SSO: Mozart Piano Concerto

Springfield Symphony Orchestra, Springfield, MA

www.springfieldsymphony.org

January 20, 2018

by Michael J. Moran

For the fourth concert in the SSO’s 74th season and his own 17th season as their music director, Kevin Rhodes notes in his “Rhodes’ Reflections” column in the program book, he chose three musical pieces whose “power, drama, and turbulence” reflect the revolutionary politics of the late eighteenth and early nineteenth centuries in which they were written by the three greatest composers of the day.

Haydn’s symphonies and string quartets are staples of the classical repertoire, but his twenty-plus operas are almost never performed. So it was a rare pleasure to hear as the evening’s opener the overture to his opera “The Desert Island,” in which two sisters are stranded for 13 years on a deserted island before they’re rescued. The brief but tempestuous score received an aptly dramatic reading from Rhodes and the SSO.

Diane Walsh

Seasoned American pianist Diane Walsh next made her SSO debut in Mozart’s tumultuous twentieth piano concerto. She echoed the almost frightening power of the orchestral introduction with the force of her opening solo in the “Allegro” first movement, then rendered the contrasting radiance of the “Romance” with lyrical breadth, and the dark energy of the closing “Rondo” with brilliant urgency. The stunned audience rose to its feet in appreciation not only of Walsh’s virtuosity but for the equally impassioned playing of the SSO and leadership of Rhodes.     

The program closed after intermission with a visceral account of Beethoven’s third, or “Eroica” (Heroic), symphony, revolutionary for its new harmonies and unprecedented scale (twice as long as most earlier symphonies). From the brisk opening notes through the somber “Funeral March,” the scintillating scherzo, to the triumphant theme and variations of the finale, Rhodes and the orchestra inflected the music with shifting but always forward moving tempos that hammered home the still shattering impact of this two-hundred-year-old masterpiece. 

In a tradition continued from the start of this season, Rhodes announced that audience members in the balcony could again receive “real time notes” about the Eroica on their cell phones while the music played. The large number of young people present seemed delighted.

HSO: A Scottish Fantasy

Hartford Symphony Orchestra, Hartford, CT

www.hartfordsymphony.org

January 19–21, 2018

by Michael J. Moran

For the fourth “Masterworks series” program of the HSO’s 74th season, guest conductor Stefan Sanderling took his listeners on a musical journey through Scotland.

The concert opened with “An Orkney Wedding, with Sunrise,” which the Boston Pops commissioned Sir Peter Maxwell Davies to write in 1985. Born in Manchester, England, Davies had lived in the Scottish Orkney Islands since 1970, and after depicting a local wedding and its drunken aftermath, this 13-minute piece concludes with the next day’s sunrise, “denoted,” in Davies’ words, “by the entry of the bagpipe.” Kilt-clad Manchester (CT)-based piper Mike MacNintch processed dramatically from the rear of the Bushnell’s Belding Theater to the stage, and the delighted audience rewarded him, the HSO, and Sanderling with a standing ovation for their vivid performance of this colorful score.

Gareth Johnson

The evening’s second soloist, violinist Gareth Johnson, was next featured in a riveting account of Bruch’s 1880 “Scottish Fantasy,” whose four movements quote several Scottish folk songs. With technical flair and an interpretive maturity beyond his thirty-two years, the accomplished soloist captured all the piece’s varied moods, from the poignancy of the opening “Prelude,” the buoyancy of the surging “Allegro,” the ardor of the lyrical “Andante Sostenuto,” to the bracing grandeur of the “Finale.” HSO principal harpist Julie Spring excelled in her featured role, while orchestra and conductor provided exemplary support.

Intermission was followed by a thrilling rendition of Mendelssohn’s third symphony, inspired by his 1829 visit to Scotland and nicknamed the “Scottish” symphony by the composer himself, who quotes not a single folk tune in its four movements, which are played without pause. From the brooding opening and stormy development of the “Andante…Allegro,” to the exuberant high spirits of the “Vivace,” the sublime rapture of the “Adagio,” and the lively excitement, then majesty of the finale, Sanderling drew passionate, committed playing from all sections of the ensemble.

Son of the late legendary conductor Kurt Sanderling, whose gravitas he mixed with a lighter touch, Stefan Sanderling made a distinguished HSO debut with this program and, from the audience’s warm reception, he would be welcome to return anytime.

Something Rotten!

The Bushnell, Hartford, CT

www.bushnell.org

through February 4, 2018

by Shera Cohen

Photo by Jeremy Daniel

Imagine Shakespeare with punky dyed hair, ever-so tight black leather pants, shirt open to the naval who could pass as Sting’s identical twin. He is one of the 30 or so characters in the hilariously funny “Something’s Rotten” […as “in the state of Denmark”]. The title is an instant clue that, to some degree, “Hamlet” will be significant. But, you say, I don’t like Shakespeare, don’t understand it, haven’t read a play since high school, and left my Cliff Notes at home. Not to worry. Playgoers familiar with The Bard have a slight edge up on appreciating “Rotten,” however, the humor is accessible to everyone. It also helps to be a Broadway buff.

Written by brothers Wayne and Karey Kirkpatrick, their story’s leads are brothers Nick and Nigel Bottom, poor wannabe playwright contemporaries of Shakespeare. While the latter is #1 on the Best Seller list, Nick & Nigel have yet to even make the bottom of the list. “Rotten” is their journey from obscurity to continued obscurity. Sounds like a downer. Ah, but there’s the rub – this show is the exact opposite. In fact, it is one of the most sidesplitting musicals I’ve seen. The N&N duo are so naïve and sweet at the center of the saga, while most of the uproarious comedy surrounds them.

Rob McClure (Nick), Josh Grisetti (Nigel), and Adam Pascal (Shakespeare) star. McClure is a slight man with a loud voice whose character has big hopes. We love him. Grisetti plays nerdy to perfection. It’s not until Act II that the audience is given the opportunity to hear his magnificent tenor voice. Pascal portrays pompous with a capital “P.” His lines and lyrics are so fast that you might have to strain your ears a bit to catch up with his words, but it’s worth the effort. Pascal’s “Hard to Be the Bard” is my favorite.

“Rotten” is a rare musical. Just when you think you’ve seen the absolute funniest section of a song/dance number and you think the piece can’t possibly be better, it tops itself. “A Musical,” the show-stopper in Act I, and “Make an Omelette,” the Act II show-stopper are perfect examples. “Rotten” is jam-packed with hummable songs (ballads, country, gospel, and lots of rock), rapid-fire tap-dancing (the dance-off between Nick and Shakespeare is a hoot), colorful period costumes, and musician quartet (sounding like a full orchestra).

Kudos to the Bushnell on its opening night full house for a relatively new musical.

Constellations

TheaterWorks, Hartford, CT

www.theaterworkshartford.org

through February 18

by Jarice Hanson

Director Rob Ruggiero has crafted an intimate look at personal relationships in the fascinating “Constellations” currently playing at Hartford’s TheaterWorks.

Upon entering the theater, composer-musician Billy Bivona is playing electric guitar, creating music that compliments and underscores the shifts of emotion and energy generated on the bare circular arena stage.  A bright circle of light above the stage dims and the theater ceiling explodes with light, giving the illusion of the cosmos.  From the moment the actors begin to speak, you know this 75 minute one-act is going to be unique.

Photo by Lanny Nagler

Allison Pistorius (Marianne) is a Cambridge University theoretical physicist who explains many of the themes of the show that bridge the worlds of theoretical and quantum physics by translating them into questions of free will versus destiny and fate.  M. Scott McLean (Roland) is a beekeeper who expounds on the lifecycle of the bee and the specialization that is integral to the maintenance of hive life.  These two gifted actors guide us through the multiverse—the hypothetical set of possibilities that make up what we, the audience, recognize as love, loss, mortality, and possibility.

Don’t let the scientific jargon fool you.  This play focuses on how we make decisions and live with the consequences. The play is described as a romance, but the rapid fire dialogue draws the audience to these characters in an almost dizzying fashion.  We become a part of their universe, and in so doing, explore why we exist and the existential dilemma of finding our purpose in a world that will go on without us, whether we want to admit it or not. 

The brilliantly crafted script is by Nick Payne, a British playwright who won the London Evening Standard Theatre Award for Best Play in 2012 with “Constellations.” As I watched, I felt that it was part scripted play, and part performance art.  Bivona’s ethereal electric guitar music (a brilliant addition by Ruggiero) so tunes us into our senses, the words and gestures of the actors become extensions of our sense of self.  This intelligent, accessible portrayal of a romantic relationship is what romance is all bout—the transformation of what we say into what we can feel.

Steel Magnolias

Playhouse on Park, West Hartford, CT

www.playhouseonpark.org

through Jan. 28, 2018

by Stuart Gamble

Photo by Curt Henderson

Probably I’m one of the few people who has not seen the entire 1989 film version of “Steel Magnolias” (I have seen PART of it though), so Playhouse on Park’s current production of Robert Harling’s comic gem was a totally new experience. This all-female show perfectly defines ensemble piece, allowing each actress to display her comic, and dramatic skills.

Set in the fictional town of Chinquapin, Louisiana in the 1980’s, the audience first meets Truvy Jones (Jill Taylor Anthony), owner of the hair salon where the play’s entire action takes place. Annelle Dupuy (Liza Couser) is Truvy’s nervous new assistant. Frequent customer Clairee Belcher (Dorothy Stanley) is Chinquapin’s former First Lady and high school football aficionado. Soon-to-be bride Shelby Eatenton (Susan Slotoroff) and her controlling mother M’Lynn (Jeannie Hines) are being coiffed on Shelby’s big day. Last, and certainly not least, is Ousier Boudreaux (Peggy Cosgrave), the most sharp-tongued of these Southern Belles.

The women in this production are all first-rate and full of charm and elegance. The play’s focal-point is the mother/daughter conflict between Shelby and M’Lynn. Susan Slotoroff’s Shelby is the play’s lifeline, whose radiant smile and positive view of life shines brightly on all. Jeannie Hines’ M’Lynn’s understated calm has its cathartic release in her moving monologue in the final scene. Liza Couser’s pitiable Annelle  achieves a fine balance between humor and pathos. Jill Taylor Anthony is a warm, serene Earth Mother among the drama that blooms around her. Peggy Cosgrave’s prickly, yet ultimately compassionate, Ousier spouts some of the play’s funniest lines including, “I’ve been in a bad mood for forty years!” Despite delivering some witty lines, actress Dorothy Stanley’s timing is a bit off, causing the show’s pace to slow down ever so slightly.

Director Susan Haefner has created a bright and delightfully funny show for all to enjoy. David Lewis’ scenic design highlights this warmth and realism in the beauty salon through the use of period driers, hairspray cans, and actual hair strewn over the stage. Kate Bunce’s colorful costumes add to the ambience of the 80’s. The show’s Dialect Coach David Alan Stern merits special attention for not only coaching these Steel Magnolias, but also the film’s stars as well (his website www.LearnAccent.com is listed in the show’s program).

The Color Purple

The Bushnell, Hartford, CT

www.bushnell.org

through December 10, 2017

by Jarice Hanson

Photo by Matthew Murphy

Good stories can cross cultural boundaries with relative ease. London’s West End Menier Chocolate Factory is a theater that has remounted many Broadway shows, only to bring them back to the U.S. in a new form. In this past year, Broadway witnessed a Chocolate Factory version of Stoppard’s “Travesties,” and Boston’s Huntington Theater hosted the British interpretation of Sondheim’s “Merrily We Roll Along.” The current tour of “The Color Purple,” now at the Bushnell, is a Chocolate Factory remix of the 2005 Broadway hit musical.

Alice Walker’s 1982 novel is a story about southern slavery through the eyes of Celie, who grows from a 14-year old pregnant teen to a self-confident entrepreneur over a span of 40 years. An intricate mosaic, the book weaves together stories of African-American women and men, social relations and cultural commentary. The film, directed by Stephen Spielberg, debuted in 1985, and Broadway revived the musical in 2016 winning a Tony for “Best Revival.”

Director John Doyle, who mounted the Chocolate Factory version of the play, has scaled the set to be appropriate for the audience’s imagination. Chairs are cleverly used for shovels, platforms, weapons and more. The gospel-inspired music is both electronic and live, and appropriately overshadowed by the exceptional voices of the 21 cast members who almost all play multiple roles.

The real star of the show is undoubtedly Celie, who is perhaps one of the most original characters to emerge in the story.  Played by Adrianna Hicks, an exceptional singer/actress who demonstrates vocal and emotional depth—especially in the show-stopper number, “I’m Here.” Hicks seemingly transforms from the young Celie, an “ugly girl” into the Black Woman who remains dedicated to her faith even though she emerges from an abusive situation to become the woman she wants to be.

While the first act on opening night seemed to lack energy, perhaps as the sound balance in the theater was being fine-tuned, the second act exploded with connection on stage and with the audience. The final feeling of the evening was that of watching a part of American history pass and feeling buoyant with a future that has heart and soul. As one of the few people who had never read the book, seen the movie, or the Broadway production, this version left me with a desire to explore “The Color Purple” in its various forms, more fully.

Christmas Carol—A Ghost Story of Christmas

HartfordStage, Hartford, CT

www.hartfordstage.org

through December 30, 2017

by Jarice Hanson

Photo by T. Charles Erickson

From the opening scene featuring dancing and flying ghosts, you know this version of  “A Christmas Carol” is going to be different from the usual Christmas fare. The 20th Anniversary production of Charles Dickens’ classic story, directed by Rachel Alderman marks the holiday season in a spirited way (pardon the pun) and has embraced the Dickens classic story with a multi-racial cast. Originally adapted by former Artistic Director Michael Wilson, this production is a masterpiece of family fun that Dickens himself would appreciate.

This year, Scrooge is delightfully played by Michael Preston, a former member of the Flying Karamazov Brothers, who adds his skills as a juggler and comic. The venerable Noble Shropshire in a dual role as Mrs. Dilber, and Jacob Marley’s ghost, provides a brilliant catalyst for Scrooge’s epiphanies. Twelve professionals in multiple roles and fstudents from the Hartt School (many of whom have professional status) share the stage with 26 adorable children from the youth ensemble in a beautifully choreographed story that brings the best of theatrical design to the experience. Special kudos go to choreographer Hope Clarke, scenic designer Tony Straiges, costume designer Alejo Vietti, lighting designer Robert Wierzel, and sound designer John Gromada for exceptional contributions to the storytelling.

Hartford Stage has also designated special performances for audiences with special needs. December 17 will feature a 2 p.m. matinee for patrons who are deaf or have hearing loss, and there will be an open captioned performance on the same day at 2 p.m. and 7:30p.m. for patrons who are blind or have low vision.

If you know a youngster who has never seen a live performance before, this production is a wonderful way to introduce them to the magic of the theatre. It was obvious that many of the audience members have made this an annual family event and cooed over the production pictures from past years, with even the youngest of children remembering characters from previous productions. Without a doubt, this show helps you understand the “spirit” of Christmas.