REVIEW: Boston Camerata/ Glass/Rosenthal

Ozawa Hall, Tanglewood, Lenox, MA 

https://www.bso.org/tanglewood

Photo by Hilary Scott

July 16, 22, & 26, 2026 
by Michael J. Moran 

Every summer Tanglewood’s Ozawa Hall hosts world-class artists in many genres from around the world. Three recent concerts highlighted the range of attractions in this intimate venue. 

On July 16, eight singers and seven instrumentalists of the 72-year-old Boston Camerata presented a stirring program called "FREE AMERICA! Early Songs of Resistance and Rebellion." The 30 short selections were organized into five thematic sections, with such titles as "Like a Beautiful Morning" and "Rich and Poor." Performances from vocal and instrumental solos to shifting combinations of voices and instruments also featured two hearty audience singalongs: "Free Americay!" and "Yankee Doodle." Of special note were: a moving opener, "O Zion Arise," a traditional Shaker song, sung by bass-baritone Phillip Bullock; a mournful Anglo-Irish ballad, "Johnny has gone for a soldier," sung by soprano MaKayla McDonald; and a rousing ensemble take on Jeremiah Ingalls' "Friendly Union."   

   
Six days later, Philip Glass fans had the rare chance to hear all 20 of his etudes for solo piano, written between 1991 and 2012 and played by five pianists chosen, in Glass' words, for their "wide range of musical backgrounds...technical [and] interpretive skills." All performances easily met or exceeded those standards. Highlights included: a reflective second, playful 13th, and volatile 14th from Daniela Liebman; an ecstatic 17th and dreamy 18th from Lisa Moore; a forceful 11th and whirling twelfth from Bruce Brubaker; a blazing tenth, joyous fifteenth, and brooding sixteenth from Christian Sands; and an explosive sixth, lush nineteenth, and heart-stopping 20th from Timo Andres, bringing the set to a radiant close.

And on July 26, the Ted Rosenthal Quintet (pianist-leader Rosenthal, bass Noriko Ueda, drummer Dennis Mackrel, trumpeter Ingrid Jensen, and saxophonist Jimmy Greene) celebrated trumpeter Miles Davis and saxophonist John Coltrane a century after their birth. The Quintet's imaginative reinventions shed new light on their selections from the Davis-Coltrane repertoire and delighted the capacity audience of jazz enthusiasts. Memorable moments included: an evocative "Naima," Coltrane's tribute to his wife, with inventive solo riffs by Greene; Thelonius Monk's "Round Midnight," with tasteful improvisations by Jensen; and a gorgeous "mashup" (Rosenthal's description) of three ballads - Davis' "Flamenco Sketches," Coltrane's version of "My One and Only Love," and Tanglewood star Leonard Bernstein's "Some Other Time." 

Concerts in Tanglewood’s “Recital Series” continue in Ozawa Hall and the Linde Center through August 21.

Review: “Newsies,” Mac-Haydn Theatre

Mac-Haydn Theatre, Chatham, NY

through August 9, 2026

by Shera Cohen

“Seize the Day!” This is the signature song in the rousing, entertaining musical “Newsies” at the Mac-Haydn Theatre.

Produced as a Disney movie in 1992 starring Christian Bale (yes, he can sing ’n dance), and staged on Broadway in 2012, “Newsies” has seemed dormant for well over a decade. Thank goodness it has been mounted numerous times in the past 10 years.

Photo by Ann Kielbasa

And this year marks the first time that “Newsies” has appeared at M-H. While most musicals at this venue take the stage for two weeks, “Newsies” has an extended run of three weeks, so there is still time to seize the day. Note that the house fills fast no matter what day of the week chosen to see any of the M-H musical productions.

“Newsies’” plot depicts a fictionalized look at the life of turn of the 20th century, New York City. The characters: newspaper boys. This band of dirt-poor teenagers calls out the familiar, “Read all about it”. At a penny a newspaper, the boys (and a few girls) work as hard as they can to help their families. We sympathize with these kids. While during the Newsboy Strike of 1899, formal education was the furthest goal of these boys, it didn’t mean that they weren’t street smart. After all, the streets were their workplace.

With a cast of nearly 40, and orchestra of 7 that sound like triple the headcount, this “Newsies” can easily hold a candle to theatre venues that are much bigger with bigger budgets. Kaitlyn Frank serves double duty as director and choreographer. She is busy because this is a musical chock-full of big dance numbers. Her cast is an assembly of singing dancers or dancing singers – there is a difference.

M-H’s in-the-round stage poses numerous challenges to productions than those mounted on a proscenium arch stage. In addition, scenic design includes scaffolding and jungle gym apparatus strewn on backwalls at entrances and exits. Never does a director want to cheat audience sections out of experiencing all that is possible. Frank, her team, and every actor succeed at that purpose. Bravo.

Jared Goodwin, as newsboy leader Jack Kelly, seems to be on stage nearly every minute. This story is Jack’s. Goodwin plays with bravado at one turn followed by vulnerability the next. He gives Jack the overwhelming responsibility of being big brother to all, as well as peacemaker and charmer to the ladies.

Other newsboy actors who shine are Logan Pavia, Dev O’Leary, and Jacob Atkins.

Tzintli Cerda, as spunky news reporter Katherine, the primary female cast member, is blessed with a splendid soprano voice. Her duet with Goodwin for “Something to Believe In” is as lovely as any love-song ballad.

Just west of the MA/Berkshire County line is Chatham, NY, home to Mac-Haydn for over 50 years. In addition to “Newsies” are a few more musicals for the 2026 season.

 

Review: “Amchitka,” Chester Theatre

Chester Theatre, Chester, MA

www.chestertheatre.org

through August 8, 2026

by Shera Cohen

“Amchitka” is the name of a new play presented at Chester Theatre. It is also the name of a basically uninhabited island located off of Alaska. Its historical context during WWII and in the mid-1960’s are the reasons that some people might have heard of it. In November 1971, the United States (the country which owns these islands) conducted a series of nuclear tests, albeit extremely controversial and news-worthy at the time.

Playwright Mark St. Germain is well-known in the Berkshires, particularly for his fictionalized biographical plays about famous individuals; i.e. Sigmund Freud, Alan Turing, Dr. Ruth. While “Amchitka” does not focus on any one person, his latest story utilizes the setting and its history as historic backdrop in which he places three fictitious characters.

Diana (Kelly Lester), Nate (Will Maizel), and Connie (Hero Marguerite) portray scientists living and working in close quarters for an extended period of time on the island. They are colleagues; not friends. Their mission for the U.S. Department of Energy is vitally important; to oversee the long-term effects of nuclear contamination. The actors’ skills are fine and evenly matched.

Photo credit: Andrew Greto 

Another familiar and highly respected name in the Berkshires’ theatre scene is Julianne Boyd, director of this play and Founding Artistic Director of neighboring Barrington Stage Company. Boyd does the best that she can using a static, uninteresting, white lab as backdrop for the primarily static and generally boring characters.

The plot focuses on personal conflicts among the trio, yet more importantly on decisions that will affect world history. In truth, the play’s plot is difficult to fully understand, and spoilers won’t permit a critique that gives the particulars of what happens before, during, and after these scientists study and work at “Amchitka” except to say that the happenings of nearly 50 years ago are in many ways too close to home for the audience’s comfort level in the 21st century.

Unlike St. Germain’s other work, “Amchitka” is extremely talky – between three characters that the viewers care little about. Had each been a person who walked out of a history book (even Richard Nixon who was president in this era), the story would have been worth the time to explore.

Perhaps others will find the play a chilling look into today’s political and environmental tensions as foreseen in “Amchitka”.

 

Review: “Lovesong” Berkshire Theatre Group

Berkshire Theatre Group, Stockbridge, MA

www.berkshiretheatregroup.org

Date: August 29, 2026

by Shera Cohen

“Lovesong” at Berkshire Theatre Group’s Unicorn Theatre stars four actors as two characters. The quartet is extraordinary as a whole and individually. Without hesitation, this play is assuredly one of BTG’s best in many years.

The story is somewhat universal about your average married couple; at the same time unique in the execution of the lives that these two develop for 40 years. At the start of the story is the older Maggie and Billy; the husband is a retired dentist; his wife, retired as well, never really had a career. They love each other. Deeply? Or, after many decades, is it the best alternative to any other choice? The answer is for the characters and viewers to decide, yet most would likely lean toward the answer, “both”.

The same couple is depicted in the early years of marriage, as the play’s timeline, while chronological, shifts back and forth between the couples, who are indeed the same pair. The success of this achievement of the ebbs and flows, coupled with joys and many sorrows of the same characters is drawn deftly with emotional nuances by director David Auburn. “Lovesong” is a director’s dream challenge, and Auburn (whose day job is as Associate Artistic Director at BTG) handles the extraordinary task with precision beyond expectations. This is a director’s play.

Photo credit: Caelan Carlough

The production also shows the immense talent of scenic designer Alexander Woodward. The staging, a house seen as if sliced horizontally, is the only setting. This is an entire house with several rooms the size of an actual kitchen bedroom, and bathroom, for example. The backyard, complete with hammock, is natural. Stairways and halls lead to other parts of the home. This, in itself, is no magical feat. Yet the transition of the young Margaret and William immediately and almost mystically becoming the older Maggie and Billy and vice versa simply within the confines of a house is enormous.

Of course, the remarkable direction and design would be static without four extraordinary actors. The love, expectations, and trust that grows in an even somewhat, if not a long, marriage is realistic. The actors work brilliantly as a small ensemble. Margaret almost flows into the body of Maggie. Rebecca Brooksher holds her own with Karen Allen (whose name is recognized as a movie star in epic blockbusters), each as the vulnerable woman living the best she can for herself and for her husband. Shawn Fagan and David Garrison (the latter, recognizable from TV roles) are the Williams, as a man working on sensitivity through the years.  

There are a few subtle attempts for the actors to look alike through the decades, although some clothing styles are consistent. The Williams seem to consistently like plaid shirts. Mirror-looks are unnecessary.

The characters’ words and demeanor are significant tools for the actors to truly become the person on stage. And these four actors are remarkable.

Review: A.I.M. by Kyle Abraham: “White Space”

Michela Marino Lerman “Steppin’ with ‘The Kid’: A Celebration of Betty Carter”
Jacob’s Pillow, Becket, MA
https://www.jacobspillow.org/
July 15-19, 2026 (A.I.M. by Kyle Abraham)
July 16&17, 2026 (Michela Marino Lerman)
By Melissa Roti

It was a beautiful, clear day for one of our afternoons at Jacob’s Pillow. My mother and I have been coming for world renowned dance performances for over a decade now and we have always loved the variety of dance genres at the ‘Pillow’. We found several in the U.S. Premiere of “White Space” by the contemporary dance company A.I.M. by Kyle Abraham at the Ted Shawn Theater.

This was a celebration of movement using the dancers, the music and the visuals to paint an engaging artwork on a blank canvas. “White Space” was rich with collaborations, conversations and contrasts. This performance was outside the boundaries of a typical performance with dancers moving on and off stage in warm-ups as the audience was being seated and the house lights were still up. There were 12 white chairs, 11 dancers, three white walls, one white floor, white balloons, one piano, two musicians and four hands playing the live piano.

Music shifted tempo and genres from “trip-hop” to the piano composition by Jason Moran and Nico Muhly, to Shubert and even a bit of tossed chair cacophony. Most of the music was performed by the two pianists (Stephen Gosling and Derek Wang) on one open top grand piano. They skillfully performed various styles of music creating different moods, even strumming the strings through the open lid.

With these varied music conversations, Kyle Abraham takes us on a journey of different of body movement styles including contemporary, hip-hop, and classical. The dancers painted movement ideas in solos, duets and varied groupings. The entire ensemble of dancers is not only versatile but also expressive. They told stories of contrast: chaos vs. order, grief vs. celebration and struggle vs. hope. In all these juxtapositions they come back to the importance of support, connection and community.

Contrasts were enhanced by the visuals and stage elements. The lighting created different moods, times of day and seasons all on the blank canvas of a white space. White objects of differing scale included snow, balloons and chairs. The dancers’ black or white mesh clothing practically disappears on body, allowing the viewer to see every deliberate move, while simultaneously highlighting the flow of movement. Meanwhile, there is one dancer in a bright blue bodysuit slowly marking the space.

This thought-provoking performance was rich with symbolism, especially the hope that can grow in a supportive community. This was a theatrical experience that celebrated movement and collaboration in both its creation and performance.

After a delicious early dinner at the Pillow café, we then settled on the benches at the Henry J. Lier outdoor stage. The outdoor stage is an amazing setting with the hills of the Berkshires as its backdrop; it truly is my favorite venue.

We are big fans of percussive dance and Michela Marino Lerman and her ensemble of both tap dancers and musicians, including the amazing singer Charenee Wade, brought the jazz of Betty Carter to life. The ensemble considers themselves all musicians with the percussive dance as a form of music. With only three tap dancers it was better to watch their amazing footwork. Tap dance is so intertwined with rhythm, you feel it in your bones.

Although these were very different performances they both pushed the boundaries of music and reminds us how dance has been intertwined with it throughout the course of history. This was a day celebrating the musicality of dance.

Review: “Twelfth Night,” Shakespeare & Company

Shakespeare & Company, Lenox, MA
www.shakespeare.org
Through July 26, 2026
by Shera Cohen

A shipwreck, disguises, twins, mistaken identities, paired-off lovers, and the ever-present wise fool(s) are the basic elements of most Shakespearian comedies. “Twelfth Night,” one of the Bard’s last in this genre, is also one of his best. S&Co. mounts this rapid-action farce with aplomb. No matter how often S&Co. presents this comedy; given different actors, director, and sets, the play is always fresh.

S&Co. formula is emphasis on confusion. Please take this comment in the good humor in which it is intended. Yes, there is a plot, albeit convoluted, hackneyed, and thin. More importantly is the cast of fit and misfit characters, each with his or her own ingredients to dump into the mix to ultimately create an “all’s well that ends well” story. Alas, that is yet another one of Shakespeare’s numerous comedies.

Twins are lost at sea (of course), are rescued, and somehow get to the same seacoast dukedom unbeknownst to the other. In this scenario the duo (one male and one female) supposedly look exactly alike. Hmm? Therein lies the first of many misperceptions. Will the twins find each other? Will each find their true love at first sight? Will the clowns upstage the main characters? The answers: yes, yes, and oh yes!

Photo by Nile Scott Studios

Shakespeare’s clowns, also called fools, are those characters (usually male) who serve the play as comic relief, yet oftentimes have a great deal of intellect and cunning. “Twelfth Night” tops an already funny play with even more laughs which is why this is one of the best of the Bard.

Kate Bohler Amory directs. Assumedly, the most difficult job for Amory is moving a 2+ hour play from an outdoor setting onto an indoor stage. A guess would be that in outdoor productions, the actors normally utilize trees and paths in the woods as part of the staging. Yet, the Tina Packer Theatre permits scaling scaffolding and running up and down aisles. All parts must be reassembled in the indoor Arthur S. Waldstein Amphitheatre. 

Hers is a dream cast of current S&Co. regulars plus some from decades ago; it is refreshing to see the return of some ‘ol timers. Several actors deserve praise, but let’s not so arbitrarily focus on Allyn Burrows, who happens to also wear the hat of Artistic Director. If a star character of “Twelfth Night” was to be chosen, it would be Malvolio – the arrogant, snobby, prissy, and put-upon servant portrayed by Burrows. It’s a toss-up as to which of Malvolio’s episodes gets the most laughs: donning the yellow leggings and parochial school-like plaid kilt, imprisonment in a tiny caged cubical, or reading a feigned and overly demonstrative love letter from his mistress. Burrows’ facial nuances of scorn and misery say more than most actors would hope to accomplish.

Another ‘ol-timer (45 years employed) is Govane Lohbauer, costume designer extraordinaire. From clown Feste’s motley mix of colors and styles to Countess Olivia’s elegant runway dress, creativity is seen in every stitch.

To review any S&Co. production one must start at the beginning and end at the same point – with music and dance. While the Bard’s intended location of the story is a fictitious city in Illyria; sounds Italian. No matter. Here we have a land where the tongue and songs have a melodic Irish lilt.

Program Note: When the weather hits 84+ degrees, the play is brought inside the air-conditioned theatre. Thank you, S&Co.!

Review: “Rebel Town” America 250 Commutative Production

McDermott Auditorium, Great Barrington, MA

www.rebeltownthemusical.com

through July 19, 2026

by Shera Cohen

The first thing audience members see on stage is a city. Yes, not just pieces of wood, for example, strewn here and there to sketch out images of a location, circa 1700’s. Here are homes, workplaces, a tavern, walkways, a harbor, and a boat. Not just any boat. A ship. A freighter of the 18th century. Kudos to Set Designer Rob Dumais for his imaginative creation of Boston of old.

“Rebel Town,” a new musical for 2026, celebrates the foundation of the United States 250-years ago. What was old has become new for audiences in Great Barrington, MA not so far from Boston.

Combining fiction with history, “Rebel Town” depicts what might have been the lives and settings of everyday individuals and families who became the Sons of Liberty, along with a few noted “stars” from our past; i.e. Paul Revere, John Hancock, and Samuel Adams.

 Photo credit: Jonathan Doster

“Rebel Town” accounts the months, then days prior to the Boston Tea Party, focusing on fictitious patriot William Grey, one of the event’s leaders. To a degree, the audience participates in the onstage action. And there is a lot of action. Does the audience see the infamous tea tale? Yes. Indeed, this is a shining moment.

“Rebel Town” is the dream of John Alan Segalla, wearing many hats: author, composer, lyricist, producer, and star. Is it too many? Maybe. Yet, without the ambition of single individuals in this world, what would not happen? Segalla’s most obvious talent is singing. However, he is not alone, as nearly all of those in major roles have exquisite voices.

Some suggestions are offered. Why? Because this musical could soon have a successful future!

Cuts & tweaks. Coming in at over two hours plus intermission, “RT” is long with too many songs. Since it’s difficult to choose any individual melody as they are equally fine, axing a few would be for the company to decide. Another cut would be to delete several characters and/or double up more roles; this would include some actors portraying actual characters. For example, if Lt. Colonel Leslie or Mercy Otis Warren happen to be at the “tea party,” it doesn’t mean that the audience needs to see them. Finally, with 26 songs, “RT” could do fine minus several. In other words – tighten it up.

Yet, with all that said, director Michael Siktgerg moves his characters (sometimes dancing, sometimes singing, sometimes both) at a continuous and steady pace.

Even the halls, lobby, and concession stand keep with the theme of the play. You’ll see when you get there. “Rebel Town” is very much a musical for families. Take yours. BTW, the venue is air-conditioned.