Review: "Noises Off" Barrington Stage Company

Photo by Marc J. Wrzesinski

Barrington Stage Company, Pittsfield, MA
www.barringtonstageco.org 
through September 6, 2026
by Shera Cohen

Nine characters fill the set of Barrington Stage Company's (BSC) production of "Noises Off". The number could be a slight error, but there is at least that same count (probably 11) of doors, windows, hall entries to the play's bedrooms, bathrooms, kitchen, sitting room, and terrace, can immediately indicate that the audience is about to see a farce.  And no one does farce as humorously, broad, and fast as the British. 

Set aside all sense of order, logic, or purpose in analyzing the play's plot. Actually, there are two plots since "Noises Off" is a play within a play; and the "within play" is seen a few times over the course of several quickly fleeting months in the real play's run.

Each actor portrays a character hired by BSC as well the character's on-stage presence. Makes sense? Probably not. Nothing is serious in "Noises Off" or in "Nothing On," play within the play.

Each actor is enormously skilled at comedy, although sometimes spoken dialog is a little too fast to be deciphered. But that's okay; we get the gist. More importantly, this play is a lesson in how to achieve physical humor without destroying actors' bodies. Assuredly, the director wouldn't permit that. Prat falls abound. In addition to the usual bumping into walls, "Noises Off" takes its actors to the point of not only falling down staircases but falling up the same staircase. Not a single character or character-within-character is left out of this mayhem; especially those who must watch over platters of plastic sardines; a running funny gag. 

As talented at the cast is, those who must take the "bravo" calls and standing ovations are the Scenic co-designers: Sotirios Livaditis and Todd Rosenthal. The huge English country home with expensive interior on two levels complete with full staircase, not to mention 9 or 11 doors, is straight out of Agatha Christie mysteries.

There's more. Flip this entire set 180 degrees to now see the backstage becoming the primary set and the latter becoming the secondary set. This second act of the play is the funniest. The actual BSC audience views both plays simultaneously; and the version backstage is outright hysterical. 

The second "bravo" goes to Director Gordon Greenberg, a man with credentials throughout the world and kudos on Broadway and Off-Broadway. In essence, Greenberg is directing three plays. Explaining the details would be far more than necessary. With help from his fight choreographer and associate director, it is near amazing that actors -- most of who's characters violently dislike each other -- don't fall off the stage during their feigned calamities. 

All of BSC's tech crew is perfect, as usual. The costumes are bawdy and colorful, as is appropriate to the characters. 

"Noises Off" and "Nothing On" are chaotic and fun. The actors take their bows as an ensemble, as they should. 

Review: Yellow Wallpaper 2.0, Great Barrington Public Theater

St. James Place, Great Barrington, MA
GreatBarringtonPublicTheater
through September 6, 2026
By Suzanne Wells

With “Yellow Wallpaper 2.0,” Great Barrington Public Theater closes its summer season with a world premiere that transforms Charlotte Perkins Gilman’s “The Yellow Wallpaper” into a contemporary study of confinement, identity, and psychological suspense. Written by Jennifer Maisel, directed by Judy Braha, and staged at Saint James Place, the production derives from one woman’s unraveling in a room that becomes an incubator of paranoia.

Set in the single bedroom of a New York City apartment at the start of the Covid pandemic, T, played by Cloteal L. Horne, struggles to hold together her roles as caretaker, wife, mother, and adjunct professor as lockdown magnifies the pressures inside her home. Fearing infection, she retreats into the room and begins to unravel under the weight of inequity, maternal guilt, and a need for intellectual and emotional companionship. As she turns to “The Yellow Wallpaper,” T imagines Gilman as an ideal confidante, only to fracture when the ideal gives way to flawed reality.

From that confined premise, the script grounds T’s unraveling in familiar pandemic rituals—masking, hand sanitizer, Lysol wipes, home quarantine, neighborhood concerts, and applause for essential workers—while keeping the focus on the broader forces of isolation, caregiving, and gendered labor.

That psychological strain depends heavily on Horne’s solo performance, which gives the production its force, dynamically shifting through a range of emotions, illness, and haunting delusions while using the confined playing space to draw the audience into T’s unraveling. Her sustained energy makes T’s instability feel real, human, and unsettling.

The physical world around her deepens the same pressure. The bedroom design, by Juliana von Haubrich, intensifies that psychological pressure: faded, grimy yellow wallpaper, a squeaky brass bed, a dated leather chair, and antiquated lighting create a claustrophobic world that feels at once domestic and diseased. Together, these elements give the production a keen sense of unease.

“Yellow Wallpaper 2.0” is an unsettling production that honors the original short story while pressing its concerns about social issues into a contemporary theatrical work.

This play is not recommended for children under the age of 14.

REVIEW: Anderson-Silkroad-Dinnerstein

 Laurie Anderson
Image credit: Ebru Yildiz

Tanglewood, Lenox, MA 

bso.org/tanglewood

August 3, 20, & 21, 2026 

by Michael J. Moran 

The last three concerts in Tanglewood's 2026 recital series by smaller ensembles reflected the ever-broadening range of artists presented there.  

On August 13 in Ozawa Hall, protean American musician Laurie Anderson performed two of her recent large-scale works, playing viola, keyboards, and electronics, narrating text, and leading her ensemble of five singer-instrumentalists. "Amelia" honored aviator Amelia Earhart and adapted excerpts from her pilot's log of the round-the-world flight from which she never returned. "What War Is This?," a world premiere, lamented the randomness of modern warfare, included improvised passages, and quoted several sources, most notably the Shaker song "Tis a Gift to Be Simple." Boston Symphony string players under conductor Dennis Russell Davies had a supporting role in each piece. Despite their eerie soundscapes and visceral power, both ended in fervent hope.   

A week later in Ozawa Hall, the international Silkroad Ensemble, founded in 1998 by cellist Yo-Yo Ma, presented a moving program called "Sanctuary: The Power of Resonance and Ritual." Starting when the 12 musicians entered through the audience, all present were often invited to join them in singing and dancing, showing music's ability to build community. Led by American Rhiannon Giddens, ensemble members hailed from eight countries and played a vast range of instruments.               

The next afternoon in Studio E at the Linde Center, Brooklyn-based pianist Simone Dinnerstein and 15 string players from the Boston-based chamber orchestra A Far Cry collaborated in the world premiere of a new version they had just workshopped over the past few days at Tanglewood of Johann Sebastian Bach's "Goldberg Variations." Written in 1741 for solo harpsichord and played mainly on piano, the 90-minute piece (an aria - restated at the end - and 30 variations) had also been transcribed for many other instruments or ensembles. This imaginative new version by the charismatic Dinnerstein and the resourceful band (aka "Criers") was easily the most varied (jazz inflections, plucked piano strings, Criers singing, etc.) of the series' programs.

A season with this high level of excellence in Tanglewood’s recital series will be hard to top in 2027.

Mid-August Weekend in the Berkshires

Mid-August Weekend in the Berkshires

with still a few more weekends to go
by Shera Cohen

Tanglewood, Lenox, MA
Young Artists Orchestra – Except for the ages of the musicians seated on the stage of Seiji Ozawa Hall, it would have been nearly impossible for me to distinguish the talent between these accomplished students and the members of the Boston Symphony Orchestra. No, I am not a learned musician, but quality can be easily recognized by just about anyone.

Conductor Lina Gonzalez-Granados looked joyful and with pride, leading the YAO for two classics: Aaron Copland’s “Suite from Billy the Kid” and Dvorak’s “Symphony No. 9, From the New World”. Two more recent compositions were by Jessie Montgomery (b.1981) and Valeria Coleman (b.1970). It’s a toss-up as to who enjoyed the concert more – those on stage or those in the audience.

Tanglewood – A Tribute to John Williams
Little did I know that John Williams was famous before his collaborations with Steven Spielberg; there was “Gidget Goes to Rome” and “Home Alone”. Williams was who I will dub Composer of Multi-Million-Dollar Disaster Movies; i.e. “The Poseidon Adventure,” “Earthquake,” and “The Towering Inferno”. All disastrous and fun in my memory.

Fortunately, I have not missed the Williams’ Salutes since they began. One reviewer paraphrased a concert patron, “It’s the same every year”. Apparently, that was meant to be somewhat derogatory toward Mr. Williams and/or Tanglewood. I say, “Bravo”. First, the program is never the same. Second, even if there is one more “E.T.,” “Close Encounters,” “Jaws,” “Star Wars,” “Raiders,” and “Superman” (which there was), then I am in heaven. “Olympic Fanfare” and “The Theme from Schindler’s List” traditionally make the program, as well. Again, thank you.

Ken-David Masur conducted. I am always in awe of how live music is synchronized to film. Maybe I don’t want to know the magic behind it? Ben Mankiewicz, host of Turner Classic Movies for 20 years, was the MC. He spoke and dressed casually, offering anecdotes throughout. Numerous, huge screens descended from the top of the concert shed as well as along the outside of the periphery for the thousands seated on the grounds. No one could miss a sight or a note.

Surprise! But not really. Nearly all of Tanglewood Pops Concerts include an encore or two. And all include at least three standing ovations.

Unfortunately, because of Mr. Williams’ health restrictions at age 94, this is the first time that he has been absent from Tanglewood’s concert. He was sorely missed. I think that we can all assume that, whether live or video, he was able to watch his salute by his own BSO. Bravo, John Williams for the marvelous music that you have shared through the decades!

The Mount, Lenox, MA
Gardens & grounds & granite, oh my!
(plus wood, plastic, marble, ceramics, bronze & more)
Author Edith Wharton would have enjoyed walks through her expansive property, seeing depictions of art just around the corners of congregations of giant trees and in many nooks & crannies in her woods; the contrasts of modern planet-like floating globes adjacent to the old rustic barn or the shy metal deer near her four-sided pristine garden. The exhibit has taken residency at The Mount for dozens of years, free and open to the public daily from to dawn to dusk. It’s a wonderful journey for adults and families and is dog friendly. May 24 -  October 24

Chesterwood, Stockbridge, MA
Home of Daniel Chester French – The creator of the Lincoln Memorial in DC, George Washington Statue in Boston lived in a huge, decorated mansion in Stockbridge. Alongside the house is French’s workshop with miniature and near-life sized sculptures. Paying homage to the country’s 250th anniversary is his statue of the Minute Man. The Revolutionary Teapot exhibit includes several drawn with wording like “No Stamp Act” and another “No Kings,” from the 1760’s and 1770’s.

Some thoughts that apply to most museums and historic homes’ tour guides job descriptions are knowledgeable and friendly with rapport that connects with those in the group. Our hour-long tour was led by a young woman who knew her stuff yet not in a didactic manner. She was casual, informative, and most importantly answered our questions. She led us through the grounds, house, workshop, eventually to the veranda where we sat to observe the seemingly unending range of the Berkshire Mountains. May 15 – October 31

Contemporary Sculpture Outdoor Show – This is Chesterwood’s exhibit now 48 years and running featuring dozens of large sculpture art. Titled “In the Open: New England Sculptors  Reclaim the Landscape,” the meaning is a dialogue between art and nature. Chesterwood’s landscape plays host to works by regional artists. Some pieces are obvious in meaning, some not, some situated for all to see, others tucked away in the woods. On specific dates, the exhibit is led by a guide; otherwise it is TIY. June 15 – October 31, 2026

Downtown Lee, MA
Literally a drive-by is the weekly farmers’ market and craft fair on the town green. Lots of townsfolk there and tourists. Lee’s downtown is short, less than a half mile, from the US Flag to Joe’s Diner. Alas, our clock was ticking to get to Tanglewood. Save Lee for another weekend.

Downtown Stockbridge, MA
The drive, this time returning to Lee, en route to Shakespeare & Company, was a take-out lunch stop at Main Street Cafe – part store, part ice cream shop (with a choice of nearly every ice cream flavor imaginable), part indoor/outdoor family restaurant (always crowded). I ordered a quick tuna on rye. Thank you for no celery. I didn’t intend to get the piece of home-made carrot cake, but it was staring in front of me.

Shakespeare & Company, Lenox, MA
“Hamlet” – Not that all plays presented at Shakespeare & Company are by the Bard; perhaps about half during each summer season. If anyone guessed which was the most famous, it might be a tie between “Romeo & Juliet” and “Hamlet”. For those, and there are many, who think that Shakespeare is not for them, this “Hamlet” is the most accessible that I have ever attended. And, I am not alone, as I looked around seeing a full house. See review in this blog. August 13 – 30, 2026

Review & Talk-back: Ballet Hispanico New York

August 23, 2026

Jacob’s Pillow, Becket, MA

www.jacobspillow.org

by Shera Cohen

We are so fortunate that one of the premiere dance festivals in this country is located in Berkshire County, just an hour from Springfield, MA; where In the Spotlight “lives”.

In all honesty, dance is the performing art form of which I am the least knowledgeable. That is probably one of the reasons that I can sit back and simply enjoy without tasking myself to write a bona fide review. As I have written often in the past, my dance critiques are commentaries by a layperson to others like me; somewhat educated on the subject matter but by no means an authority.

 

Over the years, including this summer, I purposely choose to see at least one Latin dance troupe – my favorite ethnic style. Ballet Hispanico New York last week had been exactly what I expected. The group is the nation’s leading American Latino dance company and the largest cultural institution of its kind in the U.S. For over five decades, it has commissioned over 100 original works and performed on the world’s most prestigious stages.

 

The beauty and precision of the female and male dancers working solo or as a group was exemplary. These dances were not simply cassinettes clipping to Latin music. I picture black & white movies of the 1940’s and 50’s. What I saw was ballet from other cultures – emphasizing the troupe’s title, Ballet Hispanico. The dancers’ homes were Mexico, Guatemala, Bermuda, Cuba, and Brazil. The costumes’ colors, the young faces, and the live music all played into the presentation of what was a wonderful program.

 

Their hand-out states that Ballet Hispanico “inspires generations through performances, education, and community engagement”. This topic was the focus of the dance’s talk-back immediately following the concert. We were fortunate to attend on one of the dates when the weekly Pillow Talk took place. These are free discussions held in Blake's Barn on campus.

The speakers were four dance professionals conducting a casual conversation followed by Q&A; they included Ballet Hispanico's Artistic Director Eduardo Vilaro. The others on the panel were from the company as well as the Pillow. 

The audience at Blake’s Barn was mixed – people from Latino cultures and those having many different backgrounds. Some in attendance were seniors, yet there were families with youngsters. Every seat was taken. Why? We wanted to understand, to appreciate, and to learn. Dance was, of course, the core interest of each person on the panel. They spoke quite eloquently about their own backgrounds and dance studies, the importance of the troupe’s evolving history, and Latino societies and how one description does not fit all.

Jacob’s Pillow’s 2026 season is almost over. A consolation is that here is always next year. Watch for the Pillow’s schedule which usually comes out in the spring to plan your summer of culture.

REVIEW: “Lucia di Lammermoor”

Mahaiwe Theatre, Great Barrington, MA

https://www.berkshireoperafestival.org/

Photo by Matt Madison-Clark

August 25 & 28, 2026

by Michael J. Moran

As the mainstage production of its 2026 season, the Berkshire Opera Festival presents Gaetano Donizetti’s 1835 tragic masterpiece “Lucia di Lammermoor,” its second Donizetti opera (after the comedy “Don Pasquale” in 2019). Conducted and directed by BOF co-founders Brian Garman and Jonathon Loy and often considered the crown jewel of “bel canto” opera, it turns out to be a “Lucia” for the ages.  

Loosely based on Sir Walter Scott’s 1819 novel The Bride of Lammermoor and set in 1703 Scotland, the libretto by Salvadore Cammarano centers around Lucia’s love for Edgardo, an enemy of her family. Her brother, Enrico, convinces her that Edgardo has been unfaithful and forces her into a loveless marriage with his political ally, Arturo. Going mad on her wedding night, she kills her new husband, appears in perhaps the most famous mad scene in all opera, and dies of a broken heart. Edgardo kills himself to join Lucia in death.

Soprano Christine Lyons inhabits Lucia in a career-making performance, combining raw passion with the beauty of tone demanded by the “bel canto” style (literally, “beautiful singing”) of early 19th-century Italian opera. Tenor Terrence Chin-Loy is almost equally intense as Edgardo. Baritone Dean Murphy is a commanding Enrico. Bass Stefan Egerstrom as Lammermoor’s chaplain, Raimondo, and tenor Luke Norvell as Arturo make strong impressions in smaller roles.   

Musical highlights include: the orchestra’s brooding, scene-setting overture; Murphy’s powerful Act I aria, “Cruel, Baneful Torment;” a perfectly balanced “Who Restrains Me,” the sextet that ends Act II; and Lyons’ note-perfect and emotionally shattering Act III mad scene, accompanied by the eerie sound of the rarely heard glass harmonica, invented in 1761 by Benjamin Franklin and skillfully played by Dennis James.

Loy’s resourceful direction highlights how Lucia’s ability to see ghosts empowers her, with a brilliant final coup de theatre, and elicits stylish singing and acting from a consistently strong cast. Scenic design by Cameron Anderson, costumes by Brooke Stanton, and lighting by Alex Jainchill contrast mostly dark colors with brighter ones for Lucia. Sensitive performances under Garman by the BOF orchestra and chorus (prepared by Chorus Master Luca Antonucci) bring Donizetti’s compelling score to vibrant life.

This revelatory “Lucia” is unmissable for Italian opera lovers.

Review: Martha Graham Dance Company

Jacob’s Pillow, Becket, MA

https://www.jacobspillow.org/

August 12-16, 2026

By Melissa Roti

 

This summer, Jacob’s Pillow is celebrating the centennial of the groundbreaking Martha Graham Dance Company as well as offering a salute to pioneering women in dance for the nation’s 250th Anniversary.

Martha Graham had a long history with Jacob’s Pillow and its founders, Ted Shawn and Ruth St. Denis, as she enrolled in the Denishawn School and later joined the dance company. In 1926, Graham founded what is now the oldest continuous American dance companies.

Even after the death of its founder in 1991, the troupe honored Graham’s legacy as a fearless innovator. Artistic director, Janet Eilber, a former dancer with the company, offered praise to both Graham's choreography and her spirit of collaboration in creating new works that included Graham technique with unique choreography. Eilber directed a conversation between two classic choreographies and two contemporary commissions; alternating between them juxtaposed where the company came from and where it is today.

The first Graham work was a stunning performance of Night Journey (1947), an example of her creative collaborations with composer William Schuman and sculptor Isamu Noguchi (set design). This piece was part of Graham’s Greek cycle where she used the female point of view in her storytelling. Queen Jocasta (Anne Souder) and Oedipus (Lloyd Knight) were so beautifully portrayed, as well as the Seer and Greek Chorus.

The company’s artistry was particularly evident in En Masse (2025), choreographed by former Alvin Ailey American Dance dancer Hope Boykin with input from the Graham company dancers. There were clear Graham influences, but Boykin brought her own language and movement vocabulary creating a work that was more fluid and contemporary. She incorporated music from Leonard Bernstein which added a rediscovered score originally composed for Graham. 

After an intermission, the dramatic solo Immediate Tragedy (1937) was performed flawlessly by dancer Xin Ying. Graham regularly explored the intersections of art and politics, and this work was her response to the suffering of women during the Spanish Civil War. Like the piece mentioned above, Immediate Tragedy was thought to have been lost, yet ultimately recreated through an intensive reconstruction process involving Graham’s notes, her letters to composers about the “despair” each has within us, staging maps, and photographs. This was a triumph for preserving Graham’s history which highlights the sad fact that many pre-video choreographies have been lost.

The show concluded with We The People (2024), choreographed by former Ailey dancer-choreographer Jamar Roberts, with a commissioned score by Rhiannon Giddens. The dancers expressed their own joyous physicality yet incorporated familiar gestures and techniques of Graham. Roberts followed in Graham’s footsteps using new music and choreography to express a spirit of collective change. Denim costumes, a quintessentially American fabric, by designer Karen Young also aligned with Graham’s purposeful use of costume in the storytelling process.

Martha Graham was a pioneer as a dancer, choreographer, and collaborator. Her namesake company continues to be a beacon of innovation in modern dance.

Note: The Pillow hosts a summer-long exhibition in Blake’s Barn highlighting Graham’s use of her art to speak out for democracy, women’s rights, and freedom of expression.

Review: "Dear Alien," Chester Theatre

Chester Theatre, Chester, MA
www.chestertheatre.org
August 23, 2026
By Suzanne Wells

Chester Theatre Company presents “Dear Alien,” written by Liz Duffy Adams and directed by Michelle Ong Hendrick, as a vivid portrait of an advice columnist whose life has narrowed to one room and one relentless box of letters. At first, the play has a sparkle of a comic monologue but slowly darkens into a meditation on despair and survival.

The action unfolds in a shabby-chic one room apartment filled with velvet, satin, a hardwood writing desk, a faded, upholstered chaise lounge, and a well-stocked bar cart. Crumpled papers and letters litter every corner, suggesting a personal collapse.

As Dear Alien, Bill Kux is the center of the production. He begins flamboyantly, drawing the audience in with gossip and dry, sarcastic humor, then gradually reveals the disillusionment beneath the performance. He treats the audience as correspondents themselves, pulling them into the advice columnist’s world as he transitions to painful self-reflection. Kux’s range—witty, brittle, vulnerable, and finally exposed—makes the character deeply human.

David Keohane as Écrivain and Eliza Fichter as Scrittora function less as conventional supporting characters than as theatrical devices, embodiments of the many voices asking Dear Alien for help. They gracefully blend into the background, only to emerge with another letter, another crisis, another demand for wisdom from a man who is struggling to save himself. Their presence keeps the play moving while also emphasizing the pressure placed on Dear Alien.

The letters give the play its structure, and Dear Alien answers them with evocative imagery and sharp, sometimes brutal, truths. His counsel to trust one’s instincts, to be the hero of one’s own life, and to accept the world is full of “unnecessary unkindness” are themes which help him overcome his ultimate dilemma - a life-or-death reckoning.

Dear Alien recalls a morally complicated moment when he was faced with saving himself or someone else. Questioning if his actions were selfish, heroic, or some tangled mixture of both? In that uncertainty, the play finds its strongest tension. It asks whether survival and kindness can coexist, and whether saving someone else might also be a way of saving oneself.

“Dear Alien” proves thought-provoking and unexpectedly hopeful. 

REVIEW: TMCO (2)/Inheritances

Ozawa Hall, Tanglewood, Lenox, MA 

https://www.bso.org/tanglewood

Photo Credit: Hilary Scott

August 3, 10, & 12, 2026 
by Michael J. Moran 

Three recent concerts in Tanglewood's smaller performance venues showcased the growing diversity of musical styles available to discerning listeners there.  


On August 3, the Tanglewood Music Center Orchestra played familiar symphonic music by three well-known composers under different conductors in Seiji Ozawa Hall. First, TMC conducting fellow and Louisiana native Lauren Smith led them in a sensitive reading of Ravel's 1917 "Le Tombeau de Couperin," a tribute to several friends killed in World War I. Using older French dance forms, it featured a swirling "Prelude," a poignant "Forlane," a graceful "Menuet," and an ebullient "Rigaudon." Polish TMC conducting fellow Julian Gilewski next led a buoyant account of Debussy's 1905 "La Mer, Three Symphonic Sketches," with a sparkling "From Dawn to Noon on the Sea," a joyous "Play of the Waves," and a powerful "Dialogue of the Wind and the Sea." 

Superstar Finnish conductor Esa-Pekka Salonen closed the program with a blazing rendition of Bartok's masterful 1945 "Concerto for Orchestra." A dramatic "Andante...Allegro vivace," a playful "Game of Pairs," showcasing woodwind duets, a haunting "Elegy," and a rollicking "Interrupted Intermezzo" all culminated in an exhilarating "Finale: Presto," in which Salonen pressed his young colleagues with a daringly fast tempo - they never faltered. 

  

A week later in Ozawa Hall, the TMCO and nine TMC vocal fellows presented a fascinating selection of music from ten American operas under the TMC conducting fellows. Highlights under Gilewski included: a yearning aria, "The world so wide," with soprano Diana Agasian, from Copland's "The Tender Land;" and a sensual "Waiting," with mezzo-soprano Ya Gao, and pensive "I remember long ago," with bass-baritone Raphael Laden-Guindon, from Harbison's "The Great Gatsby."  

  

Among highlights led by Smith were: a radiant "Magnificat," with soprano Eden Bartholomew, from Adams' "El Nino;" a shattering "El Mundo," with mezzo-soprano Danielle Casos, from Frank's "Frida and Diego's Last Dream;" and four numbers from Stravinsky's "The Rake's Progress," including a transfixing "No word from Tom...I go to him," by soprano Zoe McCormick. 

  

Two nights later, in the Linde Center's intimate Studio E, American pianist Adam Tendler played all 16 short piano pieces he commissioned from composer friends in memory of his father. Most memorable were: Laurie Anderson's perky "Remember/I Created You," with playful snatches of J. S. Bach and Elvis Presley; Missy Mazzoli's "mechanical and heartbreaking" (her own instructions) "Forgiveness Machine;" inti figgis-vizueta's riotous "hushing" (with video of Tendler's youth); Marcos Balter's lyrical "False Memories;" Darian Donavan Thomas's hyperactive "We don't need to tend this garden. They're wildflowers" (with Tendler speak-singing a live monologue); Nico Muhly's gorgeous "Eiris, Sones;" and Devonte Hynes' sublime "Morning Piece," closing Tendler's "Inheritances" cycle on a note of quiet peace. Tendler performed throughout with deep affection and boundless virtuosity. 

 

Review: “Hamlet” Shakespeare & Company

Shakespeare & Company, Lenox, MA

www.shakespeare.org
August 13 – 30, 2026
by Shera Cohen

Photo Credit Maggie Hall

Don’t be fearful of Shakespeare’s plays. Yes, “Hamlet” is often a tough one to understand, perhaps the most dramatic in the Bard’s repertoire. Give it a chance to do what Hamlet asks his fellow characters, “What a piece of work is man?”He questions what is it that makes the human condition? These characters on stage represent all sorts of personalities, each possessing a different background and carrying their own joys and heartache.

It might be unfair to compare numerous theatres’ productions of “Hamlet”. Yet, it is easy to say that this version of the classic is extremely accessible, and no one within one hour’s distance of the Berkshires should hesitate to experience a brilliant play which would undoubtedly make William Shakespeare proud.

Not that director Ariel Bock can do no wrong because she is one of the longest permanent residents in the company, but it seems that way. She is a woman who knows the skills of her players and they know Bock’s expectations, perhaps because nearly all of the cast and crew members are already part of the S&Co. team.

The short version of the plot? Young Prince Hamlet of Denmark is summoned home upon the death of his father, to find that his mother, only two months a widow, has married her husband’s brother/husband’s murderer. This tortures Hamlet; he vows to the ghost of his deceased father that he will right this wrong. Simultaneously, the country is in the midst of a war, a minor storyline. Important, however, is the new king’s reconciliation with murder, the queen’s abandonment of her son, and Hamlet’s feigned repulsion of his true love.

“ranney,” (King Claudius) becoming a S&Co. regular, is at ease spouting the Elizabethan tongue as he is with a southern accent in numerous August Wilson dramas as of late. Kristin Wold (Queen Gertrude, another S&Co. stalwart), plays a confused yet powerful wife; at the same time the epitome of an uncaring mother.

David Gow is our Hamlet. He doesn’t just act as Hamlet but becomes (is) Hamlet. He’s young, handsome, trim, and sprite. His physical attributes show his ability to recoil in an embryo-like position as well as his agility swinging on high-beam bars. Gow portrays an infant, then a boy, because he is not yet a man ready to avenge his father. He takes his character of Hamlet to the core of his being, both in his mad and/or feigned mad scenes. Almost at the same time, he becomes scary and primitive, and in an instant gentle and juvenile. This is definitely an actor to watch.

Whoever thought that there is laugh-out-loud humor in “Hamlet”? Probably no one. While the language is the same, whether performed in London in the 16th century or at S&Co. in Lenox in 2026, this production delves into the psyche of each character intensely. And, who knew, that without embellishment of the script, oftentimes it is quite funny. Of course, every drama has its own clowns; in this case Rosencrantz and Guildenstern (Hamlet’s friends), and the ever-put-upon Polonius/Gravedigger, played by Jonathan Epstein. The former is a well-meaning but dim old man, the latter an undertaker with a sharp wit.

There are many tech staffers to congratulate. To single out one would be Kevin Coleman (another S&Co. leader), fight choreographer. Act II calls for a lengthy and tricky sword fight between Hamlet and Laertes. Never underestimate the seriousness of swordplay. There are too many horror stories. Coleman creates realistic choreography for those in battle.

The length of the production 500+ years ago was probably over 4-hours. Not to worry, S&Co. always makes judicious edits, sometimes omitting extraneous characters; nothing and no one of importance is cut. In fact, this method of trimming the fat helps make “Hamlet” and all the dramas and history plays much easier for today’s audiences to appreciate the stories.

Review: “The Legend of Georgia McBride,” Berkshire Theatre Group

Berkshire Theatre Group, Pittsfield, MA
www.berkshiretheatregroup.org
through August 16, 2026
by Shera Cohen

The songs of Edith Piaf are not nearly as popular as they were decades ago, except perhaps in gay bars. Indeed, that’s exactly the on stage location where the audiences of Colonial Theatre’s production of “The Legend of GeorgiaMcBride” frequent nightly (except Mondays) along with matiness.

Matthew Lopez, one of the most prolific and talented playwrights whose works are often staged in Hartford and the Berkshires, takes credit and laughs for “Georgia”. The comedy is broad, outlandish, and side-splitting. Yet, in Act II, sobering text offers a deep look at humanity. 

Straight guy Casey, down on his luck with an empty wallet, has two things going for him: a dream to be a successful musician and a caring wife. Michael Wartella as Casey, portrays a somewhat dimwitted young, sweet man who would take the shirt off his back to help a stranger. Metaphorically, this is his only shirt. In dire straits, Casey reluctantly agrees to work as a drag queen at a failing bar in a hick town in FL. Wartella’s credits include Broadway, Off Broadway, and several plays at BTG. Obviously, he is a favorite in the Berkshires. Somewhat short in stature, Wartella is a talented singer on guitar and physical comedian. 

Kyle Taylor Parker, who easily stands at 6’6’’ as transvestite extraordinaire whose comic timing, nuances, and asides steal the show portrays Miss Tracy Mills. Another Broadway and touring star, Parker’s lithe strides and dance moves bely his stature. Wartella and Parker make an odd couple fun to laugh at and laugh with. We like them both for their similarities and differences.

One sign of a skilled director and choreographer, in this case Isadora Wolfe takes on both, is when the audience doesn’t notice the work put into these jobs. Directors don’t just worry that actors might bump into each other (that should be a given), but every movement is purposeful for the characters.

Randall Parsons, scenic designer, has more to do than meets the eye. Casey and Jo’s apartment is bare because they have few funds to buy anything. The same for the rundown bar. However, a set mechanism turns one scene 180-degrees to create the other. Amy Avila, costume designer, must be in stitches (okay, bad pun) seeing her cheeky formal dresses worn by men.

Known primarily for his dramatic portrayals, BTG’s artistic regular of 40 years, David Adkins, takes an unusual role as the very funny on-stage MC and scripted bar owner. The small cast also includes Emilie Kouatchou (Casey’s wife), Shayne Haley (Tracy’s friend), and E. Gray Simons III (landlord).

“Georgia” is hoot. Some may hesitate to bring youngsters to this play. Don’t. Lots of kids on opening night obviously loved it!

 

Review: TheatreWorks, “The Cannibals of McGower County”

TheatreWorks, Hartford, CT

Photo:  Curtis Brown Photography

https://twhartford.org/

through August 30, 2026

By Jarice Hanson

 

TheaterWorks Hartford has mounted a play that is disturbing, violent, and very current. Four outstanding actors tell the story that unfolds before the audience’s eyes with honesty and full commitment. 

 

Playwright Drew Larimore’s note in the playbill explains that this show is part one of a trilogy he is writing that he classifies as “Southern Gothic.” The characters each have backstories of abuse, lies, poverty and disappointment, and Larimore workshopped the play with the four actors over a two-year process, undoubtedly learning each actor’s strengths and mining their ability to behave like disparate members of the community that has seen better days in McGower County in West Texas.

 

Director Jen Wineman finds humor at the right moments but never allows the story to get silly or lose its momentum. Instead, the story emerges like an onion, shedding its skin and drawing one deeper into the human condition. There are twists and turns aplenty, and many of them unexpected. If this show had men at the center of the action it would be just another treatment of men behaving badly, but because two of the leads in this ensemble piece are women of a certain age, the behaviors are unexpected and shockingly powerful.

 

Anchoring the play are two gifted actresses, Annalee Jefferies as “Lindalyn,” a curmudgeonly woman who seems bitter and unfulfilled. She walks with a cane and a limp—signs of an injury that never healed correctly. Constance Shulman as “Viola” seems simple-minded but loyal to Lindalyn, who she’s known most of her life.  The two women are wonderful together, especially as they enter the broken-down diner wearing what looks like miners' hats with headlamps, planning to steal whatever they can sell. 

Costumes by Alejo Vietti tell the story of their personalities, and Tim Mackabee’s set design gives them plenty of props on the realistic set that looks like a deserted bar in a place where no one wants to live.

 

The young lovers are Gus Birney as “Sarah Nell,” a sweet, beautiful girl who hasn’t had much life experience, and Edward Hoke as Blaze" who comes from privilege and has purchased the old bar.

What do these two have in common besides a load of chemistry and passion? That’s where the story that brings these four people together starts to get juicy.

 

There are more sudden shifts in tone than could be described in this summary, but that would spoil the moment-by-moment pleasure of the audiences’ discovery of these characters and the lives of the three women who try to guard a lifetime of secrets. 

 

“Cannibals of McGower County” is not a perfect play (yet), but this is an excellent production and shows the promise of the character-driven study that emerges as the story spirals deeper and deeper. This creative cast and production team work seamlessly together to reach into the audience’s collective soul and remind us that there are places in this country that have suffered from ignorance and poverty. 

McGower County is a place where even people who mean well, are sometimes damaged and dangerous. 

 

Constance Shulman and Annalee Jefferies in "Cannibals of McGower County"

 

Visiting The Mount: Even if you’ve never heard of Edith Wharton

August 5, 2026

Lenox, MA
edithwharton.org
by Shera Cohen

Perhaps you were assigned readings of classics in high school or college? Perhaps they included “The Age of Innocence,” “The House of Mirth,” and/or “Ethan Frome”. These were not on my lists, and I had enough to read for my classes that there was little time for pleasure reading. It wasn’t until years later, when I didn’t “have to” study books that I added Edith Wharton novels. I had a large choice to choose from: fiction novels, non-fiction books, short stories. Frankly, I didn’t realize what pleasure I had been missing.

I also didn’t know that this talented, world-renowned, prolific author, born in 1862, New York had lived part of her adult life not so far away from me in Lenox, MA. Surprisingly, Wharton designed her estate, which she shared with her husband, down to the last detail.

It’s somewhat of a trek up and down the terrain but walking shoes or sneakers should solve that problem; perhaps. One large mound covered with brown dirt and only a bit of grass is the Dog Cemetery. Wharton was known for her love of dogs and owned many. As each dog died, her grounds man buried the animal, along with the others who had passed away before, in this graveyard. She purposely designed the land for her pets; directly within sight of her bedroom window so that she could frequently and easily see the spot.

The Mount’s Sculpture Exhibit of curated art created by famous sculptors from throughout the country is visitors’ favorite. This year’s theme is “Flourish” which means growth, resilience, connection, hope, and the ways communities thrive by bringing people together. Works engage with nature, flora, fauna, and the interplay between art and landscape.

These pieces are large! Don’t think of them as house decorations, and many would not fit on the average house’s lawn. The pieces are made of a plethora of material, including copper, steel, flowers, glass, ceramic, straw, and more. Take a leisurely stroll through the entire grounds, even bring your dog. FREE

The exhibition includes many clearly obvious depictions of people, animals, as well as identifiable objects. Oftentimes, sculpture is not that obvious, eliciting questions from viewers like, “What is that?” But that’s okay. Art of all genres can and should be examined and inspected by those who are curious and wish to learn. A small metal lamb bows its head near the entry to the garden, “Flight” is a bird (what kind? ) landed on a large strip of green lawn, the life-size “Boy with Frog” is exactly that. There are a few metal flower sculptures and two small windmills. The Sculpture Exhibit ends October 24, 2026.

For many years, I have attended the Mount’s Summer Author Series. This season features eight authors, each discussing the impetus, process, and insight into his or her book – fiction and non-fiction. The series takes place weekly on Monday afternoons and again on Tuesday mornings. I remember when audiences filled the prior venue for the talks; The Wharton Stables. Every seat was taken for every Monday with an overflow of disappointed visitors who had to miss the talk. The brilliant idea of purchasing a huge circus-size tent was one of the Mount’s best investments. Still, lectures on two days fill the tent. This is wonderful!

Admittedly, I don’t attend all talks, yet many subscribe. Author Mark Braude spoke on The Typewriter and the Guillotine, an untold story of Janet Flanner, an atypical American journalist living and working in France at the start of the fascist movement of the 1930’s.

For the most part, this year’s speakers focus on biographies: James Baldwin, Bruce Lee, The Schuyler Sisters, and Dolly Parton. Then there are histories of various eras: conservative movement in the 1960’s, women in Modern Russia, and the start of WWII.

Another series, called “In Conversation,” is moderated by Andre Bernard. You never know who will be interviewed until  you receive the Mount brochure. Again, the site is the tent, where Bernard is in a type of “60 Minutes” visit with renowned experts in their fields; primarily politics and history. For example, the success of this series was the interview by Former CIA Director General David Petraeus; an instant sell-out.

This should be any person’s worst problem, but to some degree, there is too much to do at the Mount on any given day; i.e. garden tours, dance performances, poetry readings, music for tots, and Wharton short stories read-aloud by professional actors. Oddly, perhaps, is my mandatory destination to the gift shop. Trust me, leave time to experience this lovely and intimate section in the Wharton House.

 

Review: "Grease" Opera House Players

Opera House Players

Temple Beth El, Springfield, MA

https://www.operahouseplayers.org/show-information 

through August 16, 2026

by Shera Cohen

It is safe to say that "Grease," the movie and the musical (the latter ran on Broadway for 8 years) is a favorite of all generations. That was the case by a look at the packed house at the production of "Grease" by OHP, yet this time located on the stage of Temple Beth El, Springfield. 

OHP, in the throes of renovation of its permanent theatre in Enfield, CT, is using the temple for what they plan to be a one-time only move. This alternate venue is intended to keep patrons and performers safe and comfortable in an air-conditioned environment.

Perhaps designed purposefully, or not, this version of the musical seems to be an ensemble rather than a vehicle to showcase the characters Danny and Sandy. Atypical can be a plus for OHP. After all, the stars sing very few solos and one duet. Kudos truly belong to the company; meaning just about everyone onstage. 

Bravo to codirectors Stevie Norman and Michael King, and equally to choreographer Chantel Martin for successfully manipulating 21 actors/singers/dancers on a relatively small, unfamiliar stage. The big numbers -- "Grease Is the Word," "We Go Together," "Shakin' at the High School Hop," "You're the One that I Want" and "Hand Jive" are the winning elements of OHP's version of "Grease". Can anyone return on the ride home without humming or singing at least one of these standout songs?

                                                                                                                                                                                                                                            

Many players, as well as members of the creative team, are newcomers to OHP; and nearly all are young. Everyone in theatre must start somewhere. As wonderful as it is to offer this opportunity to newbies, a suggestion is to mix it up in the future. Immediately recognizing Tim Reilly as the oldest cast member (no insult intended, because by far, Reilly is certainly one of the best in local community theatre), without scene-stealing, he makes Act II shine. In fact, Act II is fun; not just because Danny and Sandy "go together" at the musical's end.

Direction of Act I needs more humor, whether it be physical interactions between characters and/or conversations.

Forgivable problems attribute to a new venue and opening night. Many sound glitches and reverberations jar the audience and slow the dialogue, lighting beams in wrong sections, set changes taking much too long, and some backrow and sideline dancers scattered. Assuredly, these errors will diminish as the production continues this weekend and next.

The energy of the actors is evident. See this musical soon, as "Grease is the word."

Note: "Grease" depicts the 1950's and hit Broadway in the early 1970's. Remember that the script is extremely dated and some material might be suggestive to children.

REVIEW: Tanglewood Festival of Contemporary Music

Tanglewood, Lenox, MA 

https://www.bso.org/tanglewood

July 23 & 27, 2026 

by Michael J. Moran 

As noted in the program, this year's Tanglewood Festival of Contemporary Music, directed by Finnish composer-conductor Esa-Pekka Salonen (perhaps best known for his transformative tenure as Music Director of the Los Angeles Philharmonic), "celebrate[d] some of Salonen's influences, musical friends, and younger composers whose music he has championed." 

Introducing the first concert on July 23, entitled "Those We Have Lost Too Soon," Salonen shared touchingly personal memories of the three recently deceased composers honored in this program. It opened with his own brief tribute to English composer Oliver Knussen, "Arabesques for Olly," smashingly played by cellist Han Lee, with Isabel Tannenbaum on drone. Next came a dazzling account of the string quartet "Terra Memoria," by Finnish composer Kaija Saariaho ("the older sister I never had," according to Salonen).  

"Four Poems of A. R. Ammons," by American composer Steven Stucky, featured stunning solos by bass-baritone Raphael Laden-Guindon and baritone Holden Turner. Saariaho's other-worldly "Lonh" ("Distant") showcased haunting vocals by soprano Lucy Fitz Gibbon and electronics by Ryan McCullough. Knussen's heartfelt "Requiem - Songs for Sue," a memorial to his wife, was distinguished by the protean singing of soprano Zoe McCormick. All performers are Tanglewood Music Center fellows or alums. 

The closing concert on July 27, titled "Nordic Boomers," presented works by four contemporary Scandinavian composers. After a helpful spoken overview by Salonen, he led the Tanglewood Music Center Orchestra of early career musicians in a bracing account of the colorful 2020 "Serenades" by his Finnish compatriot Magnus Lindberg, born days before Salonen in the same Helsinki hospital ("we bonded in the crib," said Salonen). 

Next, in sharp contrast, came Danish composer Hans Abrahamsen's harrowing 2013 setting of Paul Griffiths' 2008 novel "let me tell you," in which Ophelia re-tells her story in the 480 words she speaks in Shakespeare's tragedy "Hamlet." Soprano Alexandra Henderson was sensational in this challenging role, and TMC conducting fellow Lauren Smith paced the TMCO with clarity through Abrahamsen's darkly shimmering score. TMC conducting fellow Julian Gilewski then led the TMCO strings in a highly charged reading of Swedish composer Anders Hillborg's 2021 "Kongsgaard Variations," cleverly based on the heartfelt "Arietta" movement of Beethoven's last piano sonata. 

Ending the concert and the Festival on a high note was Salonen's own Cello Concerto, which he wrote in 2016 for Yo-Yo Ma and conducted with the deep insight of the creator. The taxing solo part was played with unflagging energy and Ma-like virtuosity by Finnish cellist Senja Rummukainen. The dense but clear orchestration of its four substantial movements feature a large percussion section, including congas and bongos, and electronically looped fragments of the solo cello broadcast through multiple speakers around Ozawa Hall, building a riot of exciting sound.