REVIEW: The Bushnell, Hartford, CT “Kinky Boots”

The Bushnell, Hartford, CT
www.bushnell.org
March 17 – March 22
by Simon Brighenti

Pop culture mavens of a certain age may remember Cindy Lauper as a bubbly, bejeweled bopper whose 1980’s persona might be summed up at least superficially as “MTV, the WWE and Me”. However, as evidenced brilliantly by the current production of "Kinky Boots" at the Bushnell, her talent as a songwriter and wordsmith is much deeper than that.

Combining Lauper’s memorable tunes with a book by the inimitable and legendary Harvey Fierstein, "Kinky Boots" is a fun, sassy, and brassy theatrical experience; in a phrase everything a Broadway-worthy musical should be.

The message permeating the production is how we can be changed, our lives enhanced and dreams achieved by recognizing the true colors within each other and ourselves. The musical is inspired by a true story which brought together two seemingly wildly disparate individuals who find common ground and realize that what is underneath is what truly counts.

The immensely talented Omari Collins (aka Scarlett D. Von’Du) is first introduced as Lola, a flamboyant and boisterous drag performer, who, as the production and relationships develop and evolve on stage, reveals a real tender and thoughtful soul and a determination to remain true to both identities.

As Charlie Price, portrayed by Noah Silverman, is torn between respecting and trying to maintain the shoe making business his father and grandfather built – mostly for the sake of the supportive lifelong friends his family has employed and kept on over the years -- and his desire to find his true self which may mean putting the business and his treasured relationships behind him. 

The discomfort that some “traditionally minded” folks might feel when presented initially with who Lola is and what Lola represents is personified by Jason Daniel Chacon in the role of Don. In the hands of a lesser actor this portrayal could easily turn cartoonish, but Chacon inhabits it with a heartfelt humanity and (eventual) understanding.

No review of "Kinky Boots," and especially this production, would be complete without an appreciation of the costuming, hair and makeup, and scenic design. It all comes together in a pageant of flair and fun. The ability to work within an athletic and gender-fluid presenting cast of main players and “angels” such as presented at the Bushnell is surely a dream assignment. 

The energy of the choreography and flamboyancy of the ensemble as they go through many intricate and fabulous costume changes and the ability to navigate the set while wearing footwear ranging from “sensible shoes” to “are you kidding me?” is nothing short of stunning.

So, an enthusiastic suggestion would be to don that favorite footwear and head over to the Bushnell for an entertainment experience that will delight down to the very sole.

 

REVIEW: Springfield Symphony Orchestra, “Mendelssohn, Gershwin, and a Woman’s Voice”

Symphony Hall, Springfield, MA
https://www.springfieldsymphony.org/

March 14, 2026
by Michael J. Moran

The SSO began this Women’s History Month concert by presenting their fourth annual “Fearless Women” awards to eleven local leaders who, the program notes, “have shaped our community through education, entrepreneurship, advocacy, philanthropy, public service, and community leadership.”Taiwanese-American conductor and SSO Artistic Advisor Mei-Ann Chen opened the program with the only orchestral work by Fanny Mendelssohn Hensel, older sister and musical mentor of her more famous brother Felix Mendelssohn. Chen led the committed players in a fiery account of the 1832 “Overture in C major,” whose fleet rhythms often resembled those of her brother but with a distinctive melodic invention all her own. Next came a colorful reading of George Gershwin’s 1925 “Piano Concerto in F major,” featuring American-born and internationally acclaimed pianist Claire Huangci, making a well-received SSO return engagement. Soloist and conductor hewed closely to the composer’s descriptions of all three movements: a “quick and pulsating” Allegro, in a “Charleston rhythm;” “poetic [and] nocturnal” in the haunting Adagio-Andante con moto, with two blues themes; and “an orgy of rhythms, starting violently and keeping to the same pace throughout” a fast-paced Allegro agitato finale. Huangci was a commanding and fluid soloist, Chen and the SSO offered nimble support, and trumpet player Phil Snedecor took a well-earned bow for his sultry Adagio solo.

Photo by Silver Photography

 
The program closed with a thrilling performance of Mendelssohn’s 1842 third symphony, nicknamed “Scottish” because it chronicles the composer’s 1829 walking tour of Scotland. Chen gave an engaging introduction, reading vivid excerpts from the composer’s diary of his journey and leading the musicians in brief passages from each movement. She then conducted the orchestra without pause through an urgent Andante con moto-Allegro un poco agitato; a whirlwind Vivace non troppo; a flowing Adagio; and an exhilarating yet majestic Allegro vivacissimo-Allegro maestoso assai finale. Chen honored each section of the SSO with a separate group bow, all richly deserved. They are fortunate to have Chen’s charismatic leadership and boosterism for Springfield during this period without a music director.

Comments like “She has a joy about her” were common from appreciative concertgoers. The next SSO concert, on April 11, will feature music by Vivaldi, Poulenc, Ravel, and Gershwin, with the SSO chorus, soprano Jamie-Rose Guarrine, and conductor Kedrick Armstrong. 

Review: Majestic Theater, "Dear Jack, Dear Louise"

Majestic Theater, West Springfield, MA
http://www.majestictheater.com 
by Suzanne Wells

Some say letter writing is a dying art form; however, it is revitalized in "Dear Jack, Dear Louise," a play written by Ken Ludwig and directed by Sue Dziura, at the Majestic Theater. Set against the backdrop of WWII, this romantic comedy follows two strangers whose heartfelt exchanges blossom into love. Their witty, vulnerable letters not only reveal their deepest hopes and fears but also forge an unbreakable bond, offering comfort and courage as they navigate the uncertainties of war.

The early 1940's come to life with Matthew Whiton’s stage design, which cleverly divides the space between Jack’s stark, utilitarian military quarters and Louise’s colorful, cluttered boarding house room. Dawn McKay’s costume design with authentic touches to Jack’s uniforms and Louise’s wardrobe accentuate the period. In addition to the set and costumes, lighting designer Daniel David Rist and sound designer Ryan Hickey’s collaboration significantly contributes to the more dramatic scenes of the era.

Alexandra O’Halloran’s and Gregory Boover’s dynamic interplay animate both the humor and poignancy of the script. She delivers an outstanding performance as Louise, infusing the character with vivacious energy and charm. From her enthusiastic auditions as an up & coming actress to her outrageous depictions of Jack’s relatives, O’Halloran is brimming with excitement and effusive optimism, leaving the audience wondering what her audacious character will do next.

 In contrast, Gregory Boover’s quietly dramatic portrayal of Jack, a military doctors who is a contemplative and shy man, is enhanced by O’Halloran’s energy. Boover’s subtle, nuanced acting is particularly striking when Jack reveals the emotional weight of the war’s brutality. The actors dynamic interplay brings their correspondence—and their growing bond—to vivid life.

While the storyline is partly perfunctory in its coverage of WWII, it also provides an alternative view of the era highlighting the roles of these characters in supporting the war effort. Though the plot can be a little predictable, the comedy aspect is genuinely funny, and the more dramatic moments are heart wrenching.

 "Dear Jack, Dear Louise" is a profound tribute to the power of art, love, and resilience.

REVIEW: Valley Classical Concerts, “Rendez-Vous”

Camille Thomas, Cello, and Julien Brocal, Piano
Smith College, Northampton, MA
https://valleyclassicalconcerts.org
March 7, 2028
by Michael J. Moran

French-born 30-somethings with extensive international training and performance experience, Camille Thomas and Julien Brocal both have strong solo careers; they also enjoy an inspired musical partnership as a duo. Their chamber music concerts mix tradition with innovation in imaginative ways. 

The duo's VCC debut program opened with a segment entitled “Grace.” It began with a “Reflection” written (seemingly improvised) by both performers on Charles Gounod’s arrangement of the “Prelude in C Major” from Johann Sebastian Bach’s “Well-Tempered Clavier.” A mercurial introduction highlighted the bright simplicity of Gounod’s setting, best known as “Ave Maria.” This segment ended with a stylish account of Bach’s third suite, originally for the lighter viola da gamba and keyboard, with a lively “Vivace,” a meditative “Adagio,” and a fleet “Allegro.”    

Two more segments with unusual musical combinations followed. “With Surprises” featured a haunting Brocal/Thomas “Reflection” on both a “Gnossienne” by the experimental French composer Erik Satie (who invented but never explained the title) and the more modern style of the English rock band Radiohead. “Chimera” presented a stately Brocal “Reflection” on a medley of Satie’s familiar “Gymnopedie” No. 1 (another original title) and “The Swan” from Camille Saint-Saens’ “Carnival of the Animals.”

The concert closed with a forceful but sensitive reading of Edward Grieg’s only cello sonata, dating from 1882-1883. The “Allegro agitato” alternated dramatic intensity with pastoral lyricism; the “Andante molto tranquillo” was hushed and pensive; the “Allegro molto e marcato” finale contrasted march-like and Norwegian folk-dance rhythms. Both players brought full, rich tone to their instruments, Thomas visibly relishing the many plucked passages throughout the piece, and Brocal building powerful climaxes on the keyboard.   

 A standing ovation from the appreciative packed house brought the musicians back for an encore, which Brocal introduced with mock seriousness as “delicate and intimate:” a rousing performance of Polish composer-violinist Henryk Wieniawski’s “Polonaise Brilliante,” arranged for cello. The flattering acoustics of Sweeney Concert Hall made every piece sound clear and sumptuous. The mix of classical and jazz traditions by these artists clearly had wide audience appeal.

The last concert in Valley Classical’s 47th season will present Boston-based chamber orchestra “A Far Cry” in music by Copland and Beethoven at Sweeney Concert Hall on March 21, 2026.

REVIEW: Hartford Stage, “Death of a Salesman”

Hartford Stage, Hartford, CT
www.hartfordstage.org
through March 29, 2026

by Jarice Hanson 
  
There’s something wonderful about a classic play that feels as fresh as the day it was first performed. In Hartford Stage’s production of “Death of a Salesman” audiences are treated to Arthur Miller’s masterpiece, brilliantly interpreted by director Melia Bensussen and a first rate cast that breathe new life into lines audiences may have heard before—but now, hear with greater meaning. At this time in history, when so many families are being torn apart, this story of a father, mother, and two sons and the desire for the “American Dream” is heartbreakingly poignant. 
  

Photo: T. Charles Erickson

Anchoring the cast is Peter Jacobson as Willy, who will be familiar to many audience members for his performances in several successful television series, and films.  Adrianne Krstansky as Linda is a formidable wife/stage partner. A successful Linda has to embrace the culture of a woman who gives herself entirely to the hearth and home of a family, and Krstansky has the depth to shift gears from supporting Willy to showing how she can be a no-nonsense mother who expects her sons to have empathy for Willy’s shortcomings. She is simply amazing in this role, and both actors join a pantheon of great performers who embody these characters with emotional depth. 
  
The sons, Samuel H. Levine as Biff and Max Katz as Happy, have the challenge of playing their characters at different ages, and both do so in such a way that the “older” Biff and Happy are inextricably tied to their younger selves. They do so not only with grace but with a physicality that makes each believable. 
 
The production has six additional characters who appear briefly, yet there is not one actor who doesn’t stand out. Bravo to the casting and the talent of the director and actors to work so seamlessly together, but with such complete command of their characters.  
  
A feature of this particular interpretation of the play deals with Miller’s original intention to title the play “The Inside of His Head,” a reference to the inner workings of Willy’s mind as he thinks of his past and future self. In director Bensussen’s playbill notes she writes: “We witness how he feels his life unraveling, his own self discarded, and his great fear that he is leaving nothing of meaning or substance behind.” 
 
Sara Brown’s ingenious set design is a framed house, in which furniture moves in and out of the “house” while characters appear in the distance, on a high catwalk, while establishing the mood of each scene in a 3-dimensional playing space that is metaphorically extended into the audience. 
 
Matthew Richards’ lighting design and Darron L. West’s sound design complement this suggested sensory experience, and just like a dream, or an inner monolog, Willy is drawn to the inevitable conclusion of the story while all of the other characters seem anchored to a special time and place in his mind. 
 
The stagecraft is outstanding and allows the audience to feel empathy with the characters to such a degree, many audience members wept quietly in the concluding sections of the production. 
 
What a tribute to a great writer like Arthur Miller, to find the relevance of this Pulitzer Prize winning play 70-years after its first Broadway run. This is a story and a performance that should not be missed.  
 

REVIEW: Hartford Symphony Orchestra, "Romeo & Juliet"

Bushnell, Belding Theater, Hartford, CT

https://hartfordsymphony.org

February 13-15, 2026

by Michael J. Moran

Leave it to the shrewd programming skills of HSO Music Director Carolyn Kuan to present this “theatrical concert,” combining excerpts from William Shakespeare’s 1597 play and music from Sergei Prokofiev’s 1935 ballet, for the fifth “Masterworks” weekend of the HSO’s 2025-2026 season, just in time for Valentine’s Day.

This production, devised and directed by Bill Barclay and performed by actors in his Boston-based Concert Theatre Works, had its world premiere last summer at Tanglewood, with the Boston Symphony Orchestra. In Hartford, stage designer Diane Healy made imaginative use of the Belding’s front stage, aisles, and balcony, with minimal props by Justin Seward.

Fifteen musical selections from the ballet alternated, and occasionally overlapped, seamlessly with key scenes from the play,
which told its full story in a 90-minute intermission-less show. The star-crossed lovers were played with youthful abandon by Juliana Sass and Jason Bowen, who raced exultantly down several aisles, high-fiving audience members, after Juliet declared her love for him in an enthralling balcony scene.     

Caleb Mayo’s Mercutio and Carmen Lacivita’s Tybalt were well-matched in impetuous bravado. Nigel Gore brought dignity and parental angst to Capulet, Juliet’s father. But the standout supporting cast member was the protean Robert Walsh, who not only played the roles of Juliet’s nurse and Friar Laurence (both were tender and resilient), even changing costumes once mid-scene, but also directed several very realistic (and frightening) sword-fighting scenes. Lightly amplified diction by all the actors was virtually flawless. 

Prokofiev’s cinematic score was projected from the stage with powerful impact by a passionately committed ensemble and conductor. From a heartwarming “Introduction,” two relentless fight scenes, a rousing “Dance of the Knights,” and a rapturous balcony scene, to the infinitely consoling “Death of Juliet,” all sections of the orchestra captured the music’s full emotional depth.

The well-deserved standing ovation from an enraptured multi-generational audience suggested that this hybrid format, in which actors and musicians magnify each other’s skills, can achieve deeper communicative power than either format alone, especially in a venue as intimate as the Belding Theater.

The HSO’s next Masterworks program (March 13-15) will feature guest conductor Kalena Bovell leading music by Smetana, Frank, and Respighi, with Solomiya Ivakhiv as soloist in Mozart’s third violin concerto.

Review: The Bushnell, “SUFFS”

The Bushnell, Hartford, CT

https://bushnell.org

through February 1, 2026

by Jarice Hanson 

SUFFS at the Bushnell has an outstanding cast of 17 women playing a variety of roles that tell the 100 year old history of women’s suffrage, from Carrie Chapman Catt, the successor to Susan B. Anthony, to the younger Alice Paul’s efforts to create the National Woman’s Party and the attempt to pass the Equal Rights Amendment, (yet to be codified).    
 
The show is a musical history lesson so comparison to the more successful Hamilton is inevitable. The names of these pioneering suffragists should be better known.  For that reason, it’s easy to overlook some of the weaknesses in the script—particularly with regard to historical accuracy.  However, SUFFS is highly entertaining and the cast and musicianship of the orchestra more than make up for the weaknesses in the narrative.   
 
There is not a weak singer in the cast, but some of the actresses who take this touring cast to Broadway level include Marya Grandy as Carrie Chapman Catt; Maya Keleher as Alice Paul, the primary protagonist of the story; Jenny Ashman as President Woodrow Wilson; Danyel Fulton, as Ida B. Wells; Trisha Jeffrey as Mary Church Terrell; and a surprising crowd pleaser, Livvy Marcus as the young, bookish Doris Stevens.  Marcus’ duet with Brandi Porter playing President Wilson’s aide, Dudley Malone, called “If We Were Married” at first sounded contrived, but the two singers commit to such longing and desire, the number is practically a show-stopper, and clearly a favorite for audience members.  

Photo by Joan Marcus 2025

 
The music for this show combines the efforts of a group of 4 lead musicians, supplemented with 8 local musicians who all not only produce one of the best pit bands in Bushnell history, but who, along with the efforts of Music Coordinators Kristy Norter and Julie Ferrara work seamlessly with Randy Cohen’s Electronic Music Design and with Jason Crystal’s Sound Design.  Mortensen Hall at the Bushnell is a tricky place for good sound/music quality, and this group of talented individuals came up with a masterpiece of sound.  Every word could be heard, and every instrument blended together for an exceptional background for the incredible voices on stage.
 
The production team for this touring show is of the highest caliber.  The book, music, and lyrics by Shaina Taub (who played Alice Paul on Broadway) is complemented by the very talented director Leigh Silverman. Costumes by Paul Tazewell, and lighting design by Lap Chi Chu, and the touring set, adapted by Christine Peters, used silhouettes as veritable snap shots of pictures of time in history.   
 
The lengthy Act I (an hour and a half) lays out the background for the real drama in Act II and suffers from too many similar sounding anthems, but Act II explodes with power and is very satisfying.  While not perfect, SUFFS illuminates a very important part of women’s history, and undeniably gives us hope at this time in history.