trenches sinking in the mud, surrounded by countless numbers of rats, shells firing in an unsteady rhythm, life was as calm as it could possibly be on Christmas Day, 1914. “All Is Calm” depicted a true story, or at the very least historical fiction. The theme took a smidgen of history out of the textbooks to show the audience how one moment in time could be insignificant or monumental depending on life’s circumstances. This was called, “The Christmas Truce.”
December 22, 2020
REVIEW: Playhouse on Park (Streaming), All Is Calm
trenches sinking in the mud, surrounded by countless numbers of rats, shells firing in an unsteady rhythm, life was as calm as it could possibly be on Christmas Day, 1914. “All Is Calm” depicted a true story, or at the very least historical fiction. The theme took a smidgen of history out of the textbooks to show the audience how one moment in time could be insignificant or monumental depending on life’s circumstances. This was called, “The Christmas Truce.”
December 15, 2020
REVIEW: Hartford Symphony Orchestra, Spotlight Series
Hartford Symphony Orchestra, Hartford, CT
www.hartfordsymphony.org
December 11-January 10, 2021
by Michael J. Moran
The second concert in the HSO’s monthly virtual “Spotlight Series” of 60-minute performances
by HSO ensembles and guests recorded at Hartford area venues is now available on-demand at the orchestra’s web site through January 10, 2021, at 5:00 pm. Entitled “Music for Strings and Organ,” it included four pieces by Corelli, Bach, Golijov, and Mendelssohn and was recorded amid festive seasonal décor at Hartford’s Asylum Hill Congregational Church, founded in 1864.
Ten HSO musicians were featured: Concertmaster Leonid Sigal; Associate Concertmaster Lisa Rautenberg; Assistant Concertmaster Sooyeon Kim; Assistant Principal second violin Jaroslav Lis; Principal viola Michael Wheeler; Assistant Principal viola Aekyung Kim; Principal cello Jeffrey Krieger; Assistant Principal cello Gia Cao; Assistant Principal bass Robert Groff; and organist Edward Clark.
December 7, 2020
REVIEW: Hartford Symphony Orchestra, Masterworks In-Depth
Hartford Symphony Orchestra, Hartford, CT
www.hartfordsymphony.org
December 4-9, 2020
by Michael J. Moran
The third program in the HSO’s monthly “Masterworks In-Depth” series of virtual conversations about music they would have played this season at concerts cancelled by the Covid pandemic will be available on the HSO web site through Wednesday, December 9, at 5:00 pm. Led by HSO Music Director Carolyn Kuan, this 65-minute webinar focused on two of three pieces originally scheduled.
This month’s concert was to feature some of her favorite music from Act I of Tchaikovsky’s “The Nutcracker,” including the battle of gingerbread soldiers and mice. Kuan noted that while the complete ballet wasn’t widely performed until half a century after its 1892 premiere, the familiar orchestral suite derived largely from Act II and published six months earlier was instantly popular. Recalling that she conducted the full score for New York City Ballet, she showed colorful video clips from their production, which morphed cleverly into a concert performance by the Rotterdam Philharmonic under an animated Yannick Nezet-Seguin.
Speaking with Kuan via Zoom, German-born choreographer Miro Magloire, who founded New York-based New Chamber Ballet in 2004, marveled that Tchaikovsky “wasn’t happy with” his music for “The Nutcracker,” whose creative ‘rhythms and harmonies” Magloire finds “endlessly fascinating.” Discussing how he found his “voice” in dance, he stressed that since choreography is “an orally transmitted art form,” his work is always collaborative with both dancers and live musicians.
Kuan never mentioned Tchaikovsky’s fantasy-overture “The Tempest,” based on Shakespeare’s play, which the HSO had programmed this month and which she elsewhere called “even more dramatic, noble, and beautiful than his famous Romeo and Juliet.” But a delightful video clip of Bax and his wife, pianist Lucille Chung, playing his arrangement for piano four-hands of Piazzolla’s “Libertango” offered lively compensation.
Preview: Playhouse on Park, All is Calm: the Christmas Truce of 1914.
It’s a remarkable true story of World War One and relives an astounding moment in history; in a
silence amid the combat, a soldier steps into no man’s land singing “Silent Night.” Thus begins an extraordinary night of camaraderie between the Allied troops and German soldiers. They lay down their arms to celebrate the holiday, share food and drink, play soccer, and sing carols. This dramatic retelling weaves together firsthand accounts of World War I soldiers with patriotic tunes, trench songs, and Christmas carols. Musical arrangements by Erick Lichte and Timothy C. Takach. Directed by Sasha Brätt, with music direction by Benjamin Rauch.
This play was originally scheduled to be produced by Playhouse Theatre Group, Inc. live at Playhouse on Park. As a result of guidelines put forth by Governor Ned Lamont and out of concern for the safety of our staff, cast, and crew, the play was filmed outdoors without the presence of a live audience. All involved in the making of the film of this play were required to adhere to an extensive safety plan.
Stream-at-home tickets are $20 per stream plus an additional $3 service charge. Online orders are subject to an additional $1.50 processing fee. In person and phone orders do not have the additional $1.50 fee. All fees are passed on directly to the companies that charge us for their services. You will be able to access the film from December 16th - January 3rd only. For more information on streaming, or to purchase tickets, visit www.PlayhouseOnPark.org.
In person screenings at Cinestudio in Hartford: Tickets are $20, reserved seating. Screenings will be held on Friday, December 18th at 7:30pm and Saturday, December 19th at 2:30pm and 7:30pm. Tickets must be purchased through Cinestudio. You may either purchase them online at www.cinestudio.org or in person the day of the screening.
REVIEW: TheaterWorks, (Virtual) "Christmas On The Rocks"
www.theaterworkshartford.org
through December 31, 2020
by Jarice Hanson
December 3, 2020
REVIEW: Springfield Symphony Orchestra, Entering Bach’s World
Springfield Symphony Orchestra, Springfield, MA
December 2, 2020
by Michael J. Moran
The last installment of the SSO’s three-program fall series of “90-minute virtual lecture/music events” via Zoom featured guitarist and music educator Andrew Leonard, who presented an overview of Johan Sebastian Bach’s six “Brandenburg Concertos” and “contextualized” them with background information about Bach’s life, musical influences, and the “high Baroque” era in which he worked.
These concertos were likely written between 1717, when Bach started a “dream job” as music director at the court of Prince Leopold of Cothen, and 1721, when the composer sent them to the Margrave (prince) of Brandenburg in the apparent hope of a new job offer (due to Leopold’s waning musical interest) which never materialized. Leonard’s lively manner and obvious enthusiasm for his subject made his clear explanations of the elegant French and earthier Italian styles of Baroque music and related topics accessible to even his least musically literate viewers.
Illustrating his comments with a variety of video clips played by a wide range of performers, Leonard offered fascinating insights about these now familiar masterworks, considered very difficult, even too “complicated” to play, during Bach’s lifetime, when he was better known as an organist than as a composer. Each concerto, for example, was written for a different, often novel, combination of instruments: Leonard highlighted the first concerto’s hunting horns, the piercing clarino trumpet in the second concerto, and the dominant harpsichord in the fifth.
His delight in the miniscule two-chord middle movement of the third, in the virtuoso interplay between dueling violins and recorders in the fourth, and in the prominence of violas and violas da gamba in the sixth was palpable and contagious. Quoting UMass professor Ernest May, with whom he’s currently studying Bach, Leonard’s description of Bach’s “anything you can do I can do better” approach to composition reminded viewers how far ahead of his time he was.
As a generous incentive to learn more about Bach, Leonard sent every attendee a resource guide with links to all the performances he excerpted. SSO Education Director Kirsten Lipkens, a Yale Music School classmate of Leonard’s, ably oversaw a revealing Q&A session and suggested, in welcome news, that more virtual SSO programs may appear soon.
November 24, 2020
REVIEW: Springfield Symphony Orchestra, A Musicians’ Panel
Springfield Symphony Orchestra, Springfield, MA
www.springfieldsymphony.org
November 23, 2020
by Michael J. Moran
Formally titled “From the Heart of the SSO: A Musicians’ Panel,” the second in a new three-program series of “90-minute virtual lecture/music events” via Zoom featured five non-principal SSO players in conversation with SSO Education Director Kirsten Lipkens: first violinist Kathy Andrew; second violinist Anne-Marie Chubet; violist Elizabeth Rose; Assistant Principal double bassist Alexander Svensen; and trombonist Paul Bellino.
Like most orchestras, the SSO is a part-time ensemble, so along with their SSO tenures of six (Svensen) to thirty-three years (Rose), all these musicians have had an impressive range of other professional music experience, such as teaching, being regular or substitute members of other orchestras, and performing in chamber music groups. Despite the challenges of this “patchwork” career pattern, including much long-distance driving from gig to gig, all shared a deep commitment to the “elation” of playing music for a live audience.
Some of their most revealing insights concerned the inner workings of their craft, from auditions (focusing what in any other field would be a traditional job interview into a “very pressure-ful” 2-3 minutes of performance time behind a screen); rehearsals (several weeks of home study with musical scores followed by 10 hours of Thursday-Friday group work before one Saturday concert, which Rhodes’s “ultra-efficient” rehearsal style ensures will be “a good performance”); and working together (learning to listen to each other is “all about blending” and good preparation for life).
Among their most memorable SSO experiences were: unguarded backstage moments at Symphony Hall with pops concert guest stars Ella Fitzgerald, Bobby Short, and Art Garfunkel; and performing “O Fortuna” from Orff’s “Carmina Burana” at a 2015 New England Patriots game in Foxborough celebrating the team’s fourth Super Bowl championship before 75,000 fans (Svensen recalled thinking, “I’ll never hear a louder audience”).
All five musicians clearly value the great camaraderie and inspiring leadership they experience as committed members of the SSO. Lipkens, who is also a substitute SSO oboist, was a genial and empathetic host. The last event in this series is: “Entering Bach’s World,” with music educator Andrew Leonard on December 2 at 7:30 pm.
November 20, 2020
REVIEW: Springfield Symphony Orchestra, Rhodes on Beethoven
www.springfieldsymphony.org
November 19, 2020
by Michael J. Moran
Kevin Rhodes |
November 16, 2020
REVIEW: Hartford Symphony Orchestra, Spotlight Series
Bolcom, Franz Joseph Haydn, Jessie Montgomery, and Antonín Dvořák, performed by HSO musicians: Associate Concertmaster Lisa Rautenberg; Assistant Principal viola Aekyung Kim; Principal cello Jeffrey Krieger; pianist Stephen Scarlato; and Concertmaster Leonid Sigal, who also hosts.
November 10, 2020
REVIEW: Hartford Symphony Orchestra, Masterworks In-Depth
Kevin Puts |
November 1, 2020
REVIEW/PREVIEW: Goodspeed Musicals, Shakin' The Blues Away! A Virtual Gala Concert
October 29, 2020
BSC & BTG Awarded Million Dollar Gift
Pittsfield, MA (October 29, 2020)
Barrington Stage Company and Berkshire Theatre Group each Awarded Over $1 Million Dollar Gift In Memory of Mary Anne Gross
Barrington Stage Company (Julianne Boyd, Founder/Artistic Director) is pleased to announce that a generous gift of just over $1 million dollars has been made to the company by the family of the late Mary Anne Gross in recognition of her lifelong love of theatre and the Berkshires. This award also recognizes the heroic and tireless efforts of Barrington Stage Company in producing the first live Equity theatre in the United States in summer 2020, following the shutdown of live performing arts due to the onset of the COVID-19 pandemic in March.
The Gross Family gift will support payroll and basic operating costs for the next six months in order to ensure that there are no furloughs or layoffs while the theatres continue to raise funds in support of future artistic programming.
October 15, 2020
Preview: Theatre for a New Audience, Moliére's The School for Wives
Closed captioning in English & French
Performances will be followed by a Q&A.
Molière in the Park and the French Institute Alliance Française (FIAF), after the success of virtual productions of The Misanthrope and Tartuffe, co-present, in partnership with Theatre for a New Audience, a radically inventive and refreshing take on the classic play, The School For Wives.
At its core, Molière’s biting 17th-century satire about a privileged and misguided man so intimidated by women that he grooms his own ward for marriage, is about gender power dynamics. In this contemporary retelling, Tonya Pinkins (Jelly’s Last Jam, Caroline, or Change) stars as the patriarch Arnolphe, obsessed with keeping 17-year-old Agnès ignorant so that she will remain faithful to him.
Director Lucie Tiberghien examines this classic tale through the lens of an all-woman cast to shine a light on the ultimate absurdity of similar American systems of oppression. Like Agnès, no one's humanity can be snuffed out.
Starring Tonya Pinkins, Tony Award-winner for Jelly's Last Jam, writer-director of the upcoming socio-political horror film Red Pill, and host of the podcast You Can't Say That on BPN.fm/ycst
Performance: 90 minutes, Q&A: 20 minutes
FREE and open to all. RSVP required to receive viewing links.
Links will be emailed from Molière in the Park and French Institute Alliance Française on the day of the event.
REVIEW: Hartford Symphony Orchestra, Masterworks In-Depth
Carolyn Kuan |
October 14, 2020
REVIEW: Hartford Fringe Festival, Notes on Me and You
www.hartfordfringefestival.org
through November 9, 2020
by Michael J. Moran
Billed as a “new one-man musical” and a “visual album,” “Notes” is one of over twenty pre-recorded virtual productions being presented by the second annual Hartford Fringe Festival via streaming access for thirty days.
With music by Dawson Atkin and lyrics by N. J. Collay, the show features Sam Vana singing and playing acoustic guitar, or accompanied by Atkin on off-camera piano, through most of its 42-minute length. Vana portrays an unnamed man who chronicles the illness and death of his life partner from HIV/AIDS in the late 1980s. Atkin and Vana are Hartt School students at the University of Hartford; Collay attends Brandeis University.
Documentary film footage of period demonstrations to support AIDS victims and funding for a cure are interspersed at several points. The only set is Vana sitting on a stool with additional backdrops of hand-drawn art. The production is directed and edited by Atkin.
“Notes” is not so much a traditional musical as a song cycle in the style of Adam Guettel’s “Myths and Hymns” or William Finn’s “Elegies.” Though it lacks the power and polish of those mature predecessors, “Notes” shows considerable promise that its young creative team have the talent to reach similar heights in the future.
The show’s modest production values strengthen its impact. While sometimes hampering his microphone access, Vana’s Covid face shield also connects his viewers during the 2020 coronavirus pandemic with the firsthand experience of his character thirty years earlier. And the use of pre-existing film both relieves the claustrophobic stage set and lifts the performer’s personal anguish to the broader level of redemptive social action.
Atkin’s music varies from soft and contemplative, through grief stricken and disconsolate, to rousing and galvanizing. A quiet instrumental interlude featuring piano and guitar is particularly poignant. Collay’s lyrics follow the musical arc with simple eloquence, repeating phrases like “you and me in perpetual motion” and “I’m still reaching for the dead” which become mantras. Vana’s appealing openness captures the full range of his character’s moods, from despair to cautious hope.
October 12, 2020
Oh, the Places We Planned to Go: Arrowhead and Hancock Shaker Village
By Shera Cohen
The title paraphrases a line from Dr. Seuss. He did not realize, nor did he care, that his jolly little sentence described the unexpected disruption of what would have been my 25th straight summer in the Berkshires. I am sure that I have written most of those 24 articles for myself rather than for the readers. I guess that makes me a selfish writer. However, my senior year high school English teacher stressed to her classes, “Write what you know.”
I imagine that many of us, humans using many different languages all in the same dilemma on this planet, have been writing their own versions of what we know. Their own stories about life in the pandemic and its affects is unique to each. Some are or will be best-sellers and others will be pithy tales of daily life.
Discontented Covid 19 quarantiners (I imagine that would all of us) mumble, “I’ll learn to play chess or knitting; that’s really popular now. I should read that book someday.” The more ambitious might blurt out, “Now’s the time to write my book.”
As for my own plans, the focus of my 25th article, “How I Spent My Summer Vacation in the Berkshires,” would have focused on historic homes of the rich and/or famous (note that the famous were not necessarily rich, and vice versa). Prompted by Carole Owens’ book “The Berkshire Cottages” [College Press, 1984] I planned my vacation using Ms. Owens work as a roadmap. I would never get through one-half of the venues cited in her book, but I set out on my journey with destinations marked within the author’s geographical area. This felt good: step #1 is complete.
Next step: to ask venue directors or board presidents if I might visit their sites to include information about their programming and history in my full article and as well as several sidebars. Nearly everyone eagerly said “Yes” to my request.
Stop! Hold the press! Covid 19 makes front page news. Well, now it’s called “Breaking News” on every television network, and thousands of Facebook posts. Those of us over age 40 will have heard the phrase, “Hold the press.”
I recently read an article on-line about the woes of museum personnel. With no one in attendance, there is nothing to program, and no sites to see. The performing arts are in a worse place. At least museums and museum-historic homes still had their venues, even though none of their thousands of visitors were able to enter.
I was determined to write some sort of article about summer in the Berkshires. I would be glad for something cultural than nothing. The doors started to open in late-June, very slowly at first, but enough for me to return to my abbreviated Summer in the Berkshires Plan. Because museums have the advantage of admitting a limited about of patrons at one time, could space them out, and cut out programs involving close-contact, Year #25 was to become my “ Journeys to Berkshires Museums.”
It’s not like there aren’t enough art and cultural sites to attend. Also, at least 10 former homes-turned-art venues pack the pages of Ms. Owens’ book. A bonus was that some museums offer both indoor and outdoor event participation; the latter usually being safer during this Covid era.
I am by no means advocating or giving permission to readers to attend any all of Ms. Owens’ selected Berkshire cottages. These are decisions only you can make. I decided, with some other In the Spotlight writers, to take the risk. A few writers trekked out on their own. Our past articles have included stories on: Naumkeag Museum & Gardens, Norman Rockwell Museum, Chesterwood, Mission House, Edith Wharton’s The Mount, Bidwell House, Frelinghuysen Morris House. We hadn’t yet broached our requests to visit: Berkshire Botanical Museum, Colonel John Ashley Home, the Friends of du Bois Homestead, and Nathaniel Hawthorn’s summer house.
Last week’s journey took us to Pittsfield: Hancock Shaker Village and Arrowhead. I have learned only recently that I do myself and ITS readers an injustice by writing notes from the tour guides talk, taking excerpts from brochures, and photos. I abandoned my notebook and pen, and simply enjoyed the experience. What a novel idea is, of course! My Pittsfield mini-vacation would be atypical from my notes and lessons. We would just go for the fun of it.
Herman Melville’s Arrowhead was off the main street in Pittsfield in the middle nowhere. You could easily drive by it. Docents can make or break the tour. Ours was a woman who knew Melville’s life, family, writing, careers, architecture of the house, and some unsubstantiated personal stories. All these years, I had thought that the name Arrowhead referred to the spear-end of a harpoon. Not at all. When Melville and his large, extended family purchased the property, he tilled the soil as any good farmer would. There, in the dirt and muck, he found a plethora of arrowheads, left from American Indian tribes a century of two prior.
I highly recommend visiting Arrowhead, both the indoor home and surroundings. Having read “Moby Dick” is optional. I cheated in high school, reading only the first several chapters. I opted for the Gregory Peck movie. Interesting about the impetus for his novel was Melville’s view from his porch of the large expense of Mt. Greylock; a perfect image of a giant whale. Unfortunately, Melville’s epic never brought him favor; it was a posthumous success.
Hancock Shaker Village deserves more time than we were able to give. The property is acres and acres of what was once farmland. Spotted throughout were dormitories, church, tool houses, and large dining room/kitchen. While many would disagree with me, think of the Shaker life as that of Quakers. Shaker communities are sparce, religious, help their brethren, and share the success of an individual. The Village had no tour guides, but a character dressed in appropriate garb of the times told us about each building as we entered. Life was segregated; men and women never ate together and praying together was unheard of. It is hard to imagine, yet understandable under the circumstances that in 2020, only three Shakers live in the U.S. One middle-age man is the sole resident of the Shaker Village in Maine.
Neither Arrowhead, www.mobydick.org, nor Hancock Shaker Village, https://hancockshakervillage.org, permanently close, even in the winter. Special events take place, especially focusing on music. Check the Shaker website to register for a genuine Shaker dinner. It won’t be fine cuisine, but it will be authentic.
September 28, 2020
REVIEW: Barrington Stage Company, Three Viewings (Virtual Reading)
September 4, 2020
REVIEW: Tanglewood 2020 Online Festival, ITS Presents the "Lenny Awards"
Seiji Ozawa |
Stephanie Blythe |
Sue Elliott |
August 31, 2020
REVIEW: Berkshire Opera Festival 2020
Joanna Latini |
Joshua Blue |
August 26, 2020
REVIEW: Tanglewood 2020 Online Festival, Week Eight
Dawn Upshaw |
Joshua Bell |
August 25, 2020
On the Road: Liza Donnelly Work Showcased at NRM
www.nrm.org
by Shera Cohen
Like the rest of the population on our planet, I had to figure out a reasonable and safe summer vacation for myself. Also, after 25 years of writing “What I Did on My Summer Vacation in the Berkshires,” maybe it was about time to take somewhat of a different journey as well as approach to my articles.
With no theatre, music, and/or dance to attend, I felt abandoned. I cannot imagine how the actors, musicians, dancers, and all of the many behind-the-scenes talent, now jobless and forlorn, felt. How could l help this urgent overwhelming experience besides echoing the words of others (“Things will be better next year.”), making small donations when I could, and using In the Spotlight as a forum that art is not dead, nor is the Berkshires?
Liza Donnelly, copyright 2002 |
Last weekend, I traveled to Norman Rockwell Museum, Stockbridge. The property includes a large white museum filled with Rockwell originals, a pristine landscape, a workshop/cottage, and scattered whimsical sculptures disbursed. The latter are art pieces created by one of Norman’s sons.
Each summer, I try to focus on the touring exhibit by a guest artist. This year, the works of cartoonist Liza Donnelly’s were a delight. I hadn’t really thought of cartooning as an art form. However, seeing the prolific drawings that filled the large main gallery, taught me that Ms. Donnelly is not only one who can draw, yet at the same time write dialog; two talents that come together, seemingly with ease. Probably few Spotlight readers have heard of Liza Donnelly, but trust me, you have seen her cartoons, particularly in The New York Times, probably at the dentist’s office.
I have a friend of many years who is a professional cartoonist. What a fun job that must be, I always think. Chris Allard, of Springfield, whose art has been seen on PBS and throughout the United States, told me “I see cartooning as an expression of humor.” Liza Donnelly, who I have never met, says, “Cartoons are a dialogue—a sharing of humor and a sharing of the human condition.”
Observing Chris’ skills over the course of several years gave me somewhat of a base to view Ms. Donnelly’s cartoons. By no means am I a critic of this genre; if the little story is whimsical and clear, I am a happy with what I see. One of Chris’ ersatz mentors was Charles Addams, creator of the New Yorker cartoons. Maybe a model of some of Chris’ style echoes Donnelly’s own New Yorker drawings?
Liza Donnelly, copyright 2004 |
This exhibit ends in mid-September. Reservations by phone or online must be made prior. Only 17 visitors are permitted in any one gallery at a time. Please adhere to the museum’s simple rules. Friendly staff are stationed throughout the museum to answer questions. By the way, NRM’s store is one of the biggest, most diverse in the Berkshires. Check the website at www.nrm.org or call 413-298-4100.