Review: The Bushnell, "Spamalot"

The Bushnell, Hartford
www.bushnell.org
through December 14, 2025
by Simon Brighenti 

In this reviewer’s previous life as a lawyer, my colleagues and I would often encounter various Latin words and phrases, the understanding of which was one of the few benefits of my passing familiarity with that not-dead-yet language. One of those phrases was “sui generis” - Latin for "of its own kind"- describing something unique, peculiar, or in a class by itself, requiring special rules because it doesn't fit existing categories. In other words, something completely different. 

Such is the oeuvre of the six comic geniuses known collectively as Monty Python. The delightfully hilarious and sometimes borderline bawdy production of "Spamalot" is that special brand of irreverent humor in a (coco) nutshell. Having been a Python fan since my early teen years, the play hits on several different levels, all of them riotous. 

Ably directed by Josh Rhodes, the plot revolves loosely, as did one of Python’s classic films, around the Arthurian legends of ancient Britain. A working knowledge of the Camelot myths is perhaps helpful to pick up some of the more obscure references; as is, in their other works, familiarity with some of the great philosophers, the Bible, former British political figures and events, and -perhaps unexpectedly- the Spanish Inquisition.

In keeping with the tradition of excellent productions at the Bushnell, the cast, set design, costumes and musical accompaniment are all first rate. The play comes from the mind of Python Eric Idle but is in fact a distillation of much of the essence of Python sketches, set pieces and movie scenes put together over the decades by the highly educated Idle, along with the similarly talented and erudite Graham Chapman, John Cleese, Terry Jones, Michael Palin and Terry Gilliam (the eccentric cartoonist and lone American in the troupe), none of whom, though, were involved in the actual development of "Spamalot".

In the Pythonesque tradition, each cast member other than Major Attaway as King Arthur and Amanda Robles as Lady of the Lake, plays a bevy of roles. Attaway brings a regal yet pompous presence to the role as he makes his way through one absurd situation after another. His immense talent shows through in both remaining in character in even the most ridiculous situations and in belting out some of the intricately crafted lyrics penned throughout. He and his men come within a hare’s breadth of doom in one of the most memorable scenes at the portentous Cave of Caerbannog. 

Just as the Pythons had depended upon Carol Cleveland and Connie Booth to bring a distaff influence to the roles the guys didn’t play themselves, Robles is a distinct and wonderful find. She combines a compelling stage presence with playful arrogance and self-confidence.

Blake Segal and Steven Telsey display their slapstick sides as characters ranging from Not Dead Fred and the lackadaisical guard to the faithful Patsy and Prince Herbert. Chris Collins-Pisano is outstanding as he portrays probably the most outrageous characters in a sea of them - The French Taunter, the principal Knight of Ni and Tim the Enchanter. 

The set, as audiences have come to expect, a character itself. The actors frequently break the fourth wall (as well as the ceiling) to great effect, and anachronisms, both lyrical and visual are a welcome addition. 

As to the score, Eric Idle is a woefully underappreciated lyricist. Along with his more famous tunes included in the production such as “Knights of the Round Table” and “Always Look on the Bright Side of Life” are several tunes with typically clever wordplay. 

Overall, "Spamalot" is definitely worth the quest. 

Review: Goodspeed Musicals, "White Christmas"

Goodspeed, East Haddam, CT 
www.goodspeed.org
through December 31, 2025
By Suzanne Wells

The Goodspeed Opera House’s production of “White Christmas,” directed by Hunter Foster, is the perfect way to usher in the holiday season with warmth and joy. Adapted from the beloved film, this stage version masterfully blends comedy, dance, and song, guaranteeing an evening that will lift your spirits and fill your heart with joy.

Set in the aftermath of World War II, the story centers on producers Wallace and Davis, whose plans take an unexpected turn when they follow the charming Haynes sisters to Vermont. There, they reconnect with their beloved former general, who is facing personal and financial troubles. Determined to help, the group bands together, resulting in a dazzling display of friendship and loyalty.

Photo by Diane Sobolewski

Omar Lopez-Cepero as Bob Wallace and Lauren Nicole Chapman as Betty Haynes anchor the show with remarkable vocal prowess. Their performances in classics like “Count Your Blessings Instead of Sheep” and “Love You Didn’t Do Right By Me” deliver both soothing and electrifying moments. The romantic subplot between Wallace and Haynes is rich with emotional nuance, navigating misunderstandings and the vulnerability of new love.

Matching them stride for stride are Clyde Alves as Phil Davis and Jonalyn Saxer as Judy Haynes. Their comedic comebacks keeps the audience in stitches, but it’s their sensational performance of “I Love a Piano” that truly steals the spotlight. Kelli Barclay’s dynamic choreography shines in this tap number, radiating energy and precision that is nothing short of breathtaking.

Aurelia Williams delights as Martha Watson, the nosy concierge with a performer’s soul, especially during her lively rendition of “Let Me Sing and I’m Happy.” Jay Aubrey Jones’ comedic timing in his portrayal of Mr. Snoring Man and Mike Nulty, provides additional laughs throughout the evening.

The orchestra, led by Adam Souza, and the crisp sound design by Jay Hilton, offer rich musical accompaniment, seamlessly blending jazz and swing with clear, resonant vocals. The production’s visuals are equally enchanting, with Jeff Hendry’s costumes, David L. Arsenault’s set design, and lighting by Kirk Bookman and Nathan W. Scheurer infusing the stage with vibrant color and atmosphere.

From its heartfelt story to top-notch performances and dazzling production values, “White Christmas” at the Goodspeed Opera House is a delightful holiday treat.

REVIEW: Hartford Stage, "A Christmas Carol: A Ghost Story of Christmas"

Hartford Stage, Hartford, CT 

www.hartfordstage.org 

through December 28, 2025 

by C. L. Blacke

Celebrating its 25^th year at Hartford Stage, "A Christmas Carol: A Ghost Story of Christmas" is one holiday stage production everyone should see. This retelling of the classic Charles Dickens novella, adapted and directed by Michael Wilson, brings the magic of Christmas and the magic of theatre together in a seamless blend of the traditional and the innovative, the whimsical and the nightmare, the light and the dark.

Photo by T. Charles Erickson

It is at times terrifying, filled with dancing specters, and fanciful with quirky characters old and new, who each play their part in Ebeneezer Scrooge’s redemption from a miserly moneylender to a benevolent benefactor. From seasoned equity actors to BFA students at the Hartt School to debut actors with the Youth Company, this production is filled with a multi-generational cast that brings Dickensian London in all its wonder and wickedness to life.

Outstanding performances are given by all, but two remain unrivaled: equity actors Guiesseppe Jones and Noble Shropshire. Jones breathes new life into Dickens’ most famous character, portraying each transition of Scrooge’s personality (arrogance, madness, regret, and giddiness) with the ease of a turning clock hand. Likewise, Shropshire’s acting chops are undeniable as he takes on dual roles: the comedic, if not beleaguered housekeeper, Mrs. Dilber; and the fearsome, flying ghost of Jacob Marley.

Of course, it wouldn’t be the classic that it is without the Spirits of Christmas Past (Rebecka Jones) and Present (Stuart Rider), who both fill the stage with their kindness and light (and glitter), so desperately needed even in today’s world. And as always, the Spirit of Christmas Future (Daniel Madigan) is a frightening and ominous reminder of what might be if the darkness of life is embraced instead.

As these incredible performers bring the magic to Hartford Stage, it is the design team’s immense efforts that create theatre magic, spectacular enough to rival any Broadway production. Tony Straiges’ scenic design mixes a simple fixed set with lavish movable pieces to create busy London streets, Scrooge’s bed, and the Spirits’ transportation through memory and reality. Robert Wierzel’s lighting design utilizes stencils (called gobos) to illustrate Scrooge’s state of mind, atmospheric conditions, and the passage of time. John Gromada’s sound design and original music provide eerie and sometimes startling sound effects, as well as festive accompaniment for parties and dance scenes. These elements combined with Alejo Vietti’s gorgeous costumes immerse the senses completely in this hauntingly delightful production.

REVIEW: Springfield Chamber Players, Sonic Pulse

Springfield Chamber Players, Springfield, MA
https://www.springfieldsymphonymusicians.com/
November 23, 2025
by Michael J. Moran

Never has a more diverse array of percussion instruments likely filled the stage of 52 Sumner, this ensemble’s home, than at today’s concert. The afternoon’s four performers, led by Nathan Lassell, Springfield Symphony Orchestra Principal Percussionist, have equally diverse backgrounds. While all teach and play in orchestras, their musical experience ranges from jazz and film to video games. 

The seven pieces on their program showcased the surprisingly wide variety of the percussion repertoire. The concert began with James Romig’s 2003 composition “The Frame Problem,” in which a trio plays a theme in different meters and at shifting dynamic levels on woods, metals, and drums as solos, duets, and a closing trio. The title suggests that artificial intelligence cannot grasp, or “frame,” this theme a

Photo by Angela Park

s accurately as the human mind. Lassell, Doug Perry, and David West played it with color and verve.

Lassell next soloed on Eric Guinavan’s 2020 “Hypernova,” with a small kit of vibratone, gongs, and drums, plus electronic playback, capturing the title’s reference to a stellar explosion in outer space with eerie, explosive energy. The full foursome followed with a rambunctious take on Clark Hubbard’s 2024 “Stardust” for two vibraphonists and two drummers, which Hubbard calls “a blend of rock, metal, funk” and which for Lassell evokes the band Metallica.

Perry then fashioned an alternately delicate and rollicking vibraphone improvisation, backed with imagination by Lassell on an assortment of smaller instruments. Axel Clarke’s trio “Roe-Sham-Beau” is based on a West African rhythm, which, in Lassell’s words and in his animated reading with West and Makana Medeiros on woods, drums, and vibraphones, made for “a cool conversation.”

For the last two pieces, the performers moved off stage directly in front of the audience. The dramatic high point of the program was a virtuosic rendition by Medeiros on bongo drum and French-language vocals of Georges Aperghis’ riveting 1978 theatrical monologue “Le Corps a Corps” (“Body to Body”).

The joyful closing number was a “Kpanlogo,” a traditional Ghanaian dance rhythm, featuring the quartet playing exuberantly on barrel drums, an energized audience singing along, and one brave concertgoer joining the ensemble, at West’s invitation, on a fifth drum, blending right in.  

The success of this stunning concert, heard in warm and clear acoustics, was perhaps most evident in the record number of engaged attendees who lingered to speak with the accessible musicians afterwards.

REVIEW: Hartford Symphony Orchestra, "Dvorak & Rachmaninoff"

The Bushnell, Hartford, CT

www.hartfordsymphony.org

November 14-16, 2025

by Michael J. Moran

Photo by Jim Henkel

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

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

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

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

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

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

Review: Springfield Symphony Orchestra , "Mambo Kings"

Symphony Hall, Springfield, MA

www.springfieldsymphony.org

November 10, 2025

by Paul Jenney

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

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

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

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

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

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

Review: The Bushnell, "Hamilton"

The Bushnell, Hartford, CT

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

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

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

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

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

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

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

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