
www.berkshiretheatregroup.org
through August 16, 2026
by Shera Cohen

The songs of Edith Piaf are not nearly as popular as they were decades ago, except perhaps in gay bars. Indeed, that’s exactly the on stage location where the audiences of Colonial Theatre’s production of “The Legend of GeorgiaMcBride” frequent nightly (except Mondays) along with matiness.

Matthew Lopez, one of the most prolific and talented playwrights whose works are often staged in Hartford and the Berkshires, takes credit and laughs for “Georgia”. The comedy is broad, outlandish, and side-splitting. Yet, in Act II, sobering text offers a deep look at humanity. 

Straight guy Casey, down on his luck with an empty wallet, has two things going for him: a dream to be a successful musician and a caring wife. Michael Wartella as Casey, portrays a somewhat dimwitted young, sweet man who would take the shirt off his back to help a stranger. Metaphorically, this is his only shirt. In dire straits, Casey reluctantly agrees to work as a drag queen at a failing bar in a hick town in FL. Wartella’s credits include Broadway, Off Broadway, and several plays at BTG. Obviously, he is a favorite in the Berkshires. Somewhat short in stature, Wartella is a talented singer on guitar and physical comedian. 

Kyle Taylor Parker, who easily stands at 6’6’’ as transvestite extraordinaire whose comic timing, nuances, and asides steal the show portrays Miss Tracy Mills. Another Broadway and touring star, Parker’s lithe strides and dance moves bely his stature. Wartella and Parker make an odd couple fun to laugh at and laugh with. We like them both for their similarities and differences.

One sign of a skilled director and choreographer, in this case Isadora Wolfe takes on both, is when the audience doesn’t notice the work put into these jobs. Directors don’t just worry that actors might bump into each other (that should be a given), but every movement is purposeful for the characters.

Randall Parsons, scenic designer, has more to do than meets the eye. Casey and Jo’s apartment is bare because they have few funds to buy anything. The same for the rundown bar. However, a set mechanism turns one scene 180-degrees to create the other. Amy Avila, costume designer, must be in stitches (okay, bad pun) seeing her cheeky formal dresses worn by men.

Known primarily for his dramatic portrayals, BTG’s artistic regular of 40 years, David Adkins, takes an unusual role as the very funny on-stage MC and scripted bar owner. The small cast also includes Emilie Kouatchou (Casey’s wife), Shayne Haley (Tracy’s friend), and E. Gray Simons III (landlord).

“Georgia” is hoot. Some may hesitate to bring youngsters to this play. Don’t. Lots of kids on opening night obviously loved it!

 

Review: TheatreWorks, “The Cannibals of McGower County”

TheatreWorks, Hartford, CT

Photo:  Curtis Brown Photography

https://twhartford.org/

through August 30, 2026

By Jarice Hanson

 

TheaterWorks Hartford has mounted a play that is disturbing, violent, and very current. Four outstanding actors tell the story that unfolds before the audience’s eyes with honesty and full commitment. 

 

Playwright Drew Larimore’s note in the playbill explains that this show is part one of a trilogy he is writing that he classifies as “Southern Gothic.” The characters each have backstories of abuse, lies, poverty and disappointment, and Larimore workshopped the play with the four actors over a two-year process, undoubtedly learning each actor’s strengths and mining their ability to behave like disparate members of the community that has seen better days in McGower County in West Texas.

 

Director Jen Wineman finds humor at the right moments but never allows the story to get silly or lose its momentum. Instead, the story emerges like an onion, shedding its skin and drawing one deeper into the human condition. There are twists and turns aplenty, and many of them unexpected. If this show had men at the center of the action it would be just another treatment of men behaving badly, but because two of the leads in this ensemble piece are women of a certain age, the behaviors are unexpected and shockingly powerful.

 

Anchoring the play are two gifted actresses, Annalee Jefferies as “Lindalyn,” a curmudgeonly woman who seems bitter and unfulfilled. She walks with a cane and a limp—signs of an injury that never healed correctly. Constance Shulman as “Viola” seems simple-minded but loyal to Lindalyn, who she’s known most of her life.  The two women are wonderful together, especially as they enter the broken-down diner wearing what looks like miners' hats with headlamps, planning to steal whatever they can sell. 

Costumes by Alejo Vietti tell the story of their personalities, and Tim Mackabee’s set design gives them plenty of props on the realistic set that looks like a deserted bar in a place where no one wants to live.

 

The young lovers are Gus Birney as “Sarah Nell,” a sweet, beautiful girl who hasn’t had much life experience, and Edward Hoke as Blaze" who comes from privilege and has purchased the old bar.

What do these two have in common besides a load of chemistry and passion? That’s where the story that brings these four people together starts to get juicy.

 

There are more sudden shifts in tone than could be described in this summary, but that would spoil the moment-by-moment pleasure of the audiences’ discovery of these characters and the lives of the three women who try to guard a lifetime of secrets. 

 

“Cannibals of McGower County” is not a perfect play (yet), but this is an excellent production and shows the promise of the character-driven study that emerges as the story spirals deeper and deeper. This creative cast and production team work seamlessly together to reach into the audience’s collective soul and remind us that there are places in this country that have suffered from ignorance and poverty. 

McGower County is a place where even people who mean well, are sometimes damaged and dangerous. 

 

Constance Shulman and Annalee Jefferies in "Cannibals of McGower County"

 

Visiting The Mount: Even if you’ve never heard of Edith Wharton

August 5, 2026

Lenox, MA
edithwharton.org
by Shera Cohen

Perhaps you were assigned readings of classics in high school or college? Perhaps they included “The Age of Innocence,” “The House of Mirth,” and/or “Ethan Frome”. These were not on my lists, and I had enough to read for my classes that there was little time for pleasure reading. It wasn’t until years later, when I didn’t “have to” study books that I added Edith Wharton novels. I had a large choice to choose from: fiction novels, non-fiction books, short stories. Frankly, I didn’t realize what pleasure I had been missing.

I also didn’t know that this talented, world-renowned, prolific author, born in 1862, New York had lived part of her adult life not so far away from me in Lenox, MA. Surprisingly, Wharton designed her estate, which she shared with her husband, down to the last detail.

It’s somewhat of a trek up and down the terrain but walking shoes or sneakers should solve that problem; perhaps. One large mound covered with brown dirt and only a bit of grass is the Dog Cemetery. Wharton was known for her love of dogs and owned many. As each dog died, her grounds man buried the animal, along with the others who had passed away before, in this graveyard. She purposely designed the land for her pets; directly within sight of her bedroom window so that she could frequently and easily see the spot.

The Mount’s Sculpture Exhibit of curated art created by famous sculptors from throughout the country is visitors’ favorite. This year’s theme is “Flourish” which means growth, resilience, connection, hope, and the ways communities thrive by bringing people together. Works engage with nature, flora, fauna, and the interplay between art and landscape.

These pieces are large! Don’t think of them as house decorations, and many would not fit on the average house’s lawn. The pieces are made of a plethora of material, including copper, steel, flowers, glass, ceramic, straw, and more. Take a leisurely stroll through the entire grounds, even bring your dog. FREE

The exhibition includes many clearly obvious depictions of people, animals, as well as identifiable objects. Oftentimes, sculpture is not that obvious, eliciting questions from viewers like, “What is that?” But that’s okay. Art of all genres can and should be examined and inspected by those who are curious and wish to learn. A small metal lamb bows its head near the entry to the garden, “Flight” is a bird (what kind? ) landed on a large strip of green lawn, the life-size “Boy with Frog” is exactly that. There are a few metal flower sculptures and two small windmills. The Sculpture Exhibit ends October 24, 2026.

For many years, I have attended the Mount’s Summer Author Series. This season features eight authors, each discussing the impetus, process, and insight into his or her book – fiction and non-fiction. The series takes place weekly on Monday afternoons and again on Tuesday mornings. I remember when audiences filled the prior venue for the talks; The Wharton Stables. Every seat was taken for every Monday with an overflow of disappointed visitors who had to miss the talk. The brilliant idea of purchasing a huge circus-size tent was one of the Mount’s best investments. Still, lectures on two days fill the tent. This is wonderful!

Admittedly, I don’t attend all talks, yet many subscribe. Author Mark Braude spoke on The Typewriter and the Guillotine, an untold story of Janet Flanner, an atypical American journalist living and working in France at the start of the fascist movement of the 1930’s.

For the most part, this year’s speakers focus on biographies: James Baldwin, Bruce Lee, The Schuyler Sisters, and Dolly Parton. Then there are histories of various eras: conservative movement in the 1960’s, women in Modern Russia, and the start of WWII.

Another series, called “In Conversation,” is moderated by Andre Bernard. You never know who will be interviewed until  you receive the Mount brochure. Again, the site is the tent, where Bernard is in a type of “60 Minutes” visit with renowned experts in their fields; primarily politics and history. For example, the success of this series was the interview by Former CIA Director General David Petraeus; an instant sell-out.

This should be any person’s worst problem, but to some degree, there is too much to do at the Mount on any given day; i.e. garden tours, dance performances, poetry readings, music for tots, and Wharton short stories read-aloud by professional actors. Oddly, perhaps, is my mandatory destination to the gift shop. Trust me, leave time to experience this lovely and intimate section in the Wharton House.

 

Review: "Grease" Opera House Players

Opera House Players

Temple Beth El, Springfield, MA

https://www.operahouseplayers.org/show-information 

through August 16, 2026

by Shera Cohen

It is safe to say that "Grease," the movie and the musical (the latter ran on Broadway for 8 years) is a favorite of all generations. That was the case by a look at the packed house at the production of "Grease" by OHP, yet this time located on the stage of Temple Beth El, Springfield. 

OHP, in the throes of renovation of its permanent theatre in Enfield, CT, is using the temple for what they plan to be a one-time only move. This alternate venue is intended to keep patrons and performers safe and comfortable in an air-conditioned environment.

Perhaps designed purposefully, or not, this version of the musical seems to be an ensemble rather than a vehicle to showcase the characters Danny and Sandy. Atypical can be a plus for OHP. After all, the stars sing very few solos and one duet. Kudos truly belong to the company; meaning just about everyone onstage. 

Bravo to codirectors Stevie Norman and Michael King, and equally to choreographer Chantel Martin for successfully manipulating 21 actors/singers/dancers on a relatively small, unfamiliar stage. The big numbers -- "Grease Is the Word," "We Go Together," "Shakin' at the High School Hop," "You're the One that I Want" and "Hand Jive" are the winning elements of OHP's version of "Grease". Can anyone return on the ride home without humming or singing at least one of these standout songs?

                                                                                                                                                                                                                                            

Many players, as well as members of the creative team, are newcomers to OHP; and nearly all are young. Everyone in theatre must start somewhere. As wonderful as it is to offer this opportunity to newbies, a suggestion is to mix it up in the future. Immediately recognizing Tim Reilly as the oldest cast member (no insult intended, because by far, Reilly is certainly one of the best in local community theatre), without scene-stealing, he makes Act II shine. In fact, Act II is fun; not just because Danny and Sandy "go together" at the musical's end.

Direction of Act I needs more humor, whether it be physical interactions between characters and/or conversations.

Forgivable problems attribute to a new venue and opening night. Many sound glitches and reverberations jar the audience and slow the dialogue, lighting beams in wrong sections, set changes taking much too long, and some backrow and sideline dancers scattered. Assuredly, these errors will diminish as the production continues this weekend and next.

The energy of the actors is evident. See this musical soon, as "Grease is the word."

Note: "Grease" depicts the 1950's and hit Broadway in the early 1970's. Remember that the script is extremely dated and some material might be suggestive to children.

REVIEW: Tanglewood Festival of Contemporary Music

Tanglewood, Lenox, MA 

https://www.bso.org/tanglewood

July 23 & 27, 2026 

by Michael J. Moran 

As noted in the program, this year's Tanglewood Festival of Contemporary Music, directed by Finnish composer-conductor Esa-Pekka Salonen (perhaps best known for his transformative tenure as Music Director of the Los Angeles Philharmonic), "celebrate[d] some of Salonen's influences, musical friends, and younger composers whose music he has championed." 

Introducing the first concert on July 23, entitled "Those We Have Lost Too Soon," Salonen shared touchingly personal memories of the three recently deceased composers honored in this program. It opened with his own brief tribute to English composer Oliver Knussen, "Arabesques for Olly," smashingly played by cellist Han Lee, with Isabel Tannenbaum on drone. Next came a dazzling account of the string quartet "Terra Memoria," by Finnish composer Kaija Saariaho ("the older sister I never had," according to Salonen).  

"Four Poems of A. R. Ammons," by American composer Steven Stucky, featured stunning solos by bass-baritone Raphael Laden-Guindon and baritone Holden Turner. Saariaho's other-worldly "Lonh" ("Distant") showcased haunting vocals by soprano Lucy Fitz Gibbon and electronics by Ryan McCullough. Knussen's heartfelt "Requiem - Songs for Sue," a memorial to his wife, was distinguished by the protean singing of soprano Zoe McCormick. All performers are Tanglewood Music Center fellows or alums. 

The closing concert on July 27, titled "Nordic Boomers," presented works by four contemporary Scandinavian composers. After a helpful spoken overview by Salonen, he led the Tanglewood Music Center Orchestra of early career musicians in a bracing account of the colorful 2020 "Serenades" by his Finnish compatriot Magnus Lindberg, born days before Salonen in the same Helsinki hospital ("we bonded in the crib," said Salonen). 

Next, in sharp contrast, came Danish composer Hans Abrahamsen's harrowing 2013 setting of Paul Griffiths' 2008 novel "let me tell you," in which Ophelia re-tells her story in the 480 words she speaks in Shakespeare's tragedy "Hamlet." Soprano Alexandra Henderson was sensational in this challenging role, and TMC conducting fellow Lauren Smith paced the TMCO with clarity through Abrahamsen's darkly shimmering score. TMC conducting fellow Julian Gilewski then led the TMCO strings in a highly charged reading of Swedish composer Anders Hillborg's 2021 "Kongsgaard Variations," cleverly based on the heartfelt "Arietta" movement of Beethoven's last piano sonata. 

Ending the concert and the Festival on a high note was Salonen's own Cello Concerto, which he wrote in 2016 for Yo-Yo Ma and conducted with the deep insight of the creator. The taxing solo part was played with unflagging energy and Ma-like virtuosity by Finnish cellist Senja Rummukainen. The dense but clear orchestration of its four substantial movements feature a large percussion section, including congas and bongos, and electronically looped fragments of the solo cello broadcast through multiple speakers around Ozawa Hall, building a riot of exciting sound.  

  

Personal thoughts: Tanglewood’s Open Rehearsals

Tanglewood, Lenox, MA

www.bso.org

Summer, 2026

by Shera Cohen

 

Rehearsal v. Concert

Regular Tanglewood visitors are aware that programs are scheduled every Saturday morning; these are orchestra rehearsals for the next day’s afternoon concert. Take out your calendars, write these dates down, and try to get to Tanglewood at least once this summer. The season is far from over. 

Mozart’s Marriage of Figaro photo credit: Hilary Scott/BSO photo

The scheduled conductor and guest soloists take the stage along with the full Boston Symphony Orchestra. There’s only one noticeable change between the two days’ concerts; it’s casual Saturday as everyone wears summer pastels and shorts. The musicians dress-up a bit on Sunday; not suits and LBD but like colors.  As for the audience, whatever fits and is cool.

 

Is the rehearsal the exact program at the next day’s “real concert”? Sometimes, but not often. Some can be 2+ hours of start, stop, over, and over, as the conductor talks to various sections of the orchestra, making suggestions on how to perform with perfection. Anything the BSO does is perfect in my book.

 

Most times, the rehearsal plays straight through until the end of each piece. Only then are segments extrapolated and rehearsed again. To have such a keen ear, I am amazed by the talents of conductors. 

 

For me, rehearsals are learning experiences in one of the most beautiful settings in this country. Prior to attending, I usually don’t pay attention to who’s performing, which composer, etc. Melding the sounds of classical music with the sights, smells, and touch of Tanglewood as a backdrop, just can’t get better on any Saturday morning.

 

Saturday Morning Rehearsal
Tanglewood's music director Andris Nelsons was at his podium at precisely 10:30am. Tchaikovsky's Symphony No. 5 in E minor, called "the symphony of triumph over fate" composed in 1888 appeared at the top of the playbill.

Tchaikovsky led the premier in St. Petersburg, Russian. At the time, the composer didn't think very highly of his own work, even considering retirement. That malaise quickly changed when he began to work on perhaps one of his most famous and respected pieces, "The Sleeping Beauty".

Certainly, the BSO music was exquisite as always. However, it was guest violin soloist, the adorable 15-year-old Himari from Japan who grabbed all the attention. This little girl (yes, girl) stood front, stage left, next to Nelsons, oftentimes giving the conductor notes on what she felt the orchestra might do as it accompanied her, rather than the reverse. So poised and confident standing in her blue dress, I have never been so impressed by the artistic skills of someone so young yet mature.

Moving ahead a couple of centuries, the BSO rehearsed an unfamiliar work to me by Esa-Pekka Salonen, born in 1958.  "Gambit," a shorter piece, was festive and upbeat. This is somewhat crass, but for the most part, my knowledge of composers are those who are no longer with us, although their music lives on forever. Salonen was very much in the present. In fact, I saw him conduct his own music only two days later.

I was quite surprised how much I enjoyed "Gambit". This proves my own mandate: be open to art that is new to you, give it a try at the very least. I wish I could identify the name of the instrument, but my guess is that some sort of ancient woodwind featured prominently in the piece. The sound replicated swishing waves with birds hovering over. And I know that this time, the melody was not the echo of actual birds flying in the shed. The latter is a common occurrence -- one that is unique to Tanglewood and one that I would not want to miss.

A Weekday Rehearsal  
Usually, one morning each week (generally on Thursday or Friday), the BSO rehearses the Saturday evening concert. I planned the day accordingly in order to hear Mozart's "The Marriage of Figaro," again conducted by Nelsons with James Darrah Black as the Tanglewood Music Center chorus director. This was an ideal "Tanglewood Day" -- a combination of the joy of live opera in Tanglewood's huge shed on a clear and relatively cool morning. 

These rehearsals are not ticketed. In other words, they are free, yet visitors are not permitted in the concert tent. I simply sat outside on my own lawn chair. Less than 50 people also sat or spread blankets under trees. Large screen monitors center stage and positioned along the outside periphery of the shed permitted a look at the singers and musicians. Hearing is never a problem, no matter where your seat is.

The opera singers were animated, and although not in costume, acted and interacted with each other as they sang the beautiful and fun Mozart score.

Rehearsals serve as coming attractions or daytime concerts for those who might not be able to attend the "real thing".

Review: Circa Contemporary Circus: Wolf

Jacob’s Pillow, Becket, MA

www.jacobspillow.org

by Shera Cohen

Although not its first visit to Jacob Pillow, Circa Contemporary Circus’ performance for one week on the stage at the Ted Shawn Theatre was, with no hesitation, the most creative, awe-inspiring, and unique dance event at this noted venue this season. No wonder the full house.

 

For those familiar with many versions of Cirque de Soleil, Circa is similar in execution. This may be a fine point, but while Cirque is entertainment, Circa is art.

 

Circa is one of the world’s leading performance companies. Since 2004, its base has been Brisbane, Australia. From there, the troupe of 10 (5 women and 5 men) has toured in 39 countries on six continents to over a million people. They have performed throughout the world at leading festivals and at prominent venues.

 

Founder Yaron Lifschitz termed Circa as an ensemble of exceptional, multi-skilled circus artists.

If this is a new form of contemporary dance style, bring it on! It is powerful, emotional, and unique. Paraphrasing The Age Magazine, Circa is the frontrunner of the new wave of contemporary Australian circus, developing physicality to prove powerful.

 

Is this dance? Movement? Theatre, Circus? It is all of these at once.

 

The troupe’s long piece, including intermission, was titled “Wolf”. By the stances of the dancers and their simple skin-tight beige costumes with black or brown geometric shapes, it was clear that each individual on stage, or groups, did become wolves. These young, lithe dancers were able to contort and meld their bodies to become the picture of a single wolf.

 

Without trapeze or net, exquisite costumes or sets, the artists relied on each other’s bodies as steps in order to build mountain tops. How high can they go? A lot higher than anticipated. The trust that each must give to the group is incredible. All the time, these human formation images were made directly and swiftly before the audience’s eyes – far more than tricks; each was an artistic depiction of a wolf or wolves in different environments, moods, or habits.

 

At the start of the dance performance, Executive & Artistic Director, Pamela Tatge, briefed the audience on what was about to take place. In her introduction, she stated, “You will find yourselves asking, ‘How’d they do that?’” She was right.

 

Unfortunately, Circa’s week has ended. Yet, eight full concerts remain, including those by famous, respected troupes like: Gauthier Dance, Brian Brooks Moving Company, San Francisco Ballet, Ephrat Asherie Dance, Ballet Hispanico New York, Haang Yi:Ink, and ending with Hubbard Street Dance Chicago.

 

Dozens of one-shot dances take place on the outdoor Henry J. Leir Stage as well. The performers are soloists, duets, and ensembles. Like those on the two main stages, all are immensely talented professionals in their various genres which include: jazz, ethnic, ballet, traditional, and modern. Live music collaborations are the best programs, when two living art forms work together to create the best of both.

 

Jacob’s Pillow’s campus is serene and lovely, accentuating the performing arts in its theatres.