REVIEW: Tanglewood, Beethoven, Yo-Yo Ma

Tanglewood, Lenox, MA

www.bso.org
August 6, 2019
by Karoun Charkoudian

The lawn filled up early on a mid-summer Tuesday evening at Seiji Ozawa Hall. The audience anticipated  Yo-Yo Ma in an all-Beethoven piano trio program. Guest artists included Ma, world re-known pianist Emanuel Ax, and a violinist with tremendous accolades, Leonidas Kavakos. A hush fell over the lawn when the three performers walked on stage. Ma, Ax, and Kavakos were surrounded by a full house, audience on all four sides including a balcony, the lawn completing the fourth side.

An audience member might assume that Yo-Yo Ma, the man who draws the crowds, would be the featured player on this evening. Perhaps in a show of humbleness, the selections instead featured the virtuosic playing of Ax and Kavakos, with Ma playing the support role, as cellists often do.

The first piano trio, Opus 1, was composed early in Beethoven’s career, and in fact, Haydn (his teacher), encouraged him not to publish the work because it was so intense. Opus 70 (second on the program) was created much later in Beethoven’s career and there was definitely a more settled feel to it.

All three of Beethoven’s piano trios performed that night contained four movements, which gave them a larger, symphonic-like feel. Annoyingly and surprisingly, the audience often didn’t understand the difference between the ending of one of the movements, and the ending of the piece itself.

Ax, Kavakos, and Ma not only played with perfection and life, honoring Beethoven completely, but there was an air of comfort in playing together (in fact, the three of them had recorded Brahms piano trios together in late 2017 for Sony Classical).

As the evening wore on, it was clear that in addition to perfection, the musicians were living and breathing Beethoven’s work. When the cello part did shine (very rarely) it was always a surprising deep, rich, sound, one of decades of work, channeling the very essence of Beethoven. Besides those few moments of cello glory, the audience may have felt that Seiji Ozawa hall was actually built for a piano, as the piano, above all, resounded around the lawn in crisp, clear acoustic perfection.

Tellingly, a standing ovation followed every piece, and even though some of the audience left at intermission to avoid the traffic, they walked to their cars relaxed and satisfied.

REVIEW: Sevenars Music Festival, George Bowerman

The Academy, Worthington, MA

www.sevenars.org

July 14 - August 18, 2019

by Michael J. Moran

George Bowerman

Three years after his triumphant debut at this family-based music festival as a “Young Artist to Watch,” Springfield-born pianist George Bowerman made a stunning return visit as a “Young Artist to Watch, Version 2.0,” as fellow pianist Rorianne Schrade, a daughter of Sevenars founders Robert and Rolande Schrade, introduced him on August 4. His adventurous program solidified Bowerman’s continuing growth into a mature professional artist.

It opened with a seldom played work by a rarely heard composer. Bowerman helpfully prefaced each piece with an articulate spoken introduction, and his dramatic performance of the Fantasy in F-sharp minor by Johann Sebastian Bach’s son Carl Philipp Emanuel depicted exactly the musical journey that he had prepared the appreciative full house to listen for.  

Next came a brilliant account of Cesar Franck’s demanding Prelude, Chorale, and Fugue, whose three sections are played without pause. From the solemn Prelude, through the plaintive Chorale and the exuberant Fugue, Bowerman varied the weight of his tone to build a mounting tension that was only resolved in the thunderous final chords.

Intermission was followed by the last of Brahms’ four Ballades, written at age 21, when he had just met his lifelong soulmate Clara Schumann. Bowerman related the tempo marking “with the most intimate feeling” in the middle section to the young composer’s affection for Clara, making the “adagio” pace at which he took the other sections, which Brahms had marked “andante con moto,” powerfully convincing.

Bowerman described the pleasure of working with Berkshire-based composer Stephen Dankner to prepare for today’s world premiere of his Four Preludes. Influences as diverse as Gershwin, Bartok, and Messiaen could be heard in these slightly jazzy, mildly dissonant, and altogether delightful pieces. Bowerman was in total command of their technical challenges and the emotional depths of the lengthy finale. The composer signaled his pleasure in return from the audience.

The formal program closed with a free-wheeling rendition of Chopin’s mercurial Polonaise-Fantaisie. A standing ovation was rewarded with an affectionate version of Chopin’s fleeting seventh prelude, Op. 28.

At age 29, Bowerman seems to have it all: dazzling keyboard technique; profound interpretive skill; charismatic and communicative stage presence. His devoted Sevenars following will not want to wait three more years for “Young Artist to Watch: Version 3.0.”

REVIEW: Cranwell Resort, Capitol Steps

Capitol Steps, Lenox, MA

www.cranwell.com

through Labor Day Weekend, 2019

by Shera Cohen

If you have already seen Capitol Steps either in Lenox, or Washington, DC, or elsewhere across the country, there might be some hesitation – to attend or not to attend yet again. In the Spotlight has previewed and/or reviewed CS for at least 12 years.

Set reluctance aside, as each year’s, and oftentimes each month’s, CS performance is different. Why? Because the news changes daily, especially the news that seems the most ridiculous. No topic or personality is left unscathed by wit and jabs, all set to familiar music by the CS quintet; two women and three men.

Accompanied by an unnamed pianist, song styles range from Broadway one minute, 50’s music the next, Bee Gees’, and romantic serenades. The creative lyricists must have had fun rewriting “Stayin’ Alive” as sung by the aging Supreme Court Justices. The Judge Ginsberg actress completed the song by doing push-ups.

The evening was not all Trump-bashing, although there was certainly enough to go around. The four special ladies in Trump’s world also appeared: Kelly Anne, Sarah Saunders, Ivanka, and Melania. Each did her best to imitate and sound like her namesake, but that was hardly important. Wearing ill-fitting wigs and crass suits, it was obvious that no one onstage is to be taken seriously.

Other topical guests dropped in and out; i.e. Putin, Meuller, Bernie, Ben Carson and Queen Elizabeth. Topics were not solely about the comings and going on Capitol Hill, but included current hot button topics like health care, Native Americans, and TSA workers.

Unfortunately, it is difficult to credit any performer by name, because multiple troupe members are listed in the one program book that is utilized for every show in every location. But a comment on the Barak Obama actor is necessary. Obama always makes his way into a few CS skits. Past Obamas have been okay, but this year’s performer bears an uncanny resemblance, as well as the voice, and mannerisms of our past commander-in-chief.

REVIEW: Jacob’s Pillow, A.I.M. By Kyle Abraham

Jacob’s Pillow, Becket, MA

www.jacobspillow.org

through August 4, 2019

by Josephine Sarnelli

Formerly known as Abraham In Motion, A.I.M. by Kyle Abraham offers a unique blend of attributes from contemporary, classical, hip-hop and club dancing. Abraham’s choreography seems very personal as it explores themes of gender differences, sensuality and isolation. His troupe of five female and three male dancers is technically proficient and incredibly athletic.

Photo by Hayim Heron

The first piece, entitled “state,” was choreographed by Andrea Miller in conjunction with the A.I.M. dancers. It is the only dance of the program not choreographed by Abraham. Three female dancers appear to be on a journey, entering and exiting with the same movements. The lighting and shadow projections sometimes give the illusion of more performers on stage and is very effective in accentuating the lines of the dancers.

Abraham choreographed his solo, "INDY," to clearly have a conversation with the audience. He reveals so much of himself through his personal history that at one point he removes his dance costume. As he stands in only his dance trunks, he acknowledges his vulnerability to the audience. It is then that the soundtrack announces his name at his college graduation. He responds by periodically moving when there is sound and then seizing up as if the past is bottled up within him.

The most poignant piece was “The Quiet Dance” choreographed to Leonard Bernstein’s “Some Other Time.” Four dancers group together, but never interact with the soloist; the isolation is palpable, although she is going through the same motions as the others. During the Pre-Talk with Brian Schaeffer, a scholar in residence, it was explained that this work was Abraham’s interpretation of a medical condition that isolated his father from effectively communicating with the outside world.

“Show Pony,” danced by Tamisha Guy, is a stimulating convergence of hip-hop and lyrical. It highlights what Abraham does best: he creates movement for a dancer. Conversely, in none of his choreographies do his dancers interact or react to one another.

  

Unfortunately, it becomes apparent from the very start of the program that one of the influences that social club dancing has had on Abraham is a taste for very loud music. Hence, the soundtrack for the entire program was painful to audience members, including this reviewer, who returned after intermission wearing earplugs, as did many others. The deafening score for this two-hour performance was a serious distraction.

REVIEW: Berkshire Theatre Group, “Working”

Berkshire Theatre Group, Stockbridge, MA

www.berkshiretheatregroup.org

through august 24, 2019

by Shera Cohen

Photo by Emma K. Rothenberg-Ware

“Working” is one of those musicals that most people, even those involved in theatre, have never heard of, or at the very least, have never seen. That’s surprising because its history shows off a who’s who in Broadway entertainment. The musical is based on interviews by author Studs Terkel in 1977 (required college reading), book by Stephen Schwartz (“Wicked” and just about every Disney musical), and songs by six noted writers including Lin-Manuel Miranda (“Hamilton”).

Despite its large cast primarily of young performers, “Working” is a small musical about people who work to earn a living, to follow their dreams, to be an important part of community. In other words, the play is universal.

All, or nearly all, of the actors get his/her opportunity to sing solo. To a fault, director James Barry, has selected a dynamite team with pipes to match their acting skills. Essentially an easy flowing series of vignettes, some stories are sheer fun, others poignant; some stories told solely in music, others with dialog introductions followed by song.

In song, dance, monologues, one-on-one conversations, and group numbers the cast of ten are the epitome of sheer joy, energy, and camaraderie. Each actor portrays many roles, and in this case occupations: stone mason, UPS driver, assembly line worker, corporate executive, editor, salesman, parking lot attendant, and “just a housewife.” While some language in the script is updated, the story of “Working” basically does not change onstage or off.

Two emotional songs are standouts. “If I Could Have Been,” sung by the full company, speaks to the universal wish to try and perhaps succeed if his/her life course had been different. “Fathers and Sons” depicts the desires of fathers for their sons as they venture out into the world. The same can be said broadly as parents’ dreams for their children.

The band of four led by Jeff Link provides subtle background, never upstaging the actors. Chorographer Ashley DeLane Burger moves the cast naturally, as real people rather than big production numbers. Set designer Nicholas Hussong creates as many scenes as there are songs (a lot!), primarily with black lines to show spatial demarcations, constantly changing.

It is wonderful to be part of a full house at the Unicorn Theatre for this somewhat obscure, yet perfect, little musical.

Review: 2 Summer Theatres Tackle Tough Topics

The 2 plays reviewed below are serious and scary presentations of contemporary life that may or may not affect their audiences. At the very least, they will cause thought and conversation on what, hopefully, will be a deep level.

Review: Chester Theatre Company, On the Exhale

Chester Theatre Company, Chester, MA

www.chestertheatre.org

through August 4, 2019

Photo by Andrew Greto

It’s not all fun, fluff, and fantasy on the theatre stages this Berkshire summer of 2019.

Chester Theatre Company’s “On the Exhale” essentially depicts a replica of the Sandy Hook, horrific story from one woman’s point of view; from a mother of a victim. While not a news story or didactic lesson, Woman (she has no name because she could be any woman) takes her audience on a slow walk through the points in her life that lead her to the most important role in her life as a mother.

Actress Tara Franklin possesses Woman in this taught, emotional, intelligent play by Martin Zimmerman. She becomes the embodiment of her role, sometimes with a keen look or fake smile, addressing her audience as “you” rather than “I.” Woman hopes to separate as much as she can from the death of her son by telling her story, implying that this, too, could happen to you and your precious child.

Two suggestions: shorten the script with snippets here and there and add music and/or sounds; i.e. school bell ringing, soft murmuring conversations, gunshots.

The story and a good deal of the language are predictable. However, Franklin’s tour de force performance gives Chester Theatre something and someone to be very proud of.

Review: Shakespeare & Company, The Children

Shakespeare & Company, Lenox, MA

www.shakespeare.org

through August 18, 2019

by Shera Cohen

Photo by Nile Scott Studios

Shakespeare & Company’s “The Children” should be taken just as seriously as “On the Exhale.” The play’s off-stage setting is a nuclear plant. Two of the three adults live nearby, another visits. They speak a lot about children, one in particular, but the fact that the audience does not actually see any child onstage is foreshadowing that the world of this trio (not to mention all of those inhabiting the planet) is far from perfect.

Diane Prusha (Hazel) and Jonathan Epstein (Robin) portray a middle-aged married couple, both past employees at a nuclear plant in England whose lives have been grossly affected by the atmospheric problems of the day and the future. Robin pretends to himself that all is not as bad as seen. Hazel is more of a realist. Enter Ariel Bock (Robin’s lover Rose). More importantly, Rose’s purpose is what leads the story on a path of destruction; or path to thwart destruction? The audience can answer that question.

Each actor is a longtime professional at Shakespeare & Co. who have worked together for many years. Prusha, usually a soft-spoken actress depicting women in timid roles, gives Hazel power, sincerity, and determination. Epstein’s character adds some much-needed humorous relief as bravado in a situation that will certainly fail. A suggestion would be to brush up on his English accent. Bock, who has been working in administrative capacity for some time, has been released from her day job to become the sounding board for the other characters and the spokesperson for the unseen and perhaps unborn children.

Review: Jacob’s Pillow “The Day”

Jacob’s Pillow Dance Festival, Becket, MA

www.jacobspillow.org

through August 4, 2019

by Stacie Beland

Photo by Hayim Heron

Wendy Whelan in The Day, a piece choreographed by Lucinda Childs with words and music by David Lang, is a sprit made of breath itself. Alternating between labored, ragged, reaching, measured, and flowing, Whelan presents a life force constantly trying to ensure existence.

The Day is a roughly four-act performance with onstage solo cellist Maya Beiser, a backdrop of alternating images, and a sparklingly reflective stage floor all of which add a depth to the experience of watching Whelan dance.

At the opening, Whelan appears in white and dances against Beiser’s cello (truly a pas-de-deux, despite Beiser’s minimal movement) and the spoken word performance that gives it its name. Whelan is precise, angular, and is nearly constantly bound or burdened with some kind of tether or banding (sticks, a yoke, a cloth person). She is never alone, she is never at peace. The spoken words, a series of “I” statements that offer no emotions whatsoever, highlight an undercurrent of universality to the human experience—it is no specific story and therefore the story of us all. The props are sometimes her burdens, sometimes her aids. Her costume changes abruptly to one of black fabric, and her movement slows.

After a brief blackout, there is a cacophony of sound:  an industrial noise, the shattering of music (literally), then calming rain, and later a re-start. Beiser’s cello now sounds as though the strings have been loosened, the music she plays is no longer the smooth, deep, rich sound the audience expects from a cello but rather a reverberating “off-ness.” Whelan reappears, the spoken word has disappeared. Whelan’s dance has changed, she is never still. However, there is something more calming about her presence, rather than the staccato movement of the prior movement; she is moving as though she is in the sea. Stillness in sea can mean death, Whelan is seen rising, falling, crashing, stirring. She is unburdened by props; she is dancing only against an imaginary tide of sea change. As the lighting begins to brighten, her turmoil seems to settle. She finds balance with the currents and undertows. She dances with them, rather than against them. Then, another change: A white curtain unfurls, Beiser moves position to face the backdrop, with her back to the audience. Whelan slowly cocoons herself into the curtain:  perhaps a rebirth, perhaps a death. Curtains projected onto the backdrop fall. It is a powerful ending.