PREVIEW: CityStage, The Corvettes Doo-Wop

Saturday April 21, 2018

www.citystage.symphonyhall.com

National touring Doo Wop revivalists The Corvettes Doo Wop Revue will perform a special engagement at CityStage, Springfield on Saturday April 21, 2018. The group is dedicated to performing and preserving the great music of the 1950's and early 60's - and they do it with a fresh new energy. They perform nationwide and beyond, and their entertaining stage show and sometimes comical stage antics never fail to please their audience.

The Orlando Sentinel said "A Corvettes Doo Wop Revue performance is like taking a rollicking ride through the good old days of Rock & Roll" and the Kansas City Star quoted "this show is more than a concert, it's an all out Doo Wop celebration."

When the group is not performing their own concerts, they perform as a backup band for many touring acts from the 1950's and 60's including The Drifters, The Belmonts, The Del Vikings, The Platters, Danny & the Juniors and others. Some of the great songs you might hear at the concert include Come Go With Me, Little Darling, Runaround Sue, In The Still of The Night, Duke of Earl.

Tickets for the event are on sale by phone at (413)788-7033 or online at www.citystage.symphonyhall.com

Interview with Ted Vigil, star of Rocky Mountain High

CityStage, Springfield, MA

www.citystage-symphonyhall.com

May 16 & 17, 2013

by Eric Sutter

Ted Vigil is a singer, songwriter, and John Denver tribute artist. In 2006, Vigil competed against contestants from 28 states, taking first place as the best Denver-like singer in talent and even in looks. He now performs his John Denver tribute nationwide. In the Spotlight (ITS) spoke to him about his life's endeavors. . . 

ITS: First, how did you get started in music?

Ted: Well, when I was a young kid about 10, we would do country jamborees with family in the Olympia, WA area. I took drum lessons and played in a diversity of styles such as concert band, jazz and rock bands in high school.

ITS: As a John Denver tribute artist it's obvious his music influenced you. Are there other artists?

Ted: I'm a big Beatles fan. Paul McCartney & Wings, Linda Ronstadt, James Taylor and The Eagles were influences. I have a wide range of influences.

ITS: I see that John Denver's guitarist Steve Weisberg is joining you at CityStage. Could you tell me about that?

Ted: We both worked with tribute artists and met about five years ago. Mutual friends on Facebook connected us, and he gave a call to work with me. It's been amazing.

ITS: It's amazing how much you look and sound like John Denver. Which came first, the look or sound?

Ted: When I met my mother-in-law, she commented that I looked like John Denver. Of course, I thought I was Bon Jovi back then. Later on, I tried John Denver music and adopted his look on a daily basis.

ITS: Will you add your own songs to the set list for CityStage?

Ted: Yes, a tribute to John called 'Sing My Songs' and an environmental song 'Blessings in the Skies' that was co-written with the country band Montgomery Gentry.

ITS: Do you have any personal favorites to sing?

Ted: I love the highs of 'The Eagle and the Hawk' and 'Calypso' is always fun. I also like my 'Blessings in the Skies.'

You Say Tomato, I Say Shut Up!

CityStage, Springfield, MA

www.symphonyhall.com

through February 24, 2013

by R.E. Smith

Despite the confrontational title, “You Say Tomato, I Say Shut Up!” will not ruin anyone’s date night by causing a heated debate on the car ride home. Married couples in the audience quickly connect with the two characters on stage as either being just like themselves or their spouses, or both, but no one is asked to take sides.

Comedians/writers Annabelle Gurwitch and Jeff Kahn invite the audience to eavesdrop on the occasion of their 10th anniversary, as characters based on themselves, examine debate, and relive pivotal moments and personality differences. The dialogue is actually reflective, constructive and often tender. This is not a vehement “he said-she said” rant.

The situations they recount are familiar to any married or dating couple, especially those whose own love is a case of “opposites attract”. In fact, the point of the show seems to be that opposites, in reality, “compliment”. The topics are current, ranging from the foibles of Facebook, to modern child rearing methods.  Using flashbacks, monologues and precise physical comedy, the authors expose many of the details that make their love “complicated”.

Kevin Bartini, originally from far Western Massachusetts, is a stand up comic who really does know how to act. Not surprisingly, he has crackerjack timing and an endearing delivery. Gabrielle Mirabella has the tougher chore of making the prickly, self-absorbed Annabelle sympathetic while she plays straight man to Jeff. It may be hard to understand what Jeff sees in her, but one cannot really dislike her. They clearly enjoy performing opposite each other and there is a genuine sense of affection and respect on display.

“You Say Tomato, I Say Shut Up!” is a charming, intimate evening of “heads nodding in recognition” entertainment.

Almost Elton John

CityStage, Springfield, MA
www.citystage.symphonyhall.com
through April 14, 2012
by Eric Sutter

The audience can feel the sound of solid rock of the 70's and 80's in this "cover show" by Craig A. Meyer and the Rocket Band. This visually stunning performance is a tribute to Sir Elton John by a fantastic impersonator and crack band with singers that rattle brains and pull at heart strings. The brash, "Bitch is Back," seared with intensity... guitar against piano tearing loose like the outpouring of a sudden thunderstorm. Familiar songs "Philadelphia Freedom," "Daniel," and "Goodbye Yellow Brick Road" follow with audience participation of hand waving glowsticks and cell phones. Meyer dresses in many glittered costumes and wears big glasses, platform shoes and assorted brilliant head wear. His English accent adds dimension to this spectacular show as he coaches the audience in the correct way to sing the chorus of "Bennie and the Jets."

Meyer flamboyancy burns with ardent passion as he prances in self-indulgence to "I'm Still Standing" and pounds the piano in interplay with Danny Howe's dangerous electric guitar solo. The river of musical delight feels like the rush of being suspended in mid-air. The swirling emotions quiet to the spotlight focus on Meyer on dark center stage at the piano as he sings "Tiny Dancer" with lap steel accompaniment. The beautiful ballad on the simple stage with lighted disco ball brings a crisp chill of remembrance that dances off the skin and raises goose bumps. The great and powerful "Rocket Man" takes off and engulfs like a radiant torch of light. "Honky Cat" moves the audience to the song's percussive piano rhythms.

Act II begins with the pensive but pendulous "Funeral for A Friend" with Meyer in glam rock pink. "Can You Feel The Love Tonight" warms every heart. A duet with singer Kelly Fletcher, "Don't Go Breaking My Heart" is fun and neatly juxtaposed to "Candle In The Wind." A blue bell-bottomed Meyer in a long-tailed coat brings the house down with a rock medley of "Lucy In The Sky with Diamonds" and "Pinball Wizard." The colorful roller coaster of sound crescendos with "Crocodile Rock," "Saturday Night's Alright" and "Sad Songs," which closes the night.

Country Royalty

CityStage, Springfield, MA
www.symphonyhall.com
through April 1, 2012
By R.E. Smith

“Country Royalty” is billed as a ‘tribute” show, but it is more than just a standard greatest hits review. In addition to singing the “role” of Hank Williams, Sr., performer Jason Petty acts as lecturer, evangelist, and unabashed admirer of the “Father of Country Music.” Consequently, the show succeeds on many levels.

Dedicated fans are obviously quite pleased with Petty’s portrayal, lavishing him with generous applause, as if he was the legend himself. The uninitiated come away with a richer understanding of a talented man with the added bonus of a toe-tapping soundtrack. Williams was influenced by and wrote in a variety of styles, from honky-tonk rave-ups to spirituals. Even those who are not country music fans have undoubtedly heard “Hey Good Lookin’, “Move It On Over” or ‘I’m So Lonesome I Could Cry”.

In an unusual twist on the tribute show format, the second half, focusing on Patsy Cline, is also narrated by Petty, albeit as himself. Carolyn Martin’s remarkable voice is well suited to all of Cline’s hits, from “Walking After Midnight” and “Crazy” to “Sweet Dreams.” In fact, her strong voice seems to be taxing the sound system at CityStage to the limits, causing some distortion. Though Cline’s career was shorter than Williams own brief career it did seem her story was given a shorter shift .

Backing both performers is the “The Country Royalty Orchestra,” a talented, tight, and polished ensemble of piano, drums, bass, slide guitar, and fiddle. It is unfortunate that they are not given named credit in the program insert. Their authentic sound is every bit as important to the success of the show as the remarkable talent of the leads.

“Country Royalty” is a unique, educational, and entertaining night of music, bringing to life two important and historical figures in a vibrant, compelling way.

Forever Kings

CityStage, Springfield, MA

www.citystage.symphonyhall.com

through March 4, 2012

by Eric Sutter

What a lucky day to view not one but two tributes to popular music with the bravado of Matt Lewis in tribute to Elvis Presley and the soul of Edward Moss with tribute to Michael Jackson. Phenomenal dancers superbly complimented both performers. Matt Lewis began with a clutch of older Elvis tunes interspersed with period pieces. Fun was the word from the get go with "Blue Suede Shoes" which thrilled the audience as Ed Sullivan show clips enhanced the sensuality. By "Love Me Tender" chests were heaving from heated audience interaction. The "Jailhouse Rock" scene spelled trouble as four dancers synergized with prison uniformed Lewis with jazz hands all around. In the '68 comeback in black leather Lewis rocked blues tune "One Night."

A nice ballad, "If I Can Dream," prepared the way for Edward Moss as Michael Jackson who upped the energy with his "Dangerous" persona on songs "Stop Pressuring Me" and "You Want To Be Starting Something." "Thriller" took the swagger right to the top with a climax that produced four ghoulish dancers who groped on to the stage awkwardly around Moss' center stage gyrations. A soulfully sung "Man In The Mirror" featured a backstage Moss surrounded by dancers up front.

Act II captured the white jump suited King in Vegas with a fiery medley of old and new. The cabaret style slickness of C.C. Rider exhilarated towards the time period...he supplied a lingering warmth to "Are You Lonesome Tonight" which fueled a swampy "Polk Salad Annie" which satisfied. A bluesy update of "Houndog" packed an emotional punch that set up the thrill of a dramatic take of "Suspicious Minds." The energy was exciting by the patriot's dream of "American Trilogy."

Moss danced back to the 70's with the Jackson oldie "The Love You Save." More tricky dancing brought "Beat It" center stage with a simulated fight scene that simmered hot. The uncanny resemblance to Michael Jackson was strongly evident on "Billie Jean" and it's smooth moonwalk dance. The great entertainment in the heart of downtown Springfield ended with a "Black and White" finale which featured both performers in traded vocals on the chorus line. See this show... it will bring you up!

The Midtown Men’s Christian Hoff

Friday, March 2, 2012
Symphony Hall, Springfield, MA
www.citystage.symphonyhall.com

Christian Hoff: singer, actor, guitarist, dancer, businessman. Hoff is one of the original Broadway “Jersey Boys” (JB). Along with the other three “Boys,” the quartet has morphed into “The Midtown Men,” taking their sell-out concert as ambassadors of 60’s music on a USA tour.

This is a paraphrased interview with Hoff.

Did you realize JB would be a hit? The minute we read the script the first time we knew there was something transcendent about this play. Magic happened. When we sang the first song, kinetic energy sparked. This was something special, although we didn’t realize JB would be so spectacular and live on. Even Frankie Valli doubted that it would be a phenomenon. I’m so happy we were part of it.

Tell us about the audition. I got a call, “What are you doing?” I answered that I was hanging around with my two kids and making dinner. “Get here NOW,” was the response. So, I grabbed my kids and my guitar, and raced to the audition. They just said “sing anything.” Apparently, they had already wanted someone like me – a tough guy image but soft inside. The director was a visionary and had picked out the personalities of each of us before he met us.

And you hadn’t met each other? We were all strangers at the start. After you work together as a team, overcome egos, you become a family. We have chosen to stay together. There is energy between each of us. The original chemistry that created JB has led us to this new show, Midtown Men. It was like magic on Broadway, and now it’s magic on the road. We are humble, and at the same time pumped up. We’ve got a kick-ass band, and except for them, we do everything ourselves – produce, choreograph, write arrangements, and do the paperwork of a business. I call us a creative juggernaut.


How is JB similar to Midtown Men? We are living what we portrayed. In many ways, Midtown Men replicates our personal JB experience. No group of Broadway actors from one show have ever broken off to perform as a unit. We had a chemistry and sound of four individuals who came together in JB. JB became our catalyst to continue as a unit. The sum is greater than each of us. We decided to keep that energy going and created Midtown Men. It takes a whole team to launch a rocket.

How did you feel when you won a Tony Award? It was a visceral feeling, a culmination of 30 years as an entertainer. To be recognized was transcendent, amazing. The real life men of JB won against all the odds. It was similar for us. I’m so proud to be part of something bigger than myself. I am honored to have been in a role worthy of a Tony Award, and honored to have portrayed Tommy DeVito. We have become good friends. He’s the kindest man.

Why the title Midtown Men? Just like The Four Seasons, we went through name after name. We wanted to segue from JB to where we are in our careers now. “Midtown” means Broadway and also means the center or any city – where anyone could have grown up. We’re just regular guys, like the people in the audience. Also, we are older now, so we decided to title ourselves “Men” instead of “Boys.”

Why should people attend this concert? All ages are diggin’ it. The show transcends music interests. It’s nostalgic and innovative at the same time, pure entertainment and joy. We burst out from the heat of the spotlight. Tommy DeVito told me, “You guys are better than we ever were.”

In addition to The Four Seasons, the guys “become” The Beatles, Beach Boys, Jackson 5, and even the Zombies.

Blast!

Symphony Hall, Springfield, MA

www.citystage.symphonyhall.com

February 12, 2012

by Eric Sutter

Winner of the 2001 Tony Award for Best Special Theatrical Event and the Emmies for Best Choreography, "BLAST!” will rock Symphony Hall. Born on athletic fields across the nation, steeped in the tradition of the military drill teams, precision drum corps and color guards, this thrilling production promises to be bold and lively with athleticism, musical talent and kaleidoscopic movement which are merged into an art form. In The Spotlight interviewed percussionist Andrew Barlow.

ITS: Hi Andrew. We are very excited about "BLAST!” making a stop in Springfield. 
Can you tell us who influenced you to get into this performance style?

Barlow: My elementary teacher from North Carolina influenced my decision to get into music and percussion. Later, when I was at UMass, Dr. Brian Tinkle urged me to go further with it as did Tom Hamel.

ITS: When did you start this challenge?

Barlow: Well, when I was around 7-8, I was tutored on piano, and around age 10 the world of percussion opened up to me.

ITS: When did you get involved with “BLAST!”?

Barlow: This is my first tour, but it all began in the 90's.

ITS: What can we expect from the cast of “BLAST!”?

Barlow: Well, it's a mix of music, theatre and dance. The co-ed cast is split evenly between the musical ensemble of percussion and brass and the visual ensemble of sabers, rifles and flag waving. The dancers add an angelic quality. It's amazing.

ITS: Is there a notable highpoint in the performance?

Barlow: Definitely, when some of the cast interact with the audience. Then we sing one song in the performance...the American folk song “Simple Gifts.”

ITS: How many people make up the cast?

Barlow: The entire ensemble numbers 40 with 5 swings of which I am one. I perform percussion and double as a swing captain with other duties in the performance.

ITS: Thanks and good luck! We'll be looking for you.

Barlow: Sure enough!

PREVIEW-Parent's Night Out

CityStage, Springfield, MA
www.symphonyhall.com
February 2-5, 2012
By R.E. Smith

As the busy mother of three kids, Karen Morgan knows what a hassle it can be finding child care, so she wants to assure the audience that “Parent’s Night Out” is “baby-sitter worthy”. Partnered with fellow comedian Jim Colliton, also a parent of three, Karen says the goal of the show is “to make people laugh with the realization that they are not alone. It’s nice to be reminded that everyone’s going through the same things.”

The show that Morgan conceived uses stand-up comedy, improv, and audience participation to explore the wild ride that is raising kids. Morgan points out that “even our own parents can’t prepare us for what we face as parents,” and the show has some fun with the relationship that adults have with their own parents.

 Karen Morgan & Jim Colliton

Morgan hails from the South, Colliton is Boston raised and while parenting methods vary from region to region, even neighborhood to neighborhood, “there really is no wrong answer. Everyone does the best they can.” Though she does poke fun at what she calls the “over-parenters.” Even her background as a trial attorney doesn’t help because her kids never respond to the “cease and desist letters I send them.”

Morgan has been at CityStage before, with her show “Momma’s Night Out.” That project grew out of acquaintances she made appearing on Nickelodeon’s “Search for the Funniest Mom in America.” The difference with “Parent’s” is that it explores parenting from “both sides, male and female. A lot of what we talk about overlaps, but it is nice to have the Dad’s perspective. Jim came highly recommended and has really strong comedy skills.”

The tag line for the play points out that the two are happily married, “just not to each other.” Audiences often hear new bits before the real spouses do. “My husband had a vasectomy on Wednesday and I was joking about it on the radio Thursday morning. People were coming up to him on the street and congratulating him.” Morgan explains.

She feels that the show has longevity because “the material just gets richer the older our kids get.”

4 Sides of 40

CityStage, Springfield, MA

www.symphonyhall.com

November 29, 2011
by K.J. Rogowski

CityStage’s “4 Sides of 40,” delves into the trials and tribulations of  four individuals  and the lives they lead as…forty and single, forty and newly married, forty and long time married with kids, and, of course, forty and divorced. This humorous walk through the possible perils of forty is told in an evening with four stand up comics, each with their own style and routine, and each with a tale of woe.

The cast members -- Lenny Marcus, Al Ducharme, Eric McMahon, and Patty Rosborough -- are tried and tested stand up comics, who not only deliver their funny and very salty routines, but also encourage audience participation, ranging from comic movie trivia quizzes, to hugging audience members, (watch out if you sit in the front row), to calling attention to anyone who dares to leave for the bathroom during the show (since there is no intermission), which feeds right into that running gag.

This is a production about adults. For those who attend, be aware, this is an adults only show. The stories deal with all aspects of relationships from the mundane to the intimate, and no topic is spared, told in colorful detail. Name a body part, and it's in there; name a bodily function, and it's in there; name something you don’t think they would dare say, and they’ll say it.

But it is all done for the humor and not to shock or offend, and that’s what makes this evening of comedy that folks can relate to work. It's four folks just telling their stories, like they would to any trusted group of 300 friends. Letting their hair down and cranking the humor up. It’s the good, the bad, and the ugly of the 4 sides of 40.

Mary Zentmyer is “Sister”

Late Nite Catechism
CityStage, Springfield, MA
www.citystage.symphonyhall.com
October 12 – 16, 2011

Many audience members think that Mary Zentmyer is a bona fide nun. That’s true testament to this actress’ skills in her performances of Sister, star of “Late Nite Catechism.” Having donned the habit for a good part of the last 15 years, Zentmyer was one of the first Sisters cast in the role. She was auditioned by the play’s writer team of Vicki Quade and Maripat Donovan. There are now approximately 20 Sisters touring throughout the country.

Zentmyer describes her role in three parts: acting, improve, and stand-up comedy. The thought of memorizing a 25-page monologue was scary at first. “This is not your typical play. It’s very interactive,” she said.

“It’s a memory play, a nostalgia play. I connect with the people,” she continued. The target audience is former students (including herself) who experienced the nuns that resembled Army drill sergeants. “We thought they were mean, but it’s no wonder they were cranky, because they wore 20 lb. wool garments every day, all year round,” she laughed. Sister’s strictness is the best humor of the play, and the audience response is incredible. She pokes gentle fun; the show is never mean-spirited.

Mary Zentmyer

Zentmyer has been on the road for most of her career due to her repeat performances primarily in the mid-West and New England. They keep calling her back! “People have been so nice to me. Being a one-woman show, they see that I’m alone and invite me to dinner,” she laughed. The best part of the experience is the Meet & Greet post-performance. It’s like confession, with lines of audience members, each telling stories from their youth.

Asked: do you have to be Catholic to ‘get’ the show, she replied that it does help the audience ‘get’ the full humor. “It plays well to all religions and regions,” she responded. We all like to go back to a different time in our lives, even remembering strict teachers. The show is already sold out for her upcoming run in Detroit. “Middle-America Protestants enjoy it. And New England, with lots of Catholics, certainly ‘get’ it,” she continued.

“Making people laugh for a living – it’s the greatest job,” Zentmyer said.

The Four Bitchin' Babes present "Hormonal Imbalance"

CityStage, Springfield, MA
www.citystage.symphonyhall.com
by R.E. Smith
through March 13, 2010

Continuing what seems to be an unofficial "gender based" show theme at CityStage, "Hormonal Imbalance" provided one of the best evenings of entertainment this season. Despite the title, this show was a perfect "balance" of humor, storytelling and musical craftsmanship. The four immensely likable, relatable "babes" whipped up a sparkling concoction that was equal parts Indigo Girls, "Sex and the City" and "Weird" Al Yankovic. Modern folk, girlish confiding and pointed parody added up to a surprisingly well-rounded performance that tickled your funny bone and touched your heart.

From the opening harmony of "Oh, No," which laments the scattered forgetfulness of middle age, it is clear that these are very talented women - accomplished musicians and songwriters who happen to have impeccable comedic timing. Men should have no fear that this is a male-bashing session. The ladies love their "man-babes" and the focus is frustrations life, not the male gender.

To be sure, the draw for the show is the humor, with song titles such as the "Boob Fairy," "Hot Flashes" and "Elastic Waistbands." Some of these observations on the female condition had the audience literally gasping for breath. While not all the songs are humorous, they are all life affirming.

Each babe is given her moment to shine and display her considerable, multiple, musical chops. Debi Smith is a five-octave soprano who also plays the Bodhran (Irish drum). She skewers her own talents by releasing her "Inner Diva" then takes your breath away with her powerful song about parenthood. Deidre Flint, puts her stand-up comedy background to good use on "Cheerleader" and "Here Comes Metric," using impeccable delivery and timing. Sally Fingerett is an accomplished pianist when she isn't raiding her cupboard for "Chocolate." Her strong folk storytelling roots are the most evident. Nancy Moran, a respected Nashville talent, tells it like it is, explaining there is "(No Such Thing As) Girls Like That." She personified the best girlfriend everyone wishes they had.

Despite some turns toward more traditional musical styles, the quartet sends everyone home laughing. Audience members leave the theatre feeling they know these women and hoping for the opportunity to sit down and "dish" with them again.

Men Fake Foreplay

Men Fake Foreplay
City Stage, Springfield, MA
www.symphonyhall.com
through January 31, 2010
by R.E. Smith

"Men Fake Foreplay" is neither as simple nor as crude as the title might suggest. In fact, this witty, funny and insightful show is actually quite complex. Emmy award winning comedian Mike Dugan is an affable and candid performer who has set out to win our trust with humor and then teach us a few lessons. Since the lessons are about men and relationships and sex, we get the pleasure of laughing heartily while taking our medicine. Dugan has created a hybrid show designed to examine the seemingly irrational motivations of men.

"Foreplay" is part monologue because of the autobiographical nature of the material and Dugan's sometimes-surprising revelations. The thread that ties the insights and humor together is the story of his personal journey. He reports that in the past he didn't have relationships because "all of my training had been in casual sex". There's also a motivational aspect, as Dugan lays out the path he took to overcome his failings. This includes such insights as the fact that, like the sports men love, "Our feelings are on tape delay."

There's a bit of one-man play present in the structure, because Dugan touches on characters in his life with effortless mimicry, whether putting a dirty spin on "It's A Wonderful Life" or speaking in the vernacular of his childhood friends. But, like a stand-up show, there are bawdy, laugh out loud moments. Dugan reports that, "Women peak at age 40. Men peek at whatever they can."

The performer has some things he is truly upset about, especially the current culture of "playas" that profit from the degradation of women, and his keen observations of social norms and hypocrisies calls to mind George Carlin. Like Carlin, Dugan has a first class mind with an R-rated vocabulary.

"Men Fake Foreplay" is a unique and worthwhile evening's entertainment. Some men will "get it", some men will learn from it and both their female companions will laugh knowingly.

Til Death Do Us Part/Late Night Catechism 3

CityStage, Springfield, MA
www.symphonyhall.com
through November 15, 2009
by K.J. Rogowski

CityStage's "Late Night Catechism 3" confirms what most audience members already know: nuns are really funny people. This one woman show featuring Kimberly Richards as everyone's archetypal nun, has the theatregoers participating and laughing out loud from the moment she steps on to the stage and brings the entire house to a respectful hush with just "that look." And from there it's all down hill for those who are late for class, rustle papers when they should be paying attention to Sister, talk among themselves or, (perish the thought), chew gum in class! Evil doers beware, there's a Nun on the loose, and she's got your number!

The keys that make this show such a roaring success are: one, it is a classic flash back for anyone who ever stepped foot in a fifth grade classroom complete with pop quizzes, stern looks and reprimands for every and any offense, or misstep. Second, it is as much stand up comedy as it is a play, with Richards using local towns and current events as part of the act, having ongoing interaction with the audience and having a witty quip for every interaction. This Nun is "working the house" like a pro while reminding her audience that she is, indeed, the person in charge in this classroom. "You will sit up properly and pay attention and you will laugh." For those who can rise to the occasion and actually quote chapter and verse from the Baltimore Catechism, there just might be an appropriate, yet modest reward. So, for those up for an evening of divine audience participation comedy just say "Yes, Sister," and move to the front of this comedy class for laughs.

Girls Night Out: The Musical

CityStage, Springfield, MA
www.symphonyhall.com
through October 25, 2009
by Sharon Smith

The "girls" in the audience of "Girls' Night Out: The Musical" want to have just as much fun as the title implies. Five 40-something friends gather to celebrate the milestone of one of their daughter's engagement. Drinking and karaoke ensue. That the audience comes prepared to party helps create moments filled with laughter and sing-alongs.

"Girls' Night" borrows elements from many sources: "Carousel", "Desperate Housewives", "Mama Mia" and "Sex and the City." The girls reminisce, dish, snipe, gripe and, of course, dance to anthems like "It's Raining Men". The show has a loose, improvisational feel that gives the effect of ease dropping on a drunken bachelorette party.

Kira Galindo, Laura Saenz and Debra Toscano had wonderful voices. Toscano had an especially effective interpretation of "Don't Cry Out Loud". Priscilla Fernandez was often reduced to the role of cheerleader, cajoling the audience to get up and sing along. The female-centric crowd did want to join in, but seemed a bit stifled by the conventional theatre seating.

No prompting was needed for the audience to fully invest in Christina Cataldo's emotionally powerful version of "The Love of My Man". After her scorching performance of this potent song, the audience would have happily listened to her sing about the contents of her purse. She also proved a deft physical performer, breaking out some funky dance moves and high kicks.

It seems, however, that show doesn't seem to know what it wants to be: a cabaret, a musical review or a play with karaoke moments. Some characters are played over the top, others are rather mean spirited at times. The author creates a serious, revelatory moment to explain these traits, but when a show is billed as "hilarious" it only serves to cast bring everybody down.

However, the energy and talent of the performers is enough to carry the evening. The song selections are varied and amusing and the "girls" deliver some funny lines with great timing. Go for the camaraderie and to enjoy some very talented singers. They earn their "one more time!" at the curtain call.

Mother Load

CityStage, Springfield, MA
through April 19
by R.E. Smith

Who knew parental guilt could be so funny? "Mother Load" spins 75 minutes of genuine laughs around a single notion: "as a mother I am an utter failure." Since every parent has probably had that thought, it is gratifying to see the internal monologue hilariously played out so that one can nod along in agreement.

Betsey Stover was an endearing, identifiable and fearless performer. If you didn't identify with her character Amy's messy living room set, you had to find some common ground when she lamented the condition of her midsection and dejectedly showed it off. She was equally adept with verbal and physical comedy, rapturously enjoying her first child-free exercise class one moment and then skewering a pompous pre-school screener the next. Her vocal delivery of a grandmother's simple assessment of a baby's constant crying was priceless.

Amy Wilson's script is a transcript of common truths that mothers share over frazzled cups of coffee. Pestered by the disembodied voice of "experts" on such topics as "sippie cups of death" and "interpretive dance for toddlers," this "everymom" is confronted with naysayers at every turn. While some one-person shows would grandstand with maudlin asides, Wilson wisely understands that laughs are far more therapeutic.

Julie Kramer's direction keeps the laughs coming fast and their aim is true. The synergy between writer, director and performer is evident in a segment when Wilson realizes that she actually got to sleep through the night. Mom's reaction to even this happy circumstance can have guilty consequences. The moment is fresh and real.

It should be noted that this reviewer was one of only a dozen males in an audience of females, but that in no way detracted from the enjoyment of the material. Certainly some of the most hilarious bits were female-centric: breast feeding support groups that offer no support at all or how easily it is to deviate from your "birth plan" when the pain of childbirth sets in. But the fear that one isn't living up to "best" parent standards crosses gender lines. "Mother Load" is like a big hug that helps a parent know that one is not alone.

Altar Boyz

City Stage, Springfield
Through March 22
Review by R.E Smith

If shows like "Phantom" or "Company" are a piece of rich, devil's food cake then "Altar Boyz" can only be compared to a light, fluffy piece of Angel food. The latter makes a tasty dessert, but it isn't quite as filling or substantive as the former.

Like a good sitcom premise, the show can be summed up in one line: Catholic boy band. Matthew, Mark, Luke, Abraham and, um, Juan were brought together by the Almighty to spread his word through "rhythm and rhyme." The performers are all hard working and some are successful at showing hints of humanity behind their stereotypes. Philip Drennen, as the group's sincere, sensitive leader, kept things grounded in his own earnest reality.

A real stand out here is the choreography. The "Boyz" come across as a combination of Vegas dancers and NFL cheerleaders. Pay close attention to the "hand moves" and you'll find gang symbols replaced with signs of the cross and genuflections.

The music is certainly well constructed; the melodies cover all the pop music archetypes from power ballads to catchy dance tracks. "The Miracle Song" is a snappy rap that asks Jesus "how’d you do 'dat?" and "Number 918" finds the boys performing a melodic exorcism on the few remaining audience members who haven’t yet heard the call. Sample song lyric: "Jesus called me on my cell phone, no roaming charges were incurred, He told me that I should go out in the world, and spread His glorious word."

For those who have seen late-night commercials for CDs of Christian rock, it's clear that these lyrics are not actually that far removed from their comedic target. Because of that fact, the audience is never quite sure if everyone is harshly ridiculing the genre or gently mocking it with tender affection. It's also unsure who the primary object of ridicule is; boy bands, Christian music or Catholics in general. There are plenty of opportunities to laugh, and the 90-minute show moves along so quickly. After all, who can eat just one piece of Angel food cake?

Matt Lewis' Elvis

City Stage, Springfield
through March 8, 2009
by Eric Sutter

He was the King... he was the Guitar Man, and was a poor country boy who became a Rock idol. He hasn't left the building. Matt Lewis was raised far away from Tupelo, Mississippi but his spirit for entertainment is similar to that of Elvis. He impersonated the mannerisms, gestures and voice of Elvis extremely well -- almost eerily at times. He began his show with the featured song "A Little Less Conversation" from the 1968 movie "Live A Little, Love A Little." The song kept the memory of Elvis alive when it returned to the charts in 2002 by Remix JXL for the Nike World Cup commercial.

Dressed in the early-years style of gold jacket and black slacks with acoustic guitar, he performed a medley of early hits including "Return to Sender" with back-up by local musicians Jim Henry on electric guitar and Guy DeVito on bass. The show was fast-paced and broken up into segments of Elvis' 23 year career. The movie years featured the "Jailhouse Rock" 6240 prison uniform along with two female dancers as correctional officers. He rocked "Follow That Dream" and ventured into "Blue Hawaii" with "Rock-A-Hula." A warm "Love Me Tender" ended the set.

The '68 Comeback Special had another medley of rockin' hits such as "Heartbreak Hotel." With "Baby Let's Play House," Lewis dressed in black, flirted with the audience, and women screamed as Henry played an exciting guitar solo. "In the Ghetto" was a stand-out that brought forth a strong emotional response. He closed the first half with "If I Can Dream."

The jumpsuit Vegas years with the passionate "Burnin' Love" and "Suspicious Minds" featured the dancers in white GoGo boots and red wide-sleeved mini-skirts. "My Way" readied the thrilled audience for the Gospel sing-a-long "Amen" and the cheer down of "Crying in the Chapel." The patriotic "American Trilogy" moved the audience deeply. Matt Lewis encored with a wild "Viva Las Vegas."

Mama's Night Out

CityStage, Springfield
through January 25, 2009
Donna Bailey-Thompson

Three certifyingly funny comediennes who got to where they are – first-class professionals – by honing their craft, perform their "Mama’s Night Out" for predominantly women, but as long as men are as comfortable as women about laughing at themselves, their material is any-gender friendly.

Karen Morgan, a transplanted Georgian who lives in Maine, opened the show with a burst of amusing stories about her three young children’s speaking idiosyncrasies: because their sentences include words and phrases that embrace both their mother’s Southern and father’s Down East accents, Morgan said, "They’re bilingual." She tossed in cracks about Southern cooking: "There are four food groups – sugar, salt, fat and alcohol." As for skinny women who are a size 0, she quipped, "If you’re not big enough to have a number, don’t leave home. Eat a sandwich!."

During the next half hour, Nancy Witter kept the laughs coming. The audience learned that she’s 50, enjoys a drink, and recently married a man who is 60. She spoke of her mother who drank vodka, even when nursing, and consequently, "I had my first White Russian when I was four hours old." She blames her battle with the bulge on having an "insatiable appetite, slow metabolism, and yeast infection." As for anyone who wears a size 2, she said, "I could cook you, eat you, and still be hungry."

Sherry Davey’s comedy was the edgiest. She skewered the overuse of prescription medicine for children: "...dispensing Benadryl for hay fever in February?" She referenced the Inauguration and poked fun at President Obama’s dancing style. Her rift about the stereotypical foibles of husbands had the women in hysterics. "I look forward to being a widow: the thank you cards are already written." Following her set, all three women took the stage, swapping banter and jokes. Nancy Witter said, "An Irishman walks out of a bar. Well, it could happen!"

These three mamas met when they competed in Nick at Nite’s Search for America’s Funniest Mom and became finalists, beating out over 1000 hopefuls. They’re worthy of a return booking at CityStage.

Menopause the Musical

City Stage, Springfield
through November 16
By Karolina Sadowicz

“Menopause the Musical” might not sound inviting to most men, but it’s a hilarious musical romp that will make anyone laugh.

Set inside Bloomingdale’s, the show begins with four very different women caught up in one lingerie sale, discussing some of the small inconveniences and larger indignities of “The Change.” Relying on a score of well-known songs from the 60s, 70s, and 80s, “Menopause” brings new words to old tunes and muses on what the change means for women. The show’s opening number “Change of Life” is set to Aretha Franklin’s “Chain of Fools.” Though all the song reinventions are clever, the reluctant workout anthem “Puff, my God, I’m Draggin” had the audience in stitches. Whether it’s hot flashes, insomnia, libido, overeating, or antidepressants, the songs explore all the trials of menopause and aging with wit and self-deprecation, encouraging women in the audience to relate rather than feel embarrassed.

A professional woman played with attitude by Fredena Williams leads the ensemble in vocalizing symptoms and changes through music and humor. Williams is a standout singer who claims some of the show’s highest peaks. She is accompanied by the lithe Licia Watson, playing a vain but charming, aging soap, a hilariously dazed Pammie O’Bannon –as a hippie mom, and disarmingly earnest Sandy Dewoody as a wide-eyed Iowa housewife.

These four keep a lively pace through dance numbera that are equal parts sass, goofy miming, and unabashed hip shake. Minimal set changes swiftly and seamlessly take the ladies and audience to different floors and departments in the store, with the cast changing into silky pajamas for “Good Vibrations” – now a song about self-love - and into slinky black numbers for the show’s finale. The cast excel in singing and dancing together or solo, and make the most of ample opportunities for physical humor.

Making its fourth return to City Stage, “Menopause” is a fun and empowering musical for women of all ages and life stages, and a hilarious, eye-opening ride for everyone else.