Review: Berkshire Theatre Group, "The Mousetrap"

Berkshire Theatre Group, Pittsfield, MA

www.berkshiretheatregroup.org

July 24 through August 17, 2025 

by Shera Cohen

It's been a long time since any theatre venues in the Berkshires has mounted “The Mousetrap,” which is all the more reason to become an audience member. Statistics state that “The Mousetrap” is the longest-running play in theatre history. There must be reasons for that huge success.

Agatha Christie’s “The Mousetrap” is the epitome of foremost classics in the murder/mystery drama genre. The esteemed author penned a total 66 “whodunits” over the course of seven decades. The author accentuates suspense among a motley group of characters assembled on stage and their audience. The more the script is populated, the more possibilities as to who murders who, and the more work to try to figure out.

Photo by Caelan Carlough

Usually, Christie’s mysteries take place on one set, depicting a large living room in a posh home, remote from all other life, on a dark and rainy/snowy/foggy/whatever/etc. night. In other words; bleak weather conditions force a  group of characters, most unknown to the others, to assemble in one setting. The premise works exceedingly well, which is likely why the author duplicated it often. 

Scenic Designer Bryce Culter literally sets the stage a plush red and gold taking every inch of length and width; at the center, raised, is the constant image of the evening’s weather foreboding atmosphere. A young married couple run this bed ‘n breakfast-like home. Christie’s formula is to introduce an increasing number of characters into the settling, none of whom know each other. Yet, one of characters is bumped off.

While the plot might have been new in the 1950’s when Christie wrote “The Mousetrap,” the theme has become familiar in today’s TV shows and movies. The story encourages the audience to continuously guess who the culprit is.

Director Gerry McIntyre could have, and should have, saved his production from workmanlike characters, movement, and pace with puns and pratfalls to make “Mousetrap” flat out funny. Yes, there are some moments in Act II when the audience laughs, but these are few. Each actor might have depicted a level of humor or quirkiness. Greg Cuellar, the only actor given this opportunity, scene-steals but only in a good way, if that’s possible.

The director seems to hold back numerous production elements that may well have lifted the play off the printed page and into the mouths of the characters; not to make them real, but more importantly, to make them funny caricatures. 

Seeing “The Mousetrap” on the third day of the production is, of course, the time to see flaws. Two suggestions would be 1) to speed up the conversations, and 2) to let several of the actors ham up their characters. 

REVIEW: Berkshire Theatre Group, "The Elephant Man"

Berkshire Theatre Group. Stockbridge, MA

www.BerkshireTheatreGroup.org

through June 15, 2025

by Jarice Hanson

 

The Unicorn Theatre is an intimate space, perfect for staging a complicated play, like "The Elephant Man". Pre-show music gives the opening scene a side-show vibe, so when the lights come up to feature a misshapen mass covered in burlap, there’s little doubt that under that burlap is the central character himself, John Merrick, the fictional personification of the real deformed man who became a side-show novelty in England and Belgium in the later 1800's. 

Photo by Tucker Blair

 

Playwright Bernard Pomerance’s 1979 Tony Award Winning play is based on the real Joseph Merrick who, though born with no obvious deformities, grew to become a curiosity because of his physical appearance. The story involves the surgeon, Sir Frederick Treves, who not only saved Merrick from a life of exploitation but gave him a home at the London Hospital; and the people who befriended him during his short life. One of those friends, a stage actress by the name of Mrs. Kendal, introduces him to society and contributes to his growing sense of dignity.

Portraying John Merrick takes an actor with strong physical skills who can develop a rapport with the audience, despite using no prosthesis or special effects to mimic the challenges of Merrick’s disabilities. Actor Michael Wartella creates a creature so believable that when the pictures of the real Merrick are shown on a screen, the audience is witness to the deformities taking shape. This is no spoiler—it is the prelude to the rest of the story, and it creates a bond between the actor and the audience.

Harry Smith as Dr. Treves is believable in his clinical description of Merrick but becomes even more interesting as he learns about Merrick’s intellect, talent, and religious beliefs. As their friendship grows, director Eric Hill uses the growing familiarity to show closeness and respect. Laura Shatkus, as Mrs. Kendal, is a stand-out for her warmth and sincerity as she gets to know Merrick and introduces him to her society friends.  

The production is faithful to the accents and mannerisms of the time, but while this is a strength, it also creates a problem. So many different British dialects are used; several audience members muttered about not being able to hear the dialog clearly. Often characters speak while looking upstage, which should not be a problem in a small theatre like the Unicorn, but with the stylized accents and diction, the subtlety of the contrasts that are so pivotal, are lost.   

Still, the story of "The Elephant Man" is an important one because it contrasts cruelty toward those based upon appearance and the dignity that is inherent in every human being. It is a relevant play at this time in history, and Berkshire Theatre Group should be congratulated for taking on the challenge.     

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: Berkshire Theatre Group, “Mel Brooks’ Young Frankenstein”

Berkshire Theatre Group, Pittsfield, MA

www.berkshiretheatregroup.org

through July 21, 2024

by Shera Cohen

“Funny” is one of the best adjectives to describe the talents of Mel Brooks. To be accurate, “raunchy funny” is à propos for “Mel Brooks’ Young Frankenstein” (“YF”) at Colonial Theatre.

The musical is essentially the mirror image of the movie version (1974) starring Gene Wilder. For those who have not yet seen the movie or video in any shape or form on various  electronic devises, then experiencing it live is almost better; sans Wilder, Madeline Kahn, Marty Feldman, et al.

Photo by David Dashiell & Caelan Carlough

Apparently, the original Frankenstein had some family members who begat offspring and one of these is Dr. Frederick Frankenstein; pronounced “Frank-en-stEEn”. Like his predecessor, Fred is a scientist whose specialty is study of the brain. For first-hand knowledge on the original Frankenstein, he must travel to Transylvania. Along the way, he meets a sexy assistant, a hunchback servant, and a seemingly prim housekeeper. The plot concerns the creation of another monster in the la-BOR-a-tory.  

The true stars of BTG’s production are the people who the audience does not see: the professionals on lighting, sound, scenic, and projection as well as director Gerry McIntyre who has assembled a wonderfully creative team with imagination and a sense for sheer fun.

Segments of the “Frankenstein” silent movie begin the entertainment. Soon coupled with lightning effects and thunderous sounds, the musical within the movie begins with screen credits, as if it was an actual 1910 cinema on the stage. The macabre echoes continue into the theatre’s lobby and entry.

“Clever” is the word to explain the video projections in each scene, especially those outdoors. Sepia stills or moving video backdrops help to accentuate each segment. Yes, there are the usual walls, bookcases, and stairs. Special to “YF” are the dark scrims, netting, and shadows, making everything on stage look bigger and spookier.

Unexpected from a comedy filled with ridiculous characters, each actor’s voice is near-flawless. All leads can boast Broadway credits. The accompanying 5-piece band sounds much bigger.

Nothing in “YF” is serious. Even the love stories have no dramatic or lovely songs. Instead, the most hilarious tunes (each sung by female soloists) are: “Roll in the Hay,” “He Was My Boyfriend,” and “Deep Love”.

There’s not a lot of dancing. Yet, McIntyre, who doubles as choreographer, lets his full cast have a ball “Puttin’ on The Ritz”. Is this scene important to the story? No. In fact, it’s rather inane. However, watching a reformed monster tap dance is a showstopper.

At this performance, the audience was a bit atypical from those who populate summer musicals. The group was younger. Had they heard of the 2000-year-old man? Or seen “Blazing Saddles”? Or like to laugh on a smoldering hot Saturday in a beautiful, air-conditioned theatre in Pittsfield? At any rate, there they were in droves. 

Note: Not recommended for young children.

Review: Berkshire Theatre Group, "Million Dollar Quartet"

Colonial Theater, Pittsfield, MA

www.BerkshireTheatreGroup.org

through July 16, 2023

by Suzanne Wells

Photo by Emma K. Rothenberg-Ware

"Million Dollar Quartet" is an outstanding theatrical and musical production providing a little comedy, a little drama, and lots of hand-clapping, toe-tapping, finger-snapping music.

Directed and choreographed by Greg Santos, "Million Dollar Quartet" is the story of Sam Phillips, the founder of Sun Records and one night of music magic. The brick curtain rises to display the inside of a recording studio complete with instruments, microphones and a sound booth.

The first half showcases Phillips, played by Zach Cossman, as a practical businessman and savvy talent scout who narrates his discovery of Jerry Lee Lewis, Carl Perkins, Johnny Cash, and Elvis Presley while each performs a Sun Records’ hit, ultimately turning a recording session into a late-night jam session.

The second half of the play takes a dramatic turn. Having sold Elvis’ contract to save Sun Records, Sam Phillips plans to secure its future only to be confronted with the possibility of having to start all over again. Zach Cossman shines during his dramatic monologue soliciting sympathy from the audience as he conveys his disappointment, frustration, and anger. 

Alessandro Gian Viviano’s portrayal of Elvis is the perfect combination of humility, gratefulness, and regret over leaving Sun Records. When the music plays, he becomes the flirtatious, fun-loving, hip gyrating singer that made women all over the world swoon.

Bill Scott Sheets, dressed in black with a deep baritone voice, depicts Johnny Cash as the somber southern gentleman and role model, torn between guilt and desire.

Billy Rude portrays Jerry Lee Lewis “from Ferriday, Louisiana,” with his sarcastic wit, phenomenal piano playing, and performance-yoga, had all eyes returning to him scene after scene.

Colin Summers, as Carl Perkins, provides the sass. His incredible guitar playing and kicks brings Perkins back from the dead. In addition, Colin Summers, as the musical director, crosses every ‘t’ and dotts every ‘i’ in the timing of this ensemble  flowing seamlessly from light jazz background music to major production numbers, fading out during narratives only to coming back swinging, or “shakin’.”

Ultimately the Christmas Spirit prevails, and goodwill wins out. When the story is complete and the audience is on their feet, out comes the cast, dressed to the nines in sequins, to perform a concert of Legends.

Million Dollar Quartet will run at the Colonial Theater thru July 16, 2023.

REVIEW: Berkshire Theater Group, "Dracula"

Colonial Theatre, Pittsfield, MA

www.berkshiretheatregroup.org 

August 11 - 27, 2022

by Shera Cohen

Photo by Emma K. Rothenberg-Ware

Berkshire Theatre group is billing its production of "Dracula" as magical. Indeed, it is in many respects, particularly the multitude of technical, almost magical, tasks. The backstage work of true masters in their fields of direction, sound, costumes, scene design, and lighting, together make "Dracula" a worthy production.

There is no point rehashing Bram Stoker's gothic tale of a macabre and mysterious character at the center of the plot; he sleeps by day, awakens at night, slinks around dusty mansions, dresses in black, and has a fear of mirrors and crucifixes. What to do about Count Dracula? There it is -- the entire plot.

The play is very much an ensemble piece. Dracula is not the star, although young actor Mitchell Winter gives life (death?) to his portrayal of this creepy, dark creature. For the most part, those actors who carry the story are BTG "regulars". David Adkins plays Dr. Seward as an intelligent man at odds with himself between what is real and unreal. Jennifer Van Dyke comes on strong as Professor Van Helsing. She is a fine actor however a bit of advice would be to tone down her character's physical and vocal exuberance. Matt Sullivan presents his Renfield as a crazed man muddled in a mixture of sanity and insanity. More and more theatres choose color-blind and gender-blind casting. I first noted this in the theatres in the Berkshires. Bravo to them.  

Let's get back to the magic which hits the audience smack in their faces before the play begins. Sound Designer Scott Killian rings dark jangly whispering music as the audience is seated, during intermission, and throughout several moments in the play. One would expect that a Lighting Designer would have the task of creating a lightning bolt on occasion. But Daniel J. Kotlowitz is a genius, again from the first moment the curtain opens to the last seconds. No cartoon-like shadows here, Kotlowitz develops drama with a capital D through slivers of lighting on a very dark set. Oh yes, the set. Bill Clarke, Scenic Designer, does wonders on a two-level stage, as well as indoors and outdoors; it's haunting. Of course, a director has his thumb on every aspect, backstage and onstage; in this case the keen work of David Auburn.

For all of its excellent points, I wonder why "Dracula" was mounted by BTG during a summer month. Yes, BTG productions are primarily in July and August. Yet, the Colonial continues up to December.

REVIEW: Berkshire Theatre Group, "Songs for a New World"

Unicorn Theatre, Stockbridge, MA

www.berkshiretheatregroup.org

through August 20, 2022

by Michael J. Moran

Photo by Emma K. Rothenberg-Ware

In notes for the 1996 original Off-Broadway cast recording of his musical theater revue “Songs for a New World,” composer-lyricist Jason Robert Brown described its theme as follows: “It’s about one moment. It’s about hitting the wall and having to make a choice, or take a stand, or turn around and go back.” In BTG’s powerful new production, director Gerry McIntyre helped his talented cast of four diverse singer-actors find these moments in the chaotic “new world” of 2022. 

The 16 numbers in Brown’s gripping score, presented without pause or intermission, are separate scenes with wildly varying scenarios and different individual or multiple performers. After the opening “The New World” introduced the full company, Michael Wordly, in “On the Deck of a Spanish Sailing Ship, 1492,” depicted the captain praying for the safety of all aboard with aching fervor. He later brought youthful swagger to an aspiring basketball star in “The Steam Train” (“You don’t know me, but you will,”) and almost unbearable intensity to a soldier killed in battle in “Flying Home.” 

  

Alexandria J. Henderson infused a young woman finding her way in “I’m Not Afraid” with the fierce passion of singer-activist of the 1960's Nina Simone and a pregnant mother in “Christmas Lullaby” with the tender glow of Roberta Flack, comparing herself to the Virgin Mary. Nathe Rowbotham sang both a spouse disappointed by material wealth (“I’ll never have the moon.”) in perhaps the show’s best-known number, “Stars and the Moon,” and one of two lovers reuniting after a time apart in “I’d Give It All for You” with an endearing mix of humor and vulnerability. 

Mia Munn was a hoot as a neglected wife seeking her husband’s attention by threatening to jump from their 57th-floor apartment in “Just One Step” and as a distraught Mrs. Claus excoriating her roving husband in the hilarious Kurt Weill parody “Surabaya-Santa.” Musical director/pianist Dante Harrell had his own singing star turn in a thrilling “King of the World.”  

Brilliant accompaniment by Harrell, cellist Miriam Bolkosky, and drummer Diego Mongue, kaleidoscopic video projections by Shawn Edward Boyle against Randall Parsons’ effectively minimal set, and McIntyre’s playful choreography bring further distinction to this entertaining and thought-provoking revue.

Review: Berkshire Theatre Group, "B.R.O.K.E.N Code B.I.R.D Switching"

Berkshire Theatre Group, Stockbridge, MA

www.berkshiretheatregroup.org

through July 9, 2022

by Shera Cohen

The Berkshires is a mecca of world premiere plays. As Berkshire Theatre Group soon approaches its 100th Anniversary, there have been many that have seen the light of day right here, pre-Broadway. The most recent premiere is "B.R.O.K.E.N Code B.I.R.D Switching" written by Tara L. Wilson Noth.

Contemporary news-breaking topics account for the crux of the story, yet almost divided equallyl in intensity between Act I and Act II. Racial injustice, profiling, poverty, class and color distinctions are at the forefront. Equally, yet seemingly disconnected to the horrors of our country in the 21st century, are the life defining moments which many individuals and families oftentimes face; i.e. death of a child, protection of each other.

Without exception, the play features a cast of superior actors with DeAnna Supplee in the lead role as a pro bono attorney, reluctant and feeling ill-qualified to take on a murder trial. Her characterization of Olivia Bennett is intelligent, raw, and emotional. She is the link that holds every scene together; even scenes in which she does not appear. Supplee is surely a talent whose name should be watched in the future.

The three men in Olivia's life are as disperate as they come. Torsten Johnson, portraying the other half of the inter-racial couple, comes on solely as handsome and caring; his personality nil. Yet Johnson's demeanor, volume, and relationship with his now-divorced wife comes though as honestly as his character permits during Act II. Deshawn Payne is a young actor whose role as an inmate is at the core of the legal battle. The actor is intense physically and verbally. Whether guilty or innocent, doesn't matter until the end of the play toward a predictable conclusion. It is the pull and push between Olivia and Deshawn that gives "B.R.O.K.E.N..." its power and rage. Jahi Kearse's portrayal of photographer Olen Porter is, in a sense, a wise man whose preaching on the sense of self is what matters at the end of life. Director Kimille Howard pits Olivia v. Porter in a strong tirade in Act II in a war of words, each elegantly chosen by the playwright.

Special kudos to Projection Designer David Murkami whose hundreds of still photos juxtiposed in various sections against the back and sidewalls of the stage, creates exceptional devices; times, locations, people, depth perception. If a picture is said to be worth 1000 words, Murkami's photos literally fill in the gaps of the play with aplomb. It is also no coincidence that the key character of Porter, as somewhat of a soothsayer, works as a photographer.

A final comment relates to the play's title. Try as I may, I cannot understand it meaning or the relationship to this superb play.

REVIEW: It's a Wonderful White Christmas at Pemberly! Or...3 in 1 Winter Weekend

It's a Wonderful Life, Hartford Stage, Hartford, CT

www.hartfordstage.org

through December 26, 2021

Irving Berlin's White Christmas, Colonial Theater, Pittsfield, MA

www.berkshiretheatregroup.org

through December 23, 2021

Miss Bennet: Christmas at Pemberley, Playhouse on Park, West Hartford, CT

www.playhouseonpark.org

through December 19, 2021

by Lisa M. Covi

The end of the year brings some a yearning for familiar traditions and home. Three theatrical experiences offer satisfaction and delight with a heaping dollop of holiday joy.

Photo by T. Charles Erickson  

As a self-professed “It's a Wonderful Life” fanatic, I was both satisfied and surprised by Joe Landry's adaptation into a Radio Play at Hartford Stage. The production delivered treasured humorous moments and extended the sentimentality of this morality tale. As a radio play, the cast included new characters; the actors who read multiple roles on the stage that evokes a 1940's Hartford studio. This storytelling device provides delightful juxtapositions: Freddie Filmore as the announcer performs several scenes between the scheming Henry Potter and bumbling Uncle Billy channeling each character with change of hat. Jennifer Bereilles alternates between the flirtatious Violet Bick and earthy Ernie the cab driver among other roles. The audience was captivated by the interactions between the radio actors who were also able evoke pathos from the story. For someone unfamiliar with the film, the pace of the story may be initially hard to follow. It may be an inadequate substitution for bringing your kids to “A Christmas Carol.” However, Act II adds a dramatic element of direct action as the depiction of George's wish come true sweeps away the radio elements adding costuming, blocking and lighting as they assume the trappings of a traditional play. The choice to add endearing Spanish phrases by Geraldo Rodriguez to George Bailey's dialog and the casting of Shirine Babb as a darker skinned actor playing both Mary and Joseph (the angel's supervisor) creates some multicultural inclusion to the depiction of small town life. The audience also appreciated the local color provided by the performance of radio commercials for now defunct G. Fox department store, and reference to local resident Mark Twain.

Photo by Emma K. Rothenberg-Ware

The Berkshire Theater Group's production of “White Christmas “at the Colonial Theater also has as point of departure, a classic film set after World War II. However, this production sticks more closely to the original musical theater format. Veterans Wallace and Davis find themselves at a Vermont Inn at Christmas and decide to put on a show with the Haynes sisters to save the faltering business and honor their Commanding Officer, the owner, Henry Waverly. Cast and crew delivered an energetic experience that set toes tapping, audience joining in and holiday joy spilling out after the curtain call. The dazzling musical numbers, costumes and props channeled many of the film's choices and transported us to studio productions that showcased and celebrated theatrical show business. Although Michael Wartella and Michael Starr gave strong individual performances as Wallace and Davis, the plot lacks some momentum in Act I. Fans of the number “Sisters” will be delighted that Judy and Betty Haynes are played by real-life sisters Alanna and Claire Saunders. The final number of Act I turns around the pace with “Blue Skies.” This show-stopper has the costumes and choreography of a Fosse/Verdon piece and the synchronized tap dancing support the strong melody but spare lyrics of Irving Berlin. Allison Briner Dardenne's vocals as Martha Watson add to the upswing of energy in Act II especially with the sisters in “Falling out of Love Can be Fun.” Among the stellar ensemble, Aliah James, Kelly Sheehan who have speaking parts and newcomer Joel Douglas gave impressive contributions. This production delivers a classic show with the caliber of performance that meets the higher bar for Broadway musical theater recent years have raised.

Photo by Meredith Longo 

The most traditionally dramatic of the three productions is the 2016 play by Lauren Gunderson and Margot Melcon, “Miss Bennet: Christmas at Pemberly” now at Playhouse on Park. Two years after the events in Jane Austen's “Pride and Prejudice” finds Miss Mary Bennet, and married sisters Elizabeth, Jane and Lydia spending the 1815 holiday at the Darcy's estate. There are resemblances and differences to film and television productions in the actors portrayals. More importantly, the cast succeeds in immersing us in both Austen's world where women chafe against social restrictions and captivate with the familial relations among almost every character. The story is familiar, a comic romance among Mary, played by Sydney Torres who has since come of age and Arthur de Bough played by Ted Gibson, a relative of Darcy's newly returned from Oxford. In modern style, this young couple are the nerdiest in their set, preferring books and the life of the mind to preoccupation with emotion and status of their times. Elizabeth Darcy (Dakota Mackey-McGee) has erected a Christmas tree, a rare German tradition in Georgian England, Jane Bingley (Kristin Fulton) is expecting her first child and Lydia Wickham (Laura Axelrod) creates havoc and worry arriving sans husband. Another modern touch is the changing relationship between old friends Darcy (Griffin Stanton-Ameisen) and Bingley (Karim Nematt) who have adapted to a less conventional Bennet marriage and learned from past mistakes. The talk-back after the Sunday matinee confirmed the cast and director's great enthusiasm for the material and their exuberance of returning to live theater after the pandemic hiatus. The blocking of the production for audience seated on three sides of the stage provide opportunities for various actors to showcase their movement and self-expression in careful English dialect. Set design, costumes and hair make for a faithful period depiction. You need not be a Jane Austen fan to enjoy the production; it may also be a humorous salve to many of us facing familial drama of our own during the December holidays.

All three productions are enjoyable and well worth the time and money for live theater. I would recommend them as traditional introductions to different genres for younger people, some of whom were in attendance. In fact, these classic stories performed with such care and feeling would be appropriate for multiple viewings.

Review: Berkshire Theater Group, Shirley Valentine

Berkshire Theater Group, Stockbridge, MA

www.berkshiretheatregroup.org

through October 24, 2021

by Lisa M. Covi

Photo by Jacey Rae Russell

Corinna May showcases an ability to both captivate an audience and illustrate a transformation as Shirley Valentine, the solo-actor in "Shirley Valentine." This is the first time May has tackled a one-woman show.

The playwright Willy Russell takes the audience from a claustrophobic flirtation with madness to self-actualizing exhilaration. The titular middle aged housewife's empty nest and precarious marriage spur her sudden break to discover new and positive ways to express herself in the world; a world that she knew existed for other people.

Berkshire Theater Group's Unicorn Theater is a perfect setting for this one-woman show. The theater's intimate size makes the convention of breaking the fourth wall seem natural and seamless. The scenic backdrop of a row of roof lines in her Liverpool neighborhood in Act I contrasts beautifully the azure coastline of the Greek Isles in Act II.

Although the heroine's journey is relatable and timeless, the play's text at times seems dated in a way that limits its impact because of the choices for setting and exposition. One example, particularly for American audiences, is the consistent and authentic Liverpool accent May adeptly executes. The British terms and pronunciation are not as confusing as figuring out that Shirley Valentine's “Wall” was not the name of her husband (Joe) but the term of address she uses for the unresponsive kitchen wall with whom she converses.

The narrative includes many other unseen characters in Shirley's life. The director might have included vocal cues into Shirley's impersonations, but instead relies upon verbal and emotional characterizations in her dialog. Nonetheless, the plot and personality of May's acting skills give the play emotion and humor.

The plot suggests that her home, like her marriage, is in need of renovation. However, a little transformation on the part of May's role comes about slowly, as intended. The initial tension in landing Valentine's humor eases as the character gains confidence.

One wonders if the rut Shirley finds herself facing in the mid-1980's is out of step with today's audience. For instance, Shirley struggles with the definition of myriad of feminist and self-deprecating descriptions; i.e. Shirley uses the term “silly bitch” to refer to herself and others, and a humorous discussion involving the mispronunciation of an anatomical term involved with her sexual re-awakening. 

Shirley Valentine personifies the delayed coming of age of women in a particular societal role. Certainly there are still women today who are directed or make life choices that result in a feminine mystique-type consciousness-raising. Nevertheless, as a play, Shirley Valentine showcases a kind of character development and journey that is both a cautionary tale and inspiring call for action. Willy Russell's story is a literary ancestor of Elizabeth Gilbert's "Eat Pray Love" and Cheryl Strayed's "Wild." Corrina May's Shirley Valentine brings fresh aplomb to this cheeky British woman.

REVIEW: Berkshire Theatre Group, Nina Simone: Four Women

Berkshire Theatre Group, Unicorn Theatre, Stockbridge, MA

www.berkshiretheatregroup.org

through September 5, 2021

by Michael J. Moran

 

This play by Christina Ham imagines a conversation between singer-activist Nina Simone and the four Black women she depicts in one of her best-known songs, “Four Women,” right after a 1963 church bombing in Birmingham, Alabama that killed four Black girls, aged 11 to 14 years old. The text interweaves performances by one or more ensemble members of 12 songs from Simone’s eclectic repertoire.

 

Felicia Curry

BTG’s powerful production is led by a fiercely committed Felicia Curry as Nina. When her sultry opening rendition (in elegant concert attire) of Simone’s first hit, the Gershwins’ “I Loves You Porgy,” is interrupted by a loud explosion, the set goes dark and shifts to the ruined church, with Nina writing feverishly at a piano. Three other women separately join her there: housekeeper Aunt Sarah (a blazing Darlesia Cearcy); light-skinned Civil Rights activist Sephronia (a fervent Sasha Hutchings); and prostitute Sweet Thing (a spirited Najah Hetsberger).

 

Through initial misunderstanding of each other’s different life experiences, Simone’s white-hot focus on the power of music to change the world eventually leads them to a measure of common purpose and hope for healing. Director Gerry McIntyre sensitively integrated the musical selections into this conversational journey, from a stirring traditional “His Eye Is on the Sparrow,” to Curry’s shattering version of Simone’s anthem “Mississippi Goddam,” and a poignant climactic “Four Women” of almost unbearable intensity by the full company.

 

Vibrant musical direction by Dante Harrell ranged from delicate snippets of Chopin and Bach, recalling Nina’s training as a classical pianist, to the pounding blues of her “Old Jim Crow” and uplifting exuberance of her “Young, Gifted and Black.” Evocative scenic design by Randall Parsons and choreography by McIntyre, colorful costume design by Sarafina Bush, and haunting lighting design by Matthew E. Adelson and sound design by Kaique DeSouza ensured that everything was seen and heard to optimal effect on the intimate Unicorn stage.

 

This is must-see theater to understand the “High Priestess of Soul’s” singular role in advancing the status of African-American women artists.

BTG is requiring proof of Covid-19 vaccination for this production and masks for all patrons regardless of age.

REVIEW: Berkshire Theatre Group, The Importance of Being Earnest

Berkshire Theatre Group, Stockbridge, MA
www.berkshiretheatregroup.org
through July 10, 2021
by Shera Cohen

 

It is the turn of the last century, England. BTG Unicorn Theatre audience meets two spiffy dressed bachelors from upper-crust families, each named “Earnest”—actually pretending to be Earnest. The glib repartee of Oscar Wilde’s characters play silly pretense with verbal gags, malaprops, and double entendres aplenty. This is a very funny play underneath the physical trappings of what initially one could take as drama. Of course, “earnest” can mean making efforts to be truthful. This is hardly the case for the gentlemen dandies Earnest. 

 

The story is essentially a battle of wits, or witless. The pair call on two young ladies in their attempts to woo and game-play all in the name of love. For some ridiculous reason, the fair damsels insist on marrying a man whose name is Earnest.  

 

Each of the parties in the quartet recite his or her goal of a future of prominence. How to do this? Find the perfect mate, especially the monied mate. The characters are superficial boobs and dim-witted dandies, in other words, perfect matches. The constant humor is that each of the lovers are clueless about themselves and their intendeds. However, there is a thin line in acting which the foursome couldn’t reach. Go for the subtle laughs and winks with each other and the audience and you have a successful farce. This “Earnest” used broad strokes which makes the guys and gals without much personality, albeit still extremely humorous. 

 

Saving the best for last; the first is the exquisite minutia of costume design, all indicative of the era; sometimes bordering on gauche, yet haut couture gauche just the same. 

 

Actor Harriet Harris is becoming an expected thespian in the Berkshires. Remember Beebe from “Fraser”? That’s her. It only takes two seconds of her loud nasal voice for any audience member to appreciate the skills, enunciation, and power of her vocal range. Harris is a brilliant personification of sophisticated humor. Her eyes dark back and forth while adding subtle winks to the audience. Playing Lady Brackdell, she has deemed herself the sole person to vet potential couples. She needs more stage time, some schtick, as if to say, “Ignore these dull young people. Look at me!”

 

A few suggestions are in order. “Earnest” need not be three acts; cut and/or trim throughout.  It doesn’t take two intermissions to move a couple of couches on a set. Act I repartee between the bachelors is repetitious. But are Wilde’s words so sacred that some can’t be intelligently chopped out? It’s done to Shakespeare’s works all the time, and we don’t hear him complain about it.

BSC & BTG Awarded Million Dollar Gift

Pittsfield, MA (October 29, 2020)

Barrington Stage Company and Berkshire Theatre Group each Awarded Over $1 Million Dollar Gift In Memory of Mary Anne Gross

Barrington Stage Company (Julianne Boyd, Founder/Artistic Director) is pleased to announce that a generous gift of just over $1 million dollars has been made to the company by the family of the late Mary Anne Gross in recognition of her lifelong love of theatre and the Berkshires. This award also recognizes the heroic and tireless efforts of Barrington Stage Company in producing the first live Equity theatre in the United States in summer 2020, following the shutdown of live performing arts due to the onset of the COVID-19 pandemic in March. 

The Gross Family gift will support payroll and basic operating costs for the next six months in order to ensure that there are no furloughs or layoffs while the theatres continue to raise funds in support of future artistic programming.

REVIEW: Berkshire Theatre Group, Godspell Under The Tent

Colonial Theatre, Pittsfield, MA
Outside, under the tent, in The Colonial Theatre parking lot
www.berkshiretheatregroup.org
through September 20, 2020
By Stuart W. Gamble

Godspell has been extended from Tuesday, September 8 through Sunday, September 20 at the current open-air tent adjacent to The Colonial Theatre in Pittsfield.

Stephen Schwartz’ timeless musical pastiche “Godspell” is a perfect panacea for our dire times. During this unstable moment of political, social, and most especially epidemic-ravaging unrest, this gentle yet deeply felt mainstay of the American musical theater offers hope. Performed by an extremely talented, youthful cast, this is the first outdoor, professional theater production approved by Actors Equity Association, the professional actors’ and stage managers’ union, since COVID-19 struck.

The outdoor venue is set under a spacious, open tent. The 75 or so in the audience are socially distanced and all are required to wear masks throughout the performance. Sanitizer stands are generously set-up around and within the tent. Restrooms and entrances/exits have two-way traffic patterns, a “new normal” part of life with which we’re well-acquainted by now.

Godspell Under The Tent

The stage itself is a long and wide rectangular, raised platform. Various types of chairs (barstools, beanbag, and director) are set apart six feet or more from each other to allow actors ample space. Tall plexiglass dividers on rollers are also used to separate actors throughout the show. Skeptics might think, how is it possible for actors to truly connect with each other in such an array? The simple truth is: they do. This is totally due to their incredible talent and enthusiasm and by the masterful direction of John Michael Tebelak.

“Godspell” has a very loose structure: a group of young people teach and learn about love, hate, truth, lies, revenge, and forgiveness through parables attributed to Jesus Christ in the Book of Matthew of the Holy Bible. But “Godspell” never has been nor is it now preachy or high-minded. It is light, entertaining, and full of humor and life. In addition, many audience asides and quips are tinged with Corona-era references, making it quite contemporary.

The show is headed by JC himself, played with charm and exuberance by Nicholas Edwards.  From the opening moment singing “Prepare Ye the Way of the Lord” to his final death scene (complete with falling red rose pedals representing his flowing blood), his soaring tenor simply bathes the audience with his charisma. Other highlights include Kimberly Immanuel’s tap-dancing version of “Learn your Lessons Well, ” a bilingual (English/Spanish) version of “Day by Day” sung by Peruvian-American Isabel “Isa” Jordan. Much of the dialogue that is in the hip-hop style of “Hamilton,” stand-up comedy-influenced storytelling (an especially funny Dan Rosales), a gender-reversed rendition of “Turn Back oh, Man” (actor Brandon Lee claims in the song “Social Distancing turns me on”), the lovely “All Good Things”  sung and signed in ASL by Naja Hetsberger, and especially the show-stopping “All for the Best,” in which both JC and Judas (Tim Jones) properly sanitize their hands and props before using them. The actors/singers are ably supported by Andrew Baumer’s musical direction and Gerry McIntyre’s inspired choreography. The actors’ denim-based costumes are quite fitting.

At the play’s start, each cast member presents a short introductory monologue on how they have been affected by COVID-19. The fears, hopes, dreams, and setbacks of these gratefully employed actors present a moving microcosm of our life during this terrible time, but their youth and positivity teach us that there is so much to be grateful for and to look forward to, as well.

PREVIEW: “Godspell” Takes the Outdoor Stage for Berkshire Theatre Group

www.berkshiretheatregroup.org/event/godspell-2/

Berkshire Theatre Group has not given up on producing quality theatre in the Berkshires this summer. Taking the optimum of safe precautions. “Godspell” will run August 6 – September 4, 2020.

Certainly, “Godspell” has been one of the most well-received musical for decades. However, BTG affords these performances something new. Instead of mounting the musical at the Berkshire Theatre main stage, the new location will be outdoors under a large tent adjacent to the Colonial Theatre, Pittsfield. Colonial is one of the five venues that compose BTF.

In this timeless tale of friendship, loyalty and love, a group of eccentric disciples help Jesus teach a variety of parables through interactive games and a heaping dose of humor. Led by the international hit, "Day by Day," Godspell features a parade of beloved songs by Tony, Academy and Grammy Award-Winner, Stephen Schwartz (Wicked, Pippin, Children of Eden), including: “By My Side” “Save The People” and “All for the Best.”

Brought to life by director Alan Filderman and choreographer Gerry McIntyre this theatrical sensation is a powerful reminder that through the power of community, love and kindness will live on.

Berkshire Theatre Group has not given up on producing quality theatre in the Berkshires this summer. Taking the optimum of safe precautions, “Godspell” will run August 6 – September 4.

Certainly, “Godspell” has been a well-received musical for decades. However, BTG affords these performances something new. Instead of mounting the musical at the Berkshire Theatre main stage, the new location will be outdoors under a large tent adjacent to the Colonial Theatre, Pittsfield. Colonial is one of the five venues that compose BT

In this timeless tale of friendship, loyalty and love, a group of eccentric disciples help Jesus teach a variety of parables through interactive games and a heaping dose of humor. Led by the international hit, "Day by Day," Godspell features a parade of beloved songs by Tony, Academy and Grammy Award-Winner, Stephen Schwartz (Wicked, Pippin, Children of Eden), including: “By My Side” “Save The People” and “All for the Best.”

Brought to life by director Alan Filderman and choreographer Gerry McIntyre this theatrical sensation is a powerful reminder that through the power of community, love and kindness will live on.

Review: Berkshire Theatre Group, What The Jews Believe

Berkshire Theatre Group, Stockbridge, MA

www.BerkshireTheatreGroup.org

through October 20, 2019

by Jarice Hanson

When pre-show music includes both country and klezmer music, we start to think that this new play is probably something a little quirky and maybe even, funny. Even the set-up is humorous. A young boy in rural Texas is studying for his Bar Mitzvah with the aid of a correspondence course and old records recorded by his grandfather, complete with Yiddish accent. But very quickly, a number of surprises begin to reveal the heart of the play’s message that revolves around faith, love, and the desire to want to understand our place in the world.

Photo by Emma K. Rothenberg-Ware

Playwright and director Mark Harelik has crafted a touching new play with a refreshing approach to religion and what it means to find faith. The situations he presents theatergoers with are real, and his dialog is honest. The first-rate cast does an impressive job of creating a collective, beating heart that is at the center of this drama which, despite the early chuckles it provides, deals with some very heavy problems, ideas, and situations, including the fundamental problem of what religion does to us, as well as for us. A bombshell drops at the end of Act I that is so unexpected, the audience can’t wait for Act II.

The story is based on Harelik’s own experience growing up in the only Jewish family in a small town in Texas. The cast features Benim Foster as the father urging his son toward his Bar Mitzvah, Emily Donahoe as the mother facing a terminal illness, Cynthia Mace as Aunt Sarah, who brings her own faith to the mix while attempting to “help out,” Robert Zukerman as Rabbi Bindler, and young Nathan, played by an exuberant Logan Weibrecht who blends in well with the more seasoned professionals in this cast. What is so touching about the family these actors embody is that they collectively create a bond of love that is palpable.

“What The Jews Believe” is a slightly misleading title in that what this play gives is the opportunity to think about what everyone believes, no matter what our religion or lack or religious affiliation. It goes well beyond the cultural snapshots that are the basis for many contemporary stories, and brings us back to some of the central questions that form the basis for humanity. This is a beautiful play, well-told, brilliantly acted, and deeply moving.

REVIEW: Berkshire Theatre Group, Hershey Felder as George Gershwin Alone

Berkshire Theatre Group, Colonial Theater, Pittsfield, MA

www.BerkshireTheatreGroup.org

through August 31, 2019

by Jarice Hanson

Hershey Felder is a multi-talented performer who researches the lives of some of our great composers and weaves their personal histories into tapestry of music and heart-felt storytelling and performance like no other. Seated at the Steinway piano, Felder concertizes, expounds on artistic inspiration and genius, and takes his audience by the hand and heart to better understand the music and the composers who have given us a rich cultural history of music.

In “Hershey Felder as George Gershwin Alone” at the Colonial Theatre, part of the Berkshire Theatre Group’s summer season, Felder examines the work of one of our greatest American composers who transcended Tin Pan Alley to crossover into opera with “Porgy and Bess”) and symphonic work, such as “Rhapsody in Blue.” From the time Gershwin started playing as an accompanist for theatrical performers at the age of fifteen, through the first sale of one of his compositions (“Swanee”) to Al Jolson at the age of twenty-one, to his untimely death at the age of thirty-eight, Gershwin composed some of the most memorable music of his day. Songs like “Fascinating Rhythm,” “S Wonderful,” and “Someone to Watch Over Me,” are but a few of the thousand-plus songs he penned over a short lifetime.

The Gershwin show includes some incongruous moments, such as George’s self-promoting radio show in which his tune, “The Man I Love,” and the Parisian car horns that inspired “An American in Paris backed the Feenamint commercial for laxatives.” His close relationship with his brother, Ira, the lyricist of the duo, is a prominent feature of the current show.

Photo by Mark Garvin

Felder is an accomplished musician, but his own evocative style as a pianist, singer, and raconteur shows a special understanding of genius, time in history, and understanding of the human spirit. He does not try to imitate the composers he features, but he suggests mannerisms and speech styles that are true to the subject at hand. He works with the audience to touch the right cords of emotion that help him communicate effectively, appearing to work effortlessly, but in reality, drawing on his own skill and desire to make the music of bygone artists accessible and meaningful for a contemporary audience. Watching his concentration at the piano is a moving experience, and the beauty he creates with “Rhapsody in Blue” brought tears of emotion to many in the audience.

Whether you love the American Songbook, or just appreciate an artist at the top of his game, you owe it to yourself to see Hershey Felder in action. There is an honesty and artistry in every moment of a Hershey Felder production.

REVIEW: Berkshire Theatre Group, “Working”

Berkshire Theatre Group, Stockbridge, MA

www.berkshiretheatregroup.org

through august 24, 2019

by Shera Cohen

Photo by Emma K. Rothenberg-Ware

“Working” is one of those musicals that most people, even those involved in theatre, have never heard of, or at the very least, have never seen. That’s surprising because its history shows off a who’s who in Broadway entertainment. The musical is based on interviews by author Studs Terkel in 1977 (required college reading), book by Stephen Schwartz (“Wicked” and just about every Disney musical), and songs by six noted writers including Lin-Manuel Miranda (“Hamilton”).

Despite its large cast primarily of young performers, “Working” is a small musical about people who work to earn a living, to follow their dreams, to be an important part of community. In other words, the play is universal.

All, or nearly all, of the actors get his/her opportunity to sing solo. To a fault, director James Barry, has selected a dynamite team with pipes to match their acting skills. Essentially an easy flowing series of vignettes, some stories are sheer fun, others poignant; some stories told solely in music, others with dialog introductions followed by song.

In song, dance, monologues, one-on-one conversations, and group numbers the cast of ten are the epitome of sheer joy, energy, and camaraderie. Each actor portrays many roles, and in this case occupations: stone mason, UPS driver, assembly line worker, corporate executive, editor, salesman, parking lot attendant, and “just a housewife.” While some language in the script is updated, the story of “Working” basically does not change onstage or off.

Two emotional songs are standouts. “If I Could Have Been,” sung by the full company, speaks to the universal wish to try and perhaps succeed if his/her life course had been different. “Fathers and Sons” depicts the desires of fathers for their sons as they venture out into the world. The same can be said broadly as parents’ dreams for their children.

The band of four led by Jeff Link provides subtle background, never upstaging the actors. Chorographer Ashley DeLane Burger moves the cast naturally, as real people rather than big production numbers. Set designer Nicholas Hussong creates as many scenes as there are songs (a lot!), primarily with black lines to show spatial demarcations, constantly changing.

It is wonderful to be part of a full house at the Unicorn Theatre for this somewhat obscure, yet perfect, little musical.

REVIEW: Berkshire Theatre Group, The Skin of Our Teeth

Berkshire Theatre Group, Stockbridge, MA

www.berkshiretheatregroup.org

through August 3, 2019

by Shera Cohen

It’s a common phrase, “the skin of our teeth.” There are probably numerous similar definitions like, “in the nick of time.” What this title tells the audience about the play is slim. In contrast, this is a big play: sets, subject matter, cast, and even volume.

Thornton Wilder picked up the Pulitzer Prize for “Skin of Our Teeth” in 1943. The year is significant, as WWII was in progress and the role of the U.S. began in 1941. The play is whitewashed as soberly funny; at the same time thought provoking on colossal issues of mankind.

Your average American family of four, who happen to live in New Jersey, are the focal point. This quartet is not happy, always bemoaning their plight. While not a spoiler, the Antrobus family somehow manages to survive despite themselves.

Mr. and Mrs. Antrobus are a team, married for 5,000 years. Actors Danny Johnson and Harriet Harris make a smart team as well. If we don’t recognize Harris (from TV’s “Frasier”) her voice is a unique give-away that epitomizes disaster and humor simultaneously. Their maid Sabina, portrayed by Ariana Venturi, steals the show. Never upstaging, Venturi is outstanding; coquettish at one point and an all-knowing seer at another. Her role is flighty, then somber, and the actress carries off the instant changes in demeanor in a flash.

Everything in this play is big; bigger than real life. After all, the set must accommodate the size of a prehistoric woolly mammoth, Noah’s ark, the Ice Age, the Depression, and WWII.

It’s up to Mr. Antrobus to save the human race. A man with the skills to invent the alphabet and the wheel, why not fix everything else while he’s at it; obviously a black comedy.

Plays oftentimes use the text and/or characters as metaphors. In this case, the entire play is a series of metaphors. Theatergoers must put in a lot of work to “get it.” The use of so many brain cells to fully comprehend “Skin of Our Teeth” is asking a great deal of its audience, especially on a very hot night in the Berkshires. However, summer theatre need not be funny, romantic, or a musical.