REVIEW: Sevenars Music Festival, "Opening Family & Friends Concert"

The Academy, Worthington, MA

www.sevenars.org

July 14, 2024

by Michael J. Moran

Davis James, 1947-2025

The opening concert of this beloved summer festival’s 56th season was dedicated “in loving tribute to David Frank James,” who died two months ago. Husband of the late Robelyn Schrade-James (after whose parents and their five children, all having first names that start with R, the festival is named), David was a frequent Sevenars pianist. Today’s program honored his memory and celebrated his legacy.

After a brief, heartfelt eulogy, David’s daughter, pianist Lynelle James, played a charming “Two Little Birds,” by Frank Hutchens, which David, a fellow New Zealander, had brought to Carnegie Hall in his debut there. Family friend and regular Sevenars guest pianist Clifton J. (Jerry) Noble then introduced and premiered an affecting “Elegy for David” that he wrote for this occasion, based on the letters of David’s name and performed with noble gravitas.

Host and pianist Rorianne Schrade next offered a jubilant “Etude-Tableau” in E-flat Major, Op. 33/7, a rare work of pure joy by Sergei Rachmaninoff, which she first heard David play. After echoing his sister’s earlier sentiments, David’s son Christopher, primarily a cellist, nonetheless delivered a rip-roaring solo piano rendition of Franz Liszt’s “Mephisto Waltz No. 1,” a concert favorite of his father.

Lynelle then joined her aunt Rorianne (sitting in for the originally scheduled David) in a vividly expressive reading of Johannes Brahms’s two-piano arrangement of his “Variations on a Theme by Haydn.”

 

Noble next partnered Rorianne in an exuberantly jazzy take on George Gershwin’s “Rhapsody in Blue” in its original two-piano version in this 100th anniversary year of its debut. Lynelle rejoined Rorianne for a colorfully virtuosic "Jupiter" from Gustav Holst’s orchestral suite “The Planets” in a seldom-heard arrangement by the composer for two pianos during this 150th anniversary year of his birth.

 

The program’s closing surprise was inspired by Rorianne’s memory of her late mother, Rolande Young-Schrade, lamenting how hard it was to gather her musical family in one room. So after Rorianne began playing her own arrangement of the lively “Dargason” from Holst’s “St. Paul’s Suite,” other members of the extended Schrade-James family entered one by one to join her, from Lynelle and Noble to Rorianne’s husband Jeff and Lynelle’s toddler son Robie, as she held him and shook his rattle. It was magical, and David would have loved it.

Remaining Sevenars concerts, next presenting renowned local violist-violinist Ron Gorevic, are scheduled for Sundays July 21-August 18 at 4 pm.

REVIEW: Boston Pops Orchestra, "Broadway Today! Broadway’s Modern Masters"

Boston Pops Orchestra, Tanglewood, Lenox, MA

www.bso.org/tanglewood

July 6, 2024

by Michael J. Moran

Joan Tower

One special joy of Tanglewood is the free short “Prelude” concerts which precede many weekend evening concerts. Tonight’s “Prelude” in the Linde Center’s bright and airy Studio E featured chamber music by three composers, played by 15 fellows of the Tanglewood Music Center. Spry-looking, 88-year-old Joan Tower cheerfully announced, “I’m still alive!,” in introducing her effervescent 15-minute 2020 string quintet “Purple Rain.”

Next came George Walker’s colorful two-movement 1999 woodwind quintet “Wind Set.” The program closed with the young Beethoven’s energetic 1796 quintet for piano and winds. All three pieces received polished and invigorating performances.

The main event was a semi-staged concert in the Koussevitzky Music Shed of highlights from 11 Broadway musicals of the 21st century, written by nine composers and/or lyricists, played in sumptuous arrangements by the full Boston Pops Orchestra under Keith Lockhart, and sung by six current Broadway stars. The shows, their creators, and the singers included many Tony Award recipients.  

An opening suite from Adam Guettel’s “The Light in the Piazza” featured a plush overture, Scarlett Strallen’s ravishing take on the stirring title song, and Victoria Clark’s poignant recreation of her Tony-winning role in the heartrending “Fable.” Bryce Pinkham revisited his starring title performance in Steven Lutvak and Robert L. Freedman’s “A Gentleman’s Guide to Love and Murder” with a winsome “Foolish to Think” and a hilarious “Poison in My Pocket.”

Mandy Gonzalez, Darius de Haas, and Joshua Henry were all impressive in excerpts from David Yazbek’s “The Band’s Visit.” Pinkham sang a powerful “You Will Be Found” from Benj Pasek and Justin Paul’s “Dear Evan Hansen.” A Latin-flavored orchestral “In the Club” from Lin-Manuel Miranda’s “In the Heights” preceded Henry, Strallen, and Pinkham in three piercing selections from Jason Robert Brown’s “Parade.”

Photo by Hilary Scott

Gonzalez was as sensational in “Our Lady of the Underground” from Anais Mitchell’s “Hadestown” as de Haas was mesmerizing in “Memory Song” from Michael R. Jackson’s “A Strange Loop.” Clark movingly reprised her Tony-winning title role in two songs from Jeanine Tesori and David Lindsay-Abaire’s “Kimberly Akimbo.”

She completed her evening star turn as King George III in Miranda’s blockbuster “Hamilton,” turning the chorus of “You’ll Be Back” into a riotous crowd singalong; Henry was a forceful Aaron Burr in “The Room Where It Happened.” The full cast ended on a hopeful note with a rousing “Wait ‘til You See What’s Next” from Brown’s “Prince of Broadway.”

Subtle direction by the evening’s creator, Broadway star and frequent Pops collaborator Jason Danieley, and music supervision by Georgia Stitt further enhanced this memorable musical event.

Review: Great Barrington Public Theater, "Survival of the Unfit"

Great Barrington Public Theater, Great Barrington, MA

www.GreatBarringtonPublicTheater.org

July 6 - July 21, 2024

by Suzanne Wells

“Survival of the Unfit,” penned by Oren Safdie and directed by Matthew Penn, is not your typical “boy meets girl, falls in love, and lives happily ever after” story. The play shatters the mold of conventional romance with a comedic glimpse into a seemingly flawless, yet deeply flawed family dynamic.

Setting the stage, Samuel has invited his new girlfriend, Mallory, to dine with his parents. The parents, who appear to see only the flaws in their son, are convinced there must be something wrong with the girl. While his father, John, is more than willing to accept her shortcomings, his mother, Shirley, is ruthless in her scrutiny.

Carolyn Hennesy’s depiction of Shirley is outstanding as she embodies the role of critical, over-protective mother. The catalyst for unearthing all Mallory’s secrets, Hennesy’s relentless probing ignites a series of revelations that spiral into a dramatic unmasking of her own concealed indiscretions.

Vincent Randazzo portrays Samuel, a middle-aged, balding, man crushed by his parents’ low expectations. Randazzo captures the essence of a son beleaguered by criticism, both overt and insidious. His nuanced performance subtly hints at an evolving tension. 

In contrast, Sarah Keyes as Mallory, is a beautiful, educated woman from a wealthy family exuding confidence and a subtle dramatic flair. Keyes’ dynamic interpretation keeps the audience captivated, as they ponder what draws her to Samuel.

Daniel Gerroll, as John, is the epitome of dry humor, his timely asides accentuating the underlying imperfections of a long-married couple. His delivery is impeccable with each jest and costume change adding a layer of levity to the unfolding drama.

Scenic design by Juliana von Haubrich creates a middle-class abode that balances lived-in warmth with meticulous order. The walls are lined with impressionist paintings, and family photos. Books, sculptures, and drink cart create a lived-in feel while maintaining an air of everything-in-its-place perfection.

“Survival of the Unfit” is a comedic exploration of the human condition delving into the complexities of insecurity, self-doubt, and fear, which when acknowledged and accepted, become the threads that weave a tapestry of human connection and forge enduring bonds.

Review: Berkshire Theatre Group, “Mel Brooks’ Young Frankenstein”

Berkshire Theatre Group, Pittsfield, MA

www.berkshiretheatregroup.org

through July 21, 2024

by Shera Cohen

“Funny” is one of the best adjectives to describe the talents of Mel Brooks. To be accurate, “raunchy funny” is à propos for “Mel Brooks’ Young Frankenstein” (“YF”) at Colonial Theatre.

The musical is essentially the mirror image of the movie version (1974) starring Gene Wilder. For those who have not yet seen the movie or video in any shape or form on various  electronic devises, then experiencing it live is almost better; sans Wilder, Madeline Kahn, Marty Feldman, et al.

Photo by David Dashiell & Caelan Carlough

Apparently, the original Frankenstein had some family members who begat offspring and one of these is Dr. Frederick Frankenstein; pronounced “Frank-en-stEEn”. Like his predecessor, Fred is a scientist whose specialty is study of the brain. For first-hand knowledge on the original Frankenstein, he must travel to Transylvania. Along the way, he meets a sexy assistant, a hunchback servant, and a seemingly prim housekeeper. The plot concerns the creation of another monster in the la-BOR-a-tory.  

The true stars of BTG’s production are the people who the audience does not see: the professionals on lighting, sound, scenic, and projection as well as director Gerry McIntyre who has assembled a wonderfully creative team with imagination and a sense for sheer fun.

Segments of the “Frankenstein” silent movie begin the entertainment. Soon coupled with lightning effects and thunderous sounds, the musical within the movie begins with screen credits, as if it was an actual 1910 cinema on the stage. The macabre echoes continue into the theatre’s lobby and entry.

“Clever” is the word to explain the video projections in each scene, especially those outdoors. Sepia stills or moving video backdrops help to accentuate each segment. Yes, there are the usual walls, bookcases, and stairs. Special to “YF” are the dark scrims, netting, and shadows, making everything on stage look bigger and spookier.

Unexpected from a comedy filled with ridiculous characters, each actor’s voice is near-flawless. All leads can boast Broadway credits. The accompanying 5-piece band sounds much bigger.

Nothing in “YF” is serious. Even the love stories have no dramatic or lovely songs. Instead, the most hilarious tunes (each sung by female soloists) are: “Roll in the Hay,” “He Was My Boyfriend,” and “Deep Love”.

There’s not a lot of dancing. Yet, McIntyre, who doubles as choreographer, lets his full cast have a ball “Puttin’ on The Ritz”. Is this scene important to the story? No. In fact, it’s rather inane. However, watching a reformed monster tap dance is a showstopper.

At this performance, the audience was a bit atypical from those who populate summer musicals. The group was younger. Had they heard of the 2000-year-old man? Or seen “Blazing Saddles”? Or like to laugh on a smoldering hot Saturday in a beautiful, air-conditioned theatre in Pittsfield? At any rate, there they were in droves. 

Note: Not recommended for young children.

REVIEW: Jacob’s Pillow, The Royal Ballet

Jacob’s Pillow, Becket, MA

www.jacobspillow.org 

through July 7, 2024

by Josephine Sarnelli

The debut of the 93-year-old United Kingdom’s Royal Ballet at Jacob’s Pillow offers an opportunity to enjoy a performance of both classical and modern ballet of unchallenged magnitude.  For most in attendance, it is a once-in-a-lifetime event to see this internationally acclaimed troupe.  Jacob’s Pillow’s leadership must be commended for finding sponsorship to make this the company’s sole stop in the United States!     

The Ted Shawn Theatre, with its orchestra pit, allowed for live music by a string quartet and pianist for three of the nine pieces. The backstage doors were opened after intermission to further enhance the unique experience of dance on the Pillow stage.

If there is a word to describe the success of this performance, it is “chemistry.”   Observing the connection between the performers and the audience and among the dancers is a significant part of attending live dance.  The Royal Ballet has not only mastered the art of dance, but also these relationships in solos, duets and groups.  From the kiss by Lukas Brændsrød on the hand of Sarah Lamb in Balanchine’s “Diamonds” to the dropping of the rose by Giselle after saving the life of her lover, there was a feeling of intimacy in these performances.

Photo by Christopher Duggan

One of the highlights of the evening was the choreography by Kenneth MacMillan of the “bedroom” pas de deux from “Manon.”  Anna Rose O’Sullivan and Marcelino Sambé dance superbly with effortless overhead lifts, but it is the passion that they expressed through their dance that is most memorable.  Their magnetism made the embraces and kisses seem so genuine.

An excerpt of Franz Schubert’s “Death and the Maiden” was performed flawlessly by the string quartet for the performance by four male dancers entitled “For Four.”  The transitions were executed with precision; the athleticism and grace of the dancers was impressive.  Of note was the audience’s recognition of Daichi Ikarashi’s powerful performance, which included multiple grand jetés exploding across the stage.

For Isadora Duncan fans, the program included a solo dance choreographed in her novel and improvisational style.  It was danced to five Johannes Brahms waltzes that were beautifully performed by piano soloist Kate Shipway.

A lighthearted pas de deux from “Carousel” preceded the finale.  “Figures in a Landscape,” a world premiere choreographed by Wayne McGregor, had a futuristic texture with dissonant music and blinding lights. Without transition, the music abruptly changed to a more subdued score.  Unlike the other program selections, this piece lacked sincere connectivity among the dancers or with the audience.  Although technically well executed, the performance was a disappointing conclusion to an otherwise outstanding evening.

Unfortunately, the audience was not given an opportunity to applaud the entire dance troupe or musicians after the finale.  Had they been called back, they certainly would have received a well-deserved standing ovation, having lived up to their name of royal.

REVIEW: Berkshire Choral International, "Vaughan Williams"

UMass Amherst Fine Arts Center, MA

www.berkshirechoral.org

June 29, 2024

by Michael J. Moran

Joe Miller

Joe Miller, Professor of Conducting & Director of Choral Studies at Cincinnati College-Conservatory of Music, led the 130-member BCI chorus, baritone Emmett O’Hanlon, soprano Laura Strickling, and a freelance ensemble of area professional musicians in two masterpieces by English composer Ralph Vaughan Williams for an evening of choral-orchestral magic.   

Since 1982, BCI has gathered experienced amateur singers from across the USA during the summer for weeklong intensive rehearsals in various American and international venues, culminating in a public performance at the end of the week. While still based in the Berkshires, this was their only local concert in 2024.

 

The program opened with “Five Mystical Songs,” which Vaughan Williams wrote in 1911 for the Worcester Three Choirs Festival and based on four poems by George Herbert (two songs set different verses of the same poem). O’Hanlon’s supple baritone suited the music’s radiant beauty. The chorus was hauntingly expressive in the wordless final bars of the cycle’s sublime centerpiece, “Love Bade Me Welcome,” and ardently ringing in the jubilant closing “Antiphon.” Miller and the orchestra offered sumptuous support throughout.

Then came a thrilling account of the composer’s first symphony, which he called “A Sea Symphony,” because the texts in all four movements are selections from Walt Whitman’s “Leaves of Grass” which compare a sea voyage to the human journey through life. Written between 1903 and 1909, the hour-long piece was first played at the Leeds Festival in 1910.

The first movement, “A Song for All Seas, All Ships,” was urgently dramatic, and the chorus, O’Hanlon, and Strickling all sang their solo passages with heroic heft. O’Hanlon was mesmerizing in the quiet second movement, “On the Beach at Night, Alone.” The chorus (without soloists) was virtuosic and nimble in the explosive third movement, “The Waves.” The finale, “The Explorers,” alternated exhilaration with yearning and closed quietly on the lines “O farther, farther, farther sail!” Miller kept the huge ensemble of musicians in sonorous balance.  

The warm and spacious acoustic of the Fine Arts Center’s Tillis Performance Hall showcased the clear enunciation and carefully modulated phrasing of the singers along with the impassioned playing of the instrumentalists. Full texts were provided in the digital program.

This concert was a glorious feast for the ears of all choral music lovers.

Review: Goodspeed, “South Pacific”

Goodspeed Musicals, East Haddam, CT

www.goodspeed.org

through August 11, 2024

by Shera Cohen

Opening on Broadway in 1949, “South Pacific” won a slew of Tony Awards. Set toward the end of WWII, composer and lyricist Rodgers & Hammerstein placed their micro-story into the behemoth history of the war in the Pacific.

The musical is lauded for its balanced measure of love, joy, and happiness; with a sobering mood of bigotry, hatred, and death in wartime.

The best of “South Pacific” is the music, particularly the ballads. It would take a cast and crew of first timers to mess that up. Not to worry, Goodspeed’s orchestra led by Adam Souza, and nearly all singers make this musical special some 75-years after its premiere.

The plot is simple: two love stories along with the intrigue of a spy mission, and its repercussions to the couples.

Danielle Wade, Nurse Nellie Forbush, plays spunky well with her southern twang and body
movements. Her first scene with her potential lover, shows her with arms crossed tightly. Later on, when she’s “In Love with a Wonderful Guy,” she’s jumping and doing cartwheels. The audience realizes some of her transformation, but it’s not convincing. Perhaps if Wade was charged with one dramatic solo, the audience would care for both the character and actress more. 

Omar Lopez-Cepero, Emile de Becque, her handsome counterpart with French accent and swarthy frame, looks and sounds like opera star Jonas Kaufman. Even if Nellie has her doubts, the audience loves him. Thank goodness that this amazingly talented baritone is given the opportunity to showcase two of the most lush and romantic blockbuster solos from a musical: “Some Enchanted Evening” and “This Nearly Was Mine”. The actor’s  stance and speech are understated, giving even more power and depth to his songs.

Other important roles are those portrayed by Cameron Loyal (the stoic Lt. Cable) and Keven Quillon (the affable Billis). Joan Almedilla, in the pivotal role of Bloody Mary, punctuates her dialogue with sass, yet sings her signature piece, “Bali Ha’i” as a haunting whisper.

Speaking of the Island Bali Ha’i, the image is back, center, and ever-present on stage. Lighting design makes minor visual effects. Once on the island, the setting becomes a curtain-like multi-colored drop representing a floral forest. The attempt at an island paradise doesn’t work. Too busy. It overpowers the placement of the characters so much that the second pair of lovers are nearly obliterated. Lighting and light-colored costumes might fix the problem. 

Photo by Diane Sobolewski

As in nearly all musicals are the big-dance numbers. “South Pacific” is not lacking: “There’s Nothing Like a Dame,” “Bloody Mary,” and “I’m Gonna’ Wash that Man Right Outta’ My Hair’’. Choreographer Parker Esse makes all three segments fun.

It is sad that much of the plot’s mood tackles the subject of prejudice and ignorance, especially involving the two couples. That theme may have changed a bit in past decades? Director Chay Yew does not beat the characters or the audience up on the subject, although discrimination is ever-present.

And the audience? Too often, those seated immediately give standing ovations as if required. If a S.O. is appropriate, then rise. Anyone who attends theatre knows that cast members take bows in descending order – smallest roles first, leading up to the stars. This does not mean that those in lesser roles are not skilled and/or deserving of praise.

Bravo to Goodspeed’s discerning audience, clapping politely, yet showing true appreciation at the entrance of Ms. Almedilla (Bloody Mary) and again for Mr. Lopez-Cepero (Emile).