Mendelssohn and Faure

Berkshire Choral Festival
The Berkshire School, Sheffield MA
www.berkshirechoral.org
July 25, 2009

Each summer the Berkshire Choral Festival offers enthusiastic singers a chance to attend singing camp, and to produce vocal and orchestral concerts of the largest scale. The late-July concert featured Magnificat by Felix Mendelssohn and Requiem by Gabriel Faure.

The week's 220 singers were in residence at The Berkshire School to rehearse under the direction of guest conductor Simon Carrington. Required to sing in both Latin and German, they sang as one voice with crisp diction, showing tonal security as they answered and supported the four soloists (Arianna Zukerman, Mary Gerbi, Carmund White, and George Cordes).

The chorus seemed most secure with the post-intermission piece, the "Faure Requiem," and was outstanding on the Offertoire and Sanctus sections. Zukerman sang with plaintive longing on the Pie Jesu section. The cello section of the orchestra was especially beautiful throughout and the organ's strong presence was an integral part of the orchestration.

The first half of the program ended with Mendelssohn's lyrical "Her Mein Bitten (Hear My Prayer)." Again, Zukerman had full command of this piece, and the chorus answered her with smooth transitions and supportive tonal security. Both chorus and soloist were adept at creating the longing and need that the "Psalm 55" words express.

The first offering, "Mendelssohn's Magnificat," was perhaps the weakest of the three. Although the chorus was effective in this piece, the presentation lacked vibrancy and there were intonation problems among the soloists when they sang as a quartet, perhaps reflecting limited preparation time.

The Springfield Symphony Orchestra provided a strong instrumental and professional presence throughout the evening, and the musicians seemed to enjoy the melodic beauty of these scores.

Sleuth

Barrington Stage Company, Pittsfield, MA
www.barringtonstageco.org
through August 1, 2009
by Meghan Lynn Allen

A quirky, gruesome detective story unfolds at Barrington Stage Company. "Sleuth," starring Charles Shaughnessy of TV’s “Nanny” fame, is a Tony Award winning 1970 play by Anthony Shaffer. Shaughnessy plays Andrew Wyke, an exceptionally successful mystery writer, whose manor house in Wiltshire, England is dark, creepy, and full of surprises. He brings a charm and playfulness to Wyke’s devilish character that makes the show fun to watch. Shaughnessy deftly portrays Wyke as he engages in an outlandish game of cat and mouse with his wife’s lover, Milo Tindle. Jeremy Bobb plays Tindle, and Bobb rises to the task of sharing the stage with experienced stage and screen actor Shaughnessy. Bobb epitomizes Tindle at the heights of his idiocy, craftiness, obsession, and zeal.

Set designer David Barber deserves kudos for his massive and thrilling mansion interior, fully-equipped with hidden passageways that open at the pull of a lever and all the lavish little details that continually engage. Lighting Designer (Jeff Davis) and Sound Designer (Brad Berridge) have much to be proud of as well; their talents add to the frighteningly fun experience of "Sleuth." Director Jesse Berger expertly accomplishes the job of bringing a play that has had world-wide success back to life (and death) again.

Though riddled with adult references, this show is fun for all ages.

All Mozart Concert

Tanglewood, Lenox, MA
www.bso.org
July 19, 2009
by Debra Tinkham

The George William and Florence Newsome Adams Concert Endowed in Perpetuity performance featured James Levin conducting this "All-Mozart" program of Symphony No. 39 in E flat, K.543; Symphony No. 40 in G minor, k. 550; and Symphony No. 41 in C, k. 551, "Jupiter." It is difficult to believe that young Mozart, who died at the age of 35, wrote these last three incredibly complicated masterpieces in less than three months, and it is historically questionable if they were ever performed during the remaining three years of his life.

All three symphonies, in four movements each, were beautifully enjoyed by the large throng of Tanglewoodians enjoying yet another sunny, warm Berkshire Sunday afternoon. Neither rain, nor snow, nor sleet, nor hail were a part of today's venue, but what was a hinderance was the massive amounts of unwelcome decibels - children crying, people talking loudly - and at one point, a golf cart that took a wrong turn? The concessionaires were loading/throwing inventory to the point of distraction. Tanglewood is for good music and peace and quiet. Perhaps additional security is needed to babysit the inconsiderate souls who choose to talk their way through some of the world's most beautiful music.

Mozart's last three symphonies are brilliant, challenging, diversified. Even the most learned historian of music would need decades to analyze and fully appreciate the talent of one fine, young artist know as W.A. Mozart.

Love Song

Chester Theatre Company, Chester, MA
www.chestertheatre.org
through July 26, 2009
by Donna Bailey-Thompson

"Love Song" has a lot going for it. At times it is opaque. At others it is intellectually stimulating or weird or funny or quirky or sad or giddy. Thanks to Artistic Director Byam Stevens, the production meets Chester Theatre's high professional standards. Everything works - casting, set, costumes, lights, sound. For some theatergoers, playwright John Kolvenbach's script eludes labeling. For some it qualifies as contemporary or avant garde. One thing's for sure: it is not what in years past was considered typical summer theatre fare. A simplistic "John Loves Mary" it is not.

However, married couple Joan (Mary Cavett) and Harry (Paul Ricciardi} love each other, and Joan loves her brother Beane (Paden Fallis). Beane is a lost soul, trapped in a sterile, frightening universe. He opens the play, seated stiffly in semi-darkness at a small table, his piercing eyes stare into a void. His rigid body suggests that at the least, he is odd. Suddenly the scene goes to black and at once, another scene begins with Harry badgering Joan for her irrational firing of a summer volunteer who misfiled a folder. Their rat-a-tat-tat dialog prompts scattered laughter and the question: are both brother and sister nuts?

Beane's isolation is interrupted by Molly (Manon Halliburton) who claims to have burglarized his place. Suddenly they are in love. Joan's relief that her brother is happy helps her to relax and to join Harry in playing hooky from work, the play's most cohesively amusing scene. Even so, the scene that rivets is Beane's and Molly's rapidly alternating dialog about the wonderment of their loving feelings.

"Love Song" conveys more questions than answers. The construction of its many scenes varies from a linear story line to a drama class exercise, a workshop, an extemporaneous musing. This is not everyone's cup of tea but for sure, it's provocative.

Music in the Time of Goya

Aston Magna, Great Barrington, MA
www.astonmagna.org
by Barbara Stroup

Deftly programmed by guest director and guitarist Richard Savino, the six musicians of this final Aston Magna Festival presentation played music that spanned early 18th to mid-19th century Spain while the audience simultaneously enjoyed large, projected images of Francisco Goya's art. Seven thematic sections of the program included whole and partial works by a variety of Spanish composers. These were supported by the artist's images of faith, tranquility, nobility, poverty, degeneration, celebration and finally, brutality and horror. The rhythmic catch of the Fandango that ended the first half was punctuated by the cellist's percussive beat while bullfighting images filled the screen.

The instrumental ensemble was tactfully expressive in both the dances that celebrated life, and the music of war, resistance, and resignation at the program's close, sometimes whispering with string harmonics and often using full dynamic resources.

Jennifer Ellis Kampani sang with strength, sensitivity and color throughout her wide range, and was an agile vocal match to the tumultuous range of emotions portrayed in the music and in the art. The program concluded with the music of François de Fossa, a guitarist and composer who struggled to make art in a city under siege, and who, although lavishly praised for his work, was offered less than the cost of the music paper on which it was transcribed.

After a beautiful concert, the fortunate audience left this auditorium in the green Berkshire hills to find outside a sky as beautiful as Goya's best rococo masterpiece.

Capitol Steps

Cranwell Resort, Lenox, MA
www.capsteps.com
through September 6, 2009
by Shera Cohen

Lightning, thunder, near-hail size rain, and a dark sky at 6:30pm in July were reasons not to venture out for any cultural activity. However, the show was Capitol Steps, and even though this reviewer has seen CS a half dozen times in the past, every show is new. Get the raincoat and run from the car to the vestibule of Cranwell.

A quintet of comedians/actors (2 women, 3 men), plus one pianist are the members. While material, both in stories and songs differ from week to week, the show's format is constant. The purpose: lambaste politics, celebrities, and current events to the tunes of familiar music with clever and oftentimes uproarious lyrics, while wearing incredibly awful costumes. Each of the five play numerous roles as one skit immediately follows the next, giving the audience little time to breathe between laughs.

No one is off limits to receive a jab. Of course, those in government receive the brunt of the satirical lyrics; i.e. Obama, the Clintons, Biden, Pelosi, McCain, and even George W. The latter never knew that the White House had a library. An example of the to-the-minute CS's script was the rifle-packin' ex-governor of Alaska, Sarah Palin.

Starting with three songs to the tunes of "Mama Mia," the troupe's other background music included Broadway and 50s/60s sounds. Octomom was picked on for "littering," Susan Boyle had not yet discovered make-up, Korea's leader needed a haircut, and auto company execs bemoaned their decreased bonuses. The greening of America was set to song, as was the topic of prescription drug commercials.

A constant treat in each show is the backwards, twisted malaprops of contemporary politics. The first letter of a word is juxtaposed with that of the next word. Just when it seems impossible to understand this very fast repartee, it's all clear and very, very funny.

One word of advice is to arrive early for two reasons: pick your seat in the least cramped aisle, and CS is often a sell-out.

The Clean House

New Century Theatre, Northampton, MA
www.newcenturytheatre.org
through July 25, 2009
by Donna Bailey-Thompson

Five years and 60 miles away, "The Clean House" was premiered at Yale Repertory Theatre. As staged by New Century Theatre and directed by Ed Golden, this Pulitzer Prize finalist has been worth the wait.

Between the beginning monologue (an obviously sexy joke told in Portuguese augmented with gyrating pelvic body language) and the ending which is another beginning (the circle of life being what it is), a polished cast grabbed Friday night's audience's attention and took its funny bones on a ride studded with sensitive surprises.

Matilde (played con mucho gusto by Alyssa Polascek) is an updated Carmen Miranda whose wiggles, smiles, and transparent honesty sustains the quest for the perfect joke. She is hired as a live-in housekeeper for Lane, a medical doctor, whose exterior self-assurance masks her interior self-doubts. As the regal Lane, Lisa Abend gets it. By Lane's standard, her younger sister, Virginia (the incomparable Cate Damon) is an underachiever: Virginia is a clean freak who measures her worth by how efficiently she misplaces dust and brings order out of household clutter. As Virginia, Damon's Pollyanna reveries that slide into violent musings, her mincing, subservient little girl steps, her explosive release, all contribute to fleshing out a multi-dimensional character. And, her deadpans are side-splitting.

The heart of Lane's surgeon husband, Charles (Sam Rush) is pierced by Cupid's bashert-dipped arrow when meeting the exotic Ana (Donna Sorbello whose cancer patient portrayal is to die for). Rush's Charles pantomimes with pitch-perfect sang-froid - when slogging through deep snow; and when operating to save his beloved Ana, his hands with scalpel, needle and thread, perform an aerial ballet.

Jacquelyn Marolt's all white set design reflects the play's hospital connection. Similarly, Emily Justice Dunn's costume design mirrors the actors' characters. Daniel D. Rist's lighting design literally heightens the action.

According to the playwright, the play takes place in "A metaphysical Connecticut. Or, a house that is not far from the city and not far from the sea." This endearing contemporary play also takes place within the heart.