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.

Hartford Stage commissioned the 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 that was famously shot in what appeared to be one long cinematic scene. Hatcher’s version, however, builds on the tension integral to the plot. At the end of the show, it seemed that the audience had been collectively holding their breath until the final moment. This show 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 that 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. 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, interprets the clues as the story unfolds. This is a master performance by Benninghofen. 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 cast works beautifully together, and every word is clear and understandable.

T. Charles Erickson

The outstanding, elegant set by Riw Rakkulchon is brooding and dark. It is 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. But weaving the stage elements together is the truly outstanding script penned by Hatcher. He understands the conventions of a typical murder mystery, but 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. This one is not to be missed. 

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
https://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”

REVIEW: “Sunday in the Park with George”

K and E Theater Group, Northampton, MA
https://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

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. 

REVIEW: Boston Pops Orchestra, "Keith Lockhart 30th Anniversary Celebration"

Tanglewood, Lenox, MA 

www.bso.org/tanglewood

August 22, 2025 

by Michael J. Moran 

Keith Lockhart, photo by Hilary Scott

Perfect Berkshire weather graced the opening evening of Tanglewood 2025’s closing weekend. Friday’s “Prelude” program featured internationally acclaimed pianist and Smith College music professor Jiayan Sun and four Boston Symphony Orchestra members in forceful accounts of Carl Reinecke’s romantic 1905 “Trio for clarinet, horn, and piano” and Ludwig van Beethoven’s sprightly 1797 “Quintet in E-flat for piano and winds.”  

The evening’s main event was a celebration of Keith Lockhart’s 30th anniversary as conductor of the Boston Pops. The program’s variety show for at showcased the broad repertoire of a typical Pops concert in guest appearances by artists from many musical genres. The Pops opened with lively takes on the overture to Leonard Bernstein’s “Candide” and “Everything’s Coming Up Roses,” from Styne and Sondheim’s “Gypsy.” Next, jazz guitarist John Pizzarelli played and sang a soulful “The Nearness of You,” by Carmichael and Washington, and a virtuosic “I Got Rhythm,” by the Gershwins. 

Other performers included genre-bending string trio Time for Three, with a showy excerpt from a concerto by jazz composer Chris Brubeck. Broadway star Mandy Gonzalez sang a tender “Home,” from “The Wiz,” by Smalls. The ageless Bernadette Peters (who promised to return for Lockhart’s 60thanniversary) sang a rousing “Before the Parade Passes By,” from Jerry Herman’s “Hello, Dolly!” Broadway leading man Brian Stokes Mitchell sang a fervent “Impossible Dream,” from “Man of La Mancha,” by Leigh and Darion. Elegant Pops arrangements and lush support by the Tanglewood Festival Chorus, prepared by their conductor, James Burton, enhanced many numbers. 

Two of the video sequences shown were particularly effective: excerpts from the documentary film “From Sea to Shining Sea,” about Massachusetts author Katharine Lee Bates, who wrote “America the Beautiful,” stirringly narrated by Boston actress Paula Plum; and a witty adaptation by David Chase of “I’m (He’s) Still Here,” from Sondheim’s “Follies,” with Lockhart-specific lyrics, and cameos by 30+ friends of the Maestro, from Leslie Odom, Jr. to Boston Mayor Michelle Wu, toasting Lockhart's longevity. Seamless direction by Broadway veteran Jason Danieley moved everyone smoothly around the stage. 

Reflecting on the Tanglewood 2025 season, this frequent visitor (4 Shed concerts, 11 in Ozawa Hall) was impressed with the high levels of attendance by patrons of all ages, despite heat waves and rainy days, and with the continuing balance of traditions (like “Talks and Walks” by artists and “Tanglewood on Parade”) with new offerings (Linde Hall lectures, etc.). 

REVIEW: Berkshire Opera Festival, “La Traviata”

Berkshire Opera Festival, Great Barrington, MA

www.berkshireoperafestival.org

August 26 & 29, 2025

by Michael J. Moran

To celebrate its tenth season, the Berkshire Opera Festival presents its third Verdi opera (after “Rigoletto” in 2018 and “Falstaff” in 2021): a winning production of what BOF Artistic Director and Co-Founder Brian Garman calls in a program note the composer’s “most intimate opera:” “La Traviata.” After its 1853 premiere, Verdi never returned to this small-scale style, focusing instead on grand opera.

Photo by Ken Howard

In the libretto by Francesco Maria Piave, based on the 1852 play The Lady of the Camellias, by Alexandre Dumas, Violetta, a Parisian escort, falls in love with Alfredo, a young nobleman. When his father, Giorgio, asks Violetta to give up Alfredo to protect his family’s reputation, she agrees. After Alfredo misunderstands her sacrifice and Giorgio realizes the depth of Violetta’s love for Alfredo, they reconcile with her just before she dies of tuberculosis.  

Soprano Vanessa Becerra is a sensational Violetta, singing and acting with passion and beauty of tone, portraying Violetta’s joy in finding love and her despair in losing it with total commitment. Tenor Joshua Blue is a volatile Alfredo, moving from brash defiance to tender affection with equal intensity. Baritone Weston Hurt plays Giorgio with dignity and command. Mezzo-soprano Erin Reppenhagen as Violetta’s friend Flora, baritone Yazid Gray as Baron Douphol, and mezzo-soprano Kalia Kellogg as Violetta’s maid Annina all make strong impressions in supporting roles.

Vocal highlights include: Blue’s hearty Act I toast to Becerra, “Let’s Drink from the Joyful Cup;” their ardent Act I love duet “One Day, Happy;” Becerra’s exuberant Act I aria “Always Free;” Hurt’s poignant Act II aria “The Sea and Soil of Provence;” and Becerra’s anguished Act III aria, “Farewell, Happy Dreams of the Past,” as she fears Alfredo won’t return before she dies.

Imaginative direction by BOF Co-Founder Jonathon Loy brings out the best in a uniformly excellent cast. Resourceful choreography by Sara Erde features a stunning flamenco solo by Glenda Sol Koeraus. Flexible scenic design by Hannah Postlethwaite, elegant costume design by Brooke Stanton, and subtle lighting design by Alex Jainchill and Alejandro Fajardo add vital support. Vibrant performances under Garman by the BOF orchestra and chorus (prepared by Chorus Master Luca Antonucci) bring Verdi’s powerful score to evocative life.

This marvelous “Traviata” shouldn’t be missed by lovers of Italian opera.

REVIEW: Tanglewood Music Center Orchestra, "3 Season End Concerts"

Tanglewood, Lenox, MA

www.bso.org/tanglewood

August 4, 11, & 18, 2025

by Michael J. Moran

The last three TMCO concerts gave the two 2025 TMC conducting fellows two more chances to share the podium with Boston Symphony Orchestra guest conductors and a unique opportunity to co-conduct a one-act opera.

Leonard Weiss, photo by Hilary Scott

That was a magical semi-staged TMC production of Maurice Ravel’s 1925 “The Child and the Spells," of which Leonard Weiss led the first half and Yiran Zhao, the second. In a pre-concert talk, renowned soprano Dawn Upshaw, the lead TMC faculty organizer of the event, called the opera “a series of life lessons.” A seven-year-old boy rebels against doing his homework by harming objects and animals around him, who realize, when he bandages a baby squirrel he’s wounded, that, in Colette’s libretto, “he is a good child after all.” TMC vocal fellows and instrumentalists responded with equal sensitivity and charm to Weiss’ suave, elegant leadership and to Zhao’s more overtly emotional conducting style.

Ravel, photo by Hilary Scott

A week later, Zhao opened the program with a soulful reading of BSO composer Carlos Simon’s BSO commission, “Four Black American Dances,” sharply differentiating the “Ring Shout,” “Waltz,” “Tap!,” and “Holy Dance.” Weiss followed with a lively account of Sergei Prokofiev’s “Classical” symphony, featuring a spacious “Allegro,” a warm “Larghetto,” a stately “Gavotte,” and a brisk “Finale.” Colombian-born conductor Andres Orozco-Estrada closed the concert with a colorful take on Ravel’s orchestration of Modest Mussorgsky’s piano suite “Pictures at an Exhibition.” Standout numbers included: a haunting “Old Castle;” a playful “Ballet of Chicks in Their Shells; and a majestic “Great Gate at Kiev.”

Weiss opened the August 18 concert with a carefully shaped “Chairman Dances: Foxtrot for Orchestra,” an “out-take” from John Adams’ 1987 opera “Nixon in China.” Zhao next led an exuberant rendition of Bartok’s Hungarian-flavored 1923 “Dance Suite.” Finnish conductor Dima Slobodeniouk closed the program with an electrifying performance of Tchaikovsky’s dramatic fourth symphony. The orchestra played an anguished “Andante-Moderato,” a melancholy “Andantino,” a sprightly “Scherzo,” and a whirlwind “Finale” with passion and poise.  

At the end of every 2025 TMCO concert with three conductors, the guest conductor has brought out the TMC conducting fellows for a group bow (and hug), a respectful gesture that literally embraces them as peers in the making.

REVIEW: Tanglewood, "AMOC/Brooklyn Rider/The Sixteen"

Tanglewood, Lenox, MA

www.bso.org/tanglewood

August 7, 13 & 14, 2025

by Michael J. Moran

The last three concerts in Tanglewood’s Ozawa Hall series broadened the range and repertoire offered in several earlier concerts during the 2025 season.

AMOC, photo by Hilary Scott

On August 7, the American Modern Opera Company, under composer/conductor Matthew Aucoin, presented Aucoin’s 2025 one-act opera “Music for New Bodies.” Set to poems by Jorie Graham and imaginatively staged by renowned director Peter Sellars, its five scenes reflect poignantly on surviving a cancer diagnosis and planetary destruction. The adventurous score makes protean demands on five singers, 18 instrumentalists, and electronics. High soprano Song Hee Lee, soprano Meryl Dominguez, mezzo-soprano Megan Moore, tenor Paul Appleby, and bass-baritone Evan Hughes met the challenge, though often singing in motion and sometimes lying prone on platforms across the stage. The stunning performance made a powerful impact.

Six days later, string quartet Brooklyn Rider celebrated their 20th anniversary in a concert that highlighted their eclectic programming taste. The group opened with ensemble violinist Colin Jacobson’s touching tribute to ethnomusicologist Ruth Crawford Seeger, “A Short While To Be Here…,” based on the American folk song “Little Birdie.” Next came Reena Esmail’s haunting “Zeher” (“Poison”), followed by Philip Glass’s hypnotic third string quartet. With special guest Yo-Yo Ma on second cello, they closed with a rhapsodic account of Schubert’s sublime last work, the 1828 String Quintet in C. Their heartfelt encore, an arrangement for quintet (with a juicy solo for Ma) of Osvaldo Golijov’s song “Lua Descolorida” (“Colorless Moon”) delighted the capacity audience, including the composer.

Sixteen, photo by Hilary Scott

The next evening, pioneering British choristers, the Sixteen, and the conductor who founded them in, Harry Christophers, offered a stimulating program of 12 choral works by 12th century Abbess Hildegard of Bingen, Tudor era English composers William Byrd and Thomas Tallis, and contemporary Estonian composer Arvo Part. In shifting combinations, the soprano, alto, tenor, and bass voices of the ensemble blended with perfect intonation, seamless balance, and ravishing warmth. Standout selections included: Hildegard’s stark “Ave, Generosa” (“Hail, high-born lady”); Part’s sonorous “Da pacem, Domine” (“Give Peace, Lord”); and Byrd’s resonant “Tribue, Domine” (“Grant, Lord”).

A gorgeous encore, Byrd’s motet “Diliges Dominum” (“You Shall Love the Lord”), in which two halves of the chorus sing the same music exactly in reverse, brought another varied Ozawa Hall season to a virtuosic close.

REVIEW: Chester Theatre Company, “Mr. Joy”

Town Hall Theater, Chester, MA

www.chestertheatre.org

through August 17, 2025

by C. L. Blacke

When Mr. Joy, a Chinese immigrant, fails to open his shoe repair shop one day, a stream of loyal customers reveals the tragic event that led to his sudden disappearance and how the saintly, elderly man touched each of their lives.

Written by Daniel Koa Beaty, “Mr. Joy” is a commentary on the struggles of a Harlem community with Mr. Joy providing the nexus. The play grapples with systemic racism, gang culture, homelessness, AIDS, and Black Lives Matter. That’s a lot to pack into one play while also offering levity and inspiration. What “Mr. Joy” does not do, however, is tackle the real issues of personal responsibility and social justice or offer any solutions. 

Despite the story’s flaws, Godfrey Simmons’ performance is powerful and riveting. In this one-actor play, nine characters are revealed through therapy sessions, group meetings, and direct engagement with the audience. With just small changes in gait and posture, vocal inflection, and the way he utilizes a messenger bag and black apron, Simmons effortlessly embodies each distinct character (a gangsta granny, an 11-year old girl with AIDS, a rich Black republican businessman, Mr. Joy’s Chinese-American son, a 15-year old revolutionary poet, and a nerdy teen opera singer).

Director Vernice Miller harnesses Simmons’ dynamic power and expansive acting skills and unleashes them in the most uncompromising way—with a presence that fills the theatre and demands attention.

The energy is palpable, but so is the discomfort.

It isn’t just because of stereotypical caricatures (blonde, white women with Kim Kardashian butts and transsexuals who act like drag queens), or that the house lights remain on through a good portion of the 100-minute play (better to see Simmons moving around the theatre by), or even that the shop windows and door of Mr. Joy’s store are mirrored to reflect the audience’s faces (Jeremy Winchester’s subtle insinuation that we, as a society, are to blame?). It’s because audience members are singled out by James, the intimidating homeless painter. Are they supposed to provide spare change or offer up their snacks when asked? And how are they supposed to feel when told to “F--- off” in front of everyone? Perhaps the predominantly white senior citizen audience is not the best fit for this dramatic technique.

Whatever inconsistencies “Mr. Joy” presents, Simmons, under Miller’s direction, closes out Chester Theatre Company’s 36th season with yet another powerhouse performance worthy of every standing ovation.

REVIEW: Barrington Stage Company “Joan”

Barrington Stage Company, Pittsfield, MA

www.barringtonstageco.org

July 31 – August 17, 2025

by Simon Brighenti

 

“How far is too far?” That is a theme that permeates “Joan” presented at the Barrington Stage Company. The titular character is, of course, the pioneering female comic Joan Rivers. 

 

Photo by Scott Smeltzer

This critique includes the word “female” often, for reasons explained shortly. In an effective technique, playwright Daniel Goldstein has the cast of a quartet of actors playing several roles. 

Tessa Auberjonois nails the roles of “older Joan” as well as Joan’s mother Mrs. Molinsky; Elinor Gunn portrays both “younger Joan” and Joan’s daughter Melisa. (Melissa Rivers is Executive Producer). Andrew Borba shines as the mercurial Edgar Rosenberg, Joan’s second husband and the tragic figure most famously associated with the comedian. He also embodies a variety of other parts, including Joan’s father, and Johnny Carson. Rounding out the cast is a versatile Zachary Prince, convincingly portraying several characters vital to the story, ranging from a bellhop to Jimmy Fallon. 

Auberjonois has the nasal intonation and vocal cadences down cold. Gunn presents a calming presence as daughter Melissa as well as a confidently striving young Joan. 

As a female – yes, again that matters as she was one of the first of her gender-comedian growing up in the 1950’s and ‘60’s, Joan had no map to follow, no real mentor from whom to seek guidance. 

Standup comedy was a man’s world at that time and television, still in relative infancy, was also total testosterone territory. She knew she was funny and could write jokes with the best of them -- many of which brought hearty laughter from the nearly full house. But how to get an audience to realize that fact was something she had to figure out as she went along.

As her early years are highlighted on stage, we see Joan’s parents expressing their determination to get Joan married off. The persona that elevated her to being one of the most famous women in the country at one time was one of self-deprecation; her most famous punchlines relate to her purported unattractiveness.

The play effectively exposes at least two levels of the question presented at the outset. How much do you give up in terms of family, relationships, money, and self-respect to get to where you want to be? And, to a lesser extent, how crude can a woman be, how many taboos can she break and not have it backfire. There ARE stretches of vulgarity that could make some more sensitive observers blush; exposing Joan’s raw material. 

There are scenes where Joan and Edgar acknowledge that the people who know “Joan” do not know Joan. The comedianne's story shows her oftentimes as a meal ticket to her so-called friends. Some scenes presented a poignant and revealing side to Joan.

The set is essentially a few tables and chairs, and some neon signs effectively suggest where the business is taking place. The costuming is time and persona appropriate.  

The overall impact of this performance is an enjoyable tour through a life of laughter and persistence, of calculation and compromise, exposing the times of a true comic legend; a life in full.