Review: Barrington Stage Company, “La Cage aux Folles”

Barrington Stage Company, Pittsfield, MA

www.barringtonstageco.org

June 11-July 6, 2024

by Shera Cohen

Father’s Day was the perfect date to see “La Cage aux Folles”. The heart of “La Cage” is love, sacrifice, and trust; all qualities of the best of dads.

Yes, it’s glitzy, bold, funny, and charming. BSC has, again, created an exceptional season opener musical in their 30th year.

Central characters Georges and Albin, long-time married, are still in love with each other and with life. The characters are self-described near-opposites – one gay and the other a drag-queen. To their world on a cabaret stage in Saint-Tropez, France, they are the epitome of family. To outsiders, not the case. This musical’s question might be, “Who set the rules”?

Photo by Jeremy Daniel

Tom Story (Georges) and Alex Michaels (Albin aka ZaZa) give equally balanced
performances; Story emphasizes his acting talents with vocals secondary (“Look Over There”), and Michaels the reverse. Although Michaels exceedingly dramatic skills punctuate his songs with either pizazz or heartbreak. The latter, likely featured on the list of Top 10 Emotionally Powered Songs, is “I Am What I Am”. 

Central to the plot is Georges’ son Jean Michel (an accident that happened 20+ years ago) and his engagement to a girl. Yes, a girl. The actors in this straight family have little to do, which is probably why each (except mom) is rather stiff. 

Perhaps equal in emphasis, importance, and stage-time are Les Cagelles; the shocking, motley, and hysterically dressed and quaffed 10 drag-queen dancers/singers featured in the cabaret show within the play. Choreographer Paul McGill is obviously having fun, which is delightfully imparted to the audience, at the same time never forgetting precision. 

Kudos to costumer Rodrigo Munoz Benjamin Weigel, make-up artist Kyle Krueger, and the backstage, quick-changing dressers.

The audience cheers and laughs through the cabaret numbers, yet a suggestion would be some snips and tugs to save 10-15 minutes. Leave them wanting more. That said, some individual scenes are “must saves”; the acrobatics of the solo dancer in the elevated birdcage, and the macho grunts of the Village People.

One sign of a talented director is that no one notices the direction. Mike Donahue has done his homework and sets his large cast exactly where and when everyone should be.

The same theory essentially holds true for the orchestra of eight. The audience is oblivious to its professionalism.

“La Cage” clocks in at over two and a half hours (includes intermission). Yet, at no point did the production drag (pardon the pun). Success can be giving the audience what they want, or don’t know what they want until they see it.

Composer/lyricist Jerry Herman, of “Mame” and “Hello, Dolly” fame, in many ways replicates his own formula, lead-character exuberance, and plot. 

BSC’s opening show audience held back nothing. The matinee patrons whooped & hollered, laughed & shouted accolades throughout the performance. No shock that the musical’s end received an instant full house standing ovation. 

Review: Great Barrington Public Theater, "Dog People"

Great Barrington Public Theater, Great Barrington, MA 

www.greatbarringtonpublictheater.org

June 7 - 16, 2024

by Suzanne Wells

Photo by Kat Hume

Great Barrington Public Theater unleashed its summer season with a barking success,
premiering “Dog People,” written by the talented Leigh Strimbeck and directed by Judy Braha. This play is a tail-wagging triumph that will have audience members rolling over with laughter and begging for more.

“Dog People” is a comedic romp through the park that explores the complex dynamics between pets and their people. John Musall’s scenic design transforms the stage into a dog lover’s dream; an urban park that’s the ultimate sniffing ground for four-legged friends.

 

The story follows the lives of two dogs, Betty and Atilla, and their humans, Jessie and Avery. Sheila Bandyopadhyay and Chris Tucci deliver paw-formances that are both fetching and fur-tastic.

As Betty, a young, hyper, and somewhat neurotic goldendoodle, Bandyopadhyay captures the essence of puppy love, energy and curiosity, as she grows to becoming a well-rounded cuddler. Bandyopadhyay’s portrayal of Jessie, an overly disciplined individual, is equally compelling as she navigates the rough terrain of vulnerability and honesty.

Chris Tucci, in a dual role as Avery and Atilla, is simply “paw-some”. Avery’s sentimental and nurturing nature shines as he learns that life, much like a game of fetch, sometimes gives permit a second throw. Atilla, the misunderstood, easygoing, and lovable mutt, discovers that a little self-assertion mixed with kindness can transform a solitary existence to a pack life. Tucci’s performance is so spot-on, one might suspect he had a tail in a past life.

For humans who ever found themselves wondering what an alter-ego canine companion is thinking, this is a must-see play. “Dog People” is a story that reminds us that, whether on two legs or four, we all yearn for connection, understanding, and unconditional love. Plus, it’s a howling good time!

REVIEW: Hartford Symphony Orchestra, "The Planets"

The Bushnell, Belding Theater, Hartford, CT

www.hartfordsymphony.org

June 7-9, 2024

by Michael J. Moran

Melissa White

Their ninth “Masterworks” program ended HSO’s 80th anniversary season on a festive note,
featuring an HSO premiere, the return of HSO 2023-2024 Joyce C. Willis Artist in Residence, violinist Melissa White, and a beloved sonic spectacular.

HSO Music Director Carolyn Kuan opened the concert with an exuberant account of rising composer-educator Carlos Simon’s 2019 “Amen!,” a 14-minute tribute in three continuous parts to the music of his family’s African-American Pentecostal Church. Kuan and the orchestra captured the jazzy flow of the opening call and response, the soulful blues of the mid-section, which quotes the gospel song “I’ll Take Jesus for Mine,” and the exultant “Amen” spirit of the closing hymn.  

After her stunning HSO debut last October in Florence Price’s unfamiliar first violin concerto, White next soloed in a cornerstone of the standard repertoire, Max Bruch’s enduringly popular 1866 first violin concerto. With stellar support from Kuan and the ensemble, White skillfully shaded her tone from lean and silken for the haunting first chords, nimble and virtuosic for the following “Allegro moderato,” rich and full-bodied for the ravishing “Adagio,” to earthy and bubbly for the jubilant “Allegro energico” finale. 

Price's contrasting encore was a poised and graceful reading of the lively “Gigue” from Johann Sebastian Bach’s third partita for solo violin.  

The program closed with an electrifying performance of Gustav Holst’s 1917 suite for large orchestra, “The Planets.” The musicians leaned into the astrological significance of Holst’s descriptive subtitles for the seven movements, yielding: a shattering “Mars, the Bringer of War;” a magical “Venus, the Bringer of Peace;” a frisky “Mercury, the Winged Messenger;” a noble “Jupiter, the Bringer of Jollity;” a brooding “Saturn, the Bringer of Old Age;” a mischievous “Uranus, the Magician;” and an eerie “Neptune, the Mystic,” whose wordless offstage chorus was evocatively voiced by seven distinctive locally-based singers: five sopranos and two altos.      

 

One measure of the capacity audience’s full immersion in the program was spontaneous applause and a loud “Woohoo” after “Jupiter,” to which Kuan turned and gamely replied “I agree,” with the crowd’s approval.

Next up for the HSO is a free “Symphony in the Park” concert on June 15 at 2pm in the Bushnell Park Pavilion.

Review: Goodspeed, "A Complicated Woman"

Goodspeed, Terris Theatre, East Haddam, CT

www.goodspeed.org

through June 2, 2024

by Suzanne Wells

“A Complicated Woman” is a moving story of the life of John Kenley presenting at the Terris Theatre. “Complicated” is the perfect adjective to describe this musical. This show will open the eyes of theatregoers to the social stigmas of the mid-20th century, the overwhelming isolation of being “different,” and the beautiful bonds that can be formed with “acceptance.”

The play is based on pioneering legend John Kenley, born bi-gender, he is known for managing the Ohio summer stock premiers of the biggest Broadway shows from the 1900's, as well as his alternate life as Jean. Nora Bridgid Monahan is inspiring in the role of John; an ambitious, successful producer, as well as Jean, a fun-loving, sexual woman who desires a loving family. 

Nina May, portrayed by L Morgan Lee, represents everything Jean desires. A liberal, free-thinking, trans-gender woman who finds love and a family. Lee’s singing of “In the Light of Day” and “When I Chose You”, accompanied by Christian Brailsford as Oscar, Arewa’ Basit as Diamond, and Zachary A. Myers as Muhlaysia, is mesmerizing. 

Klea Blackhurst plays Myrtle “decidedly” well. Myrtle is the opposite of Nina Mae, representing the conservative mindset.  She presumes to be responsible for much of John’s success as long as he complies with the bible-belt’s social conditioning.   

Music and lyrics by Jonathan Brielle preverbally make toes tap and when combined with the vocals of L. Morgan Lee, become almost spiritual like a gospel choir. Set designs, by Tobin Ost, consist of an arch which transforms from bedrooms to offices to restaurants; and a billboard one can easily envision along a highway that transforms into a panoramic series of advertisements seen on the streets of New York.

The Terris Theatre is a small venue within a glammed-up industrial building. The lobby is a mixture of painted cement blocks and duct work with chandeliers, bistro tables and upholstered sofas. Within the theatre, half the view is of the stage, and the other half of the wings. While intimate, the stadium seating ensures that the audience will have a clear view and may even feel in the thick of the action.

From the location to the performance, nothing is uncomplicated in this poignant tale of diversity and inclusion.

Review: Playhouse on Park, “Toni Stone”

Playhouse on Park, West Hartford, CT

www.playhouseonpark.org

through June 16, 2024

by Shera Cohen

Temptation was to skip a play about baseball, albeit a potentially interesting subject matter of a woman, a black woman, in the 1930’s – 50’s, in a man’s world of the great American pastime. “Toni Stone” is testament to cease prejudging.

Toni Stone, the first woman player on an American major-level professional baseball team -- a regular for the Indianapolis Clowns in the Negro American League -- is the central character, who stands onstage from the opening scene caressing her baseball to the last scene a few decades later, trading in her apron for a return to baseball. Not to worry; this is not a spoiler.

Photo by Meredith Longo

Constance Sadie Thompson portrays Toni as a plucky young gal who knows early-on that baseball will be her life-time career. More than that, it will be her self-described mission to prove to the world and to herself that she is the best. Thompson, a non-Equity actor, creates Toni as a spitfire who is full of bravado; yet in many cases is scared and sensitive. 

Thompson is a young actress who seemingly, easily, carries the play’s weight on her shoulders. She is literally in the center of the stage and dialog throughout the 2.5 hours; a herculean role.

A suggestion to Director Jamil A.C. Mangan might want to cut several scenes and trim others. While almost reading like a beautiful poem to baseball, the opening five minutes introduce the play to its audience at such a slow pace that the actors are burdened with a stagnant start to launch action. The play is in its infancy, written in 2019, so there is time edit if needed.

The story is a biography of Toni Stone. The majority of the other cast members, all black males, become the ballplayers of the team; also cast in double and triple roles. The director distinguishes each player as a singular person, not merely one among many.

Branden Alvion as Millie, the woman of the night, gives the audience a personification of drama and commentary on men of that era, when congregated, can be cruel to women. Millie and Toni become friends; each at diverse ends of the definition of female. Their story is heartfelt and lovely, primarily because of Alvion’s talent.

Costumes are period baseball uniforms, primarily 1940’s. Even when actors portray roles that are not in the world of baseball, the costumes never change, yet all is clear to the audience.

At two points, “Toni Stone” pumps up the action with music and dance; quite fun at first. Later on, choreographer Maurice Clark gradually turns the baseball players/dancers 180 degrees; a joyful movement segueing into slaves’ lament in the fields of the America. The play becomes dark and raw; no longer fun and “games”.

This venue (POP) has a reputation of producing atypical, new, and/or relatively unknown plays. “Toni Stone” is among them. Those who don’t care much for baseball might become fans of POP and Toni’s near homerun.

Review: The Bushnell, “Beetlejuice”

The Bushnell, Hartford, CT

www.bushnell.org

May 28-June 2, 2024

by Jarice Hanson

If you think the stage production of “Beetlejuice” will be faithful to the popular film, keep an open mind and throw yourself into a fun-filled performance at The Bushnell. There are similarities between the film and the musical—enough to please the full house, many of whom were obviously fans of the original film, but seeing the story unfold on stage is a special treat. The story may be a bit silly and a bit of fluff, but the very talented cast of this touring production and their team put on a show that is entertaining, and just plain fun. Visually, there are more than a few moments that have a “Wow!” factor.

Justin Collette in the lead role is fabulously funny and knows how to work with a live audience to involve them in the performance. He charms and repulses the audience with his antics. Collette is a master of working with his voice. He can growl one minute, and shift to a full-chested belt the next.

 

Photo by Matthew Murphy

Playing the role of the young Lydia, Isabella Esler gives her music a beautiful voice and
impressive range. While her bio indicates that she is making her professional debut in this company, it also states that she “recently graduated high school.” Much of this show rests on her shoulders, and if this production is any indication of her ability to work on the professional stage, she has a bright future.

 

While the six principal performers have excellent voices and wonderful stage presence, the large ensemble of 20 performers work energetically in a wide variety of singing, dancing, and comic roles. 

Director Alex Timbers, Choreographer Connor Gallagher, and Scenic Designer David Korins have teamed up to keep the action flowing. Different parts of the stage seem to transform within seconds, an homage to the play’s filmic origin. William Ivey Long’s brilliant costumes set characters apart from the colorful, sometimes off-perspective backdrops.

The music and lyrics by Eddie Perfect (yes, that is his name) are delightful and whimsical, but unfortunately the Bushnell’s sound system can be tricky.  Collette easily overcomes the problem by careful articulation of words and lyrics, but some lyrics and lines by other performers are muffled or lost. 

“Beetlejuice” is not one of those plays that gives those in attendance a lot to think about, but it does raise spirits, draw the audience into a special world of make believe, and allows everyone to just relax and enjoy a good story. There were many children in the audience so perhaps it’s no longer necessary to sound this “warning” but there are words, gestures, and a few lines that might give a parent pause before bringing the very young to the theater for "Beetlejuice".  At the same time, there are many more moments of magic and folly that will entertain children of all ages.

 

REVIEW: Springfield Symphony Orchestra, "Magic & Glory"

Symphony Hall, Springfield, MA

www.springfieldsymphony.org

May 18, 2024

by Michael J. Moran

The title of this concert could just as well have been “Fearless Women,” with women as conductor and soloist, and eight local women receiving the SSO’s second annual “Fearless Women Awards” for the “courage, resilience, and empowerment” they exemplify, often “under the radar,” said SSO President and CEO Paul Lambert, who honored the six awardees who appeared with him on stage before the concert.

The program opened with the Overture to Wolfgang Amadeus Mozart’s 1791 opera “The Magic Flute.” From the solemn opening chord through the fleet urgency of the main theme, with an imposing brass interlude, Canadian conductor Tania Miller, recent interim leader of the Rhode Island Philharmonic, and the SSO gave a taut and brilliant account of this lively curtain-raiser.

Rachel Barton Pine

Perhaps the most fearless woman on the program was Rachel Barton Pine, who next soloed in Jean Sibelius’ 1905 Violin Concerto. She met the work’s fiendish technical demands with aplomb, varying her tone from hushed delicacy in the soft opening notes to sharp and robust in the forceful solo cadenza. The opening “Allegro moderato” was alternately suave and tumultuous, the central “Adagio di molto,” ravishing and warm, and the closing “Allegro, ma non tanto,” a boisterous romp. Miller and the orchestra provided vivid accompaniment.

Even more astonishing was Barton Pine’s tireless virtuosity in an entertaining, often hilarious series of variations on “Happy Birthday,” an encore which she dedicated to the SSO’s 80th anniversary this year. The large audience roared its approval and delight.

The concert ended with an electrifying performance of Dmitri Shostakovich’s 1937 fifth symphony. Miller’s spoken introduction highlighted the fraught political background of Stalin’s Soviet Union against which it was written, in a successful comeback after a devastating review in the Communist Party newspaper “Pravda” of the composer’s popular opera “Lady Macbeth of Mtsensk.”

Miller’s kinetic conducting drew from an inspired SSO: an eerie and probing “Moderato;” a klezmer-influenced “Allegretto,” with flashes of ironic humor; a haunting and heartfelt “Largo,” in which Miller put aside her baton to shape more nuanced phrasing with her hands; and a powerful “Allegro non troppo,” whose half-joyful, half-fearful closing notes remain, in Miller’s words, “an enduring mystery.”

The SSO’s next concert will be their second annual free Juneteenth “Freedom Day Concert” on Wednesday, June 19, at 3:00 pm.