Review: Barrington Stage Company, “The Weekend”

Barrington Stage Company, Pittsfield, MA

www.barringtonstageco.org

through

October 12, 2025

by Shera Cohen

The treat on the weekend of September 20 – 23 was a discussion by writer Ben Diskant, playwright of “The Weekend: A Stockbridge Story” premiering at Barrington Stage Company, which was the final show of the 2025/26 summer series. Director Alan Paul (Artistic Director of BSC) also fielded intelligent questions from those in attendance – some who had seen the production and some who had yet to see it.

Barrington Stage Company

Various versions of Diskant’s responses about his play focused on the themes of 1) romantic love and 2) the physical setting in which the story takes place. Without spoilers, the writer loaded his answers with “what if” this, that, etc. Such is the life of essentially everyone: the all-encompassing and important question, “what if?” Diskant’s answers and examples, to some degree, focused on his writing process, especially because his lead character just happens to be a playwright writing his own play.

Next: the play at the St. Germain Stage.

The story of two couples takes place in the 1960’s in a cabin in Stockbridge, MA. Music at the start of the play is an obvious queue to the era, and the painted backdrop scene explains the location.

Tom and Beth have marital problems. Allan and Jordan, once a couple, are estranged while the spark remains between them. All actors are 30-somethings, portraying characters whose backgrounds intersect. The play works as an ensemble piece; each actor holding his/her own on an equal skill level with the others. No one outshines, yet none shine either. Bill Army takes the script given and uses it far more than the other actors to create his character. The other actors are Molly Jobe, Ben Rosenfield, and Sasha Diamond.

Anticipating the importance of the setting, as a part-time Berkshire resident and lover of all things Berkshires, the play’s title is a disappointing tease to bring in local audiences. Yes, there are often-repeated references and pictures of the Berkshires, but the play could have easily taken place anywhere and anytime.

Going back to the playwright’s talk in which Diskant spoke about each of his characters, their interactions with each other, and with their environment, told an involved, important story worthy of seeing.

Unfortunately, the end result did not carry out what was obviously intended by the writer. There is a core play here. With deeper insight of characters and backstory, “The Weekend” could be a weekend to remember.

Review: Goodspeed Musicals, "A Chorus Line"

The Goodspeed, Goodspeed, East Haddam, CT

www.goodspeed.org

through

November 2, 2025

by Suzanne Wells

Celebrating the 50th Anniversary since its debut in 1975, Goodspeed Musicals presents “A Chorus Line,” conceived by Michael Bennett, written by James Kirkwood and Nicholas Dante, and directed by Rob Ruggiero. For those unfamiliar, "A Chorus Line"; based on interviews with real performers, delves into the hopes, dreams, and lives of 17 individuals auditioning for a chance to perform on Broadway. Packed with music, dancing, drama, comedy, and love, it has a little something for almost everyone.

Goodspeed Musicals

Ann Beyersdorfer, scenic designer, cleverly creates a New York Theater by lining the back of the stage with mirrors, which double as a dance studio. A live 14-piece orchestra, conducted by Adam Souza, performs a varied mix of 1970’s jazz, accompanying each performer during their moment in the spotlight. Breathtaking dance routines, choreographed by Parker Esse, fill the stage with so much movement your eyes can hardly keep up with all the leaps, spins, and pinwheels.

Scarlett Walker as Sheila, Lisa Finegold as Bebe, and Liesie Kelly as Maggie perform “In The Ballet” depicting hopeless childhoods with transcendent voices. Diego Guevara’s honest, moving monologue as Paul, an in-the-closet

homosexual, will not only make you cry, but will burn his story into your soul.

Comic relief abounds though out the show, starting with Clifton Samuels, in the role of Zach, captivating viewers with his expressive mime work during “I Hope I Get It,” the comedic duo of Alex Drost and Haley Bjorn, portraying Al and Kristine, present a hilarious rendition of “Sing,” and Beatrice Howell’s vibrant and energetic portrayal of Val in “Dance: Ten; Looks: Three” keeps the audience laughing.

 

Romantic elements are woven into the story as Karli Dinardo and Clifton Samuels, portraying Cassie and Zach, revisit their past relationship. However, the production’s deepest love story is found in the passion for dance itself. This is subtly expressed through Karli Dinardo’s mesmerizing solo, “The Music and the Mirror,” which beautifully highlights her strength and grace. As well as Mikaela Secada’s intense and powerful performance of “What I Did for Love,” in the role of Diana.

The Goodspeed’s production of “A Chorus Line” is timeless story and makes for a spectacular night out. Don’t miss your chance to experience this “One” singular sensation!

Preview: Symphony Hall, “A Taste of Ireland”

Symphony Hall, Springfield, MA

www.atasteofirelandshow.com

September 27, 2025

by Janice Daley Webb

Photo by Chris Hardy

When my mom died in 2013, I thought - I better start doing what I've always wanted to do, not just what I have to do. Life is actually pretty short to fit it all in.

I decided to take dancing lessons with the Claddagh School of Irish Dance at the John Boyle O'Reilly Club, Springfield, MA. Mary and Bill Quinn taught the wee ones to teens and adults. I joined the adult group. As an aside, it helped that the adults are taught downstairs in the pub! 

As a lover of Irish music and dance, it was a thrill for me to interview one of the dancers of “A Taste of Ireland,” Rochelle Hoffmann from British Colombia. Rochelle is a cast dancer as well as understudy for lead dancers. She is one of the dancers with the East Coast troupe.

Please tell me some background details of the troupe.
Rochelle: Brent Pace and Ceili Moore, both Australians as well as Champion dancers, toured professionally with other world-renowned companies. They decided 10 years ago to bring their own vision to the world stage.

There are many Irish step dance groups now that Michael Flatley opened the floodgates. How is your group unique?

Rochelle: A Taste of Ireland is unique as it entertains as well as tells the story of Ireland, from the Vikings to the Potato Famine to modern day. Our dance stories can be emotional for the audience. All music and tap are live; nothing recorded. We use traditional Irish songs such as “Danny Boy,” but some contemporary music as well.  

Tell me about the dancers.
Rochelle: It's an international staff: Australians, New Zealanders, Canadians, Americans, Irish, and English. People from all over. There are 14 dancers split evenly – 7 boys, 7 girls. All might perform nightly, depending on their health or schedule.

How long does a dancer tour?
Rochelle: I started in August, and I’m scheduled to perform until December, which is five months. Some dancers are here for their first year, some for their tenth. Dancing is  great physical exercise, but I find it's just as challenging mentally; to remember my spot and my steps.

What's your favorite number to perform?   
Rochelle: There are two acoustic numbers in the show. In one dance, the audience only hears the taps of the hard shoes making music. When that is performed perfectly, when everyone is in sync, that's a great feeling. 

How quickly must you learn your steps and keep your focus sharp for each show?
Rochelle: Getting ready for the West Coast tour, there are new people joining the cast. We'll have four days of rehearsal before touring. People learn differently, some by dancing, some by watching, some by taking cues from the music. 

You had said that you were also an understudy. What does that mean in a dance group?
Rochelle: Understudies have a tough job; they need to know their own steps and those of the Lead Dancer in case a call comes at the last minute to substitute. Usually, the need for a substitute is due to a dancer’s illness or injury. Taking care of our dancers is so important. If anyone has a physical issue, we may try to find a physical therapist locally to help work out the injury.

How do you stay healthy?  Fast food can be tempting on the road. 
Rochelle: This year my mates and I invested in an Air Fryer. We shop locally for carbs and vegetables; we eat pretty healthy, which is important.  

How do you relax after a performance.
Rochelle: We get out of a performance pretty late. I take off my makeup, stretch, and use ice packs - these rituals can be pretty relaxing in themselves. Then I might just turn on some TV to “veg” and relax enough to fall asleep. Hopefully, we can sleep in the next day.

Your show runs simultaneously for East Coast and West Coast tours in the US. How does the administration choose who goes to each side of the country?
Rochelle: We are assigned to whichever troupe works best for us. It's the same music and choreography on both the West and East coast. Sometimes, slotting a dancer to a troupe  depends on the physical height of the performers. The couples doing lifts need to be about the same height - tall boys with tall girls and shorter boys with shorter girls. [This can dictate which group they will be assigned.]

Any message you'd like to get out to the public? 
Rochelle: Of course, come see us. It’s a fun way to learn a little about the history of Ireland and very entertaining with great music and great dancing.

REVIEW: Majestic Theater, “Once”

Majestic Theater, West Springfield, MA  

www.majestictheater.com

through
October 19, 2025

by Simon Brighenti

The two-decade plus run of successful theatre experiences at the Majestic continues unabated with the 2025-2026 season opener “Once”.

 

A vibrant mélange of guitars, piano, violins, and fiddles; a mandolin and a cello; with an accordion and a couple of Cajon drums thrown in for good measure sets the scene for a thoroughly enjoyable performance.

 

Photo by Kate Rankins

The story is set in Dublin and much of the music throughout is definitely geographically appropriate for the Emerald Isle. The multi-talented Nick Anastasia and Kate Theis exude a flirtatious chemistry as the two principal characters:“Guy” and “Girl.” Guy is at a point in his musical journey where he is about to abandon his passion and return full time to his Da’s shop to fix vacuums (or “Hoovers” as the cast refers to them in several humorous passages). Girl materializes – in person as a Czech beauty temporarily residing in Ireland or perhaps as the embodiment of his muse – and together they help him rediscover and reignite his passion. Her persistent optimism and deadpan but hilarious wit are infectious and watching his confidence grow in her sunlight is entirely enjoyable.

Helping Guy (and the audience) mull over the ramifications of an artist following his passion(s) is a fully likeable gang of supporting characters. Director James Warwick’s technique of having this dozen or so masters of a range of instruments and vocal techniques remain quietly onstage until their turn to shine rolls around works exceedingly well. It is difficult to keep track of who plays what as they each seem to bring magical sounds from every instrument hanging on the wall or set on the floor of the spare but evocative set.

 

Each performer is a dual threat musician/actor (and at times adds solo or background vocals to their repertoire). Kevin Tracy portrays Billy, a gruff but tenderhearted Dubliner through and through. Patryck Mathieu and Omar Sandakly provide some riotous relief as two Czech roommates who evidently become multilingual via binging an Irish soap opera. Accomplished cellist Hillary Ekwall also shines as a kindred Corkonian spirit whose button-down job belies a passion and talent for playing, singing, and songwriting.

The rest of the cast, including Majestic frequent flyer Michael Devito, collude with the featured performers to bring the story to a musical life worth every accolade and award “Once” has received. “Once” seen is not enough.

Review: Shakespeare & Company, "Mother Play: A Play in Five Evictions"

Shakespeare & Company, Lenox, MA

www.shakespeare.org

through October 5, 2025

by Jarice Hanson

Pulitzer Prize-winning playwright, Paula Vogel, is a national treasure. “Mother Play: A Play in Five Evictions,” her most recent work, is having its New England Premiere at Shakespeare & Company. The semi-autobiographical work is layered with meaning and goes beyond most memory plays to effectively chronicle 40-years of American history and culture as experienced by an American family. 

 

Tamara Hickey plays Phyllis, a single mother. She smokes and drinks to cope with her depression. She has a low-wage job and can only afford for rent of a caretaker’s basement quarters in an apartment building. Carl, played by Eddie Shields, is 16 and bright. He looks forward to a full scholarship in college, while daughter Martha, played by Zoya Martin, is instructed to study typing in high school so she’ll “always be able to support herself.” 

 

This is a family experiencing the dissolution of the nuclear family. Within the opening minutes of the 95-minute play, the audience is left to wonder if the children will ever succeed, or if they will repeat their mother’s “mistakes".

 

Photo by Nile Scott Studios

The subtitle of the play, “A Play in Five Evictions” is an important hint that signals the trio's development as each, in their own way, strives to become self-realized. Like every family, there are fun times, but there are painful times. The brother and sister form a tight bond, in part to support mother, but also to survive her. 

 

A challenge for the three actors in the play is for each of them to age four decades from the play’s beginning in 1962 to shortly after the beginning of the 21st century.

 

Beautifully communicated physically and emotionally by the actors with the aid of clever costumes by Arthur Wilson, delightful choreography by Susan Dibble, and a timeless set by Omid Akbari, the family shows that they may not be able to address honesty collectively, but that honesty, loneliness, and self-determination are values that one must negotiate to become a “whole person.” 

 

Director Ariel Bock keeps the story driving forward until the inevitable conclusion that is both heartbreaking and very real. 

 

This play is multi-layered with something to touch the hearts of every audience member. While there is undeniable sadness and survival portrayed, the trio become representative of changing times, social and economic unrest, and most of all, changing social norms. The audience can't help but feel sad, seeing this mother and her children try to support each other while destined to disappoint, but there is hope in realizing that even dysfunctional families can come to terms with fate. 

 

The ending of the show can be hard for some. While giving the talented actors a well deserved standing ovation, sobs could be heard in the audience. This is a tough emotional show, but well worth the effort to understand, and forgive family transgressions.