REVIEW: Boston Symphony Orchestra, "Romeo and Juliet"

Tanglewood, Lenox, MA

www.bso.org/tanglewood

July 11, 2025

by Michael J. Moran

Fridays and Saturdays at Tanglewood offer free short “Prelude” programs before most evening concerts. Tonight’s “Prelude,” performed mostly by BSO members in Ozawa Hall, presented three selections by Maurice Ravel, celebrating the 150th anniversary of the French composer’s birth, and one piece by his teacher, Gabriel Faure.

Ravel’s three “Songs of Madagascar” (1925-26), set to texts by Evariste de Parny, featured Eve Gigliotti, whose voluptuous mezzo-soprano was haunting in “Nahandove,” startlingly ferocious in “Aoua! Beware of the white men,” and languorous in “It is good to lie down.” Violinist Julianne Lee and cellist Mickey Katz were eloquent in Ravel’s “Piece in the form of a Habanera” and “Kaddish” respectively. Lee and Katz joined violist Rebecca Gitter and pianist Benjamin Hochman for a vibrant account of Faure’s 1885-86 second piano quartet. 

The main event was an 80-minute (without intermission) “theatrical concert for orchestra,” a world premiere, in the Shed which combined 15 numbers from Sergei Prokofiev’s 1935 ballet “Romeo and Juliet,” played by the BSO under their Music Director, Andris Nelsons, with excerpts from the text of Shakespeare’s play, adapted and directed by Bill Barclay, and performed by six actors from Barclay’s company, Concert Theatre Works.  

Barclay’s imaginative staging made full use of the Shed’s wide stage, where minimal props were seamlessly moved on, off, and around the stage by actors. The top step of a high staircase served as Juliet’s balcony. Riveting stage action included what Barclay called in a program note “the wildly thrilling world of live swordplay.” The immersive production even had an exuberant Romeo racing off stage around the Shed to the lawn after he and Juliet profess their love in the balcony scene. Elegant costume design was by Arthur Oliver.

Photo by Hilary Scott

The well-miked cast was uniformly strong. Kelley Curran and James Udom conveyed the full emotional range of the star-crossed lovers and the depth of their mutual attraction. Nigel Gore (from Shakespeare & Company) was a commanding Capulet. Caleb Mayo was a hyperactive Mercutio, and Carman Lacivita (Friar Laurence at Hartford Stage in May), a boisterous Tybalt. Robert Walsh was hilarious and impressive in the dual roles of the friar and Juliet’s nurse, at one point changing roles (and costumes) mid-scene.

Musical highlights from Prokofiev’s colorful score included: two dramatic conflict scenes with swordplay (“The Fight;” “Tybalt and Mercutio Fight”); several graceful dances (“Arrival of the Guests;” “Dance of the Knights”); a magical balcony scene; and an achingly poignant closing “Death of Juliet.” The entire BSO played with elegance and passion, but special plaudits go to the large percussion and brass sections.

This powerful amalgam of music and theatre, which clearly enthralled the multi-generational live audience, is a major achievement by Barclay and Nelsons.

 

REVIEW: Sevenars Music Festival, "Family and Friends"

The Academy, Worthington, MA

www.sevenars.org

July 13, 2025

by Michael J. Moran

The opening concert of this beloved summer festival’s 57th season featured pianists Rorianne Schrade (after whose parents and their five children, all having first names which start with R, the festival is named) and Lynelle and Christopher James (children of Rorianne’s sister Robelyn Schrade-James and David James, both deceased), joined by family friends pianist Clifton (Jerry) Noble and violinist Alexis Walls.

The program honored the 150th anniversary years of African-British composer Samuel Coleridge-Taylor and French composer Maurice Ravel. It opened with a graceful account by Rorianne and Lynelle of the charming “Andante” from Coleridge-Taylor’s “Three-Fours” suite. This was followed, in total contrast, by the tempestuous “Wild Hunt,” the eighth of Franz Liszt’s twelve 1852 “Transcendental Etudes,” played with rip-roaring panache by Christopher.

Calling that “a tough act to follow,” Rorianne met the challenge with a similarly dramatic reading of Ravel’s 1920 orchestral showpiece “La Valse” (“The Waltz”) in his own fiendishly difficult transcription for solo piano, building to a tumultuous climax with laser-focused power.

Shifting gears again, Lynelle welcomed her childhood fellow music student Alexis Walls to the stage for a glowing rendition of Ravel’s jazz-inspired 1927 second sonata for violin and piano, with a jaunty opening “Allegretto,” a soulful “Blues,” and a furious “Perpetuum mobile” finale.

Next, Lynelle took on what is generally considered Ravel’s most technically demanding piano score, his three-part 1908 suite “Gaspard de la Nuit” (“Treasurer of the Night”), giving cogent interpretation of its first and third movements. Based on characters in poems by Aloysius Bertrand, Lynelle’s fluid “Ondine” painted a shimmering portrait of the water sprite, and her careful balancing of slow and faster passages brought the nocturnal goblin “Scarbo” to vivid life.

The program closed on a brighter note when Jerry Noble joined Rorianne in a bravura take on Australian-American composer Percy Grainger’s twenty-minute “Fantasy” for two pianos on George Gershwin’s “Porgy and Bess.” This kaleidoscopic arrangement re-sequences selections from the 1935 opera for dramatic impact, with “Summertime” and “Bess, You Is My Woman Now” providing an emotional climax near the end. Both pianists rendered Gershwin’s inspired melodies and Grainger’s sumptuous enhancements with virtuosic exhilaration.

 

Remaining Sevenars concerts, next presenting the acclaimed Sullivan String Quartet, are scheduled for Sundays, July 20-August 17.

REVIEW: Great Barrington Public Theatre, “Madame Mozart: The Lacrimosa”

Simon’s Rock College, McConnell Theater, Great Barrington, MA

www.greatbarringtonpublictheater.org

through July 27, 2025

by Shera Cohen

“Madame Mozart: The Lacrimosa,” a new play written by local Anne Undeland, offers one answer as to how Wolfgang Amadeus Mozart died. Remembering the movie, “Amadeus,” the film’s ending is depicted in another scenario. Neither the play nor the movie version may be true; those seeking specifics may google. Undeland’s work is not a who-done-it, but a what-comes-next for Mozart’s young widow.

Actor Tara Franklin, a favorite in the Berkshires, appears onstage from start to finish without a pause; depicting Constanze’s reaction to circumstances and personalities who thwart her survival. The musically prolific Wolfie was a pathetic provider for his family, yet Constanze loved him, and  made it her mission that her husband received the respect and notoriety that he deserved in his short life. [Mozart died at age 35. Just imagine how much more amazing music he could have penned!]

Franklin portrays her role as intelligent, decisive, nurturing, cunning, and not unwilling to use feminine whiles when necessary. Director Judy Braha positions Constanze as the mastermind of hiding her husband’s death and unfinished Requiem in D minor. While not miscast, because there is no doubt that Franklin is one of the finest actresses in the Valley, filling the role with a younger actress might be more accurate as a 30-year-old mom of young children.

Ryan Winkles, another stalwart actor in the Berkshires, plays every male in the cast, and there are lots of them, switching from Count to composer to child in a flash. At no point is it ever confusing who Winkles portrays at any given moment. A versatile actor, many of Winkles’ characters provide the humor necessary to balance the plot. There is one running joke particular to bodily functions which repeats much too often; a tad overkill in an otherwise dramatic play.

Stage design by Juliana von Haubrich, from the rafters to floor, is the most accurate and, at the same time, serviceable as any play yet presented by GBPT. Lighting design by Matthew E. Adelson, literally shines, to the point that audience members notice the contrasts and emphasis enabling the story’s progress.

It seems that many one-act plays have been written in the 21st century. No fault there. The playwright should tell the story, and then get out; it’s done, nothing more to tell. In the case of this one-act, too much is said. The script goes on and on, seemingly ending at numerous points, the audience ready to applaud. However, Undeland unnecessarily stretches the tale. Judicious cuts are recommended.

On first look, this is Constanze’s story. Not really. This is Mozart’s story, with huge credit to on-stage pianist Hudson Orfe, dressed in contemporary clothing, playing the composer’s Requiem, particularly the Lacrimosa movement, throughout. Sometimes distinct, oftentimes subtle, the music creates a continuous undertone of Mozart’s magnificence and death.

REVIEW: Chester Theatre Company, “A Hundred Words for Snow”

Town Hall Theater, Chester, MA

www.chestertheatre.org

through July 13, 2025

by C. L. Blacke

 

Equity actor Hero Marguerite (“Big Big Sky,” “Circle Mirror Transformation”) returns to Chester to deliver a top-notch performance as 15-year-old Rory in “A Hundred Words for Snow.” She deftly traverses the range of adolescence, exhibiting all the impulsiveness, self-consciousness, and eternal optimism of a teenage girl. Her performance is infused with humor, anger, sorrow, and an energy that fills the theater.

 

Written by Tatty Hennessy, “A Hundred Words for Snow” is an exploration of Rory’s solo adventure to scatter her dad’s ashes at the North Pole. On the surface, it is a coming-of-age story that navigates Rory’s sudden parental loss, her new-found independence, her first sexual encounter, and her experience as a teenage girl in an ever-changing world.

 

But beneath that constantly shifting sea is a diverse ecosystem. Rory’s monologue delves into a complex study of grief, climate change, and a search for spiritual connection with women past, present, and future. Her narrative is interspersed with facts about Arctic geography, famous Polar explorers, and the Inuit people, providing both context and emotional depth.

 

And just as the Inuit’s oral storytelling has preserved their cultural history and explained their connection with nature, “A Hundred Words for Snow” follows the same tradition. Depicted in short vignettes, it is the story of Rory and her dad (and eventually her mum) passed along through memories of the journey, not to mention dispelling some myths along the way.

 

Perhaps the most remarkable aspect of this play is the masterful hand of director Michelle Ong-Hendrick—masterful because the audience can’t see her hand in it at all; it is her invisible guidance and imagination that provides the space for Marguerite to create the illusion of Rory’s quest. Ong-Hendrick directs not only Marguerite as Rory but also Rory’s portrayal of all the other characters who she encounters. With a change in pitch, accent, and body positioning, Marguerite never misses a beat or loses the audience.

 

Marguerite isn’t just a great dramatic actor; she’s a great physical actor, too. She expertly manipulates the limited set pieces with agility and grace. Jeremy Winchester’s spare scenic design transforms in her capable hands. As she climbs, jumps, and moves the props around on stage, a steel chair becomes a campfire, an aluminum ladder an icebreaker ship, and white plastic sheeting the frozen Arctic landscape.

 

In all ways, “A Hundred Words for Snow” takes the audience on an epic adventure.

REVIEW: Shakespeare & Company, "The Victim"

Shakespeare & Company, Lenox, MA

www.shakespeare.org

through July 20, 2025

by Paul A. Jenney

If looking for a play that goes beyond storytelling and challenges its audience to wrestle with

uncomfortable questions, Shakespeare & Company’s “The Victim” delivers a deeply reflective and timely experience. Written by Lawrence Goodman and directed by Daniel Gidron, the play probes the intersecting lives of three women, each grappling with questions of identity, inherited trauma, and how lived experience shapes perception—both of oneself and of others.

The cast features Annette Miller as a thought inspiring Ruth, an aging Holocaust survivor

struggling with memory loss and the emotional burden of her past. Stephanie Clayman portrays

a conflicted Daphne, Ruth’s daughter, a successful New York physician caught in the pressures

of the “sandwich generation", caring for an elderly parent while navigating her own family and career, all while voicing a sharp political skepticism. Yvette King plays a bittersweet, Maria, a

young Dominican health care aide whose introduction to Judaism and the Holocaust unfolds

through her fraught relationship with Ruth. Maria’s sense of invisibility and frustration emerges

in contrast to the generational trauma of the woman she cares for.

Told entirely through a series of monologues, “The Victim” departs from conventional theatrical

narrative, instead allowing each character’s voice to take center stage. Performed on a

minimalist set with subtle lighting and movement cues to signal time’s passage, the structure

may seem spare, but it creates space for emotional depth and direct audience connection. The

stories unfold with humor, poignancy, and sincerity, drawing the viewer into the internal conflicts

and moral ambiguities each woman carries.

At its core, the play asks resonant questions: Who has the right to claim victimhood? Can

suffering ever be compared? Does trauma entitle, or isolate? Goodman’s script doesn’t offer

resolution rather intentionally. Instead, it invites us to consider how trauma, privilege, history,

and identity intersect in ways that are often messy, painful, and unresolved. The result is a

conversation-starter, one that lingers in the mind long after the final lines are spoken.

Ultimately, “The Victim” succeeds not by offering answers, but by provoking debate. It's a

theatrical meditation on how humans listen or fail to, to one another’s pain, and how easy it is to

retreat into competition rather than compassion.

REVIEW: Barrington Stage Company, “Camelot”

Barrington Stage Company, Pittsfield, MA

www.barringtonstageco.org

through July 19, 2025

by Michael J. Moran

Based on T. H. White’s 1958 novel The Once and Future King, "Camelot" tells the story of 6th-century King Arthur of England and his Knights of the Round Table, who became known for settling disputes not through war but through law and who attracted recruits from far and wide. When virtuous Sir Lancelot arrives from France, his growing love for Arthur’s Queen, Guinevere and the treachery of Arthur’s illegitimate son Mordred put the peaceful kingdom in peril.

Photo by Daniel Rader

With a book and lyrics by Alan Jay Lerner and music by Frederick Loewe, BSC’s enthralling production of the Tony-winning 1960 musical features a knockout cast of 17 talented singer-actors. Ken Wulf Clark brings a boyish charm to his exuberant portrayal of Arthur, who never loses his sense of wonder and curiosity about the world. The difference between his joyous take on the title song early in Act I and its more somber reprise at the end of the show is heartrending.

 

Ali Ewoldt is a resourceful Guinevere, who grows from a fearful girl in “The Simple Joys of Maidenhood” just before meeting Arthur to an achingly mature woman in “Before I Gaze at You Again” after falling for Lancelot. Emmett O’Hanlon as Lancelot finds the perfect mix of gravitas and humor introducing himself in “C’est Moi” and of rapture and vulnerability in his show-stopping ode to Guinevere, “If Ever I Would Leave You.” Ewoldt has remarkable chemistry with both her co-stars, more protective with Clark, more sensual with O’Hanlon.

Dakin Matthews offers rich comic portraits in the dual roles of Arthur’s mercurial teacher, the magician Merlyn, and of King Pellinore, a dotty more or less permanent house guest of Arthur and Guinevere. Danny Kornfeld’s gleefully malicious Mordred received an appreciative chorus of boos at his opening night curtain call. The men and women of the ensemble are versatile and seamless throughout.

Director Alan Paul (BSC’s Artistic Director) draws nuanced performances from his players and propels the action forward. Choreography by Brandon Bieber and Michele Lynch is graceful and witty, especially in “The Lusty Month of May.” Music director Darren R. Cohen’s eight-member band has outsize impact. Minimalist scenic design is by Lee Savage, tasteful costume design by Lia Wallfish and Ana Kuzmanic, and subtle lighting design by Christopher Akerlind.

BSC’s thrilling recreation of this musical theater classic is highly recommended to all audiences.

Review: Shakespeare & Company, “The Victim”

Shakespeare & Company, Lenox, MA

www.shakespeare.org 

through July 20, 2025

by Paul A. Jenney

If looking for a play that goes beyond storytelling and challenges its audience to wrestle with uncomfortable questions, Shakespeare & Company’s  “The Victim” delivers a deeply reflective and timely experience. Written by Lawrence Goodman and directed by Daniel Gidron, the play probes the intersecting lives of three women, each grappling with questions of identity, inherited trauma, and how lived experience shapes perception—both of oneself and of others.

The cast features Annette Miller as a thought inspiring Ruth, an aging Holocaust survivor struggling with memory loss and the emotional burden of her past. Stephanie Clayman portrays a conflicted Daphne, Ruth’s daughter, a successful New York physician caught in the pressures of the “sandwich generation", caring for an elderly parent while navigating her own family and career, all while voicing a sharp political skepticism. Yvette King plays a bittersweet, Maria, a young Dominican health care aide whose introduction to Judaism and the Holocaust unfolds through her fraught relationship with Ruth. Maria’s sense of invisibility and frustration emerges in contrast to the generational trauma of the woman she cares for.

Told entirely through a series of monologues, “The Victim” departs from conventional theatrical narrative, instead allowing each character’s voice to take center stage. Performed on a minimalist set with subtle lighting and movement cues to signal time’s passage, the structure may seem spare, but it creates space for emotional depth and direct audience connection. The stories unfold with humor, poignancy, and sincerity, drawing the viewer into the internal conflicts and moral ambiguities each woman carries.

At its core, the play asks resonant questions: Who has the right to claim victimhood? Can suffering ever be compared? Does trauma entitle, or isolate? Goodman’s script doesn’t offer resolution rather intentionally. Instead, it invites us to consider how trauma, privilege, history, and identity intersect in ways that are often messy, painful, and unresolved. The result is a conversation-starter, one that lingers in the mind long after the final lines are spoken.

Ultimately, “The Victim” succeeds not by offering answers, but by provoking debate. It's a theatrical meditation on how humans listen or fail to, to one another’s pain, and how easy it is to retreat into competition rather than compassion.

Review: Chester Theatre, "Magdelene"

Town Hall Theater, Chester, MA

www.chestertheatre.org

through June 29, 2025

by C. L. Blacke

 

Under direction of new Co-Artistic Directors, Michelle Ong-Hendrick and Christoper Baker, Chester Theatre Company’s 36th season opens with Mark St. Germain’s powerful and persuasive new play, “Magdalene”. It is a riveting story of the profound faith and wisdom of the Catholic religion but also its “obvious and illogical sexism.” 

No stranger to Chester, Director Keira Naughton brings this provocative play to life, seamlessly delivering the audience from outright laughter to a welling of tears. With sharp wit, familiar parables, and honest discourse, St. Germain’s play explores the anger, frustration, and untold trauma of Mary Magdalene that is at once poignant and believable.

“Magdalene” takes place 18-years after the death of Christ, when a desperate and confused Peter seeks the advice of the one person closer to Jesus than even him, Mary Magdalene. Jealous, not only of her relationship with Jesus and her understanding of His teachings, Peter confides that he is lost and unsure of how to continue preaching, especially in the face of a new self-proclaimed apostle taking up the role.

Equity actor Adam LeFevre portrays the aging apostle with a sense of humility and honesty, endearing him to the audience as he fully embraces his character’s simple, yet stubborn nature. His tone and mannerisms quietly display Peter’s regret and staunch adherence to tradition, leaving no doubt of Peter’s eventual martyrdom and subsequent sainthood.

As the title suggests, Equity actor Danielle Skraastad's is the true star of the show. She is neither meek nor mild, but a fierce proponent of truth and equality. She lives both independently and as a revered member of the community. With a gorgeous set designed by Juliana von Haubrich, the audience is immediately immersed in Mary’s world—a humble room of aged stucco, crude furnishings, woven textiles, and dried herbs. It is an inviting and sacred space built on strong convictions, deep faith, and enduring perseverance.

Skraastad’s presence on stage commands attention. She is a conduit for Mary’s story and a voice for all women and girls that must be heard. With numerous Broadway, Off-Broadway, and regional credits to her name, Skraastad brings the fight for gender equality straight to the people, and her performance is nothing short of miraculous. Whether religious or not, Catholic or not, one will leave “Magdalene” with a new hero.

REVIEW: Hartford Symphony Orchestra, "Rachmaninoff & Rhapsody in Blue"

The Bushnell, Hartford, CT

www.hartfordsymphony.org

June 6-8, 2025

by Michael J. Moran

The HSO and its Music Director Carolyn Kuan closed their 2024-2025 “Masterworks” series of weekend concerts in festive style, including a powerful closing appearance by pianist Clayton Stephenson. The program comprised three works - written in the U.S. over an 80-year period by two American-born composers and a Russian immigrant - which were all distinctively American.

Photo by Jim Henkel

After a helpful spoken introduction and brief excerpts played by different HSO members, Kuan led the orchestra in a dramatic account of John Adams’ “Dr. Atomic Symphony.” This was adapted in 2007 from music in his 2005 opera “Doctor Atomic,” which portrayed the moral ambivalence of Dr. J. Robert Oppenheimer and his Manhattan Project colleagues in creating and testing the atomic bomb in the 1940's. The symphony’s three continuous movements featured many instrumental solos, but none more eloquent than the plaintive trumpet of HSO principal trumpet Dovas Lietuvninkas, expressing Oppenheimer’s anguish. 

Stephenson was next; a dazzling soloist in George Gershwin’s 1924 “Rhapsody in Blue" to show how jazz could enrich classical music. With technical polish and emotional exuberance to spare, the Juilliard-educated Stephenson shifted seamlessly between the piece’s contrasting moods, from quiet blues to joyous outbursts. Kuan and the ensemble were proficient partners, with a sinuous opening solo by HSO principal clarinet Sangwon Lee.

Stephenson’s perky encore performance of Igor Stravinsky’s 1921 arrangement for solo piano of the “Russian Dance” from his 1911 ballet “Petrushka” was equally virtuosic and invigorating.

Photo by Jim Henkel

The concert ended with a vibrant rendition of Sergei Rachmaninoff’s three “Symphonic Dances,” his last work for orchestra. Written in 1940 at his summer home on Long Island, its jagged rhythms and percussive instrumentation reflected both the influence of the composer’s native Russia and his growing Americanization over two decades spent in the U.S. The first movement featured an alto saxophone solo, sensuously played by Carrie Koffman, while the finale quoted an ancient Russian liturgical hymn of joy in its lively climax; a curious but memorable epitaph.

Next up for the HSO are a free concert in Bushnell Park on June 14 and their five-concert summer Talcott Mountain Music Festival in Simsbury (June 27-July 25).

REVIEW: Barrington Stage Company, "N/A"

St. Germain Stage, Pittsfield, MA

www.barringtonstageco.org

through June 22, 2025

by Jarice Hanson

 

While there is no doubt the “N” of “N/A” is Nancy Pelosi and the “A” is Alexandria Ocasio Cortez, the names of the two political powerhouses are never mentioned in the 90-minute play at the intimate St. Germain Stage at  Barrington Stage Company. Still, the two actresses, Kelly Lester (Pelosi) and Diane Guerrero (AOC) not only resemble the two women, but they channel their energy and mannerisms to a “T.”

 

Mario Correa’s ambitious script is deliciously constructed to pose several questions to the audience generally dealing with the overarching theme: “What do these women have in common, and where might they clash?”  There are many suggestions of where the internal conflict comes from. It this relationship one of “old” politics clashing with “new” politics? Are these two women destined for a power struggle that insures they never work together or that one must capitulate to the other? Is there any one way for an organization to function smoothly when one person has privilege and the other has little? What is moral leadership, and who gets to define the terms? 

Photo by Daniel Rader

 

The brilliance of the script is that the decisions are left to the audience, and according to the playwright’s perspective written in the playbill, the delicate balance relies heavily on the fact that: “…people in the audience have a strong feeling about those people and events to begin with…”  Correa’s experience as a staffer to a member of Congress informed his approach to thinking about how politics work at a practical level, as well as how ideology influences behavior.

 

In this whip-smart, fast paced, dialog-laden production, director Katie Birenboim does not allow her actors to rely on stereotypes or dwell on media images, but rather, gets to the heart of what makes each woman a leader. Learning of family relationships—who knows whether Nancy Pelosi actually gave her granddaughter an Eleanor Roosevelt Barbie or not—or how AOC’s family experience impacts her decisions about immigration—ground the individuals in unique ways of seeing the world and shaping how they view their responsibilities as leaders for the people they serve.    

 

The spare set by Brian Prather is central to involving the audience in the sense of place. Suggestions of what the view from each one’s office enhances the sense of power for the two women, and Wheeler Moon’s effective lighting design serves as a reference to time as the characters learn more about each other, and themselves.

 

The topics drawn from history are very real, and Brandon Bulls’ sound design is haunting as it recalls January 6th and the violence inflicted on those public servants attempting to do their duty.

 

The play reminds audiences that real people work on behalf of the public every day. To be successful leaders, they grapple with moral ambiguity, a sense of honor, and that democracy is a system that requires vigilance, checks, and balances.

 

This is an important play, and when told through the eyes of two powerful women, leaves a lasting impression on the state of our nation.

Review: Great Barrington Public Theater, "How to Not Save The World with Mr. Bezos"

Great Barrington Public Theater, Great Barrington, MA

www.GreatBarringtonPublicTheater.org

through June 22, 2025

By Suzanne Wells

Great Barrington Public Theater kicks off the summer with the highly anticipated world premiere of “How to Not Save the World with Mr. Bezos,” a compelling dark dramedy penned by Maggie Kearnan and directed by Clay Hopper. Kearnan, a fresh voice in contemporary theater, recently earned her master’s degree from Boston University and brings a sharp, thought-provoking perspective to the stage. Her play masterfully blends historical and cultural touchpoints, taking elements of the French Revolution, a dash of revenge, and an unexpected hint of cartoon mischief to craft a story that is both entertaining and unsettling.

Set in a dystopian future where accumulating vast personal wealth has been outlawed, the play opens in a sleek, modern conference room dominated by a long table. The audience, seated in an arena-like formation surrounding the stage, is immediately drawn into the atmosphere, reminiscent of a Roman Colosseum. This arrangement intensifies the drama unfolding before them, immersing viewers in a gladiatorial battle of ideology and power.

Photo by Lauren Jacobbe

At one end of the table sits Cherry Beaumont, a determined journalist representing Forbes Magazine. Across from her looms the formidable figure of Jeff Bezos. Their conversation begins as a standard interview but quickly escalates into a heated ethical debate over the responsibilities of the ultra-wealthy in addressing global financial disparities. As tensions rise, secrets emerge, further complicating the struggle at play.

 

Providing a fascinating counterpoint to the mounting drama is the "Fact Checker," stationed at a small podium to the side. Armed with an arsenal of props, he injects bursts of humor and levity into the increasingly charged discussion, serving as both comic relief and a sobering voice of reason.

Eliza Fichter delivers a mesmerizing performance as Cherry, her energy and precision making it nearly impossible to look away. Her ability to command the stage ensures that every moment of the debate feels urgent and alive. Noah Ilya Alexis Tuleja steps into the role of Jeff Bezos with striking intensity, expertly walking the fine line between eliciting audience sympathy and disdain. Meanwhile, Shai Vaknine, in his debut performance as the Fact Checker, shines in his role—providing both well-timed humor and intelligent interjections that elevate the entire production.

This play is an electrifying, thought-provoking theatrical experience that leaves the audience questioning—are we ready for a revolution?

REVIEW: The Bushnell, “Back to the Future, The Musical”

The Bushnell, Hartford, CT

www.bushnell.org

through June 8, 2025

by R.E. Smith

How can something so high-tech be so charming? How can something one audience member at intermission called “so meta” still feel so sincere? Probably because, like the plot which bounces 30 years back and forth in time, it embraces the most entertaining parts of both time periods and eschews cynicism.

Photo by McLeod9 Creative

The plot is simple Oedipal science fiction with fun historical commentary mixed in for laughs. Marty McFly’s good friend, scientist Doc Brown, has invented the most stylish time machine ever, and through a series of mishaps, Marty travels back to the 50’s, where he not only meets his parents, but also attracts the unwanted attentions of his teenage mother. Of course, he must get back to the 1980’s before the flow of time is disrupted and catastrophe ensues.

The show’s script is by the original movie’s co-creator Bob Gale and produced by director Robert Zemeckis. They understand what makes the film so beloved and they are not afraid to recreate much of that narrative scene for scene and word for word. 

Do the performers very much embrace the mannerisms and the delivery of the original stars, Michael J. Fox and Christopher Llyod and Lea Thompson? Yes, they do. But die-hard fans would be sorely disappointed if they didn’t. Do they give them enough of a spin to make things just different enough to entertain an audience not intimately familiar with the movie, yes they do!

Appreciated is the idea that the characters are given songs native to the styles of their day, like “Pretty Baby”, sweetly sung by Zan Berube as Lorraine Baines (all sugar and spice) in ‘50s girl group fashion. Lucas Hallauer’s Marty (flummoxed but determined) gets the well known 80’s pop-hits like “Power of Love”. “Cake” allows the ensemble to extol the virtues of leaded gasoline and DDT while “21st Century” goes full Styx to help Doc solve his time-traveling puzzle. Alan Silvestri’s movie score (a highlight of the film) is layered throughout and helps drive the momentum of the narrative.

The entire cast is top rate, doing excellent work, vocally, physically and with impeccable timing. Nathaniel Hackmann, who originated the role of bully Biff on Broadway, set his own gold standard, but still clearly relishes every minute of his malaprop burdened blowhard.

To speak too much of the special effects, lighting and sound design would spoil an impactful part of the show. At times, the audience feels like it’s in a real-life video game, but since you are invested in the outcome of these sympathetic characters, the razzle-dazzle heightens the dramatic tension rather than distracts.

Musical adaptations of well-loved movies can be a mixed bag. For every “The Producers” there is a “Carrie”. “Back to the Future” has the benefit of source material that strongly relied on music as an important element, and solid structure that was already teetering to the melodramatic. Therefore, perfect for a big, exciting, brightly colored Broadway musical!

Try to arrive early to the Bushnell and enjoy the outdoor recreation of an 80’s dance party, complete with a chance to get a selfie with the “real star” of the show (Hint: it has four wheels)

Personal note from the reviewer: So anyway. . . .this will be my last review for “In the Spotlight”. Over 30 years ago, publisher Shera Cohen sent a young engaged couple off to review “My Fair Lady” at the Bushnell. It is only appropriate that our last show was at this venue, and the show is one that speaks to both the past and the future. Between Bravo Newspaper and In the Spotlight, I’ve had the opportunity to see and comment on more theatre than I ever imagined we would and I feel very lucky to have done so. I want to thank Shera Cohen for trusting my words to contribute to people’s discovery and enjoyment of the arts.

REVIEW: Barrington Stage Company, " EISENHOWER: This Piece of Ground"

Barrington Stage Company, Pittsfield, MA

www.barringtonstageco.org

through June 8, 2025

by Jarice Hanson

 

Watching actor John Rubinstein on stage is like observing a master class in acting. In the solo show, "Eisenhower: This Piece of Ground," written by Richard Hellesen and produced and directed by Peter Ellenstein, Rubinstein brings the life of the 34th President of the United States, Dwight D. Eisenhower into focus. He does not impersonate Eisenhower, but fully portrays the former President’s irascible tendencies, depth, and moral conviction. 

 

The play is set in 1962. John F. Kennedy is the President at the time, and “Eisenhower” minces no words about his feelings toward JFK. He says: “I didn’t particularly like him, but I respected him.” 

Photo by Maria Baranova

 

Through clever projections designed by Joe Huppert, the audience observes Eisenhower’s childhood and family in rural Kansas, through his education at West Point, to his work as an aide to General Omar Bradley in WWII and Korea, his time as a University President, and eventually to the Presidency. 

 

The setting is the retired President’s home in Virginia, where he hints at what family life is like, and his deep love for his wife, Mamie. When Rubinstein engages in a phone call with Mamie, his voice softens ever-so-gently, and his face becomes that of a man who truly understands the sacrifices of a military wife. 

 

It is the portrayal of Eisenhower that leaves the strongest impression. Rubinstein is a joy to watch as he personifies this man struggling with what he hopes to include in a book. He is not happy with the description of being ranked in the lower quarter of the list of public ratings of presidents, but the plot device gives him an excellent reason to reflect on his past, including what he thinks was one of his own personal failings, which forms one of his deep regrets. 

 

The script offers many pithy contrasts with post-Eisenhower cultural references and political characters, but it never betrays Eisenhower’s own commitment to honor and serving the people of the country. The real Eisenhower may have had his weaknesses and faults, but his integrity never wavered, and the life of a good, honest man who believed that it was better to do “the harder right, rather than the easier wrong” is an important historical note.

 

This is a story that deserves to be told, and thanks to the charismatic John Rubinstein, Eisenhower, the man, emerges as a complex, real human being.

REVIEW: Berkshire Theatre Group, "The Elephant Man"

Berkshire Theatre Group. Stockbridge, MA

www.BerkshireTheatreGroup.org

through June 15, 2025

by Jarice Hanson

 

The Unicorn Theatre is an intimate space, perfect for staging a complicated play, like "The Elephant Man". Pre-show music gives the opening scene a side-show vibe, so when the lights come up to feature a misshapen mass covered in burlap, there’s little doubt that under that burlap is the central character himself, John Merrick, the fictional personification of the real deformed man who became a side-show novelty in England and Belgium in the later 1800's. 

Photo by Tucker Blair

 

Playwright Bernard Pomerance’s 1979 Tony Award Winning play is based on the real Joseph Merrick who, though born with no obvious deformities, grew to become a curiosity because of his physical appearance. The story involves the surgeon, Sir Frederick Treves, who not only saved Merrick from a life of exploitation but gave him a home at the London Hospital; and the people who befriended him during his short life. One of those friends, a stage actress by the name of Mrs. Kendal, introduces him to society and contributes to his growing sense of dignity.

Portraying John Merrick takes an actor with strong physical skills who can develop a rapport with the audience, despite using no prosthesis or special effects to mimic the challenges of Merrick’s disabilities. Actor Michael Wartella creates a creature so believable that when the pictures of the real Merrick are shown on a screen, the audience is witness to the deformities taking shape. This is no spoiler—it is the prelude to the rest of the story, and it creates a bond between the actor and the audience.

Harry Smith as Dr. Treves is believable in his clinical description of Merrick but becomes even more interesting as he learns about Merrick’s intellect, talent, and religious beliefs. As their friendship grows, director Eric Hill uses the growing familiarity to show closeness and respect. Laura Shatkus, as Mrs. Kendal, is a stand-out for her warmth and sincerity as she gets to know Merrick and introduces him to her society friends.  

The production is faithful to the accents and mannerisms of the time, but while this is a strength, it also creates a problem. So many different British dialects are used; several audience members muttered about not being able to hear the dialog clearly. Often characters speak while looking upstage, which should not be a problem in a small theatre like the Unicorn, but with the stylized accents and diction, the subtlety of the contrasts that are so pivotal, are lost.   

Still, the story of "The Elephant Man" is an important one because it contrasts cruelty toward those based upon appearance and the dignity that is inherent in every human being. It is a relevant play at this time in history, and Berkshire Theatre Group should be congratulated for taking on the challenge.     

Review: Goodspeed Musicals, "Ragtime, The Musical"

Goodspeed Opera House, Essex, CT

www.goodspeed.org 

through June 15, 2025

by Suzanne Wells

"Ragtime, The Musical" is a dramatic, inspiring, and entertaining production by Goodspeed Opera House, directed by Christopher D. Betts. Representing three demographics during the Golden Age of America—the wealthy, the immigrants, and the children of freed slaves—"Ragtime" captures the disappointments, struggles, hopes, and dreams of each as they strive to embrace the American ideal that all are welcome and anyone can be successful.

Photo by Diane Sobolewski

The stage is set in a large room with cathedral ceilings, a second-level catwalk in front of long floor-to-ceiling windows, and a rolling staircase. This simple, elegant design by Emmie Finckel offers a myriad of locations, from ships docked in the harbor to salons in mansions to train stations. With the assistance of colorfully painted backdrops, the open-air construct allows for outdoor scenes on city streets, parks, and roadsides.

The costume design by Stephanie Bahniuk transports the viewer to a time when the wealthy were clad in chiffon dresses with parasols, three-piece suits and top hats; immigrants struggled in the cottons and wools of their homelands; and colored folks, in their taffeta dresses and off-the-rack pinstripe suits celebrated life in Harlem dance halls. Background to the latter is the spectacular, star-spangled sequins of the vaudevillians.

The music, conducted by Adam Souza, superbly blends a variety of genres including ragtime, gospel, and traditional melodies. Choreography by Sara Edwards, with its varied kick lines and shadow waltzes is a sensational sight to behold.

Every actor of this 23-person cast plus ensemble deserves recognition for their exceptional performances.  Each member’s unique energy and skill in acting, singing, and dancing enhances the deep, emotional experience of this story. Michael Wordly’s portrayal of Coalhouse Walker, Jr, is powerful and poignant.  His deep, earthy voice reaches into the soul and extracts emotions of hope, joy, and sorrow.  Mamie Parris’ nuanced performance of strength and vulnerability establishes her character, “Mother,” the heart of the show.  As “Father,” Edward Watts is compelling with the evolution of his character from segregated elitist to a believer of equality.  Stephen Tewksbury’s versatility shines in his dual roles of “Grandfather,” providing comic relief, and of Irish immigrant, Willie Conklin engendering feelings of hatred and revulsion. 

“Ragtime, The Musical” is a testament to the power of theater to provide a deeper understanding of the complexities of the American experience, both then, and now.

REVIEW: Springfield Symphony Orchestra "Variation and Virtuosity"

Symphony Hall, Springfield MA

www.springfieldsymphony.org

May 3, 2025

by Lisa Covi

Marcelo Lehninger served as guest conductor for the last subscription concert of the 2024-2025 season (there will be an additional free Juneteenth Concert). Moving from the contemporary to the 19th century, the program achieved its desired theme of transformation not only in the musical presentation but by transfixing the audience with dynamic performances. Although the hall seemed less than half full, attendees received the program enthusiastically.

The first selection, "Temporal Variations (Beethoven Revisited)," was written by Ronaldo Miranda in 2014. Perhaps it takes a Brazilian-native conductor to deliver this Brazilian composer's lesser-known interpretation of variations in both tempo and our human experience of time through the weather. Lehninger chose this piece for the program to complement Beethoven's symphony since it includes quotes from several of his sonatas.

 

Through liberal use of the percussion section, whipcracks, xylophone and marimba punctuated the transitions between sweet pastoral melodies and atonal passages. The winds and horn section were in fine fettle, and though small in number, they blended well with the multitude of strings to lead fine call and responses.

Appearing only for the second selection, guest pianist Natasha Paremski was as strong as the golden vision of her personal presentation. Her piano technique demonstrated mastery of the Rachmananoff "Rhapsody on a Theme of Paganini, Op. 43". She demonstrated the strength to articulate the piano against the swell of the orchestra, the dexterity to play the proliferation of runs and frequent crossovers flawlessly and the ability to deliver intonation to convey the emotion of the familiar theme. The orchestra seemed to breathe as one with the soloist producing goose pimples and hair-raising mellifluousness.

The final selection was Beethoven's "Symphony No. 7 in A Major, Op. 92". Regarded by the composer as one of his best works, dance rhythms propelled celebratory motifs throughout each of the four movements. The performance vibrated with mastery and passion as a favorite for both musician and classical music audiophile. The hallmarks of Beethoven – tonal shifts between major keys, the drama of timpani thunder and the forceful dramatic coda in the loudest forte fortissimo – invited toe-tapping and armchair conductors to unite themselves to the endeavor.

Review: Opera House Players, “Anastasia”

Opera House Players, Enfield, CT

www.operahouseplayers.org

through May 18, 2025

by Shera Cohen

The musical “Anastasia” returns to CT after its premier at Hartford Stage some years ago, then onto Broadway. The story of Anastasia, daughter of the Romanov family of early 20th-century Russia during the Russian Revolution, is absorbing, emotional, and somewhat true.

The plot couples a history play with a mystery. Is this young woman really a street sweeper by trade, or the unbeknownst princess of the fallen Russian Empire?

In many aspects, especially in opening scenes, “Anastasia” is reminiscent of “My Fair Lady”. There’s the spitfire girl/woman taken under the wings by two male strangers. All is pure and innocent; the girl seeks her identity; the men seek profit; everyone can possibly win at no expense to the others.

Community theatre director extraordinaire Sharon FitzHenry never shies from taking on big productions: nearly 30 actors; 25 songs plus 5 reprises; a very long, high, and deep stage – in other words, an ideal venue.  A small orchestra, led by the ever-popular Bill Martin, sounds big. Never hesitate to attend any musical which FitzHenry has directed.

A giant map of Europe and Russia stretches to create the entire backdrop; it remains throughout. The crew seems to utilize every inch of space permitted, yet at no point are the sets and actors crowded.

Moonyean Field’s masterful costuming is often taken for granted because her work is always extraordinary: elegant garb worn at the ball in old Russia, a full-stage flapper jazz concert in 1920’s France, and actual “Swan Lake” -type ballet performances within the play.

At the core of the tale is the erstwhile princess Anastasia, portrayed by Olivia Grimard, a newcomer to Opera House Players, and an amazingly talented singer/actress. Just about any local community theatre should try to scoop her up for future roles. Grimard plays the lead role as sharp, determined, and forthright. She’s sweet and rather petite in frame but holds her own with the male characters.

David Webber, Zach Bakken, and Michael Noel depict the roles of the men who Anastasia encounters on her journey to Paris to learn her identity. Each is a first-rate vocalist.

Without hesitation, OHP has assembled a troupe of the best community theatre voices in the region for “Anastasia”. Those in secondary, yet important roles, could easily turn in star performances, if required.

REVIEW: The Bushnell, "Some Like It Hot"

The Bushnell, Hartford, CT

www.Bushnell.org

through May 4, 2025

by Jarice Hanson

 

For fans of the 1959 “Some Like It Hot” movie with Tony Curtis, Jack Lemmon, and Marilyn Monroe, by all means get to the Bushnell and see the updated version of the story complete with music and a lot of tap dancing. 

 

This story has aged remarkably well, but with the help of an updated book by Matthew Lopez and Amber Ruffin, and music by Marc Shaiman and lyrics by Scott Wittman and Marc Shaiman, this show brings plenty of laughs, and a feel-good vibe to today’s world.

 

Photo by Matthew Murphy

Set in 1933 Depression America, the action on stage is complemented by the Bushnell’s art deco architecture. This is an old-fashioned musical that is pure entertainment, delivered by a fine cast of singers and dancers guaranteed to put smiles on faces.

 

The Broadway version was a sparkling gem on the boards in 2022. The Bushnell production is one of the first touring companies to bring the big, lavish musical to this region.

 

The story is fairly simple. Two male musicians witness a mob hit and have to go into hiding. Hoping to make it to Mexico, they see the opportunity to join Sweet Sue and her Society Syncopators, an all-woman orchestra traveling across the country. When confronted with a sexy singer named Sugar Caine, portrayed deliciously by Leandra Ellis-Gaston, the two heroes, Joe/Josephine, masterfully played by Matt Loehr, and Jerry/Daphne, played by Tavis Kordell, evade thugs, find love, and hilarity ensues. 

 

Kordell may have the greater challenge in making his character believable, but he brings such thought and dignity to the role, and builds the character slowly so that the audience is ready for the updated twist that emerges in Act II. His honest portrayal is so convincing that the audience cheered what otherwise might have seemed like a simple line—but in the context of contemporary times, the simple line is profound. 

 

A surprise character emerges in Osgood Fielding, acted by the energetic Edward Juvier, whose performance would have made the originator of the role, Joe E. Brown, proud. While every voice in the cast is exceptional, Juvier’s romantic rendition of “Fly Mariposa, Fly” is a masterpiece.

 

This cast overflows with talent. Almost everyone sings and dances, and Nicholaw's choreography is a force to behold. In addition to the leads, the all woman "orchestra" sings and taps throughout the show.

 

Act II is also peppered with a highly creative mad-cap number reminiscent of the Keystone Kops. The result is non-stop fun that reminds audiences of what a Broadway musical used to be, and it fills the heart with joy.

 

REVIEW: Springfield Chamber Players, "Broadway With Strings Attached"

52 Sumner, Springfield, MA

www.springfieldsymphonymusicians.com

April 26, 2025

by Lisa Covi

To echo a question from Cabaret, "What good is sitting alone in your room?"

 

An enthusiastic crowd answered the siren call of musical theater to experience a unique program of favorites and hidden gems at 52 Sumner, Springfield. 

Mark Auerbach, a performer, journalist and PR consultant for the Springfield Chamber Players (formerly called MOSSO) along with Marty Kluger (narrator, vocalist and conductor) compiled selections from 21 Broadway musicals for string quartet and voices.

Each selection related to orchestral strings: "Fiddler on the Roof," characters who are string players ("A Little Night Music"), or Thomas Jefferson's courtship by "Violin" ("1776").

 

The virtuosity of Beth Welty, Delores Thayer, Yoonhee Ko and Ronald Gorevic transformed their instruments into harmonious and atonal passages that furnished both setting and Greek chorus to the gifted singers. Spencer Reese and Sara Vincelett Dredge delivered expressive vocal interpretations that made even the most familiar ballads such as “Send in the Clowns” or “The Impossible Dream” unique characterizations. Orchestral passages showcased breadth and depth in “The Band's Visit” Israeli bleatings, “Oklahoma” broad square dance twangs and “On The Town” New York's romp of fleet week.

Although the 52 Sumner venue provides fine acoustics, comfortable seating and cash bar, the stage layout seemed a bit awkward with Kluger conducting the quartet occasionally from the center of the stage between the other vocalists and the strings seated on the far left.

The informal tone struck a pleasant chord with the humor in the narration, the named t-shirt costume, surprisingly choreographed dance and finale sing-along.

The Springfield Chamber Players are a valuable cultural resource which provided a convenient and pleasant opportunity to enjoy a well-crafted Pops program.

REVIEW: Theatre Guild of Hampden, "Jerry’s Girls"

Hampden Senior Center, Hampden, MA 

http://theatreguildofhampden.org

Through May 4, 2025

by Michael J. Moran

This “musical revue of songs from classic Jerry Herman musicals” premiered on Broadway in 1985. It features 33 numbers from seven of the prolific composer/lyricist’s Broadway shows, from “Milk and Honey” (1961) to “La Cage aux Folles” (1983), and one Off-Broadway revue, “Parade” (1960).

Director Mark Giza stages the Theatre Guild of Hampden’s elegant production in the intimate cabaret setting of the Hampden Senior Center’s community room. Audience members are seated at round tables, and the low stage against a simple backdrop of colorful banners for Herman’s shows allows the cast of nine singing actresses, all clad in stylish black, to mingle easily with attendees.

Most selections are sung by multiple cast members, but they range from solo performances to full ensemble numbers. The mix of slow ballads and upbeat showstoppers reveals the breadth of Herman’s talent and moves the show forward with satisfying variety. Imaginative choreography by Dina Del Bueno (who tap dances adroitly several times) keeps the cast in constant graceful motion. One-man-band musical director Parker Eastman coaxes a vast range of sounds from his keyboard.  

With no weak links in this strong cast, everyone has at least one highlight, including: Jessica Glasser’s rapturous “It Only Takes a Moment” (“Hello, Dolly!”); Amanda Emet’s scathing “Wherever He Ain’t” (“Mack and Mabel”); a joyous full-cast “We Need a Little Christmas” (“Mame”), complete with garland and twinkling headgear; and Robyn Scott’s heartbreaking “I Won’t Send Roses” (“Mack and Mabel”).

 

Equally impressive are: Margie Secora’s rousing soliloquy and “Before the Parade Passes By” (“Hello, Dolly!”); a devastating “I Don’t Want To Know” (“Dear World”) by Becca Greene-Van Horn; Kate Fusco’s poignant “Time Heals Everything” (“Mack and Mabel”); Andrea Stolar’s hilarious “Gooch’s Song” (“Mame”); and a few delightful cameos by stage manager Gail Weber.

 

But the star performer of the evening, who keeps stealing the show, is veteran Kathy Renaud, who delivers: a witty “Bosom Buddies” (“Mame”) with Secora; a shattering “If He Walked into My Life” (“Mame”); an uproarious “Nelson” (“A Day in Hollywood/A Night in the Ukraine”), ending on a clear high C; and a defiantly vital “I Am What I Am” (“La Cage aux Folles”).  

 

Fans of entertaining cabaret sung with heart and spunk by a talented team of resourceful women should waste no time getting tickets.

REVIEW: Hartford Stage, “Romeo & Juliet”

Hartford Stage, Hartford, CT

www.hartfordstage.org

through May 18, 2025

by C. L. Blacke

The brilliance of Director Melia Bensussen’s production of “Romeo & Juliet” cannot be overstated. With a deft hand, she peels back the play’s many layers of pervasive prejudice, generational divide, familial complications, and yes, even young love. She makes one of Shakespeare’s most recognizable plays accessible and relatable to viewers of all ages.

Photo by T. Charles Erickson 

Retaining classic elements of Verona, Italy while imbuing the world with Latin American traditions, Bensussen’s production of “Romeo & Juliet” is as entertaining and lively as it is eerie and tragic. Her inspiration based on Día de los Muertos (the Mexican Day of the Dead) weaves throughout the play in both theme and design. These fragile relationships between light and dark, life and death can be seen in costume designer Fabian Fidel Aguilar’s flower-adorned papier-mâché skull masks, lighting designer Dan Kotlowitz’s hanging tin star lanterns, and scenic designers Christopher and Justin Swader’s lace trimmed bed turned cold, marble tomb. Even choreographed sword fighting is juxtaposed against court dancing with a flamenco flair.

But it’s the cast of many talented equity actors that ultimately makes this production a resounding success. Niall Cunningham as Romeo and Carmen Berkeley as Juliet both embrace their characters’ childish passions and overwrought emotions so convincingly that the audience experiences their relationship’s growth from infatuation and sexual desire to an unbound maturity and purity. The viewer is reminded of their own teenage years when everything is dire and the consequences indeed mean life or death.

This production owes just as much to the lovable duo of Juan Arturo (Benvolio) and Alejandra Escalante (Mercutio). Together, they capture the true comedy of Shakespeare with their bawdy conversations, lewd mannerisms, and good-natured teasing. Despite the many laugh-out-loud moments they provide, they just as expertly sever the lighthearted mood with the clash of two swords. Without pretense, Escalante’s portrayal of Mercutio’s mortal wound turns the story towards its dark and deadly conclusion.

Honorable mentions must also go to Annemarie Kelly’s over-the-top mannerisms of The Nurse and Carman Lacivita’s steady benevolence and guidance as Friar Laurence.

There is no attitude of preciousness in Bensussen’s production. Having stripped away the reverence and sanctity of a Shakespearean play, she exposes “Romeo & Juliet” for what it is—a bawdy, silly, absurd, and tragic love story. Indeed, this production is how every high school student should experience Shakespeare.

Review: Majestic Theater, “Waitress”

Majestic Theater, West Springfield, MA

www.majestictheater.com 

through June 1, 2025

by Shera Cohen

The Majestic Theater traditionally ends its seasons with musicals; always audience pleasers which leave theatergoers on a literal “high note”.

“Waitress” fills the bill with its contemporary, mostly light, story of everyday folk just making their way through life. The plot takes ordinary characters and, in many cases, makes them special each for their own personality and talents. 

The setting is an aging small-town diner, and the focus is the staff, who just happen to sing and dance. Ahh, such is the formula for a musical. Although “Waitress” is based on the adorable dramedy movie of the same name.

Chelsie Nectar as Jenna

Chelsie Nectow (our lead, waitress Jenna) is a pie-maker extraordinaire. Appearing in nearly every scene, Nectow has a lot of work to do as an actress and cook. Nectow is a dynamic singer who can act, as opposed to the reverse – actress who can sing. There is a distinct difference.

Two other waitresses form the triumvirate; it is these ladies who bring the audience into their fun and foibles. Lyndsay Hart (Dawn) and Yewande Odetoyinbo (Becky) possess vocal skills and acting chops. It is Hart who steals the show, not just because of her multi-talents; also because Director Sue Dziura gives her the opportunity.

Nectow must show more emotion as Jenna who is pregnant by her ne’er do well husband and not at all happy about it. As beautiful as many of her solos are, the actress faces the fourth wall; separated from everyone and everything else. This doesn’t work. The audience must care about her fate and that of her baby.

The two male actors, in lesser roles, are each a breath of fresh air. Nicholas Futris portrays Ogie as a sweet yet crazed wannabe boyfriend to Dawn, and Gregory Boover becomes the antithesis of all that a proper gynecologist should be. It’s obvious that Boover has lots of credits on his acting bio. He is effervescent and hysterical. The horny episodes between Jenna and the doc on the examining  table, complete with stirrups, are certainly funny.

Whether the problem was the sound system or the actresses’ voices during the first three songs, lyrics were oftentimes indistinguishable. From that point on, all was clear.

Josiah Durham’s set, front and center as the café, and backdrop for Jenna’s living room and later the doc’s office, work well with zero lag time changing scenes.

It’s no surprise to expect anything but the best from the Majestic’s band with Music Director Elisabeth Weber at the helm.