REVIEW: Hartford Symphony Orchestra, "Dvorak & Rachmaninoff"

The Bushnell, Hartford, CT

www.hartfordsymphony.org

November 14-16, 2025

by Michael J. Moran

Photo by Jim Henkel

For the third weekend of the HSO’s 2025-2026 “Masterworks” series, HSO Assistant
Conductor Adam Kerry Boyles and guest cellist Tommy Mesa presented two favorite masterpieces of the Romantic repertoire.

The concert opened with a stirring performance of Czech composer Antonin Dvorak’s Cello Concerto in B minor, Op. 104. Written during his American period (1892-1895), as the founding director of the National Conservatory of Music in New York City, the work’s three movements reflect both Dvorak’s homesickness and the influence of American music on his style. Award-winning Cuban American cellist and music educator Mesa has a rock-solid technique and a magnetic stage presence.

A dramatic and fluid opening “Allegro” (with a lovely solo by HSO principal horn Barbara Hill in what critic Donald Tovey called “one of the most beautiful melodies ever composed for the horn"), a tender, hymnlike “Adagio ma non troppo,” and a rousing, dancelike “Allegro moderato” finale fully met the concerto’s daunting technical and emotional demands. Boyles and the HSO offered rich support.    

An enthusiastic standing ovation brought Mesa back to the stage, where, after exclaiming “I’m tired!” he gave a sensitive reading of the “Prelude” from Johann Sebastian Bach’s first suite for solo cello. The audience applauded both his virtuosity and his self-deprecating sense of humor.

The program closed with a sweeping account of Russian composer Sergei Rachmaninoff’s hour-long second symphony, written in 1907-1908, when he was reaching the height of his creative powers. A forceful opening “Largo-Allegro moderato,” with warm lyrical passages and thrilling full climaxes, was followed by an urgent “Allegro molto.” A sublime “Adagio,” which Richard Rodda’s program notes liken to “an ecstatic operatic love scene” (featuring a gorgeous solo by HSO principal clarinet Sangwon Lee) was the emotional heart of the piece. An exhilarating “Allegro vivace” ended the work on a note of festive joy. Boyles’ animated and inspired leadership drew playing of passionate commitment from the Hartford musicians.   

The HSO’s next Masterworks program (December 12-14) will feature HSO Music Director Carlyn Kuan.

Review: Springfield Symphony Orchestra , "Mambo Kings"

Symphony Hall, Springfield, MA

www.springfieldsymphony.org

November 10, 2025

by Paul Jenney

The chill outside was no match for the heat inside Symphony Hall, where the Mambo Kings turned up the temperature and had the audience feeling the rhythm. For 30-years, the quintet has been touring the world, blending Afro-Latin fusion with traditional songs, their own bold arrangements, and even a fiery reimagining of the Beatles.

Conductor Herb Smith was a commanding presence as he shared stories behind the music, seamlessly uniting the Mambo Kings and the Symphony in a powerful opening set. Then soprano Camile Zamora swept onto the stage, instantly capturing the crowd with her passionate rendition of “Besame Mucho.” For those who didn’t understand a word of Spanish, her emotion made every note clear. Her voice soared above the strings and bass, and not even the muscular tuba could compete with her range.

Richard Delaney (also musical arranger) on piano and John Viavattine on saxophone and flute kept the momentum alive, their musical dialogue with Smith and Zamora lighting up the stage. The driving percussion of Wilfredo Colon on drums and Tony Padilla on congas added an irresistible pulse, though bassist Hector Diaz’s grooves were sometimes lost in the mix.

After intermission, the group kicked things off with their dynamic take on “Day Tripper,” pulling the crowd right back in. Zamora's soaring vocals carried through a set of high-energy songs that had some audience members dancing. The singer was truly amazing with her outfit changes, emotive energy and interplays where she explained the songs that were important to her. One young boy leaned over the balcony, completely spellbound by the music below. 

The first English-language song of the night, “One Note Samba,” showed Zamora’s playful side as she winked and smiled at the audience. The energy built to a roaring finale with “Oye Como Va,” the Carlos Santana hit that had everyone clapping and singing along. The conductor led the crowd into participating with the same enthusiasm he brings to his students at Eastman’s Community Music School.

The evening closed with “Lágrimas Negras,” a soulful performance that sent the audience back into the cold night air. Hearts full, spirits lifted, and the warmth of the music still lingering.

Review: The Bushnell, "Hamilton"

The Bushnell, Hartford, CT

www.bushnell.org
through November 16, 2025
by Suzanne Wells

The Bushnell presents “Hamilton”—book, lyrics, and music by Lin-Manuel Miranda.

This production brilliantly reframes modern American politics through the compelling story of Alexander Hamilton, drawing connections to today’s most pressing social issues. For those drawn to rooting for the underdog, captivated by battles, strategies, extortion, and duels, or intrigued by romantic entanglements and jealous revenge, “Hamilton” delivers on all fronts.

Set against the backdrop of late 1700's New York Harbor, Hamilton—a poor immigrant—joins forces with notable revolutionaries to win independence from England and lay the foundation for the United States government. The production’s use of contemporary language and an innovative blend of rap, hip-hop, and emotional music creates a striking reminder that little has changed over two centuries. The marginalized still struggle for justice, women continue to fight for recognition, backroom deals determine fates, and genius is frequently celebrated only after death.

Tyler Fountleroy commands the stage as Hamilton, captivating the audience with his electrifying energy, impressive vocal range, and unwavering stamina. Jimmie “JJ” Jeter brings depth and intensity to Burr, delivering a memorable performance in “The Room Where It Happens,” while A.D. Weaver’s portrayal of Washington is particularly stirring in “One Last Time.” Marja Harmon dazzles as Angelica; her rendition of “Satisfied” leaves the audience eager for more. Though the dynamic musical arrangements occasionally overshadow the lyrics—making it a challenge to catch every plot twist or double entendre—the emotional impact remains strong.

Lauren Mariasoosay’s portrayal of Eliza is unforgettable. She evolves from a spirited young woman to a devoted wife and mother, transforming into a figure marked by heartbreak and, in the end, radiant forgiveness. Mariasoosay’s understated yet profoundly moving performance resonates with quiet strength, leaving a lasting impression.

The show is not without levity—Matt Bittner’s foppishly charming King George III in “You’ll Be Back” and Christian Magby’s delightfully ridiculous Thomas Jefferson in “What’d I Miss” offer new perspectives of the typically dignified historical figures.
Andy Blankenbuehler’s choreography, featuring captivating pop-and-lock and slow-motion sequences, enhanced by a rotating stage, is mesmerizing. At times, the ensemble’s energy and movement are so riveting that it becomes difficult to focus on anything else, including the lyrics.

“Hamilton” captivates audiences with its complex plot, impressive vocal performances, and remarkable choreography, making it a show worth seeing more than once.

REVIEW: Majestic Theater, “Steel Magnolias”

Majestic Theater, West Springfield, MA  
www.majestictheater.com
through November 30, 2025
by Paul Jenney

The stage of the Majestic is transformed into a cozy Southern hairdressing salon, a world where women get pampered, laugh, argue, and swap secrets about friends, family, health, relationships, and anything else making the rounds in town that day.

Our story unfolds inside Truvy’s salon. Portrayed by a perky Elaine Hom, Truvy has just hired a new stylist, Annelle (Kait Rankins), who is shy, polite, and harboring a mysterious past. Meanwhile, Shelby is getting married later that day. She and her mother, M’Lynn, arrive for wedding-day hairdos. M’Lynn is the classic over-involved parent, managing every detail with love and just a little too much control, to Shelby’s visible irritation.

Soon, the salon regulars begin arriving, from cheerful Clairee, who laughs easily and seems to know everything about everyone, to the sharp-tongued Ouiser, who never misses a chance to fire off a one-liner. Their banter touches all the familiar salon staples: reckless hobbies of husbands, like shooting off guns for fun (Ryan Hickey’s sound design created

great atmosphere), questionable romance choices, and health struggles that test even the toughest spirits. Through it all, these women handle life with grit, love, and humor.

Angela Dias’s Ouiser relishes every caustic comment, and laughter follows her wherever she goes. MaConnia Chesser’s Clairee delivers her lines with impeccable timing and understated wit.

The second act becomes more poignant as Shelby’s health crisis takes center stage. The tears shared among these women, along with their unwavering solidarity, make the story’s emotional impact hit home. Both Raya Malcom (Shelby) and Cate Damon (M’Lynn) nailed their roles here.

Anyone who has ever sat in a salon chair or worked at one will instantly recognize the rhythm of these conversations, the way secrets slip out, and the unique sense of community found among hair dryers and curlers. Inspired by the real-life story of his sister, Susan, who died of complications from diabetes, playwright Robert Harling captures women’s voices, vulnerabilities, and humor with striking authenticity.

In today’s world of cell phones, laptops, and fewer genuine spaces to connect, it was fun — and touching — to watch women gather, support, challenge, and care for one another. The audience laughed, cried, and felt everything in between.

Perhaps that small-town world never really existed quite as perfectly as we imagined, but for a few hours, it was wonderful to believe it did.

 

REVIEW: Springfield Chamber Players, "All about the Bass"

Springfield Chamber Players,
Springfield, MA
https://www.springfieldsymphonymusicians.com/
October 26, 2025
by Michael J. Moran

Today’s concert opened this ensemble’s second season at its comfortable venue, 52 Sumner, at 52 Sumner Avenue in Springfield, with warm acoustics and ample free parking. The aptly titled program featured Alexander Svensen, Assistant Principal bassist of the Springfield Symphony Orchestra, who also plays bass in the Hartford Symphony Orchestra and elsewhere across the northeastern United States.   

The concert began with three waltzes for “solo double bass” (another name for the bass, as Svensen quipped, because it’s “twice as good” as other instruments) by Italian composer and bass player Domenico Dragonetti. Nicknamed “Il Drago,” his virtuosity so impressed his contemporaries, including Beethoven, that the bass soon became more prominent in many orchestral scores. Svensen played these waltzes with an easy swing, drawing on his jazz background.   

Next came Scotia Aerin Switzer’s 2014 “Five Miniatures for Solo Bassoon,” arranged for bass by Svensen and Switzer. The low-lying sonority of these quirky pieces translates well to the bass, and Svensen tossed off their technical challenges with aplomb.

Introducing Johann Sebastian Bach’s 1720 second suite for solo cello, Svensen noted that in its higher “singing bel canto voice,” the bass can sound very much like a cello, while also retaining the deep resonant power of its lower tones. An imposing “Prelude” was followed by five short movements in French dance tempos: a stately “Allemande,” a fleet “Courante,” a ravishing “Sarabande,” in which time almost stopped, two graceful “Minuets,” and a lively “Gigue."

Svensen was next joined by violinist Romina Kostare, also an SSO and HSO member, in seven of the “44 Duos for Two Violins,” written by Hungarian composer Bela Bartok in 1933 as teaching exercises for children. Kostare’s nimble violin contrasted sharply with Svensen’s hefty bass in these appealingly varied selections, all based on eastern European folk tunes.

Photo by Angela Park

The program ended with Russian composer Alexander Muravyev’s 2014 “Alice in Wonderland – Suite for Double Bass Solo.” Alternating chipper narration by Patrick Berry of six scenes from Lewis Carroll’s book with Svensen’s playful accounts of Muravyev’s colorful depictions, the piece was played in memory of local arts impresario Mark Auerbach, without whom Svensen said “the Springfield Chamber Players would not exist.” Images of a smiling Auerbach and of John Tenniel’s original book illustrations were projected behind the stage.

This entertaining and enlightening program by the charismatic Svensen and friends sets a high standard for this resourceful ensemble’s new season

Review: Goodspeed Musicals, "The Great Emu War"

Terris Theatre, Chester, CT

www.goodspeed.org
through October 26, 2025
by Suzanne Wells

The Terris Theatre presents “The Great Emu War,” a farcical story from the point of view of the Emus. Based on a true story, the “Great Emu War” of 1932 saw a flock of 20,000 towering, long-legged emus migrate into Western Australia, decimating its wheat crops. The government, ruffled by this invasion, deployed its military - armed with machine guns - to eradicate the nuisance. Imagine “The Roadrunner” cartoon with a National Geographic twist, for a sense of this comical, wildly dramatic, and occasionally risqué play.

Brimming with clever pop culture and political references, the show keeps the audience cackling, while lively songs, energetic choreography, and a dash of Hamlet-style revenge ensures that there is something for every member of the flock to enjoy.

Photo by Diane Sobolewski

Claire Saunders stars as Edith, a spirited and self-reliant young emu determined to make her own way. Rather than waiting to defend her nest, Edith uses clever tactics to outwit her adversaries. Saunders skillfully captures the struggles of a teenager frustrated by her father's overprotective wing, while also portraying a female boldly exploring her independence and sexuality. While Saunders' impressive vocal range is occasionally showy for Edith’s story line, it is a delight to experience.

Taylor Matthew’s performance as Major Meredith delivers entertaining over-the-top drama, reminiscent of William Shatner and Alan Rickman. Embracing his inner villain, Matthew makes Major Meredith a man you love to hate - a gun-toting, bird-fearing protagonist whose comedic timing and expressive reactions perfectly depict the chaos of facing a flock of determined, unyielding emus.

The music, composed by Paul Hodge and skillfully directed by Angie Benson, features an array of infectious show tunes that anchor the story. Highlights include the charming “Backwards,” which portrays the quirky, zigzagging lifestyle of the Emu, and the spirited “Love Doesn’t Start with a Bang,” marking the beginning of a heartfelt romance. The score also delivers emotional depth with ballads like “Fly Solo,” sharing thoughtful fatherly wisdom, and “Stand Still,” capturing the bittersweet transition from youthful exuberance to adult responsibility. Rounding out the lineup is “Boom," a playful boom-chicka-boom number bringing a cheeky twist that ironically suits the Emu-themed narrative.

“The Great Emu War” is a surprisingly entertaining, “booming” good production.

REVIEW: Hartford Stage, “Rope”

Hartford Stage, Hartford, CT.
www.hartfordstage.org
by Jarice Hanson
through November 2

The World Premiere of “Rope” at Hartford Stage is scintillatingly suspenseful and murderously macabre. It’s theatrically perfect.

 

The theatre commissioned noted playwright, Jeffrey Hatcher, to adapt this version of a 1929 three-act play by Patrick Hamilton, called “Rope’s End". Audiences may be more familiar with the film, “Rope” adapted by Alfred Hitchcock in 1948. Hatcher’s version, however, builds on the tension integral to the plot. At the end of the show, it seems that the audience had been collectively holding their breath until the final moment. This production is a triumph of structure and stagecraft.

 

Under the direction of Melia Bensussen, a top-notch cast mined the material for every nuance and subtle twist of the murder mystery which is at the heart of the story. Daniel Neale’s interpretation of Brandon, the mastermind of what he claims is the “perfect murder,” is a slick, smarmy operator who orchestrates an intricate plan to murder one of his former college friends. He engages his partner, Lewis, played by the enigmatic Ephraim Birney, to actually do the deed.

 T. Charles Erickson

Please note that none of the above are spoilers. Literally, in the first three or so minutes of the play, the audience is immediately brought up to speed on the murder. What follows is the mystery.

When family and friends of the deceased come to a dinner party, a “cat and mouse” dance begins as the diners’ cluster around the chest that is the tomb of the dearly departed. Mark Benninghofen as Rupert Cadell, the boys’ former teacher, depicts one of the more important characters. This is a master performance by Benninghofen.

The rest of the cast includes James Riordan as the victim’s father; Fiona Robberson as Meriel, the deceased’s fiancé; and Nick Saxton as Kenneth, an unsuspecting friend. The actors work beautifully together, and every word is clear and understandable.

 

The outstanding, elegant set by Riw Rakkulchon is brooding and dark; a perfect setting for people who come and go, as well as confide and confess. Mary Louise Geiger’s lighting design provides an eerie glow to the stage. Jane Shaw’s sound design and original music shows how tension can evolve with subtle musical cues and percussion. Risa Ando’s costume design is historically accurate and provides visual references to each actor’s character.

Weaving these stage elements together is the truly outstanding script penned by Hatcher.  He understands the conventions of a typical murder mystery, and with Bensussen's direction adds enough visual clues to make the act of watching the play, engaging and suspenseful.

 

This is an early Halloween gift to audiences, and Hartford Stage has opened its season with a masterful play. 

 

REVIEW: Hartford Symphony Orchestra, "Beethoven & Sibelius"

Bushnell, Belding Theater, Hartford, CT
www.hartfordsymphony.org

October 17-19, 2025
by Michael J. Moran

For the second weekend of the HSO’s 2025-2026 “Masterworks” series, guest conductor Viswa Subbaraman and piano soloist Drew Petersen, both making distinguished HSO debuts, presented a well-balanced program of music by three diverse composers..

The concert opened with a radiant account of the rarely heard 1903 “Helios Overture,” by Danish composer Carl Nielsen. Named after the Greek god of the sun and written during a stay in Athens, Nielsen wrote this description in the score: “Silence and darkness – then the sun climbs in joyous paean of praise – wanders its golden path – sinks tranquilly into the sea.” The HSO and Subbaraman

photo courtesy of Drew Petersen

portrayed this atmospheric day in the sun with power and sensitivity.   

Petersen next soloed in a commanding rendition of the third piano concerto, completed in 1803, by Ludwig van Beethoven. From a forceful opening “Allegro con brio” and a rapturous “Largo,” which Richard Rodda’s program notes aptly call “an extended song – a marvelous juxtaposition of hymnal tranquility and operatic love scene,” to a vigorous “Rondo: Allegro,” ending in a burst of major-key energy, the charismatic pianist played this masterpiece of Beethoven’s early maturity with technical finesse and emotional depth. Orchestra and conductor offered resourceful support.    

A standing ovation called the 2018 Avery Fisher Career Grant recipient back to the stage for an exquisitely sensuous reading of Claude Debussy’s familiar 1905 “Clair de Lune” (“Moonlight”), holding the audience in silent thrall for five minutes.

The program closed with a thrilling performance of Finnish composer Jean Sibelius’s longest and best known symphony, his second, written in 1901-1902. Subbaraman’s long experience conducting operas served him especially well in this dramatic work. A buoyant opening “Allegretto,” a tempestuous “Tempo Andante, ma rubato,” an exuberant “Vivacissimo” (“as fast as possible”), with a pastoral slow interlude, and an alternately somber and joyous “Allegretto moderato” finale, closing with a triumphant brass chorale, brought the audience to its feet. Both this conductor and this pianist would clearly be welcome return visitors to Hartford. 

The HSO’s next Masterworks program (November 14-16) will feature HSO Assistant Conductor Adam Kerry Boyles leading music by Antonin Dvorak and Sergei Rachmaninoff, with cellist Tommy Mesa in Dvorak’s cello concerto.

REVIEW: Springfield Symphony Orchestra, “A Night in Italy”

Symphony Hall, Springfield, MA
www.springfieldsymphony.org
October 11, 2025
by Beverly Dane

Opening Night for the 2025/2026 season was a tribute to Springfield’s Italian heritage and featured both classical and contemporary selections. The opening number, by tradition, had the audience standing for the national anthem. Springfield Mayor Dominic Sarno was glad to accept “an offer he could not refuse” to deliver opening remarks and express thanks to audience members and musicians for their support and dedication. Heather Caisse-Roberts, the Symphony’s new President and CEO, brought energy and enthusiasm as she thanked past President Paul Lambert and all those in attendance for making a new season possible.

Six big bold brass soundings opened the concert with Verdi’s “Force of Destiny” Overture. Ottorino Respighi’s “Ancient Airs and Dances: Suite III” brought approximately two dozen musicians of The Springfield Youth Orchestra to the stage to play side by side with the SSO’s professional musicians. The all-strings orchestra rose to the occasion. The sound was beautiful, and they will hopefully play with the SSO for many years to come. Guest conductor and SSO Artistic Advisor Mei-Ann Chen asked all parents and teachers of the students to stand for a round of applause. In her words, “It takes a village to raise an orchestra.”

The iconic sound of the solo trumpet opening of Nino Rota’s music for “The Godfather” were familiar and expected, but what was unexpected was the trumpet played from the Grand Tier balcony of Symphony Hall.

This surprise was magnified in Respighi’s “Pines of Rome.” Before it started, the conductor’s podium was removed. It was impressive to be able to conduct without a score, but what was more impressive was the full-body conducting of Mei-Ann Chen. The piece opens brightly with strings, wind, brass and percussion mimicking happy children at play. The second movement depicts the Catacombs with a mournful, somber sound. The third movement features the clarinet as a nightingale, and recorded bird song filled the hall. The fourth movement is a loud, rousing parade, suggesting the Roman Army marching along the Appian Way.

The main body of the orchestra was on stage, but there were French horns in the Left Loge, trumpets in the Grand Tier, and trombones in the Right Tier. It was Surround Sound, and Conductor Chen was employing 360 degrees of conducting. Even when the music had ended, Chen’s exuberant cue for the musicians to rise highlighted her talent for full-body bows.

REVIEW: K and E Theater Group, “Sunday in the Park with George”

K and E Theater Group, Northampton, MA

www.ketg.org

through October 19, 2025

by Michael J. Moran

The original 1984 Broadway production of this play, with music and lyrics by Stephen Sondheim and a book by James Lapine, won a Pulitzer Prize and two Tony Awards. A fictionalized version of how French artist George Seurat painted his 1884-1886 masterpiece A Sunday Afternoon on the Island of La Grande Jatte, its strong visual component can be daunting for local theaters to replicate. But KETG’s moving production shows that it can be done exceptionally well.

Act I, set in Paris, shows George creating the painting and interacting with the people who appear in it, including his lover, Dot. When George’s immersion in his work seems to leave no room for Dot in his life, she marries Louis, a baker, and they move to the United States with her newborn daughter, Marie. Act II follows George's great-grandson, an American artist, also named George, as he loses and then regains his artistic muse, with help from his ancestors, on a visit to La Grande Jatte.

There is no weak link in the 13-member ensemble cast, each playing two or more roles, with many local stage credits and some beyond. Michael

 Graham is compelling as both Georges, finding their human vulnerability and gritty determination. Nicole Elledge-Hickey is extraordinary as Dot and, in Act II, 98-year-old Marie. Her gleaming, lyrical soprano captures the full range of their emotions. Gene Choquette is a winningly sardonic boatman. Elizabeth Monte, Carol Wrobleski, and Eddie Zitka shine in smaller roles.

Musical highlights include: Elledge-Hickey’s hilarious title song; her touching “Children and Art” as the elderly Marie; two of her soaring duets with Graham – a shattering “We Do Not Belong Together” and an inspirational “Move On;” Graham’s virtuosic voicing of two dogs in a kaleidoscopic “The Day Off;” Wrobeski’s wistful “Beautiful” with a reflective Graham; and a rapturous “Sunday” by the full company. Music Director Cavallin’s eight-member onstage band offers colorful, stylish backing.

Director-choreographer-actor Zitka (the “E” of KETG, with co-founding “K” partner Ken Comia) deploys his cast seamlessly to move his flexible set on and off the Northampton Center for the Arts stage. Elegant costume design by Moonyean Field and the protean Zitka is period-perfect. Creative projection design by Nicco Palazzi and Comia keeps the painting front and center. 
 

This impressive mounting of a peak Sondheim show is highly recommended for mature theatergoers.

REVIEW: Hartford Symphony Orchestra, "Gershwin, Marsalis & Bartok"

Bushnell, Belding Theater, Hartford, CT
www.hartfordsymphony.org
through September 26-28, 2025
by Michael J. Moran

For the first weekend of their 2025-2026 “Masterworks” series, the HSO’s Music Director, Carolyn Kuan, selected orchestral showpieces by four composers and featured an orchestra member as soloist in an impressive HSO premier.

photo by Eric Hutchinson

A heartfelt traditional season-opening national anthem was followed by a vigorous reading of French composer Paul Dukas 1897 masterpiece “The Sorcerer’s Apprentice.” Based on a story by German writer Goethe, it was imaginatively popularized by Mickey Mouse in Walt Disney’s 1940 movie “Fantasia.” Kuan and the HSO captured the excitement of this 12-minute drama about magic run amok with flair and finesse.   

The HSO premiere was a sensational performance of jazz trumpeter and composer Wynton Marsalis’ 2021 “Concerto for Tubist and Orchestra” by the HSO’s own Principal Tuba Jarrod Briley. With few breaks from playing, Briley met the 25-minute piece’s technical challenges with unflagging energy and apparent ease. He made his unwieldy instrument sound surprisingly agile in the opening “Up!” movement, funky in “Boogaloo Americana,” soulful in the gospel-inspired “Lament,” and virtuosic in the
closing “In Bird’s Basement.” Conductor and ensemble offered their colleague strong support. 

Next came a thrilling account of the raucous suite from Hungarian master Bela Bartok’s 1919 ballet “The Miraculous Mandarin.” Its lurid tale of seduction, robbery, and murder led to few early performances of the ballet, but its eerie, suspenseful music and culmination in a wild chase scene made the concert suite more appealing. Kuan and the HSO played this colorful score with power and sensitivity.

The program closed with a lively rendition of George Gershwin’s 1928 tribute to the “city of light,” “An American in Paris.” Though Gershwin’s own program notes cite a trumpet passage as signaling the traveler’s homesickness, it can also be heard as a quiet, restful interlude in a busy day of sightseeing. The musicians reveled in the music’s overall spirit of celebration, a fitting way both to end the concert and to begin a new year, their 82nd season, of music-making together.

Review: The Bushnell, "The Notebook The Musical"

The Bushnell, Hartford, CT

www.bushnell.org

through October 5, 2025

by Suzanne Wells

The Bushnell presents “The Notebook The Musical” by Bekah Brunstetter, music and lyrics by Ingrid Michaelson, based on the novel by Nicholas Sparks.

A trio of heartfelt and poignant tales—of young love, mature love, and enduring love—are beautifully woven together and brought to life in this musical production. 

Three pairs of actors portray the leads; Noah and Allie, each capturing a distinct chapter in their love story. As the young lovers, Kyle Mangold and Chloë Cheers infuse the stage with vibrant energy and heartfelt enthusiasm, embodying the innocence, nervous anticipation, and earnest devotion of first love. Mangold brings an undeniable charm reminiscent of a young Luke Perry, blending swagger and humor with a warm vocal presence—even when reaching for the highest notes, which unwittingly reflect his character’s journey from boyhood to manhood. Cheers delivers a stunning vocal performance that grows in brilliance throughout the show; her voice shines in numbers such as “I Paint” and “If This Is Love,” each song revealing greater confidence and depth as her character matures.

The older lovers, played by Alysha Deslorieux and Ken Wulf Clark, display exceptional vocal talents and impressive acting skills. Their love story centers on the intense emotions that swiftly spark both conflict and passion between them. While the narrative tends to gloss over the difficulties of healing past hurts and misunderstandings, highlighting their surrender to desire, Deslorieux and Clark's performances are so compelling that the audience is left longing for more.

The true stars of the show are Sharon Catherine Brown and Beau Gravitte. Brown's performance as a woman grappling with severe dementia is fearless, deeply moving, and utterly convincing. She masterfully conveys disassociation, fear, and fleeting moments of recognition, each emotion pulling at the audience’s heartstrings. Paired with Gravitte’s blend of grumpy old man humor and unwavering hope for one more moment with his beloved, their scenes elicit both tears of joy and sadness.

Although the musical may not feature a tune that lingers in the minds of audience members, the crowd of appreciative theater goers are undeniably inspired for a longing of love as enduring as the one portrayed in “The Notebook.”

While several characters offer moments of comic relief, Connor Richardson stands out with his perfectly timed humor, providing a delightful counterpoint to the emotional intensity of the love story.

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.