Review: “Summer, 1976” Berkshire Theatre Group

Berkshire Theatre Group, Stockbridge, MA 
www.berkshiretheatregroup.org
through October 31, 2026 
by Jarice Hanson 

Photo: Caelan Carlough

Have you ever known someone briefly but loose contact with them, despite the feeling that you’ve shared some extraordinarily meaningful moments? Most people have experienced that all-too-common reality in our fast-paced society.  

In “Summer, 1976” Pulitzer-Prize winning playwright David Auburn has crafted a multi-layered, heart-felt 90-minute dramedy that touches the heart and reminds us that the people, places, and events of our lives make up a mosaic of experiences that contribute to who we become.

Berkshire Theatre Group has chosen to stage “Summer, 1976” as their last play of the season and how wonderfully appropriate, as the leaves begin to fall, and the U.S. looks at the memory of the summer of our year, juxtaposed with the year’s 250th anniversary. 

In this memory play, the audience sees a simpler time that becomes more intense with the passage of time, but what remains is the longing for the good memories and the people who have helped us find our way along life’s journey. 

The show focuses on two characters who grow and change over a period of approximately 25 years. For the audience, the play is an opportunity to look back at a simpler time when perhaps they too, were negotiating lives with small children, changes in the expectation of what women could or should do, and gender stereotypes that often seemed to prescribe what options were available to women. 

For younger audience members, there may be choices as to how to view the characters through a contemporary lens. While not specifically articulated in the play, today’s decision for women to choose being a “tradwife” contrasting with those who have the chutzpah to “go it alone” each have consequences.

Two wonderful actors deliver the subtle comedy, and the deep meaning of friendship. Kate Baldwin and Jennifer van Dyck are perfectly paired as Alice (Baldwin), the ditsy Ohio housewife who gives up her own aspirations for her husband, an academic in pursuit of tenure; and Diane (van Dyck), a single mom who seems to have everything under control. The two come together because their daughters are the same age and are in some ways, mini-Alice and mini-Diane, or at least that is what we are led to believe. Like the girls, Alice’s husband is never seen, but in an excellent projection of character, van Dyck gives the audience a clear sense of who he is. 

One clever element to the plot (no spoiler here) is that the husband, an economist, has come up with a baby-sitting cooperative that people in the community share, until it faulters. This small, but important feature is an example of one of the many layers that initiates the friendship between Alice and Diane and shows Auburn’s uncanny ability to ground his situations in reality while offering just enough specificity to make the plot believable.

The other “star” of this play is the script itself. Auburn’s work is meticulously crafted.  Other plays of his, like “Proof” (Pulitzer Prize winner), and “Lost Lake” explore relationships with depth and intensity. “Summer, 1976” is in that same vein, and what stands out is his ability to find good qualities in flawed people.

The audience knows people like Alice and Diane and undoubtedly left the theatre remembering people who mattered in their own lives. When audience members sigh and subtly respond to a line or a plot twist, the genius of a playwright who understands humanity so well is apparent. When a wonderful director and talented, capable actors are able to translate those words to the stage for a metaphorical “group hug” with the audience, something special is taking place.

Director Isadora Wolfe keeps the action focused but the pacing quick. The audience becomes an extension of the friends on stage and empathy is cleverly built between audience members and the actors. Scenic Designer Jason Simms’ spare set is reminiscent of the décor of 1976 but shows how limited each of the characters’ lives are, until their trust in each other begins to grow. Only then do the characters begin to explore the depth of the stage, as they explore the depth of who they are. Lindsey Eifert’s costumes lend an appropriate interpretation of the characters’ inner lives. 

This is a talky play—but audiences will find themselves becoming more involved with the characters as they explore themselves and life’s twists and turns.

The Unicorn Theatre, an intimate space, has audience members seated in a quasi-semi-circle, and is the perfect venue for this type of show, but at times, the actors’ voices were lost when they turned away from certain sections of the audience. If every word were enunciated a bit more and the breath support matched the intensity of the dialogue, the show’s delivery would be near-perfect.  

 

Mamma Mia!” The Bushnell

"Mamma Mia!” The Bushnell

The Bushnell, Hartford, CT

www.bushnell.com

By Suzanne Wells

Directed by Phyllida Lloyd, The Bushnell’s production of “Mamma Mia!” is a festive, high-energy musical comedy that balances romantic intrigue with broad humor and lively spectacle, all driven by ABBA’s irresistible songs.

Set on a small Greek island as a wedding approaches, the story follows a daughter whose mischievous attempt to uncover her father’s identity brings three men from her mother’s past back into their lives.

As Sophie Sheridan, Juliette Ojeda opens the production with a melodic rendition of “I Have a Dream” that draws the audience into the show’s sunlit Grecian setting. Jessica Crouch brings emotional force to Donna Sheridan, delivering a stirring performance of “The Winner Takes It All.” Victor Wallace, as Sam Carmichael, conveys the character’s lingering love and regret in “Knowing Me, Knowing You” and in his duet with Crouch, “S.O.S.”

Jalynn Steele is a comic standout as Tanya, pairing strong vocals in “Does Your Mother Know” with impeccable timing and a delightfully larger-than-life performance. Kayla Ryan Walsh (Rosie), Leland Burnett (Bill Austin), and Rob Hancock (Harry Bright) also make the most of the musical’s humor, bringing warmth and well-judged comic timing to their roles.

Choreographer Anthony Van Laast keeps the ensemble numbers in constant motion, filling the stage with buoyant energy and memorable visual comedy. Highlights include the scuba-fin routine in “Lay All Your Love on Me,” the clownish nightmare of “Under Attack,” and the playful battle of the sexes that animates “Does Your Mother Know.”

Production designer Mark Thompson creates a versatile set, using two movable pieces to transform the stage seamlessly from a taverna courtyard to an inn bedroom and, finally, a church, allowing the story to maintain its momentum from scene to scene.

Taken together, the emotionally grounded lead performances, sharply timed comedy, inventive ensemble work, and fluid staging make this “Mamma Mia!” an exuberant celebration of love, friendship, and second chances—one that earns its audience’s enthusiasm rather than merely trading on familiar songs.

REVIEW: “Gypsy”

 Theatre Guild of Hampden, Hampden, MA 

www.theatreguildofhampden.org

through October 25, 2026 

by Michael J. Moran 

With music by veteran composer Jule Styne, lyrics by a young Stephen Sondheim, and a book by seasoned writer Arthur Laurents, “Gypsy” was called “what might be the greatest of all American musicals” by former NY Times theatre critic Ben Brantley. Based loosely on the 1957 memoir by stripper Gypsy Rose Lee, the original 1959 Broadway production starred Ethel Merman as Gypsy’s mother Rose, the prototype of the overbearing stage mother. 

Act I follows Rose as she tries to build a career for her young daughters June (the actress June Havoc) and Louise (Gypsy) on the fading vaudeville circuit of the 1920/30's, from which June eventually elopes with a dancer named Tulsa. In Act II, Rose gets Louise booked into what turns out to be a burlesque theatre that features striptease acts. Terrified at first, Louise soon finds her new niche. The show climaxes in Rose’s solo reflection on her daughters’ fortunes and her own.  

Every “Gypsy” hinges on a compelling Rose (the lead role, despite the show’s title) and TGH’s stirring production has a formidable Rose in Anna Giza. From her opening “Sing out, Louise” as she enters from the audience, this is a no-nonsense Rose who will never take “no” for an answer. But the breakout star is Aubrey Vargas, whose sensitive acting makes Louise’s growth from awkward, shy adolescent to glamorous, self-confident woman not just believable but inevitable. 

Heath Verrill is winning and sympathetic as Herbie, Rose’s love interest and the manager of her act. Ashley Barnes excels as “Dainty June,” as does Austin Kopp as Tulsa. 

For all the dark turns in this story, there are many lighter moments, and musical highlights abound: an exhilarating “Together, Wherever We Go,” by Giza, Vargas, and Verrill; a hilarious “You Gotta Get a Gimmick,” by Jami Wilson, Becca Greene-Van Horn, and Andrea Stolar as hapless strippers Tessi Tura, Mazeppa, and Electra; and Giza’s shattering finale, “Rose’s Turn.”

Music Director Dan Mashia’s six-member band offers spirited backing. 

Astute direction and staging by Mark Giza draws skilled performances from the large cast and features seamless scene transitions with minimal props. Fanciful choreography by Dina Lynn Del Buono and period-appropriate costume design by Ester of Sturbridge add further attractions.    

  

This entertaining and powerful take on a musical theatre classic, complete with a surprise ending, is enthusiastically recommended for mature audiences.

Review: “Dracula”

Hartford Stage, Hartford, CT

www.hartfordstage.org

through November 1, 2026
review by Shera Cohen

What better way to open Hartford Stage’s current season than with an American premiere? The selection of “Dracula” is certainly appropriate to the Halloween season, as the production’s dates overlap with those of the holiday which brings out the proverbial ghosts and goblins, especially to children.*

Nearly everyone knows the image of Dracula – both man and winged bat. Yet, this version has another take, primarily focusing on the victims in the plot. While so many aspects of Hartford Stage’s production are exceptional, the adaptation of the original novel and/or other theatres’ versions are somewhat of a stretch for audience members to fully understand.

Extraordinary are the backstage crew, giving “Dracula” the mood, atmosphere, and jump scares to make the play all about fear. In fact, the opening line refers to fear, motivating the show’s progression. Director Jackson Gay’s triumvirate of uber-talented backstage creators include Riw Rakkulchon (set design), Paul Whitaker (lighting), and Carolyn Eng (sound effects). From hidden rooms beneath stage level to unexpected lighting design to deafening clashes, the play becomes even more than what is anticipated.

Essentially, this rewrite of Bram Stoker’s classic, instead of being linear and story-driven, the structure puts the onus on one character as the narrator, retelling the story in the past tense. The action has already taken place, and the audience is only hearing about it now. This reduces the tension and conflict between characters in actual on-stage time.

At some points the structure of this version calls for actors to break character. In one instance, victim Lucy stands center, alone and still, for what awkwardly feels like an eternity as Mina (narrator) stands backstage composing herself. Neither have dialog. In addition, this version is meant to be a play-within-a-play, which make some scenes that should have been very tense, lack gusto.

Sara Gutierrez gives Mina her unwavering interpretation, directing stage traffic all the time as the director of the other actors. She appears fetching in black. The actress rarely leaves the stage from start to finish; a huge task for any single actor. This is Mina’s story – not Dracula’s or even Stoker’s. She is the leader of the troupe. Yet, she runs her show (within the show) with a voice that is much too loud. The audience hears her clearly without the emphasis.

Heard at intermission were comments from patrons who found it odd that only one cast member was male. Whether the two lead characters portrayed by women was meant to infer any particular relationship is unclear. Perhaps there is no ulterior meaning other than Dracula is not particular who he puts in jeopardy.

Hartford Stage never fails to tell its stories with exemplary actors and designers, even if patrons might not like an occasional script. “Dracula,” however, may be the near miss thus far. Miss does not pertain to the above-mentioned polished cast and crew member, but to the story. Why mess with what is tried ‘n true?

Note: Hartford Stage makes it clear in its advertising that “Dracula” isn’t necessarily a play geared toward children.The choice is that of the parents.

Review: "The Great Gatsby” The Bushnell

The Bushnell, Hartford, CT

Through October 5, 2026

www.bushnell.org

By Suzanne Wells

The Bushnell’s production of "The Great Gatsby," directed by Marc Bruni, dazzles audiences with a vibrant blend of music, dance, costumes, and stunning visual design to capture the glamour and excess of the Roaring 20's while telling a story that remains relevant today.

At its heart, the musical explores the divide between wealth and class, and the lengths people will go to in pursuit of their dreams; simultaneously, the characters and story immerse the audience in a world of lavish parties and hidden heartbreak.

Scenic and Projection Designer Paul Tate dePoo III and Lighting Designer Cory Pattack transport audiences to Long Island and the extravagant world of the 1920's elite. An elegant Art Deco mansion in black and gold overlooks a shimmering teal-blue shoreline, while a sprawling country estate reflects old-money sophistication. The stage comes alive with impressive visual effects, including colorful full-size vintage convertibles that drive across the set, adding authenticity to the production.

Linda Cho’s costume designs are equally dazzling. Vibrant colors, sequins, and luxurious fabrics capture the era's opulence. From fringed flapper dresses and gangster greatcoats to sharply tailored suits and fur-trimmed housecoats, every costume contributes to the atmosphere of excess and indulgence that defines Gatsby's world.

Choreographer Dominique Kelley's energetic dance numbers enhance the mood of each scene and keep the production moving at a lively pace. The show opens with shadow figures coming to life, a striking moment that foretells the drama. The tap-dancing featured in “La Dee Dah with You” creates an infectious party atmosphere, while the dramatic cape work in “Shady” reveals the darkness lurking beneath the glittering surface.

Jake David Smith delivers a compelling performance as Jay Gatsby, portraying a man consumed by longing for a lost past once filled with love, innocence, and happiness. As Daisy Buchanan, Senzel Ahmady brings grace, charm, and emotional depth to the role, gradually revealing a woman struggling between security and desire. Joshua Grosso and Leanne Robinson are equally engaging as Nick Carraway and Jordan Baker, skillfully balancing humor with dramatic intensity. Grosso is particularly impressive in “The Met,” where his athleticism stands out.

The production's only notable weakness is its sound balance. At times, the orchestra overwhelms the vocalists, making some lyrics and plot details difficult to understand.

"The Great Gatsby" is a visually stunning and entertaining production.

Review: "The Happiest Man on Earth” Playhouse on Park

Playhouse on Park (POP), West Hartford, CT

www.playhouseonpark.org

through October 18, 2026

by Shera Cohen

Define “happiness”. Is it Joy? Satisfaction? Laughter? Surely, many other similar adjectives apply.

In the paraphrased words of real-life Holocaust survivor Eddie Jaku, the word means the ability to breathe one more breath. Could that seemingly easy task mean so much? Coupled with friendship and a smile, Eddie (the solo character in POP’s season opener) and Eddie (the man who survived seven years, first on the fringe, then in the hell of the Holocaust, and finally in the difficult aftermath) affirms this position on happiness.

Actor Robert Resnikoff (Eddie) enters from the wing and walks across the stage with the house lights on, as he waves, smiles, and greets “my new friends” -- the audience. We are immediately taken in by this rather average-looking, affable, elderly man. In Eddie’s preparation for a formal speech, he first runs his story by us. Because the plot is told as an autobiography, playwright Mark St. Germain takes the audience through a series of depictions in Eddie’s life of horror after horror in chronological order.

St. Germain, well-known in the Berkshires and Pioneer Valley as a prolific writer excels at dialogue – its natural flow, emphasis, and silences. The playwright’s best works are biographies; “Best of Friends” about a pivotal Civil Rights debate in the deep South. He also excels at placing fictitious characters into familiar history so that audiences can fully experience the text; “American Son” is near-flawless.

The play is not one of thousands of other books, plays, speeches, et al about the 1930’s/40’s war in Europe which focuses on those enslaved, tortured, and murdered during the Holocaust. The focus is one regular guy, Eddie Jaku, doomed by his heritage. He is a German who is Jewish and a Jew who is German. The distinction makes a difference, as the character explains throughout the play.

Eddie speaks with candor and emotion, which at many times seems to rip his outer shell of a body and his heart apart. Remembrances are clear as if they occurred yesterday. Resnikoff takes his audience with him in the cattle cars, to the work camps, and quarters with piles of men cramped naked on a board to try to sleep. Twice, he was next in line to walk into the gas chamber, yet stopped. Why? He was deferred because his occupational skills were advantageous for the Nazi's needs. Those seated at POP seemingly could not breathe or choked at these emotionally explosive depictions.

In countless ways, it is difficult to separate a review of theatre from the true story. This is one of those cases. Resnikoff becomes Eddie in physical manner, voice, gate, and facial movements.

Chris Ostrom has double duty as set designer and light designer. The set is simple – two chairs, a table in between, and a lamp. Nothing more is needed. Lighting, however, is crucial. No set pieces are moved, but the dark or brighter illumination create stage areas. Only at the play’s start and end, when Eddie’s life is happy, do lights shine bright. In spite of the minimal set, or perhaps because of it, Director Sasha Bratt gives Resnikoff the full stage to occupy. In a few instances the actor stands too far back, against a stage wall. The movement is understandable, coinciding precisely with the text. However, the lattice chairs block most of Resnikoff’s body. Just a few steps to the right or left and all would be perfect.

The real Eddie Jaku said that every breath is a gift, which becomes the basis for the play’s title and Jaku’s autobiography. Future audiences at POP can experience the depth of this raw, emotional, and inspiring story as a gift to themselves.

 

REVIEW: “The Snow Goose”

Goodspeed Opera House, East Haddam, CT  

www.goodspeed.org
August 28 – October 18, 2026

Review by Simon Brighenti

 From Daedalus to Dickenson, wings, feathers, and flight have served as something beyond a purely avian attribute. The story of Daedalus and his son Icarus serves as a cautionary tale of the futility of “flying too close to the sun.” On the other hand, Emily looks at hope as the thing with feathers.

Kahlil Gibran, Lennon & McCartney and even an obscure ‘80’s pop band use the “broken wings” metaphor in their works about love and relationships. 

"The Snow Goose," a brilliant new musical directed by Marshall Pailet playing at the Goodspeed Opera House, intertwines these themes and more in a wonderfully realized production set in wartime England. 

The setting brings the audience directly to the marshy shore near a small coastal village. The villagers have been beset by rumors of a “monster of the marsh” inhabiting their bird hunting grounds near the local lighthouse. The titular snow goose, native not to the British Isles but to Canada, is wounded in some crossfire and the kindly young lass Frith - already a reluctant participant in the hunting party - is immediately consumed with thoughts of nursing the fractured flyer back to health. Her caring and compassion lead her and the audience to discoveries about herself, about prejudice and fear, and about her family and friends. 

Ashlyn Maddox is excellent as the determined Frith who, as the story evolves, comes into herself and realizes what friendship entails and what is received in return for the giving of yourself. The true find in this production is Eric Graise as Phillip. His grace of movement and mesmerizing stage presence are enhanced by one of the strongest and most evocative singing voices heard on any regional stage in years. 

The rest of the cast is equally noteworthy. Ally Bonino as Harper inhabits a character coming to realize what her life has been about and ruminate on the path not taken. Charlie Webb as the lovelorn Wilf brings both a humor and a wistful understanding to where he stands with the important people in his life. As the Bard, Sam Sherwood provides a kind of narrative that brings the entire story together. 

The musical is based on a novella by Paul Gallico published in 1941, which in turn was based on a short story he wrote the previous year for Saturday Evening Post. The full title of the short story was “The Snow Goose: A Story of Dunkirk,” which portends that the musical itself does in fact involve that famous World War II battle and aftermath. The portrayal of the rescue which includes civilian and well as military British watercraft, may seem to those unfamiliar with the history as a convenient plot device, but it really (and incredibly) actually occurred.

The catchy tunes under the direction of Adam Souza integrate into the themes of the story and enhance the overarching portrayal of a mix of goodhearted individuals who, for their own various reasons, impart their desires, either overtly or implicitly, to be able to overcome the obstacles which life and the world has dealt them and be free to soar away from their quotidian lives; like the snow goose. 

Commentary of this musical would not be complete without mentioning the puppetry involved. Lead by the immensely talented puppeteer Leah Hofmann, the snow goose comes alive. The emotion conveyed by the choreographed flapping of wings and the variety of the tonal “honks” makes one believe that the bird is in fact a living and breathing thing.

Finally, for those who have never been to Goodspeed, go now. The waterfront setting of this venue in an archetypically quaint New England town is perfect for a production that in many ways approaches perfection as well.

It's Season #29!

The Majestic Theater, West Springfield, MA   
www.majestictheater.com 

Audiences can count on the Majestic's plays to offer a mix of comedy (oftentimes farce), drama, new plays, old chestnuts, and always ending its season with a big musical. 

"Nunsense" Photo credit: Kait Rankins

Currently on stage is Nunsense, (through 10/11/26) a musical-comedy featuring actors as a cadre of atypical nuns -- thus the name "Nunsense". Think Woopie Goldberg's hit movie. Now, put it on a live stage and "Nunsense" is all the better. This classic crowd‑pleaser—an international sensation -- performed in more than 8,000 productions worldwide and winner of four Outer Critics Circle Awards.
 
Lend Me a Tenor (10/22 - 11/29, 2026) is among the best of playwright Ken Ludwig. This very funny farce set in the 1930's spins a yarn wildly out of control when a world‑famous tenor’s visit to the Grand Cleveland Opera triggers a chain reaction of mistaken identities, accidental overdoses, frantic costume swaps, and enough backstage panic to make even seasoned stage managers break a sweat.
 
Eureka Day (1/7 – 2/14/27) by Jonathan Spector is a sharply written comedy which follows a group of well‑meaning parents and school trustees as they navigate a sensitive public health concern—one that tests personal convictions, community responsibility, and the art of listening. Never taking sides, the play uses humor and insight to explore how neighbors can find common ground.
 
Arthur Miller's The Price (2/25 – 4/4/27) is a gripping and deeply human drama about the emotional costs we carry from life choices as depicted by actors portraying two long‑estranged brothers reuniting to sell their late parents’ belongings. The attic around them becomes a battleground of memory, resentment, and long‑buried truths. 
 
West Side Story (4/15 – 5/30/27), the timeless musical where soaring romance meets gripping drama, features  one of the most beloved scores in American theatre. Along with dynamic and electrifying choreography, this landmark production captures the intensity, hope, and heartbreak of young love divided by loyalty and circumstance.  
 

Additionally, the Majestic will present a variety of other upcoming shows, including:
Home for the Holidays: 12/3-6, 9-13, 16-20
Back by popular demand, this show returns for another heartwarming celebration to include Ray Guillemette, Jr., Myka Plunkett, Kait Rankins, David Webber, Madison Curbelo, Brad Shepard, and of course, SANTA.
 
Other holiday shows include:
Doo Wop Meets Motown…for Christmas! 12/7 at 7pm
Boy Band Experience: Holiday Edition! 12/8 at 7pm
Gospel Christmas with Michelle Brooks-Thompson 12/15 at 7pm

There is a lot more in this 29th year of the Majestic. Watch for a future preview to come.

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.