Our Great Tchaikovsky

Hartford Stage, Hartford, CT

www.Hartfordstage.org

through August 27, 2017

by Rebecca Phelps

Hershey Felder had no trouble filling the house at Hartford Stage on a hot Tuesday night in late August for his performance of “Our Great Tchaikovsky.” Clearly many audience members had already encountered Felder from his previous plays and were primed for another impressive performance.

The show is a sensitive, informative, and at times humorous depiction of Piotr Ilyich Tchaikovsky, the man and the musician. Felder not only performs many of Tchaikovsky’s most challenging pieces (a feat in itself), but, as Tchaikovsky, he is able to simultaneously speak in a perfect Russian accent to tell us about his family, his career and his romantic affairs at the same time. Steeping us into the atmosphere of mid-19th century Russia, Felder creates an intimate mood with a simple set comprised of a cozy collection of candles, rugs, and a small desk and chair where Tchaikovsky composed, all gathered around the centerpiece: a beautiful Steinway concert grand piano. In addition to the set, the sense of time and place is enhanced by projections of the various places that the story takes us: deep in the Russian woods, to various buildings in Moscow and St. Petersburg, ballet performers and theatre venues - all helping us live in the world that Tchaikovsky inhabited. 

Felder’s prowess as a pianist and musician is remarkable. The joining of his own arrangements of Tchaikovsky’s music (including many of his most famous pieces: the 6th symphony, “Nutcracker Suite,” “Swan Lake,” and “Romeo and Juliet”l) performed live, and with recorded accompaniment, is true genius.

There is no intermission in this 2-hour performance, but Felder creates a respite from Tchaikovsky mid-way through the show by suddenly breaking character to address the audience as himself. Here he makes an impassioned speech regarding today’s struggles for equal rights in Russia.

Hershey Felder generously stayed after the show for a talk-back in which he left us with the following tempting morsel: his next endeavor will be Debussy in Paris during La Belle Epoque. Sounds magnificent!

Wharton Comedies

Shakespeare & Company, Lenox, MA

www.shakespeare.org

through September 10, 2017

by Shera Cohen

“Roman Fever” is billed as a comedy. There is no sidesplitting laughter from the audience. Instead, comes inner smiles and soft chuckling – exactly as humor would have been expressed in the days of Edith Wharton a century ago. However, in the hands of director Normi Noel and adaptor Dennis Krausnick, this short story comes off the pages, into the psyches of its two female characters, and then to its receptive audience. The women have known each other for many years, yet each holds a secret crucial to the welfare of the other.

“The Fullness of Life,” the second play, also deftly written and designed by Krausnick and Noel, respectively, has an important title. It’s main character, newly deceased, enters heaven. She is posed with the question if she has had a full life. Woman (no names are given) professes every reason that she can think of, stating that, yes, her life has been miserable. And yet, perhaps not so terrible after all?

Common to both one-act plays are its three actors: Diane Prusha, Corinna May, and David Joseph; lithe and airy staging; crisp, no-nonsense dialog with not one word wasted; and a twist ending.

David Joseph, a young old-timer (he’s young, but old to Shakespeare & Co.) hones his acting, comedic, and singing skills with each role. He is a joy to watch. Corinna May, a S&Co. regular, has a smooth voice and statuesque demeanor, both perfect for her roles. In the first play, there’s just enough edge for the audience to question if her character is as hurt or as hurtful as she seems.

Photography by Olivia Winslow

Diane Prusha is the “star” of both plays. While her role as Grace in “Roman Fever” is often monosyllabic and without much movement (she sits and knits), it is her character who is literally center stage, quiet and commanding. Prusha speaks softly, her Grace is sweet and rather boring. Yet, her character saves her dialog for the point at which speaking the truth is crucial. Prusha’s ever present Woman gives numerous profound monologues she prepares her soul to enter heaven. We watch Prusha’s acting chops, slowly and assuredly give the meaning of life to her deceased character.

A Gilbert & Sullivan Convert

Berkshire Theatre Group, Stockbridge & Pittsfield, MA

www.berkshiretheatregroup.org

by Shera Cohen

I never enjoyed the music of Gilbert & Sullivan, or so I thought. You might feel the same? After last summer’s hit of Barrington Stage Company’s “The Pirates of Penzance,” and this season’s enormously fun Meredith Willson’s “The Music Man” at Berkshire Theatre Group, I have become a convert to the unique and quirky collaborative style created by G&S and later replicated by Willson.

What do these two productions have in common other than the many obvious elements of this genre of music? Answer: The Patter Song. We have all heard it, maybe you have even sung it. For today’s generation, the tunes are like Rap. For Baby Boomers, remember Shirley Ellis’ “The Name Game”? For opera aficionados, think of Rossini’s “Barber of Seville.” And, Broadway lovers can attempt to sing Professor Harold Hill’s signature piece, “Ya’ Got Trouble.” More difficult yet from the same musical is “The Music Man’s” opening number “Rock Island” (aka “Ya’ Don’t Know the Territory”).

Patter is a song on speed; one that starts with fast music and lyrics, then notches it up even faster, eventually at lightning speed (yet never losing the quality of the fine music). The requirement of all light opera, like those typified by Gilbert & Sullivan, is the inclusion of at least one Patter Song. It is a feat of musical prowess and tongue twisting that challenges even the best (and fastest) of singers. Key to the Patter Song, and a component that makes it even more difficult, if that is possible, is precise articulation of the lyrics.

The Pirates of Penzance

The New York Gilbert & Sullivan Players’ “I’ve Got a Little Twist” are expert at Patter, as shown in “Pirates of Penzance’s” “Modern Major General” and other ditties. The troupe of six plus amazing pianist/arranger Mark York, took the Colonial Theatre’s stage this week, not only performing the best of G&S, but a smattering of Broadway as well. The singers mashed it up (their words) to create many clever and smooth medleys. The sextet sang as an ensemble, in trios, duos, and each was given the opportunity to shine in a solo. In total, eight G&S operettas were represented. Interspersed were short tutorials on G&S that added to the cabaret-type program; i.e. I never knew that Gilbert was the librettist and Sullivan the composer

The Tempest

Shakespeare and Company, Lenox, MA

www.shakespeare.org

through September 3, 2017

by Rebecca Phelps

Hats off to Shakespeare and Company as they continue to hold to their mission of bringing fine theatre to the Berkshires and of making Shakespeare authentic, yet accessible to modern audiences for over the past 40 years. And congratulations to Allyn Burrows, overall artistic director of Shakespeare and Company, and director of this fanciful production.

Photo by Olivia Winslow

The story of “The Tempest” takes place on an unnamed, uninhabited island. Prospero, the former Duke of Milan, and now its master, uses magic to create the storm that ship-wrecks his usurping brother and his entourage. They are washed up on the island; thus begins the plot of Prospero’s revenge. Treachery, comedy and romance ensue as these characters meet surprises, challenges, strange spells and forms of magic, always under the ever-watchful Prospero’s control.

Nigel Gore, a veteran actor of this company, brings urgency and power to the role of the lead character. Gore controls the elements, the spirits, the plot – the entire stage, as he depicts this many faceted individual: sorcerer, father, tyrant, match-maker, avenger and redeemer.

Ella Loudon’s Miranda is a feisty daughter, bringing a fresh interpretation to a character often portrayed as subservient to her all powerful father. Not Ella Loudon. Her earthy Miranda stands up to both her father and the monstrous Caliban. She meets her newly found lover Ferdinand (Deaon Griffin-Pressley) directly, frontally and without guile or shrinking.

Jason Asprey brings a riveting blend of brutishness and sensitivity to the abused/abusive Caliban, who serves Prospero as “a savage and deformed slave” and whose mother was the witch Sycorax. Asprey portrays menacing, disgusting, pitiful, and poetic and always captivating.

The actors in Shakespeare and Company always provide animated, full-throttle  performances filled with athleticism and well defined characters. The antics of Trinculo as played by Bella Merlin, and Stephano as played by Mark Zeisler, provide just the right amount of hilarity to this magical, mystical tale.

On the night we saw the show the clouds threatened rain, but the company was prepared, and so the first act was performed in The Rose Footprint Theatre. Luckily the weather improved over the course of the evening, and we were treated to a second act performed as in the round, with its full production values, including a huge white spirit hung from far above the garden, an inventive system of sound effects and a tree from which the agile and ever illusive Ariel appeared. The final magical touch of the evening was a rainbow, which appeared overhead during the wedding scene – as if on cue!

Allyn Burrows and the company of actors at Shakespeare and Company make good use of “The Tempest’s” magic in every way – set, costumes, special effects and performances. A thoroughly entertaining and bewitching evening, and a perfect way to leave earthly cares and concerns behind.

Folk

Chester Theatre Co., Chester, MA

chestertheatre.org

through August 27

By Stuart  W. Gamble

Tom Wells’ U.S. premiere of his play "Folk" at Chester Theatre Co., is an absolute delight from start to finish. Consisting of only three actors and one set, running for 90-minutes (intermission-free), this poignant dramedy is a perfect ending to CTC twenty-eighth season of summer theater.

Directed with warmth and love by James Warwick, this new play offers compassion and insight into the lives of those who live on the fringe of society. "Folk" features Sister Winnie (Michelle Tauber) a cigarette smoking and Guiness guzzling nun who enjoys her Friday nights of singing and dancing with her guitar strumming mate Stephen (Michael Sean McGuiness). Stephen is socially awkward, but forgets his troubles when jamming with Sr. Winne. Into this duo’s revelry comes Kayleigh (Emery Henderson) a troubled teenager and former student of Winnie.

As the story progresses, the audience learns about each character’s personal anguish: Winnie’s serious health problem, Stephen’s personal and economic troubles, and Kayleigh’s life-changing dilemma. Throughout, the audience becomes enamored of this truly endearing trio.

Emery Henderson, Photo by Elizabeth Solaka.

The actors in "Folk" do outstanding work:  Michelle Tauber’s delightful Sr. Winnie shows life-affirming joy in everything she says and does; Michael Sean McGuinness as the introverted Stephen shows that still waters run deep; Emery Henderson is absolute perfection as young Kayleigh. Not only is Henderson’s acting first-rate, but also her singing voice is sweetly serene.

Set in the industrial city of Hull in East Yorkshire, England, Folk shows the need for human connection in a cold, harsh world where death and heartache constantly await us. As playwright Wells says in the show’s program: “I think maybe a sense of belonging to something—means a lot to the sort of characters I like to write about. That’s why I like theatre really, hopefully there’s room for everyone.”

Company

Barrington Stage Company, Great Barrington, MA

www.BarringtonStageCo.org

through September 10, 2017

by Jarice Hanson

Photo by Daniel Rader

The Boyd-Quinson Mainstage at Barrington Stage Company has been transformed into multiple New York apartments by Scenic Designer Kristen Robinson as the backdrop for one of this season’s most anticipated musicals. Nine exceptional musicians backed the fourteen vocal dynamos led by the very talented Aaron Tveit as Bobby, in what is generally considered Stephen Sondheim’s first major hit musical. With a book by George Furth, Sondheim’s lyrics and music epitomize the human angst that occurs in relationships, and explores the social meaning of marriage and the pressure to be married in the late 1960s, early 1970s.

Director Julianne Boyd has highlighted the fun and the physicality of the characters and though downplaying what was shocking on stage when the show first appeared, like smoking marijuana or talking about a gay exploration, and has cast a multi-racial group to make up Bobby’s group of friends. This too, is not shocking—in fact, what emerges is what we see has been normalized, juxtaposed against the beauty of the story and the social pressure that advocates for conformity.

Aaron Tveit performed at Barrington Stage ten years ago, and since then has gone on to star on Broadway and in the West End. His nimble voice has an impressive range and emotional depth. When he sings the iconic “Being Alive,” he sings it not an anthem. It’s a plea to the audience to experience everything, and life to the fullest. His connection to the audience is palpable and well deserving of the cheers and standing ovation.

Most people either love or hate Sondheim’s work, but it was clear that this was an audience of appreciative Sondheimites (thanks Cameron, from Modern Family for introducing this word). Several people were seeing the production for a second time, and rumor has it that the show will be extended. What is also worth mentioning is how many young folks were in the audience. In a season in which so many Berkshire theatres are trying to appeal to younger patrons, this is a tribute to the infectious music and themes of this show.

As we walked toward our car, one young man, probably about twelve years old, was loudly singing “Side by Side.” That was the topper on an exceptional evening of great theatre.

Actually

Williamstown Theatre Festival, Williamstown, MA

www.WTFestival.org

through August 20, 2017

by Jarice Hanson

There’s a new trend in pre-show music I’m not crazy about. I’ve attended three shows recently that envelop you in a barrage of techno-sound amped up to an annoying decibel level as you search for your seat and wait for the action to begin. I don’t think this is being done to please the hard-of-hearing. I suspect it’s a weak appeal to a younger audience. When Amber, the female half of this two-hander launched into non-stop chatter my annoyance meter started to peak into the red zone. Certainly, the play, “Actually,” reflects the lives of young people facing their first adult situation, but surely there must be more to a play than whiny people and loud music.

Fortunately, the script has much more going for it, and the two actors, Alexandra Socha (Amber) and Joshua Boone (Tom) are engaging, believable, and fully committed. The location is “Mostly Princeton University” and the time “the present and the past.” Tom is a handsome African American man from a modest background. He is the more charismatic of the two. Amber is a little harder to like. She’s the stereotypical privileged white girl who is a mediocre squash player, because she knows that even a mediocre squash player is an important slot to fill in college. She chatters non-stop and can’t decide whether her favorite book is “Gone Girl” or “The Iliad.” They meet in their first year at Princeton and what evolves is a “did they” or “didn’t they” have consensual sex? True of contemporary college life, alcohol plays a role in distorting their true accounts of what happened.

The set is spare and the movement sparer. Lines are primarily directed to the audience, but when the characters interact, the explosions compel you to watch. Despite the grim theme of the play, there are some genuine funny lines, like “Jews and Blacks have a lot in common. Neither like camping.”

Anna Ziegler is a young playwright who has already had a number of major successes. This show and cast will be headed to the Manhattan Theatre Club this fall, and while the show is ready for New York, I do question whether this is the type of play that will appeal to a younger audience. It may be too real for them.