Jesus Christ Superstar

Academy of Music, Northampton, MA
www.pioneerarts.org
through April 11, 2010
by Eric Sutter

It's about time... give it up to PACE (Pioneer Arts Center of Easthampton) to achieve this level of greatness in modern theatre. Directors David and Sonia Fried Oppenheim have staged a contemporary take of the 1970 rock musical "Jesus Christ Superstar" with MTV style choreography by Mary Ann Holmes. Kudos to the entire cast and ensemble of musicians, dancers and singers for a most successful rendition of the rock opera.

The opening eerie electric guitar chords to "Overture" set the tone for the clap dance of "Heaven on Their Minds." Enter Judas (Michael Holt) with his dark brooding presence. Jesus (John Losito), with guitar, joins Mary Magdalene (Teresa Lorenco) in the dance troupe on "What's The Buzz." This was first-rate acting and singing. The set was simple...staging with four television screens and use of the backdrop which periodically showed projected images. Paparazzi with video cameras, cell phones and other high tech devices followed every move of Jesus -- simultaneously adding to the drama and playing upon the confusion of the purposely distracted society onstage. Jesus was a modern day rock star with human frailities, particularly in relationship with Mary Magdalene. She exhibited the mystique of the sacred feminine with "Everything's Alright." "This Jesus Must Die" was a question-answer scene with Judas, Caiaphas (Rick Sheldon) and Annas (Martin Meccouri).

Act II featured "The Last Supper," depicted by an image of The Garden of Gethsemane's Sushi & Steak House. "The Arrest" and "Peter's Denial" built dramatic tension...enter Judas with the kiss of death. Betrayal turns to "Pilate and Christ" with Jason-Rose Langston as the cynical Pilate. "King Herod's Song" brought comedic relief with Frank Borelli as a drag queen with a sexy chorus line in tow. Accolades to guitarist Eric Lee for his musical leadership. "Judas' Death" was suicide by pistol and the band rocked out. During the "Trial Before Pilate" the tide turns against Jesus as the followers condemn him by throwing CD cases. An image of the ghost of Judas appears singing "Jesus Christ Superstar." A curious twist in the story occurs after "The Crucifixion" which especially makes this a must-see show.

Falsettos

PACE, Academy of Music, Northampton
through May 10, 2009
by Meghan Allen

P.A.C.E. undertakes "Falsettos" at the Academy of Music this month. "Falsettos" is a musical by William Finn that ran on Broadway in 1992 and 1993. The play is the second and third parts of a trilogy. The first show is called "In Trousers", the second is "March of the Falsettos", and the third is "Falsettoland."

"Falsettos" is an operatic musical that deals with the same characters. Marvin (played by Michael Holt), is a gay Jewish man who battles his inner demons while playing ping pong between his wife, his lover, and his son. Holt sinks his teeth into the complexities of Marvin's struggles. Nikkie Wadleigh effortlessly plays Marvin's ex-wife Trina, who is neurotic, loving, and scorned. Amidst the chaos of her failing marriage and therapy appointments, Wadleigh brings a humor to the role that engages the audience, and her voice is a delight. Noah Loving portrays their son Jason. Loving's entertaining facial expressions and interpretation of typical teenage angst make him a pleasure to watch. Rounding out the cast are Ed Ryan as Mendel, the family shrink; Andrew Gilbert as Marvin's lover Whizzer; Stephanie Devine as Cordelia and Rebecca Rose-Langston as Dr. Charlotte. Ryan's sense of coming timing, Gilbert's strong belting notes, and Devine and Rose-Langston's sweet and sassy portrayal of lovers and friends add depth to the piece. Memorable numbers include Wadleigh's hilarious rendition of "Trina's Song" in Act 1 and the ensemble's comic relief number "The Baseball Game" in Act 2.

The score is lyrically sophisticated and chock-full of intricate harmonies. The actors have no time to catch their breath, as there is no spoken dialogue in the "Falsettos." It sounds good on the whole, but some harmonies could use tightening. The piece feels somewhat dated, as it tackles the subject of A.I.D.S., though never mentioning the disease itself. The set is minimal and that is okay, except that the actors constantly move furniture onstage. It can be somewhat distracting, and the direction of the piece seems to be more focused on the furniture moves than the actors conveying of emotions at times.

Lloyd Cole + The Lonesome Brothers

Pioneer Arts Center, Easthampton
December 20, 2008
by Eric Sutter

"Turn away, turn away, turn your blue skies to grey" is a line from "Unhappy Song" off Lloyd Cole's CD "Love Story." Tales of heartbreak and true love were performed by the English singer-songwriter who got his start in a modern rock style in the 80s and has now evolved into a literate character-driven sensitive song writer on acoustic guitar. He sang the moody ballad, "Butterfly" from a 1991 CD. Many of his songs had sad outcomes and/or a caustic dry wit, such as "No More Love Songs" and "How Wrong Can You Be?" from 2006's "Antidepressant." He followed with the perturbed "Impossible Girl" and "Young Idealists," which could be the story of folksingers from the last century.

The Lonesome Brothers peppered it up with the rockabilly vehicle "Fins on a Cadillac" from their latest CD, "The Last CD." These singers are Northampton rockers who keep on doing what the locals love best -- exciting music with lively lead guitar by ace Jim Amenti performed in an Americana style. Both Armenti and Ray Mason are keen observers of human nature with lyrics that shine playful humor on relationships and life situations. Mason's comical "You've Never Seen My Baby Drunk" brought forth dancing at PACE on this bleak night just shy of the Winter Solstice. "Amy Cincinatti" was Armenti's joyful jaunt of rock n' roll.

The banter between Armenti and Mason, as they traded songs, caused chatter in the audience which spilled out with shouts of requests of such favorites as "Swamptown Girl" and "Frozen George." Mason slowed things down with his ballad "Early in the Spring." The duo concentrated on requests like "Sure Looks Pretty," but since it was a CD release party they focused on songs from "The Last CD." The audience was treated to Armenti's Christmas song, "Country Christmas." "Pass the Wrench" was Mason's and featured a bluesy harmonica solo by drummer Tom Shea. The trio encored with the country-rock tinged "Warm Vinyl," which was a homage to vinyl records before the age of CD.

AeroPlane 1929, Low Anthem & More

Pioneer Arts Center of Easthampton
January 26, 2008
By Eric Sutter

Music is sound arranged into pleasing or interesting patterns. This evening proved three distinctively different sounds could co-exist in an often inspiring manner. The triple bill featured a fine array of diverse talent from the Pioneer Valley and beyond. First up was Aeroplane 1929 from Springfield and New Haven. The 5-piece band at first glance looked like any number of indie-rock bands. The sudden impact of the opening song from their 2007 CD, "The Holy Ghost," with its persuasive sound permeated the core of the listening audience. Acoustic guitar slowly built the musical tension with the addition of lap steel, electric guitar, keyboard and cornet in succession. It was topped off with Alex Mazzafero's singing the red, white and blues. The quintet performed songs strong enough to break through radio's stonewall. The stampeding "Hounds at Heels" showcased a garage rocker with drummer Wil Mulhern's steady beat. Insightful lyrics and melodic guitar riffs evoked and transcended what could be ready radio play. The title cut, "The Holy Ghost" began with subtle finger snaps as the music swelled up to an upbeat crescendo of electric guitar and keyboard accented by a pleasant glockenspiel solo from Wil Mulhern.

Low Anthem from Providence performed in a mellow down easy alt-country style complete with a three part harmony sound. Diverse and versatile in styles that ranged from folk/country to roots rock, the trio employed acoustic guitar, harmonica, stand-up bass, banjo and clarinet to amazing effect. "The Ballad of the Broken Bones" and "A Weary Horse Can Hide the Pain" were moody pieces that lulled the audience into intense lyric listening. Multi-instrumentalist Jocelyn Adams bowed a banjo and played a clarinet solo in the course of the evening. Their vocal harmonies with the man out front were what shined and had the audience singing the A.P. Carter classic "Keep on the Sunny Side." moving bowed bass solo.

Vocalist Julia Suriano and acoustic guitarist Steve Biegner joined forces to enlighten and inspire with their wonderful music. The pop love song, "February's Moon Rise" was beautiful. Most of the evening was shared between this girl's gorgeous voice and this guy's brilliant guitar playing duets. The urgency of "The Water that Cut the Canyon" exposed their wide range in voice. It's not surprising with this much talent that they will play the lead roles in "West Side Story" at the Academy of Music on April 23-27.