REVIEW: Suffield Players, Ghost of a Chance

Suffield Players, Suffield, CT

www.suffieldplayers.org

through October 27, 2018

by Mary Kate Sylvia

The first thing the audience will notice as they walk into historic Mapleton Hall is a cabaret setting. Tables are set up with electric candles flickering in the center of each. After taking in the actual theater, it’s quick to note that set designer David Crowell’s staging is extraordinaire. The decor looks like a man cave mixed with a hunting lodge, which is just what the setting of this play calls for. From the little details, like the shoe rack stacked with various types of boots, to the large ones, like the exposed beams on the ceiling and the fireplace and chimney on stage left, the set pulls the audience in and prepares them for the show to come.

The play itself is interesting and attempts to fit quite a lot of commentary into its plot. It touches on life, death, dying, love, loss, relationships, and of course attempted murder. (Not one but two instances!) A major plot point is its seamless inversion of character traits. Each character changes immensely through the course of the play. Big, burly, and loveable mountain man Chance is not the same character at the show’s end. His constant romantic pursuit of Bethany has a more malicious tone at the end of the show than the audience might imagine at the beginning. Each character goes through a similarly unlikely change by the conclusion of “Ghost of a Chance”. The play is so immersive that the audience almost wonders what happens to these characters’ personalities even though they have been subtly changing the whole time.

 Save for a few opening night jitters, the cast performed very well. Each actor took his/her role wholeheartedly and acted without fear.  The stand out players were Barbara Gallow who portrays overbearing mother-in-law to be, Verna; and Mark Popovitch who plays her dweeby, good-natured son, Floyd. Gallow’s straight-faced delivery wins the audience over in the first scene. These two have fantastic onstage chemistry. They perfectly embody the comedic codependency trope and deserve every ounce of this praise for their hilarious portrayals.

All in all, “Ghost of a Chance” offers two distinctive ways of viewing. First, it is at its heart, a comedy filled with everything a comedy should have; romance, jokes, vacuuming up a dead husband. Second, this show can be looked at on a deeper level. It touches on many difficult issues and presents ways to cope. There is no need to be into edgy drama to enjoy this show, but “Ghost of a Chance” and Suffield Players offer a thought-provoking play which can invite further discussion

PREVIEW: Suffield Players, New Faces Theatre Program Returns

Suffield Players (now at Mapleton Hall,) Suffield, CT

www.suffieldplayers.org

Designed to teach, inspire and develop the talents of all participants, this summer educational program showcases new actors, directors and playwrights. New Faces 2018 will perform on August 18 at 2pm and 7 pm at Mapleton Hall in Suffield, CT.

Now in its seventh year, the program is a fresh approach to theatre, as many of the thespians involved are new to acting or new to Suffield Players, and the works being performed are new as well

Ten talented directors will lead the learning, and twenty actors from throughout Western MA and CT will participate.

The Playwrights whose new works will be performed are: Amanda Keating, Konrad Rogowski, Becky Schoenfeld and Joe Starzyk.

General admission only; no reservations required. There is a $10 donation suggested at the door.

Much Ado About Nothing

Suffield Players, Suffield, CT

www.suffieldplayers.org

through October 21, 2017

by Shera Cohen

This is not your usual review, but a commentary on Shakespeare’s plays, “Much Ado About Nothing,” and community theatre.

Last weekend I enjoyed the fun of “Much Ado” at Suffield Players. Bravo to Suffield for taking on the task of mounting a play whose language is far from the norm. It’s difficult enough to learn lines, let alone Shakespeare’s. While Friday nights are traditionally sluggish for actors, crew, and audience members who are tired at the end of their work weeks, it was disappointing that so few attended what I consider, one of the Bard’s best.

Aside from “Romeo and Juliet,” a given for all high school students who intend to graduate, I suggest that today’s audience look at “Much Ado” as Shakespeare 101. Please, do not heed the many “warnings” about attending a Shakespeare play. I won’t understand it. I’ll have to pay attention to every word. It’s ancient history. It doesn’t relate to me. It’s long and boring. There are too many characters to remember. It’s expensive. The man is dead and who cares.

Now, let’s look at various bright sides of “Much Ado,” Suffield Players,” and theatre. This is a Comedy. Sections of some of the Dramas can be a bit difficult to understand at times, and (admittedly) good chunks of the History plays as well, but laughter and the reasons audiences laughed in the 1500’s England (or any other venue used by Shakespeare; i.e.  Italy, France, or fantasy islands) are pretty much the same now.

This production has been set in the Roaring 20’s (that’s 1920’s, not 1520’s), New York with nifty costumes, hairstyles, and music that accentuates the time. While this play is not nearly as long as some of Shakespeare’s, just the same, it has been adapted and edited enough to tell the entire story without skimping. In other words, the play is short.

The Cast

Yes, there are many characters, but again, the editor’s computer has deleted the unnecessary. The comprehensive plot is intact whether it be set five centuries ago or 100 years. “Much Ado” is a humorous love story. The male feigns disinterest in his female counterpart. In turn, she pretends to care less. There’s lots of humorous scheming by friends and family who want to make the two a match. It’s no spoiler alert that, indeed, Beatrice and Benedict wed at play’s end.

Most importantly, neither you nor the people with you, or for that matter most in the audience, will comprehend every word. Don’t even try. It doesn’t matter. Trust me, you will “get it” quickly, with no brain cells lost in this seemingly arduous task. The fact that a community theatre troupe, Suffield Players, is the producer, indicates that this “Much Ado” or any other Shakespearean play will be easily accessible. Also, by trying out Shakespeare at this level of theatre, you get top quality at a good price.

Any Shakespeare play featuring bumbling Keystone Kops has got to be fun for all. Give the Bard a shot. And remember that “Much Ado” is where you should start.

Five Women Wearing the Same Dress

Suffield Players, Suffield, CT

www.suffieldplayers.com

by Stuart Gamble

The last few months in the U.S. have shown us the infinite power of women to raise and discuss issues intelligently and non-violently, such as the political campaign of a woman for President and the recent Women’s Marches. It seemed utterly logical to showcase dramatic works about women and their unique perspective on love and life. The Suffield Players recently staged production of Alan Ball’s (of “American Beauty” and “Six Feet Under” fame) comedy “Five Women Wearing the Same Dress” was a fine case in point.

Directed in a relaxed, natural style by Kelly Seip, the show featured a quintet of VERY different women: Naïve Frances (Amy Lambert), high-strung Meredith (Tina Sparkle), blowsy Georgeanne (Trish Urso), cerebral Mindy (Jen Rawlings), and sensible Trish (Karen Balaska). These women, reluctant bridesmaids at a swanky wedding in Knoxville, Tennessee, hideout and pour their hearts out in Meredith’s upstairs bedroom.

Each one tells her story in humorous and touching ways. Act I, with all of its exposition, paled when compared to the much livelier Act II. Among the fine cast, Urso, Rawlings, and Balaska stood out. Urso’s bellowing Georgeanne swilled her champagne and bragged of her sexual conquests with comic aplomb. Rawling’s lesbian Mindy downed platefuls of appetizers and offered well-played wittiness. Balaska’s maternal Trish stood her ground against bible-thumping Frances and the advances of the play’s lone male character (nicely played by Shaun O’Keefe) with bawdy verbal jousts like a modern Mae West.

Though most of the characters expressed their dislike of their bridesmaids’ dresses, costume designer Dawn McKay’s melon taffeta garb sparkled like glasses of a fine, summer rosé wine in stark contrast to the play’s darker issues of rape, STD’s, and drug abuse. Set in the early 1990’s, set designer Seip enhanced the look of this era with boom boxes and cross-fit machines, along with references to the Julia Roberts film, “Pretty Woman.”

Although it resembled “Steel Magnolias,” Ball’s play was a refreshingly more adult, R-rated vision of the camaraderie among a group of diverse women.

39 Steps

Suffield Players, Suffield, CT

www.suffieldplayers.org

through May 21, 2016

by Shera Cohen

If any local community theatre troupe can handle the character changes, set intricacies, and fast-paced plot twists of “The 39 Steps” it is Suffield Players. The play begins with an actor standing in profile as Alfred Hitchcock, director of the 1930’s film of the same name. Interestingly, nearly all of the scenes and a good deal of the dialog are taken directly from the silver screen and placed on the theatre stage. Yet, there is one huge difference. As taut and sinister as the film is, the play is (for the most part) a raucous comedy.

Under the cloud of WWII rumblings enters our hero, a dapper 20-something with a curl on his forehead named Hannay. Soon to arrive is a damsel in distress – a woman of typical intrigue, a taste for fish, and an ax to grind. The setting is Scotland, which offers the actors the opportunity to intentionally mangle the accents. Three actors round out the cast, each portraying about 10 characters each. These are the “Clowns.” It is their job to keep the action as fast and furious as they are able to change costumes.

Director Roger Ochs’ cast showcase a mix of “regulars” and “newbees.” In the latter category are the two leads, Tyler Wolfson and Libby Miserendino. Wolfson infuses his role with boyish charm, self-deprecating humor, and a bit of dim wit. Miserandino (in two roles) is equally effective as the femme fatal, later the no-nonsense love interest. Hopefully, audiences will see each actor on many more stages in the future.

Barbara Gallow (Clown 1) is malleable and handles each character well. Konrad Rogowski (Clown 2) puts his comedic emphasis on vocalization especially when portraying females. Steve Wandzy (Clown 3) unabashedly uses physical humor by every means practical.

Those familiar with Suffield’s venue recall its small stage which adds to the difficultly of numerous sets. A train scene works best (trust me, you have to see it). Yet box seats and a library are elevated too high from the first level of the stage that audience members must crane their necks. As for all of the successful backstage work, those on lights, sound, and costuming were keen on much to the shenanigans. Too often, playgoers don’t recognize these talented, unseen individuals. Kudos to them and to all.

Night Sky

Suffield Players, Suffield, CT 
www.suffieldplayers.org 

through February 27, 2016

by Jarice Hanson

The opening moments of Suffield Players’ "Night Sky" transforms the theater into a galaxy of stars causing an audible gasp from the audience. What follows is a well crafted two hours of entertainment that allows each of the cast members to shine. Director Chris Rohmann weaves together the subtle story lines about relationships and communication, despair and inspiration.

Susan Yankowitz’ 1991 play about an astronomer who has an accident that results in aphasia, a traumatic brain injury that makes verbal communication challenging, is sometimes played to twist the audience’s emotions toward the inevitable conclusion, but this production finds greater nuance in the relationships and is not afraid to establish scenes that show the humor of the human dilemma. When Anna, played by Virginia Wolf, is struggling with regaining her verbal abilities, another patient, played by Shaun O’Keefe, provides a counterpoint to the words themselves. This scene effectively makes the most of the performers’ abilities on two levels; the actors breathe life into the script with excellent comic timing, creating a connection with the audience that is both uniting and compassionate. We’re left with questions to ponder; if we couldn’t communicate, how would we find meaning in life?

Metaphors of family, aging, and resilience abound in the script. In addition to Wolf and O’Keefe, Emery Henderson as Anna’s daughter, Brian Rucci as Anna’s boyfriend, Karen Balaska, as the speech therapist, and Dana Ring as Anna’s university colleague, Bill, are all “giving” actors who perform as an ensemble. Each commits to his/her role and are not afraid to show vulnerability.

Director Rohmann’s clever sound design, Jerry Zalewski’s lighting, and Konrad Rogowski and Kelly Seip’s set design are perfect for the intimate stage and theater, and a first-rate production crew keeps the interwoven elements tight and well paced. “Night Sky” is Suffield Players’ 150th production, and all involved can take pride in the group’s reputation for first-rate entertainment.

Talents Gather for Holiday Benefit

"4 X’Mas" by George Cameron Grant 
Mapleton Hall, Suffield Players
www.suffieldplayers.org
December 4, 5, & 6, 2015

An ensemble of 15 talented local thespians are gathering to produce four holiday themed one-acts, plus one bonus festive monologue, on December 4 and 5 at 8 pm, December 6 at 2 pm at Mapleton Hall in Suffield CT.

General admission; no reservations
$10 donation suggested

The Mousetrap

Suffield Players, Suffield, CT

www.suffieldplayers.org

through October 24, 2015

by Stuart W. Gamble

A mild autumn evening, friends enjoying snacks sitting in cabaret-style seats, a warm family-like atmosphere prevails, hardly the stuff that murder mysteries are made of, but not so at the Suffield Player’s season opening show, “The Mousetrap.”

Christie’s chestnut is given a fresh transfusion in SP’s production. The play opens as Mollie Ralston (Rachel Berezin) and her husband Giles (Steve Wandzy)  prepare to open their home, Monkswell Manor (a former monastery), to paying guests as a sort of rooming house. The Ralstons are a decidedly normal couple in their first year of marriage. Their guests, however, prove to be an eccentric, and in some cases, a downright bizarre bunch: there’s the foppish and fey Christopher Wren (Shaun O’Keefe); the blowsy, domineering Mrs. Boyle (Kelly Seip); the stiff-upper-lipped Major Metcalf (Mark Proulx); the dour, androgynous Miss Casewell (Brianna Stronk); and the truly strange Senor Paravicini (Roger Ochs).

If this sounds like a somewhat altered game of Clue, that’s because Christie was one of the earliest practitioners of the disparate group of people trapped together in an isolated setting. Into this seemingly unrelated group of strangers, comes Detective Sergeant Trotter (Reid Sinclair), who despite his youth and inexperience, tries to unravel the mystery before another homicide occurs.

“The Mousetrap” is truly an ensemble piece and all eight actors work well together. O’Keefe steals the show with his joyful performance as the superficially funny, but ultimately deeply troubled Christopher Wren who spouts off such lines as “I like murder” with gleeful abandon. Seip is also a standout as the ill-fated Mrs. Boyle. Her no-nonsense dismissal of the strange goings-on as “melodramatic rubbish” adds much humor to the more melodramatic moments. Sinclair offers perhaps the most complex performance in a truly difficult role. His detective keeps the audience engrossed in the Act II. Sinclair’s accent is very authentic as well, revealing his lower-class origin.

The stately yet cozy drawing room setting has been meticulously designed by Art Christian and assisted by Konrad Rogowski and Kelly Seip right down to the circa 1950’s radio and telephone. Boutin’s costumes range from “veddy British” tweeds to brightly colored argyles.

Suffield Player’s respectable production is obviously a labor of love for the group. With over 40 people in the program credited for their contributions, SP exemplifies the meaning of a theatre community.

Hearts

Suffield Players, Suffield, CT

www.suffieldplayers.org

through May 16, 2015

by Shera Cohen

During these three weeks at the end of the community theatre season, musical offerings seem infinite. Toss in a couple of comedies, and the dozen troupes in the Pioneer Valley are mighty busy. Why, then, would anyone seek out a heavy-duty drama as a choice of entertainment? In the case of “Hearts,” perhaps a substitute for “entertainment” should be “experience.”

Playwright Willy Holtzman’s work is an emotional ride for its lead character and empathetic journey for its audience. The story’s focal point is Donald Waldman, whose life is viewed pre-WWII, during, and after. The set’s center point begins at a card table where Donald and three war buddies play their regular game of Hearts. Of course, “hearts” serves as a somewhat metaphor, as Waldman slowly exposes his heart to others, and they to him.

The piece is a tour-de-force performance for whoever is cast as Donald. Konrad Rogowski, one of Suffield’s stalwart members, puts oftentimes-irreverent passion into every syllable of dialog and nuance of movement. Rogowski becomes Waldman, as his character shifts from remorse to laughter, from struggles to joy in his two hour soliloquy.

Ed Bernstein, Wesley Olds, and Gio Castellano -- completing the foursome -- each portray numerous roles as the eras and settings change. The actors take on these responsibilities well and seemingly instantaneously. Kudos to them and to Tammy Young Cote, also in multiple roles.

While director Jeffrey Flood’s pacing during Act I is a tad slow, Act II makes up for it. Many of the combat scenes are very well choreographed, as is an extremely poignant “dance” (to say more would not be fair) in Act II.

The proscenium stage of grey stucco-like paint is extended out two levels into the audience, developing a close rapport between characters and viewers -- sometimes purposely too close during some intense scenes.

Suggestion: Add pounds to Rogowski’s middle. There are at least 20 references to Donald’s eating too much.

A question to many in the audience: Why would anyone boisterously laugh at scenes about death on the battlefield, hospitalization for PTSD, and savagery in Nazi death camps? Sadly, perhaps someone at Suffield should have informed ticket buyers that this was not a comedy.

Anything Goes

Suffield Players, Suffield, CT

www.suffieldplayers.org

through May 18, 2014

by Shera Cohen

Creating a small theatre stage into a boat -- no, an ocean liner -- is a herculean task of thought, ingenuity, hammering, and painting. The scenic design team of Konrad Rogowski and Kelly Seip has once again, as they have in so many Suffield Players productions, launched “Anything Goes.”

Set in the 1930’s, Cole Porter’s music has been contagious for the past 80+ years. No matter what the age of the audience goer (and it was wonderful to see youngsters in the audience) he/she is familiar with and can probably hum most of the melodies: “You’re The Top,” “It’s Delovely,” “I Get a Kick Out of You,” “All Through the Night,” and title song

Two comedic plots immediately interweave punctuated with lots of mistaken identity, a love triangle, con men on the lamb, and hackneyed one-liners. All of that is okay in efforts toward purposeful silliness.

“Anything Goes” has lots going for it, and so does Suffield Players -- usually. It seems as if the troupe relied heavily on “newbies” at the helm, particularly the director and choreographer. “AG” demands spunk, frivolity, and get up & go. Sadly, this “AG” didn’t get up. The pace drags, several actors are far too old for their characters, and (sadly) many singers’ voices crack.

Two actors stand out: Kimberly Spera, whose soprano voice is sweet; and Peter Hicks, whose comic timing works well.

What particularly shines in “AG” are, as stated at the top, the excellent tech qualities: Dawn McKay’s costume design, Jerry Zalewski’s lighting, and Hal Chernoff’s sound design.

“AG” has lots of potential. And Suffield Players has proved its skill and success for 60 years. They have, and they will, do better the next time the curtain rises.

The Lion in Winter

Suffield Players, Suffield, CT

www.suffieldplayers.org

through October 26, 2013

by Bettie Hallen

With the leonine Robert Lunde as King Henry II of England and the regal Debi Freund as Eleanor of Aquitane, "The Lion in Winder" unfolds on the Suffield stage in all of its 12th Century royal panoply, intrigue, and chicanery. The gorgeously costumed family Plantagenet is as dysfunctional and love-hungry as any group could ever be, and all in it are masterfully portrayed.

Will Matus is the eldest son, Richard the Lionhearted: tall, handsome, and soldierly; his brother in the middle, Geoffrey, is played by Nathan Rumney with conniving perfection; and Christian Tarr is “to a T” the callow youngest, John. These three young men are certainly King Henry’s boys reincarnated on the stage at Suffield Players' Mapleton Hall.

Marisa Clement plays the lovely Alais, Henry’s mistress, raised by Eleanor to be the eventual wife of Henry's heir -- until Eleanor was imprisoned ten years earlier by Henry for leading a revolt. To round off the cast, Brian Rucci cleverly provides a great deal of comic relief as Alais’s brother, the new young King Philip of France, but a “foolish boy” to Henry.

Lunde's and Fruend's characters glibly toss barbs back and forth as they scheme to get their own different favorite son to become successor to the throne. Of course, there are three sons, and only one can be king, so parents and children take and change sides as they machinate into a thrilling conclusion, leaving the audience gasping in a rush of adrenaline.

The play, which tells the unforgettable tale of one of England’s most fascinating couples, is directed by Rayah Martin who adeptly leads her cast into an interpretation which gives the audience nearly three hours of fast-paced, relevant medieval history while, Martin states, "allowing the brilliantly written script to stand on its own merits.”

Suffield mounted this play in the 70's, and is one of the few plays they have brought back to their stage – and a finer revival could not be imagined.

Shakespeare for the Terrified 101

…or Get Thee to Hartford Stage, Suffield Players, Hampshire Shakespeare, Barrington Stage, and Shakespeare & Company, forthwith!

By Shera Cohen

I would like to take credit for the title of this article, but alas, I cannot. It is the name of one of the courses offered at the Globe Theatre in London. In an interview with the Globe’s Vice President of Education, we discussed many of the opportunities offered to youth to study and perform Shakespeare’s plays. What about the huge number of adults who say phrases like, “I don’t understand Shakespeare,” “The language is confusing,” and the often heard lament “I hated it in high school”?

The answer to satisfy the fears of these theatre goers was the Globe’s course, “Shakespeare for the Terrified.” Such a class should be given across the pond to help, in a non-didactic and fun way for adults who don’t want to miss out on these classics; i.e. “Hamlet,” “Macbeth,” “Much Ado About Nothing,” and far more from this prolific writer considered the best playwright in history.

The best way to be ride of Shakespeare anxiety is by watching the comedies. They are far more understandable. Realize that you will not “get” every word; just get the essence. Trust me; unless you have a PhD in Literature, no one understands line for line. You can easily figure it out. The comedies’ plots are essentially the same, with common elements: disguises, twins, wooing, mistaken identities, physical action, spritely tunes, a happy ending (usually a wedding), and laughs. Laughter is the universal language. Don’t be terrified to laugh.

Playgoers of the early 17th century never fully understood these plays, particularly because The Bard coined many words – approximately 1700. The groundlings heard words for the first time at the Globe; i.e. madcap, skim milk, eyeball, zany, gloomy, unreal, advertising, blanket, elbow, gossip, bedroom, luggage, and cold-blooded. It’s hard to think that none of these were in our lexicon until Shakespeare penned them.

Have you been coaxed or even forced to attend a production of a Shakespeare comedy, drama, or history play? There’s nothing the matter with reading an online synopsis prior to going. Sparknotes No Fear Shakespeare’s write nearly word for word translation. Important to know is that plays are not meant to be read, but to be seen on a stage. Do the play justice – see it. Maybe you saw one of the many “Romeo and Juliet” movie versions, or four-hour “Hamlet,” or Emma Thompson/Kenneth Branaugh’s “Much Ado About Nothing”? That’s a good start. But, they were not as Shakespeare planned; his plays are onstage productions. See the “originals” as much as you can.

That said, what about troupes that update these classics? Setting the 1500s in the 21st century, background hip-hop music, “Star Trek” costumes, and major editing? I have seen all, and more. I had thought that I was a purist – the play MUST be kept as written and as close to how it must have looked five centuries ago. Then, I experienced a modern look at “The Winter’s Tale.” What do you know, I thoroughly enjoyed it. For the novice, the familiar settings and accoutrements might make the language and action easier to comprehend.

Start local (you don’t have to travel to London) with a comedy. Surprise...you are no longer terrified. In fact, you might want to attend a second comedy or even a drama.

The following are recommended Shakespeare comedy productions on stages in our area now or this summer:

• “As You Like It,” Suffield Players (through 5/18/13)
• “Twelfth Night,” Hartford Stage (starts 5/19/13)
• “Much Ado About Nothing,” Hampshire Shakespeare
• “Much Ado About Nothing,” Barrington Stage
• “A Midsummer Night’s Dream,” Shakespeare & Company

As You Like It

Suffield Players, Suffield, CT

www.suffieldplayers.org

through May 18, 2013

by Shera Cohen

Love at first sight is all around in the French palaces of Shakespeare’s era some four centuries ago, its Robin Hood-ish forest, and on the stage at Suffield Players. One of the Bard’s richest comedies, “As You Like It,” abounds with action, comedy, and swooning. The play is such a delight that audience leaves the theatre having “liked it” very much.

As is familiar with Shakespeare’s humor, the play includes his basics: mistaken identity, banishment, the wise Fool/Jester, gutsy women, sidebar stories, and of course love. Place most of the action in the Forest of Arden with four passionate or convenient duos, and a philosopher; the result is “a comedy of errors” coupled with the “all’s well that ends well” happy ending. There are no surprises in the script. However, there might be some in the production for those who are not frequent Suffield Players’ fans.

Surprise #1) A community theatre troupe so successfully mounts a Shakespeare play and the cast memorizes Elizabethan language without a blip. #2) The cast of 20 move, romp, and love on a very small stage without bumping into each other and forest accoutrements. #3) The time is present day, complete with cell phone props. #4) Lead actors fit their roles perfectly. This last surprise is especially important because most community theatres mount their season finale in May, so many of the “best” actors are grabbed up. Suffield selected some of their regulars along with newbies to form an excellent mix.

Chris Rohmann directs his actors in purposeful poses when needed (“I am no woman” quartet) and running and chasing, also when needed. The bottom line is, there is no time for anyone in the audience to look at his watch or, more importantly, even want to. The dialogue and action are tight.

To single out a few actors is difficult, yet…Becky Rodia Schoenfeld’s Rosalind plays spunky and intelligent with aplomb, Rylan Morsbach’s Orlando personifies naiveté, Robert Lunde’s Touchstone (Fool) displays the devil-may-care, and Nathan Rumney’s shepherd portrays bumpkin with a capital “B.”

The set! Kudos goes to designers Konrad Rogowski and Kelly Seip for masterful creation of the Forest of Arden. During Act I, drably painted doors of a court open to trees, flowers, shrubs, and a brook; from gray to in-living-color. Far more to say, but instead of reading this, get ye to Suffield.

Deathtrap

Suffield Players, Suffield, CT

through February 23, 2013

www.suffieldplayers.org

by Walt Haggerty

With 1,793 performances to its credit, a stellar cast, and a plot with more twists and turns than the Merritt Turnpike, “Deathtrap” has much to recommend it for an evening’s entertainment.

Written by novelist/playwright Ira Levin, “Deathtrap” is unique in its clever manipulation of characters that keep the audience guessing who the real villain is, until that climatic moment in Act II, when the answer is revealed.

With comedy sprinkled generously throughout the play, the action moves swiftly through a series of meticulously crafted scenes that keep the audience on edge and the actors on their toes. Director Robert Lunde has accomplished a superb job in pacing the performance at break-neck speed, yet making certain that every plot twist and bit of humor comes through.

Performances by all cast members are perfection, with Christopher Berrien as Sidney Bruhl, completely convincing as a playwright with a writer’s block even larger than his ego. His level of desperation and lack of scruples are expertly delineated throughout the evening. Matching Berrien’s performance as an exceptionally talented younger playwright, Steve Wandzy runs the gamut from naive and impressionable beginner to treacherous and devious accomplice and adversary. The combative moments between these two are totally realistic, with audible head bumps and certainly inevitable bruises. (Is combat pay provided?)

In the role of Myra Bruhl, Sidney’s wife, Anna Marie Johansen is a delight. Supportive yet suspicious, high strung and erratic, Johansen manages to convey all of these emotions and make them appear plausible. Larry Chiz’ Attorney Porter Milgrim is excellent as a surface-friendly family lawyer who knows exactly when friendship transitions into “billing” time.

Mary Fernandez-Sierrra, as Helga ten Dorp, with a scrupulously maintained accent that was to die for and an antic performance that borders on spastic, manages to steal every scene in which she appears without ever over-playing the character. She is wonderful!

The setting, credited to Konrad Rogowski and Kelly Seip, is outstanding, as is the charming and comfortable Mapleton Hall Theatre.

A Theatrical Anniversary

Suffield Players Celebrate 60 Years in Community Theatre
Mapleton Hall, Suffield, CT

www.suffieldplayers.org
May 5, 2012
by Mary Fernandez-Sierra

This spring, a very special year-long series of events begin for the Suffield Players, commemorating 60 years together. The "Diamond Anniversary" festivities start during their performance of "Lady Windermere’s Fan" by Oscar Wilde. This play, the Players’ 140th production, runs through May 19.

Suffield Players veterans ("Diamonds From The Past") who are in the audience will be recognized during the opening remarks before each performance, which are usually given by President Robert Lunde, or by longtime Technical Director Jerry Zalewski. The kindness and talents of folks who supported Suffield Players over time are in the spotlight this year.

The group will also award free tickets to the 60th patron ("A Diamond In The Door") who walks into Mapleton Hall to attend any "Lady Windermere’s Fan" performance.

More special recognition awaits anyone who makes a $60 contribution to the "Sixty Dollar Stepgift" fund, which will be dedicated to repairing the steps and balustrades of historic Mapleton Hall’s portico. These generous supporters will be listed with honor in the Suffield Players Programs and Newsletters throughout the "Diamond Anniversary" season.

Theatrical Vignettes and Music from Past Productions will be presented at Suffield-On-The-Green on September 8 and 9. Some most unusual theatrical surprises await attendees.

"Everything Old Is New Again" for Suffield Players, as their Diamond Anniversary Year begins. To slightly revise The Bard: "The Play is STILL The Thing…" even after 60 years. The Players invite everyone to join in the celebration.

Wait Until Dark

Suffield Players, Suffield, CT
www.suffieldplayers.org
through October 29, 2011
by Shera Cohen

Suffield Players are particularly skilled at mounting murder mysteries. This play is the real thing, edge of your seat two hours of theatre. After the final applause, the audience leaves with the communal feeling of exhaustion. That is a powerful statement of cause and effect. The troupe accomplish exactly as planned for “Wait Until Dark.”

The play’s title succinctly describes the plot. Our heroine is a blind woman who is physically and figuratively in the dark. What happens to her in one day is a terrifying test of her metal. Susy unknowingly becomes entrenched in the middle of drug trafficking and murder as she is pitted against three strong sighted men.

Photo by Larry Bilanski

Karen Balaska’s phenomenal success in portraying Susy is her physicality. She plays blind with a capital “B.” Her stance, movement, and manipulation of props are perfect. At the start, Balaska’s character is plucky and naïve. We see gradual changes as her intelligence and inner sight dominate. Susy’s motivation to stay strong and fight is first and foremost for love of her husband. However, Danny Viets is miscast as a too-young and too strict mate, making Susy’s emotional commitment confusing. But Balaska makes us believe.

The first two villains on the scene are portrayed by Bill Mullen (Mike, faux friend of the husband) who effectively becomes the big lug bad guy with a conscience, and Zach Grey (Sergeant Carlino) who plays smugness well. Enter Konrad Rogowski (Harry Roat) as “the brains” of the operation. Rogowski’s acting is the epitome of super psycho intellect. Roat is a relentless crazed man. Young Emma Rucci (teen neighbor) does a fine job as Susy’s smart and smart-alecky ally.

Director Robert Lunde could have taken the easy road on many scenes, particularly those set in pitch dark. Lunde introduces the play, telling his audience that some sections will be completely black. So, it’s not a spoiler to write about the success of these unseen scenes. A  lesser production might have resorted to sound effects to cover up the action taking place in the dark.  Instead, the undoubtedly battered and bruised actors, running on a small stage in the dark (Balaska and Rogowski in particular), and the less battered director, treat the audience to a realistic, powerful ending.

South Pacific

Suffield Players, Suffield, CT
www.suffieldplayers.org
through May 22, 2011
by Meghan Lynn Allen

Suffield Players gives the classic Rodgers & Hammerstein musical "South Pacific" a new lease on life. It begins with the sweeping overture of a gifted orchestra led by Music Director and trombonist George Garber, Jr. A simple yet picturesque backdrop sets the stage for a classic story of love, loss and the challenges of America servicemen and servicewomen stationed on a small island during World War II.  The cast should be proud of their solid performance. Standouts include Stephanie Devine as naive U.S. Navy nurse Nellie Forbush who nails the romantic exuberance and tender, golden voice of a Rodgers & Hammerstein ingénue; Rich Moran, Jr. as sophisticated French plantation owner Emile Debecque who romances the audience with operatic bass tones; and Becky Rodia Schoenfeld as shrewd native merchant Bloody Mary with impeccable comic timing and a charmingly haunting mezzo.

Director Frank Borelli deftly pulls off a legendary large musical in a small space. The 20-member cast keeps the action fluid, an amazing feat on a small stage. And even though casting is liberal in terms of age and race, the actors make it happen and the audience is able to surrender to their suspension of disbelief. Much admiration to Konrad Rogowski (set design), Jerry Zalewski (technical direction and lighting design), and Dawn McKay (costume design) for completing the picture and putting the finishing touches on this romantic wartime musical. Special kudos to Al LaPlant (sound designer) Jerry Zalewski and for making everything beautifully heard. It's not often that you go to a community theatre production and can hear every word and sound, especially with such a large cast and orchestra. Songs like "Bali Ha'i," "I'm Gonna Wash That Man Right Outta My Hair," and "Some Enchanted Evening" resonate through the hall with warmth.

Still need a reason to see "South Pacific" before it closes? Cute kid alert! Bradshaw Mattson (Jerome) and Kennedy Mattson (Ngana) light up the stage and bring a smile to your heart in their brief appearances on the Suffield Players stage.

One-acts poke fun at love, marriage, and remarriage

Vicious Valentines
Suffield Players, Suffield, CT
www.suffieldplayers.org
February 10 - 26, 2011

Suffield Players will present Vicious Valentines: An Evening of Love-ly One-Acts. The slate of plays includes "The Proposal" directed by Dale Facey, "Madam President" by directed by Kelly Seip, and "The Bear" directed by Joshua Guenter. Each play presents a couple in a comical crisis.

In "The Proposal," a nervous young man arrives at a farmer's house to propose to the man's daughter. Despite the farmer's efforts to keep things civil, the couple squabbles about everything. This classic Russian comedy features John Fabiani, Tracey Hebert, and Logan Lopez.

Opposites attract in "Madam President." Novelist Philip Spangler just wants to read the paper quietly, but this becomes impossible when his wife Victoria arrives home chattering about her recent election as president of her women's club, her interpretation of Hamlet, and questions about crossword puzzle clues. This charming piece stars Liz Leshine and Mark Proulx.

In "The Bear," a widow clashes with a man who has come to collect a debt. The quarrel escalates to a duel, but before weapons can be drawn, the pair declare their love for one another. This play of hilarious reversals features Mary Fernandez-Sierra, Anna Marie Johansen, and Allen Nott.

For reservations, call 800-289-6148.