REVIEW: Springfield Symphony Orchestra, "Eternal Echoes"

Symphony Hall, Springfield, MA

www.springfieldsymphony.org

March 15, 2025

by Michael J. Moran

While it presented no music by women composers for Women’s History Month, the latest program of the SSO’s 81st season did feature two women performers in solo roles, and it honored seven local women, six of whom appeared on stage before the concert, with “Fearless Women Awards” for their professional contributions to the quality of life in greater Springfield.

Internationally acclaimed American guest conductor Cailin Marcel Manson, who is also a noted baritone, led the orchestra in an evocative reading of Ennio Morricone’s “Gabriel’s Oboe,” the haunting main theme of Roland Joffe’s 1986 film “The Mission,” in a lush arrangement for oboe, chorus, and orchestra. SSO principal oboist Karen Hosmer did exceptional solo work, and the Springfield Symphony Chorus, deftly prepared by their director, Nikki Stoia, offered luminous support with its wordless vocals.

Guarrine, Manson, SSO, & Chorus

Next came a stirring performance of English composer John Rutter’s consoling 1985 “Requiem,” written in memory of his father. Five of its seven short movements set texts from the traditional Latin Requiem Mass, while the other two set Psalms 130 and 23 in English. Highlights included a virtuosic cello solo by SSO principal cellist Aron Zelkowicz in the somber second movement, “Out of the Deep,” and radiant vocal solos by accomplished American soprano Jamie-Rose Guarrine, who teaches Voice at UMass Amherst, in the tender third movement, “Pie Jesu,” and the gentle closing “Lux aeterna.” Manson, the SSO, and the Chorus were vibrant partners.

The concert closed with an electrifying account of Tchaikovsky’s masterful 1878 fourth symphony. The first of his six numbered symphonies to gain a strong foothold in the standard repertoire, it balances the turmoil of his personal life (including a recent short-lived marriage) with a growing structural maturity. From a thunderous opening fanfare through a turbulent “Andante sostenuto…Allegro vivo” first movement, a softly contrasting “Andantino in modo di canzona,” with another distinguished solo turn by oboist Hosmer, a playful “Scherzo: Pizzicato ostinato,” in which the strings are plucked throughout, to a thrillingly fast and jubilant “Allegro con fuoco” finale, Manson’s animated, precise gestures drew colorful, committed playing from the inspired ensemble.

The next SSO concert, on April 19, features the world premiere of a saxophone concerto by Connecticut composer Kenneth Fuchs, with soloist Tim McAllister and conductor JoAnn Falletta.

Review: Hartford Stage, "Laughs in Spanish"

Hartford Stage, Hartford, CT

www.hartfordstage.org

through March 30, 2025 

By Suzanne Wells

Photo by T. Charles Erickson

"Laughs in Spanish" promises a little bit of everything—comedy, mystery, drama, romance, and smattering of social awareness. Written by Alexis Scheer and directed by Lisa Portes, this vibrant production is set against the exciting backdrop of Miami's Art Basel. The play delivers a dramatic yet heartfelt performance, filled with warmth, humor, and charm.

It begins with the chaotic opening day of the festival when a young gallerist finds that all the paintings in her exhibit have been stolen. As the gallery owner struggles to navigate this seemingly disastrous day, she reluctantly accepts help from an eclectic mix of characters: her intern/artist, her spirited mother, and her mother's personal assistant. While exploring the complexities of a mother-daughter relationship, delving into the guilt, resentments, and love that span generations within a tight-knit, passionate Latin community, she embarks on a journey of self-discovery, finding solace, love, and unexpected peace in the process.

Maggie Bofill dominates every scene as Estella, a charismatic, and charming actress. She is the mother to Mariana, portrayed by the dynamic Stephanie Machado. Machado’s fiery energy and emotive range keep the audience engaged. Maria Victoria Martinez and Luis Vega bring a perfect balance of humor and heart as Carolina and Juan.

Infused with heartfelt moments, and cultural vibrancy, "Laughs in Spanish" is infused with heartfelt moments and cultural vibrancy. at the Hartford Stage is an experience theatre lovers cannot miss!

The minimalistic art gallery set, with its brightly lit blank walls, transforms into a lively patio with colorful lights, a bar, and a buffet, creating a vivid backdrop. A jungle-themed dream sequence offers an eerie and intriguing interlude. The lively salsa music woven into the production energizes the atmosphere, leaving the audience tapping their feet and swaying in their seats.

One of the most captivating aspects of "Laughs in Spanish" is how it draws the audience into the characters’ journeys, encouraging them to respond with audible cheers, laughter, and sighs. This is not just a play to observe—it’s one to feel and react to.

REVIEW: Valley Classical Concerts, "Espressivo!"

Smith College, Northampton, MA

www.valleyclassicalconcerts.org

March 9, 2025

by Michael J. Moran

Espressivo! is a piano quartet founded several years ago by veteran Vermont-based performers violinist Jaime Laredo and his wife, cellist Sharon Robinson, with younger musicians violist Milena Pajaro-van de Stadt and pianist Anna Polonsky. For its second annual VCC appearance in acoustically ideal Sweeney Hall, the quartet presented three pillars of the relatively limited repertoire for this combination of instruments.

The program began with Mozart’s first piano quartet, K. 478, the earliest masterpiece of this genre, written in 1785 at the height of the 29-year-old composer’s short-lived maturity (he died at age 35). From a dramatic opening “Allegro,” through a tender, flowing “Andante,” to a joyful “Rondo” finale, the ensemble delivered a flexible and expressive rendition that justified their chosen name.     

Next came the last of Brahms’ three piano quartets, composed in 1856 as his Op. 60. The ensemble’s passionate reading featured: a forceful “Allegro non troppo;” a turbulent “Scherzo: Allegro;” a rhapsodic “Andante,” led by Robinson’s heart-melting cello solo; and an enigmatic, mercurial “Finale: Allegro Comodo.” The almost symphonic weight of the three strings playing together with Polonsky’s full-bodied piano in Brahms' piece contrasted sharply with their lighter approach to Mozart’s classical grace.

The concert closed with the second of the two piano quartets by Dvorak, dating from 1889, and reflecting both the structural influence of his friend and champion, Brahms, and the composer’s own Czech heritage. A bold opening, with quickly shifting moods, in the inventive “Allegro con fuoco,” five related but carefully differentiated themes in the entrancing “Lento,” folk-flavored, waltzlike charm in the gentle “Allegretto moderato, gracioso,” and ebullient high spirits in the colorfully varied “Allegro ma non troppo” finale produced a bracing performance, which brought the large, enthusiastic audience instantly to its feet.

The intergenerational membership of Espressivo! nicely balanced the long experience and instrumental talents of Laredo, whose violin was silken or beefier as the music demanded, and Robinson, whose cello was similarly rich-toned or grittier, with the energy and virtuosity of Pajaro-van de Stadt, whose viola was mellow or dark as needed, and Polonsky, whose piano touch could be delicate or thunderous.

The next Valley Classical’s concert will take place on March 30, 2025

REVIEW: Majestic Theater, “August Wilson’s Fences”

Majestic Theater, West Springfield, MA

www.majestictheater.com

through April 6, 2025

by Beverly Dane

 

Photo by Katie Rankins

August Wilson’s “Fences” at the Majestic Theater is a joy. Some of the subject matter is difficult to comprehend because times have changed since Wilson wrote his masterpiece in the early '80s. For example, the “N” word is used liberally, and the first time it is uttered the audience seemed a little uncomfortable. Yet, as the plot evolves and the characters become known, the audience realizes that this is a slice of life, and as all of Wilson’s plays in what is termed the “Pittsburgh Cycle,” the play examines African-American life.

Director Michael Ofori remains true to the original script, though musical interludes seem to be a bit more contemporary and helps the scenes flow from one to another with just the right references to popular music. Set Designer Calypso Michelet’s backyard scene is magnificent and realistic, from the quality of the brick houses to the details of the kitchen, seen clearly through the windows and door of the Maxxon House, where the action takes place.

Much of the credit for this production goes to the very talented Dominic Carter, who, as Troy, the protagonist of the story, confides in his friend, Bono (Greg Mitchell Alexander) and establishes a loving relationship with his wife Rose (Kyle Boatwright). Carter and Boatwright are a wonderful stage match.  She lovingly lets Troy’s Friday night drinking show how she controls Troy’s boundaries, so they are kept in check. Martinez Napoleon as Gabriel, Troy’s unfortunate brother who was wounded in the war, is a sympathetic character who has become mentally challenged because of his injury. Napoleon does a fine job taking the stage in his scenes, but also actively observes from the periphery to show his “angelic” side and familiarity with Saint Peter and Pearly Gates.

Troy’s sons are played by Silk Johnson as Lyons, the older son, and Mike Daniel is broodingly contemplative as Cory, the younger son. The roll of Raynell Maxxon, the young daughter, is shared by Louise Coly and Malayah Charland on alternate nights.

However, it is Carter as Troy Maxxon who commands the stage in Act I, with not only a masterful grasp of Wilson's poetic words, but a physicality that makes the audience believe he is actually imbibing. Troy is the type of man who somehow always strikes out.  His past is one riddled with achievements and let-downs.   His relationship to his sons seems cold, but the behavior underscores the cultural dilemma of a Black man in the '50s.

Like many of Wilson’s plays, the first act is primarily exposition, setting up the action that is so satisfying in Act II.

When the audience learns what Troy has been doing to keep himself “entertained,” the compassion for the character undergoes a transformation.   Now, Troy seems less like our hero, and more like a heel, making him a very complex character.  So much happens in Act Two that the audience’s emotions are tugged in all directions. But despite the complications, Ofori keeps the attention clearly focused. The family undergoes pain, reconciliation, and complexity. This is a satisfying act that leaves the audience rooting for some characters, but still, concerned about all.

There have been some wonderful productions of “Fences” over the years, and the current show at the Majestic is just as powerful as any.

REVIEW: Barrington Stage Company, “14th Annual 10 x 10 New Play Festival”

Barrington Stage Company, Pittsfield, MA

https://barringtonstageco.org

through March 16, 2025

by Shera Cohen and Jarice Hanson

Barrington Stage

As the theater season opens in the Berkshires, Barrington Stage Company’s “Annual 10 x 10 New Play Festival” is like the first birdsong of the season. After emerging from a frigid winter, this show seems like a harbinger of what is ahead—gathering in theaters, enjoying fine acting, and breathing the fresh air of new ideas. This year’s “14th Annual 10 x 10” is no exception.

As per usual, the “10 x 10” features 10 new works, each 10-minutes long.  This year’s acting troupe includes regulars, like Matt Neely, Peggy Pharr Wilson, and Robert Zukerman—all accomplished artists who are like old friends on stage. They are joined this year by Raya Malcolm, Xavier Reyes, and Lori Vega, three younger actors who prove they too, can master the art of capturing a character and establishing a fully realized show in 10-minutes. The plays are crafted by writers who really understand the challenges of producing a fully realized play in only 10 minutes—a superhuman feat. All shows are directed by either Alan Paul or Matthew Penn, who are masters of the craft. Each act has five shows that vary in substance from laugh out loud funny to deep, and sometimes poignant stories.

Every year, the opening number is a clever parody of a major Broadway musical, and this year the lyrics were penned by one of the company, Matt Neely. The entire acting team performed a version of “Les Misérables” that had the audience roaring with laughter, thereby setting up the non-stop entertainment to come.

Act I opened with one of the most satisfying plays that established the humor and fun of the purpose of 10 x 10. In “Ordained,” by Mark Harvey Levine, a newly ordained minister from a dot.com church, has decided to practice the craft of marrying people—even though the two people she chooses to marry don’t even know each other. Her obliviousness to their concerns is hilarious -- Peggy Pharr Wilson, Raya Malcolm, and Xavier Reyes are wonderful together as this short play reaches toward a very happy ending.

In “Wheel of Fortune Reversed,” Reyes along with Robert Zuckerman play chess, but the stakes are high. One character is clearly death, with his black hooded robe, and sickle. The other, a younger man opines on what he wants to achieve before dying. In this philosophical, but funny play, Scott C. Sickles weaves a number of themes together to question whether fate is inescapable.

“The Friendship Dynamic” with Malcolm, Reyes, Vega, and Neely, written by Alex Dremann, explores human relationships, and “A Happy Child” by Melinda Gros with Wilson and Malcolm, delves into the sorrow of mothers and daughter interaction. Act I concludes with “Poetry, Prose and…Pirates!” by Ken Preuss which situates Vega, Wilson, Zukerman, Neely and Reyes in a writing group where everybody steals ideas and formats from each other. The clever wordsmithing in this show is a wonderful capper to the first act.

Short intermission. The final five plays in Act II balance humor, angst, and sometimes a bit of both in each scene. The versatility of the actors is top-notch, with none outshining the others, and the comedies just as strong as the dramas.

"Senior Prom," the best script and best acting prowess of the quintet, stars Wilson and Zukerman -- the Barrington Stage Company (BSC) stalwarts of the cast. Some 50 years since the two classmates were only passers-by in the high school corridors, they unexpectedly meet and reminisce. What has consistently separated the "10x10" series apart from similarly structured multi-plays strung together, is to expect the unexpected. BSC preps their audiences without spoilers.

Not every play is for everyone. That's okay. Without a doubt, patrons will enjoy the majority. Perhaps equally important is the concept that a very short play (none exceed 10-minutes) is as real as all others mounted on the BSC stage; complete stories, developed characters, set & lights & sound, and audience.