Shrek-The Musical

The Bushnell, Hartford, CT
www.bushnell.org
through February 20, 2011
by R.E. Smith

If one thought that "Shrek-The Musical" was created just to cash in on a popular movie franchise, one would probably be astonished and amazed to discover that this is a finely crafted, ultimately satisfying, musical experience. Economics must have made its run on Broadway so short, because everything about the show, staging, performances, and music is solid, high quality, polished entertainment.

Eric Petersen as Shrek

Following the plot of the first "Shrek" film, the story finds our "big green and ugly" hero embarking on a quest to rescue Princess Fiona and secure the peace and quiet of his beloved swamp. Along the way, he is befriended by a loyal companion, Donkey, and discovers that there's always more than meets the eye.

Children made up half the audience at the Bushnell, but many adults recited favorite lines and giggled with delight when characters like Gingy the gingerbread boy made an appearance. As befits a smelly ogre, much of the humor stems from bodily functions. The bonding "battle of noises" between Fiona and Shrek will have even the most jaded theatregoers snickering. There are also a number of sly winks to other Broadway shows.

The score features some truly wonderful songs, such as the rousing production numbers "Freak Flag" and "Morning Person," the latter which features tap dancing rats. "I Know It's Today" is an inventive piece, humorous yet touching, that finds Fiona singing in three-part harmony with herself. Who would have imagined that a cursed princess, a donkey, and an ogre could so powerfully deliver a truly moving ballad like "Who I'd Be"?

Inventive staging finds its inspiration from the animated palette of the films. The unique portrayal of "vertically challenged" Lord Farquarrd elicits laughs just by its very existence and the fact that the audience is in on the conceit. Then there is the dragon, an awesome and dazzling bit of stage puppetry that makes for an awesome spectacle.

"Shrek-the Musical" would be a wonderful way to introduce the family to the wonders of musical theatre. However, make no mistake, this show is worth seeing whether you have children or not.

Lights, Camera...Oscars!!!

Springfield Symphony Orchestra
Symphony Hall, Springfield, MA
www.springfieldsymphony.org
February 12, 2011
By Shera Cohen

Book ending the program with music from two blockbusters - "Gone With The Wind" and "Titanic" - Maestro Kevin Rhodes and the Springfield Symphony jam-packed over 20 movie music themes into two hours. Appropriately, Rhodes and his musicians were dressed to the nines, as if they were attending the Oscars.

The program's selections and pace balanced hot jazz ("All That Jazz") with melodic melody ("Moon River"), romance ("Tonight") with comedy ("Supercalifragilisticexpialidocious"), nostalgia ("The Way You Look Tonight") with 21st century ("A Whole New World"). Of course, it would be impossible to stage an Oscar-themed concert without John Williams' compositions; from "Star Wars" to "Harry Potter." As much as this music was familiar to the audience, it seemed almost as easy for the orchestra to play. That's the sign of a good conductor and his troupe - make it look simple.

Singers Nathaniel Stampley and Sarah Pfisterer, were always in tune as MCs and as vocalists. Each with a background of years on Broadway, the SSO certainly hired a talented twosome. Stampley's "The Days of Wine and Roses" showed richness and fullness; Pfisterer's "I've Got You Under My Skin" was sexy and sultry. Their duets were the hit of the evening, seeming as if they had rehearsed so often that their vocal styles were wedded. However, Pfisterer was a replacement for the originally scheduled singer. Again, another sign of professionalism. Their "Trolley Song" was crisp and fun, Bernstein's "Tonight" was lovely and personal, and "The Time of My Life" was sparkly and sincere.

A bit unexpected were many new or unfamiliar arrangements to well-known music. This is not a criticism, but an observation that music (like any art form) can be shaped to fit the players and audiences. While the somewhat jazzy or calypso beat to "The Days of Wine and Roses" seemed unusual for a sad song, "Unchained Melody's" unexpected pacing worked well. In addition, tried and true solos became duets, which worked exceptionally well; i.e. "My Heart Will Go On."

Toss in the not-often heard yet exquisite orchestration of "Chariots of Fire" and the very familiar and rousing "Rocky" for the SSO to receive an instant standing ovation.

Sweet Honey in The Rock

Colonial Theatre, Pittsfield, MA
www.thecolonialtheatre.org
January 2011
by Eric Sutter

Hello love! Joy was in the hearts of all at Pittsfield's Colonial Theatre during a strong tower of faith performance by Sweet Honey in the Rock. Their music is rooted in the rich textures of African American legacy and traditions. They possess a stunning vocal prowess that captured the complex sounds of blues, spirtuals, gospel, rap, reggae, African chants, hip hop, ancient lullabies and jazz improvisation. Their collective voices were Accompanied by hand percussion instruments, the collective voices of Sweet Honey became a sound of soulful harmonies and intricate rhythms.

In this 38th season, the group began on a high note with a song about God, "I Believe." Many of the songs that followed were spine tinglers that offered deep spiritual exhilaration from Christian and Hebrew traditions. "I Don't Want No Trouble at the River" was one of these with gospel fervor from the sacred. The earthy soul stirrer, "When I Die" started slowly and built dramatic musical tension to release in the form of a ring shout of pure estatic voice and dance by song's end. Bob Marley's "Redemption Song," with movement in mysterious ways, was an awesome interpretation. Depth of feeling was evident with "Jesus on the Mainline," a soul warmer gospel rave-up worthy of hand clapping and holy ghost two stepping. "Education is the Key" employed empowered messages with wood block percussion that engaged the audience.

Marvin Gaye's "Mercy, Mercy Me" was a quiver of the 70's ecological soul vibe. The five female singers shouted out for higher lessons that the listeners should learn by "Mother Nature." A haunting syncopated Central African rain forest chant transfixed the audience in the sacred, magical and mystical realm with four part in the round singing.

Incidentally, this program was hand signed by Shirley Childress Saxon, who was exceptional at interpreting the words of the songs to the deaf, and educating the hearing audience members that music is a universal language. Her dedication is a bright shining light to humanity. The girls closed with the spiritual healer, "Coming Home One Sweet Day." The encore was the quaking "Down The Road I'll Be Going."

This

TheaterWorks, Hartford, CT
www.theaterworkshartford.org
through February 27, 2011
by Meghan Lynn Allen

Melissa James Gibson's "This" examines five friends who struggle to communicate. Gibson very obviously chose the structure of the English language as the vehicle to demonstrate the play. Billed as a comedy, it tackles complex relationships with issues of adultery, death, grief, and guilt. Although there are laughs here and there, it's a melancholy comedy at best. With an all-you-can-eat buffet of misunderstood pronouns and interrupted phrases, the piece plays out less like compelling human interaction and more like a maudlin episode of "Three's Company." Gibson's obsession with the language of the play leaves the characters underdeveloped and unlikable. While it is obvious to see what Gibson tries to do, the script never quite catches the momentum the piece demands. This is further complicated by the director's lack of attention to the pace of the play. Scenes lag. The pace is choppy. There are long actors' pauses. To add salt to the wound, stir in some slow, awkward set changes and mismatched, dramatic set change music.

However, kudos to actors Beth Wittig (Jane) and Clark Carmichael (Tom) for doing their best with what was given. There are, indeed, talented actors beneath the mess of this piece. Sadly, the audience never grows to care about Jane or Tom. The only likable character is Jane's best friend Alan played by Andrew Rein. Rein is given the strongest comic moments and has fun with Alan's dark wit, drinking problem, and sweet and sour demeanor. Rein has the unfortunate task of being saddled with the least convincing plotline of the show: Alan's profession as a mnemonist saves the day when a conversation can't be recalled and little bits of the play need to be packaged up into a tidy box. This sad device is deflating to Rein's good work.

TheaterWorks' usual talent for breathing life into the arts, Hartford, and its audience member falls flat with "This".

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.

Snow Falling on Cedars

Hartford Stage, Hartford, CT
www.hartfordstage.org
through February 13, 2011
by Shera Cohen

It is opening night and Hartford Stage has its hands full creating and executing three inseparable stories into one plot in little more than two hours. "Snow Falling on Cedars," based on a best-selling novel, achieves nearly all that it strives to attain in story, character development, and the broader scope of historic facts.

At its core is the ashamed internment of Japanese-Americans during and shortly after WWII. One Japanese character softly and strongly says to a Caucasian, "Look at my face." Those four words sum up the deep conflict of the times and the people. The sub-plot of young, forbidden love takes the global crisis to a human level. Finally, is a mystery played out in a murder trial. The latter is the less defined with a pat and convenient ending.

A lot happens in onstage, with 12 actors double and triple cast, a multitude of scenes jumping back and forth from the 1940's to the 1950's, and a stylized set with turning floor. Except, on occasion and at the play's start when some of the double roles are confusing, director Jeremy B. Cohen works a marvel of fast and seamless overlapping segments to become a full and excellent production. Admittedly, there are too many scenes which make the play feel longer than it is in spite of Cohen's swift changes of the set elements. As for Scenic Designer Takeshi Kata's accomplishments, less is more with a sliding backdrop of various pictures and two large moveable ramps expertly depicting nearly everything conceivable on the fictitious island off of Washington.

Primarily an ensemble cast, the lovers might be considered the "stars." Kimiye Corwin and Dashiell Eaves make for a poignant duo. Yet, actors Bill Doyle, Kate Levy, and Ron Nakahara take advantage of their moments to shine.

Part narrative and part dialogue, the play simultaneously tells and shows the progression of the story. Oftentimes, Act II of any script is not as well depicted. "Cedars" is one of the exceptions, particularly with the balance of humor and hands-on war combat action, of which there is neither in Act I.

The Wizard of OZ

The Bushnell, Hartford, CT
www.bushnell.org
through January 21, 2010
by The Smith Family

A faithful and loving recreation of the classic 1939 movie, this "Oz" is a pleasant family experience. Unlike modern "family" entertainment, with snide remarks and ironic references, all can enjoy the simple and sincere story of the young girl who finds that she's "not in Kansas anymore."

The story and score are based directly on the famous film, with a few embellishments to music and dialogue. Here, a trio of singing and dancing crows joins the Scarecrow for his big number, "If I Only Had a Brain." They serve to help the solo number fill the stage and their costumes and jokes were a big hit. Similarly, a threesome of curvy lady apple trees aids the Tinman with "If I Only Had a Heart."

Creative staging is also evidenced in the "poppy field" scene. Dancers, representing poppies, swirl about in an elegant number, with inventive costume changes, that impressed children and adults alike. The show includes the song "Jitterbug," legendary for having been written for, but never included in the final film.

The fresh-faced cast is well assisted by veteran performers like Pat Sibley and her Wicked Witch. Her delivery takes a bit of an edge off the character so as not to be overwhelmingly frightening. However, that didn't stop the audience from being startled every time she exploded on stage in a flash of light and puff of smoke.

But as far as the kids are concerned, the best special effect in the show was Dusty, a real dog, as Toto. Scampering faithfully across the stage after Dorothy, his absence from a scene always prompted a "where's Toto?" from the younger members of the audience. That's the sign of a real star!

Unlike some newer Broadway productions that can overwhelm younger audiences with light and sound, "The Wizard of OZ" takes a simpler, straightforward approach to staging a timeless story. Children will delight at seeing classic characters like the Cowardly Lion come to life and parents will enjoy the chance to escape back to the "Merry Old land of OZ."