The Laramie Project

Springfield Technical Community College, Springfield, MA

December 5 - 9, 2013

Springfield Technical Community College theatre workshop students are set to open their performance of “The Laramie Project,” a play that chronicles the reaction to the death of Matthew Shepard, a gay University of Wyoming student who was brutally murdered in 1998.

Shepard’s murder, denounced as a hate crime, became the rallying cry against hate and homophobia internationally. The play, by Moises Kaufman and the members of the Tectonic Theater Project, will be performed by students, along with appearances from STCC faculty and staff. Assistant Professor of English/Theater Greg Trochlil is the producer.

“The Laramie Project” production will conclude the theatre students’ semester-long involvement with the topic, which commemorates the 15-year anniversary of Shepard’s death.

Trochlil said he is encouraged by how many people in the STCC campus community have been involved with the project, but notes how discouraging it is that so many people are still affected by hate. "The attitudes that promote hate, bullying, and prejudice, unfortunately, still affect many of us, our friends and our families,” said Trochlil. “We would like to continue to bring awareness to attitudes and behaviors that promote acceptance of the diversity of the STCC and Springfield communities.”

Performances will be held in the Scibelli Hall (Building 2) theatre on December 5 at 11 am, December 6 and 7 at 7:30pm, December 8 at 2 pm, and December 9 at 12:15pm. There will be a special “talk back” session hosted by STCC Professor Phil O’Donoghue after the final performance. General admission tickets are $10; $5 for students.

Footloose

Broad Brook Opera House Players, Broad Brook, CT

www.operahouseplayers.org

through December 1, 2013

by Walt Haggerty

Broad Brook Opera House Players have put their best foot forward (make that feet), to present a rousing, foot-stomping performance of a less than perfect musical. The good news is that troupe, as always, give it an all-out example of their best work with strong performances from the large cast. Unfortunately, Broad Brook’s efforts cannot overcome what is, regrettably, not a very good show. The result is that a dedicated cast, through sheer willpower plus a lot of talent provide an enjoyable evening’s entertainment.

The story is a tried and true formula treatment of generational conflict, demonstrating that father does not always know best. Siobhan Fitzgerald, as Ariel Moore, gives a strong performance as a somewhat rebellious teenager filled with anger and resentment toward her demanding and tyrannical father/minister, Reverend Moore. In that role, David Chivers gives a controlling, demanding portrayal that borders on villainy, before finally seeing the light, barely in time for the finale.

Acting honors for the evening go to Debi Salli, who, as Vi Moore, conveys both love and understanding as she tries to bring peace to the conflict between her husband and daughter. She also possesses the best singing voice of the evening, most effectively in a moving solo rendition of “Can You Find it in Your Heart,” and a winning duet of “Learning to be Silent,” performed with Vickie Blake as Ethel McCormack, in another excellent performance.

Randy Davidson offers a strong and sympathetic treatment of Ren McCormack, the young hero who brings resolution to a seemingly unsolvable problem. Holden Smith’s Cowboy Bob, stops the show with his Act II opening delivery of “Still Rockin’.”

The talented ensemble, under the direction of John Sebatian DeNicola and choreography by Keith Leonhardt, keep the proceedings moving forward at a fast pace, giving the score the support of an upbeat interpretation that is generously welcomed by the audience.

“Sweeney Todd” The Demon Barber of Fleet Street

Greene Room Productions, Stafford Springs, CT

www.greeneroomproductions.com

through November 23, 2013

by K.J. Rogowski

Sweeney Todd, the demon barber of Fleet Street, along with his culinary criminal companion, Mrs. Lovett, take to the stage once again in Greene Room Productions’ rousing presentation of Stephen Sondheim’s murderous musical.

The expansive stage at the Stafford Palace Theater allows for director Erin Greene’s set to have multiple stairways leading to numerous levels, and lots of scary places for the denizens of Fleet Street to climb on, around, and under as they recount the tale of Sweeney Todd. David Wallace and Rose Keating, as Sweeney and Lovett, make a nicely matched pair of homicidal maniacs -- singing, slashing, and baking their way to riches and revenge, as their unsuspecting customers gorge themselves on Lovett’s insanely tasty treats. Austin Welker and Mallory Wray, as Anthony and Johanna, the young star-crossed lovers, struggle, and plot their escape from the maniacal Judge Turpin, played by Josh Farber, and his smarmy sidekick, The Beadle, played by Martin Levson. Welker and Wray are well cast, with good voices, but occasional issues with their wireless microphones leaves the audience wanting to hear more of their now famous duets. Also of note are Nicole Ouimet, as the tawdry Beggar Woman who haunts Sweeney, and Josiah Durham, who delivers a particularly enjoyable portrayal of the simple and loyal Tobias Ragg.

Backing up this group of desperate and unsavory characters is an energetic ensemble cast, who help bring the company numbers to life, and the action moving. For those who like Sondheim, a clean shave, lots of great music, and more than a little mayhem, they all await, if future audience members dare to take a stroll down the dark twists and turns of Fleet Street.

The Music Man

St. Michael's Players, East Longmeadow, MA

www.stmichaelsplayers.com‎

through November 17, 2013

by Eric Sutter

St. Michael's Players is staging America's happiest musical in Meredith Willson's "The Music Man." From the onset, the audience is captivated by this gem of a show with enjoyable characters under the guidance of the very capable Frank Jackson.

This heart-warming story of a tricky traveling salesman and the love of a good woman has tremendous appeal. The show begins on a railway coach headed for River City, Iowa in 1912. The speech and song rhythms of the salesmen and train imitations are effective. Professor Harold Hill (Drew Gilbert) is the leading man with a half-spoken, half-sung delivery in song. A simple set of the center of River City becomes the backdrop for "Iowa Stubborn" by the townspeople. Salesman Harold warns the townies, however, with "(Ya Got) Trouble." Love interest and heroine Marian the Librarian (Stephanie Gilbert) sings a lovely and pensive "Goodnight My Someone." Marian's mom, Mrs. Paroo (Mary Anne Arnold) steals scenes with her brilliant Irish brogue and comedic timing.

There's the show-stopper, "Seventy-Six Trombones," led by Hill and helped along by many skilled child actors, featured exciting visuals of a star formation and baton twirl march down center aisle. One great melody followed another; i.e. the clucking of the towns-women's chatter in "Pick-a-Little" and Marion "My White Knight" in a beautiful soprano. The clincher love duet of "Til There Was You" is lovely. Proving that local talent is not hard to find, not only in the lead actors, but in all roles, is the charismatic barbershop quartet by resident luminaries singing "Lida Rose"

Kudos to choreographer Debra Vega for her creative talent -- action includes Irish capped boys in knee socks hop scotching with dolled up girls. Act II opener, "Shipoopi" is another highlight for Vega, as is Eulalie's ballet, "Rustle of Spring," seemingly dramatic, yet a real hoot.

Love is certainly in the air in River City and in East Longmeadow. Don't miss the brazen and brassy finale by the entire company.

A Christmas Story-The Musical

The Bushnell, Hartford, CT

www.bushnell.org

through November 17, 2013

by R.E. Smith

“A Christmas Story-The Musical,” like the holiday season itself, is a heart-felt mix of nostalgia, warmth, good humor, music, color, and spectacle. The creators have succeeded in enhancing and expanding the spirit of the original movie so well that it seems this story has always had a life on stage.

In the Midwest of 1940, young Ralphie Parker just wants a Red Ryder BB gun for Christmas, but there are obstacles, from protective adults to childhood perils of every kind. It is the child’s perspective that allows the addition of musical numbers to work so well, with many based around Ralphie’s daydream plans to obtain his prize. The score by Benj Pasek and Justin Paul features some real crowd pleasers that nicely echo different styles and periods, from the Hollywood Western sound of “Ralphie to the Rescue” to the lovingly sentimental “A Christmas Story.”

The depth of talent in this production cannot be overemphasized as the adult leads originated the roles in New York last season. Dan Lauria, known as the father on “The Wonder Years,” plays narrator Jean Shepherd, upon whose short stories the book is based, with warmth and good cheer. Erin Dilly’s “Mother” sweetly embodies all the disparate elements that parenthood requires. John Bolton as the “Old Man” has 2 standout numbers with “The Genius on Cleveland Street” which shows that Ralphie’s predilection to fantasy is probably inherited. Aided by a kick-line of plastic leg lamps, he gets to express his joy in winning “A Major Award.” As Ralphie’s teacher, Caroline O’Connor brings down the house, ably assisted by the children of the ensemble, as she explains to the lad that “You’ll Shoot Your Eye Out.” Of special note is young Luke Spring, a tap dance prodigy whose solo in that number is a spectacularly pleasant surprise.

Most of the original creative team is on board as well, and that consistency is evident in everything from the inventive choreography to the homey, snow globe-evoking set.

Whether you’ve ever enjoyed the 24 hour Christmas Eve marathon of the movie or not, this is a highly recommended family show.

Beethoven & Bernstein

Hartford Symphony, Hartford, CT

www.hartfordsymphony.org

November 7–10, 2013

by Michael J. Moran

“The apotheosis of the Dance,” Richard Wagner’s famous description of Beethoven’s Seventh Symphony, is a phrase that could also describe the other two pieces on the second Masterworks concert of the current HSO season.

The program opened with Leonard Bernstein’s 1944 ballet "Fancy Free." HSO Music Director Carolyn Kuan made her entrance, turned on a vintage gramophone at stage left, where Billie Holiday sang “Big Stuff,” the prologue Bernstein composed for her, and waited for "Lady Day" to finish before giving her musicians their downbeat. It was a lovely prelude to the HSO’s exuberant performance of this jazzy music. Brass and percussion played their featured parts with gusto, and HSO pianist Margreet Francis earned a solo bow for her dazzling work.

Next came a rarely heard piece by a composer seldom played in the concert hall: Astor Piazzolla’s "Four Seasons of Buenos Aires." Reflecting the tango rhythms of his native Argentina, these four pieces (named Summer, Autumn, Winter, and Spring) were arranged by Leonid Desyatnikov after the composer’s death in 1992 into a half-hour-long suite for solo violin and string orchestra. Each movement includes at least one clever quotation from Vivaldi’s Four Seasons.

Photo by Peter Schaaf

The brilliant soloist was Hartford native Peter Winograd, a Juilliard graduate, member of the American String Quartet, and son of Arthur Winograd, who led the HSO from 1964 to 1985. Both soloist and other ensemble members interspersed lyrical playing with entertaining bursts of distorted string sound or percussive effects from knocking on the wood of their instruments. The enthusiastic audience rewarded them with a standing ovation.

A thrilling account of Beethoven’s "Seventh Symphony" followed intermission. A flowing introduction led into a lively reading of the first movement Allegro, while the ravishing Allegretto was taken at a moderate pace. The last two movements were breathtaking in their energy and forward motion. The full orchestra played all four movements with an exhilaration that showed why, as Klaus G. Roy is quoted in the program notes, “many a listener has come away from a hearing of this Symphony in a state of being punch-drunk.”

Stick Fly

The Majestic, West Springfield, MA

www.majestictheater.com

through December 15, 2013

by Shera Cohen

The folk at the Majestic Theater seem to have developed their 2013/14 season with emphasis on stronger subject matter than in the past. For example, “Stick Fly” presents racism, classism, and prejudice through the characters in the LeVay household. The LeVays are black and their summer home is Martha’s Vineyard. The color and setting literally and immediately set the stage for conflict. Yet, lots of humor takes the edge off the tough topics.

The LeVay brothers -- complete opposites in looks, goals, and lifestyles -- bring their girlfriends home to meet mom and dad. Kent’s gal is a well-educated, high-strung, preachy spitfire. She is black. Flip’s lady is a well-meaning, introspective negotiator. She is white. At its core, the play points fingers at fathers and their affects on their children of both sexes. Kent and Flip’s dad is very much in the picture of this dysfunctional family. But, neither color nor money clean up dysfunction.

Photo by Lee Chambers

There are no stars in “Stick Fly,” but an ensemble that holds well. Ashley Denise Robinson (Cheryl, the maid’s daughter) is the first to step on stage doing funky choreography to her headphone music. She hasn’t said a word. Her audience likes her. Seemingly a small role develops into the most important in the story. We really like Cheryl, her language, nuances, quips. We really like Robinson. The other actors in the sextet do their jobs -- some far better than others. Even though the play’s theme explores the importance of fathers, it is the girls who rule onstage.

“Stick Fly” will have to overcome a few problems to become an excellent production. First, the play is too long. This is not the director’s fault. However, some cuts within scenes is advised. Second, the set does not work. In fact, it works against the characters/actors. The audience sees a kitchen, living room, porch, and entries/exits. Okay, that’s a lot, but doable. But, the partition between rooms not only looks like a slab of drywall, but even worse, is so high that actors can only be seen from the torso up. Many important scenes occur in the kitchen. Because the stage area is so small, the actors block each other, and sometimes only their heads are seen. The play’s run just began. It’s not too late for some interior redecorating.

This play is recommended for adult audiences.