“Sweeney Todd” The Demon Barber of Fleet Street

Greene Room Productions, Stafford Springs, CT

www.greeneroomproductions.com

through November 23, 2013

by K.J. Rogowski

Sweeney Todd, the demon barber of Fleet Street, along with his culinary criminal companion, Mrs. Lovett, take to the stage once again in Greene Room Productions’ rousing presentation of Stephen Sondheim’s murderous musical.

The expansive stage at the Stafford Palace Theater allows for director Erin Greene’s set to have multiple stairways leading to numerous levels, and lots of scary places for the denizens of Fleet Street to climb on, around, and under as they recount the tale of Sweeney Todd. David Wallace and Rose Keating, as Sweeney and Lovett, make a nicely matched pair of homicidal maniacs -- singing, slashing, and baking their way to riches and revenge, as their unsuspecting customers gorge themselves on Lovett’s insanely tasty treats. Austin Welker and Mallory Wray, as Anthony and Johanna, the young star-crossed lovers, struggle, and plot their escape from the maniacal Judge Turpin, played by Josh Farber, and his smarmy sidekick, The Beadle, played by Martin Levson. Welker and Wray are well cast, with good voices, but occasional issues with their wireless microphones leaves the audience wanting to hear more of their now famous duets. Also of note are Nicole Ouimet, as the tawdry Beggar Woman who haunts Sweeney, and Josiah Durham, who delivers a particularly enjoyable portrayal of the simple and loyal Tobias Ragg.

Backing up this group of desperate and unsavory characters is an energetic ensemble cast, who help bring the company numbers to life, and the action moving. For those who like Sondheim, a clean shave, lots of great music, and more than a little mayhem, they all await, if future audience members dare to take a stroll down the dark twists and turns of Fleet Street.

The Who's "Tommy"

Greene Room Productions
Academy of Music, Northampton, MA
www.greeneroomproductions.com
through November 13, 2010
by Eric Sutter

Greene Room's production of The Who's "Tommy" brings to life the progressive rock opera that pushed boundaries of traditional rock and pop back in the Woodstock era.

Producer/Director Erin Greene's successful has accomplished exactly what is required to make it a success. The opening scene of "Tommy" begins with the marriage of Mrs. Walker (Stephanie Devine) and Mr. Walker (Michael Holt) during "Overture." The scenes change at a rock pace with years flashed on the backdrop to keep the story moving. "It's A Boy" introduces the young Tommy (Michaela Guthrie). Many of the songs are complex group ensemble arrangements like "Amazing Journey," which showcases a strong solo voice answered by a choral group singing. "See Me Feel Me" is sandwiched between the dark themed abuse of "Fiddle About" by babysitter Uncle Ernie (Andrew Gilbert) and the bully "Cousin Kevin" (Paul Adzima). Adzima, by the way, is also a fantastic dancer.

The set is simple with the emphasis on the great music. At times, some voices sound weak, but when the ensemble sings it is glorious. "Eyesight To The Blind" brings more misery to adolescent Tommy (Normand Caissie) in the form of temptation by a pimp and prostitutes. Enter "The Acid Queen" (Kait Rankins) to pump him full of LSD and strap him to a circular lighted wheel for a spin! Poor Tommy... he becomes the idolic "Pinball Wizard" to end Act 1.

The underlying theme of oppression follows him into adulthood in Act 2. He is mercilessly bullied in  "Tommy Can You Hear Me?" by his outlaw in-laws. He seeks help from the Specialist (Jarett Greene) who has a strong moment with "Go To The Mirror Boy." After "Smash The Mirror," Tommy at 20 (Josiah Durham) soars in song with "I'm Free." The theme of idol worship is expanded upon in a song trilogy including "Sensation" in which Tommy became messianic. "Sally Simpson" add more dramatic tension to release with the ensemble's shout of "We're Not Gonna Take It" with French horn accompaniment by Margaret Reidy. Kudos to music director Devon Bakum, choreographer David Wallace, and the entire band. Listen for the special finale featuring Josiah Durham's mighty voice -- it is haunting.

Little Shop of Horrors

Greene Room Productions, Northampton, MA
www.greeneroomproductions.com
through May 16, 2010
by Shera Cohen

There are two things wrong with "Little Shop of Horrors." 1) This delightful, humorous, sci-fi musical comedy only runs for one weekend. 2) The programs give no actor bios. The first problem is a big one, because those who have not seen advertisements, are familiar with Greene Room, and/or read Spotlight reviews will have missed this community theatre gem. The second problem is smaller, although it would be helpful to read about the actors' backgrounds.

Three ever-present "doo-op" gals sing 50's girl group numbers as they take the audience from scene to scene. These Skid Row alumnae dress alike, prance alike, and are always in synch. The little shop is a flower store where wonders begin to happen - some good, some bad, all hysterically funny. The three main characters are stereotypes: the Jewish boss Mushnik, the ditzy bleached blonde Audrey, and the nebbish Seymour. The fourth star, and certainly the largest in girth, is the carnivorous vegetation Audrey II.

Audiences can count on Luis Manzi to turn in exceptional performances. He does not disappoint, although sometimes his singing talents seem a little too good for his self-deprecating Seymour. Young actor Ryan Duchesne fools us as the 60-something, brow beating Mushnik. While portraying her caricature well, Andrea Wilson is often inaudible. Steve Pierce chews up the scenery and spews it out in the spit-sink, as The Dentist.

Kudos go to the voice of Audrey II, aka The Plant, and her/its manipulator; Kasey Greene and James-Ethan Linton, respectively. This "thing" grows from tiny to gigantic. One would expect such design and costume building from a professional theatre troupe with lots of money. Obviously, producer Erin Greene, director David Wallace, et al, spared no work or dollars to give Audrey II life.

A skilled quartet of musicians, headed by Elisabeth Weber, sets the background for ballads like "Suddenly Seymour" and rock numbers like "Feed Me." These songs, and the rest in the musical, are strewn with lyrics that could stand alone in comedy routines. It's not too late to get to the flower shop, but remember - don't feed the plants!

"Holes"

Greene Room Productions, Monson
through May 16-18, 2008
May 14, 2008
By Donna Bailey-Thompson

"My no good, dirty rotten pig-stealing great-great-grandfather!" is the rationale spouted by Stanley, the hero of "Holes," for being wrongly accused, convicted and sentenced to a juvenile detention center preposterously named Camp Green Lake: there is no lake, no lanyard-braiding, no s’mores. Further, the camp uniform is an orange jumpsuit, the camp talisman is a long-handled shovel, and every day every "camper" has to dig a five by five foot hole. The soil is the desert sand in the wilds of West Texas, the home of rattlesnakes and poisonous lizards. Stanley’s orientation is brief. Because of the camp’s remote location, there are no fences; to run away would be tantamount to running into death.

"Holes" began as a novel (1998) by Louis Sachar; the book won many awards including the National Book Award. The play premiered in 2002 and the 2003 movie starred Sigourney Weaver, Jon Voight and Shia LaBeouf .

The cast is huge – 32 characters – ranging from children to the middleaged. There are, seemingly, separate story lines, that begin in 19th century Latvia, switch to Texas at the beginning of the 20th century, and come together in today’s West Texas. There’s a gypsy, Madame Zeroni (Deb Sprout) and the pig-stealing ancestor as a young man (Kasey Greene). There’s Sam, the onion man (James-Ethan Linton) and schoolmarm Katherine Barlow who transforms herself into the outlaw, Kissin’ Kate Barlow (Emmy Cote).

Most of all there are the delinquents – Xray (David Clark), Magnet (Jin Choi), Armpit (Joe Masterjohn), Zigzag (Jacob LaPierre), Zero (Josiah Durham) and Stanley (Paul Adzima) – each one a full-fledged character. Adzima is outstanding. Produced and deftly directed by Erin Greene, the all-volunteer crew and cast have created a polished production

As farfetched as it may seem, "Holes" and the perennially popular, "The Christmas Story" (think Red Ryder BB gun) are similarly engaging. Both pass the family entertainment litmus test. However, "Holes" exudes non-stop energy.

The Last Five Years

Greene Room Productions, Monson
Weekends through March 9, 2008
February 24, 2008
By Donna Bailey-Thompson

A sophisticated retrospective of a five-year relationship – courtship, marriage, and disillusionment – is Greene Room Productions’ midpoint attraction of their second season. For "The Last Five Years" 2001 off-Broadway debut, the multi-talented Jason Robert Brown – book, composer, lyricist – won Drama Desk Awards for Best Music and Best Lyrics. Two years earlier, he won a Tony for his "Parade" score. Although "The Last Five Years" is a popular choice for community theaters, this may be its Pioneer Valley premiere.

This premiere is worthy of an appreciative audience.

Its intricate contemporary score – think Sondheim – and demands upon the two actors’ emotional range – think pithy drama – posits an intriguing twist: the husband plays the last five years from the beginning while the wife retraces backward from the end to the beginning. The one time they meet is when they marry. Along their disparate time-travel paths, they love, complain, whine, soul search, quarrel. Based upon the divergent trajectories, the suggestion is that one of the partners grows.

Presented in the three-quarter round, the cavernous space of Monson’s historic Memorial Hall becomes an intimate arena that Director Robert H. Clark III uses well. Here Erin Greene (Cathy) and David Wallace (Jamie) share their memories and reflections, their candor at times unsettling, provocative, and occasionally humorous. They disclose feelings that range from the banal to the esoteric and universal touch points in between, a gamut that is familiar to anyone who has experienced an emotionally-charged relationship. Their performances are polished and so very human.

Music Director Neal Schermerhorn leads a first-rate orchestra – Rob Degree (guitar), Kevin Germain (sub guitar), Julia Kay (bass), and Elaine Holdsworth (violin) – which does not distract but enhances, especially the aching bowing of the violin.

This production has everything going for it except the sound system it deserves – a glitch on the way to being resolved.