My Fair Lady

Opera House Players at Broad Brook, Broad Brook, CT

http://smplayers.homestead.com/

through November 27, 2016

by Michael J. Moran

In the program book’s “Director’s Notes,” Anna Giza observes that “My Fair Lady” is “often referred to as the most popular musical of all time,” winning six Tony Awards for the original Broadway production in 1957 and eight Academy Awards for the movie in 1964. After seeing the Opera House Players’ exhilarating take on this classic show, it’s easy to understand why.

The musical is based on the play “Pygmalion” in which a Cockney flower girl, Eliza Doolittle, is transformed into a lady through speech lessons from Professor Henry Higgins. Shaw’s edgy satire of the British class system in 1912 London is softened by Lerner and Loewe’s stronger focus on the budding romance between student and teacher.

This production benefits enormously from a star-making performance by 17-year-old Caelie Flanagan as Eliza. Her strident protests against Professor Higgins’ discourtesies in the opening scene are just as grating on the audience’s ears as on his. But when she starts getting the right pronunciation in “The Rain in Spain,” her now limpid tone is equally caressing to the ear. With acting chops to match her lovely singing voice, Flanagan has a bright future on the stage.

While there’s not a weak link in the 21-member cast, other standouts include: Gene Choquette, irascible yet sympathetic as Higgins; Robert Lunde, a hoot as his dotty comical sidekick and fellow linguist, Col. Pickering; Dennis J. Scott, hilarious as Eliza’s ne’er-do-well father, Alfred P. Doolittle; and, in a brilliant stroke of luxury casting, the radiant Erica Romeo investing every word from Mrs. Higgins (the professor’s caring, exasperated mother) with dramatic weight.

Musical highlights include: Choquette’s vulnerable “I’ve Grown Accustomed to Her Face;” Scott’s rollicking “With a Little Bit of Luck;” and a touching “On the Street Where You Live” from Michael Graham Morales as Eliza’s hapless suitor Freddie Eynsford-Hill.

Inventive choreography by director Giza, sensitive lighting by Diane St. Amand, period-perfect costumes by Moonyean Field, resourceful set design by Francisco Aguas, and expansive support from musical director Kelly Sharp’s four-person band further enhance this gem of a production.

Into the Woods

Opera House Players, Broad Brook, CT

http://smplayers.homestead.com/

through May 22, 2016

by Michael J. Moran

With music and lyrics by Stephen Sondheim and a book by James Lapine, “Into the Woods” made its Broadway debut in 1987, winning Tony Awards for Best Score and Best Book. A mashup of several classic fairy tales by the Brothers Grimm and Charles Perrault, it has been produced locally and regionally more often than almost any other Sondheim show, and it inspired the 2014 film.

The large cast of familiar characters makes “Into the Woods” a great ensemble piece, and artistic director Sharon FitzHenry has assembled a marvelous cast of singing actors for this production. Lindsay Botticello brings a clarion voice and sharp characterization to the central role of the witch, who has cast a spell on her next-door neighbors, a baker and his wife, so that they can never have children. A quest she sends them on to reverse the spell sets the plot in motion. 

Michael Graham Morales is vulnerable and sensitive as the baker, and Nikki Wadleigh touching and resourceful as his wife. Among the characters they meet as their quest leads them “into the woods” are: Little Red Riding Hood, brightly played by Kellie Comer; Jack, of beanstalk fame, played with youthful innocence by Randy Davidson; and Cinderella, invested with growing maturity by Chelsea Kelle.

In smaller roles, Gavin Mackie and Tim Reilly are hilarious as the preening princes, making both versions of their big number, “Agony,” a hoot. Gene Choquette is versatile as the narrator/mysterious man. Anna Giza is haughty as Cinderella’s stepmother, and Aileen Merino Terzi and Jen Augeri entertainingly klutzy as her stepsisters. Musical highlights include Wadleigh’s tender “Moments in the Woods,” Botticello’s powerful “Last Midnight,” and Morales’ heartrending “No More.”

The set design by Francisco Aguas and Dawn Bird is ingeniously simple and flexible. Choreography is uncredited but clever and imaginative, especially when most or all of the 19 cast members are on stage during the ensemble numbers. And musical director Bill Martin leads a finely-tuned and impressively larger-sounding band of three.

This brilliant production will appeal to thoughtful musical theatre audiences of all ages.

Avenue Q

Opera House Players, Broad Brook, CT

http://smplayers.homestead.com/

through February 21, 2016

By R.E. Smith

By turns hilarious, touching, topical and raunchy, “Avenue Q” has everything one could hope for in a puppet musical, especially if one is hoping for catchy songs and intimate, R-rated, felt-based relationships. The story tracks the lives of the millennial denizens of a street not unlike one called “Sesame,” (complete with educational animations), as they deal with “real life” and their relationships with each other.

Half of the team that wrote the book, music and lyrics, is Robert Lopez, also partly responsible for “The Book of Mormon” and “Frozen,” so expect zippy one-liners set to hummable ditties such as “It Sucks to Be Me, sung by performers operating puppets. It takes some real musical chops to create a humorous tune on the topic of “Schadenfreude” as song by a fictional Gary Coleman.

As broadly humorous as the idea may seem, a lot has to go right for concept to succeed and not seem like amateur hour. Fortunately, the Opera House Players have mastered all the elements, starting first and foremost with the cast. Although speaking through their puppets, one cannot help but split one’s attention between watching the puppet and the actual performer. Whichever one is chosen, both deliver an enjoyable performance.

Kellie Comer, as Kate Monster, never wavers in her commitment to making sure her furry counterpart is always “emoting,” all the while giving a multi-dimensional performance herself. She can deliver a curse word and sing the tender “There’s a Fine, Fine Line” with equal aplomb. Ryan Pipke manages 2 totally different characters, “Trekkie Monster” and “Nicky”, sometimes at the same time. In these cases he is often assisted by Alysa Auriemma, who still gives complete performances even when she is

literally lending an extra hand. Pipke’s vocalizations definitely carry a hint of familiarity that helps underscore the humor in “The Internet is for Porn” and “If You Were Gay.” Auriemma’s solo as “Lucy” in “ Special”, showed that a puppet can be droll and ribald simultaneously. Michelle Ortiz-Saltmarsh and Daniel Viets as the “Bad Idea Bears” were perfect comic foils, cute and cheerfully malevolent. On the wholly human side, and more caricature then the puppets, is “Christmas Eve” given real energy and presence by Sandra W. Lee, especially when she explains the conflicting emotions that occur “When You Ruv Someone.”

“Avenue Q” takes the familiar, turns it sideways, gets your toes tapping, and leaves a smile on your face. Perfect for a February date night at the theater!

Man of La Mancha

Opera House Players, Broad Brook, CT

www.operahouseplayers.org

through November 29, 2015

by Michael J. Moran

The triumph of hope over adversity is the timeless theme of the hit 1965 musical “Man of La Mancha.” But its play within a play structure and its dark prison setting can make it a hard act to pull off. The Opera House Players make an honorable effort.

The show’s book by Dale Wasserman is based on his non-musical 1959 television play “I, Don Quixote,” which tells the story of the fictional knight as enacted by Cervantes, author of the 1615 novel “Don Quixote,” and his fellow prisoners while they await their hearings before the Spanish Inquisition. With music by Mitch Leigh and lyrics by Joe Darion, the score’s most familiar number is the much-recorded “The Impossible Dream,” but it also features many other memorable tunes.

Those familiar with John Baran as the host of “As Schools Match Wits” will be pleasantly surprised to find what a credible Don Quixote he makes, bringing solid acting skills and a strong singing voice to the title role. That this engagement ends a 30-year absence from the stage after training at the Hartt School and some early musical theatre credits makes his performance all the more impressive.   

But the best reason to see this “La Mancha” is the stunning account by Erica Romeo as Aldonza, the self-described “kitchen slut” whom Quixote transforms into his lady Dulcinea. Her contempt for the muleteers who regularly abuse her makes “It’s All the Same” a bone-chilling scream of outrage, and her disbelief of Quixote gives “Aldonza” a poignantly cutting edge.

Jim Metzler does fine work as the Padre, and Brad Shephard as the innkeeper brings his usual vocal heft to the “Knight of the Woeful Countenance.” Carl Calhoun sings a delightful “I Really Like Him,” but his rendition of Sancho Panza is otherwise under-characterized.

Moonyean Field’s costumes are distinctive, and musical director Steven Cirillo leads a stellar ensemble of three, with particularly atmospheric contributions from guitarist Daniel Hartington. Scene transitions are sometimes distractingly clunky.

Not a perfect “Man of La Mancha,” then, but worth seeing for at least Romeo’s outstanding performance.

She Loves Me

Opera House Players, Broadbrook, CT

www.operahouseplayers.org

through September 27, 2015

by Michael J. Moran

Composer Jerry Bock and lyricist Sheldon Harnick are best known for their monster hit “Fiddler on the Roof,” which this company presented last season. But its more modest sibling, “She Loves Me,” has long been respected, in the words of this production’s resourceful director, Meghan Lynn Allen, as a “crown jewel of the golden age of musicals.” And “Good Morning, Good Day” is among the greatest of all opening numbers.

Based on a 1937 play by Miklos Laszlo, the story also inspired several films, including "The Shop on Main Street" and "You’ve Got Mail". The plot focuses on a romance between two pen pals, Amalia and Georg, who’ve never met but later find themselves as fellow clerks in a pre-World War II Budapest perfumery who are often at odds with each other. Other employees provide not only comic relief but contrasting dramas of their own.

J. McCann & M.G. Morales

Bock’s lush score often evokes the Hungarian sound world of Franz Lehar’s operettas, while Harnick’s clever lyrics recall the patter of Gilbert and Sullivan. The cast of 20 singing actors is consistently engaged and compelling. Michael Graham Morales brings a wide emotional palette and a fine singing voice to Georg. Few scenes are more stirring than his exuberant rendition of the title song. The versatile Brad Shepard is avuncular and poignant as Mr. Maraczek, the shop manager.

The standout vocalist is Jennifer McCann, who perfectly captures the neurotic charm of Amalia. Her touching “Dear Friend” and winsome “Vanilla Ice Cream” echo the gorgeous lyric soprano of Barbara Cook, who originated the role on Broadway in 1963, and her comic acting chops make “No More Candy” a highlight of the evening. In smaller roles, Martina Haskins is a hoot as the lovelorn Ilona, Thom Knightlee haughty as the caddish Kodaly, and Joshua Prouser endearing as the ambitious Arpad.

Greg Trochlil’s set design is elegant and simple. Karen Anne McMahon’s choreography is imaginative, particularly in a delightful “Twelve Days to Christmas.” And musical director Steven Cirillo leads a well-drilled and impressively larger-sounding band of four.

This lovely production will appeal to musical theatre audiences of all ages.

Spamalot

Broad Brook Opera House, Broad Brook, CT
www.operahouseplayers.org
through May 17, 2015
by Shera Cohen

If you like “Camelot,” then “Spamalot” is a must see, and if you hate “Camelot,” then “Spamalot” is a must see. Based closely on the “Monty Python and the Holy Grail” politically incorrect movie spoof (1975), this musical version provides the same spirit, laughs, irreverence, characters, shrubbery, coconuts, and killer rabbit in telling a version of King Arthur; his knights; the Lady of the Lake; and ”one very, very, very large round table.”

Broad Brook pulls out all the stops and spares no expense in this blockbuster show, topping off their 2014/15 season and besting its own decade-long record. In the case of “Spamalot,” less is more. The talented Bill Martin and trio serve as a full orchestra, five young women kick up their heels as the chorus line, and ten extremely versatile actors portray 25 roles.

While Broad Brook’s theatre is large (how wonderful to see a near-full house), its stage is not. How to manipulate these many roles with several costume changes in lickity-split time along with numerous backdrops is, to say the least, a director’s nightmarish joy. Sharon FitzHenry faces this challenge with aplomb. She executes what easily could be theatrical chaos, especially with all actors on stage in ensemble pieces, into an assemblage of people and pieces (lights, sound, props) each with their own purpose, resulting in outrageously funny scene after scene.

FitzHenry has exceptional help in making “Spamalot” a rousing success from imaginative choreographer Melissa Dupont, and artistic costume designer Moonyean Field. This trio of talented women infuses every chorus number with gusto, color, and talent.

Oh…there’s more…the actors/singers. Gene Choquette plays a rather dimwitted Arthur, Luis Manzi schleps around as a loveable lackey, Paul DiProto nails an effeminate Sir EE, and Tim Reilly steals the show as a pompous Dennis (aka Sir Galahad). There are not many women in “Spamalot,” but again, less is more. Erica Romeo as Lady of the Lake commands every minute on stage with the humor of an erstwhile diva, the throaty jazzy physique of a femme fatal, and the strong voice of a Top 10 singer.

Note: Broad Brook seems to be the only theatre group that starts on time. Bravo.

Dirty Rotten Scoundrels

The Opera House, Broad Brook, CT

www.operahouseplayers.org

through February 22, 2015

by Tim O'Brien

A musical comedy based on the film of the same name, "Dirty Rotten Scoundrels" offers tremendous overall charm despite some inherent weaknesses in the script. With over 20 song and/or dance numbers, they can't all be winners, and a few of the tunes fall a little flat through absolutely zero fault of the terrific Opera House Players.

Sly direction by Denise Boutin smooths away the rough spots and injects abundant, richly observed subversiveness into scenes dogged at times by David Yazbeck's slightly inconsistent song craft. Actors break the fourth wall and offer self-referential jokes while the better-than-usual (and nicely choreographed) chorus gets lots of tongue-in-cheek moments of their own throughout the production.

Boutin has cast a solid love triangle. Brian Rucci brings debonair ennui to veteran con man Lawrence, emcees smoothly through the proceedings, and gets even better in the later going as the over-the-top Dr. Shuffhausen. The other primary scoundrel Freddy is played with boundless energy and standout vocal chops by Randy Davidson. Christine Voytko is winsome and deceptively earnest, spot-on in the character of, well, Christine.

Among the secondary leads, Michael King consistently pulls the biggest laughs as the mildly corrupt but always human police chief Andre. His love interest Muriel (Tracy Funke) matches King's excellent singing and shows sweet vulnerability. Emily Stisser brings lots of life to the essentially cameo role of Okie cowgirl and heiress Jolene.

Kudos to the stage crew; the seemingly simple set transforms ingeniously in a flash and scene changes are done with the precision of an Indy pit crew. Musical director Paul Feyer leads a clever four-piece band that sounds bigger than it is. Of note to parents, there are a few highly suggestive moments on stage, plus some salty language.

In the pet-peeve department, this reviewer wishes the body mics worn by the principals were less visible; but on the plus side, every word is audible and the audience's experience is the better for it.

"Dirty Rotten Scoundrels" is top-shelf community theatre.

Fiddler on the Roof

Broad Brook Opera House, Broad Brook, CT

www.operahouseplayers.org

through November 30, 2014

by Jennifer Curran

"Fiddler on the Roof," that classic and beloved musical, stands the test of time for a simple reason: it’s got a heart of gold. So, too, does Broad Brook with it current production. "Fiddler" is filled to the brim with sweetness and gentleness that has seep into the boards of the stage and reaches up to the open beamed ceiling.

Inside the playbook was a small note sharing that Director and Musical Director John DeNicola had been hospitalized and therefore others had stepped in to finish his work during those incredibly trying final weeks of rehearsal. And they did, with rousing success. 

Brad Shepard’s Tevya is a gentle giant with a humanity that stretches right out to the back row. Could this be his best performance thus far? Anna Giza, always a terrific performer, is a Golde worth sparring with and falling in love with. It could have been, and often is unfortunate, to play the conflict between these two characters. Shepard and Giza never let the audience forget that these two characters love each other. It’s more than a song; it's how they treat one another with playful jabs. Such nuances, which may be over-done in lesser productions, are underlined with true affection. The relationship between his man and woman is clear and important, raising the stakes for the audience and adding that extra dimension to a marriage whose lasting power exists for more than mere tradition.

Huge kudos go to the beautiful, rich voices of Kaytlyn Vandeloecht (Tzeitel), Stella Rivera (Hodel) and Madeline Lukomski (Chava). Also of note in this charming production is Gene Choquette as Lazar Wolf. Every scene that he is in has its own energy and lightness; Choquette brings out the best in his fellow actors. 

This is a "Fiddler" that is endearing and delightful. With a delicate ballet routine performed quite beautifully by Randy Davidson (Fyedka) and Madeline Lukomski (Chava), this production runs lovingly. If comedy is hard, ballet is certainly a way to raise that barre. Well done, Broad Brook and get well wishes to John DeNicola.

Les Miserables

Broadbrook Opera House, Broadbrook, CT           

www.operahouseplayers.org

through May18, 2014

by Shera Cohen

How many times can one see “Les Miserables”? There can be many answers, one being “never enough” and another “four times.” Yes, audiences in the Pioneer Valley had the opportunity to enjoy four community theatre productions during the 2013/14 season. This is a very big musical, and the locals took on the task of mounting each “Les Miz” brilliantly.

Broadbrook (BB) is the latest and last of the quartet. Where to begin with the accolades? Setting aside kudos to Victor Hugo and to those who wrote the original musical, we jump to BB’s leaders: Producer Moonyean Field (who knew BB had the talent to face this challenge), Director Sharon FitzHenry (who doubled and tripled as set and lighting designer), and Music Director Bill Martin (who lead his 4-piece band to sound like a full orchestra). These musicians are ever-present, keeping the momentum of every action taken and every syllable sung.

Let’s assume that every reader knows this story spanning several decades in 19th century France. The simplistic staging of large multi-purpose scaffolding (as a courtroom, gate, stairs, streets, sewer) against a pure black backdrop, accentuated by hauntingly imprinted shadows creates the mood and human psyche of the important characters.

Luis Manzi steps into the body, mind, and heart of our sad hero Jean Valjean. A community theatre stalwart, Manzi has shined in dramas and comedies. Valjean, however, is the character he was meant to become. His signature piece, “Bring Him Home,” is equally beautiful as it is difficult. Manzi nails it.

Valjean’s nemisis Javert, portrayed by Tim Reilly, is given two exquisite songs -- “Stars” and “Javert’s Suicide.” Reilly is a singer who can act, looks like Russell Crowe with a far superior voice. The death scene has been directed in various ways; Broadbrook literally takes a unique and creative leap of faith.

The women of this “Les Miz” are strong in character and voice, especially Gabrielle Carrubba as Eponine, whose “On My Own” is poignant and rich. Kendra Scott as Fantine sings a wrenching and beautiful “I Dreamed a Dream.” Kaytlyn Vandeloecht as Cosette brings such innocence and love to “In My Life.”

There’s more, much more -- the talented chorus, the sympathetic young actors, seamless scene changes, spectacle, the furling red flag, and “One Day More.”

Cabaret

Broad Brook Opera House, Broad Brook, CT

www.operahouseplayers.org

through February 23, 2014

by K.J. Rogowski

Key to the success of a show like “Cabaret,” are the elements of strong voices, distinctive characters, and a cast that truly projects the raw energy and bawdy antics alive at the Kit Kat Klub during the tumultuous days of 1929 Germany and the rise of Nazi power.

Director Becky Beth Benedict and her cast have done just that, and provide an entertaining and thought provoking evening, as the seemingly impenetrable and devil may care bubble that insulates those who frequent the Klub, slowly and surreptitiously metastasizes and shatters, taking with it many unsuspecting lives.

Heading up the cast is Tomm Knightlee, as the raucous Emcee. He drives the show with true pitchman style in numbers like the racy “Two Ladies,” the classic “Money,” and the seemingly silly, but suddenly all too pointed “If You Could See Her.” He is backed up by choruses comprised of both the Kit Kat Girls, and the Kit Kat Boys, all of whom keep the action hot as they bump and grind their way around the stage, and each other.

Brianna Stronk-Wandzy as Sally Bowles and Michael King as Clifford Bradshaw deliver solid performances both in their musical numbers and in conveying their tale of star crossed lovers. Wandzy traces her ill-fated journey moving from “Don’t Tell Mama,” to the fragile hope of “Maybe This Time,” and ending with a return to addictive “Cabaret.” Paralleling their fate is that of Fraulein Schneider and Herr Schultz, whose dreams of love in their golden years are cruelly undone by the new order of things, as punctuated in Janine Flood’s challenge, “What Would You Do?”

The focus of this show stays, as it should, with the people and their stories, using an imaginative, simple and multifunctional set; and musical accompaniment that never overwhelms the voices. Come to the Cabaret.

Footloose

Broad Brook Opera House Players, Broad Brook, CT

www.operahouseplayers.org

through December 1, 2013

by Walt Haggerty

Broad Brook Opera House Players have put their best foot forward (make that feet), to present a rousing, foot-stomping performance of a less than perfect musical. The good news is that troupe, as always, give it an all-out example of their best work with strong performances from the large cast. Unfortunately, Broad Brook’s efforts cannot overcome what is, regrettably, not a very good show. The result is that a dedicated cast, through sheer willpower plus a lot of talent provide an enjoyable evening’s entertainment.

The story is a tried and true formula treatment of generational conflict, demonstrating that father does not always know best. Siobhan Fitzgerald, as Ariel Moore, gives a strong performance as a somewhat rebellious teenager filled with anger and resentment toward her demanding and tyrannical father/minister, Reverend Moore. In that role, David Chivers gives a controlling, demanding portrayal that borders on villainy, before finally seeing the light, barely in time for the finale.

Acting honors for the evening go to Debi Salli, who, as Vi Moore, conveys both love and understanding as she tries to bring peace to the conflict between her husband and daughter. She also possesses the best singing voice of the evening, most effectively in a moving solo rendition of “Can You Find it in Your Heart,” and a winning duet of “Learning to be Silent,” performed with Vickie Blake as Ethel McCormack, in another excellent performance.

Randy Davidson offers a strong and sympathetic treatment of Ren McCormack, the young hero who brings resolution to a seemingly unsolvable problem. Holden Smith’s Cowboy Bob, stops the show with his Act II opening delivery of “Still Rockin’.”

The talented ensemble, under the direction of John Sebatian DeNicola and choreography by Keith Leonhardt, keep the proceedings moving forward at a fast pace, giving the score the support of an upbeat interpretation that is generously welcomed by the audience.

Company

Opera House Players, Broad Brook, CT

www.operahouseplayers.org

through September 22, 2013

by Walter Haggerty

“Company,” introduced in 1970, was the first “concept” musical. Today the show is a classic and has transitioned through revivals, concerts, and never-ending renditions. The lyric, “Art isn’t easy,” is from a later Sondheim work, however, it applies aptly to “Company.”

Art isn’t easy, and neither is Sondheim, considered a creative genius of contemporary musical theatre. Sondheim is a challenge to perform for the artists who give life to his characters, and sometimes to audiences. His music is magnificent, his lyrics inspired.

The Opera House Players are to be commended for accepting the Sondheim challenge of “Company,” and they make it work. The talented cast delivers an ensemble performance that is a miracle of acting and direction. The performers have captured each little quirk and eccentric nuance from every character to develop a series of portraits that stay with the audience long after the evening has ended.

The story focuses on several couples who live in an upscale Manhattan apartment house, and have gathered for a surprise birthday party for Robert, the lone single member of the group. Several side interludes reveal the conflicts and foibles of the various marriages and introduce a trio of prospects for consideration as a wife for Robert.

”Company” is overflowing with memorable performances. Sue Dzira’s “Getting Married Today” stops the show, and Julianne Rhone’s “Another Hundred People” is a lacerating take on New York. Becky Rodia Schoenfeld gives April just the right touch of off-center innocence, but it is Kathi Such who earns the evening’s highest accolades with an electrifying delivery of “The Ladies Who Lunch.”

The role of Robert fits Steve Wandzy perfectly. He captures Robert’s warmth and caring as well as his confused and superficial side. With “Someone Is Waiting” and “Being Alive,”Wandzy’s acting overcomes any vocal shortcomings, allowing the impact of each number to shine through.

At Broad Brook the cast delivers 100%, but the audience needs to work too. Every word is important, there is meaning that goes deeper than what is being said. “Company” demands and deserves attention. It’s worth it and the rewards are great.

Next to Normal

Opera House Players, Broadbrook, CT

www.operahouseplayers.org

through May 19, 2013

by Felicity Hardy

"Next to Normal" is the story of Diana, a wife and mother suffering from bipolar disorder, delusions, and hallucinations. Dan, her steadfast husband, tries to hold the family together in the wake of Diana's illness and a years-old family tragedy that he doesn't want to acknowledge. Natalie, her teenage daughter, struggles to find herself despite feeling neglected. As Diana experiences the highs and lows of her mental illness and attempts new methods of treatment. The audience is left wondering: will this family survive?

This is not an easy show to produce. Few moments of laughter help keep "Next to Normal" from becoming a preachy melodrama. Without genuinely heartfelt dedication from both the acting and direction, the play is two-dimensional. Under the direction of Sharon FitzHenry, the Opera House Players manage to find that delicate balance between tragedy and humor. Sarah Gilbert (Diana), Luis Manzi (Dan), Tomm Knightlee (Gabe), Kate Elmendorf (Natalie), Josiah Durham (Henry), and Randy Davidson (Doctor) are each exceptional in their roles, offering powerful and nuanced performances. They flawlessly handle Tom Kitt and Brian Yorkey's complicated pop-rock score (helped along by a phenomenal pit orchestra led by Bill Martin), but never forget that first and foremost, they are actors telling a story. The plot is mostly expressed through song, and the actors' diction and the clarity of the sound design are paramount that every lyric can be understood.

A couple of microphone mistakes and a wheelchair getting caught on a corner were the only noticeable glitches, with the rest of the show running at a smooth, fast pace which rare for an opening-night community theatre performance. This production of "Next to Normal" takes the best of what community theatre has to offer and delivers a professional and heartfelt production with a message of hope.

The audience was small, but captivated by the show's plot, often too engrossed in the material to find places to applaud. "Next to Normal" is a must-see night of theatre.

Hairspray

Opera House Players, Broad Brook, CT

www.operahouseplayers.org

through February 24, 2013

by Kait Rankins

“Hairspray” is the story of effervescent teen Tracy Turnblad, who despite being short and stout has dreams of rising to stardom as a dancer on the Corny Collins Show. Along the way, she breaks social and racial barriers and helps to integrate the program and usher it into the modern era where everyone can dance together.

The fast-paced musical adaptation of the 1988 John Waters film is unquestionably difficult. The music is catchy but hard to sing, the comedy is quick and clever, and the ensemble must deliver infectious energy to the audience. Under the skilled direction of Becky Beth Benedict, they absolutely succeed.

Benedict and choreographer Alison Bogatay keep up the pace with the kind of staging that's necessary for modern musicals: constant movement, tight dance, and a minimum of mobile set pieces. Most of the transitions between scenes are seamless, with only a couple of noticeable exceptions that break the otherwise consistent flow of action. The lead cast and ensemble stand up to the challenge of keeping up the energy; in many community theatre productions the ensemble can lack focus, but every member of the “Hairspray” carries the show with pep and personality.

Most notable performances include Nina Rodriguez, who despite her young age carries the role of Tracy's best friend Penny with brilliant comedic flair; and Ruben Soto, who plays Seaweed J. Stubbs with incredible charisma and a powerful voice. Michael King and Rick Fountain, Jr. are clearly the heart of the production as Tracy's parents Edna and Wilbur. They take what could easily become one-note comedic characters and give them charm, heart, and surprising romantic chemistry.

Unfortunately, a lot of the show's stellar performances are overshadowed by sound issues, with mics not coming on at the right time or often being turned up too loud and causing problems with sound balance and making strong singing performances sound shrill. Despite this, the cast's energy is still infectious and the show's message simple but powerful.

Due to the snowstorm, an added performance of “Hairspray” will be held Wednesday, February 20.

The Mystery of Edwin Drood

Opera House Players, Broadbrook, CT
www.operahouseplayers.org
through September 23, 2012

By Walt Haggerty

Charles Dickens’ "The Mystery of Edwin Drood" was the great British author’s final work. Unfortunately death inconveniently intruded before the master had arrived at a conclusion. Ever since, other writers and mystery enthusiasts have offered as many as 500 theories as to Dickens possible intentions.

In the current presentation of "The Mystery of Edwin Drood," a musical adaptation, presented by The Opera House Players, there are at least five – possibly six - potential murderers. Or, did Drood actually survive? A visit to the Broad Brook lets the audience decide.

In a triple-threat capacity, Rupert Holmes has contributed book, lyrics and a delightful English Music Hall-flavored score. Great credit is also due the artful staging of John Pike, musical direction by Melanie Guerin, and lively choreography by Kelsey Flynn. A special bow should also be given for the elegant 19th century costumes by Moonyean Field and Solveig Pflueger.

As is customary with Opera House Players, casting is impeccable. Brandon Nichols, in his debut, is outstanding as Chairman of "The Music Hall Royale Players." Will Caswell is a formidable villain as John Jasper. Theresa Pilz contributes equal measures of sweetness and innocence as Rosa Bud, without ever becoming cloying.

Brother and sister, Neville and Helena Landless, are effectively portrayed by a stalwart Mike King and an exotic and enchanting Elizabeth Drevits. Erica Romeo skillfully blends charm and mystery into her captivating performance as Princess Puffer. Charles Della Rocco and Matt Falkowski are perfection as a cockney-accented father and son.

The score provides several strong production numbers for the entire company, including the spirited "There You Are" and a rousing "Off to the Races." Each of the principals also has opportunities to shine in solos and/or duets.

The only disappointment of the afternoon was the number of empty seats. This impressive company deserves better. Although this musical may not be as familiar as many of the hits of the past, it is a "Best Musical" winner with a fascinating story that involves the audience in its outcome, a charming and melodic score, and is a perfect opportunity to introduce young family members to Charles Dickens and the theatre.

La Cage aux Folles

Opera House Players, Broadbrook, CT

www.operahouseplayers.org

through May 20, 2012

by Walter Haggerty

  

From “Little Women” to “La Cage aux Folles” in one season is quite a stretch for any theatre group, but the Opera House Players have pulled it off with great style. The talent and versatility of this exceptional collection of theatre lovers is extraordinary. The word “challenge” must be engraved on their mantra.

When Jerry Herman and Harvey Fierstein turned the film “La Cage aux Folles” into a Broadway musical in 1983, they created a blockbuster. This troupe has done no less. Every song is given its full-out, rousing delivery by soloists and the spectacular chorus line of “Les Cagelles.” (There are more feathers flying over the Opera House stage than anyone will find in most aviaries).

As to those soloists' songs, the performances are superb. As George, Chad Shipley is solid and sensitive, particularly with “Song on the Sand,” and with Luis Manzi as Albin, a touching “With You On My Arm.” As great as Manzi is with “A Little More Mascara,” his shattering delivery of “I Am What I Am” captures every ounce of anger, frustration, and hurt that is packed into that anthem. It is a triumph!

David Lopes, as Jean-Michel, does full justice to “Anne On My Arm,” as well as to a from-the-heart “Look Over There.” Jacob/Claudine as the butler/maid, or whomever or whatever, goes well “over-the-top” in Keith Leonhardt’s extravagant performance – and the audience loves every minute of it. Kiernan (Cone) Rushford as Anne is appealing and charming. Her parents, played by Harry and Sudie Evageliou, are suitably stiff and serious.

With Jerry Herman’s unerring talent for building show-stoppers, step-by-step, “La Cage” has an ample supply. From the opener, “We Are What We Are,” to the title song and the incomparable, “The Best of Times,” there are plenty of opportunities to cheer.

As director, Sharon FitzHenry deserves highest praise for an ensemble performance that has just the right touch to let the love and heart of the story shine through. The choreography of Kristen Shaw and tap choreography of Leonhardt, are perfection – a term, in fact, that should be applied to the entire production.

Chicago

Opera House Players, Broadbrook, CT
www.operahouseplayers.org
through February 26, 2012
by Walter Haggerty

“Murder, greed, corruption, violence, exploitation, adultery, and treachery.” Add them up and the result is an explosive, extraordinary production of Kander and Ebb’s “Chicago” by the Opera House Players. This production is Broadway-worthy from start to finish.

From the first bars of the overture to the last crashing note of the finale, “Chicago” has audience members on the edge of their seats every minute that they aren’t standing and cheering. Director Becky Beth Benedict deserves special accolades for creating a seamless ensemble performance where even the smallest role is polished to perfection. The Fosse-esque choreography of Alison Bogatay, is an admirable reflection of the Fosse masterwork, without ever resorting to imitation.

As for the performers, they are incredible. Nicole R. Giguere as Velma, sets the mood for the performance with a knock-‘em dead delivery of “All That Jazz.” Wow, can that gal belt! She is backed up by a stellar troupe of multi-talented singer-dancers. Meg Fenton Funk squeezes every ounce of ego, anger, pathos, and petulance out of Roxie. With back-to-back numbers, “Roxie” by Funk and “I Can’t Do It Alone” Giguere, plus their duets of “My Own Best Friend” and “Nowadays,” this pair could revive vaudeville all by themselves.

In the role of Billy Flynn, Jeff Clayton is a perfect match for predecessors Jerry Orbach and James Naughton as the scheming, money-grabbing defense attorney. Kathi Such, as Matron Mama Morton, deservedly stops the show with  her performance of “When You’re Good to Mama.” Mike King, as Amos, Roxie’s naïve, two-timed, ever-loving husband, definitely gets noticed by the audience, especially for his “Mr. Cellophane” lament.

P. Stone’s Mary Sunshine is a gem of a performance by an actor finding the heart of a character and playing it for all it’s worth – and this one was worth every falsetto trill.

Kander and Ebb never ran away from a dark subject. With “Chicago” they achieved their greatest success and Opera House Players have given it an electrifying production that no true theatre lover should miss.