REVIEW: Theatre Guild of Hampden, "Jerry’s Girls"

Hampden Senior Center, Hampden, MA 

http://theatreguildofhampden.org

Through May 4, 2025

by Michael J. Moran

This “musical revue of songs from classic Jerry Herman musicals” premiered on Broadway in 1985. It features 33 numbers from seven of the prolific composer/lyricist’s Broadway shows, from “Milk and Honey” (1961) to “La Cage aux Folles” (1983), and one Off-Broadway revue, “Parade” (1960).

Director Mark Giza stages the Theatre Guild of Hampden’s elegant production in the intimate cabaret setting of the Hampden Senior Center’s community room. Audience members are seated at round tables, and the low stage against a simple backdrop of colorful banners for Herman’s shows allows the cast of nine singing actresses, all clad in stylish black, to mingle easily with attendees.

Most selections are sung by multiple cast members, but they range from solo performances to full ensemble numbers. The mix of slow ballads and upbeat showstoppers reveals the breadth of Herman’s talent and moves the show forward with satisfying variety. Imaginative choreography by Dina Del Bueno (who tap dances adroitly several times) keeps the cast in constant graceful motion. One-man-band musical director Parker Eastman coaxes a vast range of sounds from his keyboard.  

With no weak links in this strong cast, everyone has at least one highlight, including: Jessica Glasser’s rapturous “It Only Takes a Moment” (“Hello, Dolly!”); Amanda Emet’s scathing “Wherever He Ain’t” (“Mack and Mabel”); a joyous full-cast “We Need a Little Christmas” (“Mame”), complete with garland and twinkling headgear; and Robyn Scott’s heartbreaking “I Won’t Send Roses” (“Mack and Mabel”).

 

Equally impressive are: Margie Secora’s rousing soliloquy and “Before the Parade Passes By” (“Hello, Dolly!”); a devastating “I Don’t Want To Know” (“Dear World”) by Becca Greene-Van Horn; Kate Fusco’s poignant “Time Heals Everything” (“Mack and Mabel”); Andrea Stolar’s hilarious “Gooch’s Song” (“Mame”); and a few delightful cameos by stage manager Gail Weber.

 

But the star performer of the evening, who keeps stealing the show, is veteran Kathy Renaud, who delivers: a witty “Bosom Buddies” (“Mame”) with Secora; a shattering “If He Walked into My Life” (“Mame”); an uproarious “Nelson” (“A Day in Hollywood/A Night in the Ukraine”), ending on a clear high C; and a defiantly vital “I Am What I Am” (“La Cage aux Folles”).  

 

Fans of entertaining cabaret sung with heart and spunk by a talented team of resourceful women should waste no time getting tickets.

Review: Theatre Guild of Hampden, "Driving Miss Daisy"

Theatre Guild of Hampden, Hampden, MA

www.theatreguildofhampden.org

through October 27, 2024

by Janice Webb 

Photo by Mark Giza

A premier jeweler may tell you that a simple quality setting can make the finest jewel shine all the brighter. This is the same with community theatre. On a simple school stage with minimal props, Anna Giza shone as brightly as any Broadway star.

Giza's portrayal of Miss Daisy as a feisty, fiercely independent and opinionated Southern matron was nothing short of brilliant. Giza has returned to the stage after a five-year hiatus, and it is wonderful for audiences that she is back. 

Miss Daisy's story, directed by Mark Giza, was well told as a series of vignettes taking place over a period of 20-years. One section of the stage depicted the demeanor of the parlor of an affluent Atlanta lady. The opposite side was the creation of the interior of her automobile.

It is not a spoiler to know that when Daisy, at age-72, crashed her own car, it is time son Boolie, aptly played by Joe Lessard, to insist that he hire a colored driver named Hoke, portrayed by Floyd Patterson II.

The story is a character-study of individuals in a certain era in the South. For those seeking action, "Driving Miss Daisy" is not a good fit. However, for those seeking a sincere story of racism with compassion and understanding this play is ideal.

At first, Giza plays the epitome of an older woman who resists the assistance of anyone. The social/economic divide between wealthy Southern matron and colored servant is very apparent. Over the decades as her physical body deteriorates, her emotional aptitude grows. She realizes that Hoke has become more than a servant; he has become someone she can always rely on. She realizes he is her best friend. 

Floyd Patterson II, a local musician with a large following, was a surprising, yet brilliant choice in casting. Patterson set his funky groove with his guitar aside, replaced by "right on" acting chops. Yes! Patterson can act and has quite a few plays to his credit. Patterson's portrayal of Hoke was very authentic and heartwarming.

When there are only three actors in a play, all must rise to the occasion as any weakness in character portrayal will be spotlighted. There is nowhere to hide, and no one to hide behind. All three actors performed beautifully, and the story was well told.  

REVIEW: Theatre Guild of Hampden, "Oklahoma!"

Theatre Guild of Hampden, Wilbraham, MA

www.theatreguildofhampden.org

Through April 14, 2024

by Michael J. Moran

NOTE: According to the venue website, all performances are sold out.

“Oklahoma!,” the 1943 show that marked both a new level of complexity in the Broadway
musical and the first collaboration by composer Richard Rodgers and lyricist Oscar Hammerstein II, has been performed in many ways, but leave it to the innovative Theatre Guild of Hampden to present its exuberant new production as an immersive hoedown in its theater-in-the-round home, the Red Barn at Fountain Park in Wilbraham, MA.

Set in Indian Territory in 1906 (Oklahoma became a state in 1907), it tells the story of farm girl Laurey and her two suitors, cowboy Curly and farmhand Jud, with comic relief from cowboy Will Parker, his fiancée, Ado Annie, and Persian peddler Ali Hakim. Using minimal props (two chairs and a few cloth-covered hay bales) and open space between audience seats (with a small porch at one end) for their stage, co-directors Chris Rojas and Mark Giza wisely put the focus on their resourceful 18-member cast.

Joey Valencourt’s plaintive tenor and skilled guitar-playing make him an appealing and sympathetic Curly. Ally Reardon’s full-bodied, expressive soprano gives her Laurey a thoughtful, yearning poignancy. The chemistry between the two leads is instantly palpable. Nick Adams’ rich baritone finds hidden sensitivity in the morbid Jud. Max Levheim’s hapless Will Parker is an endearing foil for Dominique Libera’s ditsy Ado Annie. Joe Lessard is a nimble Ali Hakim, and Kathy Renaud’s portrayal of Laurey’s Aunt Eller is a hoot, with a spine of steel.

Musical highlights include: Valencourt’s exhilarating “Oh, What a Beautiful Mornin;” Levheim’s hyperactive “Kansas City;” Libera’s hilariously over-the-top “I Cain’t Say No;” Reardon’s carefree “Many A New Day;” Adams’ dramatic “Lonely Room;” a soaring “People Will Say We’re in Love” from Valencourt and Reardon; and a stirring title song by the ensemble.

Choreographer Dina Del Buono somehow keeps the full cast in frequent motion across the narrow playing space with no collisions and dances with fluid grace herself as Laurey in the haunting “Dream Ballet” that closes Act I. Instrumental support by music director Bobby Scott on piano, violinist Anne-Marie Messbauer, and percussionist Ray Cole heightens the prevailing mood of festive intimacy.

This inventive production is modest in scale but wide and deep in emotional resonance. Local fans of great musical theater should snap up tickets while they last.

Review: Springfield Chamber Players, "March Reveries"

First Church of Christ, Longmeadow, MA

www.springfieldsymphonymusicians.com

March 10, 2024

by Lisa Covi

Photo by Eagan Pictures

New to many living in Western MA is Springfield Chamber Players, formerly known as MOSSO (Musicians of the Springfield Symphony Orchestra). Its mission is to provide small, primarily string, professional concerts in a variety of venues throughout Hampden County. 

The troupe continued its journey for the 2023/24 season as part of the Longmeadow Chamber Series held at First Church of Christ: an ideal, comfortable, and acoustically pleasing performance venue. The world-class musicians played well in this intimate setting for about 40 audience members. The program's theme was "March Reveries," and the quintet delivered an exciting and harmonious performance.

Clarinetist Christopher Cullen kicked off the Ralph Vaughan Williams piece – "Six Studies in English Folk Song". One would never guess that the composer penned his piece originally for cello and piano. Patricia Edens, cellist; and three violinists, Springfield Symphony concertmaster Masako Yanagita, Miho Matsuno, and Yuko Naito-Gotay filled out the quintet and blended seamlessly with the alto-like tones of melodic wind.

Each movement was surprisingly short and distinctive. The next two works were performed without clarinet, but solely strings. Selections from Franz Joseph Hadyn's “The Dream” (Op.50, No.5) delivered the reliable elegance of his tonic harmonies punctuated by running passages, and “contrary motion” where two musicians play notes that move in opposite directions. 

The two movements of Paul Chihara's "Ellington Fantasy: Mood Indigo" and "Sophisticated Lady" were recognizable as popular jazz tunes. However, the arrangement for string quartet transformed Ellington into an extraordinarily new feast for the ears. It echoed the music experience of Scott Joplin. 

The final piece, Bernard Herrmann's "Souvenirs de Voyage," reunited the strings with the clarinet to evoke memories of emotion, turmoil, regret, and amusement. Herrmann's skill at scoring for film and television, such as Citizen Kane and Twilight Zone's “The Living Doll,” were evident in the different points of view heard as each musician played a contrasting line in particular passages.

One advantage of the smaller venue is that each participant in the audience could hear the vibrations against the soundboards of the strings and the musicians' proficient bow techniques that usually blend into the background with larger performance groups. The chamber music series is not only highly entertaining, but a good way to access Springfield's elite performers.

Concerts continue as part of Westfield Athenaeum Chamber Music Series on Thursday, April 18 at 7pm, and once again at First Church of Christ, Longmeadow on May 12 at 3pm on the Town Green, weather-permitting.

REVIEW: Theatre Guild of Hampden, Mamma Mia!

Theatre Guild of Hampden, Wilbraham, MA

www.theatreguildofhampden.org

through March 15, 2020

by Michael J. Moran

The Theatre Guild of Hampden has transformed its new home, the Red Barn at Fountain Park in Wilbraham, MA into an immersive theater-in-the-round, with four resourceful musicians split at opposite ends of the stage and dressing rooms behind curtains in the four corners of the building which are shared by the 24-member cast and various props which they entertainingly move on and off stage between scenes.

The Guild’s reimagining of this rustic space proves surprisingly hospitable to their exuberant production of the ultimate feel-good musical, “Mamma Mia!,” of which Wikipedia says at least seven versions are presented somewhere in the world on any given day. Director Mark Giza and stage manager Jan Plumb have ingeniously used every square inch at their disposal, with the ensemble dancing around the actors just offstage and often providing harmonies, seen or unseen, from their dressing rooms.  

Repurposing many familiar “earworm” hits by the Swedish pop band ABBA as its score, the show follows 20-year-old Sophie to a Greek island where her mother, Donna, runs a tavern and will soon host her daughter’s wedding. Without telling Donna, Sophie has tracked down and invited three older men, one of whom is likely her father, to the ceremony. “Mama Mia” debuted in London in 1999, on Broadway in 2000, and on screen in 2008 (with a 2018 sequel). In other words, just about every musical-theatre lover has already seen “MM.” Yet, it is still a winner that everyone should enjoy. Yes, “The Winner Takes It All.”

Carina Savoie’s clarion singing voice and fine acting chops make her an endearing Sophie. Kiernan Rushford’s Donna turns wistful charm to youthful energy when lead-singing with her girl group, the Dynamos. As her band mates/sidekicks, Jami Wilson’s hilarious Tanya sounds and looks like a young Joan Rivers in “Does Your Mother Know,” while Kathy Renaud’s scene-stealing Rosie is a hoot whenever she appears, but especially in her big number, “Take a Chance on Me.”

Michael DeVito is charismatic as Sophie’s fiancé, Sky, and music director Mark Cloutier does a double star turn as one of Sophie’s might-be dads, British banker Harry. Choreography by ensemble member Dina DelBuono is elastic and energetic.

For sheer fun and joy, this spirited production would be hard to beat. Unfortunately (as Giza quipped in his welcoming comments, “We’re hotter than Hamilton!”), the entire run is currently sold out.

REVIEW: Theatre Guild of Hampden, My Fair Lady

Theatre Guild of Hampden, Wilbraham, MA

http://theatreguildofhampden.org

through June 22, 2019

by Michael J. Moran

With its enthralling new production, Theatre Guild of Hampden (TGH) has created a “My Fair Lady” for the 21st century. By judicious use of supporting cast members, director Paula Cortis spotlights how the women in her cast routinely outwit the men who have all the advantages in the sexist class system of 1912 London. When the curtain comes down on this battle of the sexes between Professor Henry Higgins and flower girl Eliza Doolittle, whom he trains as a “lady” in six months, there’s no doubt who has the upper hand. 

Giza and Westbrook

In a triumphant return to acting after a 30-year hiatus, Mark Giza, best known to local audiences as TGH’s artistic director, is a pompous and persnickety Higgins, his “dream role” to play since he was 18 years old. As his student, nemesis, and potential love interest, Jeannine Westbrook is a revelatory Eliza. Her comic and dramatic acting chops match Giza’s, and her glorious soprano voice reflects her musical training at the Hartt School in Hartford. Paul DiProto is a hyperactive hoot as Eliza’s ne’er-do-well father and “moral philosopher” Alfred Doolittle.

Brian Rucci is remarkably convincing both as the gentlemanly Colonel Pickering, Higgins’s fellow linguist, and as Jamie, Alfred’s loose-limbed drinking companion. David Webber’s magnetic stage presence and ringing tenor voice make Eliza’s lovelorn suitor, Freddy Eynsford-Hill, into more than a fatuous cipher. And Tracey Hebert brings a welcome touch of ditsy humor to the wisdom of Mrs. Higgins, Henry’s exasperated mother.   

Musical highlights include: a jubilant “With a Little Bit of Luck” featuring DiProto; an exhilarating “The Rain in Spain” highlighting Westbrook; and a rapturous “On the Street Where You Live” from Webber, in which the presence of four women (but not Eliza) on stage suggests that he’d be nothing without them. Cortis’ similar staging of “I’ve Grown Accustomed to Her Face” has an equally bracing power. Her stiff-upper-lip “Ascot Gavotte” is hilariously presented on the theatre floor in front of the stage at Minnechaug Regional High School in Wilbraham, almost literally in the audience’s face.  

Elegant period costumes by Rob Williamson, imaginative choreography (including several exuberant tap dance sequences) by Melissa Dupont, and lively musical direction by Karen Ducharme and her seven-piece band, along with the timeless lyrics and music of Lerner and Loewe, also make this a must-see show.

REVIEW: Theatre Guild of Hampden, Cabaret

Theatre Guild of Hampden, Hampden MA

www.theatreguildofhampden.org

through April 21, 2018

by Michael J. Moran

On entering the Greenhouse Theatre in Hampden, the audience finds itself in the dressing room of Chris Rojas’ scathingly louche Emcee, as he primps at a pink makeup table, in front of a full-length mirror, before turning, at show time (there’s no curtain), to welcome the audience, seated at cabaret tables, to the Kit Kat Club in 1929-1930 Berlin, as the free-wheeling Weimar Era gives way to Nazi Germany, with an exuberant yet foreboding “Wilkommen,” introducing a jaded assortment of dancers called the Kit Kat Girls.

Josiah Durham’s claustrophobic two-tier set, with only a few chairs, also becomes a train station and Fraulein Schneider’s boarding house, where aspiring American writer Cliff takes a room and soon meets other residents. One is scrappy English cabaret singer Sally, who moves in with Cliff after being fired by the Club, where they met the night before. Others are Herr Schultz, a Jewish grocer who is courting Fraulein Schneider; Ernst, a young German who befriends Cliff; and Fraulein Kost, a prostitute whom Fraulein Schneider catches hosting sailors in her room.

Hal Chernoff’s genial Schultz and Robyn Scott’s warm-hearted Fraulein Schneider are endearing in their tender duets “It Couldn’t Please Me More” and “Married.” Nazar Tracy’s frighteningly intense Ernst and Tracey Hebert’s deceptively ditsy Fraulein Kost are menacing in “Tomorrow Belongs to Me.”

But the emotional heart of this production is Ally Reardon’s sensational Sally. A fine Lily Garland in the troupe’s “On the Twentieth Century” in 2016, Reardon has since completed a theatre degree at AIC, and her greater maturity is clearest in her show-stopping rendition of the title song near the end of the show. To witness her transformation from terrified waif at the start of the song to devil-may-care vixen by its close is to know this is a singing actress to watch.  

Director Mark Giza, choreographer Sandy Coughlin-Wedrzyn, and music director Tom Slowick’s three-man band have created a dark and chilling “Cabaret,” whose slide toward fascism resonates in 2018 America, especially in the shocking finale.

The run is currently sold out.

It’s Only A Play

Theatre Guild of Hampden, Hampden, MA

www.theatreguildofhampden.org

through May 7, 2017

by Stuart W. Gamble

Terrence McNally's comedy  “It’s Only A Play” was originally produced in the mid-eighties. In many cases, comedy does not age well. Not so in the current spring production of TGH’s “It’s Only A Play.” Much of its dialogue is peppered with current cultural references including selfies, text messages, even Lady Gaga, keeping the show fresh and funny. Another fitting update: the show opens with Irving Berlin’s “There’s No Business Like Show Business” and closes with Stephen Schwartz’ “Defying Gravity,” both iconic tunes about resilience.

McNally’s premise is this: On the opening night of the new play “The Golden Egg,” various characters gather in the penthouse of the show’s producer, anxiously awaiting the first reviews via text messages and phone calls. Those holed up in the apartment include the show’s producer, the extremely rich, yet bubble-headed Julia Budder (Diane Flynn); volatile playwright Peter Austin (Joe Varney); ultra-diva Virginia Noyes (Jeanne Wysocki); wise-cracking best friend of the playwright James Wicker (Brad Shepard); mad hatter of a director Sir Frank Finger (Chris Rojas); acerbic critic Ira Drew (Rich Rubin); and naïve coat room attendant Gus P. Head (Kellum Ledwith).

The entire ensemble of the show works very well together, as directed by TGH Artistic Director Mark Giza, especially in scenes where their unified reaction to events is essential. Standouts in this ensemble include: Jeanne Wysocki as the egomaniacal Virginia Noyes whose pill popping and F-bomb dropping keep the audience in stitches, Chris Rojas’ truly bizarre interpretation of the neurotic director, the always reliable Brad Shepard whose comic timing is faster than a Google search, and Kellum Ledwith’s star struck aspiring actor.

Other notable aspects of this production include Louise Gaito and Mark Giza’s elegant evening wear costumes, replete with sparkling silver and black gowns and purses, tuxedos, and the comically ill-fitting toupee sported by critic Ira Drew. Special credit should be given to the little dog whose photo adorns the program and steals the show at curtain call.

On the Twentieth Century

Theatre Guild of Hampden, Wilbraham, MA
http://theatreguildofhampden.org
through March 13, 2016
by Michael J. Moran

The original Broadway production of “On the Twentieth Century” won five Tony awards in 1978, including best leading actor in a musical, best featured actor in a musical, and best scenic design. David Leslie’s star turn as down-on-his-luck impresario Oscar Jaffe, Gaven Mackie’s priceless boy toy Bruce Granit, and imaginative set design by Josiah Durham and Mark Giza deserve similar awards for their work in TGH’s entertaining production of this over-the-top musical.

Tonys also went to composer Cy Coleman and lyricists Betty Comden and Adolph Green for best score and to Comden and Green for best book of a musical. Coleman’s inventive fusion of classical operetta with 1930s hot jazz is played with affection and aplomb by the five-piece band strongly led by music director Elisabeth Weber. The sharp wit of his partners’ dialogue and lyrics is delivered with fresh enthusiasm by the entire 27-member cast.

Ally Reardon brings glamorous presence and a lovely singing voice to leading lady Lily Garland, whom Oscar had molded from klutzy piano accompanist Mildred Plotka into a movie star, whom he hopes to lure back to the stage for her “role of a lifetime” as Mary Magdalene. Kevin Wherry and Brad Shepard strike just the right notes of comic exasperation as Oscar’s hapless henchmen in this quest to restore their lost finances. 

As ditsy religious zealot Letitia Peabody Primrose, Kathy Renaud is a hoot, who steals the show every time she comes on stage. Her big first-act number, “Repent,” is the musical highlight of the evening. Devon Bakum is equally hilarious in two smaller roles as an aspiring but hopeless singer and as the doctor on board during the “Twentieth Century” train’s 16-hour trip, where the plot unfolds, from Chicago to New York. 

Special kudos must go to Jared Buteau, Jon Todd, Ian Weber, and Ted Welsh as the four tap-dancing porters who regularly interrupt the action and memorably remind the audience in their own big musical number that “Life Is Like a Train,” to choreographer Kathleen Delaney for her delightfully zany work, and to director Giza for his firm but loving hand.
 

Doubt

Theatre Guild of Hampden, Hampden, MA

www.theatreguildofhampden.org

through October 11, 2015

by Stuart W. Gamble

“What do you do when you’re not sure?” is a question posed to the audience/parishioners by Father Flynn (Heath Verill) at the beginning of John Patrick Shanley’s drama “Doubt.” And for the next 80 minutes (there is no intermission), the audience, like a trial jury, must uncover the truth, however elusive it may be.

 

Presiding over this “court” is the icily stern Sister Aloysius (Jeanne Wysocki), principal of St. Nicholas Catholic School in the Bronx, whose strict orthodoxy excludes art and dance, both of which she believes are a waste of time. She even says that “Frosty the Snowman should be banned from the airwaves” for its promotion of magic. Her interrogations of the gentle, idealistic Sister James (KK Walulak), a history teacher at the school, and her obsession to “bring him (Flynn) down,” form the central story line in “Doubt.

The Theatre Guild of Hampden’s production of “Doubt” is assuredly directed by TGH Artistic Director Mark Giza. This production is notable for its simplicity, and its ability to provoke audience thought. The simple central set consists of two chairs, a desk, a small table with religious icons, and a bust of JFK. The billowy, white curtains and folk guitar strands of “How Great Thou Art” and “Amazing Grace” lend gentle contrast to the darker elements of the play.

“Doubt” is uniformly well acted by a competent cast. Verrill’s affability and Wysoki’s puritanical nun in their fierce battle of wills, come off best. Walulak, and Diane Flynn as a student’s troubled mother, lend sincere support to the principle characters.

Set in 1964, during the height of the Cold War, “Doubt, A Parable” (the play’s full title), when uncertainty and winds of ideological change were blowing about, Shanley’s literate drama presents its audience with a disturbing situation without simple solutions.

Follies

Theatre Guild of Hampden, Hampden, MA

www.theatreguildofhampden.org

through March 22, 2015

by Michael J. Moran

The original Broadway production of Stephen Sondheim’s “Follies” won six Tony Awards in 1972, including best direction of a musical, best choreography, best scenic design, and best costume design. Mark Giza’s sensitive direction, Kathleen Delaney’s imaginative choreography, the resourceful set design by Josiah Durham and Giza, and Ann-Marie Popko’s period-perfect costume design are equally award-worthy in TGH’s thrilling production of this musical theatre production.

On entering Fisk Hall at Wilbraham Monson Academy in Wilbraham, the audience sees the rundown stage of an old theatre slated for demolition on which a reunion of past performers in musical revues - based on Ziegfeld’s Follies - is about to take place 30 years after their closing show in 1941. The story focuses on two unhappily married former showgirls and the husbands who courted them back then. They and other characters are often hauntingly shadowed on stage by ghosts of their younger selves.

Performances by the large cast of 27 players are consistently enthusiastic and committed. Gene Choquette’s Ben is jaded yet vulnerable, while Anna Giza captures all the bitterness and yearning of his wife Phyllis. Colby Herchel and Kk Walulak are touching as their younger counterparts. Kevin Wherry is funny and poignant as the hapless Buddy, putting his flexible limbs to entertaining use in “Buddy’s Blues.”  

Erica Romeo’s portrayal of Buddy’s wife Sally is a revelation, as she moves from giddy girlishness in her arrival at the reunion, through the emotional rekindling of her youthful affair with Ben, to her stark realization that she can never have him. The depth and pain of her “Losing My Mind” are especially heartrending. Alley Reardon is endearing as Young Sally, as is Paul Leckey as Young Buddy.

Special supporting cast kudos go to Pat Haynes, whose ditsy Hattie is a hoot in “Broadway Baby,” and to Conni Lind, whose understated Carlotta triumphs in a powerful, subtly shaded “I’m Still Here.”

The five-piece on-stage band sound like a much bigger orchestra under musical director Bill Martin and does yeoman’s work in meeting the challenges of Sondheim’s intricate score. This "Follies” is outstanding, to be much appreciated by local theatre fans.

The Normal Heart

Theatre Guild of Hampden, Hampden, MA

www.theatreguildofhampden.org

through November 2, 2014

by Walt Haggerty

It was the early 80's. At first, cases were remote, isolated. The public was unaware, but seemingly, out of nowhere, people were seriously ill, and dying…and they were virtually all gay! It was determined that whatever this illness was, that it attacked the body’s immune system, leaving it incapable of fighting the infections of this 20th century plague. And no one was doing anything about it.

That is the overriding story of Larry Kramer’s Pulitzer Prize-winning drama, “The Normal Heart,” presented by the Theatre Guild of Hampden, in a courageous production directed with great sensitivity by Mark Giza.

The cast is impeccable -- every role meticulously cast. The early scenes crackle with often sardonic humor as a group of friends attempt to deal with the situation. Luis Manzi, as Ned, takes up the challenge of recognizing and accepting that the reality that this illness must be faced and fought. But, this small ”band of brothers” cannot do it alone. Manzi’s performance is masterful, capturing every nuance of his character’s determination, dedication, frustration, and anger.

Equally brilliant is Arnaldo Rivera as Felix, who convinces Ned that he can love and be loved. Felix’ deterioration is tragic to witness, but managed touchingly and with dignity. His performance is flawless.

The thoroughly professional cast is amazing. Paula Cortis as Dr. Brookner, conveys professionalism, sympathy and understanding while, seemingly, facing a hopeless task. Brad Shepard has the difficult assignment of portraying Ned’s older brother who can’t quite accept his sibling’s homosexuality. Andrew Ingham is perfect as Bruce Niles, a CityBank Vice President who accepts the leadership of the group’s organization while still trying to hide his own gay persona.

Steve Sands as Mickey, mostly lighthearted, in Act II delivers a tension-filled attack on Ned that reveals the true depth of his character. Kellum Ledwith contributes several light moments in his portrayal of Tommy, as an almost stereotypical young, gay man, untouched by the tragic circumstances that surround him. Important contributions are made by Kevin Wherry, Silk Johnson, and John Flynn in lesser roles.

For a riveting evening of theatre, delivering high drama tempered by flashes of humor, “The Normal Heart” has it all, but only until November 2.

Sweet Charity

Theatre Guild of Hampden, Wilbraham, MA

www.theatreguildofhampden.com

through March 23, 2014

by Walter Haggerty

“Sweet Charity” was one of Broadway’s biggest hits. Tailored to the unique talents of the incredible Gwen Verdon, directed by the incomparable Bob Fosse, with a book by Neil Simon, score by Cy Coleman and lyrics by Dorothy Fields, “Charity “ couldn’t miss. And it didn’t.

With that history as a challenge, director Mark Giza and choreographer Kathleen Delaney have recreated “Charity” in a fantastic Theatre Guild of Hampden production with a stellar cast of home-grown Talent…and that capital “T’ is not a typo.

“Sweet Charity” is the story of a New York dance hall “hostess,” a girl who doesn’t just wear her heart on her sleeve; it is tattooed on her arm. Searching for love, Charity falls for every hopeless prospect that comes her way, always with the same result, but never without hope. Charity, played by Diane Fauteux, is totally convincing throughout in her acting, singing, and exceptional dancing. Her caring, warmth, and vulnerability are skillfully blended in an award-worthy performance. She is a pro!

The entire cast is superb, especially Charity’s best friends, Nickie and Helene, played by Aileen Terzi and Chae-Vonne Munroe. The FanDango dancing girls are never carbon copy members of a chorus line. Each gives a meticulously conceived portrait of a distinct, individual character with Terzi and Munroe particularly memorable.

Other standout performances are contributed by Heath Verrill as Oscar, Charity's latest prospect; Brad Shepard as Daddy Brubeck, who delivers a show-stopping “Rhythm of Life"; and Mark Gagnon who does the same with “I Love to Cry at Weddings.” Arnaldo Rivera is star-perfect as Italian matinee idol Vittorio who is amusingly matched by his girlfriend Ursula, delightfully played by Christine Arruda.

In  “Where Am I Going?” Charity’s fragile character shines through. “There’s Gotta Be Something Better Than This” and “Baby Dream Your Dream” each deliver with humor the underscore of frustrations and disappointments faced by the dance hall girls. Other powerful and better-known numbers include “Big Spender” and “If My Friends Could See Me Now."

“Sweet Charity” is musical comedy at its best supported by a great score, a humorous yet moving story and most importantly performed by a cast that is never less than perfect.

Picnic

Theater Guild of Hampden, Hampden MA

www.theatreguildofhampden.com

through October 27, 2013

by Eric Johnson

Attraction, animal magnetism, chemistry, lust. Call it what you will, it is in the air at this production of William Inge’s 1953 play, "Picnic." Andrew Ingham as the handsome, boorish Hal Carter, and Brianna Paine as the beautiful and vapid Madge Owens display a steamy chemistry on stage from the first time their eyes meet.

Director Mark Giza has made excellent choices in casting, as all of the players seem relaxed and comfortable in the skins of their characters.

Heath Verrill’s portrayal of Alan Seymour is spot on, if a bit cliché. That is not to be taken as a negative, as this play is full of cliché that begs to be served. There is no ambiguity in Verrill’s performance -- he is the textbook good catch who cannot quite keep Madge’s attention when Hal comes to town. Brad Shepard and Tracey Hebert provide wonderful comic moments as Howard and Rosemary in scene stealing, scenery chewing, supporting roles. Other actors shine: Darlene Cloutier, Gail Weber, and Mindy Meeker. Millie Owens and Bomber are delightful supporting characters, ably played by KK Walulak and Ian Weber. Jeanne Wysocki gives a heart-rending performance that elicits some audible sobs from the opening night audience.

The intimacy of the space works well for this production. The audience is not insulated by distance from the intensity that this fine cast brings to life from Inge’s script. The staging does face some challenges, but they are well handled by Josiah Dunham, who has crafted an impressive set featuring two separate and complete houses.

If any criticism can be made, it is picky, and forgivable. Anachronisms. Stonewashed blue jeans were not sold in 1953; ear piercings were only on the lobes, etc.

At its core, the play is about choices and consequences. This production of "Picnic" contains good, solid choices, and strong chemistry. The consequence is a show well worth seeing.

Sunset Boulevard

Theatre Guild of Hampden, Wilbraham-Monson Academy

www.theatreguildofhampden.com

through March 16, 2013

by Walt Haggerty

...and now, "Sunset Boulevard" is ready for its close-up! In the supremely capable hands of Director Mark Giza, Theatre Guild of Hampden is giving this difficult Andrew Lloyd Weber classic a production that is amazing.

For more than six decades, the singular character of Norma Desmond has been a challenge to actresses of both stage and screen. Norma was a star of the silent screen - a BIG star. Now she wants to return. To tackle the role of Desmond an actress must have a rare combination of gifts, a credible singing voice, and exceptional acting ability, capped with the looks of a faded beauty.

In Anna Giza's performance as Norma, all these gifts and more are there, in abundance. Giza gives an unforgettable bravura portrayal of that faded actress determined to "return" to the screen. Her electrifying performance throbs with desperation. Her Norma reaches deep below the surface as she uses everything at her disposal to draw a complete character - her eyes, her mouth, voice, arms thrust upwards, fingers grasping, caressing - everything is used and everything works. Beyond that, she performs Weber's two glorious arias, "With One Look" and "As If We Never Said Goodbye" like a diva. Giza IS Desmond, and she is extraordinary.

Josiah Durham's Joe Gillis, a screenwriter who has hit bottom, grasps at straws for survival. Durham convincingly capture Gillis' easy slide into acceptance of the benefits of being "a kept man" until he suddenly realizes what has happened to him and tries to escape. Kiernan Rushford, as Betty Schaeffer, Gillis' new love interest, is a perfect young innocent finding that love has crept into what had been simply a "business relationship." The pair is excellent in their "Too Much in Loved to Care" duet.

As Max Van Mayerling, Michael Lorenzo is excellent; giving his character a taught, even threatening, treatment. The deft direction of the production permits even minor characters to have complete personalities. Sets and costumes are superior, particularly the endless series of hats, gowns and ensembles worn by Giza in a virtual fashion Parade of 1920s Hollywood style.

Theatre Guild of Hampden deserves extra bows for meeting the many challenges of "Sunset Boulevard." Bravo!

Gypsy

Theater Guild of Hampden
Hampden Country Club, Hampden, MA
through March 26, 2011
by Vickie Phillips

Dinner Theatre is back! (at the Hampden Country Club) and the Theater Guild of Hampden's Artistic Director Mark Giza had his life long theatrical dream realized with the opening night performance of "Gypsy."

Thirty-nine cast members, backed by five musicians as well as a most amazing tech crew, dance, and sing their way into the proverbial hearts of a full house audience. Choreography by Kathleen Delaney wins the prize in this production for taking advantage of the limited space of the theatre setting with some real toe-tapping winners. Most especially, Tulsa (PJ Adzima) with his presentation of "All I Need Is The Girl," and the ever show-stopping "You Gotta Have A Gimmic" (Dianne Fautuex, Tracey Hebert, Christina Arruda) playing Tesse Tura, Mazeppa and Electra are absolutely two 5-Star Moments. Music Director Tom Slowick and his band give solid musical backing. Other highlights are the heartfelt "Little Lamo," "If Mama Got Married," and "I Love You Mr. Goldstone."

Based on the memoirs of famous (non) stripper Gypsy Rose Lee in the days of Vaudeville, with music by Jule Styne, book by Arthur Laurents and lyrics by Stephen Sondheim, the show is a tour de force for talent. The mere survival of Baby June (Jessie Smith) and Baby Louise (Molly Finegan) to their grown-up counterparts (Ally Reardon and Kiernan Rushford) against Mama Rose (Debi Sali) and Herbie (Brad Shepard) is amazing.  Reardon and Rushford give strong performances, showing commitment to the characters by not going over the top in their roles. Rushford is especially creative in allowing her layers to slowly unfold, which makes her second act transformation to Gypsy Rose Lee astounding. Her acting transitions prevailed. All the quick scene changes were enhanced by the wonderful costuming for Gypsy's famous "curtain coverings" by Mindy Meeker and Louise Gaito.

Opening night problems with sound balance and feedback were apparent throughout, undoubtedly to be solved for the remaining performances. A buffet dinner starting at 6:30pm, make the evening's entertainment true dinner theatre.  Director Mark Giza along with the musicians, cast, and crew have earn their gold stars for "Gypsy."

Chicago

Theater Guild, Hampden, MA
Through March 27, 2010
By Shera Cohen

Just about everyone is familiar with the musical "Chicago." Many have seen it onstage, most at the movies. It's a simple story about female crooks, in familiar settings of 1920's gangster-era Chicago, with caricature roles. Why is the play so popular? All of the above, plus lots of "Razzle Dazzle," sexy women in black teddies, and dance, dance, and more dance.

What is not simple, however, is mounting this musical in a country club - the Theater Guild's venue is a bit unusual setting. On a proscenium stage, "Chicago" is a tough show to present. Take away the usual three walls, entrances, exits, backstage and replace them with the floor which is level with the audience, dining tables nearly abutting each other, a bar in the rear of the room, and mounting "Chicago" must surely have been a nightmare. Bravo to director Mark Giza for even considering the task, let alone taking it on.

He was not alone in his decision and dedication to do the work necessary for a successful production. The cast of 20 and band of five pulled it off. Best about "Chicago" is the choreography. Kathleen Delaney moved her dancers with her own spin on Bob Fosse - lots of arms and fingers spread apart. She and the troupe made it look easy, even while dancing in, on, and around dozens of chairs.

In lead roles are Kiernan Rushford (Roxy), a solid singer who can also dance well; and Aileen Terzi (Velma), an excellent dancer who can also sing. The pair balanced nicely. Many performers had their moments to shine - Jonathan Trecker's "All I Care About," Andrew Gilbert's "Mr. Cellophane," and Tracey Hebert's "When You're Good to Mama." Hebert is a natural with a commanding voice and comfortable stage presence. There are also some casting surprises.

The picturesque view and the pleasant meal that precede the performance add to the evening's enjoyment. However, unless tickets have already been ordered, by the time of reading this review, it is, unfortunately, too late to go to "Chicago." This little theatre troupe has the enviable problem of a sell out run.

Brighton Beach Memoirs

Theater Guild, Hampden, MA
Weekends through April 5
March 29, 2008
By Donna Bailey-Thompson

Although this warm, funny, problem-ridden family play is set in September 1937, there are similarities with today’s vicissitudes and the inevitable maturations of human nature. Still mired in The Great Depression, the Brooklyn family has reconfigured their living space to accommodate recently widowed and destitute Aunt Blanche (Kathleen Epaul) and her two daughters, young Laurie (Angelina Cavallini) and impatient teen Nora (Christine Arruda). Because Hitler has shredded the Treaty of Versailles and positioned his army to invade Poland, concern for their European relatives and keeping a roof over their own heads beset the mother and father of the household – Kate (Patricia Colkos) and Jack (Jonathan Trecker). Their two sons, young adult Stanley (Dan Tapper) and teenager Eugene (Michael Piel) are wrestling with their own rites of passage. Shepherding this cast is Mark Giza, director, whose vision as founder of the Theater Guild of Hampden is not sabotaged by negatives.

Consider the L-shaped set designed from space stolen from the Hampden Country Club’s dining room. The approximate six foot depth of the staging supports an outdoor porch at right angle to an interior that includes a hallway, two bedrooms, dining and living rooms, furnished with tables, a console radio, easy chair, settee, upright piano, sewing machine, and more, in which seven actors inhabit as a family to bring Neil Simon’s semi-autobiographical play to life.

Michael Piel as Eugene chronicles the family’s events with a stage presence generously endowed with aplomb. There is no mistaking Eugene’s self-absorbed anguish and wonder about advancing puberty. The hilarity this awareness engenders evokes Philip Roth’s classic, "Portnoy’s Complaint." Compared to 1937, now formerly naughty French postcards are benign.

As the no-nonsense mother, Colkos is appropriately stressed by running a house bursting at its seams. As the exhausted father working two jobs to support the family, Trecker’s performance is reminiscent of a physically worn out Willy Loman but unlike Willy, Jack has a philosophical overview who gently guides those who come to him for advice. The love emanating from the parents is that intangible glue that keeps the disparate souls anchored as a family.