Review: TheaterWorks Hartford, "King James"

TheaterWorks Hartford, Hartford CT

www.twhartford.org

through March 2, 2025

by Jarice Hanson

 

Photo by Mark Marques

Rajiv Joseph, the playwright who penned King James, now on stage at TheaterWorks Hartford, obviously loves language. Set in Cleveland over a period of 12-years, Joseph shows his knack for colloquial speech, and in this well-crafted piece, his clever wordplay is a joy. He was a Pulitzer Prize for Drama finalist in 2010 for his Bengal Tiger at the Baghdad Zoo, and he won an Obie for Best New American Play for Describe the Night. The initial 2022 production of King James at the Steppenwolf Theater in Chicago garnered rave reviews. Undeniably, Joseph is an American playwright who understands Americana.

 

Director Rob Ruggiero capitalizes on his two actors’ distinct physicality to bring out the comedy of these characters who become friends over a mutual love of the Cleveland Cavaliers, and especially, LaBron James.

 

Gregory Perri (Matt) and George Anthony Richardson (Shawn) may be an unlikely pair for a bromance, but the duo develop a chemistry through the four snapshots of their friendship that smacks of reality and life’s ironies. Told in sections, or “four quarters” a la basketball game, this odd couple portrays a solid reminder that real friendship grows over time, despite life’s ups and downs.

 

The set, stunningly designed by Luke Cantarella, is detailed and realistic, i.e. a mid-level wine bar that magically turns into Matt’s parents’ eclectic neighborhood antique store/upholstery shop. The vibe is quintessentially midwestern, as are the values the men share. Matt aspires to own his own wine bar, and Shawn is destined to become a writer. Over the four quarters, the playwright shows the audience how his characters are drawn into their stories.

 

Perri and Richardson are a wonderful team, and their wordplay is fast and funny. The jokes are well set-up and each land with meaning. When Matt lists names of the women he’s dated, including “Katie and Katie 2,” Shawn doesn’t miss a beat when he lets Matt know that the likely reason his engagement failed was that he kept referring to his intended as “Katie 2.” These are the things that only good friends can say to each other, and those in the audience are happy to see people who care about each other enough to be honest, even when they may not be that honest with themselves. 

 

Point should be taken about the oftentimes delivery of Matt's lines which were directed toward the back wall of the stage. In an intimate setting like TheaterWorks, this seemed to create a little unevenness between the characters, to some degree implying that Matt’s nervous energy was being defused. This may have been intentional, but because both actors had such expressive faces, it would have been lovely to see more of a reaction to each other—though the decision may have been to keep the focus on the words, and that’s a fine choice too.

REVIEW: Hartford Stage: “Two Trains Running”

Hartford Stage, Hartford, CT

www.hartfordstage.org

January 23 – February 16, 2025

by Shera Cohen

The trains in “Two Trains Running” are never seen, only sometimes heard. The play’s title is symbolic, hinting at Robert Frost’s poem “The Road Not Taken”. Life is full of choices; most neither good nor bad, they just are.

The simple diner of late-1960’s Pittsburgh serves as the neighborhood home for its owner, its one and only employee, and five regulars. Each character has known the others for many years, seeks their opinions, while heeding few. Into this mix, comes a stranger; a younger man recently released from the penitentiary.

Photo by T. Charles Erickson

All of the actors are Black, as playwright August Wilson’s work focuses on the black experience in different eras and locations in America. While not hammered into the thoughts of audiences, the subject of Civil Rights is ever present. Delving into the plot, reminds those of us watching the play and others who know history, that 1969 marked the beginning of overt discussions, divisions, and rallies. To participate or not; these are choices offered. Serious topic? Yet, there is so much humor; it’s laugh-out-loud funny.

Director Gilbert McCauley places his characters purposefully as duos, or teachers to all present. Dialogue is natural, segueing from one to another. Without being static, McCauley has created a special place onstage for each character; rarely does one cross to another. 

For this first play of the HS 2025 season, Artistic Director Melia Bensussen has selected a marvelous cast.

Godfrey L. Simmons, Jr. portrays the lynchpin of the group, Memphis. As the diner’s owner, his story is the most important. The patrons react to Memphis’ pie-in-the-sky dreams, because none have any of their own.

Rafael Jordan exudes a breath of fresh air. As newcomer Sterling, he enters the mix as unassuming, optimistic, and smart all at the same time. While nearly all actors are seated, Sterling is all over the place.

The one female in the cast is Taji Senior as Risa, waitress and the diner’s Jill of all trades. Risa’s backstory remains hidden until Act II. Senior’s no-nonsense sober  woman holds her own as confidant, friend, or caretaker.

Lawrence E. Moten III’s set draws audience members into the diner, almost seated on one of the empty stools. However, if the raked stage and windows with slanted borders are designed to look realistic for sight lines, it doesn’t succeed as planned. Yes, the audience wants to see every inch of staging, but not at the expense of realism.

“Two Trains Running” is a striking important play. The pace brings it in at 2 hours and 40 minutes. Omitting entire sections of dialog is recommended. Cutting is often done to Shakespeare’s masterpieces. It’s doubtful that August Wilson would mind.

REVIEW: Springfield Symphony Orchestra, "Gershwin, Berlin & Friends"

Symphony Hall, Springfield, MA

www.springfieldsymphony.org

February 1, 2025

by Daniel Monte

On a blustery winter evening, the Springfield Symphony Orchestra delivered a delightful concert of jazz standards from the Great American Songbook to warm the hearts of audience members at Symphony Hall. Performer and conductor Byron Stripling led the orchestra, played trumpet, and sang several numbers as well. He made for a very humorous host, asking at one point for composer George Gershwin to stand up and be recognized. 

Grammy award winner Carmen Bradford filled in on short notice for Sydney McSweeney as lead vocalist. Bradford is known for her years of work with the Count Basie Orchestra. As one would imagine, she is completely at home in the Great American Songbook and sang such standards as Gershwin's "I've Got Rhythm," "Someone to Watch Over Me," "Our Love is Here to Stay," and Berlin's "Tea for Two."

Bradford's energy and joy were palpable as she delivered her renditions of these classic tunes. On "I've Got Rhythm," her voice echoed a very Ella Fitzgerald inspired scat solo. A scat solo, for those not versed in jazz speak, is when a vocalist improvises using syllables or parts of words imitating another instrument. Ella Fitzgerald is considered one of the greatest scat singers in history. And, Bradford's talents were obvious.

After one of the songs, the conductor asked Bradford if she ever met Ella Fitzgerald. Sure enough, she had, multiple times. On one occasion, when she had been the opening act for Fitzgerald, they met backstage. A bit of a backstory is that Bradford found her pacing nervously back and forth before the show. When she asked if she was okay, or if she needed anything, Fitzgerald said, "I just hope they like me." The younger singer was amazed to find that one of her idols, an icon like Ella Fitzgerald, still got nervous before going onstage. 

 

Another highlight of the evening was the spectacular pianist, Bobby Floyd. On Gershwin's "Lady Be Good," his piano solo seemed to encompass just about every musical genre. At one point the audience began to hoot and holler and then started clapping along. His solo piano arrangement of Scott Joplin's "Maple Leaf Rag" was completely fresh and a true delight.

Floyd's background as a gospel pianist was well on display when he and the vocalist "took it to church," so to speak, delivering a soulful rendition of the classic, "He looked Beyond My Faults." In 1984, Floyd was the organist for Ray Charles. Jim Rupp, who has toured with Woody Herman and Glenn Miller, played drum set. The SSO was in top form as well providing lush arrangements to accompany. This was a wonderful concert performed by some true jazz greats.