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.

REVIEW: TheaterWorks Hartford, “Primary Trust”

TheaterWorks Hartford, Hartford CT

www.twhartford.org

through May 11, 2025

by Jarice Hanson

In Eboni Booth’s Pulitzer Prize winning play “Primary Trust,” audiences are treated to an
extraordinary story of a young man who, at the age of 38, comes to terms with a childhood trauma and finds himself with an odd group of new friends who show him the path to becoming a man. This story is so well crafted it’s hard to realize it began in the playwright’s classroom, and the universal themes of friendship, loss, and hope are just what is needed at this time in history. Booth’s clever story is one of the most imaginative new works in the past few years. 

The hero of the story is Kenneth, played by the exceptionally talented actor, Justin Weaks. The actor’s physicality, his exceptional diction, and his full commitment to embodying Kenneth is a master class in performance.

He is ably supported by the vivacious Hilary Ward who makes changing characters (sometimes in mid-scene) seem easy. Much of the comedy is carried by Ricardo Chavira who plays a number of characters as diverse as an enthusiastic bank manager to a snooty French waiter, often suggesting the character’s attitude with a slight gesture or facial tic. Samuel Stricklen as Kenneth’s best friend, Bert, is everything you would want in a friend. He is truthful, helpful, and acts as the conscience to Kenneth’s outbursts. But is he real?

Directed briskly by Jennifer Chang and set in Nicholas Pontin’s very ingenious set design, suggestive of “anywhere” in a small town, the play is enhanced by Bryan Ealey’s innovative lighting and Frederick Kennedy’s sound design. The 95-minutes fly by, though every word can be heard clearly throughout the theater.

TheaterWorks is an intimate space, and shows with this much heart and commitment seem to resonate with the audience. It is not surprising at all to hear strangers entering into conversations about how good the show was, and what touched them deeply.  

“Primary Trust” is an extraordinary play that makes audience members think for days after seeing it. A recommendation to future audiences is to experience this production in order to fully understand not only the power of theater, but the power of humanity.

REVIEW: Springfield Symphony Orchestra, “Something New”

Symphony Hall, Springfield, MA

www.springfieldsymphony.org

April 19, 2025

by Michael J. Moran

In her first return engagement since a triumphant SSO debut two seasons ago, guest conductor JoAnn Falletta, Music Director of the Buffalo Philharmonic since 1999, followed a world premiere with two popular favorites.

McAllister and Chooi

She opened the concert with the “something new” of its title, the world premiere performance of “Eventide,” a 2023 concerto by Kenneth Fuchs for alto saxophone, harp, percussion, and string orchestra. A series of variation on the spirituals “Mary Had a Baby” and “Swing Low, Sweet Chariot," though neither tune is directly quoted, it balanced moods of pastoral calm with jazzy effervescence. Internationally acclaimed saxophonist Timothy McAllister was a nimble and virtuosic soloist, and the ensemble offered colorful support. Fuchs, who teaches composition at the University of Connecticut, took the stage to a warm ovation.

Next came a dramatic reading of the beloved 1844 “Violin Concerto in E minor” by Felix Mendelssohn, written in three movements played without pause. To a mercurial opening movement, a tender “Andante,” and a fleet-footed finale, Nikki Chooi, concertmaster of the Buffalo Philharmonic and an international soloist of growing stature, brought technical finesse and interpretive poise. Falletta and the SSO were committed partners.

This being a rare concert with two guest soloists, Chooi and McAllister gave a rip-roaring joint encore, creatively arranged for violin and saxophone, of Vittorio Monti’s famous 1910 “Czardas,” a Hungarian-style dance which they dispatched with abandon and hilarity.      

The program closed with a brilliant account of Modest Mussorgsky’s 1874 suite for solo piano, “Pictures at an Exhibition,” as orchestrated by Maurice Ravel in 1922. It depicts ten paintings by Mussorgsky’s friend Viktor Hartmann in a memorial tribute to the artist, several linked by a recurring but varied “Promenade,” as the viewer moves through the gallery. Highlights included: a playful “Ballet of the Unhatched Chicks;” a demoniacal “Hut on Fowl’s Legs,” the home of the Russian witch Baba Yaga; and a majestic closing “Great Gate at Kiev.” Brass and percussion players deserve special praise for their stellar contributions to this performance.

Video projections behind the stage of six surviving Hartmann paintings and related images by “visual choreographer” Adrian Wyard offered entertaining and imaginative commentary.

The next SSO concert will take place on May 3, 2025.

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.

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. 

REVIEW: Springfield Symphony Orchestra, "New Musical World"

Symphony Hall, Springfield, MA

www.springfieldsymphony.org

January 18, 2025

by Michael J. Moran

The SSO’s first concert of 2025 featured not only the SSO premieres of three pieces by African-American composers, along with a repertory favorite, but impressive SSO debuts by violinist Melissa White and conductor Courtney Lewis, who “saved the day,” according to the SSO’s CEO Paul Lambert, by stepping in for Jeri Lynne Johnson, forced by illness to cancel three days earlier. Remarkably, the program was unchanged.

The performance opened with a jaunty version of William Grant Still’s 1944 “Festive Overture,” the unanimous winner among 39 entries to a national overture contest by the Cincinnati Symphony Orchestra. Its heroic opening fanfare, playful xylophone and trumpet solos, and joyful closing march suggested why. Lewis, the Irish-born Music Director of the Jacksonville (FL) Symphony, and SSO performed with a warm rapport that sounded as if they’d been playing together for years.    

Next came James Lee III’s 2019 “Amer’ican,” a sometimes astringent but always exciting piece, which Lee calls a “21st century response to Dvořák's charge to American composers to incorporate the music of Native and Negro American melodies” in their work. It briefly quotes both Dvorak’s “New World Symphony,” which closed the concert, and the Negro spiritual “Here’s One.” Lewis and the orchestra presented a gripping rendition.

White, Lewis, SSO

Melissa White was a riveting soloist in Florence Price’s one-movement 1952 second violin concerto, which was lost until 2009 and never performed publicly until 2018. White’s tone was sleek and elegant, richly conveying the lush beauty of the concerto’s emotional depths and easily meeting the technical challenges of several fast passages. Lewis and the SSO were cogent collaborators.

Composer Antonin Dvorak wrote his popular ninth symphony, drawing on the same sources Lee quoted above, while he was founding director of the National Conservatory of Music of America. Lewis led a powerful reading, from a dramatic “Adagio-Allegro molto,” a magical, dreamy “Largo,” with a mellifluous English horn solo by Grace Shryock, and a boisterous “Molto vivace,” to a thrilling “Allegro con fuoco” finale. Adrian Wyard’s visual projections of American wilderness scenes above the stage gracefully enhanced Dvorak’s music.      

A rapturous audience reception of praise filled Symphony Hall at the concert ended. SSO’s next concert, “Gershwin, Berlin & Friends,” will take place on February 1, 2025.

Review: Majestic Theater, “Incident at Our Lady of Perpetual Help”

Majestic Theater, West Springfield, MA

www.majestictheater.com  

through February 16, 2025

by Lisa Covi

A light adult comedy warmed the winter opening night of “Incident at Our Lady of Perpetual Help.” Priming the audience with the setting's early 1970's music, this play presents a devoted and generous Irish Catholic family faced with the ironies and practical dilemmas of changing social mores. The cast's dynamic chemistry evokes both giggles and belly laughs, depicting a family full of contrasting characters, plus their local parish staff.

 

The story features two pairs of sisters (mothers and daughters) in an Irish Catholic lower middle-class family struggling with economic pressure, opportunities for change, and traditional roles in a close-knit neighborhood where they live and worship and judge each other according to the strictures of the church.

 

Photo by Kait Rankins

Hip Aunt Terri, played by Cate Damon (who has also portrayed the role of mother “Jo” in a previous production) mentors college-aged niece Linda (Jenna Burns), doubling roles as narrator and interpreter of the title incident that happens over the course of one day.

 

Burns' character valiantly cajoles the audience with wry observations and idiosyncratic perspective. She convincingly portrays a young woman wrestling with the promises and perils of asserting women's rights in her male-dominated world. At the same time, her story pokes fun at the clash between moral naivete and the illusion of religious social control.

 

Maggie Hamel, as Linda's younger sister, both motivates "the incident" but tries to inhibit the feared outcome with pluck and innocence that endears the audience to her.

 

Mother Jo (Sandra Blaney) is the put-upon glue of the quartet, struggling to nurture the family while keeping a cheerful but pragmatic outlook.

 

Rounding out the inhabitants of the O'Shea's burnt orange kitchen is Father Mike (John Baker) who makes pronouncements blind to the drama unfolding among the women.

The performances are superb, and production values support the effective delivery. Even though the plot follows somewhat predictable paths, deeper themes echo the way people struggle between religious authority, social control, and living with compassion and generosity.

Each female character shows a wondrous strength that imitates the power of the miraculous symbol that names their parish community of Our Lady of Perpetual Help. Their domestic bonds provide the resources for these women to take charge of their destinies.

Katie Forgette's script (premiered in 2019) cleverly provides twists for pacing and propelling the plot. She includes unreliable narrators and a role where a single delightful actor masters four diverse personalities (and genders). The action flies with a running time of two hours, including a short intermission.

REVIEW: South Windsor Cultural Arts, " Sam DeCaprio, Cello; Anna Han, Piano"

Evergreen Crossings, South Windsor, CT

www.facebook.com/SouthWindsorCulturalArts/

January 5, 2025

by Michael J. Moran

A capacity South Windsor audience was graced with a sensational debut concert as a duo by Connecticut-born cellist Samuel DeCaprio, a globe-trotting performer and Juilliard School graduate based in NYC, and Arizona native Anna Han, a prize-winning pianist and Juilliard alumna based in Berlin, Germany.

The concert opened with an exuberant account of Beethoven’s 1798 Twelve Variations on “A Girl or Little Wife” from Mozart’s opera “The Magic Flute.” The aria by the comic bird-catcher Papageno is cleverly reinvented, from the disjointed first variation for piano alone to the frisky whirlwind finale. The duo’s enjoyment of its technical and interpretive challenges was palpable.  

Next came an affectionate performance of Robert Schumann’s 1849 “Fantasy Pieces.” The three short works have titles which indicate their tempo markings. The first, marked “Tender and with expression,” was given a lush reading; the second, marked “Lively, light,” had an animated edge; the third, marked “Quick and with fire,” was almost manic in its impassioned energy.

The powerful centerpiece of the program was Turkish composer-pianist Fazil Say’s 2012 “Four Cities.” Each movement is named after a city in Turkey with personal memories for Say. The quiet “Sivas,” in which the cello sometimes sounds like a duduk (an Armenian woodwind), was wistful and haunting. The fast “Hopa,” about a wedding celebration, was raucous and percussive. The intense “Ankara,” which quotes a World War I protest song, was dark and ominous. The lively “Bodrum” evoked a pub with a jazzy swing rhythm. The nimble and virtuosic duo stretched the limits of both their instruments to dazzling effect.

Anton Webern’s 1899 Two Pieces for Cello and Piano are the 16-year-old’s first known work, long pre-dating his fame as an atonal composer. DeCaprio and Han beautifully captured its straightforward romanticism. The concert closed with a vibrant rendition of Cesar Franck’s 1886 Sonata in A Major, originally for violin and piano, in a transcription by Jules Delsart for cello and piano. The duo was aptly yearning in the first movement, turbulent in the second, reflective in the third, and joyful in the finale.  

Both varied their tones from delicate to forceful and smooth to gutsy when needed and meshed like seasoned partners throughout the program. Their helpful spoken comments about the music further enhanced its impact.

 

SWCA will next present pianist Ilya Yakushev on February 16.

REVIEW: Berkshire Bach Society, "Bach at New Year’s"

Academy of Music, Northampton, MA

https://berkshirebach.org

December 30, 2024

by Michael J. Moran

The Berkshire Bach Ensemble brought their customary flair and polish to Johann Sebastian Bach’s six “Brandenburg” concertos on the opening night of their annual three-day New Year’s concert series, with repeat performances in Great Barrington, MA and Troy, NY.

The program was led by Eugene Drucker, Artistic Director of the ensemble (and a founding violinist of the Emerson String Quartet), whose twenty-two members this year ranged from veterans of several decades to six debuting players.

Kenneth Weisse

Bach wrote these concertos separately over five years but published them together in 1721 to fulfill an overdue commission for the Margrave (Governor) of Brandenburg. Each is written for a different combination of instruments and features multiple soloists. Usually sequenced for dramatic effect when played as a set, the first, fifth, and third concertos preceded an intermission, and the fourth, sixth, and second closed the concert.

First-time ensemble member Yevgeny Kutik was a fiery violin soloist in the large-scale first concerto. The fifth concerto featured virtuosic solo turns by three ensemble veterans: expressive violinist Laura Lutzke; elegant flutist Judith Mendenhall; and protean harpsichordist Kenneth Weiss, who dispatched the taxing first movement solo cadenza with dexterous aplomb. The third concerto, for strings alone, offered an expanded slow movement and lustrous solos from veteran violinists Drucker, Lutzke, and Brunilda Myftaraj.  

Weiss returned to close the intermission with an entrancing take on the beautiful slow aria that opens and closes Bach’s hour-long “Goldberg” Variations for solo keyboard. 

The fourth concerto opened the program’s second half with sprightly solo performances by violinist Drucker and flutists Mendenhall and Berkshire Bach veteran Alison Hale. The sixth concerto, scored for strings without violin and harpsichord, showcased graceful solos by veteran ensemble violists Liuh-Wen Ting and Ronald Gorevic, principal viola of the Springfield Symphony Orchestra. The second concerto, with standout solos by two more ensemble veterans, oboist Keve Wilson and trumpeter Maximilian Morel, ended the evening in a burst of joy.

The packed house loved every minute of this two-and-a-half-hour show in the warm Academy with exceptional acoustics. Kudos also go to double bassist Peter Weitzner for his resonant support throughout the concert and to Berkshire Bach Executive Director Terrill McDade for a model program book.

 

The Berkshire Bach Society next concert will be on February 8, 2025.

Review: The Bushnell, "Six, The Musical"

The Bushnell, Hartford, CT

www.bushnell.org

through Jan. 5, 2025

by Suzanne Wells

What do you get when you mix historical female role models with modern-day rock icons? “Six, The Musical” by Toby Marlow and Lucy Moss. Based on the six wives of Henry VIII, the show reveals each of their lives through the musical influences of rockstars like Beyoncé, Rihanna, and Ariana Grande, to name a few. This all-female cast and band put on a rockin’ concert, conveying each woman’s strengths, weaknesses, and ultimate outcomes.

The atmosphere is a contrast between medieval and current times. The stage, designed by Emma Bailey, is set as a dark castle. The lighting, designed by Tim Deiling, and the scented fog contribute to the overall environment, making the audience feel as if they are attending a court banquet. Yet the modernized Tudor-era ball gowns, created by Gabriella Slade, incorporate a blinged-out, metallicized style found at any contemporary rock concert.

 

The choreography of modern dance moves conveys a myriad of emotions—joy, strength, lust, revulsion, horror—all the raunchy debauchery associated with the 16th century. The use of modern-day rituals and references makes these historical figures very relatable and adds a little levity to the storyline.

Each wife presents her story through a clever, witty solo drawing parallels between the past and present. While every song sweeps the audience into the excitement and emotion of the production, Kelly Denice Taylor’s voice while performing the power ballad “Heart of Stone” clearly moves the soul. “Get Down” performed by Danielle Mendoza is a feel-good, toe-tapping good time. And “All You Wanna Do” sung by Alizé Cruz creates a flirtatious vibe, revealing the destructive nature of repetitive patterns. The performers' vocal abilities are truly impressive, and their energy is infectious.

Whether a history buff, a music lover, or just looking for a fun night out, “Six” has something for everyone. This must-see show inspires strength, solidarity, respect, and equality; a unique and empowering musical.