REVIEW: Anderson-Silkroad-Dinnerstein

 Laurie Anderson
Image credit: Ebru Yildiz

Tanglewood, Lenox, MA 

bso.org/tanglewood

August 3, 20, & 21, 2026 

by Michael J. Moran 

The last three concerts in Tanglewood's 2026 recital series by smaller ensembles reflected the ever-broadening range of artists presented there.  

On August 13 in Ozawa Hall, protean American musician Laurie Anderson performed two of her recent large-scale works, playing viola, keyboards, and electronics, narrating text, and leading her ensemble of five singer-instrumentalists. "Amelia" honored aviator Amelia Earhart and adapted excerpts from her pilot's log of the round-the-world flight from which she never returned. "What War Is This?," a world premiere, lamented the randomness of modern warfare, included improvised passages, and quoted several sources, most notably the Shaker song "Tis a Gift to Be Simple." Boston Symphony string players under conductor Dennis Russell Davies had a supporting role in each piece. Despite their eerie soundscapes and visceral power, both ended in fervent hope.   

A week later in Ozawa Hall, the international Silkroad Ensemble, founded in 1998 by cellist Yo-Yo Ma, presented a moving program called "Sanctuary: The Power of Resonance and Ritual." Starting when the 12 musicians entered through the audience, all present were often invited to join them in singing and dancing, showing music's ability to build community. Led by American Rhiannon Giddens, ensemble members hailed from eight countries and played a vast range of instruments.               

The next afternoon in Studio E at the Linde Center, Brooklyn-based pianist Simone Dinnerstein and 15 string players from the Boston-based chamber orchestra A Far Cry collaborated in the world premiere of a new version they had just workshopped over the past few days at Tanglewood of Johann Sebastian Bach's "Goldberg Variations." Written in 1741 for solo harpsichord and played mainly on piano, the 90-minute piece (an aria - restated at the end - and 30 variations) had also been transcribed for many other instruments or ensembles. This imaginative new version by the charismatic Dinnerstein and the resourceful band (aka "Criers") was easily the most varied (jazz inflections, plucked piano strings, Criers singing, etc.) of the series' programs.

A season with this high level of excellence in Tanglewood’s recital series will be hard to top in 2027.

REVIEW: “Lucia di Lammermoor”

Mahaiwe Theatre, Great Barrington, MA

https://www.berkshireoperafestival.org/

Photo by Matt Madison-Clark

August 25 & 28, 2026

by Michael J. Moran

As the mainstage production of its 2026 season, the Berkshire Opera Festival presents Gaetano Donizetti’s 1835 tragic masterpiece “Lucia di Lammermoor,” its second Donizetti opera (after the comedy “Don Pasquale” in 2019). Conducted and directed by BOF co-founders Brian Garman and Jonathon Loy and often considered the crown jewel of “bel canto” opera, it turns out to be a “Lucia” for the ages.  

Loosely based on Sir Walter Scott’s 1819 novel The Bride of Lammermoor and set in 1703 Scotland, the libretto by Salvadore Cammarano centers around Lucia’s love for Edgardo, an enemy of her family. Her brother, Enrico, convinces her that Edgardo has been unfaithful and forces her into a loveless marriage with his political ally, Arturo. Going mad on her wedding night, she kills her new husband, appears in perhaps the most famous mad scene in all opera, and dies of a broken heart. Edgardo kills himself to join Lucia in death.

Soprano Christine Lyons inhabits Lucia in a career-making performance, combining raw passion with the beauty of tone demanded by the “bel canto” style (literally, “beautiful singing”) of early 19th-century Italian opera. Tenor Terrence Chin-Loy is almost equally intense as Edgardo. Baritone Dean Murphy is a commanding Enrico. Bass Stefan Egerstrom as Lammermoor’s chaplain, Raimondo, and tenor Luke Norvell as Arturo make strong impressions in smaller roles.   

Musical highlights include: the orchestra’s brooding, scene-setting overture; Murphy’s powerful Act I aria, “Cruel, Baneful Torment;” a perfectly balanced “Who Restrains Me,” the sextet that ends Act II; and Lyons’ note-perfect and emotionally shattering Act III mad scene, accompanied by the eerie sound of the rarely heard glass harmonica, invented in 1761 by Benjamin Franklin and skillfully played by Dennis James.

Loy’s resourceful direction highlights how Lucia’s ability to see ghosts empowers her, with a brilliant final coup de theatre, and elicits stylish singing and acting from a consistently strong cast. Scenic design by Cameron Anderson, costumes by Brooke Stanton, and lighting by Alex Jainchill contrast mostly dark colors with brighter ones for Lucia. Sensitive performances under Garman by the BOF orchestra and chorus (prepared by Chorus Master Luca Antonucci) bring Donizetti’s compelling score to vibrant life.

This revelatory “Lucia” is unmissable for Italian opera lovers.

REVIEW: TMCO (2)/Inheritances

Ozawa Hall, Tanglewood, Lenox, MA 

https://www.bso.org/tanglewood

Photo Credit: Hilary Scott

August 3, 10, & 12, 2026 
by Michael J. Moran 

Three recent concerts in Tanglewood's smaller performance venues showcased the growing diversity of musical styles available to discerning listeners there.  


On August 3, the Tanglewood Music Center Orchestra played familiar symphonic music by three well-known composers under different conductors in Seiji Ozawa Hall. First, TMC conducting fellow and Louisiana native Lauren Smith led them in a sensitive reading of Ravel's 1917 "Le Tombeau de Couperin," a tribute to several friends killed in World War I. Using older French dance forms, it featured a swirling "Prelude," a poignant "Forlane," a graceful "Menuet," and an ebullient "Rigaudon." Polish TMC conducting fellow Julian Gilewski next led a buoyant account of Debussy's 1905 "La Mer, Three Symphonic Sketches," with a sparkling "From Dawn to Noon on the Sea," a joyous "Play of the Waves," and a powerful "Dialogue of the Wind and the Sea." 

Superstar Finnish conductor Esa-Pekka Salonen closed the program with a blazing rendition of Bartok's masterful 1945 "Concerto for Orchestra." A dramatic "Andante...Allegro vivace," a playful "Game of Pairs," showcasing woodwind duets, a haunting "Elegy," and a rollicking "Interrupted Intermezzo" all culminated in an exhilarating "Finale: Presto," in which Salonen pressed his young colleagues with a daringly fast tempo - they never faltered. 

  

A week later in Ozawa Hall, the TMCO and nine TMC vocal fellows presented a fascinating selection of music from ten American operas under the TMC conducting fellows. Highlights under Gilewski included: a yearning aria, "The world so wide," with soprano Diana Agasian, from Copland's "The Tender Land;" and a sensual "Waiting," with mezzo-soprano Ya Gao, and pensive "I remember long ago," with bass-baritone Raphael Laden-Guindon, from Harbison's "The Great Gatsby."  

  

Among highlights led by Smith were: a radiant "Magnificat," with soprano Eden Bartholomew, from Adams' "El Nino;" a shattering "El Mundo," with mezzo-soprano Danielle Casos, from Frank's "Frida and Diego's Last Dream;" and four numbers from Stravinsky's "The Rake's Progress," including a transfixing "No word from Tom...I go to him," by soprano Zoe McCormick. 

  

Two nights later, in the Linde Center's intimate Studio E, American pianist Adam Tendler played all 16 short piano pieces he commissioned from composer friends in memory of his father. Most memorable were: Laurie Anderson's perky "Remember/I Created You," with playful snatches of J. S. Bach and Elvis Presley; Missy Mazzoli's "mechanical and heartbreaking" (her own instructions) "Forgiveness Machine;" inti figgis-vizueta's riotous "hushing" (with video of Tendler's youth); Marcos Balter's lyrical "False Memories;" Darian Donavan Thomas's hyperactive "We don't need to tend this garden. They're wildflowers" (with Tendler speak-singing a live monologue); Nico Muhly's gorgeous "Eiris, Sones;" and Devonte Hynes' sublime "Morning Piece," closing Tendler's "Inheritances" cycle on a note of quiet peace. Tendler performed throughout with deep affection and boundless virtuosity. 

 

Review: "Grease" Opera House Players

Opera House Players

Temple Beth El, Springfield, MA

https://www.operahouseplayers.org/show-information 

through August 16, 2026

by Shera Cohen

It is safe to say that "Grease," the movie and the musical (the latter ran on Broadway for 8 years) is a favorite of all generations. That was the case by a look at the packed house at the production of "Grease" by OHP, yet this time located on the stage of Temple Beth El, Springfield. 

OHP, in the throes of renovation of its permanent theatre in Enfield, CT, is using the temple for what they plan to be a one-time only move. This alternate venue is intended to keep patrons and performers safe and comfortable in an air-conditioned environment.

Perhaps designed purposefully, or not, this version of the musical seems to be an ensemble rather than a vehicle to showcase the characters Danny and Sandy. Atypical can be a plus for OHP. After all, the stars sing very few solos and one duet. Kudos truly belong to the company; meaning just about everyone onstage. 

Bravo to codirectors Stevie Norman and Michael King, and equally to choreographer Chantel Martin for successfully manipulating 21 actors/singers/dancers on a relatively small, unfamiliar stage. The big numbers -- "Grease Is the Word," "We Go Together," "Shakin' at the High School Hop," "You're the One that I Want" and "Hand Jive" are the winning elements of OHP's version of "Grease". Can anyone return on the ride home without humming or singing at least one of these standout songs?

                                                                                                                                                                                                                                            

Many players, as well as members of the creative team, are newcomers to OHP; and nearly all are young. Everyone in theatre must start somewhere. As wonderful as it is to offer this opportunity to newbies, a suggestion is to mix it up in the future. Immediately recognizing Tim Reilly as the oldest cast member (no insult intended, because by far, Reilly is certainly one of the best in local community theatre), without scene-stealing, he makes Act II shine. In fact, Act II is fun; not just because Danny and Sandy "go together" at the musical's end.

Direction of Act I needs more humor, whether it be physical interactions between characters and/or conversations.

Forgivable problems attribute to a new venue and opening night. Many sound glitches and reverberations jar the audience and slow the dialogue, lighting beams in wrong sections, set changes taking much too long, and some backrow and sideline dancers scattered. Assuredly, these errors will diminish as the production continues this weekend and next.

The energy of the actors is evident. See this musical soon, as "Grease is the word."

Note: "Grease" depicts the 1950's and hit Broadway in the early 1970's. Remember that the script is extremely dated and some material might be suggestive to children.

Personal thoughts: Tanglewood’s Open Rehearsals

Tanglewood, Lenox, MA

www.bso.org

Summer, 2026

by Shera Cohen

 

Rehearsal v. Concert

Regular Tanglewood visitors are aware that programs are scheduled every Saturday morning; these are orchestra rehearsals for the next day’s afternoon concert. Take out your calendars, write these dates down, and try to get to Tanglewood at least once this summer. The season is far from over. 

Mozart’s Marriage of Figaro photo credit: Hilary Scott/BSO photo

The scheduled conductor and guest soloists take the stage along with the full Boston Symphony Orchestra. There’s only one noticeable change between the two days’ concerts; it’s casual Saturday as everyone wears summer pastels and shorts. The musicians dress-up a bit on Sunday; not suits and LBD but like colors.  As for the audience, whatever fits and is cool.

 

Is the rehearsal the exact program at the next day’s “real concert”? Sometimes, but not often. Some can be 2+ hours of start, stop, over, and over, as the conductor talks to various sections of the orchestra, making suggestions on how to perform with perfection. Anything the BSO does is perfect in my book.

 

Most times, the rehearsal plays straight through until the end of each piece. Only then are segments extrapolated and rehearsed again. To have such a keen ear, I am amazed by the talents of conductors. 

 

For me, rehearsals are learning experiences in one of the most beautiful settings in this country. Prior to attending, I usually don’t pay attention to who’s performing, which composer, etc. Melding the sounds of classical music with the sights, smells, and touch of Tanglewood as a backdrop, just can’t get better on any Saturday morning.

 

Saturday Morning Rehearsal
Tanglewood's music director Andris Nelsons was at his podium at precisely 10:30am. Tchaikovsky's Symphony No. 5 in E minor, called "the symphony of triumph over fate" composed in 1888 appeared at the top of the playbill.

Tchaikovsky led the premier in St. Petersburg, Russian. At the time, the composer didn't think very highly of his own work, even considering retirement. That malaise quickly changed when he began to work on perhaps one of his most famous and respected pieces, "The Sleeping Beauty".

Certainly, the BSO music was exquisite as always. However, it was guest violin soloist, the adorable 15-year-old Himari from Japan who grabbed all the attention. This little girl (yes, girl) stood front, stage left, next to Nelsons, oftentimes giving the conductor notes on what she felt the orchestra might do as it accompanied her, rather than the reverse. So poised and confident standing in her blue dress, I have never been so impressed by the artistic skills of someone so young yet mature.

Moving ahead a couple of centuries, the BSO rehearsed an unfamiliar work to me by Esa-Pekka Salonen, born in 1958.  "Gambit," a shorter piece, was festive and upbeat. This is somewhat crass, but for the most part, my knowledge of composers are those who are no longer with us, although their music lives on forever. Salonen was very much in the present. In fact, I saw him conduct his own music only two days later.

I was quite surprised how much I enjoyed "Gambit". This proves my own mandate: be open to art that is new to you, give it a try at the very least. I wish I could identify the name of the instrument, but my guess is that some sort of ancient woodwind featured prominently in the piece. The sound replicated swishing waves with birds hovering over. And I know that this time, the melody was not the echo of actual birds flying in the shed. The latter is a common occurrence -- one that is unique to Tanglewood and one that I would not want to miss.

A Weekday Rehearsal  
Usually, one morning each week (generally on Thursday or Friday), the BSO rehearses the Saturday evening concert. I planned the day accordingly in order to hear Mozart's "The Marriage of Figaro," again conducted by Nelsons with James Darrah Black as the Tanglewood Music Center chorus director. This was an ideal "Tanglewood Day" -- a combination of the joy of live opera in Tanglewood's huge shed on a clear and relatively cool morning. 

These rehearsals are not ticketed. In other words, they are free, yet visitors are not permitted in the concert tent. I simply sat outside on my own lawn chair. Less than 50 people also sat or spread blankets under trees. Large screen monitors center stage and positioned along the outside periphery of the shed permitted a look at the singers and musicians. Hearing is never a problem, no matter where your seat is.

The opera singers were animated, and although not in costume, acted and interacted with each other as they sang the beautiful and fun Mozart score.

Rehearsals serve as coming attractions or daytime concerts for those who might not be able to attend the "real thing".

REVIEW: Sevenars Music Festival, Champlain Trio

The Academy, Worthington, MA
http://www.sevenars.org

July 26, 2026

by Michael J. Moran

The title of this concert, “In Her Voice,” could refer to both the composers and the performers. The Champlain Trio was founded in 2020 by its current members – violinist Letitia Quante, cellist Emily Traubl, and pianist Hiromi Fukuda. All Juilliard graduates based in Vermont, they are also experienced educators and performers throughout New England (Traubl is principal cellist of the Springfield [MA] Symphony Orchestra).  

Their program consisted of piano trios by three women composers active in the early twentieth century. It began with American composer Amy Beach’s 1938 Trio in A minor, her last piece of chamber music, written at age 71. Its three short movements, lasting a total of 15 minutes, burst with musical ideas. The Champlains fashioned a robust opening “Allegro,” with an unexpectedly quiet close; a gentle “Lento espressivo,” with a lively “Presto” interlude based on an Inuit melody; and a joyful “Allegro con brio.”    

Next came the 1931 Trio in A minor by French composer Charlotte Sohy, whose music is currently being rediscovered. To this listener’s ears the Trio both reflects and transcends the influence of Gabriel Faure, who was known to perform some of Sohy’s music, with a style distinctly her own. The piece’s three movements and the Champlain’s vibrant performance suggest a conflict waged (in a tempestuous first “Allegro”), peacefully negotiated (in a fluidly sensitive “Andante”), and triumphantly won (in a virtuosic second “Allegro”).

The concert ended with the 1910 Trio in C major by Croatian composer Dora Pejacevic, whose music, like Sohy’s, is also undergoing a well-deserved revival of interest. As Fukuda noted in a spoken introduction, Pejacevic can sometimes sound a bit like Brahms or Dvorak, but an unmistakenly personal style of her own soon emerges. The Champlains gave the piece their all, from a dramatic “Allegro con moto” and playful “Scherzo,” with pizzicato flourishes by the strings, to a yearning “Lento” and exuberant “Finale.”

The lone male voice in the program was a ravishing encore of English composer Edward Elgar’s lovely “Salut d’Amour” (“Love’s Greeting”). Rich and carefully balanced playing by all three instrumentalists ideally showcased three masterful compositions which should be better known. 

Sevenars concerts continue every Sunday at 4:00pm through August 16 in the intimate acoustics of Sevenars Academy in South Worthington, MA.

REVIEW: Boston Camerata/ Glass/Rosenthal

Ozawa Hall, Tanglewood, Lenox, MA 

https://www.bso.org/tanglewood

Photo by Hilary Scott

July 16, 22, & 26, 2026 
by Michael J. Moran 

Every summer Tanglewood’s Ozawa Hall hosts world-class artists in many genres from around the world. Three recent concerts highlighted the range of attractions in this intimate venue. 

On July 16, eight singers and seven instrumentalists of the 72-year-old Boston Camerata presented a stirring program called "FREE AMERICA! Early Songs of Resistance and Rebellion." The 30 short selections were organized into five thematic sections, with such titles as "Like a Beautiful Morning" and "Rich and Poor." Performances from vocal and instrumental solos to shifting combinations of voices and instruments also featured two hearty audience singalongs: "Free Americay!" and "Yankee Doodle." Of special note were: a moving opener, "O Zion Arise," a traditional Shaker song, sung by bass-baritone Phillip Bullock; a mournful Anglo-Irish ballad, "Johnny has gone for a soldier," sung by soprano MaKayla McDonald; and a rousing ensemble take on Jeremiah Ingalls' "Friendly Union."   

   
Six days later, Philip Glass fans had the rare chance to hear all 20 of his etudes for solo piano, written between 1991 and 2012 and played by five pianists chosen, in Glass' words, for their "wide range of musical backgrounds...technical [and] interpretive skills." All performances easily met or exceeded those standards. Highlights included: a reflective second, playful 13th, and volatile 14th from Daniela Liebman; an ecstatic 17th and dreamy 18th from Lisa Moore; a forceful 11th and whirling twelfth from Bruce Brubaker; a blazing tenth, joyous fifteenth, and brooding sixteenth from Christian Sands; and an explosive sixth, lush nineteenth, and heart-stopping 20th from Timo Andres, bringing the set to a radiant close.

And on July 26, the Ted Rosenthal Quintet (pianist-leader Rosenthal, bass Noriko Ueda, drummer Dennis Mackrel, trumpeter Ingrid Jensen, and saxophonist Jimmy Greene) celebrated trumpeter Miles Davis and saxophonist John Coltrane a century after their birth. The Quintet's imaginative reinventions shed new light on their selections from the Davis-Coltrane repertoire and delighted the capacity audience of jazz enthusiasts. Memorable moments included: an evocative "Naima," Coltrane's tribute to his wife, with inventive solo riffs by Greene; Thelonius Monk's "Round Midnight," with tasteful improvisations by Jensen; and a gorgeous "mashup" (Rosenthal's description) of three ballads - Davis' "Flamenco Sketches," Coltrane's version of "My One and Only Love," and Tanglewood star Leonard Bernstein's "Some Other Time." 

Concerts in Tanglewood’s “Recital Series” continue in Ozawa Hall and the Linde Center through August 21.

Review: “Newsies,” Mac-Haydn Theatre

Mac-Haydn Theatre, Chatham, NY

through August 9, 2026

by Shera Cohen

“Seize the Day!” This is the signature song in the rousing, entertaining musical “Newsies” at the Mac-Haydn Theatre.

Produced as a Disney movie in 1992 starring Christian Bale (yes, he can sing ’n dance), and staged on Broadway in 2012, “Newsies” has seemed dormant for well over a decade. Thank goodness it has been mounted numerous times in the past 10 years.

Photo by Ann Kielbasa

And this year marks the first time that “Newsies” has appeared at M-H. While most musicals at this venue take the stage for two weeks, “Newsies” has an extended run of three weeks, so there is still time to seize the day. Note that the house fills fast no matter what day of the week chosen to see any of the M-H musical productions.

“Newsies’” plot depicts a fictionalized look at the life of turn of the 20th century, New York City. The characters: newspaper boys. This band of dirt-poor teenagers calls out the familiar, “Read all about it”. At a penny a newspaper, the boys (and a few girls) work as hard as they can to help their families. We sympathize with these kids. While during the Newsboy Strike of 1899, formal education was the furthest goal of these boys, it didn’t mean that they weren’t street smart. After all, the streets were their workplace.

With a cast of nearly 40, and orchestra of 7 that sound like triple the headcount, this “Newsies” can easily hold a candle to theatre venues that are much bigger with bigger budgets. Kaitlyn Frank serves double duty as director and choreographer. She is busy because this is a musical chock-full of big dance numbers. Her cast is an assembly of singing dancers or dancing singers – there is a difference.

M-H’s in-the-round stage poses numerous challenges to productions than those mounted on a proscenium arch stage. In addition, scenic design includes scaffolding and jungle gym apparatus strewn on backwalls at entrances and exits. Never does a director want to cheat audience sections out of experiencing all that is possible. Frank, her team, and every actor succeed at that purpose. Bravo.

Jared Goodwin, as newsboy leader Jack Kelly, seems to be on stage nearly every minute. This story is Jack’s. Goodwin plays with bravado at one turn followed by vulnerability the next. He gives Jack the overwhelming responsibility of being big brother to all, as well as peacemaker and charmer to the ladies.

Other newsboy actors who shine are Logan Pavia, Dev O’Leary, and Jacob Atkins.

Tzintli Cerda, as spunky news reporter Katherine, the primary female cast member, is blessed with a splendid soprano voice. Her duet with Goodwin for “Something to Believe In” is as lovely as any love-song ballad.

Just west of the MA/Berkshire County line is Chatham, NY, home to Mac-Haydn for over 50 years. In addition to “Newsies” are a few more musicals for the 2026 season.

 

Review: “Rebel Town” America 250 Commutative Production

McDermott Auditorium, Great Barrington, MA

www.rebeltownthemusical.com

through July 19, 2026

by Shera Cohen

The first thing audience members see on stage is a city. Yes, not just pieces of wood, for example, strewn here and there to sketch out images of a location, circa 1700’s. Here are homes, workplaces, a tavern, walkways, a harbor, and a boat. Not just any boat. A ship. A freighter of the 18th century. Kudos to Set Designer Rob Dumais for his imaginative creation of Boston of old.

“Rebel Town,” a new musical for 2026, celebrates the foundation of the United States 250-years ago. What was old has become new for audiences in Great Barrington, MA not so far from Boston.

Combining fiction with history, “Rebel Town” depicts what might have been the lives and settings of everyday individuals and families who became the Sons of Liberty, along with a few noted “stars” from our past; i.e. Paul Revere, John Hancock, and Samuel Adams.

 Photo credit: Jonathan Doster

“Rebel Town” accounts the months, then days prior to the Boston Tea Party, focusing on fictitious patriot William Grey, one of the event’s leaders. To a degree, the audience participates in the onstage action. And there is a lot of action. Does the audience see the infamous tea tale? Yes. Indeed, this is a shining moment.

“Rebel Town” is the dream of John Alan Segalla, wearing many hats: author, composer, lyricist, producer, and star. Is it too many? Maybe. Yet, without the ambition of single individuals in this world, what would not happen? Segalla’s most obvious talent is singing. However, he is not alone, as nearly all of those in major roles have exquisite voices.

Some suggestions are offered. Why? Because this musical could soon have a successful future!

Cuts & tweaks. Coming in at over two hours plus intermission, “RT” is long with too many songs. Since it’s difficult to choose any individual melody as they are equally fine, axing a few would be for the company to decide. Another cut would be to delete several characters and/or double up more roles; this would include some actors portraying actual characters. For example, if Lt. Colonel Leslie or Mercy Otis Warren happen to be at the “tea party,” it doesn’t mean that the audience needs to see them. Finally, with 26 songs, “RT” could do fine minus several. In other words – tighten it up.

Yet, with all that said, director Michael Siktgerg moves his characters (sometimes dancing, sometimes singing, sometimes both) at a continuous and steady pace.

Even the halls, lobby, and concession stand keep with the theme of the play. You’ll see when you get there. “Rebel Town” is very much a musical for families. Take yours. BTW, the venue is air-conditioned.

Review/Article: “The Secret Garden”

“The Secret Garden” Mac-Haydn Theatre

Mac-HaydnTheatre, Chatham, NY

www.machaydntheatre.org

by Shera Cohen

While Mac-Haydn Theatre has been mounting musical productions since 1969, and I have been attending musicals even longer, the twain never crossed. Not that I had any negative thoughts about attending, but traveling to Chatham, NY seemed so far away from Springfield, MA. I had also never thought of NY as being a component of the Berkshires geographic area. Apparently, I was wrong, especially since just about every tourist map, magazine, and MapQuest search pointed a bit northwest to a small town called Chatham.

Fortunately, In the Spotlight has a crew of excellent writers with expertise in reviewing coupled with a love of the performing arts. In the case of Mac-Haydn, our reviewer Simon Brighenti had already attended a few M-H shows this season. I am a bit ashamed to say that I used Simon as our reconnaissance man to test the talents of M-H. It was his “job” (okay, we are all volunteers) to return with the findings. Take a look at Simon’s M-H reviews at
 www.inthespotlight.org. It is clear that he thoroughly enjoyed each musical. 

This week was my turn to journey across the line from nearby Stockbridge, MA to New York State. A description of the roads leading to the theatre are the proverbial hills and dales alongside town names that reflected the early Dutch settlements. A bit out in the middle of nowhere, alongside the greenery of the picturesque Berkshire mountains, there was finally a sign with the theatre’s name. Perhaps we were lost, and you really can get there from here, because the ride back to Stockbridge took approximately one-quarter of the length and time. It might take a little exploration to get to M-H. It is definitely worth the trip!

Although not on my Top 10 List of Musicals, “The Secret Garden” was and still is one of my favorite books. For years, it was read to me; I’m sure that many parents recall their children pleading, “Read it again.” Years later, I read it on my own. You never get too old for a classic.

My heart and my memories were full of joy. M-H’s production of “SG” was near flawless, especially given the hurdles that this particular musical demanded for theatre-in-the-round. A large cast, set on a relatively small stage, with a smattering of scenery were the essential production elements. Yet, the set extended beyond the stage walls to immediately capture the attention of the audience with trellises, vines, and fencing around the circumference of the interior. In other words, we were in the garden – dark and sad-looking at first, to grow into splendid colors and warmth by play’s end.

Those in lead roles demanded vocal skills that matched their acting talent. The numerous ensemble pieces were whispery and haunting. “Always, the price of admission for me is “Lily’s Eyes,” a wonting emotional duet by brothers in love with the same woman. I would find it nearly impossible to name a melody as sad yet loving in any other musical.

Yet, the book and the musical are all about Mary – a young, hardened orphan whose life is transformed by the secret garden, and in turn, she transforms the lives of others. Wild Handel (Mary) shined onstage, never scene-stealing, but taking command of her leading role with intelligence, vulnerability, and a pure soprano voice. Without a doubt, this young lady has a future in theatre.

M-H musicians are all pros. Whether the sounds came from the talents hidden backstage or tape recorded didn’t matter to me.

Don’t be a slowpoke like I was. Don’t put off a trip to Mac-Haydn. Upcoming are: “Newsies,” “Beautiful: The Carole King Musical,” “Hairspray,” and “Daddy Long Legs”.

Review: Jane & Jay Braus Memorial Concert, Andris Nelsons, Conducting

Boston Symphony Orchestra, Tanglewood, Lenox, MA  
July 11, 2026  

https://www.bso.org/tanglewood

by Jarice Hanson 

  

After a hot summer day, there is nothing more refreshing and rejuvenating as a Boston Symphony Orchestra performance on a lovely evening at Tanglewood. On July 11th, the BSO, conducted by Andris Nelsons presented the audience with a magnificent concert featuring Emanuel Ax playing Mozart’s "Piano Concerto No. 25 in C, K.503," and in the second half, Gustav Mahler’s "Symphony No. 4 in G," featuring the talented coloratura soprano, Erin Morley.  

  

The evening opened with audience favorite Emanuel Ax performing a concerto that one might think Mozart wrote specifically for him. Surprisingly, there were many children in the audience for this portion of the evening’s entertainment, and one youngster was so excited to see Mr. Ax come back to the stage for a wonderful encore, he excitedly shouted “He’s going to play again. He’s going to play again!” to the delight of the adults seated near him, many of whom sported red roses and t-shirts honoring Conductor Nelsons.   

  

Photo: Hilary Scott, courtesy of the BSO

The perennially popular Ax then proceeded to play Schubert’s "Schwanengesang, D. 957: No. 4 Ständchen" as an encore that proved once again why he is a “rock star” who can touch the hearts of both children and adults with his skill and personal warmth. 

  

The second portion of the evening was dedicated to Mahler’s "Symphony No. 4 in G," the composer’s shortest symphony and one that starts with a motif that has become synonymous with Mahler’s creativity in blending instruments that seem to produce sounds that no individual instrument could affect. Somewhat poetic, somewhat of a fairytale, the 4^th is drawn from a compilation of German folk poetry from the early-19th century called “Des Knaben Wunderhorn,” (trans.“The Boy’s Magic Horn). In the final movement, Erin Morley, taking a break from one of her operatic engagements, joined the BSO to provide an ethereal vocal triumph that showed how skilled singers and musicians create memorable aesthetic audio experiences for audiences. She was simply, and undeniably, superb. 

  

In an evening that suggested hope and beauty, along with the energy of youth and the mastery of some of the world’s greatest musicians and composers, Maestro Nelsons brought down his baton, put his palms together as though in prayer, held the moment, and created a memorable evening in honor of all who have graced the stage at the BSO, and at Tanglewood.    

  

  

 

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: Honoring Abraham Lincoln

Boston Symphony Orchestra, Tanglewood, Lenox, MA 

https://www.bso.org/tanglewood
July 5, 2026 

by Michael J. Moran 

The BSO’s first concert of the 2026 Tanglewood season offered an imaginative program of music by three major American composers honoring Abraham Lincoln during the nation’s 250th birthday weekend. 

First up was the world premiere of Philip Glass’ Symphony #15, subtitled “Lincoln.” Seven of its eight short movements set excerpts from speeches and autobiographical writings by the 16th U.S. president. They were sung or spoken by Broadway actor and operatic baritone Zachary James, who created the role of Abraham Lincoln in Glass’ opera “The Perfect American.” He and the concert’s guest conductor, frequent Glass collaborator Karen Kamensek, were making their BSO debuts. 

Kamensek, the first woman to direct several opera companies, led the BSO in a sumptuous and stirring account, building the composer’s repeated rhythmic patterns to a powerful and mesmerizing climax. James spoke Lincoln’s words with clarity and passion;  text was helpfully projected above the stage. Standout moments included the poignant “Slavery” movement, quoting the Emancipation Proclamation, and the modest brass fanfare that closes the “Farewell” movement and the symphony. Taking a post-performance bow with James and Kamensek, the 89-year-old composer received an enthusiastic standing ovation. 

Next came a four-movement suite from John Williams’ score for Steven Spielberg’s film “Lincoln". The music’s “Americana feeling” noted by program annotator Robert Kirsinger often recalls the style of Aaron Copland. Distinguished solo turns were taken by BSO members Thomas Rolfs (trumpet) in the touching “Elegy” and quiet “With Malice Toward None,” acting concertmaster Alexander Velinzon (violin), Blaise Dejardin (cello), and Elizabeth Klein (flute). 

The program culminated, fittingly, in its most familiar piece, Copland’s “Lincoln Portrait.” Written in 1942 at the request of conductor Andre Kostelanetz, its two orchestral sections suggest what Copland called “the mysterious sense of fatality that surrounds Lincoln’s personality” and evoke his era. A third section includes narration with excerpts from Lincoln’s Gettysburg address and other speeches. Actor Alec Baldwin read the text with precision and drama, using gestures for emphasis (“…even we here hold the power…”). Kamensek and the orchestra provided forceful support. 

As in many afternoon concerts in the Koussevitzky Music Shed, all three selections were enhanced by occasional snatches of birdsong from neighboring trees on a lovely Berkshire day. 

 

REVIEW: Mac-Haydn Theatre “9 to 5 the Musical”

Mac-Haydn Theatre, Chatham, NY 

www.machaydntheatre.org
June 25 – July 5, 2026
Review by Simon Brighenti

“9 to 5” is, of course, a reference to time, specifically and stereotypically the time spent at work in the days before the internet and cell phones allowed, for good or ill, to work whenever and wherever we wanted to or needed to. The current production at the Mac-Haydn of the musical based on the popular movie with a book by Patricia Resnick and music and lyrics by (of course) Dolly Parton is also a reference to time; or more specifically, to a time.

The production takes place in 1979 in a non-descript office engaged in some kind of big business. It is at the outset definitely a “man’s world” in that the women – patronizingly called girls - are relegated to secretarial and filing duties while the upper and middle management slots are completely filled by men. Worse, the women are ogled and propositioned by most of the men who have no compunction or expectation of retaliation because that has been the perceived right of the businessman for years.

 

As portrayed by a bombastic Michael Daly, bossman Franklin Hart, Jr. is, the language of the musical, a “sexist, egotistical, lying, hypocritical bigot.” As anyone who is familiar with the play or the movie knows, it is no spoiler that Hart eventually gets his comeuppance. The fun is all in how it happens

The three female leads, strong, independent Violet (Bridget Carrow); youthfully naïve Judy Bernly (Tzinti Certa); and “Backwoods Barbie” Doralee Rhodes (Caitlin Wilayto) bring a specific type of determination and heart to the situation and are eventually empowered by each other to update the office culture.

The story itself, frankly, plays a little dated and tells a bit-too-tidily compact tale of the real and ongoing struggle by women for equality in the workplace and in society in general. The treatment of Hart is cartoonish but fits and is in keeping with the buffoonery his character presents throughout. However, once the premise is accepted, it unfolds in an entertaining and touching exposition. There is also a sweet dash of relative reality added as one of the women is pursued by a smitten colleague in a respectful, polite, and wistful manner.

The trio of leading ladies are fine actresses and handle their fantasy sequences and spotlighted tunes to perfection. In perhaps the most challenging role, mainly because she will inevitably be compared to Dolly, Caitlin Wilayto stands out as she brings a sweetness and strength to a character who is much more than she appears to be at the surface.

In addition to the iconic theme tune, the songs throughout definitely contain that pop-country-tinged Parton panache. The deft direction by Eoghan Hartley brings the audience seamlessly through the evolution of the empowerment of these women and some of the supporting characters as well. As is expected at the Mac-Hayden, the choreography and orchestration are top notch.

So, pour a cup of ambition and travel to Mac-Haydn, just over the Berkshires' border, to see this show - a fun time capsule presented by a hugely talented group of performers and crew.

REVIEW: “The Addams Family” Mac-Haydn Theatre, Chatham, NY

Mac-Haydn Theatre, Chatham, NY 
www.machaydntheatre.org
June 11 – June 21, 2026
Review by Simon Brighenti

"The Addams Family" has been creeping in and out of popular culture since the late 1930’s when Charles Addams first published a few of his macabre cartoons in the New Yorker Magazine. They have appeared in a popular ’60’s TV show, cartoons, video games, movies, and of course a musical, now being staged masterfully in the round at the Mac-Hayden Theatre.

Chatham itself, just west of the New York/Massachusetts line, is one of those hamlets which, if the word “quaint” were not already in our lexicon, we would have to add it to describe. The theatre is a jewel in a rural setting just off Main Street. It provides an immersive experience with some of the most inventive and spellbinding lighting and sound design (courtesy of Andrew Gmoser and Sean McGinley, respectively) short of Broadway.

The production brings to life the well-known cast of characters – Gomez the passionate romantic, his adoring and adorable wife Morticia, darkly clad daughter Wednesday and impish son Pugsley, along with enthusiastic Uncle Fester, feisty Grandmama and the lumbering Lurch. The book is by Marshall Brickman, the comedic writer behind a number of movies, along with Rick Elice, the creative consultant for Disney Studios for years. As directed by Steve Edlund, the story focuses on Wednesday's love interest in a “normal” young man. It sets the stage for a meeting of the parents.

Gabe Belyeu is a great Gomez, equally adept at both wordplay and swordplay. He is torn between telling his “amore” Morticia (Madison Stratton) of the offspring's intention to wed, and his oath to Wednesday not to spill the beans prematurely.

The comfort and chemistry between Belyeu and Stratton are apparent at once and remain evident throughout. It is obvious the two talented thespians have performed with and off each other in earlier productions and have a fondness one for the other that sweetly informs their scenes together.

Jack Holick (youthful but experienced and talented beyond his years) does an at times hilarious and touching turn as Pugsley. Grace Mauldin imbues her portrayal of Wednesday with tenderness, resolve and determination to wed her betrothed. The two also showcase a couple of “torture” scenes including just the right amount of foreboding and mutual fondness. Comedian/magician Jeffrey Jene is perfectly cast as the eccentric Uncle Fester, equipped with his trademark piehole-powered lightbulb, bald pate and shapeless black shroud. The shroud, however, is magically transformed into a sparkling rainbow-infused garment during a superb scene in Act II that in a certain manner literally explains Fester’s perceived lunacy.

 

Filling out the main cast of Addams are a cackling Carol Charniga as the centenarian-plus Grandma, and amply altitudinal athlete/actor Aryell Beaulieu-Shaffer who brings height as well as some depth to the lugubrious Lurch.

Steve Taylor and Erin Spears Ledford as the parents of Wednesday’s intended Lucas go from button-downed to unbuttoned due to their exposure to the Addams family as well as their realization of their true selves.  And Will Forrest presents an earnest turn as Lucas himself.

Mention must be made of “the ancestors,” a group of ensemble actors who are each given a ghostly getup that hints of their untimely demise. They act at times as a Greek chorus and as a propulsive device for the waxing and waning of the relationships throughout the production.