Review: “Crazy For You” Goodspeed Opera House

Goodspeed Opera House, East Haddam, CT
www.goodspeed.org
extended through August 16, 2026
by Shera Cohen

“Crazy For You” is one of those musical reincarnations from days of old; in this case from “Girl Crazy” in the 1930’s and revived in the early 1990’s. “If you’ve seen one, you’ve seen ‘em  all,” assuredly someone must have said. In this case, repetition breeds smiles, laughs, and joy to Goodspeed’s audiences.

This work of the brothers Gershwin, strewn with at least a dozen familiar songs, deservedly became one of the 20 longest-running musicals in Broadway history by the end of its run.

The plot, such as it is, pays tribute to black & white movies. Actually, the musicals preceded the movies. Their monikers are huge, costumed dance numbers by what appear to be a cast of thousands. Most of Act I and all of Act II are populated by a cadre of townsfolk characters, initially skeptical as to why on earth would anyone come to “East Podunk,” NV for culture? In short time, they enthusiastically shout the proverbial -- let’s put a show on in the barn. Welcome to Off-off-off-Broadway with a twang.

Familiar is the boy meets girl love-at-first-sight plot. It’s so easy to lock lips when the two have a common interest; tapdancing. Will Burton (Bobby…aren’t all young men called Bobby?) is a terrific dancer who can also sing well. Brittany Zeinstra (his love interest, Polly) is an exemplary mezzo-soprano who can also tap. Burton plays a naïve and somewhat goofball lead to Zeinstra’s cowgirl with a head on her shoulders. Zeinstra’s “Someone to Watch Over Me” and “But Not for Me” show off her melodic and wispy vocal style. Burton and Zeinstra’s chemistry go beyond that of most musicals of this ilk. The audience anticipates before their first important duet, “Shall We Dance?” that these two will hit it off. 

The charm of “Crazy For You” doesn’t rest on the love-interest. There are other individuals to applaud. Edward Juvier (Bela Zangler, the erstwhile in-debt empresario), coupled with Burton, gets the most laughs in a lengthy slapstick bit. This element has the talents of Ken Ludwig written all over it. Ludwig, a prolific contemporary playwright whose forte is comedy, happens to have penned the musical’s book. Hailey Thomas and David Andrew Morton (showgirl and cowboy) squeeze every ounce of sex appeal in their stand-along number “Naughty Baby”. The piece is an unnecessary filler; it seems that the Gershwins liked it enough to make room for it anywhere. The audience is glad. 

The make-it-or-break-it bottom line for Goodspeed’s successful musicals is the compiled talents of Director, Choreographer, and Music Director. In this case, Michael Fling, Kelli Barclay, and Adam Souza, respectively, form the ideal mix of humor, pace, and creativity on a small stage for as many as 20+ dancers at any given time.

In addition to this triumvirate of skills, life on the Goodspeed stage would be lacking without costumes by Joseph Shrope. So many instant changes, colors ‘n glitter, and tap shoe steps that are easily the most important staccato instrument.

Perhaps the biggest problem for audience members at “Crazy For You” is deciding which song becomes the one stuck in their heads on the ride home.

Review: “Jesus Christ Superstar”

Goodspeed Opera House, East Haddam, CT
www.goodspeed.org
April 17 – June 7, 2026
By Geoffrey and Linda O’Connell

In the late 1960’s, young composer Andrew Lloyd Webber and lyricist Tim Rice tried their hand at songwriting with the pop-music cantata “Joseph and the Amazing Technicolor Dreamcoat.” The piece was a minor success and led them to something grander, their rock opera “Jesus Christ Superstar,” which has been produced worldwide for more than half a century. Goodspeed Opera House brings a new production that is as fresh as today’s headlines while paying homage to the original work.

The musical conveys a modern interpretation of the last days of Jesus. The music and lyrics were and still are bold, brash, questioning and genre-bending; a cultural cauldron boiling over with the tensions of the times.

Playing Jesus of Nazareth, Justin Matthew Sargent, commands the lead vocals, bringing back the heavy-metal style belting grit of the original album’s Jesus. Judas Iscariot, Austin Lesch, matches Sargent’s range and grit, lifting the Jesus-Judas, love-hate relationship to dizzying, emotionally fraught heights. The ensemble is strong throughout. Gender-blind casting as Nicolette Antonia Shin plays King Herod is a showstopper.

Director Tatiana Pandiani deftly manages the relationship between Jesus and his betrayer Judas, who wanted Jesus to lead the zealots’ revolt against the Roman occupiers and who questioned his divinity.

Both Pandiani and Scenic Designer Riccardo Hernandez use their spare tools wisely. The sand-filled stage serves as a prop for cast members to sift through the sand of time. Spare-looking small tables add depth to the otherwise empty stage, morphing into raised walkways, thrones, and temple terraces on which Herod and Pilate, Caiaphas and his high priests lord over the Jewish rabble below.

Pandiani never lets the secular, political themes that Rice explored in his lyrics be overshadowed by the theological gauntlet or the deeply personal psychology of Jesus and Judas. With echoes of the protests of 50 years ago morphing into today’s headlines, Pandiani makes the politics explicit with the zealots carrying signs saying: “Rome Lies, People Die” and “No Justice, No Peace, No Ceasar.”

Goodspeed’s stage extends with the pit musicians now set three floors below to vastly increase the space for dancers to spread their wings. Choreographer Amy Campbell has the talented full cast fill the space with energetic pop dancing movements.

Cha See’s heavenly-turned-hellish lighting, Adam Souza’s spare, rock band instrumentation, and Pandiani’s gifted direction conjure up the violence of the story – Judas’ suicide, Christ’s torture and crucifixion – in a way that live theatre rarely can these days.

The company successfully embraces the complexity of the creators’ narrative, balancing the intimate setting with arena-rock energy and music festival zeal.

Review: Goodspeed Musicals, "White Christmas"

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

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

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

Photo by Diane Sobolewski

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

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

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

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

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

Review: Goodspeed Musicals, "The Great Emu War"

Terris Theatre, Chester, CT

www.goodspeed.org
through October 26, 2025
by Suzanne Wells

The Terris Theatre presents “The Great Emu War,” a farcical story from the point of view of the Emus. Based on a true story, the “Great Emu War” of 1932 saw a flock of 20,000 towering, long-legged emus migrate into Western Australia, decimating its wheat crops. The government, ruffled by this invasion, deployed its military - armed with machine guns - to eradicate the nuisance. Imagine “The Roadrunner” cartoon with a National Geographic twist, for a sense of this comical, wildly dramatic, and occasionally risqué play.

Brimming with clever pop culture and political references, the show keeps the audience cackling, while lively songs, energetic choreography, and a dash of Hamlet-style revenge ensures that there is something for every member of the flock to enjoy.

Photo by Diane Sobolewski

Claire Saunders stars as Edith, a spirited and self-reliant young emu determined to make her own way. Rather than waiting to defend her nest, Edith uses clever tactics to outwit her adversaries. Saunders skillfully captures the struggles of a teenager frustrated by her father's overprotective wing, while also portraying a female boldly exploring her independence and sexuality. While Saunders' impressive vocal range is occasionally showy for Edith’s story line, it is a delight to experience.

Taylor Matthew’s performance as Major Meredith delivers entertaining over-the-top drama, reminiscent of William Shatner and Alan Rickman. Embracing his inner villain, Matthew makes Major Meredith a man you love to hate - a gun-toting, bird-fearing protagonist whose comedic timing and expressive reactions perfectly depict the chaos of facing a flock of determined, unyielding emus.

The music, composed by Paul Hodge and skillfully directed by Angie Benson, features an array of infectious show tunes that anchor the story. Highlights include the charming “Backwards,” which portrays the quirky, zigzagging lifestyle of the Emu, and the spirited “Love Doesn’t Start with a Bang,” marking the beginning of a heartfelt romance. The score also delivers emotional depth with ballads like “Fly Solo,” sharing thoughtful fatherly wisdom, and “Stand Still,” capturing the bittersweet transition from youthful exuberance to adult responsibility. Rounding out the lineup is “Boom," a playful boom-chicka-boom number bringing a cheeky twist that ironically suits the Emu-themed narrative.

“The Great Emu War” is a surprisingly entertaining, “booming” good production.

Review: Goodspeed Musicals, "A Chorus Line"

The Goodspeed, Goodspeed, East Haddam, CT

www.goodspeed.org

through

November 2, 2025

by Suzanne Wells

Celebrating the 50th Anniversary since its debut in 1975, Goodspeed Musicals presents “A Chorus Line,” conceived by Michael Bennett, written by James Kirkwood and Nicholas Dante, and directed by Rob Ruggiero. For those unfamiliar, "A Chorus Line"; based on interviews with real performers, delves into the hopes, dreams, and lives of 17 individuals auditioning for a chance to perform on Broadway. Packed with music, dancing, drama, comedy, and love, it has a little something for almost everyone.

Goodspeed Musicals

Ann Beyersdorfer, scenic designer, cleverly creates a New York Theater by lining the back of the stage with mirrors, which double as a dance studio. A live 14-piece orchestra, conducted by Adam Souza, performs a varied mix of 1970’s jazz, accompanying each performer during their moment in the spotlight. Breathtaking dance routines, choreographed by Parker Esse, fill the stage with so much movement your eyes can hardly keep up with all the leaps, spins, and pinwheels.

Scarlett Walker as Sheila, Lisa Finegold as Bebe, and Liesie Kelly as Maggie perform “In The Ballet” depicting hopeless childhoods with transcendent voices. Diego Guevara’s honest, moving monologue as Paul, an in-the-closet

homosexual, will not only make you cry, but will burn his story into your soul.

Comic relief abounds though out the show, starting with Clifton Samuels, in the role of Zach, captivating viewers with his expressive mime work during “I Hope I Get It,” the comedic duo of Alex Drost and Haley Bjorn, portraying Al and Kristine, present a hilarious rendition of “Sing,” and Beatrice Howell’s vibrant and energetic portrayal of Val in “Dance: Ten; Looks: Three” keeps the audience laughing.

 

Romantic elements are woven into the story as Karli Dinardo and Clifton Samuels, portraying Cassie and Zach, revisit their past relationship. However, the production’s deepest love story is found in the passion for dance itself. This is subtly expressed through Karli Dinardo’s mesmerizing solo, “The Music and the Mirror,” which beautifully highlights her strength and grace. As well as Mikaela Secada’s intense and powerful performance of “What I Did for Love,” in the role of Diana.

The Goodspeed’s production of “A Chorus Line” is timeless story and makes for a spectacular night out. Don’t miss your chance to experience this “One” singular sensation!

Review: Goodspeed Musicals, "Ragtime, The Musical"

Goodspeed Opera House, Essex, CT

www.goodspeed.org 

through June 15, 2025

by Suzanne Wells

"Ragtime, The Musical" is a dramatic, inspiring, and entertaining production by Goodspeed Opera House, directed by Christopher D. Betts. Representing three demographics during the Golden Age of America—the wealthy, the immigrants, and the children of freed slaves—"Ragtime" captures the disappointments, struggles, hopes, and dreams of each as they strive to embrace the American ideal that all are welcome and anyone can be successful.

Photo by Diane Sobolewski

The stage is set in a large room with cathedral ceilings, a second-level catwalk in front of long floor-to-ceiling windows, and a rolling staircase. This simple, elegant design by Emmie Finckel offers a myriad of locations, from ships docked in the harbor to salons in mansions to train stations. With the assistance of colorfully painted backdrops, the open-air construct allows for outdoor scenes on city streets, parks, and roadsides.

The costume design by Stephanie Bahniuk transports the viewer to a time when the wealthy were clad in chiffon dresses with parasols, three-piece suits and top hats; immigrants struggled in the cottons and wools of their homelands; and colored folks, in their taffeta dresses and off-the-rack pinstripe suits celebrated life in Harlem dance halls. Background to the latter is the spectacular, star-spangled sequins of the vaudevillians.

The music, conducted by Adam Souza, superbly blends a variety of genres including ragtime, gospel, and traditional melodies. Choreography by Sara Edwards, with its varied kick lines and shadow waltzes is a sensational sight to behold.

Every actor of this 23-person cast plus ensemble deserves recognition for their exceptional performances.  Each member’s unique energy and skill in acting, singing, and dancing enhances the deep, emotional experience of this story. Michael Wordly’s portrayal of Coalhouse Walker, Jr, is powerful and poignant.  His deep, earthy voice reaches into the soul and extracts emotions of hope, joy, and sorrow.  Mamie Parris’ nuanced performance of strength and vulnerability establishes her character, “Mother,” the heart of the show.  As “Father,” Edward Watts is compelling with the evolution of his character from segregated elitist to a believer of equality.  Stephen Tewksbury’s versatility shines in his dual roles of “Grandfather,” providing comic relief, and of Irish immigrant, Willie Conklin engendering feelings of hatred and revulsion. 

“Ragtime, The Musical” is a testament to the power of theater to provide a deeper understanding of the complexities of the American experience, both then, and now.

REVIEW: Goodpeed Musicals, "No Love Songs"

Goodspeed Musicals, East Haddam, CT

www.goodspeed.org

through October 20, 2024

By Suzanne Wells

Photo by Tommy Ga-Ken Wan

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

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

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

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

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

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

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

Review: Goodspeed, “South Pacific”

Goodspeed Musicals, East Haddam, CT

www.goodspeed.org

through August 11, 2024

by Shera Cohen

Opening on Broadway in 1949, “South Pacific” won a slew of Tony Awards. Set toward the end of WWII, composer and lyricist Rodgers & Hammerstein placed their micro-story into the behemoth history of the war in the Pacific.

The musical is lauded for its balanced measure of love, joy, and happiness; with a sobering mood of bigotry, hatred, and death in wartime.

The best of “South Pacific” is the music, particularly the ballads. It would take a cast and crew of first timers to mess that up. Not to worry, Goodspeed’s orchestra led by Adam Souza, and nearly all singers make this musical special some 75-years after its premiere.

The plot is simple: two love stories along with the intrigue of a spy mission, and its repercussions to the couples.

Danielle Wade, Nurse Nellie Forbush, plays spunky well with her southern twang and body
movements. Her first scene with her potential lover, shows her with arms crossed tightly. Later on, when she’s “In Love with a Wonderful Guy,” she’s jumping and doing cartwheels. The audience realizes some of her transformation, but it’s not convincing. Perhaps if Wade was charged with one dramatic solo, the audience would care for both the character and actress more. 

Omar Lopez-Cepero, Emile de Becque, her handsome counterpart with French accent and swarthy frame, looks and sounds like opera star Jonas Kaufman. Even if Nellie has her doubts, the audience loves him. Thank goodness that this amazingly talented baritone is given the opportunity to showcase two of the most lush and romantic blockbuster solos from a musical: “Some Enchanted Evening” and “This Nearly Was Mine”. The actor’s  stance and speech are understated, giving even more power and depth to his songs.

Other important roles are those portrayed by Cameron Loyal (the stoic Lt. Cable) and Keven Quillon (the affable Billis). Joan Almedilla, in the pivotal role of Bloody Mary, punctuates her dialogue with sass, yet sings her signature piece, “Bali Ha’i” as a haunting whisper.

Speaking of the Island Bali Ha’i, the image is back, center, and ever-present on stage. Lighting design makes minor visual effects. Once on the island, the setting becomes a curtain-like multi-colored drop representing a floral forest. The attempt at an island paradise doesn’t work. Too busy. It overpowers the placement of the characters so much that the second pair of lovers are nearly obliterated. Lighting and light-colored costumes might fix the problem. 

Photo by Diane Sobolewski

As in nearly all musicals are the big-dance numbers. “South Pacific” is not lacking: “There’s Nothing Like a Dame,” “Bloody Mary,” and “I’m Gonna’ Wash that Man Right Outta’ My Hair’’. Choreographer Parker Esse makes all three segments fun.

It is sad that much of the plot’s mood tackles the subject of prejudice and ignorance, especially involving the two couples. That theme may have changed a bit in past decades? Director Chay Yew does not beat the characters or the audience up on the subject, although discrimination is ever-present.

And the audience? Too often, those seated immediately give standing ovations as if required. If a S.O. is appropriate, then rise. Anyone who attends theatre knows that cast members take bows in descending order – smallest roles first, leading up to the stars. This does not mean that those in lesser roles are not skilled and/or deserving of praise.

Bravo to Goodspeed’s discerning audience, clapping politely, yet showing true appreciation at the entrance of Ms. Almedilla (Bloody Mary) and again for Mr. Lopez-Cepero (Emile). 

Review: Goodspeed, "A Complicated Woman"

Goodspeed, Terris Theatre, East Haddam, CT

www.goodspeed.org

through June 2, 2024

by Suzanne Wells

“A Complicated Woman” is a moving story of the life of John Kenley presenting at the Terris Theatre. “Complicated” is the perfect adjective to describe this musical. This show will open the eyes of theatregoers to the social stigmas of the mid-20th century, the overwhelming isolation of being “different,” and the beautiful bonds that can be formed with “acceptance.”

The play is based on pioneering legend John Kenley, born bi-gender, he is known for managing the Ohio summer stock premiers of the biggest Broadway shows from the 1900's, as well as his alternate life as Jean. Nora Bridgid Monahan is inspiring in the role of John; an ambitious, successful producer, as well as Jean, a fun-loving, sexual woman who desires a loving family. 

Nina May, portrayed by L Morgan Lee, represents everything Jean desires. A liberal, free-thinking, trans-gender woman who finds love and a family. Lee’s singing of “In the Light of Day” and “When I Chose You”, accompanied by Christian Brailsford as Oscar, Arewa’ Basit as Diamond, and Zachary A. Myers as Muhlaysia, is mesmerizing. 

Klea Blackhurst plays Myrtle “decidedly” well. Myrtle is the opposite of Nina Mae, representing the conservative mindset.  She presumes to be responsible for much of John’s success as long as he complies with the bible-belt’s social conditioning.   

Music and lyrics by Jonathan Brielle preverbally make toes tap and when combined with the vocals of L. Morgan Lee, become almost spiritual like a gospel choir. Set designs, by Tobin Ost, consist of an arch which transforms from bedrooms to offices to restaurants; and a billboard one can easily envision along a highway that transforms into a panoramic series of advertisements seen on the streets of New York.

The Terris Theatre is a small venue within a glammed-up industrial building. The lobby is a mixture of painted cement blocks and duct work with chandeliers, bistro tables and upholstered sofas. Within the theatre, half the view is of the stage, and the other half of the wings. While intimate, the stadium seating ensures that the audience will have a clear view and may even feel in the thick of the action.

From the location to the performance, nothing is uncomplicated in this poignant tale of diversity and inclusion.

Review: Goodspeed Musicals, “The Mystery of Edwin Drood”

Goodspeed Opera House, Haddam, CT

www.goodspeed.org

through June 2, 2024

by R.E. Smith

Bouyant, playful, high-spirited and a little bit naughty, “The Mystery of Edwin Drood” is the type of musical that is becoming increasingly rare: one that doesn’t take itself too seriously or try to earnestly deliver a deep moral lesson. In fact, it revels in the idea that Dicken’s never actually finished the namesake novel, leaving the audience to decide the ending, setting the show on a foundation of chaotic energy. 

Rupert Homes won multiple Tonys for the original Broadway production including Best Musical, Best Book of a Musical and Best Original Score. Before you reach for the Google, this IS the same Rupert Homes who wrote and performed the 1980’s hit “The Pina Colda Song”. But his musical background is quite varied and, being British by birth, he took inspiration from Dicken’s London and 1800’s music halls.

Photo by Diane Sobolewski

Interesting to note is that the most successful songs are not actually connected to the “mystery” part of the script but rather the English pantomime tradition of the framing device. “There You Are”, “Off to the Races,” “An English Music Hall” and “The Writing On the Wall” have the peculiar effect of being so genre-familiar that the audience wants to sing along, even if they don’t know the words.

All this opens the book up to a much lighter tone than the Dickens’s source material. Holmes has said that “the musical is to the novel what “Kiss Me Kate” is to the “Taming of the Shrew”. Exaggerated melodrama, double entendres, split personalities, hiss-abale villains, and broad stereotypes (gleefully acknowledged) abound.

A few characters are crafted to be audience favorites and the performers at Goodpseed do not disappoint. Liz McCartney as Princess Puffer, David Beach as Durdles, and Jamie LaVerdiere as Bazzard each have smaller, but memorable roles, with cracker-jack comedic timing and crowd-pleasing numbers. Lenny Wolpe as “the Chairman” is on-stage more than any other, serving as ringmaster, narrator and “stand-in”, and his energy is deceptively consistent throughout. He makes an immediate connection.

The costume design by Hunter Kaczorowski is vibrant and fun, Ann Beyersdorfer’s scenic design is at once modern, but nicely referencing the music hall setting. 

More than usual the cast is given the opportunity to connect with the audience and break the fourth wall. Often and repeatedly. Like a theatrical nesting doll, we’re watching actors, playing actors, playing characters in a mystery, set inside a music hall, staged at an Opera House.

All this makes for comedic hard work, but the entire cast makes it look effortless. The only unsolvable mystery with this show would be if someone was seen leaving the Opera House without a smile on their face!

Review: Goodspeed Musicals, “Dreamgirls”

Goodspeed Opera House, Haddem, CT

www.goodspeed.org

through December 30, 2023

by R. Smith

Photo by Diane Sobolewski

“Dreamgirls” is a veiled variation on the turbulent story of Diana Ross and the Supremes, Berry Gordy and Motown Records. Perceived as a more “recent” show (it premiered in 1981) it is probably one that newer theatergoers have heard of but never seen. Even the Hollywood adaptation came out 17 years ago. Although having a large cast, and being ostensibly about group dynamics and family, it is individual elements that stand out in Goodspeed’s latest revival. 

When the ensemble works, it is in the group musical numbers that lovingly recreate the Motown sound, especially in the first part of the first act which is a rapid-fire musical journey through the mid/late 1960s. The title song, for instance, is spot-on “girl group.” There’s also some doo-wop, smooth R&B and even a little disco.

Then there’s the star making “(And I am Telling You) I’m Not Going” which belongs to the character of Effie. Even though the character is not immediately sympathetic, by the time this showstopper comes along, she’s earned the right to her pain. Director Lili-Anne Brown’s notes indicate that the first priority was to cast actors who happen to also sing and dance well and this Trejah Bostic, as Effie, certainly does. The powerhouse number succeeds because it is driven by emotion as much as vocal prowess and Bostic delivers both.

Mykal Kilgore’s character Jimmy (a James Brown surrogate) has just as many trials and tribulations as the title characters, and may actually have made for a pretty solid show just on his own. Jimmy is a lot of “id” and that requires comedy, pathos, manic energy and sheer personality to make the audience love him as they do. Kilgore’s facial expressions, line delivery and other-worldly singing voice exudes the force and depth of his talent. The energy level of the show is elevated each time he is on stage.

Much credit must be given to the performers and director for overcoming some inherent weakness in the book, which doesn’t give the characters much depth but rather relies on archetype. Ta-Tynisa Wilson, as Deena, especially, does all she can to give a very passive character some life, with her body language and presence. Never given her own true solo moment, Wilson still makes you take notice when she gets to step up and sing.

The show is full of visual excitement as well, evidenced by Samantha C. Jones costume design that spans almost 2 decades. Even the proscenium of the stage is bedecked in a shimmering fringe.

It is fitting that Goodpseed, with its mission of preserving and reviving American musicals, has staged this production and thoughtfully engaged an artistic team that brings a unique and appropriate authenticity to the production. While not an all-out, non-stop blockbuster, “Dreamgirls” has amazing moments of musical theatre greatness that should be seen by any devotee of the genre.

REVIEW: Goodspeed Opera House, "The 12”

Goodspeed Opera House, East Haddam, CT

www.goodspeed.org

through October 29, 2023

by Bernadette Johnson

“What’s the buzz? Tell me what’s a-happening” … NOW. Think of the rock musical “The 12” as a sequel to “Jesus Christ, Superstar,” depicting a harrowing time in the lives of the most intimate followers of Christ. The story of Christianity didn’t end on Calvary, and this production is a unique approach to those days of uncertainty and turmoil, sketchily referenced in the Bible, that straddled the crucifixion and the resurrection.

Not intended as bona fide “Gospel truth” in every detail, playwright Robert Schenkkan’s creation takes a modern approach, stating, “Imagine what it would have looked like if it had happened in our day and age” approach to the biblical tale. Ann Hould-Ward’s costumes and director John Doyle’s set design accent the story's ageless relevance without distorting recorded history.

The 11 apostles, challenged by Mags (Adrienne Walker’s Mary Magdalene), cower in an abandoned garage, where barrels and ladders and a few other minor props provide the only staging. Commanding attention, however, is a huge stage-wide beam support that evokes the crucifixion.

Challenged by a script evocative of thought rather than action, Doyle uses tableau, skillfully enhanced by Japhy Weidman’s lighting design, to juxtapose the actors on stage. The technique meets the weight of the story, artistically enriching the depth of each character's internal struggle and their unavoidable dilemma occasioned by the dire circumstances – to flee from the Roman threat or stand firm in their newfound faith.

“The 12” is musically dynamic, delivered artfully at Goodspeed, upholding its well-earned reputation for New York-quality theater in a quiet Connecticut town. Rema Webb's delivery of the song “Rain” as the grief-shattered Mother Mary is a mid-show crescendo, in itself worth the trip.

Whether one’s cultural lens is Christian, Jewish, Muslim, Atheist or other is immaterial. “The 12” reaches beyond the Christian Bible to the crux of our shared human existence. At this apex are all the emotions that 11 of Jesus' apostles and Mary Magdalene, claiming the vacancy created by the traitorous Judas, thus rounding out “The 12,” portray on stage – fear, anger, grief, uncertainty, and utter isolation.

Through music and imagination, “The 12” brings its audience to realize that it's not what we feel but the choices we make toward love, compassion and care for others that finally deliver our greatest strength. Resilience.  

Review: Goodspeed Musicals, "Summer Stock"

Goodspeed, East Haddam, CT

www.goodspeed.org

through August 27, 2023

by Suzanne Wells

Photo by Diane Sobolewski

"Summer Stock" is wholesome entertainment with a variety of music, dancing, and a modern twist. If seeking a re-creation of the 1950’s movie, audiences will be slightly disappointed as there is no tractor in this production. However, even though the motivation has changed, the plot - saving the farm, producing the show, and falling in love - all remain an integral part of this story.

Writer Cheri Steinkellner adapted the movie into this stage production, subtly incorporating the challenges of equality for race, gender, and sexual orientation into the storyline, without diminishing the hopeful, feel-good characteristics of the musical. In addition, Steinkellner increased the score from nine to 20 songs including a variety of hits like “The Best Things in Life are Free” and “It Had to Be You.”

Set in the Connecticut River Valley, the scenery, designed by Wilson Chin, is comprised of the Wingate drawing room, the farmhouse, and the barn/stage, providing perspectives from onstage and backstage, for the latter. Collaborating with lighting designer Jeff Croiter, the timeline transitions from sunrise to sunset, and from one beautiful starry night to one vividly pink morning. Costume designer, Tina McCartney’s dons her cast in flannel pajamas, overalls, dancewear, and military uniforms which further enhances the creation of a mid-20th century farm turned theatre.

Danielle Wade as Jane Falbury, has a beautiful voice and is a graceful, acrobatic dancer. However, she was occasionally overpowered by the live orchestra, and overshadowed by Arianna Rosario who played her sister, Gloria Falbury, in almost every scene they shared. Wade’s performance of “Get Happy,” while a lovely tribute to Judy Garland’s movie performance, was slightly lacking in the earthy sensuality that makes that particular gospel song remarkable. 

Corbin Bleu as Joe Ross is a marvelous dancer – strong, powerful, and flexible. He is a joy to watch. His solo performance pays homage to Gene Kelly, mixing everyday items into the routine including a clothing rack, and of course, the newspaper that ultimately leads to the answer to all their problems. 

Gilbert L. Bailey II as Phil Filmore and Will Roland as Orville Wingate II are hilarious as they establish a blossoming friendship and possible romance. However, Veanne Cox as Margaret Wingate and J. Anthony Crane as Montgomery Leach, ramp the comedy up several notches with their rendition of “Red Hot Mamma” to initiate their overly dramatic, over the top romance. 

Review: Goodspeed Opera House, "Gypsy"

Goodspeed Opera House, East Haddam, CT

www.goodspeed.org

May 10 - July 25, 2023

by Suzanne Wells

"Gypsy" is an emotional rollercoaster of song and dance.  Directed by Jenn Thompson and choreographed by Patricia Wilcox, with music direction by Adam Souza, "Gypsy" will make you laugh, fall in love, it will break your heart, and might even scare you.

Set in 1920s–1930s, the audience is transported from the Vaudeville era to the glamour of Burlesque. The scenic backdrop starts off with a series of advertisements that light up like Broadway billboards, establishing the location for each segment as they follow Mamma Rose’s dreams of finagling her daughters, June and Louise, along the road to stardom.

Emily Jewel Hoder plays "Baby June" who grows up to become the adult "Dainty June," played by Laura Sky Herman. Cameron Blake Miller takes on the role of "Baby Louise" and Talia Suskauer portrays the older version.

Every stage manager’s worst fear, Mamma Rose, the lead Judy McLane, is the most opportunistic, overly aggressive stage mother, ever.  Mamma Rose uses her brains, her wiles, and her commanding voice to manage everyone around her, from her two daughters and her fiancée, to the producers and stagehands. McLane’s execution of “Everything’s Coming Up Roses” and “Rose’s Turn” are inspiring, and her energetic performance keeps the audience entranced.

Talia Suskauer has a particularly outstanding achievement as Louise. With a little smoke and one large mirror, Louise comes of age, singing, dancing, and even showing a little skin. However, Suskauer's most prominent characteristic is her expressive face, conveying Louise’s doubts, fears, and loneliness without speaking a word – that’s talent.

One of many highlights, “You Gotta Get a Gimmick,” had the audience rolling with laughter. Performed by Valerie Wright, Romelda Teron Benjamin, and Victoria Huston-Elem, the scene is a humorous, fun-filled introduction to the world of Burlesque.

Philip Hernandez as Herbie, Edward Juvier and Geoffrey Wade as various characters throughout the production, all utilize their comedic and dramatic talents to emphasize Mamma Rose’s tunnel vision in her search for fame. And a special mention for Cha Cha who plays Chowsie, because who doesn’t love a show with a dog!

Because of the setting and subject matter, "Gypsy" is intended for mature audiences.

REVIEW: Goodspeed Musicals, “Christmas in Connecticut”

Goodspeed Opera House, East Haddam, CT

www.goodspeed.org

through December 30, 2022

by R.E. Smith

As light and fluffy as an early December snow, “A Connecticut Christmas” floats down to the Goodspeed to dress things up for the holiday season. Although based on the 1945 Barbara Stanwyck film of the same name, only the broadest strokes of the original remain. Independent, forward thinking woman journalist, Liz Sanborn, moonlights as the writer of a very successful “perfect housewife” magazine column, despite not having a domestic bone in her body. When asked to host an American war hero for Christmas at her “perfect” Connecticut farm, she must enlist her friends to help her fake her way through the festivities.

Photo by Diane Sobolewski

Where the playwrights succeed in their rewrite is in filling in Liz’s backstory, which was missing from the movie. They set up solid connections between characters and an understandable explanation as to how and why Liz and her editor Dudley concoct the original scheme. There are some clever movie call-backs as well, from names to whole passages of dialogue. But the introduction of new characters makes for one romantic relationship too many and the attractions are based more on the needs of the plot then through any organic attraction.

The score’s style is well influenced by the big band sound of the time period, with “A Capital Idea”, “The Most Famous Jefferson” and “Something’s Fishy” really hitting the big Broadway notes. While converting the presentation into a musical makes sense in crafting a holiday confection, many of the songs are quite specific to the show. One hopes for more universal tunes that could become standards as “White Christmas” did, but there are details that keep most locked to the story. “May You Inherit” which closes out the show, does succeed in that regard by delivering a broader sentiment.

It is the performances that make up for any weaknesses, though, as the leads are all top-notch. Audrey Cardwell, as Liz, is on stage almost the entire show and she has a commanding confidence backed by a lovely, strong voice. It is clear to see why she was recently the understudy for Marian in the Broadway revival of “The Music Man”. James Judy and Tina Stafford are crowd pleasers, making the most of their comedic moments as Liz’s Hungarian culinary secret weapon and a flustered housekeeper. Their delightful duet “Blame It on the Old Magoo”, was disappointingly short, and begs to be expanded into a full number. Matt Bogart as Victor Beecham, Dudley’s socialist farmer brother, and Josh Breckenridge as our soldier hero each get their moment in the spotlight, and they make great use of their commanding voices and presence. Breckenridge especially gets the opportunity to show real range, playing both comedy and light drama, endearing himself to the audience with playful charism.

“A Connecticut Christmas” is packed with a little bit of everything, from slapstick to romance, tap-dancing to social commentary. Like a holiday fruitcake, it may not be a perfect dessert, but it is sweet, a little nutty and comfortable, with some bright pops of color. Any fan of the Goodspeed with find it worth sampling.

Review: Goodspeed Musicals, "42nd Street"

Goodspeed Opera House, East Haddam, CT

www.goodspeed.org

October 9 - November 6, 2022

by Shera Cohen

Blake Stadnik and Carina-Kay Louchiey

Directly underneath the program book's title of "42nd Street" is the phrase "The Tap Dance Spectacular". That it is! 

Immediately following the downbeat of the short orchestral overture, the curtain rises slowly for the audience to see the legs of the dance troupe. Up comes the full curtain to showcase the core of the show -- the 20 or so young men and women tappers in pastel costumes, 40's hairstyles, and shiny shoes. They and their choreographer Randy Skinner, who also takes on the behemoth job as director, are the stars of the show.

"42nd Street" is perhaps the epitome of the musicals that is so delightful, yet not often produced, at least at regional and/or community theatres. In the case of Goodspeed, the last romp was 10-years ago. Why? The cast is huge and nearly all must be precise tap dancers, have excellent vocal ability, and smile at the same time.

The expected big chorus/dance number, with all on-stage ends Act I. The dancers wear a costume of dimes, nickels, etc. The script's era is the Great Depression. What better way to tie the reality of the day to the comedic farce of "We're in the Money"?

The story is the typical wannabe Broadway star. Newbie Peggy Sawyer portrayed by Carina-Kay Louchiey gets off the train at 42nd Street, New York, New York, USA. The rest of the script follows Peggy's ups and downs, dreams and insecurities, and a whole bunch of new friends routing for her. 

Louchiey is a lovely actor who can do her stuff, given her large amount of on-stage time to prove it. But she doesn't knock your proverbial socks off. On the other hand, her somewhat nemesis Dorothy Block depicted by Kate Baldwin chews up the scenery and upstages everyone onstage with a fun manner that never steps on anyone's toes. Baldwin is a stalwart at several Berkshire theatres. She is always the consummate professional.

There are too many memorable songs, so trust me that each is spectacular: "Lullaby of Broadway," "Shuffle Off to Buffalo," of course the title song, "42nd Street". But all is not on high-speed. "You're Getting to Be a Habit with Me" and "I Only Have Eyes for You" are two of other sweeter tunes.

Aside from the block-buster choreography, the true stars of the musical are never seen by the audience at the packed house at Goodspeed. Music Director Adam Souza and eight other musicians hold the entire show together with such ease. I lost count of the number of full-cast costume changes designed by Kara Harmon. However, one change took 17-seconds. Scenic Designer Michael Carnahan thought of everything to create dozens of seamless set changes along with moving projection backdrops by Shawn Duan. Exquisite!

REVIEW: Goodspeed Opera House, "Anne of Green Gables"

Goodspeed Opera House, East Haddam, CT

www.goodspeed.org 

through September 4, 2022

By Samantha & Susan Choquette

Goodspeed’s world-premiere production of the musical "Anne of Green Gables" is a fun, light-hearted show perfect for children, not to mention their adult chaperones. Goodspeed's angle on the classic tale sustains the story's most essential parts while making it their own. The mix of modern elements, particularly the choreography and costume designs blend with the turn-of-the-19th century plot, creating a beautiful retelling of this loveable story. 

Juliette Redden stars in the lead role of Anne Shirley; her impeccable voice, is particularly splendid in the songs "Waiting" and "A Different Kind of Girl". The lyrics and music certainly bring Anne to life. We see a stubborn, smart, and won’t take 'no' for an answer young girl in Act I. As Anne becomes more mature in Act II, Redden beautifully captures the essence of a young woman, grateful for what she learns about life. The direction of Act I seems to speed by yet with an even pace. The opposite is true in Act II.

Michelle Veintimilla as Diana Barry adds her beautiful voice and character to this story. Her is sure to be a fan favorite especially for the younger audience members. D.C. Anderson as Matthew Cuthbert adds a warm charm, unique to his role. "Honorable mentions" to Aurelia Williams (a spot-on comic), and Sharon Catherine Brown (a heart-wrenching singer) for their showstopping performances. 

With music by Matt Vinson and lyrics by Matte O’Brien, are light, witty, at times emotional, and contagious, like a worm in your head. Each actor has his/her moment to shine, whether it be a solo, duet, or a big showstopping number -- there are many. My personal favorites include "Different Kind of Girl," "Forever," and "Marilla’s Song". 

As a new production, there are a few aspects that I feel need some improvement. Although the relationship between Anne and Gil portrayed by a future star tenor Pierre Marais, are cute and develop throughout the production, it is never clear if this is meant to be a romantic connection or not.

For those who have yet to experience musicals at Goodspeed, its stage is quite small, and at some points feels unnecessarily crowded. Goodspeed's visually stunning house is a walk back in time, as is "Anne, the character and the actor, a vocal charm.

Review: Goodspeed Opera House, Ambassador of Love, Celebrating Pearl Bailey

Goodspeed Opera House, East Haddam, CT
www.goodspeed.org 
through July 18

by Stuart W. Gamble

Last August in the middle of the Covid-19 Pandemic, this author attended (fully masked) the
first Equity-approved professional production of Godspell with the Berkshire Theater Group in Pittsfield, MA. The message of that musical favorite was one of Hope for all of us, as we faced the unknown. This past week, the author attended (maskless) Ambassador of Love, a new production of the life of Pearl Bailey. Like the legendary Pearly Mae herself, the show’s message is that of love and humor, and the joy of live performance.

This summer opener offers first-class production values. Star Rashida Scott appeared on Broadway in Company, Ain’t too Proud, and Sister Act. Musical Director Michael O. Mitchell’s credits include Motown the Musical, The Color Purple, and Memphis. The show’s Director T. Oliver Reid has won more than 20 Tony Awards for Hadestown, Once on This Island, and Sunset Boulevard. With such a pedigreed production, it was a bit disappointing that the show ran for only approximately one hour.

But in that time, there is a lot to behold and embrace. Simply staged, the performance space consists of only a keyboard while the rest of the space is reserved for Ms. Scott’s magnificent singing and dancing. Scott sings an incredible 22 songs during the show, composed by some of the fines, including Fats Waller (“There’s a Man in My Life”), W.C. Handy (“St. Louis Blues”), Harold Arlen (“Don’t Like Goodbyes”), and George Gershwin (“That Certain Feeling”). A particular highlight was a soulful version of “Before the Parade Passes By” from “Hello, Dolly!” composed by the recently deceased Jerry Herman.

Not only is “Ambassador of Love” (a nod to Bailey’s Presidential appointment as special ambassador to the U.N.) a treat for the ear, but it is also a bauble for the eyes. Scott’s simple, yet striking, white and peach jumpsuit is complimented by the sparkling diamond necklace, ring, and bracelet that adorn her. Her warmth, vivacity, humor, and direct interaction with the audience indeed conjures up the spirit of Ms. Bailey. Since June is Black Music month, it is quite fitting that Pearl Bailey’s contributions to mid-20th Century music be given their due.

Dramatically, the show is a bit weak. Ms. Scott does not “play” Pearl Bailey but narrates her story in the third person. She tells us about Bailey’s accomplishments: four Broadway shows (including the first all-black production of “Hello, Dolly!”), a special Tony Award for “Dolly”, the New York Bronze Medal Award, and the Presidential Medal of Freedom. She also notes Ms. Bailey’s friendships with Perle Mesta and Joan Crawford. But despite all this triumph, the ugly face of racism was ever-present, including an incident in which Ms. Bailey was “jumped” simply for being black. With more dramatic build-up and structure, “Ambassador of Love” will surely become a Broadway-bound hit.

Review: Goodspeed Musicals, Passing Through

Goodspeed Musicals, The Norma Terris Theatre, Chester, CT

www.goodsepeed.org

through April 4, 2021 (virtually, on demand)

by R.E. Smith

The current remote reality has given theater fans opportunities that might not have had otherwise. One example is Goodspeed Musicals offering the chance to view a recording of a production from its smaller, developmental venue, the Norma Terris Theater.

“Passing Through” was recorded live in front of an audience in the summer of 2019 and it is a good fit for the home viewing experience, due to the smaller, more intimate story, simple set and lack of spectacular production numbers. That said, as a true stage performance, some beats do come across a bit more melodramatic than probably intended, as the direction is trying to fill a whole room, rather than “fit” a small screen.

Based on a true story, 23-year-old Andrew sets off, on foot, to cross the country and, at first, seek answers, but then ultimately, to just listen to the people he meets along the way. The score creatively reflects his journey, mimicking the style of the regions Andrew visits. “Song of the Soul”, “As I Go Passing Through” and “Stranger on the Side of the Road” are especially solid, memorable songs. There is one number that captured the audience, “Keep On Walking”, but because of its deep narrative, and the character who sang it, it was oddly disconnected, as if it belonged in its own, separate show.

Structurally the book could use a bit more trimming and focus. We only meet a handful of the people Andrew encounters on the way and it is never quite clear what lessons he has taken away from them. Even up until the very end of the show, one gets the sense that family troubles, always at the forefront, have prevented him from really listening at all. At times more attention is given to his personal demons than then the people he meets and that feels disappointing.

The ensemble performers are certainly first-rate. Max Chernin as Andrew has a strong, clear voice, earnest demeanor and an effective “listening face.” Charles Gray, in a number of roles, was welcome in all of them, with his rich baritone and easy style. Reed Armstrong gets some nicely defined and varied character moments. Celeste Rose plays an atypical “love interest” with problems of her own, but a no-nonsense demeanor and powerful voice make her tough yet sympathetic.

Usually, few people would have the chance to see this kind of archival video, so it is nice that more audiences get to catch a developing new musical when they would not have had, or did not get, the chance. 

REVIEW/PREVIEW: Goodspeed Musicals, Shakin' The Blues Away! A Virtual Gala Concert

Goodspeed Musicals, East Haddam, CT

www.goodspeed.org/gala

through November 7, 2020, virtually

by R.E. Smith

Fish gotta swim and birds gotta fly, and so it is that singers gotta sing and dancers have to dance and audiences gotta support them all. Welcome to our current world of the virtual arts and a finely produced concert to support Goodspeed Musicals.

“Shakin' the Blues Away: A Virtual Gala Concert for Goodspeed” is available to watch on-line in exchange for a monetary donation that will be matched dollar for dollar by the Scripps Family Fund for Education and the Arts. You’re given a link to watch the video as many times as you like until November 7, 2020. At 50 minutes, it is easily re-watchable due to the uplifting playlist and memorable performances.

 

The song choices are varied in style and era, but each one nicely connects to the reality of being a “remote viewer.” Some speak of hope, or of missing something, or of the joy of performing. One song, from the lesser known “When Pigs Fly” (1996), was especially appropriate, with lines such as “Problems with no answers, hang on like some chronic cough, And every day some brand-new issue, rears its head to piss you off.” That particular piece was delivered in an intimate setting by Klea Blackhurst, just her voice and simple accompaniment proving you don’t need complicated sets or dozens of background dancers to create moving musical moments at the Goodspeed.

 

The audio mix of all the performances is well engineered, emphasizing the outstanding vocals and stripped-down arrangements that highlight these stellar voices. Due to the editing and location changes involved, the performances were not “live” in the sense of “happening now” and but there is clearly no “audio magic” being applied. . .these are simply very talented performers whose skill is obvious. The intimate format could have proven unforgiving, so the performances must be, and are, flawless.

 

Rashida Scott opens the proceeding with the title song, using the foyer of the Opera House as her stage, and it really is just nice to see the old familiar haunt again as she dances her blues away up and down the grand staircase. Gizel Jiménez’s performance of “Applause, Applause” wisely takes advantage of her expressive face and physicality, highlighted by outstanding lighting design by Will Johnson playing across the background. Nicholas Ward’s powerful rendition of “The Impossible Dream” wisely lets the performer and song stand on their own, using a drone camera to give us a heavenly view of the iconic structure. Being the Goodspeed, we’re even treated to some joyful tap dancing by the duo of Bryan Thomas Hunt and Kelly Sheehan.

 

The one difference between watching the original livestream that premiered on October 29, 2020 versus the replay is that you don’t get the benefit of commentary from Goodspeed staff, offering bits of trivia and personalized shout-outs to patrons. You also miss such “in the lobby at intermission” comments like “he is the dreamiest of the Broadway dreamboats!”

 

Goodspeed has a number of on-line offerings available for theatre-starved patrons, such as their “In the (Home) Office Show”, highlighting behind the scenes personnel and stories or “Staff Picks” featuring clips from various shows over the years. All are worth a look, but the Gala is only available until November 7, 2020 and it well worth the time and donation to experience this memorable, one of a kind experience.