Review: Yellow Wallpaper 2.0, Great Barrington Public Theater

St. James Place, Great Barrington, MA
GreatBarringtonPublicTheater
through September 6, 2026
By Suzanne Wells

With “Yellow Wallpaper 2.0,” Great Barrington Public Theater closes its summer season with a world premiere that transforms Charlotte Perkins Gilman’s “The Yellow Wallpaper” into a contemporary study of confinement, identity, and psychological suspense. Written by Jennifer Maisel, directed by Judy Braha, and staged at Saint James Place, the production derives from one woman’s unraveling in a room that becomes an incubator of paranoia.

Set in the single bedroom of a New York City apartment at the start of the Covid pandemic, T, played by Cloteal L. Horne, struggles to hold together her roles as caretaker, wife, mother, and adjunct professor as lockdown magnifies the pressures inside her home. Fearing infection, she retreats into the room and begins to unravel under the weight of inequity, maternal guilt, and a need for intellectual and emotional companionship. As she turns to “The Yellow Wallpaper,” T imagines Gilman as an ideal confidante, only to fracture when the ideal gives way to flawed reality.

From that confined premise, the script grounds T’s unraveling in familiar pandemic rituals—masking, hand sanitizer, Lysol wipes, home quarantine, neighborhood concerts, and applause for essential workers—while keeping the focus on the broader forces of isolation, caregiving, and gendered labor.

That psychological strain depends heavily on Horne’s solo performance, which gives the production its force, dynamically shifting through a range of emotions, illness, and haunting delusions while using the confined playing space to draw the audience into T’s unraveling. Her sustained energy makes T’s instability feel real, human, and unsettling.

The physical world around her deepens the same pressure. The bedroom design, by Juliana von Haubrich, intensifies that psychological pressure: faded, grimy yellow wallpaper, a squeaky brass bed, a dated leather chair, and antiquated lighting create a claustrophobic world that feels at once domestic and diseased. Together, these elements give the production a keen sense of unease.

“Yellow Wallpaper 2.0” is an unsettling production that honors the original short story while pressing its concerns about social issues into a contemporary theatrical work.

This play is not recommended for children under the age of 14.

Review: Great Barrington Public Theater, "The Best Medicine"

Great Barrington Public Theater, Great Barrington, MA

www.GreatBarringtonPublicTheater.org

through August 17, 2025

by Suzanne Wells

The Great Barrington Public Theater closes its summer season with the world premiere of “The Best Medicine,” a thought-provoking one-woman play exploring the emotional labyrinth of caregiving amid a loved one’s terminal diagnosis. Written by Robin Gerber and directed by Matthew Penn, the 80-minute production ambitiously navigates themes of denial, acceptance, self-doubt, frustration, self-care, love, and joy.

Caroline Aaron

Caroline Aaron, best known for her role in “The Marvelous Mrs. Maisel,” plays Rachel, an independent woman thrust into the role of caretaker. In an effort to process her overwhelming circumstances, Rachel enrolls in a stand-up comedy class. While the concept is full of potential, Aaron’s performance was uneven and, at times, difficult to engage with. Her slow shuffle across the stage may have been intended to reflect Rachel’s age, but it often disrupted the tempo. A wardrobe issue—a distracting gap between shirt buttons—further pulled attention from the dialogue. Moments intended to land with humor were occasionally buried or underplayed. Emotionally, the portrayal leaned toward flat, which made the more dramatic peaks feel abrupt and disconnected.  That said, Aaron conveyed Rachel’s personal flaws and inner conflicts with striking honesty.

Deeply dependent upon Monk Schane-Lydon’s soundscape and the audience’s imagination,  Juliana von Haubrich’s minimalist set design, a handful of props—a few chairs, two suitcases, a microphone, and a rolling whiteboard, effectively transformed the stage into a doctor’s office, an airplane, a classroom, a living room, a taxi, and even a circus.

“The Best Medicine” offers a raw, sincere look at the realities of caregiving resonating with those who have lived that experience, as well as those anticipating their futures. Still, this production demands a high level of imaginative engagement from the audience and lacks emotional depth.  It raises the question: is the theater the ideal medium for this story’s full impact?

REVIEW: Great Barrington Public Theatre, “Madame Mozart: The Lacrimosa”

Simon’s Rock College, McConnell Theater, Great Barrington, MA

www.greatbarringtonpublictheater.org

through July 27, 2025

by Shera Cohen

“Madame Mozart: The Lacrimosa,” a new play written by local Anne Undeland, offers one answer as to how Wolfgang Amadeus Mozart died. Remembering the movie, “Amadeus,” the film’s ending is depicted in another scenario. Neither the play nor the movie version may be true; those seeking specifics may google. Undeland’s work is not a who-done-it, but a what-comes-next for Mozart’s young widow.

Actor Tara Franklin, a favorite in the Berkshires, appears onstage from start to finish without a pause; depicting Constanze’s reaction to circumstances and personalities who thwart her survival. The musically prolific Wolfie was a pathetic provider for his family, yet Constanze loved him, and  made it her mission that her husband received the respect and notoriety that he deserved in his short life. [Mozart died at age 35. Just imagine how much more amazing music he could have penned!]

Franklin portrays her role as intelligent, decisive, nurturing, cunning, and not unwilling to use feminine whiles when necessary. Director Judy Braha positions Constanze as the mastermind of hiding her husband’s death and unfinished Requiem in D minor. While not miscast, because there is no doubt that Franklin is one of the finest actresses in the Valley, filling the role with a younger actress might be more accurate as a 30-year-old mom of young children.

Ryan Winkles, another stalwart actor in the Berkshires, plays every male in the cast, and there are lots of them, switching from Count to composer to child in a flash. At no point is it ever confusing who Winkles portrays at any given moment. A versatile actor, many of Winkles’ characters provide the humor necessary to balance the plot. There is one running joke particular to bodily functions which repeats much too often; a tad overkill in an otherwise dramatic play.

Stage design by Juliana von Haubrich, from the rafters to floor, is the most accurate and, at the same time, serviceable as any play yet presented by GBPT. Lighting design by Matthew E. Adelson, literally shines, to the point that audience members notice the contrasts and emphasis enabling the story’s progress.

It seems that many one-act plays have been written in the 21st century. No fault there. The playwright should tell the story, and then get out; it’s done, nothing more to tell. In the case of this one-act, too much is said. The script goes on and on, seemingly ending at numerous points, the audience ready to applaud. However, Undeland unnecessarily stretches the tale. Judicious cuts are recommended.

On first look, this is Constanze’s story. Not really. This is Mozart’s story, with huge credit to on-stage pianist Hudson Orfe, dressed in contemporary clothing, playing the composer’s Requiem, particularly the Lacrimosa movement, throughout. Sometimes distinct, oftentimes subtle, the music creates a continuous undertone of Mozart’s magnificence and death.

Review: Great Barrington Public Theater, "How to Not Save The World with Mr. Bezos"

Great Barrington Public Theater, Great Barrington, MA

www.GreatBarringtonPublicTheater.org

through June 22, 2025

By Suzanne Wells

Great Barrington Public Theater kicks off the summer with the highly anticipated world premiere of “How to Not Save the World with Mr. Bezos,” a compelling dark dramedy penned by Maggie Kearnan and directed by Clay Hopper. Kearnan, a fresh voice in contemporary theater, recently earned her master’s degree from Boston University and brings a sharp, thought-provoking perspective to the stage. Her play masterfully blends historical and cultural touchpoints, taking elements of the French Revolution, a dash of revenge, and an unexpected hint of cartoon mischief to craft a story that is both entertaining and unsettling.

Set in a dystopian future where accumulating vast personal wealth has been outlawed, the play opens in a sleek, modern conference room dominated by a long table. The audience, seated in an arena-like formation surrounding the stage, is immediately drawn into the atmosphere, reminiscent of a Roman Colosseum. This arrangement intensifies the drama unfolding before them, immersing viewers in a gladiatorial battle of ideology and power.

Photo by Lauren Jacobbe

At one end of the table sits Cherry Beaumont, a determined journalist representing Forbes Magazine. Across from her looms the formidable figure of Jeff Bezos. Their conversation begins as a standard interview but quickly escalates into a heated ethical debate over the responsibilities of the ultra-wealthy in addressing global financial disparities. As tensions rise, secrets emerge, further complicating the struggle at play.

 

Providing a fascinating counterpoint to the mounting drama is the "Fact Checker," stationed at a small podium to the side. Armed with an arsenal of props, he injects bursts of humor and levity into the increasingly charged discussion, serving as both comic relief and a sobering voice of reason.

Eliza Fichter delivers a mesmerizing performance as Cherry, her energy and precision making it nearly impossible to look away. Her ability to command the stage ensures that every moment of the debate feels urgent and alive. Noah Ilya Alexis Tuleja steps into the role of Jeff Bezos with striking intensity, expertly walking the fine line between eliciting audience sympathy and disdain. Meanwhile, Shai Vaknine, in his debut performance as the Fact Checker, shines in his role—providing both well-timed humor and intelligent interjections that elevate the entire production.

This play is an electrifying, thought-provoking theatrical experience that leaves the audience questioning—are we ready for a revolution?

REVIEW: Great Barrington Public Theater, "Night At The Speakeasy"

Great Barrington Public Theater, Great Barrington, MA

www.GreatBarringtonPublicTheater.org

through August 11, 2024

by Suzanne Wells

Great Barrington Public Theater wraps up their summer season with the immersive production of “Night At The Speakeasy.” Directed by Wendy Welch, this swell show features a series of cabaret songs interspersed with historical dialogue that captures the essence of the Roaring Twenties, including the dancing, the lingo, and the freedom to express oneself.

Photo by Katherine Humes

Juliana von Haubrich and Matthew Adelson spare no detail in creating a smoke-filled,
underground gin joint. To enter, one walks down a darkened stairwell, lined with foliage and garden statues, to a red door. Presenting a password grants admittance to a dimly lit, smoke-filled bar where the stage is filled with clothed tables and chairs for the audience, who are encouraged to dress for the occasion, so don’t forget a feather boa or fedora. Art, along with an old-fashioned telephone, hang along the walls, and a myriad of chandeliers adorn the ceiling.  A cozy corner with velvet-lined chairs and a cigarette creates a lovely selfie-station. The stage, located where the audience would normally sit, consists of a velvet-lined chaise lounge and an upright piano. The intimate setting allows the audience to socialize while enjoying the entertainment.

Speaking of entertainment, Janelle Farias Sando’s performance is the “bee’s knees”! Her basic black costumes with glittering accessories are sexy and evocative.  Singing a variety of romantic, comical, and soulful jazz songs allows Ms. Sando to show off her dynamic vocal range and comedic style.  Kicking off the show with a performance of “Let’s Be Bad,” she maneuvers her way across the room, acknowledging each table, before taking the stage. And her risqué rendition of “Paris Makes Me Horny”, might make one miss their landline.

Accompanied by Hudson Orfe, a master tickler of the ivories, he also contributes to the vocals and an occasional joke.  Together, the duo create a memorable experience.

The only thing missing from “Night At The Speakeasy” is a police raid and paddy wagon. Otherwise, it is an entertaining evening filled with laughter, libations, and liberties — one might even say it is the “cat’s pajamas"!

Review: Great Barrington Public Theater, "Survival of the Unfit"

Great Barrington Public Theater, Great Barrington, MA

www.GreatBarringtonPublicTheater.org

July 6 - July 21, 2024

by Suzanne Wells

“Survival of the Unfit,” penned by Oren Safdie and directed by Matthew Penn, is not your typical “boy meets girl, falls in love, and lives happily ever after” story. The play shatters the mold of conventional romance with a comedic glimpse into a seemingly flawless, yet deeply flawed family dynamic.

Setting the stage, Samuel has invited his new girlfriend, Mallory, to dine with his parents. The parents, who appear to see only the flaws in their son, are convinced there must be something wrong with the girl. While his father, John, is more than willing to accept her shortcomings, his mother, Shirley, is ruthless in her scrutiny.

Carolyn Hennesy’s depiction of Shirley is outstanding as she embodies the role of critical, over-protective mother. The catalyst for unearthing all Mallory’s secrets, Hennesy’s relentless probing ignites a series of revelations that spiral into a dramatic unmasking of her own concealed indiscretions.

Vincent Randazzo portrays Samuel, a middle-aged, balding, man crushed by his parents’ low expectations. Randazzo captures the essence of a son beleaguered by criticism, both overt and insidious. His nuanced performance subtly hints at an evolving tension. 

In contrast, Sarah Keyes as Mallory, is a beautiful, educated woman from a wealthy family exuding confidence and a subtle dramatic flair. Keyes’ dynamic interpretation keeps the audience captivated, as they ponder what draws her to Samuel.

Daniel Gerroll, as John, is the epitome of dry humor, his timely asides accentuating the underlying imperfections of a long-married couple. His delivery is impeccable with each jest and costume change adding a layer of levity to the unfolding drama.

Scenic design by Juliana von Haubrich creates a middle-class abode that balances lived-in warmth with meticulous order. The walls are lined with impressionist paintings, and family photos. Books, sculptures, and drink cart create a lived-in feel while maintaining an air of everything-in-its-place perfection.

“Survival of the Unfit” is a comedic exploration of the human condition delving into the complexities of insecurity, self-doubt, and fear, which when acknowledged and accepted, become the threads that weave a tapestry of human connection and forge enduring bonds.

Review: Great Barrington Public Theater, "Dog People"

Great Barrington Public Theater, Great Barrington, MA 

www.greatbarringtonpublictheater.org

June 7 - 16, 2024

by Suzanne Wells

Photo by Kat Hume

Great Barrington Public Theater unleashed its summer season with a barking success,
premiering “Dog People,” written by the talented Leigh Strimbeck and directed by Judy Braha. This play is a tail-wagging triumph that will have audience members rolling over with laughter and begging for more.

“Dog People” is a comedic romp through the park that explores the complex dynamics between pets and their people. John Musall’s scenic design transforms the stage into a dog lover’s dream; an urban park that’s the ultimate sniffing ground for four-legged friends.

 

The story follows the lives of two dogs, Betty and Atilla, and their humans, Jessie and Avery. Sheila Bandyopadhyay and Chris Tucci deliver paw-formances that are both fetching and fur-tastic.

As Betty, a young, hyper, and somewhat neurotic goldendoodle, Bandyopadhyay captures the essence of puppy love, energy and curiosity, as she grows to becoming a well-rounded cuddler. Bandyopadhyay’s portrayal of Jessie, an overly disciplined individual, is equally compelling as she navigates the rough terrain of vulnerability and honesty.

Chris Tucci, in a dual role as Avery and Atilla, is simply “paw-some”. Avery’s sentimental and nurturing nature shines as he learns that life, much like a game of fetch, sometimes gives permit a second throw. Atilla, the misunderstood, easygoing, and lovable mutt, discovers that a little self-assertion mixed with kindness can transform a solitary existence to a pack life. Tucci’s performance is so spot-on, one might suspect he had a tail in a past life.

For humans who ever found themselves wondering what an alter-ego canine companion is thinking, this is a must-see play. “Dog People” is a story that reminds us that, whether on two legs or four, we all yearn for connection, understanding, and unconditional love. Plus, it’s a howling good time!

Preview: Great Barrington Public Theater, "Representation and How to Get It"

The Mount, Lenox, MA

www.greatbarringtonpublictheater.org

www.edithwharton.org

August 25, 26, 27, 2023

Special Event: 3 Performances Only

A play inspired by Julia Ward Howe 

Great Barrington Public Theater (GBPT) and The Mount collaborate on a new play that takes a personal look at Julia Ward Howe, the famous poet who wrote "Battle Hymn of the Republic".

Howe's legacy, however, was far more important than penning one poem. She was noted as charismatic and passionate in expressing her views one of the earliest civil rights activists.

This one-person play was written by Joyce Van Dyke, actor Elaine Vaan Hogue, and GBPT Associate Artistic Director Judy Braha.

The plot begins at early dawn and the setting is Boston, MA. The audience finds Howe rehearsing a lecture she’s about to give to the Boston Radical Club on political representation for women. She delivers a passionate, moving call-to-arms for that time. 

Howe's, however, was far more important than penning one poem. She was noted as charismatic and passionate in expressing her views one of the earliest civil rights activists.

Julia Ward, born in 1819 in New York City, seemed to have begun her role as advocate from a young age because of her own atypical upbringing. In spite of becoming the wife of the prominent Samuel Howe of Boston and giving birth to six children, it is stated that Julia felt bored and ineffective as a woman whose life was solely that of a homemaker.

Through her plays and poems, one can read that Julia and her husband vehemently disagreed about the role of women in politics. However, Samuel sought his wife to edit his antislavery paper, Commonwealth, which lead to her involvement in abolitionism. When she met soldiers in army camps in Washington, DC, she was inspired to write the poem "Battle-Hymn," printed in the Atlantic Monthly in 1852. The poem, then song, touched the feelings of the nation, becoming a proverbial "best seller". Unexpectedly, Julia was famous.

Yet, that was just the beginning of her career as writer, lecturer, editor, and powerful suffrage advocate for the next several decades until her death at age 90. Julia was not shy, spoke her mind, and in spite of her diminutive physical stature, preaching for the rights of women was foremost in her teaching wherever she traveled in the United States.

The creators of "Representation and How to Get It" say, “We want her words and this play to charge the audience with agency, hope, and a collective sense of the need to take action now."

Joyce Van Dyke’s new solo play, "Representation and How to Get It," was developed in collaboration with performer Elaine Vaan Hogue and director Judy Braha and produced in 2022 in New York and numerous historic New England venues. Van Dyke's other plays have been produced Off-Broadway at the Pan Asian Reper tory Theatre, and the Central Square Theater. Van Dyke is a past winner of the prestigious Gassner Award and Boston Globe’s “Top Ten” plays of 2001. 

Actor Elaine Vaan Hogue is also a director, teacher, and producer. She is a member of The Magdalena Project, an international cross-cultural and cross-generational network of women in contemporary theatre. She co-founded the Gypsy Mamas Artist Group, a laboratory sustaining adventurous creative exploration and fostering interdisciplinary collaboration of new work. Vaan Hogue has performed and/or directed throughout New England and is a Professor Emeritas at Boston University.    

In addition to being the director of this play, Judy Braha has been an actor, teacher, and artist for social justice for over four decades. Head of the MFA Directing Program at Boston University’s School of Theater, her credits include theaters and universities throughout New England. One of her goals is to raise consciousness around the power of the arts as activism. As a director, Braha's work often has concern for human rights at its center. 

REVIEW: Great Barrington Public Theater, "Just Another Day"

McConnell Theater Bard College at Simon’s Rock, Great Barrington, MA

www.greatbarringtonpublictheater.org

through August 13, 2023

by C. L. Blacke

After a one week delay, "Just Another Day" finally makes its world premiere at Great Barrington Public Theater in partnership with Shadowland Stages in Ellenville, NY. A poignant and powerful new play, it was written by and stars Dan Lauria, a name that audiences may find familiar.

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Lauria has appeared in over seventy television programs, fifty professional stage productions,
twenty Movies-of-the-Week, and countless films, but he is perhaps best known for his role as Jack Arnold in the Emmy-winning television series, The Wonder Years. He is also the co-creator of the Durango Play Festival for the development of new plays and writes children’s books with his godson.

Jodi Long, who plays opposite Lauria in this production, brings her own accolades to the stage. She debuted on Broadway at age seven, won the audience award at the LA Asian Pacific Festival for her documentary Long Story Short, and won an Emmy for Best Supporting Actress as “Mrs. Basil E” in Netflix’s Dash & Lily (being the first Asian-American to win an Emmy in any Acting category).

With the cast of two, plus an ominous offstage character called The Bell Ringer, "Just Another Day" was inspired by Lauria’s personal experience with the aging and memory loss of a dear friend. What makes his play different, though, is that it isn’t told from an outsider’s perspective witnessing a friend’s decline but from two people in their seventies facing it together.

The unnamed man (Lauria) and woman (Long) meet at a park bench every day and find common ground through their love of old movies (His Girl Friday, It’s A Wonderful Life, The Treasure of the Sierra Madre). He, a comic and she, his muse, begin to create their own comedy even as they try to remember who they—and each other—are.

The man is crass and tells bawdy jokes. The woman values love and the beauty of language. They both trade barbs and japes—his with witty one-liners and hers with an acerbic lexicon rivaled only by Noah Webster himself. There are moments of laugh-out-loud humor and profound sadness, moments of helpless desperation, and moments of absolute hope as the characters continue to create anew each day. But beneath it all, there is also a current of love that not even age or memory loss can deny.

Masterfully directed by James Glossman, "Just Another Day" brings dignity to the process of growing old and reminds us of Lauria’s wisdom: "As long as we create, we are not lost." 

Review: Great Barrington Public Theater, "Off Peak"

Great Barrington Public Theater, Great Barrington, MA

www.GreatBarringtonPublicTheater.org

through July 23, 2023

By Suzanne Wells

"Off Peak" is unexpectedly therapeutic. Written by Brenda Withers and directed by James Warwick, the play makes its New England debut at Great Barrington Public Theater.

"Off Peak" provides a snapshot into the lives of two lovers who, after 17 years apart, find themselves together on a train headed to Poughkeepsie. Sarita, played by Peggy Pharr Wilson, a former performance musician turned high school, Italian teacher; and Martin, played by Kevin O’Rourke, a supposedly reformed corporate drone, recall various details of their relationship while trapped on a broken-down train. With time on their hands, and the knowledge and experience that comes with age, the couple work through their issues and regrets with each other and with themselves.

Costume Designer, George Veale, create two middle-aged, middle-class people with a slight bohemian past in flowing coats and scarves and shiny, sensible leather shoes. It is easy to imagine Sarita singing on a stage or teaching in a classroom. Just as easy to picture Martin sitting at a desk listening to inspirational videos.

Photo by Kat Humes

The stage is set with an open-ended commuter train car, designed by Sasha Schwartz. The car is equipped with emergency stickers, old leather seats, and grimy doors and windows. Collaborating with Lara Dubin, Lighting Designer; and Jacob Fisch, Sound Designer; the yellow flashing lights in the windows and the sounds of passing trains make for a very realistic scene. The only thing missing is the smell of body odor for which I am grateful.

Both Wilson’s and O’Rourke’s performances effuse emotion. Wilson’s conflicted feelings of surprise and nervousness at seeing her former love evolve into a passionate ire over Martin’s almost insulting view of their past relationship. O’Rourke’s uneasy attempt to make “enlightened” amends for his own perceived faults takes a dramatic turn to a resigned acknowledgement that he may still be in the dark. 

Will these two lovers ever make it to their destination?    

Review: Great Barrington Public Theater, "The Stones"

Great Barrington Public Theater, Great Barrington, MA

www.GreatBarringtonPublicTheater.org

through July 2, 2023

by Suzanne Wells

"The Stones," written by Kit Brookman, premiered at the 2022 Edinburgh Fringe Festival and is making its American debut at Great Barrington Public Theater, under the direction of Michelle Joyner.

Photo by Kat Humes

For those who enjoy a challenging puzzle, a mystery, or an escape room, this play is the fulfillment of all. "The Stones" is a romance wrapped in a ghost story, enveloped in the subconscious. Set in England, Nick, played by Ryan Winkles, is a London teacher in a tedious job and an ambivalent relationship. After having an epiphany, he gives up his secure income, boyfriend, and apartment, for a new life and the possibility of a secret love, ultimately leading him to a surreal experience.

The stage, designed by Dai Ban, is dark, with fallen monolithic stones set in the center of a stone circle. Nick describes his experiences and recollections in vivid detail with the stones representing various locations, from
a London apartment to a cottage on a manor estate near a little village and a dried-up lake. The sound and music by Alexander Sovronsky and Wendy Welch, along with her periodic appearance as the gray ghost, increasingly add to the eerie sensation that something is not quite right.

The talented Ryan Winkles’ performance is delightfully disturbing. Haunted by his past and unsure of his present, Winkles’ monologue is droll and darkly humorous. He presents as various characters providing distinct personalities and making each easy to visualize. Winkles’ portrayal will draw the audience in and guide it through a myriad of emotions, including frustration, guilt, hope, longing, joy, chaos, confusion, and fear, to name a few.

As with any good ghost story, "The Stones" leaves one with the unsettled feeling of wondering what is real and what isn’t. The audience will have much to discuss following a viewing of this production – preferably next to a fire while roasting marshmallows.

For its third season, Great Barrington Public Theater will present two more original plays: "Off Peak," and "Just Another Day". Led by Deann Simmons Halper, Executive Director; Tristan Wilson, Managing Director; Jim Frangione as Artistic Director; and Judy Braha as Associate Artistic Director, Great Barrington Public Theater fulfils its mission of providing “new stories from local voices.

Preview: Great Barrington Public Theater, “Public Speaking 101”

Great Barrington Public Theater, Great Barrington, MA

Daniel Arts Center, Bard College

www.greatbarringtonpublictheater.org

July 14 - July 24, 2022

The Great Barrington Public Theater 2022 mainstage opens with Public Speaking 101, a fun, turn-the-tables comedy by the wonderfully accomplished Berkshire-based playwright Mark St. Germain.

When a neurotic, amateur actress leads her community college class of terrified adults to compete in their county’s First Annual Public Speaking Competition, their cross-currents, tongue-tied quirks and foibles become a tight, repartee comedy, brought to life by a cast, including Peggy Pharr-Wilson, David Smilow, Nathan Hinton, Brendan Powers and Rachel Burttram. Directed by GBPT Artistic Director Jim Frangione, Public Speaking 101 brings the misfit contest and laughter to the McConnell Theater for ten performances. 

 

Mark St. Germain

Audiences know and love Mark St. Germain’s quick, sharp dialogue and knotty situations where characters walk into quicksand of their own making and need to reach out to others for a lifeline. “Mark Germain is a master at comic set-up, timing and real character quirks,” director Jim Frangione says. Speaking in public is the #1 phobia for almost everybody. For these people it’s absolute terror. The play becomes more than a comic story about a classroom of mixed nuts and lost dogs. It’s about finding that sweet spot in your heart that lets you pump yourself up and show yourself off as the prize-winner we all know we are, no matter what. 

 

As St. Germain explains it, “We have a pastor terrified of addressing his congregation and sings to them instead, a cop who dissolves on the witness stand, a mortician more comfortable with the dead than the living and a writer whose every word sounds like drying paint, taught by Sunny Strutt, an aspiring community theater actress whose offstage life is falling apart. It takes us into the hearts of a misfit class struggling to find their own voices.”

Tickets can be reserved on the Great Barrington Public Theater website.www.greatbarringtonpublictheater.org

Preview: Great Barrington Public Theater, Leave Your Fears Here

Great Barrington Public Theater, Great Barrington, MA

www.greatbarringtonpublictheater.org

June 30-July 10, 2022

"Leave Your Fears Here" is a loving and insightful memoir written and performed by the accomplished and familiar stage and screen actor James Morrison. In a riveting performance that legendary producer Norman Lear called “An extremely moving play by an extremely moving performer,” the actor recounts his 10-year-old son Seamus’ daunting passage from brain cancer diagnosis, through treatment to ultimate recovery, and how he inspired courage and change in others, most notably his father. It’s a profound, heroic story of the power of hope leading to triumph in the darkest hours.

When catastrophic illness strikes suddenly, lives are rudderless. When their son all at once faced numerous physical disabilities and a life-threatening diagnosis, Morrison, his wife and family had to face reality and mortality while simultaneously navigating the labyrinth of 21st century life and medical processes. They and other adults found themselves transcended by their son’s courage, innate wisdom, and ability to face and accept harrowing experience with truth, strength, humor, and poetic nature.

Directed by Robert Egan, the play was incubated, developed, and first staged at the award-winning Ojai Playwrights Conference.

Actor James Morrison/Credit Zaugh Photography

Audiences will recognize James Morrison from 24, Law and Order SVU, The West Wing, Six Feet Under, and other series and movies. “It’s more than just a story about a boy who had brain cancer,” he says. “It’s about each of us walking into unknown, frightening places, realizing our untapped strengths and powers, and learning how to bring courage to life, even when the lesson is being taught by your child. Theatre is my medium, it’s where I started as an actor 50 years ago, and along with being Seamus’ father, I’ve always felt it was what I was put here to do, so it only seems natural to bring my story to the stage. If making our journey public allows one person to feel hope or gratitude as they navigate, battle, and conquer their fears, I’ve succeeded beyond measure.”

PREVIEW: Great Barrington Public Theatre, The Shot

Bard College, Simon's Rock, Great Barrington, MA

www.greatbarringtonpublictheater.org

June 16 - 19, 2022

GB Public Theater punctuates the 2022 stage season with four new, solo performances that run for five weeks, themed to stories of humanity and the power of a single voice to tell them.

 

One show in the series is the world premiere of Robin Gerber’s new play, "The Shot," directed by Michelle Joyner and starring Emmy Award-winning actress Sharon Lawrence as Katharine Graham, whose journey from an isolated, abused young mother to powerful publisher of The Washington Post, brought down Richard Nixon’s White House. Her backstory takes audiences into the shadows of an abusive marriage that led to a stunning, life-altering trauma. Katharine's struggle to discover herself leads her to become the woman who shook up Washington and became a model of determination and power.

 

The play is a work of fiction based on the playwright's book about Graham. Robin Gerber’s book, Katharine Graham: The Leadership Journey of An American Icon. The plot exposes the scourge of intimate partner abuse and domestic violence, and deals with issues that still define our times--gender bias; financial power; guns in America; and power structures that subjugate women. Along the way, "The Shot" explores Katharine Graham’s distinct, winning character, inner conflicts, fear, and deep faith in love and duty. Her struggles to persevere and persist exemplifies survival and triumph against overwhelming odds.

In choosing The Shot to show the power of a single human voice Jim Frangione, GB Public Artistic Director, explains, “The Shot is a personal story of a famed person who faces and conquers harrowing circumstance that too many women are forced and expected to face every day. She took on gender shaming, grappled with self-conflict and mastered self-discovery. It’s a story of human character that makes us all exceptional.

PREVIEW: Great Barrington Public Theatre, The Bard, The Beat & The Blues

Simon's Rock, Bard College, Great Barrington, MA

www.greatbarringtonpublictheater.org

June 8-26, 2022

GB Public Theater 2022 stage season begins with four new solo performances that run for over five weeks. All feature stories of humanity and demonstrate the power of a single voice.

 

Included in this series is the premiere of Will LeBow’s raconteurial jewel, "The Bard The Beat The Blues" (June 8-26), directed by company Artistic Director Jim Frangione and featuring the accomplished actor-musician LeBow, storytelling and versifying his creative arc, from his family’s acting roots to his life on stage--all presented with funny asides, anecdotes, screen media and musical interludes. In this mesmerizing, quickly-paced hour of storytelling, audiences will fall under the spell of a marvelous entertainer and musician; we move along with LeBow from his ancestry in the Jewish ghetto of Vilna, Lithuania to Brooklyn, where his grandfather acted in Yiddish theater, to growing up in 1950s, heading off to City College, discovering Shakespeare, being introduced to the nightlife in the heyday of Greenwich Village, the poetry of Lawrence Ferlinghetti, and other influences that led him to a lifelong career on stage.

 

In his story, LeBow weaves bits from Shakespeare, Chekov, August Wilson, Mississippi John Hurt and Scott Joplin, the stream of anecdotes and life-lessons accompanied by LeBow at the keyboard, playing his own bluesy music. It’s a seamless performance by a fantastic storyteller, loaded with laughs, heart, bite, and historical commentary. It recounts the world and road as they unfolded for LeBow, why it’s ill-advised to bite our tongues when others tell us to, and, in his words, why this “nutzo, farkakte world” with all its randomness and unseen possibilities is the best world to be born in, if you have the creative bones to deal with it.

REVIEW: Great Barrington Public Theatre "Mr. Fullerton"

Great Barrington Public Theatre, Bard College at Simon’s Rock, Great Barrington

www.greatbarringtonpublictheater.org

through August 1, 2021

by Shera Cohen

Ever heard of Morton Fullerton? Neither did I. Is a play titled "Mr. Fullerton" enough to base a long two-act play on? Initially, I would have replied, "no". But the play's posters of a woman wearing Gilded Age garb, and mere mention of the name Edith Wharton were draws for me to see the premier of a play by area playwright Anne Undeland at the new Great Barrington Public Theatre.

 

One can learn about Edith at visits to the Mount, nearby in Lenox. which I highly suggest. At the very least, most are aware of Wharton's prolific and exemplary writing of novels and short stories. Realizing that at a certain age and pushed by her mother, it was mandatory that she marry, Teddy Wharton's money, charm, and good looks would be sufficient for the loveless match. It's no wonder that Edith had so much time to spew out novel after novel.

 

Yet, in mid-life she met the handsome, charming, and experienced lothario Fullerton. For a time, Edith put her writing career on hold; penning love letters and journals instead. The play has no buildup of  plot and dénouement but draws a segment of Edith's life that many readers have been curious about, but few knew. Undeland has filled in the blanks of Edith's love life, penning her play so purposefully that audience members would have no question between truth and fiction. 

 

Dana Harrison (Edith) and Marcus Kearns (Fullerton) create a flirtation and affair with fun and gusto. Harrison gives a quality performance that shows her school-girl giddiness growing into deep love, ultimately into betrayal. For a woman who was so bright and educated, Harrison’s Edith in this play is first a woman seeking love. On the other hand, our man with a past and the proverbial little black book, Kearns is not up to the standards of Harrison, partly because he has far less stage-time. 

 

Glenn Barret as the ever-present author and Wharton confidant Henry James adds comic relief. Yet, I would have liked to have seen the man who wrote great novels like "The American" with distinction, not as  comic relief. However, maybe that was James' personality and Barret did a tip-top job. My guess is that the playwright well-researched her characters, presenting the man who she assumed to be James.

 

In a four-character play, it is difficult to name one actor as “the star.” That said, Myka Plunkett, as Wharton’s maid Posy, stole the show. While never upstaging other actors, Plunkett sunk her smile, demeanor, and even calisthenics into the sprite Posy. Yet, Plunkett’s Posy is not all fun and frolic; the actress tells the audience a bit about the character’s unpleasant past. Posy became an extremely important character, segueing from background maid to Wharton’s dear friend.

 

Moliere-like quick comings and goings from one room to another on a small stage purposely styled the play as shorter than it actually was. Not a single word or action was overspent, unnatural, or unnecessary; all signs of an excellent playwright, director, crew, and cast.

REVIEW: Great Barrington Public Theatre, “Dad”

Great Barrington Public Theatre, Great Barrington, MA
www.greatbarringtonpublictheater.org
through July 3, 2021
by Shera Cohen
 
Essentially, there is one common denominator among the plays of Mark St. Germain; small bits of history that perhaps could be found on page 6, below the fold of any newspaper. Having seen 9 of this playwright’s published plays, there is, however, one exception. “Dad,” a semi-biographical story of the writer’s father and himself, would never make the news except for a bold-faced headline in the author’s own life. Another way to say this is that St. Germain obviously delved into his background, his father, and those of his siblings to a degree sadness and wont. 
 
The cover design of the program book connotes a comic reminiscence of someone’s/anyone’s father. Having now seen the play it becomes clear that the black scribbling is not that of a child but is befuddlement of how any of us try to figure out our parents’ place in their own world and with their children.
 
To testify to the saying that “the show must go on,” a necessary last-minute change of one of

the actors in no way impeded the production in spite of the fact that the character was the lead, Dad. Jim Frangione takes on double duty as the director. The cast includes David Smilow who expresses his character well as an oblivious average Joe whose costume consists of a shlub, old sweatshirt helps define his personality. Peggy Pharr Wilson’s role as Lynn, the sister, has little to do. Perhaps the real sister who she is based on was as ambivalent as Wilson portrays her. Mark H. Dold, a major-league player in the Berkshire theatres, plays high-strung, tense, taught, and nervous to aplomb. Dold’s performances are worth seeing no matter what the play.
 
Seeing the first performance of a new play is a privilege. However, there are some negatives, the biggest being the length. Yes, a play can be compact and say/show everything an audience needs. Instead, “Dad” gives a preview of characters and storyline that needs fleshing out; sibling vs. sibling, Dad vs. recollections of his own past, how Dad became a father who obviously didn’t want that role. In a “This Is Us” timeline of back and forth, the set added to the confusion such as a 1950’s ice box on the same stage as a laptop computer. The play was too stripped down. Sometimes simple and short befit the story. Other times, more is helpful to appreciate the story.
 
St. Germain has a wonderful base of a dramatic look at a family. He has not finished yet.