Review: Berkshire Theatre Group, “Mel Brooks’ Young Frankenstein”

Berkshire Theatre Group, Pittsfield, MA

www.berkshiretheatregroup.org

through July 21, 2024

by Shera Cohen

“Funny” is one of the best adjectives to describe the talents of Mel Brooks. To be accurate, “raunchy funny” is à propos for “Mel Brooks’ Young Frankenstein” (“YF”) at Colonial Theatre.

The musical is essentially the mirror image of the movie version (1974) starring Gene Wilder. For those who have not yet seen the movie or video in any shape or form on various  electronic devises, then experiencing it live is almost better; sans Wilder, Madeline Kahn, Marty Feldman, et al.

Photo by David Dashiell & Caelan Carlough

Apparently, the original Frankenstein had some family members who begat offspring and one of these is Dr. Frederick Frankenstein; pronounced “Frank-en-stEEn”. Like his predecessor, Fred is a scientist whose specialty is study of the brain. For first-hand knowledge on the original Frankenstein, he must travel to Transylvania. Along the way, he meets a sexy assistant, a hunchback servant, and a seemingly prim housekeeper. The plot concerns the creation of another monster in the la-BOR-a-tory.  

The true stars of BTG’s production are the people who the audience does not see: the professionals on lighting, sound, scenic, and projection as well as director Gerry McIntyre who has assembled a wonderfully creative team with imagination and a sense for sheer fun.

Segments of the “Frankenstein” silent movie begin the entertainment. Soon coupled with lightning effects and thunderous sounds, the musical within the movie begins with screen credits, as if it was an actual 1910 cinema on the stage. The macabre echoes continue into the theatre’s lobby and entry.

“Clever” is the word to explain the video projections in each scene, especially those outdoors. Sepia stills or moving video backdrops help to accentuate each segment. Yes, there are the usual walls, bookcases, and stairs. Special to “YF” are the dark scrims, netting, and shadows, making everything on stage look bigger and spookier.

Unexpected from a comedy filled with ridiculous characters, each actor’s voice is near-flawless. All leads can boast Broadway credits. The accompanying 5-piece band sounds much bigger.

Nothing in “YF” is serious. Even the love stories have no dramatic or lovely songs. Instead, the most hilarious tunes (each sung by female soloists) are: “Roll in the Hay,” “He Was My Boyfriend,” and “Deep Love”.

There’s not a lot of dancing. Yet, McIntyre, who doubles as choreographer, lets his full cast have a ball “Puttin’ on The Ritz”. Is this scene important to the story? No. In fact, it’s rather inane. However, watching a reformed monster tap dance is a showstopper.

At this performance, the audience was a bit atypical from those who populate summer musicals. The group was younger. Had they heard of the 2000-year-old man? Or seen “Blazing Saddles”? Or like to laugh on a smoldering hot Saturday in a beautiful, air-conditioned theatre in Pittsfield? At any rate, there they were in droves. 

Note: Not recommended for young children.

REVIEW: Jacob’s Pillow, The Royal Ballet

Jacob’s Pillow, Becket, MA

www.jacobspillow.org 

through July 7, 2024

by Josephine Sarnelli

The debut of the 93-year-old United Kingdom’s Royal Ballet at Jacob’s Pillow offers an opportunity to enjoy a performance of both classical and modern ballet of unchallenged magnitude.  For most in attendance, it is a once-in-a-lifetime event to see this internationally acclaimed troupe.  Jacob’s Pillow’s leadership must be commended for finding sponsorship to make this the company’s sole stop in the United States!     

The Ted Shawn Theatre, with its orchestra pit, allowed for live music by a string quartet and pianist for three of the nine pieces. The backstage doors were opened after intermission to further enhance the unique experience of dance on the Pillow stage.

If there is a word to describe the success of this performance, it is “chemistry.”   Observing the connection between the performers and the audience and among the dancers is a significant part of attending live dance.  The Royal Ballet has not only mastered the art of dance, but also these relationships in solos, duets and groups.  From the kiss by Lukas Brændsrød on the hand of Sarah Lamb in Balanchine’s “Diamonds” to the dropping of the rose by Giselle after saving the life of her lover, there was a feeling of intimacy in these performances.

Photo by Christopher Duggan

One of the highlights of the evening was the choreography by Kenneth MacMillan of the “bedroom” pas de deux from “Manon.”  Anna Rose O’Sullivan and Marcelino Sambé dance superbly with effortless overhead lifts, but it is the passion that they expressed through their dance that is most memorable.  Their magnetism made the embraces and kisses seem so genuine.

An excerpt of Franz Schubert’s “Death and the Maiden” was performed flawlessly by the string quartet for the performance by four male dancers entitled “For Four.”  The transitions were executed with precision; the athleticism and grace of the dancers was impressive.  Of note was the audience’s recognition of Daichi Ikarashi’s powerful performance, which included multiple grand jetés exploding across the stage.

For Isadora Duncan fans, the program included a solo dance choreographed in her novel and improvisational style.  It was danced to five Johannes Brahms waltzes that were beautifully performed by piano soloist Kate Shipway.

A lighthearted pas de deux from “Carousel” preceded the finale.  “Figures in a Landscape,” a world premiere choreographed by Wayne McGregor, had a futuristic texture with dissonant music and blinding lights. Without transition, the music abruptly changed to a more subdued score.  Unlike the other program selections, this piece lacked sincere connectivity among the dancers or with the audience.  Although technically well executed, the performance was a disappointing conclusion to an otherwise outstanding evening.

Unfortunately, the audience was not given an opportunity to applaud the entire dance troupe or musicians after the finale.  Had they been called back, they certainly would have received a well-deserved standing ovation, having lived up to their name of royal.

REVIEW: Berkshire Choral International, "Vaughan Williams"

UMass Amherst Fine Arts Center, MA

www.berkshirechoral.org

June 29, 2024

by Michael J. Moran

Joe Miller

Joe Miller, Professor of Conducting & Director of Choral Studies at Cincinnati College-Conservatory of Music, led the 130-member BCI chorus, baritone Emmett O’Hanlon, soprano Laura Strickling, and a freelance ensemble of area professional musicians in two masterpieces by English composer Ralph Vaughan Williams for an evening of choral-orchestral magic.   

Since 1982, BCI has gathered experienced amateur singers from across the USA during the summer for weeklong intensive rehearsals in various American and international venues, culminating in a public performance at the end of the week. While still based in the Berkshires, this was their only local concert in 2024.

 

The program opened with “Five Mystical Songs,” which Vaughan Williams wrote in 1911 for the Worcester Three Choirs Festival and based on four poems by George Herbert (two songs set different verses of the same poem). O’Hanlon’s supple baritone suited the music’s radiant beauty. The chorus was hauntingly expressive in the wordless final bars of the cycle’s sublime centerpiece, “Love Bade Me Welcome,” and ardently ringing in the jubilant closing “Antiphon.” Miller and the orchestra offered sumptuous support throughout.

Then came a thrilling account of the composer’s first symphony, which he called “A Sea Symphony,” because the texts in all four movements are selections from Walt Whitman’s “Leaves of Grass” which compare a sea voyage to the human journey through life. Written between 1903 and 1909, the hour-long piece was first played at the Leeds Festival in 1910.

The first movement, “A Song for All Seas, All Ships,” was urgently dramatic, and the chorus, O’Hanlon, and Strickling all sang their solo passages with heroic heft. O’Hanlon was mesmerizing in the quiet second movement, “On the Beach at Night, Alone.” The chorus (without soloists) was virtuosic and nimble in the explosive third movement, “The Waves.” The finale, “The Explorers,” alternated exhilaration with yearning and closed quietly on the lines “O farther, farther, farther sail!” Miller kept the huge ensemble of musicians in sonorous balance.  

The warm and spacious acoustic of the Fine Arts Center’s Tillis Performance Hall showcased the clear enunciation and carefully modulated phrasing of the singers along with the impassioned playing of the instrumentalists. Full texts were provided in the digital program.

This concert was a glorious feast for the ears of all choral music lovers.

Review: Goodspeed, “South Pacific”

Goodspeed Musicals, East Haddam, CT

www.goodspeed.org

through August 11, 2024

by Shera Cohen

Opening on Broadway in 1949, “South Pacific” won a slew of Tony Awards. Set toward the end of WWII, composer and lyricist Rodgers & Hammerstein placed their micro-story into the behemoth history of the war in the Pacific.

The musical is lauded for its balanced measure of love, joy, and happiness; with a sobering mood of bigotry, hatred, and death in wartime.

The best of “South Pacific” is the music, particularly the ballads. It would take a cast and crew of first timers to mess that up. Not to worry, Goodspeed’s orchestra led by Adam Souza, and nearly all singers make this musical special some 75-years after its premiere.

The plot is simple: two love stories along with the intrigue of a spy mission, and its repercussions to the couples.

Danielle Wade, Nurse Nellie Forbush, plays spunky well with her southern twang and body
movements. Her first scene with her potential lover, shows her with arms crossed tightly. Later on, when she’s “In Love with a Wonderful Guy,” she’s jumping and doing cartwheels. The audience realizes some of her transformation, but it’s not convincing. Perhaps if Wade was charged with one dramatic solo, the audience would care for both the character and actress more. 

Omar Lopez-Cepero, Emile de Becque, her handsome counterpart with French accent and swarthy frame, looks and sounds like opera star Jonas Kaufman. Even if Nellie has her doubts, the audience loves him. Thank goodness that this amazingly talented baritone is given the opportunity to showcase two of the most lush and romantic blockbuster solos from a musical: “Some Enchanted Evening” and “This Nearly Was Mine”. The actor’s  stance and speech are understated, giving even more power and depth to his songs.

Other important roles are those portrayed by Cameron Loyal (the stoic Lt. Cable) and Keven Quillon (the affable Billis). Joan Almedilla, in the pivotal role of Bloody Mary, punctuates her dialogue with sass, yet sings her signature piece, “Bali Ha’i” as a haunting whisper.

Speaking of the Island Bali Ha’i, the image is back, center, and ever-present on stage. Lighting design makes minor visual effects. Once on the island, the setting becomes a curtain-like multi-colored drop representing a floral forest. The attempt at an island paradise doesn’t work. Too busy. It overpowers the placement of the characters so much that the second pair of lovers are nearly obliterated. Lighting and light-colored costumes might fix the problem. 

Photo by Diane Sobolewski

As in nearly all musicals are the big-dance numbers. “South Pacific” is not lacking: “There’s Nothing Like a Dame,” “Bloody Mary,” and “I’m Gonna’ Wash that Man Right Outta’ My Hair’’. Choreographer Parker Esse makes all three segments fun.

It is sad that much of the plot’s mood tackles the subject of prejudice and ignorance, especially involving the two couples. That theme may have changed a bit in past decades? Director Chay Yew does not beat the characters or the audience up on the subject, although discrimination is ever-present.

And the audience? Too often, those seated immediately give standing ovations as if required. If a S.O. is appropriate, then rise. Anyone who attends theatre knows that cast members take bows in descending order – smallest roles first, leading up to the stars. This does not mean that those in lesser roles are not skilled and/or deserving of praise.

Bravo to Goodspeed’s discerning audience, clapping politely, yet showing true appreciation at the entrance of Ms. Almedilla (Bloody Mary) and again for Mr. Lopez-Cepero (Emile). 

Review: Jacob’s Pillow, “Les Ballets Trockadero de Monte Carlo”

Jacob’s Pillow, Becket, MA

www.jacobspillow.org

through June 30, 2024

by C. L. Blacke

 

World famous Les Ballets Trockadero de Monte Carlo opens the Pillow’s 2024 festival with a hilarious romp through classic ballets, bringing sheer delight and raucous laughter to audiences in their first appearance at the Ted Shawn Theater since 2010.

 

Celebrating 50-years of subversive and comic dance, the Trocks (as they’re lovingly called) were formed in 1974 in the wake of the Stonewall Uprising in New York City. Since its inception, the all-male repertory company has been providing a stage to male dancers of all shapes, sizes, races, classes, gender identities, and sexual orientations. No longer is classical ballet reserved only for the traditional, the aesthetic, or the elite.

 

The program opens with Swan Lake, Act II. True to its demanding choreography with all its precision and rigor, the Trocks’ version also brings their special brand of slapstick. Odette, performed by Colette Adae, tantalizes en pointe, perfecting a (sometimes exhausting) flutter of arms, barrage of bourrées and multi-partnered lifts despite being chased across the stage by the grimacing and overly dramatic Yuri Smirnov as Von Rothbart.

 

But it’s the corps de ballet that steals the performance. One dancer in particular, Anya Marx, whose upstaging antics play directly to the audience, provokes hoots of joy from the rafters.

 

As the lights dim after intermission, the Balanchine satire Go for Barocca showcases a complex weaving of dancers in simple black skirts, an intricate tangle of arms, and the sassy facial expressions of Holly Dey-Abroad.

 

Photo by Christopher Duggan

However, the program’s comedy isn’t just limited to the personas, wigs, and choreography. It encompasses missed musical cues, misplaced spotlights, and trick costumes as well. Perhaps one of the most famous solos in classical ballet (and in the Trockadero repertoire), The Dying Swan flaunts Olga Supphozova's panache, who dies a horrifying, tragic (and rather prolonged) death in a pile of molting feathers that is worthy of any Shakespearean actor.

 

And if the Trocks’ professional dancing skills ever come into question, the Paquita finale leaves no room for debate. From effortless grand jetés and fishtail lifts to a dizzying array of chaine turns and fouettés, their technical strengths are evident, especially in Varvara Laptopova’s graceful performance that rivals any traditional prima ballerina.

 

These men are more than just drag queen divas dressed in tutus. They proudly embody diversity, inclusion, and access to the ballet world (right down to the ballerina wearing glasses onstage); and the audience demands more.

REVIEW: Chester Theatre Company, “The Thin Place”

Chester Theatre Company, Chester, MA

https://chestertheatre.org

through June 30, 2024

by C. L. Blacke

Photo by Andrew Greto

Chester Theatre Company’s 2024 season opener, “The Thin Place,”, written by Obie Award winner Lucas Hnath, weaves a complex tapestry of psychological and supernatural elements. The minimalist stage design—a stark setting of two chairs, small table, and a single red light bulb against black walls—creates an intimate atmosphere ripe for the unfolding of a ghost story that blurs the line between reality and illusion.

Immediately breaking the fourth wall, Hilda, embodied by Tara Franklin with a childlike naivety and openness to belief, holds a haunting conversation with the audience about the bond she once held with her grandmother. Their relationship had been marked by an attempt at psychic communication that was met with disapproval and labeled as “demonic” by Hilda’s mother. Soon after, tragedy befell the grandmother (who remains nameless throughout) and a sudden mystery surrounding Hilda’s mother adds another layer of intrigue and unanswered questions.

As Hilda grapples with familial loss, she explains how she found solace in Linda, the cheeky (and foul-mouthed) medium to the thin place, portrayed by Diane Prusha. Linda becomes a friend and a replacement for the maternal figures Hilda has lost and offers comfort through supposed communications with the deceased grandmother. 

The story itself is told in a retrospective style with little action happening in the present time. Instead, characters come to life to deliver their dialogue at the appropriate intervals. And though the greater part of the play unfolds slowly, “The Thin Place” intensifies as conflicts arise during a dinner party. Linda and friends Sylvia and Jerry (played by Equity actors Syliva McKown and Jordan Bellow, respectively) argue about the morality of telling lies vs. the truth.

Director Gabrielle Farrah, former Directing Fellow at Playwrights Horizons and Producing Fellow at Clubbed Thumb, employs a splattering of classic horror conventions as the play progresses that heightens the suspense. Likewise, technical elements, such as disturbing lighting techniques and jarring sound effects, are also used to strike sudden bouts of fear.

The climax more than fulfills the play’s initial promise of a chilling atmosphere, and a feeling of unease sticks with the audience long after they have clutched the edge of their seats for the last time.

REVIEW: Shakespeare and Company, “A Body of Water”

Shakespeare and Company, Lenox, MA

www.shakespeare.org

through July 21, 2024

by Jarice Hanson

 

As the Berkshire theater season begins, Shakespeare & Company (S&Co.) has opened its outdoor Roman Garden Theatre with a new twist on a script by the noted playwright, Lee Blessing. “A Body of Water” was originally produced in 2005 and was immediately compared to Ionescu’s “The Chairs” – an existential treatise on loneliness and alienation.

 

Photo by Ken Yotsukura

In this updated version of “A Body of Water,” two middle-aged people, Moss and Avis, awake in an unfamiliar house that is surrounded by water. The veranda of the house indicates comfort and the satisfaction of all creature needs, but something is wrong.  Moss and Avis don’t seem to know each other. Or do they?  As they seek to understand their identities and try to uncover the truth about their relationship, the water around the house ebbs and flows—changing all of the time, as does their sense of what is real and what is not.

 

The couple tries to find clues to their own identities and how they got to the house, when a young woman named Wren appears. Who is she? Why does she know them, and why is she so secretive? The play is described as a “comedic thriller” which is a pretty good description, that also leaves its audience with plenty of questions to ponder.

 

The couple are played by Bella Merlin (Avis) and Kevin O’Rourke (Moss), whose chemistry grows as they learn more about each other. As characters, both Merlin and O’Rourke are the real deal—they are natural, but complex; they speak like real people, but project their voices in this outdoor theatre, like the skilled actors they are. 

 

The young woman who stirs the pot of this pot-boiler is played by Caroline Calkins, a veteran of 10-years with S&Co. who looks to be the right age to be Moss and Avis’ daughter, adding to the unfolding mystery. Calkins is bubbly and energetic. She infuses the developing dynamics and drives the pace of this puzzle while charming each of the actors, and the audience.

 

This complex script would be hard to follow if it were not in the hands of a skilled director, James Warwick. His sense of playful mystery allows the humor to shine, while the undercurrent (pardon the water pun) is full of threat and secrecy. Warwick successfully directed the 2012 production of Blessing’s “A Walk in the Woods” at S&Co. a couple of years ago, and it is clear that he understands the layers of depth Blessing writes.

 

“A Body of Water” gives the audience plenty to think and talk about. The story is not neatly wrapped up, but that’s not important. The point of this play is to question who we are at various stages of our lives, and accept what we can, while never having all the answers. In this reflective production, audiences will have much to think about.