Hedda Gabler

Hartford Stage, Hartford, CT

www.hartfordstage.org
through September, 23, 2012
by Shera Cohen

Before the play begins, one is struck by the enormity of the setting – completely occupying stage left to stage right, floor to ceiling. Yet this largesse is full of gaping holes, as the image of a house is wrapped around scaffolding. Rain drenches the backdrop, and as the lights go down the almost deafening sounds of storm command the attention of the visual and aural senses. It is loud and clear that the classic drama “Hedda Gabler” is about to capture its audience.
 

Photo: T. Charles Erikson

Many may be familiar with Ibsen’s flawed strong-willed women characters whose lives are caught in the mores of the late 19th century. He has created Hedda as harsh, demanding, and self-serving seemingly with no redeeming factors other then her beauty. Yet, in the very capable hands of actress Roxanna Hope, she has ensconced her character with intelligence, torment, futility, and madness. It’s easier to hate Hedda than to understand her, but Hope demands that the effort be made.

The play displays several character triangles from the past, present, and future. The triangles overlap. None are pleasant. Some are deadly. Hedda is the lynchpin in every scenario particularly through her control of her new husband. John Patrick Hayden epitomizes this put upon “nice guy” through many nuances in speech, movement, and demeanor. At the same time, Hedda is cagey and encaged by others in her small world.

The play runs two and a half hours and not a second is wasted. Director Jennifer Tarver orchestrates her actors and their movements as Hedda manipulates those in her grasp. Is Hedda pure evil? Is she sick? These are important questions for each audience member. However, adding an element to the confusion of just who is Hedda, is the script penned in Jon Robin Baitz’s adaptation and/or Tarver’s direction. While the entire play need not be laden in doom and gloom, at times the humor seems inappropriate to the era and the setting. That may be a small element among the many pluses in this production – so many, and most importantly the suburb skills of the actors. The audience gave all an instant standing ovation.

Albeniz & Falla

Boston Symphony Orchestra
Tanglewood, Lenox, MA
www.bso.org
August 25, 2012
by Michael J. Moran

The next-to-last concert of the 2012 Tanglewood season presented two rarities in an all-Spanish program led by popular annual guest conductor and peerless interpreter of this repertoire, Rafael Fruhbeck de Burgos.

The performances opened with the Tanglewood premiere of five movements from Albeniz’s “Suite Espanola” in Fruhbeck’s own orchestrations of these pieces originally written in the 1880s and 1890s for solo piano. The 25-minute work sparkled with glittering percussion, including maracas, in the opening “Castilla,” “Sevilla,” and the closing “Aragon” and luxuriated in lush strings and soulful woodwinds in “Granada” and “Asturias.” The performance was relaxed and genial, with conductor and orchestra clearly enjoying each other's company.

After intermission, the Tanglewood Festival Chorus and soloists joined in for a gorgeous account of Falla’s 1904-1905 “lyric drama in two acts and four tableaux,” “La Vida Breve,” (“Life Is Short”). In Act I, the young gypsy Salud and her wealthy lover Paco affirm their love near a forge in the gypsy district of Granada; in Act II, she and her uncle crash Paco’s wedding in another part of the city to a bride of his own class with tragic consequences. The moral of the story can be summed up in these words from Salud’s first aria: “life for the poor who suffer is bound to be short.”  

The cast of mostly Spanish soloists was consistently fine, but mezzo-soprano Nancy Fabiola Herrera as Salud was a standout for her radiant singing and dramatic gestures that underscored the wide emotional range of her character. While the women had the meatier parts, tenor Gustavo Pena was outstanding as “A Voice in the Forge,” whose periodic short arias reinforced the opera’s grim message. The Spanish flavor of the production was enhanced by a folk singer and a guitarist at the wedding and especially by flamenco dancer Nuria Pomares Rojas, who stopped the show after both of her dances.

Despite a number of empty seats in the Koussevitzky Music Shed on an aptly sultry evening, the audience response to this adventurous musical fare was enthusiastic, with a prolonged standing ovation at the end. 

Satchmo at the Waldorf

Shakespeare & Company, Lenox, MA
www.shakespeare.org
through September 16, 2012
by Jarice Hanson

There are two stars in the wonderfully imaginative, one-man play, "Satchmo at the Waldorf." The gifted actor, John Douglas Thompson represents Louis “Satchmo” Armstrong backstage, at his last performance in 1971. Thompson affects a vocal growl and the bowed-leg stance of the sick, aging musician, but also transitions into two very different characters—Joe Glaser, Armstrong’s manager and friend, and Miles Davis, from a different generation of Black entertainers who criticized Armstrong for pandering to White audiences and being an “Uncle Tom.” While never resorting to impressions, Thompson physically and vocally creates a dialog with the audience that allows the trio of characters to explore the soul of a genius, race in America, and the human cost of success.

The second star is Terry Teachout’s well-written script, which gives Thompson the opportunity to explore the pain of  racial bias, the evolution of jazz, and an era of performance in which the mob controlled business in the night clubs of major cities. Teachout, the Wall Street Journal’s drama critic, has written a biography of Armstrong and knows his subject intimately. In this, his first play, he scores a home-run with an intelligent, honest script, superbly directed by Gordon Edelstein, with a set designed by Lee Savage, and sound designed by John Gromada. Special kudos go to lighting designer Matthew Adelson for punctuating Thompson’s transitions from character to character effortlessly, and collaborating with Thompson to transform him into Miles Davis through light and actor artistry. 

One-man plays often have a tendency to venerate the subject, but in this production Thompson and Teachout each perform their craft through the story of Armstrong. The audience does not watch, as much as participate in this play, and is given the gift of seeing theatre at its most magical. The standing ovation was well earned, shouts of “bravo” mark this production’s success.
 

The Joffrey Ballet

Jacob’s Pillow Dance, Becket, MA

www.jacobspillow.org
through August 26, 2012
by Amy Meek

Photo by Christopher Duggan

Jacob’s Pillow ended its 80th season with the historical and dynamic Joffrey Ballet. The choice of this renowned Chicago-based company shows Jacob’s Pillow’s expertise in selecting and exposing audiences to eclectic, thought-provoking dance groups. The history between the Pillow and The Joffrey goes back over 50 years, starting with appearances by Robert Joffrey, the company’s founder. During this special engagement, East Coast audiences experience this talented company in their first appearance back at the Jacob in 47 years. The program consists of three works showcasing the varied repertory of the company and its dancers.

The first piece, "Age of Innocence," choreographed by Edward Liang, takes a look at females in Victorian Era society as depicted in the novels of Jane Austen. Through the use of traditional English social dances, the ballet shows the repression of Victorian society over the women and relationships between women and men. This constraint contrasts with beautiful moments of partnered dancing, which exemplify the passion and love which lies beneath the surface. The ballet proves the dancers’ wonderful lines, musicality and balance. The choreography works with the music by Philip Glass and Thomas Newman in a creative way, especially in the timing.

"Bells," the second work, is choreographed by Yuri Possokhov. It is lighter work filled with stylistic flair. The variations on costumes and lighting help convey the expansiveness of the piece, as does the music by Rachmaninov.

The third work, "Son of Chamber Symphony," is a Jacob’s Pillow World Premiere choreographed by Stanton Welch. With great athleticism the male This work shows dancers focus on leaps and turns. The lone ballerina evokes images of a music box dancer caught in a chaotic world. This intriguing work, with its sweeping music by John Adams, concludes the performance. The evening was enthusiastically applauded by the audience, ending a successful summer season at Jacob’s Pillow.

Brace Yourself

Berkshire Theatre Festival, Stockbridge, MA

www.berkshiretheatregroup.org

through August 25, 2012

by Kait Rankins

Directed by two-time Tony Award winner James Naughton, “Brace Yourself” is the story of Sunny, an uptight and tense mother of two who just wants to hold on to control of her life. But with an easygoing husband who just wants to go fishing, a daughter rebelling against her meticulously-planned and lavish wedding, a son who’s gaining a reputation for being promiscuous and extremely noisy neighbors, keeping control isn’t easy. Add to that a 92-year-old aunt dying suddenly in her living room and a hurricane threatening evacuation of the island, things feel about as out of control as possible.

David Epstein’s breezy one-act comedy about kids growing up and leaving the nest threatens to become predictable, but it’s saved by a few plot surprises, unexpected irreverence, and charmingly funny characters. Golden Globe winner Jill Eikenberry is brilliant in her deadpan and grouchy portrayal of Sunny, and her chemistry with real-life husband Michael Tucker (Sunny’s husband Milt) is spot-on. Also of note is Clea Alsip (the son’s girlfriend) with adorable believability that makes her a breath of fresh air. Jackie Hoffman steals the show as Sunny’s chain smoking friend and neighbor Jeannette, delivering most of the play’s punch lines.

Special recognition needs to be given to scenic designer Hugh Lendwehr, lighting designers Paul Gallo and Craig Steizenmuller, costume designer David Murin, and sound designer Scott Killian for creating a fully-immersive set that can make the audience forget that they’re sitting in a theatre and not at Sunny and Milt’s island summer home.

Both the cast and the design keep the play grounded in realism, which is ultimately its greatest asset. “Brace Yourself” could easily fall flat if played solely for laughs, but Naughton’s direction keeps the characters from becoming abrasive caricatures. The plot can read like a sitcom episode where all the characters shout at one another and mug for the audience, but that kind of heavy handed approach is gracefully avoided. The result is a production that is lighthearted but realistic, and it’s a charming end to BTF’s summer season.

The Betrothed

Chester Theatre Company, Chester, MA

www.chestertheatre.org

through August 26, 2012

by Robbin M. Joyce

Chester Theater Company concludes its 23rd season, “Uncommon Love Stories,” with the regional premiere of Dipika Guha’s “The Betrothed.” This unusual love story, directed by CTC’s Artistic Director Byam Stevens, is presented in the Commedia Dell’Arte style and has the feel of a middle-eastern fairy tale in which magical realism abounds.

The staging, designed by Vicki R. Davis, sets the cartoonish tone and the music and sound effects by Tom Shread reinforce it. As the play opens, Simon is en-flight, sitting in the middle seat and talking to his invisible seat mate. It’s an utterly amusing monologue that reveals he’s going to the Old Country to meet the woman to whom he’s been betrothed for 30 years.

As he arrives at the home of his beloved, the stock characters typical to Commedia Dell’Arte begin to appear: the old hag, the lothario father and the lustful priest. What unfolds is a wacky love story with all the twists and turns of a gnarled walking stick.

Chad Hoepnner stars as Simon and is endearing as the naïve, eager suitor. Caitlin McDonough-Thayer is a delightful dichotomy, easily shuffling characters from the ugly, hunchback crone to her cold, beautiful daughter and back again.  John Shuman entertains as both the potion-making, gender bending Priest and the nearly silent best friend of Simon’s father. Anderson Matthews rounds out the cast as both the woman-stealing father and Simon’s future son.

“The Betrothed” is presented in a single, 90-minute showing without an intermission. It starts out strong and interesting, with comic moments that engage the audience; but the action slows down mid-show. Is this love story meant to have a moral like so many fairy tales? What is the social commentary? The audience is left wondering as the play comes to its conclusion. Perhaps the moral of the story is: in this case, magical realism is neither real nor magical.

See How They Run

Barrington Stage Company, Pittsfield, MA

www.barringtonstageco.org

through August 26, 2012

by Kait Rankins

Barrington Stage's production of Philip King's farce "See How They Run" is the story of Penelope Toop (Lisa McCormick), a former actress who has married Reverend Lionel Toop (Cary Donaldson), the vicar of an English village. Thanks to her free spirit and modern mindset, she struggles with fitting in - frequently drawing the ire of the buttoned-up Miss Skillon (Michele Tauber). When Clive (Michael Brusasco), an old acting friend who is now a British soldier, comes to call, Penelope insists on seeing a production of Noel Coward's "Private Lives," a play they toured in years ago. There's only one catch: Clive can't travel too far away from where he's stationed. If he's seen in his uniform, the consequences are dire. Refusing to take "no" for an answer, Penelope dresses Clive in the vicar's clothes to allow him an escape for the evening.

"I've played in too many plays where characters have done this sort of thing, and something's always gone wrong," warns Clive. He's right: what follows is a madcap plot relying heavily on wordplay, physical comedy, mistaken identity, slamming doors, elaborate chase scenes, and no fewer than four men dressed in identical clothes.

With the play's frothy, lighthearted subject matter and broadly-drawn characters, it seems easy to dismiss it as an easy play to perform; it isn't. Director Jeff Steitzer and fight choreographer Ryan Winkles had their work cut out for them in crafting a fast-paced comedic spectacle that relies on timing and complicated movement. The nine actors must work as a team as if they're partners in a dance. If one visual gag fails, the breakneck momentum of the play is lost.

They succeed. In fact, they succeed so well that it all appears effortless. Each character is a piece of a puzzle, where timing is everything. Characters are drawn with a broad brush, but they're played with skill and precision. Despite the ridiculous nature of events, actors never cross into self-indulgence and mugging. While all members of the ensemble excel in their roles, Dina Thomas, Michele Tauber and Jeff Brooks give standout performances.

"See How They Run" is a feat of comedic skill and the perfect summer treat.