Christmas with the Rat Pack—Live at the Sands

The Bushnell, Hartford, CT
www.bushnell.org
through December 20, 2009
by R.E. Smith

“Christmas with the Rat Pack” reinforces the notion that “they just don’t make ‘em like that anymore”. The personalities, the songs, even the tuxes all serve to transport the audience to a different time and place. The time is the ‘60s, the place is Las Vegas, and the performers are Frank Sinatra, Dean Martin and Sammy Davis, Jr.

These are not impersonators, but rather actors portraying a character and they make it look easy. The presence of the originals literally hangs over the stage, to remind us that no one can duplicate the original, but we can invoke their spirit. The illusion works very well and makes for a great night of old-school “showbiz”.

Tam Ward conveyed Sinatra’s effortless phrasing and delivery on “I’ve Got You Under My Skin” and “The Christmas Song”. Michael Howard Smith, captured Martin’s smooth charm and laid back delivery on “That’s Amore” and “Baby, It’s Cold Outside”. Of the three, David Hayes (Davis) had the greatest physical likeness to his “character” which served him well as Davis was the ebullient song and dance man.

This is no karaoke revue; the 15-piece orchestra was powerful and tight and the men’s voices were strong and well trained. The score must have been based on the original arrangements, because every horn blast and drum hit had the unmistakable sound of that bygone era. These entertainers use no vocal acrobatics or flashy costume changes, leaving the audience to concentrate on the essence of classic songs, seasonal and secular.

The banter retains just enough political incorrectness to remind you that this was a different era, but the material and songs are suitable for the whole family. Take the grandparents for an authentic taste of the good old days and take the tweens so that they can learn to appreciate true, live entertainment.

Tchaikovsky Symphony No. 5, et al

Hartford Symphony Orchestra
The Bushnell, Hartford, CT
www.hartfordsymphony.org
by Terry Larsen

When the leader of an ensemble is in complete control it might be said that he had them eating out of his hand. Regarding the Hartford Symphony's concert, it is more fitting to say that the orchestra and guest conductor Andrew Grams were feeding off each other. Each of Grams' evocative gestures was rewarded by an artful response as three courses of delicious Romantic era music were served to an appreciative audience.

Smetana's programmatic piece The Molda" was beautifully performed - each gesture of sound evoking every eddy, ripple, and relentless current of the river Moldau as it transformed from stream to river while passing through the Czech heartland. The players and conductor were in perfect accord, dedicated to achieving every nuance possible. This synchronicity was evident throughout the entire concert.

Sibelius' Violin Concerto in D minor comprised a contrasting second course of angularity served cold…a work no less passionate than The Moldau, but spiced with the half light of an arctic summer evening. Solo violinist Leonid Sigal was undaunted by the difficult and idiosyncratic solo line, playing with a generous warmth of timber and lyrical fluidity. Maestro Grams successfully maintained a delicate balance between Sigal's bravura performance and the often extroverted, savory underpinnings of the orchestral texture.

The final course, Tchaikovsky's Symphony No. 5, requires a large appetite for civil but passionate interaction and the full sonority of all sections of the orchestra; as well as for contrasts in texture, mood, tempo; and compelling melodic contours. The orchestra gave its all with no coaxing necessary as Grams illustrated each passing moment and the spaces between. Solos in the wind section in the second movement were beautifully rendered.

Dessert for the feast unexpectedly appeared in the form of a grin and thumbs up from Maestro Gram to enthusiastic members of the audience who had inappropriately applauded at a grand pause before the final maestoso section of the symphony. This welcome gesture of goodwill reassured all that a concert really is about living in the moment for its own sake. The feast was ended. Those in attendance were well served.

“Mamma Mia!”

The Bushnell, Hartford, CT
www.bushnell.org
through December 6, 2009
by Shera Cohen

What can a reviewer write about “Mamma Mia!” the fifth time around? First, this musical is obviously worth seeing over and over again. Second, it’s two hours of sheer joy as nearly everyone in the audience has a constant smile. The smile doesn’t come off for the next two days – just about the same time the humming of “Dancing Queen” and “Honey, Honey” disappears from the brains of those in attendance at the Bushnell. Third, the concept of weaving a story and plot around already existing music to create one huge musical success is not so ingenious, yet why wasn’t it done before?

“Mamma Mia!” is the marriage of the old “B” Gina Lolabrigida movie, “Buena Sera, Mrs. Campbell,” with the “A” hits of ABBA. A young Gina slept with three guys; the result was a baby girl. Who’s the daddy? Gina doesn’t really care, but now 20-year-old Sophie yearns for her father to give her away at her wedding. Substitute former rocker Donna for Gina. She’s spent her life as a successful, tough, and vulnerable single mom. Surprise – three possible dads arrive.

The Greek Isle setting is amass with energetic twenty-somethings and six adults. All have the opportunity to sing and dance – sometimes as an ensemble (an opening number “Money, Money, Money”), other times as duos (the poignant “Our Last Summer”) and a string of solos. Michelle Dawson (Donna) has a raspiness to her voice which gives power to “The Winner Takes It All.” Rachel Tyler (Donna’s buddy Tanya) often steals the show with her terrific voice (“Does Your Mother Know”) and comedic movements. Some voices were weaker against the 10-member, highly skilled, rock band. Choreography ranges from a funny romantic flirting of “Take a Chance on Me” to the big numbers with dancers in big feet (scuba flippers).

It can probably be assumed that “Mamma Mia!” is a chick show. Well, yes and no. It wasn’t just the ladies who popped up for the standing ovation and sing-alongs. The hundreds of kid audience members cheered and clapped as well. Alright, this musical is not a cerebral classic, but isn’t it a joy to see children appreciate theatre?

Barber & Tchaikovsky

Springfield Symphony Orchestra
Symphony Hall, Springfield
SpringfieldSymphony.org
by Debra Tinkham

Kick off your shoes, put your feet up and relax for a quick review of the Springfield Symphony Orchestra's 66th season gala performance with Maestro Kevin Rhodes, now in his 9th season, and guest Janet Sung, performing Samuel Barber's violin Concerto Op 14, on a c. 1600 Maggini violin.

Sung's youthful appearance made it inconceivable that she could be so elegant, so emotional and so talented. The story behind this Concerto is that Barber was commissioned by a man to write a good piece of violin music for his adopted son. As the tale continued, Barber sent two of the three movements to the young violinist and they were considered "too simple." The third movement - to get even - was technically difficult. Sung performed this sweet but complicated masterpiece with ease and grace.

The Allegro (first movement) pushed Sung and her violin to the limit in high tones. The Andante (2nd movement) started with a long break for Sung, while absorbed in the tension between the oboe and strings. Finally, the Rondo - presto (very fast) was electrifying, with some very fancy finger work. Without a doubt, Sung deserved her standing ovation.

Tchaikovsky's Symphony No 3, Op 29 in D Major offered five movements of motion, diversity, broken chords, small doses of melody, divvied up and bouncing around to various instruments. Tchaikovsky was often faulted for his predictability but Symphony No 3 is anything but predictable. Rather, it reflects the composer's world of darkness.

"Rhodes Reflections" stated "… four of Tchaikovsky's most major works rarely get played. Among those is tonight's Symphony Nr. 3, The Polish."

Again, the audience at Symphony Hall thanked Maestro Rhodes for his energy and optimism in putting it all together and bringing such talented musicians to Springfield.

Shangri-La Chinese Acrobats

Mahaiwe Arts Center, Great Barrington, MA
www.mahaiwe.org
by Amy Meek

The Shangri-La Chinese Acrobats thrilled and delighted the large audience of the beautiful Mahaiwe Arts Center with a show that successfully combined amazing acrobatic feats with both colorful spectacle and humor. The troupe, which was comprised of young performers who displayed immense skill and agility, took the audience into a magical world and gave them a glimpse of Chinese cultural tradition.

Some of the highlights of the show included a chorus of female acrobats who made use of props such as spinning disks and candles to demonstrate their amazing strength, balance and flexibility. They contorted their bodies in superhuman ways while spinning and holding the objects and balancing them off different parts of their bodies. In one number, the performers were roller skating on a platform using extreme speed and precision to keep themselves on balance while getting into many formations. In "Awesome Adagio" a boy and girl danced together, and he lifted her high above his head while she balanced on his shoulder on the tip of her toe.

The use of bright colors in the show helped to create an exotic atmosphere, especially in the number "Diving Daring Do," which used five acrobats inside three Chinese dragons to enchant the audience. They made the dragons come alive and took the audience into a timeless experience of Chinese tradition. The use of scarves, flags and bright costumes also enhanced the theatricality of the performance.

Finally, the humor that the troupe used made the show a pleasure to watch. They used audience interaction and alternated the intense acrobatic moments with moments of comedy, never taking themselves too seriously. This show was truly a magical and awe-inspiring journey into an evening of suspense and wonder.

Schumann & Brahms

Hartford Symphony & Hartford Chorale
The Bushnell, Hartford, CT
www.hartfordsymphony.org
by Terry Larsen

So many love choirs, orchestras, and the great musical works that feed them, with the monumental “Ein Deutches” Requiem being one of the most cherished. The instruments and vocals all meet with the other necessary element of the ritual sharing of sonorous beauty -- the audience. These are people who hope to leave those great halls changed, at least for the moment; and somehow better for having been there.

The Bushnell's intimate Belding Theater was set for just such an experience. The event had the added appeal of being an audition for the post of Musical Director of the Hartford Symphony by guest conductor Constantine Kitsopoulos.

The orchestra and chorale were very well prepared for the pairing of Romantic era works on the bill. The orchestra performed both pieces concisely, with dedication to the score and an understanding of the style of the period. Although there were some of the inevitable balance issues that occur when voices and instruments occupy the same time and space, the chorale and orchestra performed admirably throughout the Brahms. Both soloists sang beautifully: Mr. Deas with fine diction, a compact, expressive power, and rich timbre; Ms. Forsythe with a lithe, well supported line that floated beautifully above the accompanying orchestra and chorale.

That being said, this reviewer was a bit disappointed by both performances, reluctantly laying the responsibility on the shoulders of Kitsopoulos. His direction seemed bland, without passion or real conviction. His gestures and demeanor were square, perfunctory, and did not anticipate from moment to moment the changes in dynamic, velocity, and emotion demanded by works of this period. There was no sense of urgency in the story telling. He made no compelling demands on the performers to aspire to that ineffable moment that transcends the requirements of the page and the beat pattern. Despite the polite standing ovation offered by the audience, I left the hall with a somewhat puzzled feeling that I must have missed something. The forces were very much in place and a beautiful was moment at hand, however, Kitsopoulos did not seize the opportunity to bring it all to life.

Til Death Do Us Part/Late Night Catechism 3

CityStage, Springfield, MA
www.symphonyhall.com
through November 15, 2009
by K.J. Rogowski

CityStage's "Late Night Catechism 3" confirms what most audience members already know: nuns are really funny people. This one woman show featuring Kimberly Richards as everyone's archetypal nun, has the theatregoers participating and laughing out loud from the moment she steps on to the stage and brings the entire house to a respectful hush with just "that look." And from there it's all down hill for those who are late for class, rustle papers when they should be paying attention to Sister, talk among themselves or, (perish the thought), chew gum in class! Evil doers beware, there's a Nun on the loose, and she's got your number!

The keys that make this show such a roaring success are: one, it is a classic flash back for anyone who ever stepped foot in a fifth grade classroom complete with pop quizzes, stern looks and reprimands for every and any offense, or misstep. Second, it is as much stand up comedy as it is a play, with Richards using local towns and current events as part of the act, having ongoing interaction with the audience and having a witty quip for every interaction. This Nun is "working the house" like a pro while reminding her audience that she is, indeed, the person in charge in this classroom. "You will sit up properly and pay attention and you will laugh." For those who can rise to the occasion and actually quote chapter and verse from the Baltimore Catechism, there just might be an appropriate, yet modest reward. So, for those up for an evening of divine audience participation comedy just say "Yes, Sister," and move to the front of this comedy class for laughs.