PREVIEW: Paradise City Arts Fair

3 County Fairgrounds, Northampton, MA

www.paradisecityarts.com

October 12, 13, 14, 2024

Nearly 30 years ago, Bravo Newspaper’s 24th edition was hitting the streets. Lauren Grossman and I were publishers. One of the cover-page, above-the-fold, articles featured the new Paradise City Arts Fair. 

What was once a racetrack, were now dusty and murky grounds and large empty barns. Husband-and-wife artist team, Linda and Geoffrey Post, then created something beautiful literally from mud. Needless to say, at first the couple questioned each other, asking how can we transform this venue to showcase quality crafts and fine art? Would people come from throughout the country to a small New England town? 

Hindsight is, of course, 20/20. Amazingly and thankfully, Paradise City has become one of the “Top 10 Art Fairs sand Festivals in America”. [AmericanStyle Magazine]

As in recent years, Paradise City has boasted attendance of nearly a quarter-million attendees. Among this massive group of enthusiasts and shoppers is me.

All of the art, of every genre imaginable and some never imagined, is high-end because it is among the best of the best in the United States. I can only imagine the fun and feigned torture the judges must go through in their selection process. I would love that job.

If you attend, and I hope you do, plan for at least 3-hours viewing the crafts, talking to the creators, walking by the outdoor sculpture, and lunching in the giant food/music tent. Local musicians perform throughout the fair.

“My tried ‘n true method” of experiencing the fair, and not to exceed my self-allotted 3-hours, is to realize that I can’t see everything. Hard as it is to believe, but there can actually be too much art.

With no offense to jewelers, of which there are many, I skip all. Someone else might set jewelry as their first destination. It’s all to one’s liking. 

Crafters are located in attractive spaces in each barn or on the lawn, with a variety of each art form at every venue. Many of the artists are old-timers, yet the organizers make sure there is room for first timers as well as locals. No matter the category, each vendor must be vetted.

Paradise City’s crafters include the genres: metal, leather, wood, painting, photography, mixed media, furniture, fiber, works on paper, glass, ceramics, and jewelry.

My 3-hour clock is ticking – what to look for? My first instinct would be paintings and photography. Why? Because I have no skills at either which makes me appreciate the talent of others even more. Whimsy, unusual, new; these are a few of my favorite things; i.e. furniture that looks like humans [think “Beauty and the Beast”] or a metal 8’-foot tall whooping crane.

I surprise myself each year when I gravitate to two particular artists. The surprise is that I normally do not like sculpture or ceramics (I refer to as pottery). Yet, without fail, I purchase at least one item from each – an example of my personal goal to support living artists when possible.

The sculpture pieces are large brass tree limbs with multi-color, delicate leaves for a wall creation. The artist has designed the branches so the patron can add more branches, twist the shape, and grow larger wall art…or not. 

The second crafter specializes in small, unusual, usable ceramics with waves and splatters of color in green and blue. My first purchase was many years ago with my mother as my guest. She loved these works of art. With her birthday two weeks later, this became the ideal gift. Year after year, fair after fair, when my mother was unable to go, I would make another selection for her. Mother’s Day and Chanukah gifts just kept on coming. 

When Mom passed away, at age 99 ½ (half-years count when you are a toddler and a senior), I inherited each bit of pottery that I had gifted her. I said to myself, “I live in a condo. I have no more room for these”. Yet, discovered that when something is important, there is space for it and for the memories.

Review: Berkshire Theatre Group, "The Weir"

Berkshire Theatre Group, Stockbridge, MA

www.berkshiretheatregroup.org

through October 27, 2024

by Janice Webb 

Photo by David Dashiell

I have always been enraptured by an Irish brogue; it feels to me like a warm fire in a cold hillside pub. Indeed, that is exactly how it revealed in playwright Conor McPherson's "The Weir". 

 

As the actors step on the stage and start their lilting, musical dialogue I felt safe and at home,
just as the characters of "The Wier" portray in their theatre home. The story, actually several stories, take place in a neighborhood pub in Carrig, County Tipperary, Ireland. Each patron has their own history shaped by families and past decisions. These five people are not best friends, but individuals that make the whole. 

The play opens with Jack (Sean Bridgers), the patron pouring a Guiness -- well, trying to as the pump is broken, and he must resort to a bottle of beer. He is followed by Brendan the barkeep (Philip Themio Stoddard). The order of personalities onset seems a bit backwards, that a patron would be the first in the pub, but it is remote interior Ireland and that's how it starts and that's how it is.

Enters the shy "scientific" Jim (Joey Collins), Finbar the gregarious realtor (Harry Smith), and newcomer from Dublin, Valerie (Stephanie Jean Lane). Each actor is superb in roles that they make human. 

What follows is an evening of stories of ghostly nights passed, graves dug, fairy roads discovered, and apparitions seen; a bit unsettling, but a good play for October with Halloween approaching. 

In between the stories swapped, the audience sees what our current world is missing: the lost art of a tale well told, shared between neighbors, a sense of community, a night among friends. 

Director Eric Hill has positioned actors in each character's place in this tiny world; on the old tavern's floor in chairs where none match. At other times, it is clear that Hill has lined up this night's pub patrons, made ready for one tale ascending to another with Jack's emotionally powerful narrative at the last. 

The plot and characters create a look back in time before everyone was glued to their cell phones, where neighbors helped each other even if you didn't always agree with each other. In sharing anecdotes, they also learn a little more about themselves. 

With an Irish brogue, the actors could have been reading the Dublin phonebook and I may have been happy for a bit. However, it was clear by the instant standing ovation, that the tales told were engrossing and truthful of the various human conditions as we pass through life. 

At the play's end, I asked myself, are there ghosts and fairies living with us and what would we do if they appeared? 

Note: Because our latest writer, Janice Webb, comes with a heritage as Irish as can be and has visited the "old country" several times, In the Spotlight asked for a review from her perspective. 

REVIEW: Goodpeed Musicals, "No Love Songs"

Goodspeed Musicals, East Haddam, CT

www.goodspeed.org

through October 20, 2024

By Suzanne Wells

Photo by Tommy Ga-Ken Wan

Everyone has their go-to playlists—the road trip jams, the workout anthems. The musical drama "No Love Songs" at The Terris Theatre, directed by Andrew Panton and Tashi Gore, introduces life’s playlist in an emotionally charged production.

Conceived by Kyle Falconer and Laura Wilde, this musical spins a classic love story between a musician and an independent young woman, played out like pages from a diary. They come together, drift apart, face challenges, and search for a way forward—each pivotal moment underscored by a song from their own life’s playlist.

Jessie, portrayed by the talented John McLarnon, is the love-struck musician balancing family life and his touring band. His rich, timbered voice and distinct Scottish brogue add depth to nearly every scene and song, making his performance unforgettable.

Anna Russell-Martin delivers a powerful portrayal of Lana, a new mother isolated from friends and family. She transforms seamlessly from a hopeful college girl to a desperate single parent, each scene layering complexity and eliciting palpable despair.

The music, written by Kyle Falconer of “The View” and arranged by Gavin Whitworth, includes toe-tapping numbers like “Stress Ball” and “Rake It In,” as well as soulful ballads such as “Still Here” and “Mother.” While the songs effectively enhance the storyline, their frequent reprises and incorporations into other numbers can make them blend together, leaving nothing particularly memorable to hum on the way out.

The stage, designed to resemble a bar, cleverly uses amplifiers and equipment boxes to represent various locations, adding a gritty, authentic feel to the production. Cate Mackie’s costume design hits the mark, with Jessie’s rock-star ensemble of jeans, t-shirt, flannel, and jean jacket; while Lana’s wardrobe of a jumpsuit, leather jacket and Doc Martens doubles as worn-out pajamas, visually narrating her emotional journey.

"No Love Songs" beautifully captures the highs and lows of love and life, offering a raw and moving portrayal of triumph over despair. This musical drama is a poignant reminder that through life’s greatest struggles, the music plays on.

REVIEW: Hartford Symphony Orchestra, "Prokofiev"

The Bushnell, Belding Theater, Hartford, CT

www.hartfordsymphony.org

September 27-29, 2024

by Michael J. Moran

For the first weekend of their 2024-2025 “Masterworks” series, the HSO’s Music Director, Carolyn Kuan, followed an HSO premiere of a Romantic showpiece honoring two orchestra members with a double helping of favorite masterpieces by Russian composer Sergei Prokofiev.

After a stirring traditional season-opening national anthem, HSO Concertmaster Leonid Sigal and Assistant Principal Second Violinist Jaroslaw Lis soloed in Spanish violinist-composer Pablo de Sarasate’s 1889 “Navarra” for two violins and orchestra. Celebrating their 20th and 30th HSO anniversaries respectively, they traded the virtuosic runs and sweet harmonies of this lively folk-based waltz with the polish and flair of longtime colleagues, warmly supported by Kuan and the ensemble.   

Sigal introduced their encore – the “Allegro” second movement of Prokofiev’s 1932 sonata for two violins – as a bridge between the bulls of Sarasate’s native Pamplona and Prokofiev’s wolf. The two soloists met the technical challenges of this brief, astringent workout with aplomb.

Next came Prokofiev’s most popular work, “Peter and the Wolf,” which he subtitled “symphonic tale for children, for narrator and orchestra.” Written in 1936 for the Moscow Children’s Theatre, it uses different instruments of the orchestra to depict characters (Peter, his grandfather, a bird, a cat, a duck, and a wolf) in an original story by the composer about the importance of courage.

While Kuan and the HSO fully captured the dramatic spirit of the story and its happy ending, the standout performance was the finely tuned, folksy but urbane narration of music entrepreneur and HSO board member June Archer. When he related how (spoiler alert) the wolf swallowed the duck, younger audience members audibly gasped.

The program closed with a blazing rendition of Prokofiev’s 1944 fifth symphony. Composed when World War II was turning in the Allies’ favor, he intended it as “a hymn to free and happy Man, to…his pure and noble spirit.” The opening “Andante” was reflective and vibrant; the whirlwind “Allegro marcato,” relentless and sardonic; the slow “Adagio,” alternately radiant and brash; and the closing “Allegro giocoso,” an exuberant romp.

The HSO’s next Masterworks will again honor Sigal, who will conduct on October 18-20.

Preview: Majestic Theater, “Shear Madness”

Majestic Theater, West Springfield, MA

www.majestictheater.com

through October 20, 2024

by Beverly Dane

No one would think of questioning your reason for watching the instant replay of a baseball homerun or seeing it again on the evening news. You already know who hit the bat. You already know who caught the ball or if a kid in the stands caught the ball or if no one caught the ball. Not only do you want to watch the replay, even though this time it’s not instant, you still want to see it; in fact, look forward to it.

Many would say, why spend money to purchase a movie ticket to see “Deadpool and Wolverine” or “Toy Story I, II, III, etc.” or “E.T.” again. You already know you will be nail-biting tense, smiley-faced, or teary eyed, respectively. The same holds true for the sixth time seeing Mr. Bookman (the library truant officer of late returns) chastise Jerry on “Seinfeld”.

Why repeat life experiences, whether they be sublime, comical, or merely watercooler chat? Do watercoolers still exist? I digress. 

Photo by Katie Rankins

The Majestic Theater’s current production, “Shear Madness,” is a very funny, silly play about a beauty salon. This play isn’t like the tragicomedy “Steel Magnolias,” also set at a salon. There is really no reason to see “Magnolias" twice, in my opinion. Albeit a pleasant ensemble piece for woman, even with the cast of Sally Fields, Julia Roberts, et al (movie version), the story is not compelling enough to spend two hours in a dark room smelling popcorn.

As for “Shear Madness,” who wouldn’t want to repeat the experience of laughter, sometimes belly-laughs, again? In the case of The Majestic, this was likely be my fourth or fifth version of the comings ‘n goings of the ridiculous characters in this setting. Not a spoiler: there’s a murder mystery as background; a who-cares who-done-it. Actually, the audience decides the outcome. Each night or matinee’s performance in a single week may designate a different culprit.

Every theatre company, director, and cadre of actors make for a different production – some clever, some going for pratfalls, some over-the-top, and/or some emphasizing R-rated laughs.

The motley mix of personalities, eat up the madness of the story’s plot, chew up the scenery, and purposely scene-steal. Take nothing seriously in this romp at the salon, especially the erstwhile murder intrigue. 

If for no other reason than to see a perfectly designed set, complete with hot and cold running water, “Shear Madness” should be seen again. 

Actors’ skills in nearly every “Shear Madness” are comedy. Go for the jugular, and then quickly to the next, while the audience is still laughing at the first joke. Timing is important, and the Majestic is always at its best in this genre.

Visiting the “Shear Madness” once is not enough. After all, people get frequent haircuts over time; don’t they. Recommended is an appointment at the Majestic’s “Shear Madness” exploits.

Review: Shakespeare & Company, “Three Tall Persian Women”

Shakespeare & Company, Lenox, MA

www.shakespeare.org

through October 13, 2024

by Shera Cohen

What a coup it is for any theatre to present a World Premiere. A double coup for Shakespeare
& Company is a playwright starring in her own play. This is the case in “Three Tall Persian Women”.

Photo by Maggie Hall

“Women” is a generational story of the old country, reluctant or intended immigration, and the new country. How do people segue from lifestyles, mores, and particularly the roles of women to another while still appreciating their heritage?

Yes, three women populate this story of mother/daughter relationships in a contemporary setting in the U.S. None are “tall,” yet perhaps mighty in each one’s convictions. Their heritage is Iranian.

Golnar, the 20-something daughter, portrayed by the play’s writer Awni Abdi-Bahri, shows her audience a young woman, caught in the middle of generations, beliefs, and history. While the outward focal point of many of the laughs, Abdi-Bahri gives her character a somber churning in her entire being.

Niousha Noor’s depiction of Golnar’s mother is in direct opposition to the personality, dreams, and lifestyle of Golnar. Noor plays this well-meaning mother role with hesitance and self-questioning.

The matriarch of this family of women is acted by Lanna Joffrey as Grandmother Mamani. Joffrey plays a powerhouse senior, living in Iran’s past as if history made no edits on her life as it is now.

The interaction between the characters is primarily between mother and daughter. In her own quiet way, Nasrin is at the center of the picture, on this day marking the anniversary of her husband’s death. The audience knows little about this man, except that he is an example of Iranian society where women are viewed in ancillary roles in a family and society.

Yet, the play’s title is about three women; not men; the setting America. 

Into this picture walks the only male on the stage; Shayan, richly and realistically portrayed by Afsheen Misaghi. Mom and Grandma have set up Golnar on a date with Shayan. These scenes provide many moments of laughter, but the duo does not play coy. Each character gives what he/she gets in their verbal jibes. Misaghi has fewer lines than anyone else on stage, yet he makes the most of every line, whether speaking or singing.

The running time is long, especially with some unnecessary elements that might be deleted or reduced; i.e. Grandma’s dissertation on the Shah, actors giving candy bits to the audience, and the shadowed sexual encounter that opens the play. Note: Not recommended for anyone under 16.

Some may disagree; the story is somewhat generic where Iranians could be substituted with just about any ethnic group. What is true about immigrants, especially in this era and to America, can be true throughout the globe.

REVIEW: South Mountain Concerts "Wu Han & Friends"

South Mountain Concerts, Pittsfield, MA

www.southmountainconcerts.org/concerts.html

September 8, 2024

by Michael J. Moran

David Finckel & Wu Han

Pianist Wu Han, Co-Artistic Director (with her husband, cellist David Finckel) of the NYC-based Chamber Music Society of Lincoln Center, was joined by Finckel, violinists Chad Hoopes and Richard Lin, and violist Matthew Lipman to open the 2024 season of this century-old festival with a program of three major works for varied instrumental ensembles with broad appeal to chamber music veterans and newcomers alike.

The concert began with a lively reading by Lin, Finckel, and Lipman of Beethoven’s 1799 String Trio in C minor, Op. 9, No. 3. The key of C minor always drew music of high drama from the composer (for example, his fifth symphony). A turbocharged “Allegro con spirito” was followed by a gentle, almost happy-go-lucky “Adagio con espressione.” Both the energetic “Scherzo” and the tempestuous “Presto” finale had abrupt, quiet endings, a playful touch.                

Next came an impassioned account by Wu Han, Hoopes, and Finckel of Czech composer Bedrich Smetana’s Piano Trio No. 1 in G minor, Op. 15. Written in 1858 in memory of his young daughter Bedriska, its “Moderato assai” first movement opened with a seven-measure violin solo, played with piercing intensity by Hoopes. Wu Han’s sensitive pianism and Finckel’s rich cello tone were equally affecting in the expressive middle movement, “Allegro…Maestoso,” and a defiant closing “Presto” which includes a brief funeral march.

The program ended on a more upbeat note with a joyous performance by the full ensemble of Robert Schumann’s most popular chamber piece, his 1842 Piano Quintet in E-flat major, Op. 44. It featured an exuberant “Allegro brillante,” an alternately somber and brisk second movement, marked “In the Style of a March,” a virtuosically nimble “Scherzo,” and a jubilant “Allegro, ma non troppo” finale.    

The frequent choice by Wu Han and Finckel to perform with musicians several decades younger, creates a cross-generational spark in their music-making that clearly resonated with today’s enthusiastic audience.

This venerable series of chamber music concerts performed by world-class ensembles continues on Sundays through October 6.