REVIEW: Springfield Symphony Orchestra, “A Night in Italy”

Symphony Hall, Springfield, MA
https://www.springfieldsymphony.org/
October 11, 2025
by Beverly Dane

Opening Night for the 2025/2026 season was a tribute to Springfield’s Italian heritage and featured both classical and contemporary selections. The opening number, by tradition, had the audience standing for the national anthem. Springfield Mayor Dominic Sarno was glad to accept “an offer he could not refuse” to deliver opening remarks and express thanks to audience members and musicians for their support and dedication. Heather Caisse-Roberts, the Symphony’s new President and CEO, brought energy and enthusiasm as she thanked past President Paul Lambert and all those in attendance for making a new season possible.

Six big bold brass soundings opened the concert with Verdi’s “Force of Destiny” Overture. Ottorino Respighi’s “Ancient Airs and Dances: Suite III” brought approximately two dozen musicians of The Springfield Youth Orchestra to the stage to play side by side with the SSO’s professional musicians. The all-strings orchestra rose to the occasion. The sound was beautiful, and they will hopefully play with the SSO for many years to come. Guest conductor and SSO Artistic Advisor Mei-Ann Chen asked all parents and teachers of the students to stand for a round of applause. In her words, “It takes a village to raise an orchestra.”

The iconic sound of the solo trumpet opening of Nino Rota’s music for “The Godfather” were familiar and expected, but what was unexpected was the trumpet played from the Grand Tier balcony of Symphony Hall.

This surprise was magnified in Respighi’s “Pines of Rome.” Before it started, the conductor’s podium was removed. It was impressive to be able to conduct without a score, but what was more impressive was the full-body conducting of Mei-Ann Chen. The piece opens brightly with strings, wind, brass and percussion mimicking happy children at play. The second movement depicts the Catacombs with a mournful, somber sound. The third movement features the clarinet as a nightingale, and recorded bird song filled the hall. The fourth movement is a loud, rousing parade, suggesting the Roman Army marching along the Appian Way.

The main body of the orchestra was on stage, but there were French horns in the Left Loge, trumpets in the Grand Tier, and trombones in the Right Tier. It was Surround Sound, and Conductor Chen was employing 360 degrees of conducting. Even when the music had ended, Chen’s exuberant cue for the musicians to rise highlighted her talent for full-body bows.

REVIEW: K and E Theater Group, “Sunday in the Park with George”

REVIEW: “Sunday in the Park with George”

K and E Theater Group, Northampton, MA
https://www.ketg.org/

through October 19, 2025

by Michael J. Moran

The original 1984 Broadway production of this play, with music and lyrics by Stephen Sondheim and a book by James Lapine, won a Pulitzer Prize and two Tony Awards. A fictionalized version of how French artist George Seurat painted his 1884-1886 masterpiece A Sunday Afternoon on the Island of La Grande Jatte, its strong visual component can be daunting for local theaters to replicate. But KETG’s moving production shows that it can be done exceptionally well.

Act I, set in Paris, shows George creating the painting and interacting with the people who appear in it, including his lover, Dot. When George’s immersion in his work seems to leave no room for Dot in his life, she marries Louis, a baker, and they move to the United States with her newborn daughter, Marie. Act II follows George's great-grandson, an American artist, also named George, as he loses and then regains his artistic muse, with help from his ancestors, on a visit to La Grande Jatte.

There is no weak link in the 13-member ensemble cast, each playing two or more roles, with many local stage credits and some beyond. Michael

 Graham is compelling as both Georges, finding their human vulnerability and gritty determination. Nicole Elledge-Hickey is extraordinary as Dot and, in Act II, 98-year-old Marie. Her gleaming, lyrical soprano captures the full range of their emotions. Gene Choquette is a winningly sardonic boatman. Elizabeth Monte, Carol Wrobleski, and Eddie Zitka shine in smaller roles.

Musical highlights include: Elledge-Hickey’s hilarious title song; her touching “Children and Art” as the elderly Marie; two of her soaring duets with Graham – a shattering “We Do Not Belong Together” and an inspirational “Move On;” Graham’s virtuosic voicing of two dogs in a kaleidoscopic “The Day Off;” Wrobeski’s wistful “Beautiful” with a reflective Graham; and a rapturous “Sunday” by the full company. Music Director Cavallin’s eight-member onstage band offers colorful, stylish backing.

Director-choreographer-actor Zitka (the “E” of KETG, with co-founding “K” partner Ken Comia) deploys his cast seamlessly to move his flexible set on and off the Northampton Center for the Arts stage. Elegant costume design by Moonyean Field and the protean Zitka is period-perfect. Creative projection design by Nicco Palazzi and Comia keeps the painting front and center. 
 

This impressive mounting of a peak Sondheim show is highly recommended for mature theatergoers.

REVIEW: Hartford Symphony Orchestra, "Gershwin, Marsalis & Bartok"

Bushnell, Belding Theater, Hartford, CT
www.hartfordsymphony.org
through September 26-28, 2025
by Michael J. Moran

For the first weekend of their 2025-2026 “Masterworks” series, the HSO’s Music Director, Carolyn Kuan, selected orchestral showpieces by four composers and featured an orchestra member as soloist in an impressive HSO premier.

photo by Eric Hutchinson

A heartfelt traditional season-opening national anthem was followed by a vigorous reading of French composer Paul Dukas 1897 masterpiece “The Sorcerer’s Apprentice.” Based on a story by German writer Goethe, it was imaginatively popularized by Mickey Mouse in Walt Disney’s 1940 movie “Fantasia.” Kuan and the HSO captured the excitement of this 12-minute drama about magic run amok with flair and finesse.   

The HSO premiere was a sensational performance of jazz trumpeter and composer Wynton Marsalis’ 2021 “Concerto for Tubist and Orchestra” by the HSO’s own Principal Tuba Jarrod Briley. With few breaks from playing, Briley met the 25-minute piece’s technical challenges with unflagging energy and apparent ease. He made his unwieldy instrument sound surprisingly agile in the opening “Up!” movement, funky in “Boogaloo Americana,” soulful in the gospel-inspired “Lament,” and virtuosic in the
closing “In Bird’s Basement.” Conductor and ensemble offered their colleague strong support. 

Next came a thrilling account of the raucous suite from Hungarian master Bela Bartok’s 1919 ballet “The Miraculous Mandarin.” Its lurid tale of seduction, robbery, and murder led to few early performances of the ballet, but its eerie, suspenseful music and culmination in a wild chase scene made the concert suite more appealing. Kuan and the HSO played this colorful score with power and sensitivity.

The program closed with a lively rendition of George Gershwin’s 1928 tribute to the “city of light,” “An American in Paris.” Though Gershwin’s own program notes cite a trumpet passage as signaling the traveler’s homesickness, it can also be heard as a quiet, restful interlude in a busy day of sightseeing. The musicians reveled in the music’s overall spirit of celebration, a fitting way both to end the concert and to begin a new year, their 82nd season, of music-making together.

Review: The Bushnell, "The Notebook The Musical"

The Bushnell

www.bushnell.org

through October 5, 2025

by Suzanne Wells

The Bushnell presents “The Notebook The Musical” by Bekah Brunstetter, music and lyrics by Ingrid Michaelson, based on the novel by Nicholas Sparks.

A trio of heartfelt and poignant tales—of young love, mature love, and enduring love—are beautifully woven together and brought to life in this musical production. 

Three pairs of actors portray the leads; Noah and Allie, each capturing a distinct chapter in their love story. As the young lovers, Kyle Mangold and Chloë Cheers infuse the stage with vibrant energy and heartfelt enthusiasm, embodying the innocence, nervous anticipation, and earnest devotion of first love. Mangold brings an undeniable charm reminiscent of a young Luke Perry, blending swagger and humor with a warm vocal presence—even when reaching for the highest notes, which unwittingly reflect his character’s journey from boyhood to manhood. Cheers delivers a stunning vocal performance that grows in brilliance throughout the show; her voice shines in numbers such as “I Paint” and “If This Is Love,” each song revealing greater confidence and depth as her character matures.

The older lovers, played by Alysha Deslorieux and Ken Wulf Clark, display exceptional vocal talents and impressive acting skills. Their love story centers on the intense emotions that swiftly spark both conflict and passion between them. While the narrative tends to gloss over the difficulties of healing past hurts and misunderstandings, highlighting their surrender to desire, Deslorieux and Clark's performances are so compelling that the audience is left longing for more.

The true stars of the show are Sharon Catherine Brown and Beau Gravitte. Brown's performance as a woman grappling with severe dementia is fearless, deeply moving, and utterly convincing. She masterfully conveys disassociation, fear, and fleeting moments of recognition, each emotion pulling at the audience’s heartstrings. Paired with Gravitte’s blend of grumpy old man humor and unwavering hope for one more moment with his beloved, their scenes elicit both tears of joy and sadness.

Although the musical may not feature a tune that lingers in the minds of audience members, the crowd of appreciative theater goers are undeniably inspired for a longing of love as enduring as the one portrayed in “The Notebook.”

While several characters offer moments of comic relief, Connor Richardson stands out with his perfectly timed humor, providing a delightful counterpoint to the emotional intensity of the love story.

Review: Barrington Stage Company, “The Weekend”

Barrington Stage Company, Pittsfield, MA

www.barringtonstageco.org

through

October 12, 2025

by Shera Cohen

The treat on the weekend of September 20 – 23 was a discussion by writer Ben Diskant, playwright of “The Weekend: A Stockbridge Story” premiering at Barrington Stage Company, which was the final show of the 2025/26 summer series. Director Alan Paul (Artistic Director of BSC) also fielded intelligent questions from those in attendance – some who had seen the production and some who had yet to see it.

Barrington Stage Company

Various versions of Diskant’s responses about his play focused on the themes of 1) romantic love and 2) the physical setting in which the story takes place. Without spoilers, the writer loaded his answers with “what if” this, that, etc. Such is the life of essentially everyone: the all-encompassing and important question, “what if?” Diskant’s answers and examples, to some degree, focused on his writing process, especially because his lead character just happens to be a playwright writing his own play.

Next: the play at the St. Germain Stage.

The story of two couples takes place in the 1960’s in a cabin in Stockbridge, MA. Music at the start of the play is an obvious queue to the era, and the painted backdrop scene explains the location.

Tom and Beth have marital problems. Allan and Jordan, once a couple, are estranged while the spark remains between them. All actors are 30-somethings, portraying characters whose backgrounds intersect. The play works as an ensemble piece; each actor holding his/her own on an equal skill level with the others. No one outshines, yet none shine either. Bill Army takes the script given and uses it far more than the other actors to create his character. The other actors are Molly Jobe, Ben Rosenfield, and Sasha Diamond.

Anticipating the importance of the setting, as a part-time Berkshire resident and lover of all things Berkshires, the play’s title is a disappointing tease to bring in local audiences. Yes, there are often-repeated references and pictures of the Berkshires, but the play could have easily taken place anywhere and anytime.

Going back to the playwright’s talk in which Diskant spoke about each of his characters, their interactions with each other, and with their environment, told an involved, important story worthy of seeing.

Unfortunately, the end result did not carry out what was obviously intended by the writer. There is a core play here. With deeper insight of characters and backstory, “The Weekend” could be a weekend to remember.

Review: Goodspeed Musicals, "A Chorus Line"

The Goodspeed, Goodspeed, East Haddam, CT

www.goodspeed.org

through

November 2, 2025

by Suzanne Wells

Celebrating the 50th Anniversary since its debut in 1975, Goodspeed Musicals presents “A Chorus Line,” conceived by Michael Bennett, written by James Kirkwood and Nicholas Dante, and directed by Rob Ruggiero. For those unfamiliar, "A Chorus Line"; based on interviews with real performers, delves into the hopes, dreams, and lives of 17 individuals auditioning for a chance to perform on Broadway. Packed with music, dancing, drama, comedy, and love, it has a little something for almost everyone.

Goodspeed Musicals

Ann Beyersdorfer, scenic designer, cleverly creates a New York Theater by lining the back of the stage with mirrors, which double as a dance studio. A live 14-piece orchestra, conducted by Adam Souza, performs a varied mix of 1970’s jazz, accompanying each performer during their moment in the spotlight. Breathtaking dance routines, choreographed by Parker Esse, fill the stage with so much movement your eyes can hardly keep up with all the leaps, spins, and pinwheels.

Scarlett Walker as Sheila, Lisa Finegold as Bebe, and Liesie Kelly as Maggie perform “In The Ballet” depicting hopeless childhoods with transcendent voices. Diego Guevara’s honest, moving monologue as Paul, an in-the-closet

homosexual, will not only make you cry, but will burn his story into your soul.

Comic relief abounds though out the show, starting with Clifton Samuels, in the role of Zach, captivating viewers with his expressive mime work during “I Hope I Get It,” the comedic duo of Alex Drost and Haley Bjorn, portraying Al and Kristine, present a hilarious rendition of “Sing,” and Beatrice Howell’s vibrant and energetic portrayal of Val in “Dance: Ten; Looks: Three” keeps the audience laughing.

 

Romantic elements are woven into the story as Karli Dinardo and Clifton Samuels, portraying Cassie and Zach, revisit their past relationship. However, the production’s deepest love story is found in the passion for dance itself. This is subtly expressed through Karli Dinardo’s mesmerizing solo, “The Music and the Mirror,” which beautifully highlights her strength and grace. As well as Mikaela Secada’s intense and powerful performance of “What I Did for Love,” in the role of Diana.

The Goodspeed’s production of “A Chorus Line” is timeless story and makes for a spectacular night out. Don’t miss your chance to experience this “One” singular sensation!

Preview: Symphony Hall, “A Taste of Ireland”

Symphony Hall, Springfield, MA

www.atasteofirelandshow.com

September 27, 2025

by Janice Daley Webb

Photo by Chris Hardy

When my mom died in 2013, I thought - I better start doing what I've always wanted to do, not just what I have to do. Life is actually pretty short to fit it all in.

I decided to take dancing lessons with the Claddagh School of Irish Dance at the John Boyle O'Reilly Club, Springfield, MA. Mary and Bill Quinn taught the wee ones to teens and adults. I joined the adult group. As an aside, it helped that the adults are taught downstairs in the pub! 

As a lover of Irish music and dance, it was a thrill for me to interview one of the dancers of “A Taste of Ireland,” Rochelle Hoffmann from British Colombia. Rochelle is a cast dancer as well as understudy for lead dancers. She is one of the dancers with the East Coast troupe.

Please tell me some background details of the troupe.
Rochelle: Brent Pace and Ceili Moore, both Australians as well as Champion dancers, toured professionally with other world-renowned companies. They decided 10 years ago to bring their own vision to the world stage.

There are many Irish step dance groups now that Michael Flatley opened the floodgates. How is your group unique?

Rochelle: A Taste of Ireland is unique as it entertains as well as tells the story of Ireland, from the Vikings to the Potato Famine to modern day. Our dance stories can be emotional for the audience. All music and tap are live; nothing recorded. We use traditional Irish songs such as “Danny Boy,” but some contemporary music as well.  

Tell me about the dancers.
Rochelle: It's an international staff: Australians, New Zealanders, Canadians, Americans, Irish, and English. People from all over. There are 14 dancers split evenly – 7 boys, 7 girls. All might perform nightly, depending on their health or schedule.

How long does a dancer tour?
Rochelle: I started in August, and I’m scheduled to perform until December, which is five months. Some dancers are here for their first year, some for their tenth. Dancing is  great physical exercise, but I find it's just as challenging mentally; to remember my spot and my steps.

What's your favorite number to perform?   
Rochelle: There are two acoustic numbers in the show. In one dance, the audience only hears the taps of the hard shoes making music. When that is performed perfectly, when everyone is in sync, that's a great feeling. 

How quickly must you learn your steps and keep your focus sharp for each show?
Rochelle: Getting ready for the West Coast tour, there are new people joining the cast. We'll have four days of rehearsal before touring. People learn differently, some by dancing, some by watching, some by taking cues from the music. 

You had said that you were also an understudy. What does that mean in a dance group?
Rochelle: Understudies have a tough job; they need to know their own steps and those of the Lead Dancer in case a call comes at the last minute to substitute. Usually, the need for a substitute is due to a dancer’s illness or injury. Taking care of our dancers is so important. If anyone has a physical issue, we may try to find a physical therapist locally to help work out the injury.

How do you stay healthy?  Fast food can be tempting on the road. 
Rochelle: This year my mates and I invested in an Air Fryer. We shop locally for carbs and vegetables; we eat pretty healthy, which is important.  

How do you relax after a performance.
Rochelle: We get out of a performance pretty late. I take off my makeup, stretch, and use ice packs - these rituals can be pretty relaxing in themselves. Then I might just turn on some TV to “veg” and relax enough to fall asleep. Hopefully, we can sleep in the next day.

Your show runs simultaneously for East Coast and West Coast tours in the US. How does the administration choose who goes to each side of the country?
Rochelle: We are assigned to whichever troupe works best for us. It's the same music and choreography on both the West and East coast. Sometimes, slotting a dancer to a troupe  depends on the physical height of the performers. The couples doing lifts need to be about the same height - tall boys with tall girls and shorter boys with shorter girls. [This can dictate which group they will be assigned.]

Any message you'd like to get out to the public? 
Rochelle: Of course, come see us. It’s a fun way to learn a little about the history of Ireland and very entertaining with great music and great dancing.