Wicked

The Bushnell, Hartford CT
www.bushnell.org
through September 11, 2011
by Bob Smith

In a relatively short time, "Wicked" has become a musical for the ages and it is not difficult to understand the phenomenon. This show succeeds extremely well on many different levels. It starts with solid storytelling; serious themes, populated with engaging characters but with a sense of humor. A strong contributor is the unique fact that both leads are strong, multi-dimensional females. All this helps to underpin an emotional reality in a fantastical setting, for this is the back-story of "the witches of Oz before Dorothy dropped in" and how friendship can shape our lives.

Dee Roscioli and Amanda Jane Cooper
as Elphaba and Glinda
Photo © Joan Marcus

"Wicked's" status as a timeless work is due in large part to the music and lyrics of Stephen Schwartz. Combined with the vocal artistry of the cast, the songs leave an indelible impression. The Act One closer, "Defying Gravity" melds every element of theatre into one chill-inducing moment. That song, along with others like "I'm Not That Girl" and "For Good" are already popular standards due to their tenderness and heartfelt lyrics. On the opposite end of the emotional scale is the giddy anthem of bubbly blond sorceresses everywhere, "Popular." This song is so frothy that it probably put a smile on people passing by the outside the theater.

Dee Roscioli, the 'wicked" witch Elphaba in this production has played the role more than any other performer and her experience is evident. One needs a stellar voice for this complex role and Roscioli delivers goose bumps with almost every solo. As her opposite, understudy Megan Campanile gives a beautiful texture to the flouncy, bouncy "good" witch Glinda. The entire cast matches their energy and verve. The lighting is spectacular and the sets are practically a life form of their own.

The crowds at this Bushnell return engagement are packed with prior fans that know the lines and music by heart. But there are plenty of newcomers as evidenced by the surprised laughter and gasps emitted upon seeing the show's many high points for the first time. Both types of audience members are well served by this outstanding, and yes, magical production.

Mark Morris

Jacob’s Pillow, Becket, MA
www.jacobspillow.org
through August 28, 2011
by Emily List

Through his choreography for the 30th anniversary celebration of his company at Jacob's Pillow, Mark Morris proves that he is still what many critics have described as "the bad boy of modern dance."  

Photo By Sharen Bradford

The visceral mischief begins before the dancing does, as the audience is shown projections of two characters--one, a native-American man; the other, a seemingly pre-Raphelite saintly woman with a halo. On closer inspection, the style is more art nouveau, with the woman wearing a jaunty 1930s cap. Indeed, the first piece, "Resurrection," is not a serious dance imbued with Christ-like images, but a hilarious portrayal of a Hollywood murder, set to music by Richard Rodgers. The dancers kick and roll around the couple like synchronized swimmers until the woman lifts herself up to bourree deadpan across the stage to the astonishment of her dance partner.  

"Ten Suggestions," is a solo admirably danced by Amber Star Merkens. Set to the menacing tinkling of Alexander Tcherepnin's "Bagatelles Opus V,” a chair, hoop, hat and ribbons are amply used to help Merkens cross from stage right to left, a feat in which she does not succeed. The piece is very circus-esque, as Merkens balances precariously on the chair, clowns around with her straw hat and plays with her hoop. She uses the hoop not as a hula dancer, but as a partner that is twirled, stepped through.  

For "Dancing Honeymoon," Morris' ensemble is back for another tribute to the 1920s and 30s -- this time through Broadway musical comedy box-stepping and Rockette-like kicklines. The music sounds as if it weren't live, but resonating from a 20s speakeasy.

This critic's favorite is "V". The choreography is more classically balletic and finds the dancers swinging themselves and their partners into suspensions, sometimes arabesquing into the air, and at times, lightly dropping to the ground. For the uninitiated, "V" is not about the number 5, but about playing with space and patterns. The dancers find ways of creating the V, then other formations.

The evening is dramatically charged, from the use of live music to the bold lighting and costumes and especially to the dancers, whose sense of humor and light-heartedness easily transfer to the audience.

Aspen Santa Fe Ballet

Jacob's Pillow, Becket, MA
www.jacobspillow.org
through August 20, 2011
by Amy Meek

Credit: Lois Greenfeld

Jacob's Pillow, which is America's longest-running dance festival, has once again put together an eclectic, thought-provoking summer schedule of shows. The festival was a 2010 National Medal of Arts honoree, and it continues to provide Western Massachusetts with an array of top international dance companies and choreographers. The Aspen Santa Fe Ballet has appeared at the Pillow numerous times, because audiences love the unique energy and diverse repertory of the company.  This night was no different, and the dancers kept the audience engaged with a program of three commendable works.

The first piece, "Uneven," was choreographed by Cayetano Soto and displayed the dancers moving throughout the space with each other in complex shapes. They showed great control, strength, and agility in both solo and partner work and moved from curved to angular movements with fluidity and sharp accented beats. The dancing was enhanced by the beautiful cello music played by Kimberly Patterson, and the dramatic lighting and costumes.

"Stamping Ground" was created in 1983 by Jiri Kylian, an internationally acclaimed choreographer, based on traditional Aboriginal dance. The work explored the interplay of movements between percussion rhythms and silence. The mix of power and timing by the dancers made this an exciting and humorous work to watch.

The last piece of the program, "Red Sweet," was choreographed by Jorma Elo. It is a work often performed by this company which showcased classical ballet technique, although blended with contemporary and some hip-hop dance.The choreography was playful and complex and a light ending to the show.

Judging from the enthusiastic response from the audience, this company remains a favorite to watch at the festival.

Wittenberg

Chester Theater, Chester, MA
www.chestertheatre.org
through August 28, 2011
by Robbin M. Joyce

The slings and arrows of the conflict between Faith and Reason may seem a sea of troubles, but it makes for entertaining theatre. David Davalos has created a very witty play, set as a "prequel" to Shakespeare's "Hamlet" that will delight even those who don't appreciate the Brooding Dane.

Byam Stevens, along with a highly creative production team, has created a university setting wherein Hamlet seeks guidance from two renowned professors: John Faustus and Martin Luther. The set, complete with stone buttresses and heavy wooden doors creates a feeling of weight , while the compass painted on the floor could be symbolic of Hamlet's need for direction. The lights expertly change with hardly a notice, but punctuate the gravity of the topic at hand.

Joel Ripka, as Hamlet, allows the Elizabethan language to trip off his tongue and plays a suitably ambivalent Hamlet. Aubrey Saverino skillfully portrays all of the female characters, from a bar-maid to a defrocked nun to the Virgin Mother. Kent Burnham, as Luther, fairly portrays the father of the Protestant Reformation with a graceful strength of character and conviction. But it is James Barry, as Faustus, who steals the show. His engaging demeanor, combined with a mastery of his own presence and his relationship to his fellow actors, is a joy to watch. He lithely draws a willing and appreciative audience into the arguments between Faustus and Luther, and plays a mean lute to boot.

This is a clever, creative play that allows Faith and Reason each their own valid argument, but justifies neither. It's full of smart wordplay and sharp retort, with a nod to the work of The Bard himself. To see, or not to see, that may be the question; but see with most wicked speed.

Film Night

Tanglewood, Lenox, MA
www.bso.org
August 20, 2011
by Shera Cohen

John Williams

Standing at the maestro's podium, John William turned from facing the Boston Pops Orchestra to see his audience of at least 100,000. He asked one simple question, "Isn't this a magical place?" The response? Cheers, clapping, foot stomping, and every form of verbal accolade imaginable. This throng of percussive action continued throughout Film Night at Tanglewood. The shed was packed, as was the lawn with only inches of grass between patrons. More than any other year, it seemed as if many t'weens and teens populated the concert. It was wonderful to see them.

John Williams needed no introduction on stage or now. As several overhead screens lowered, the conductor held his baton high and immediately led his orchestra through "Hooray for Hollywood." To a fast paced montage of movie clips from the past 90 years, it was a toss-up as to which the audience liked better - the music or the movies. But this was no contest. The night was all about movie music. Throughout the concert, other lengthy film compilations filled the screens. The Salute to Westerns began with a rousing "The Cowboys," followed by the whispery "Dances with Wolves," culminating with "How the West Was Won" with split second edits of actors from Tom Mix to Jeff Bridges. Of course, John Wayne got a lot of screen time.

A surprise montage, accompanied by the theme from "Sabrina," delighted the audience in a remembrance of Audrey Hepburn. During The Tribute to Film Composers, it was no surprise that approximately one-quarter of the movie scores were those of Williams. Yet, this man is so humble and self-effacing. He shared all clapping and cheering fully with his orchestra, as the musicians rose each time at his insistence, especially after the "Star Wars" finale (a medley of all six SW movies).

Morgan Freeman

Was all of this enough for one of the finest concerts ever performed? No. Actor Morgan Freeman poetically narrated the story of "The Reivers" to Williams' score; violinist Gil Shaham lovely played a trio of pieces from "Shindler's List" and then exuberantly dove into the entire overture of "Fiddler on the Roof." Yes, Tanglewood is magical, as is the Boston Pops and music genius John Williams.

10 Cents a Dance

Williamstown Theatre Festival, Williamstown, MA
www.wtfestival.org
through August 28, 2011
by Walter A. Haggerty

If the musical gems of Rodgers and Hart, performed by a superbly talented cast of Broadway pros, in a virtually unending stream of nearly three dozen show-stoppers is your idea of a great evening at the theatre, then "10 Cents A Dance" is recommended.

Williamstown Theatre presents "10 Cents A Dance" in, what is reported to be, a pre-Broadway tryout. The concept for this production is credited to Tony Award-winning director John Doyle, who, according to an article in the program, "is uninterested in any attempt at illusionary naturalism." Consequently, he has engaged a stellar cast of six - one man and five women - each of whom is required to perform their own musical accompaniment on one or, preferably, several instruments.

This cast delivers, most especially leading man Malcolm Gets, who carries the heaviest burden of providing piano accompaniment throughout the entire evening, while occasionally having to provide expressive responses to lyrics serving as narrative. The five women cast members, portray Miss Jones, 1 through 5, the same woman at various stages of her life. So much for the plot - forget it! The important thing is the music. It's still Rodgers and Hart and it is uniformly great. The interpretations vary from happy to sad to frantic, but don't worry, there is much to enjoy.

In addition to Gets, the cast includes "A Chorus Line" legend, Donna McKechnie. Also featured are Diana DiMarzio, Lauren Molina, Jane Pfitsch, and Jessica Tyler Wright -- all previous cast members of earlier Doyle productions and each performing her "actor-musicianship" assignments admirably. Mary-Mitchell Campbell, Music Director, deserves special praise for capturing the 20s - 30s flavor of Broadway. Scott Pask, set designer, provides a complex multi-level set with a variety of playing levels that serve the performers effectively.

As to Doyle's signature treatment of having performers playing instruments while supposedly acting the role of a distinct character in a story, it is a novel approach, yet in  "10 Cents A Dance," it is somewhat a gimmick.

To theatergoers, go for the music!

The Game

Barrington Stage Company, Pittsfield, MA
www.barringtonstageco.org
through August 28, 2011
by Walter A. Haggerty

“The Game” is the not-to-be-missed event of the year. “The Game” is not just one more light summer musical. It is pure theatre magic in every way. It is in a word –  sensational!

Based on an 18th Century novel, “Les Liaisons Dangereuses,” the story follows the scandalous misadventures of a fascinating assemblage of French aristocrats. It relates the sometimes amusing, but ultimately tragic outcome of their “game” when one woman’s manipulative actions unleash a tidal wave of events that result in devastating consequences.

The score is magnificent. The music by Megan Cavallari is varied and richly melodic. The book and lyrics by Amy Powers and David Topchick, traverse a game of subtle intrigue, moving from light and frothy early moments to deeply moving, even tragic results.

Director Julianne Boyd has guided her fantastic company through their dangerous games making every move precisely the right one for each occasion, heightening the audience involvement and sympathies.

Credit: Kevin Sprauge

Rachel York is giving the performance of a lifetime with flashing smiles and eyes that could strike lightening into the heart of any adversary. From seductive teasing to vengeful manipulation, she is outstanding. As Vicomte de Valmont, Graham Rowat ranges from an amusing cad to consummate villain without missing a beat. Amy Decker’s shattering performance of her “My Sin” aria is a moment that will surely remain engraved in the memories of every member of the audience. Joy Franz as Madame De Rosemonde is a delight in the amusing repartee of Act I, but reveals a distinctly chillier side in Act II. Chris Peluso and Sarah Stevens as the young lovers are perfection, as is Christianne Tisdale as Madame de Volanges.

The opulent costumes of Jennifer Moeller, together with the sumptuous scenic design of Michael Anania, give “The Game” a level of elegance rarely, if ever, matched in a summer theatre production. In short “The Game” is marvelous on all counts and should not be missed by anyone who appreciates great theatre.