Ballet Genève “Romeo and Juliet”

Jacob’s Pillow, Becket, MA
www.jacobspillow.org
through June 25, 2011
by Stacie Beland & Mark Axelson

It is hard to re-imagine a storybook ballet as well known as “Romeo and Juliet.” Like it or not, visuals of schmaltzy sets and lavish costumes are what typically come to mind. Perhaps that’s why Ballet du Grand Theatre de Genève chose to strip down their sets and costumes. What’s left is the raw and visceral emotion, the powerful dynamics that push and pull the title characters to their ultimate end. It is a beautifully surprising production.

Joèlle Bouvier’s choreography often gives more to look at than the human brain can process, filling the stage with rich, textured dancing.  Rèmi Nicolas and Jacqueline Bosson’s bare set design, which includes a moveable curved structure, is perfect. Dancers of this level of talent negate the need for a set, particularly as they fill in alternatively as people and structures. Costuming by Philippe Combeau allows the production to remain timeless, as it should be.

Dancing as Juliet, Madeline Wong plays the role with the perfect mix of girlishness, innocence, grace, and strength. At times, it seemed as though Wong was slightly hesitant in her movement, as if she hadn’t received enough rehearsal time on the unfamiliar stage. Regardless, her performance was wonderful, the perfect counterpart for Damiano Artale’s Romeo. Artale’s dancing is filled with emotion and character.  Each of their duets, from their meeting to their demise, is riveting. Bouvier’s choreography utilizes eye contact and body distance to demonstrate the role the two families play in the tragedy; themes of manipulation, relationships, and closeness are beautifully illustrated. The fight scenes, which are truly a sight to behold, showcase the sleek athleticism of Nathanael Marie (Mercutio) and Loris Bonani (Tybalt).

The production is re-visualized as raw, violent, angry, and sorrowful. Despite some technical issues (most surrounding the curved set piece, which was moved somewhat clumsily at times), the production is a joy. Jacob’s Pillow is known for bringing top-notch contemporary and modern companies to the Berkshires, and this is no exception. Running at 90 minutes with no intermission, the show seems only moments long.

Guys and Dolls

Barrington Stage Company, Pittsfield
www.barringtonstageco.org
through July 16, 2011
by Walter A. Haggerty

Broadway Classic, Alive and Well in the Berkshires!

If you're looking for the perfect musical (or just a great evening's entertainment), look no farther than the Barrington Stage Company's staging of the classic, "Guys and Dolls," on through July 16. There's no question that this ageless Frank Loesser, Jo Swerling, Abe Burrows blockbuster has earned its classical status and is counted among the greatest of all Broadway musicals.

In its current revival, superbly directed by John Rando, it has been given a swiftly moving, meticulous production that scores on every level. When laughs start during the choreographed overture, the audience members know instantly that it is in good hands.

This "musical fable of Broadway," inspired by a host of colorful Damon Runyon characters, features a quartet of youthful performers with impressive Broadway credits. Michael Thomas Holmes' Nathan Detroit has the audience as well as Miss Adelaide, well within his grasp from the moment he steps on stage. Leslie Kritzer delivers an incomparable performance as Miss Adelaide capturing every ounce of humor without missing a beat (or a bump). In a second act duet, this couple hold a note so long that it would have rocked the Met. Morgan James as Sarah Brown sings beautifully and handles the transition of her character, from cold to hot, with style and sensitivity. Matthew Risch gives Sky Masterson class and believability with a flawless interpretation.

As impressive as the principals are, every role is cast with care, directed, and performed to perfection. From Daniel Marcus as Nicely-Nicely Johnson's show-stopping "Sit Down, You're Rocking the Boat" to Gordon Stanley, as Arvide Abernathy, singing "More I Cannot Wish You" to Miss Sarah, each performer becomes a real individual with his or her own personality. Even the ensemble members become distinct, individual characters.

The choreography of Joshua Bergasse is extraordinary in its range and complexity. From sets and costumes to a first rate orchestral accompaniment, this production bodes well for a great summer of entertainment in the Berkshires. Bravo to all!

Poppin' Big Band Celebration

Nancy Holson Pens "Ludwig Live!"

Five-time Emmy Award winner Nancy Holson is well known to Berkshire audiences for her hit comedy The News in Revue which ran for 15 seasons as well as Off Broadway. She recently created Ludwig Live! which is an irreverent song-filled cabaret tribute to Ludwig von Beethoven. The play runs from June 30-August 30 at Seven Hills Inn, Lenox. For information and tickets call 866-811-4111 or check the web at www.sevenhillsinn.com


ITS: Having seen your terrific "News in Revue" several times, I anticipate that "Ludwig" will be a bit irreverent and edgy. Is that the case?

HOLSON: "Ludwig Live!" channels the irreverent spirit of The News in Revue and applies it to the life story of Beethoven. Sounds crazy, no? Well, it is! But somehow it works. I am totally in love with the way this show has turned out.

ITS: Was writing the "Ludwig" script the same as writing lyrics, as you did with "Revue"? Are you fitting your words to Beethoven's "greatest hits"?

HOLSON: I'll bet Beethoven never suspected that his masterpieces could become actual songs. But it's wild how well it works. It is a major challenge to craft lyrics to such iconic music, but all those years writing The News in Revue have been a big help. Also, I recently completed writing a musical version of "The Nutcracker," putting lyrics to Tchaikovsky's music, so I had to learn how to take a classical piece and repurpose it as a song. That was very helpful.

ITS: Why Beethoven? Does he have a particularly interesting or funny past?

HOLSON: Beethoven is a fascinating character. He was arguably the most important classical composer (though the NY Times rates him the second most important!). He was larger than life with a life filled with angst, drama, and brilliance. Does that make him a guy who is lampoonable? YOU BET!

ITS: How much of the play is based on fact? Did the writing process call for research?

HOLSON: Although I take liberties for comic effect, the essentials of Beethoven's life are accurate. I did do a lot of reading about Beethoven's life and felt like I had a real sense of who he was. Comedy comes from heightened reality, so I took all of the key events in Beethoven's life and added a comic veneer. For example, his lover Josephine, a widowed mom, has a touch of Sarah Palin in her as a Mama Bear who takes care of her cubs and can see Prussia from her window.

ITS: How did you find yourself in this business? Any mentors?

HOLSON: What a crazy career I have had. I have been writing and producing "Revue" for 20 years. Plus a smattering of other shows along the way. I had no clue when I started out that this was where I would be at this point in my life. But I feel like the luckiest person in the world to have this career. I have taken my own path and have had to blaze the trail continually. I have never followed the rules when it comes to either writing or producing, so it's not been possible to have had a mentor; I sure wish I had someone to help point the way, but it didn't work out that way. I have had the steadfast support of my wonderful family which has made all the risks I've taken less scary.

ITS: Is the Seven Hills production the premier? What do you hope will be the future of "Ludwig"?

HOLSON: Seven Hills will be the very first home for "Ludwig Live!". It was designed as an entertainment for the Berkshires. I think it is ready-made for the crowds that enjoy visiting Tanglewood. I hope that the audiences will love it and that it will have a future in other parts of the country where there is a classical music scene.

Race

TheaterWorks, Hartford, CT
through July 10, 2011
www.theaterworkshartford.org
by Stacie Beland and Mark Axelson

There is a sign that greets patrons of TheaterWorks as they enter the theater:  "If you are offended by harsh language, please note that this play was written by the guy who more or less invented the stuff." To be sure, David Mamet has had a long history of incendiary writing. "Race" is no exception.  The plot is simple: two lawyers (both men; one white, one black) and their legal assistant (a black woman) attempt to decide if they will take on a new client.  he client, a wealthy white man accused of raping a black woman, maintains that he is innocent. With these dynamics in place, "Race" shows the audienct that no one is innocent.

Tazewell Thompson's direction shines in the production, making this show real, and raw-particularly when dealing with a topic of so many layers and veneers. Each of the four actors' performances are flawless. R. Ward Duffy, in a commanding portrayal of caucasian lawyer Jack, plays his role with emphatic sincerity. He gives us a very real performance, particularly when he is confronted with examples of his own bias. Avery Glymph as Henry, Jack's partner at the firm, offers a subtle performance of a conflicted man, the perfect foil for Jack's fervor. Glymph's Henry is a complicated figure, and watching his delivery is a gift. Taneisha Duggan as Susan, the black legal assistant working at the firm, is a joy. As the show opens, she is onstage nearly the entire time, but rarely speaks. It is Duggan's fine stage presence, even when silent, that allows her character to arc. In Duggan's performance, we see a strong woman who is very, very real. Jack Koenig, as the wealthy accused man Charles, is excellent in his portrayal of a man caught in a windstorm of race, the perception of bias, and real bias. His Charles is the perfect picture of a man who has never had to worry about what others thought until the harsh light of the media illuminates him. Together, these actors give an unblemished production.

To be sure, fine writing and an excellent production are reasons alone to see this show. What is more important, however, is for a production to put its audience on the edge of its seat (so to speak) and drive conversations in the lobby at intermission, on the trip home, and for days afterward. It is a show that makes one think and forces dialogue. What really happened to the woman in the red dress? Who is racist? What is bias? The show does not promise answers, but perhaps discussion is the first step.

How I Spent My Summer Vacation in 2010...

yes, last year…and it's getting to be a really good habit!
by Shera Cohen


Several towns and a couple of cities are The Berkshires. It's a space of beauty, culture, diversity, and tourist (like me). National Geographic Society has ranked The Berkshires as a top ten worldwide destination. Additionally important is that The Berkshires are nearby. Permit me to reminisce on last summer's adventure into the hub of the arts in Massachusetts.


Note that the "also" sections do not indicate "also rans," but venues that we couldn't fit into the vacation. Gladly, there are just too many arts to participate in in the Berkshires.


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Free USCG Dixieland Jazz Band Concert!