Review: Opera House Players, “Anastasia”

Opera House Players, Enfield, CT

www.operahouseplayers.org

through May 18, 2025

by Shera Cohen

The musical “Anastasia” returns to CT after its premier at Hartford Stage some years ago, then onto Broadway. The story of Anastasia, daughter of the Romanov family of early 20th-century Russia during the Russian Revolution, is absorbing, emotional, and somewhat true.

The plot couples a history play with a mystery. Is this young woman really a street sweeper by trade, or the unbeknownst princess of the fallen Russian Empire?

In many aspects, especially in opening scenes, “Anastasia” is reminiscent of “My Fair Lady”. There’s the spitfire girl/woman taken under the wings by two male strangers. All is pure and innocent; the girl seeks her identity; the men seek profit; everyone can possibly win at no expense to the others.

Community theatre director extraordinaire Sharon FitzHenry never shies from taking on big productions: nearly 30 actors; 25 songs plus 5 reprises; a very long, high, and deep stage – in other words, an ideal venue.  A small orchestra, led by the ever-popular Bill Martin, sounds big. Never hesitate to attend any musical which FitzHenry has directed.

A giant map of Europe and Russia stretches to create the entire backdrop; it remains throughout. The crew seems to utilize every inch of space permitted, yet at no point are the sets and actors crowded.

Moonyean Field’s masterful costuming is often taken for granted because her work is always extraordinary: elegant garb worn at the ball in old Russia, a full-stage flapper jazz concert in 1920’s France, and actual “Swan Lake” -type ballet performances within the play.

At the core of the tale is the erstwhile princess Anastasia, portrayed by Olivia Grimard, a newcomer to Opera House Players, and an amazingly talented singer/actress. Just about any local community theatre should try to scoop her up for future roles. Grimard plays the lead role as sharp, determined, and forthright. She’s sweet and rather petite in frame but holds her own with the male characters.

David Webber, Zach Bakken, and Michael Noel depict the roles of the men who Anastasia encounters on her journey to Paris to learn her identity. Each is a first-rate vocalist.

Without hesitation, OHP has assembled a troupe of the best community theatre voices in the region for “Anastasia”. Those in secondary, yet important roles, could easily turn in star performances, if required.

REVIEWS: Opera House Players, "Kinky Boots"

Opera House Players, Enfield, CT

www.operahouseplayers.org

May 3, 2024 - May 19, 2024

by Shera Cohen

“Kinky Boots” echoes many musicals of through the decades; the lite ones with no hidden layers to tax the brains of audience members. Sometimes, a little bit of that is needed. “Boots” is contemporary fun.

The plot is essentially a version of the tried ‘n true: let’s put a play on in the barn, where the town rallies to mount a musical despite all sorts of problems. Instead, picture a rundown shoe factory, backlogs of footwear, the recently deceased owner, and the son who must reluctantly come to the rescue. The “barn story” always ends as a rollicking success. It’s not a spoiler to say that the “shoe story’s” ending is the same, with its criteria of success being the creation of bright, red, shinny, high-heeled boots; aka Kinky Boots.

Kudos to the actors wearing these boots; a tough bit of choreography. No one fell, except for the one actor who is supposed to hit the floor.

Cyndi Lauper, known for her many years on billboard charts, is the talent behind “Kinky Boots,” having written the music and lyrics. The musical won Tony Awards and has been kicking up its heels ever since.

The cast or 25 and band of 5 keep the music front and center with the script in the background. While “Boots” is not an opera-like musical as are many today,  it is not ladened down with dialog either. This factor offers those in key roles at least one solo, and sometimes part of a duet.

OHP must be applauded for selecting some of the best voices in the Valley. Yet, this is not a
surprise with Producer Moonyean Field and Director Sharon FitzHenry at the helm. These community theatre veterans know their crafts and the skills of talent onstage and backstage.

There is the problem of the too many set changes. Community theatre productions should not stray from the story, nor the staging indicated by the playwright. Yet, there could be some ways to tighten up the lags. That’s just a suggestion for next weekend’s shows.

Lead Michael King (the erstwhile factory owner) is “everyman”. Sometimes, it’s more difficult to portray “a regular guy” than the star. The audience has fewer expectations. However, King shines as a singer. It is through the lyrics that he shows his acting  prowess.

Cecil Carter (drag queen Lola) puts his label on the show that goes beyond the play’s text. Cecil struts his stuff and sings dramatic pieces with power and angst.

“Boots” presents a balance of three big, choreographed numbers at the start, end of Act I, and the musical’s end. The motley group of shoemaker actors are joyous on stage. Between Eddie Zitka (dance) and community theatre stalwart Bill Martin, “Boots” keep moving from start to finish.

REVIEW: Opera House Players, “A Gentleman’s Guide to Love & Murder”

Opera House Players, Enfield, CT

www.operahouseplayers.org

February 8 – 18, 2024

by Shera Cohen

When I first read that Opera House Players (OHP) had chosen “A Gentleman’s Guide to Love & Murder” for its 2023/24 season my thought was that this community theatre troupe was taking on a huge task. Having attended OHP productions for 30+ years, I set my expectation level high. 

Current trends for plays in particular, as well as some musicals, are smaller and shorter. This is not the case with “Gentleman” which comes in at two and a half hours + intermission. The plotline of Act I is divided into seven sections with never a lull in dialog or music.

“Gentleman” is based on the 1940’s Alec Guinness movie, “Kind Hearts & Coronets”. Not one of my favorite 4-star movies and not as funny as I hoped, but that’s only my take. In his pre-Obi Wan days, Guinness was quite the actor! 

The play’s narrator, reading his diary aloud to himself and to the audience, breaks the fourth wall from the get-go; a nice method to bring the audience into the story so that we care about our hero (Monty) even more than we would possibly like any other baby-faced, naïve, destitute serial killer.

No worries, that’s not a spoiler. The director’s notes in the playbook tell us about Monty’s climb on the social ladder and search for overdue respect from his uppity relatives in the musty D’Ysquith family.

With the D’Ysquith  patriarch meeting his maker, eight heirs stand in line for the inheritance. Kudos to Zach Bakken, who plays all of the D’Ysquith family members: men and women, young and old. Each caricature seems funnier than the last as Bakken quickly changes costumes, accents, volume, demeanor, and voice. Bakken is a hoot, extremely versatile, and undoubtedly can do anything. Let’s see more of him!

The much-mentioned Monty Navarro is portrayed by Christopher Marcus. This attractive young man can be compared to Bakken as Laurel to Hardy, Abbott to Costello. The two play-off each other with ease. Marcus is thin and sinewy, using  physical humor to its optimum. Since this musical’s key factor is to be funny, you wouldn’t expect Marcus to be an excellent singer. He is! 

Monty’s love interests are Sibella, played by Caroline Darr; and Phoebe, played by Nicole Marie Newell. Darr’s mistress-role is more hysterical than lusty. Newell’s fiancé-role, again, is exceptionally funny. Each woman’s voice could easily be heard on a Broadway stage.

The orchestra, led by Graham Christian, even played funny, if that makes sense; a lot of schtick from the pit.

So much more to say. “Excellent” will have to be the single adjective to those on sound, lights, costumes, and sets with painted backdrops.

None of what I saw onstage, and surmise happened backstage would have been superb without the deft hand of Director Marla Ladd. Her bio is extensive. New to New England, any group who manages to swoop up Ladd in the future, will have an amazing piece of theatre on their stage. 

REVIEW: Opera House Players, Matilda

Opera House Players, Enfield, CT

www.operahouseplayers.org

through November 24, 2019

by Tim O’Brien

One of the pleasures of reviewing is the occasional ability to contrast professional productions with those of community theater groups. I was fortunate to review a touring production of Roald Dahl’s “Matilda – The Musical” at Hartford’s Bushnell in 2016. And thus, it was not far from my mind for the Opera House Players’ opening night.

In a word, my 6th-grade daughter and I were delighted to see how well a non-professional presentation of this charming script could be executed by a cast of gifted amateurs.

For those unfamiliar with the plot, budding 5-year-old genius Matilda must find a way to rise above her own family of dullards and a school ruled by a monstrous headmistress while coming to terms with her own prodigious intellectual gifts.

The troupe of students hit the opener “Miracle” with great energy, and we settled back happily, knowing this would be a treat. And we weren’t disappointed: across the board, director Becca Coolong, musical director Devon Bakum, and choreographer Krista Leigh Brueno have molded their mostly young actors into a solid, versatile unit. The staging for “Matilda’s” signature “Quiet” is particularly impressive.

Standout performances: young Camille Dziura nails the title role with a perfect blend of winsome and naughty and handles the heavy load of lines and lyrics like a pro. Erin Dugan (Miss Honey) is earnestly sweet and shows the best voice of the cast. Trish Barry (Miss Trunchbull) – while a physically smaller person – nonetheless rules the school with an iron fist.

The few flaws are technical and easily forgiven on an opening night. Set changes could have been crisper overall. The talented band’s volume was frequently too loud for the performers’ lyrics to come through clearly, and Mark Proulx (Mr. Wormwood’s) body mic often scratched intrusively against his face.

“Matilda” is an engaging, enduring story of identity and finding oneself, and the Opera House Players have done Roald Dahl proud.

REVIEW: Opera House Players, Bright Star

Opera House Players, Enfield, CT

www.operahouseplayers.org

through September 22, 2019

by Michael J. Moran

Photo by Mike Druzolowski

In his “Director’s Notes” for the OHP production, John Pike calls “Bright Star” a “compassionate story of loss, redemption, and forgiveness.” After a four-month 2016 Broadway run that earned five Tony nominations (all won by the blockbuster “Hamilton”), a national tour, and several regional productions, Pike’s appealing cast of 22 singing actors brings this first non-professional presentation in Connecticut to poignant and entertaining life.

With music, book, and story by comedian and banjo player Steve Martin, and music, lyrics, and story by folk rock singer/songwriter Edie Brickell, the story was inspired by a turn-of-the-twentieth-century newspaper article headlined “The Iron Mountain Baby” about a lost child. It was reset for the stage to North Carolina during the 1920s and post-World War II 1940’s, which, in Pike’s words, “would be advantageous to the musical’s bluegrass stylings.”

To the central role of Alice Murphy, the formidable editor of the Asheville Southern Journal,

Nicole Wadleigh brings much of the same brightness and warmth with which Carmen Cusack created the role on Broadway. As her lifelong love interest, Jimmy Ray Dobbs, when the story flashes back from 1945 to 1923, Andrew Rosenstein exudes youthful ardor and a brilliant singing voice. To Billy Cane, an aspiring writer just returned from World War II, Stephen Koehler brings sensitivity and exuberance. As his childhood friend and, later, fiancée, bookstore manager Margo Crawford, Jackie DeMaio is fervent and affecting. Rodney K and Lindsay Ryan are hilariously over the top as Alice’s assistants Daryl and Lucy.

Musical highlights include: Koehler’s exhilarating “Bright Star,” celebrating Billy’s literary ambitions; Wadleigh’s hopeful “Sun Is Gonna Shine,” as Alice leaves her rural home for college; and Rosenstein’s shattering “Heartbreaker,” after Jimmy Ray receives tragic news from his father. Kim Aliczi’s six-piece orchestra is a true bluegrass band, featuring Ann-Marie Messbauer on fiddle, Tim Maynard on banjo, and Ron Calabrese on guitar and mandolin. Even their “Entr’acte” is stunning.

Clever set design by Jeff Clayton allows for seamless transitions by the actors between scenes. Inventive choreography by Hannah Gundersheim, resourceful costume design by Moonyean Field, and Pike’s skillful staging of the many ensemble numbers further enhance this must-see production.

REVIEW: Opera House Players, Newsies

Opera House Players, Enfield, CT

www.operahouseplayers.org

through May 19, 2019

by Shera Cohen

“Extra, extra, read all about it!” This was the resounding chant of young newsboys throughout the boroughs of New York City in the late 19th century. With a cute title like “Newsies” starring lots of kids who seem to keep coming out of nowhere – theatre aisles, backstage, stage wings – one might anticipate a frothy musical. Yet, it’s characters, story, and setting are far from shallow. “Newsies” is the realistic, albeit with song and dance, bit of American history. That said, an important lesson can be taught with a whole lot of fun at the theatre.

Opera House Players (OHP) has taken on a huge challenge; the most obvious is casting 28 talented boys (plus a few girls with their hair stuffed into caps, voila – another boy appears). The big ensemble numbers, of which there are many, require ability in dance, agility, and gymnastics, not to mention acting. This is a demanding requirement for any director to oversee with a cast of adults, let alone children.

It is obvious that Sharon FitzHenry does not heed the famous W.C. Fields’ quote, “Never work with animals or children.” As OHP’s perennial director, FitzHenry must enjoy challenges; she has guided many of the “big musicals” on OHP’s community theatre stages for many years, receiving numerous accolades.

Our hero Jack (sweetness and sincerity portrayed by Christopher Marcus) and sidekick Crutchie (sorrow exuded from Max Levheim) team up with Davey (smarts and sensibility from Josiah Durham) and Les (cuteness personified by Alex Barry), and ultimately the other 24 newsboys to create a brotherhood of down on their luck, nice kids, looking for small opportunities to survive by selling newspapers. They are newsies. The story presents the audience a look at the highs and lows of children working for a living. Ultimately, Jack, et al, challenge the renowned publishers of the era (Pulitzer, Hearst) for fair wages and safe working conditions.

Standout moments include: Amanda Urquhart’s high-spirited “Watch What Happens,” Tim Reilly’s bombastic and humorous Pulitzer, Bill Martin’s multi-tasking orchestra conductor and keyboardist, and Josiah Durham’s imagination as set designer. Special kudos to choreographers Aileen Merino Terzi and Karen Anne McMahon. Dance can make or break this musical. OHP’s should be proud that these two brilliant women, along with dance and assistant dance captains, deliver ensemble pieces that shine. “The World Will Know” and “Seize the Day” are inspiring and profound.

REVIEW: Opera House Players, A Funny Thing Happened on the Way to the Forum

Opera House Players, Enfield, CT

www.operahouseplayers.org

through February 24, 2019

by Michael J. Moran

Forum was the first (1962) of many legendary Broadway shows with words and music by Stephen Sondheim, and it’s currently receiving an exuberant production by the Opera House Players, inventively directed by George LaVoice, that’s a must-see for musical theater lovers.

Photo by Emma Connel

With a book by Bert Shevelove and Larry Gelbart, the setting is ancient Rome, and the source material is several farces by Roman playwright Plautus. It tells the bawdy tale of how a slave named Pseudolus tries to win his freedom by helping his young master, Hero, win the affections of Philia, the girl next door (a brothel). The clean and simple set by scenic designer Francisco Aguas consists of three houses, belonging to Marcus Lycus (the brothel), Senex (Hero’s father), and Erronius (away in search of his two children, kidnapped 20 years earlier).

Pseudolus (versatile Dennis J. Scott) and the three nimble Proteans (Ray Boisvert, Donato DiGenova, and Frank Cannizzo), who play 30 different roles, set a buoyant tone for the show with an ebullient “Comedy Tonight.” Patrick Connolly, a lanky Hero, sings “Love, I Hear” with endearing innocence, a quality to which Mallory Wray as the hopelessly naïve Philia adds vocal glamour in their charming duet “Lovely.”   

Complications ensue when Lycus (canny David Leslie) reveals that he has sold Philia to the self-infatuated soldier of fortune Miles Gloriosus (hilarious Tim Reilly). But not before Pseudolus, having procured her from Lycus, tells Senex that she’s his new maid, prompting the delightful “Everybody Ought To Have a Maid,” deliciously performed, with Karen Anne McMahon’s soft-shoe choreography, by Pseudolus, Senex, his “head slave” (“I live to grovel”) Hysterium (high-strung Rick Fountain, a hoot when he later impersonates a dead Philia – don’t ask), and Lycus.

Whew! Sounds complicated. But it’s all in great fun.

Musical director Mark Cepetelli’s spirited four-member band sounds much bigger, thanks in part to the large orchestra pit and strong acoustic of the company’s temporary home in the Enfield Annex (formerly Fermi High School). Colorful period costumes by the ever-resourceful Moonyean Field put the crowning (or clowning) touch on this magical production.

REVIEW: Opera House Players, Beauty and the Beast

Opera House Players, Enfield, CT

www.operahouseplayers.org

Through November 25, 2018

by Michael J. Moran

In her “Director’s Notes” for the OHP production of “Beauty and the Beast,” Becca Coolong attributes the continuing appeal of this “tale as old as time,” most recently retold in two Disney films and this popular Broadway musical, to the fact that it’s “a story of hope, of love, and of acceptance.” Her diverse cast of 30 singing actors, including a Beast with dreadlocks, brings it to colorful and affecting life.

With music by Alan Menken, lyrics by Howard Ashman and Tim Rice, and book by Linda Woolverton, the story has two settings. The first is a medieval French village, where the bookish Belle (“Beauty”) and her artist father Maurice are regarded with curiosity by other townsfolk. The other is a nearby castle, where a prince has been transformed into a Beast for his selfishness and his servants are gradually turning into household objects. To recover his and their humanity, the Beast must learn to love Belle. 

Kaite Corda is a radiant Belle, with a gorgeous singing voice and acting chops to match. Frank Cannizzo’s Maurice is a dignified and doting father. While less impressive than his co-star, Silk Johnson's "the Beast" has perhaps the show’s most poignant moment, when he releases Belle from captivity to find her lost father. Tim Reilly plays the self-important ladies’ man Gaston with hilariously over-the-top swagger, and Harper Laino is a hoot as his obsequious henchman LeFou.

Kaite Corda & Tim Reilly

Musical highlights include: Reilly’s exuberant celebration of himself, “Gaston;” a joyous “Be Our Guest,” as Michael Graham Morales’ suave Lumiere and the Beast’s servants welcome Belle to his castle; a lovely “Beauty and the Beast” from Stevie Norman’s warm-hearted Mrs. Potts; and Erin Dugan’s Madame de la Grande Bouche deliciously nailing a coloratura Mozart aria passage.

Resourceful set design by Francisco Aguas allows for seamless transitions between the two settings, and musical director Devon Bakum’s four-member ensemble sound deceptively larger and consistently spot on. Inventive choreography by Krista Brueno, ingenious costume design by Moonyean Field, and Coolong’s skillful use of off-stage space at the company’s temporary home in the Enfield Annex (formerly Fermi High School) further enhance this entertaining production.

Review: Opera House Players, Parade

Opera House Players, Broad Brook, CT

www.operahouseplayers.org

through May 20, 2018

by Shera Cohen

“Parade” is going to be a tough show for Opera House Players to sell. First, the title is a misnomer. Second, virtually no one has ever heard of it. Third, the story is very difficult to watch. Rape, murder, feigned-justice, and bigotry do not make for a fun evening at the theatre. However, in the Opera House’s 15 years of performances, “Parade” can be singled out as its finest, skillfully-executed production.

Based on the true drama of Leo Frank, a New York Jew living in Georgia at the turn of the last century, the story is gritty, dramatic, and oftentimes embarrassing to watch. Set 50 years after the Civil War, the characters are bitter and cruel. For them, the Confederate flag, which is situated squarely in the center of the stage, is paramount in their minds, their hearts, and their words. Enter, newcomer Frank, married to a Southern Jewess, into this hostile world. The outcast Franks become victims of their times. Unfortunately, this is no surprise to the audience.

Sharon FitzHenry directs her large cast on a minimalistic stage with moveable platforms that create multiple indoor and outdoor settings. Credit to set designer Francisco Aguas who constructs slight but important visuals with dual purposes; shadows on the flag become jail cell walls.

Arguably, “Parade” boasts the most talented community theatre voices in the Valley. Both Michael King (news reporter) and Tim Reilly (district attorney) are given a good deal of stage time. Both are excellent in their roles. Kings’ “Real Big News” offers some of the few light moments in the play. Reilly’s solos are exquisite, at the same time portraying evil personified. Carl Cannella (Leo Frank) is an unsympathetic protagonist. Basically, he’s not a nice guy, and an awful husband. Cannella effectively gives Frank an air of entitlement and selfishness. The audience wants to like Leo. He is not a mensch.

The full ensemble, with some voices singled out on occasion, prove that Director FitzHenry and Producer Moonyean Field selected their cast carefully. Bill Martin, one of the most employed Music Directors within a 60- mile radius, is as talented as ever.

The star of “Parade” is Lindsay Botticello (Lucille Frank). Oftentimes, musicals are populated with singer who can act, or the reverse, actors who can sing. Botticello gets an A+ at both. She portrays a woman whose love for her husband is minimal, yet her efforts to save him are unrelenting. Where did Opera House find this gem? Hopefully, she will return.

“Parade” is the final production of the Opera House Players before locating to Enfield in the fall.

PREVIEW: Opera House Players, Parade

Opera House Players, Broad Brook, CT

www.operahouseplayers.org

May 6 – May 20, 2018

The tragic, true story of Leo Frank; a  man wrongly accused of murder is brought to theatrical life by Opera House Players. This is the troupe’s final production in Broad Brook, as the group will move to Enfield, CT for its first musical of the 2018/19 season.

Amid religious intolerance, political injustice, and racial tension, the stirring Tony Award-winning musical Parade explores the endurance of love and hope against all the odds. With a book by acclaimed playwright Alfred Uhry (Driving Miss Daisy) and a rousing, colorful and haunting score by Jason Robert Brown ( Bridges of Madison County), Parade is a moving examination of the darkest corners of America's history.

Sharon FitzHenry is the director and Bill Martin is the musical director.

For information and to order tickets call 860-292-6068, www.operahouseplayers.org

Working: A Musical

Opera House Players, Broadbrook, CT

www.operahouseplayers.org

through September 24, 2017

by Michael J. Moran

In his “Director’s Perspective” on the OHP’s powerhouse production of “Working,” John Pike recalls how moved he was when, as a college student in 1978, he saw the short-lived (three weeks) original Broadway version. With music and lyrics by Stephen Schwartz and five other composers and lyricists, the score of this “revusical” can sound a bit diffuse, but the 16 singing actors in Pike’s engaging cast invest it with unifying energy and commitment. While they perform most often as large and small ensembles, many are also featured as soloists in one or two numbers.

Angela Dias is a forceful schoolteacher in the Mary Rodgers/Susan Birkenhead song “Nobody Tells Me How.” “It’s an Art” becomes a star turn for Erica Romeo’s theatrical waitress. Eleven-year-old Sammi Choquette nearly steals the show in “Neat To Be a Newsgirl.” Dennis J. Scott and Brian Rucci are heartrending in the poignant “Fathers and Sons.” And the entire company are nervous wrecks in James Taylor’s manic “Traffic Jam.”

The score is periodically updated to reflect the evolving workplace, and invites new contributions from colleagues. One of two recent additions by Lin-Manuel Miranda is “A Very Good Day,” touchingly rendered by Andrew D. Secker as an adult caretaker and Elizabeth Drevits Tomaszewski as a nanny. 

In spoken interludes between musical numbers, Melody Gravante-Gunnells is an exuberant dog walker (with a four-pronged leash and a chorus of grating yaps from sound designer Ron Schallack evoking the unseen canines), band guitarist Matt Patton wryly laments the hand-to-mouth lifestyle of a freelance musician, and Dias' world-weary publicist looks and sounds uncannily like Joan Rivers.

Versatile set design by Francisco Aguas enables quick and smooth transitions among a wide variety of settings. Resourceful choreography by Anna Marie Russell enlivens many scenes, especially the hilariously staged Micki Grant song “Cleanin’ Women."

Titanic: The Musical

Opera House Players, Broadbrook, CT

www.operahouseplayers.org

through May 21, 2017

by Michael J. Moran

Referring to the small Opera House stage in her “Director’s Notes,” Sharon FitzHenry says the OHP production of “Titanic” “turns the focus back [from the ship] to the men and women of that fateful night” in April 1912, when this “floating city” sank in the North Atlantic only five days into its maiden voyage, killing 1,517 of its 2,200+ passengers and crew. Her cast of 21 singing actors brings over 50 characters to vivid and memorable life.

With music and lyrics by Maury Yeston (“Nine”) and a book by Peter Stone (“1776”), the original Broadway production opened in 1997, when it won all five Tony awards it was nominated for, including Best Musical. Perhaps the reason no actors were nominated is that “Titanic” calls for a true ensemble effort. While there’s not a weak link in the OHP cast, several standouts deserve special praise.

As the triumvirate who share “The Blame” (in Act II) for the disaster, Dennis J. Scott portrays Captain Smith with affecting dignity; Stephen Jewell gives Thomas Andrews, the ship’s designer, a tragic pride; and Tim Reilly invests Titanic owner J. Bruce Ismay with obnoxious bluster. Tara Kennedy is a hoot as upwardly striving second-class passenger Alice Beane, and more laughs come when another character muses, “Maybe I should go into politics; then I wouldn’t have to know anything.”

Musical highlights include: the stirring anthem “There She Is,” heartily chanted by most of the company; the haunting “No Moon,” rendered by Andrew D. Secker as lookout Frederick Fleet; and the lovely duet “Still,” tenderly sung by Jayne Newirth and Glenn Gordon as an aging couple, the Strauses (he co-owned Macy’s), who refuse to separate and perish together.

Flexible set design by director FitzHeny and Francisco Aguas allows for quick and seamless scene transitions by cast members in shadow to atmospheric underscoring by musical director Bill Martin’s crack four-person band. Lively choreography by Aileen Merino Terzi for the “Doing the Latest Rag” scene, sensitively varied lighting by FitzHenry, and brilliant period costumes by Moonyean Field also make this transporting production a must-see.

Avenue Q

Opera House Players, Broad Brook, CT

http://smplayers.homestead.com/

through February 21, 2016

By R.E. Smith

By turns hilarious, touching, topical and raunchy, “Avenue Q” has everything one could hope for in a puppet musical, especially if one is hoping for catchy songs and intimate, R-rated, felt-based relationships. The story tracks the lives of the millennial denizens of a street not unlike one called “Sesame,” (complete with educational animations), as they deal with “real life” and their relationships with each other.

Half of the team that wrote the book, music and lyrics, is Robert Lopez, also partly responsible for “The Book of Mormon” and “Frozen,” so expect zippy one-liners set to hummable ditties such as “It Sucks to Be Me, sung by performers operating puppets. It takes some real musical chops to create a humorous tune on the topic of “Schadenfreude” as song by a fictional Gary Coleman.

As broadly humorous as the idea may seem, a lot has to go right for concept to succeed and not seem like amateur hour. Fortunately, the Opera House Players have mastered all the elements, starting first and foremost with the cast. Although speaking through their puppets, one cannot help but split one’s attention between watching the puppet and the actual performer. Whichever one is chosen, both deliver an enjoyable performance.

Kellie Comer, as Kate Monster, never wavers in her commitment to making sure her furry counterpart is always “emoting,” all the while giving a multi-dimensional performance herself. She can deliver a curse word and sing the tender “There’s a Fine, Fine Line” with equal aplomb. Ryan Pipke manages 2 totally different characters, “Trekkie Monster” and “Nicky”, sometimes at the same time. In these cases he is often assisted by Alysa Auriemma, who still gives complete performances even when she is

literally lending an extra hand. Pipke’s vocalizations definitely carry a hint of familiarity that helps underscore the humor in “The Internet is for Porn” and “If You Were Gay.” Auriemma’s solo as “Lucy” in “ Special”, showed that a puppet can be droll and ribald simultaneously. Michelle Ortiz-Saltmarsh and Daniel Viets as the “Bad Idea Bears” were perfect comic foils, cute and cheerfully malevolent. On the wholly human side, and more caricature then the puppets, is “Christmas Eve” given real energy and presence by Sandra W. Lee, especially when she explains the conflicting emotions that occur “When You Ruv Someone.”

“Avenue Q” takes the familiar, turns it sideways, gets your toes tapping, and leaves a smile on your face. Perfect for a February date night at the theater!

Man of La Mancha

Opera House Players, Broad Brook, CT

www.operahouseplayers.org

through November 29, 2015

by Michael J. Moran

The triumph of hope over adversity is the timeless theme of the hit 1965 musical “Man of La Mancha.” But its play within a play structure and its dark prison setting can make it a hard act to pull off. The Opera House Players make an honorable effort.

The show’s book by Dale Wasserman is based on his non-musical 1959 television play “I, Don Quixote,” which tells the story of the fictional knight as enacted by Cervantes, author of the 1615 novel “Don Quixote,” and his fellow prisoners while they await their hearings before the Spanish Inquisition. With music by Mitch Leigh and lyrics by Joe Darion, the score’s most familiar number is the much-recorded “The Impossible Dream,” but it also features many other memorable tunes.

Those familiar with John Baran as the host of “As Schools Match Wits” will be pleasantly surprised to find what a credible Don Quixote he makes, bringing solid acting skills and a strong singing voice to the title role. That this engagement ends a 30-year absence from the stage after training at the Hartt School and some early musical theatre credits makes his performance all the more impressive.   

But the best reason to see this “La Mancha” is the stunning account by Erica Romeo as Aldonza, the self-described “kitchen slut” whom Quixote transforms into his lady Dulcinea. Her contempt for the muleteers who regularly abuse her makes “It’s All the Same” a bone-chilling scream of outrage, and her disbelief of Quixote gives “Aldonza” a poignantly cutting edge.

Jim Metzler does fine work as the Padre, and Brad Shephard as the innkeeper brings his usual vocal heft to the “Knight of the Woeful Countenance.” Carl Calhoun sings a delightful “I Really Like Him,” but his rendition of Sancho Panza is otherwise under-characterized.

Moonyean Field’s costumes are distinctive, and musical director Steven Cirillo leads a stellar ensemble of three, with particularly atmospheric contributions from guitarist Daniel Hartington. Scene transitions are sometimes distractingly clunky.

Not a perfect “Man of La Mancha,” then, but worth seeing for at least Romeo’s outstanding performance.

She Loves Me

Opera House Players, Broadbrook, CT

www.operahouseplayers.org

through September 27, 2015

by Michael J. Moran

Composer Jerry Bock and lyricist Sheldon Harnick are best known for their monster hit “Fiddler on the Roof,” which this company presented last season. But its more modest sibling, “She Loves Me,” has long been respected, in the words of this production’s resourceful director, Meghan Lynn Allen, as a “crown jewel of the golden age of musicals.” And “Good Morning, Good Day” is among the greatest of all opening numbers.

Based on a 1937 play by Miklos Laszlo, the story also inspired several films, including "The Shop on Main Street" and "You’ve Got Mail". The plot focuses on a romance between two pen pals, Amalia and Georg, who’ve never met but later find themselves as fellow clerks in a pre-World War II Budapest perfumery who are often at odds with each other. Other employees provide not only comic relief but contrasting dramas of their own.

J. McCann & M.G. Morales

Bock’s lush score often evokes the Hungarian sound world of Franz Lehar’s operettas, while Harnick’s clever lyrics recall the patter of Gilbert and Sullivan. The cast of 20 singing actors is consistently engaged and compelling. Michael Graham Morales brings a wide emotional palette and a fine singing voice to Georg. Few scenes are more stirring than his exuberant rendition of the title song. The versatile Brad Shepard is avuncular and poignant as Mr. Maraczek, the shop manager.

The standout vocalist is Jennifer McCann, who perfectly captures the neurotic charm of Amalia. Her touching “Dear Friend” and winsome “Vanilla Ice Cream” echo the gorgeous lyric soprano of Barbara Cook, who originated the role on Broadway in 1963, and her comic acting chops make “No More Candy” a highlight of the evening. In smaller roles, Martina Haskins is a hoot as the lovelorn Ilona, Thom Knightlee haughty as the caddish Kodaly, and Joshua Prouser endearing as the ambitious Arpad.

Greg Trochlil’s set design is elegant and simple. Karen Anne McMahon’s choreography is imaginative, particularly in a delightful “Twelve Days to Christmas.” And musical director Steven Cirillo leads a well-drilled and impressively larger-sounding band of four.

This lovely production will appeal to musical theatre audiences of all ages.

Company

Opera House Players, Broad Brook, CT

www.operahouseplayers.org

through September 22, 2013

by Walter Haggerty

“Company,” introduced in 1970, was the first “concept” musical. Today the show is a classic and has transitioned through revivals, concerts, and never-ending renditions. The lyric, “Art isn’t easy,” is from a later Sondheim work, however, it applies aptly to “Company.”

Art isn’t easy, and neither is Sondheim, considered a creative genius of contemporary musical theatre. Sondheim is a challenge to perform for the artists who give life to his characters, and sometimes to audiences. His music is magnificent, his lyrics inspired.

The Opera House Players are to be commended for accepting the Sondheim challenge of “Company,” and they make it work. The talented cast delivers an ensemble performance that is a miracle of acting and direction. The performers have captured each little quirk and eccentric nuance from every character to develop a series of portraits that stay with the audience long after the evening has ended.

The story focuses on several couples who live in an upscale Manhattan apartment house, and have gathered for a surprise birthday party for Robert, the lone single member of the group. Several side interludes reveal the conflicts and foibles of the various marriages and introduce a trio of prospects for consideration as a wife for Robert.

”Company” is overflowing with memorable performances. Sue Dzira’s “Getting Married Today” stops the show, and Julianne Rhone’s “Another Hundred People” is a lacerating take on New York. Becky Rodia Schoenfeld gives April just the right touch of off-center innocence, but it is Kathi Such who earns the evening’s highest accolades with an electrifying delivery of “The Ladies Who Lunch.”

The role of Robert fits Steve Wandzy perfectly. He captures Robert’s warmth and caring as well as his confused and superficial side. With “Someone Is Waiting” and “Being Alive,”Wandzy’s acting overcomes any vocal shortcomings, allowing the impact of each number to shine through.

At Broad Brook the cast delivers 100%, but the audience needs to work too. Every word is important, there is meaning that goes deeper than what is being said. “Company” demands and deserves attention. It’s worth it and the rewards are great.