Superior Donuts

New Century Theatre, Smith College, Northampton, MA
www.newcenturytheatre.org
through August 6th
by Jennifer Curran

About ten minutes into the play a distinct and not unwelcome feeling took over the room. It was almost as if the audience was watching a taping of a classic sitcom rather than a play. The structure of "Superior Donuts," a dark comedy, is in fact very similar to sitcoms of old and it is used brilliantly by playwright, Tracy Letts.

Elements of light-hearted joy, race relations, and the generational gap are all here for examination. The setting is a donut shop in Chicago's Uptown district. The shop has seen better days and as a sign of the times, is struggling to exist since Starbucks has opened across the street. The set design by Daniel Rist is authentic and simplistic.

"Donuts" is hysterically funny. Comedic timing here is pitch perfect. Barry M. Press' Max Tarasov is a constant comic relief, but behind the funny is something else entirely.

From the center of the story comes Arthur Przybyszewski, played with grace and gentleness by Rand Foerster. Foerster's detached and often befuddled Arthur is instantly likable and completely fallible. His low key approach could have easily been forgettable while contending with the high energy antics of Johnnie McQuarley's Franco Wicks. Foerster has the difficult job of grounding the play and giving McQuarley someone to spar with, which he did superbly. McQuarely bounds, jumps, jokes and laughs. Franco only sees the good and the possibilities in all things while his new boss is left desperately trying to bring his new hire back down to earth.

The two new friends are forced into a reversal of roles that has all the potential of becoming the stuff of greeting cards and after-school special sappiness. The deft direction by Steve Brady avoids that, and in the final moments of "Donuts" the audience is given an honest moment of great courage on the part of both characters. Courage is what this play is about. It's about having the courage to get back up no matter hard you've fallen. 

Vaughan Williams, Brahms, and Elgar

Berkshire Choral Festival
Berkshire School, Sheffield, MA
www.choralfest.org
July 30, 2011
by Michael J. Moran

Two British rarities surrounded the more familiar Brahms Alto Rhapsody in a moving program dedicated to BCF founding executive director Mary Hunting Smith, who died just days after the 2010 season ended last August. It was fittingly led by the ever-youthful Robert Page, who conducted the very first BCF program thirty years ago and has since led more BCF concerts than any other conductor.  

Along with the 60 men and 100 women in the Chorus of the Berkshire Choral Festival, 57 members of the Springfield Symphony Orchestra, and mezzo-soprano Phyllis Pancella, Page did stellar work throughout the evening. The pleasure of this program was enhanced not only by the excellent performances but by the opportunity to discover at least two little-known works by three major composers, all writing at the height of their powers.

While this radiant 1932 setting of the Magnificat for contralto (mezzo-soprano) soloist, female chorus, and orchestra could only have been written by Vaughan Williams, it also reflects, in the words of program annotator Laura Pritchard, "a modal flavor typical of the French music [he] had studied with Ravel." Through its mostly quiet 15-minute length, the piece featured a lovely repeated solo flute melody that represented the Holy Spirit and earned SSO principal flutist Albert Brouwer a well-deserved solo bow.      

In his 1869 Alto Rhapsody Brahms set a portion of Goethe's poem Winter Journey in the Harz Mountains which describes a young man who has withdrawn from the world after an unhappy love affair, and which may have reflected the composer's unrequited love for Julie Schumann, the daughter of his friends Robert and Clara. The tragic power of Brahms' music and Goethe's text was dramatically conveyed by Pancella and the male chorus members.

Elgar's 1912 setting of Arthur O'Shaughnessy's 1873 ode  The Music Makers expressed both the composer's and the poet's belief that music makers and dreamers of dreams are "the movers and shakers of the world." Quoting several of Elgar's earlier works, especially the Enigma Variations, and featuring contralto and full mixed chorus, the 35-minute piece brought this rewarding program to a poignant close.          

Show Boat

Goodspeed Opera House, East Haddam, CT

www.goodspeed.org

through September 17, 2011

by R.E Smith

Photo by Diane Sobolewski

Sometimes, smaller is definitely better. In the case of  “Show Boat”, at the Goodspeed Opera House, the intimate setting helps the audience connect to the characters, voices, and songs in new and exciting ways. The story spans 40 years in celebration of the joy, humor, pain and triumph of love. Like the mighty Mississippi River upon which the show is set, the production itself is beautiful, powerful, moving, and exciting.

Undoubtedly, many memories of “Show Boat” come from the film version or the 1990’s Broadway revival, both emphasizing big dance numbers, large casts and massive sets. The Goodspeed, of course, is a world class, but smaller venue, and the skillful adjustments made to fit the house make a great show even better.

Director Rob Ruggiero insightfully focuses on the personal relationships of the performing “family” on Captain Andy’s showboat, the Cotton Blossom. His decision streamlines the action so that the setting no longer distracts from the music and book. That said, the set, as is often the case at the Goodspeed, merited its own round of applause upon revelation.

The show is easily the starting point for the great American songbook with music by Jerome Kern and lyrics by Oscar Hammerstein II. Each number, from “You Are Love” to “Bill” to “Why Do I Love You?” and “Can’t Help Lovin’ Dat Man” is moving, romantic and inspiring. The songs might be “classic” but they are far from “old” and the proximity to the performers helps to underscore their power.

By example,  “Ol Man River” may be a song that one has heard many times, but beyond the spoofs and “standard” renditions, one might be surprised by the anger and frustration it contains. The weight and tone of the song, and the whole book, is marvelously underscored when one can so clearly see the pain, intensity and longing in the faces of the actors.

Andrea Frierson & David Aron Damane
Photo by Diane Sobolewski

But every song is given its due by the remarkable, gifted cast, each of whom was at the top of their form. The constant comment of “what incredible voices!” can be heard throughout intermission. Each performer invests their character with passion; for the stage, for the laughs and for each other.

This wonderful show is “Only Make Believe” of the highest order.

Capitol Steps 2011

Cranwell Resort, Lenox, MA
www.capsteps.com
through September 3, 2011
by Shera Cohen

It should be no surprise that In the Spotlight’s reviews of Capitol Steps tend to be repetitive. Year after year, it’s the same show, format, music, and usually the same ensemble. But, this is a good thing, a very good thing. Take a solid production template and tweak it with new material and Capitol Steps can be enjoyed again and again.

Past Spotlight reviews (written by this critic) included adjectives and accolades like: satirical, humorous, irreverent, lively, hilarious, energetic, and a treat. The quintet of comedians/singers (3 men, 2 women) and one pianist give a 90-minute, non-stop, laugh-a-thon on news headlines, primarily focusing on happenings in DC (thus, Capitol Steps). No one is safe from salacious lyrics set to familiar Broadway and pop music tunes. Donned in cheesy costumes and wigs, the actors do their best to look like Obama, Hillary, Bill, Joe, and Sarah. Immediately and “magically” they transpose into Quadafi, Charlie Sheen, Donald Trump, various Cabinet members, and all of the current Republican Party candidates. Yes, all…the actors take dual roles.

The topics are predictable in dozens of mini-scripts: the national debt, the Tea Party, airport pat downs, tree huggers, and homeland security. The troupe laughs at the audience and vice versa. There are just too many songs to remember, but “How Do You Solve a Problem Like Korea” (think “Sound of Music”) is an example. Every show ends with a hilariously long monologue by one of the quintet. He essentially speaks backwards, juxtaposing letters, in fast motion. With twisted malaprops (isn’t that redundant?), it takes a keen ear to catch every joke. Yet, when it seems nearly impossible to understand this speedy repartee, it’s ultimately clear and very, very funny.

Things are simple at a CS show: the set is a backdrop of the logo, the stage is an elevated platform, the room is a large windowless basement, the seats provide poor sight lines, but on a 90 degree day it’s pleasantly air-conditioned. Forgive and forget the amenities of which there are next to none. Just as the news changes daily, Capitol Steps is the show to see repeatedly.

The Hammersteins Lecture

The Mount, Lenox, MA
www.edithwharton.org
through August 29, 2011
by Shera Cohen

What’s there to do on Mondays in the Berkshires? As if walking the mountainous and gorgeous landscape, swimming in the lake, tasting fine or fun dining, and perusing the art of a museum were not enough, there’s The Mount Lecture Series. The eight-week series of lectures, running for nearly two decades, takes place in Edith Wharton’s renovated and air conditioned stable at 4pm. Authors speak about their recently penned books, followed by tea and book signing.

The subject was The Hammersteins: A Musical Theater Family non-fiction piece by Oscar Andrew Hammerstein III, son of Oscar II (“South Pacific,” “Carousel,” and “Oklahoma” fame). Not that the venue was hot, but the topic definitely was as the author quickly removed his suit jacket, then his tie, followed by pulling his shirt out. It was obvious that the more Oscar III became casual, the quicker he spoke, and the more excited he became. The excitement was contagious.

Oscar III traced his lineage from impresario grandfather Oscar I (a character whose commercial highs were as deep as his lows), to his uncle, and then dad. BTW, Hammerstein was the lyricist to Rodgers compositions, and the words came first. The author focused as much on his father’s failures as his successes, particularly because the former set in motion the path to greatness. A power point show included playbills of all 46 musicals penned, perhaps 10 of which most audience members have ever heard of. However, in addition to the three mentioned above, there’s “The King & I,” “Show Boat,” and “The Sound of Music.” He spoke of his father, not a genius, but a man with three qualities: talent, hard work, and good timing. Key to the lyricist’s uniqueness was another trio of rules to write by: start with a grabber song to instantly pull the audience in (“Oh What a Beautiful Morning”), write love songs with delayed gratification (“Some Enchanted Evening”), and make sure the song has a story (“Soliloquy”).

Oscar III had a great story to tell his full-house audience at The Mount.

A Doll’s House

Williamstown Theatre Festival, Williamstown. MA
www.wtfestival.org
through July 31, 2011
by Shera Cohen

“If it ain’t broke, etc.” is the dictate Sam Gold should have adhered to in his direction of “A Doll’s House.” Why take a classic (by Henrik Ibsen) and modernize it in look, language, and feel? It doesn’t work on many levels.

The story is Nora’s, a woman so influenced by her husband’s subtle yet strong hand of righteousness that she becomes childlike. She is his little squirrel as she crawls along the floor playing with her own children. Outside circumstances and people challenge her status. The audience waits for what should have been an extremely tense and dramatic outcome.

Photo by T. Charles Erickson

Lily Rabe (Nora) holds the entire play together, not only literally as she appears in every scene but one, but figuratively. She portrays a young woman whose nerves are raw, on the brink of becoming insane. Rabe’s Nora appears frivolousness, yet smolders underneath. The audience feels for her plight and her future. As excellent as Rabe is in the difficult role, one questions why this particular actress was cast. She is tall and has a deep voice – neither of which connotes a child, particularly when playing against a man of equal stature. Yet, thank goodness that Rabe was hired.

Actors appear primarily as sounding boards to Nora. Josh Hamilton (husband Torvald) needs an injection of meanness infused into his character; Lily Taylor (Nora’s friend) should reach her potential to make Kristine sympathetic; Adam Rothenberg (“threatening man”) is effective as a distraught man, yet the cadence of his speech is staccato; and Matthew Maher (Dr. Rank) is lost between humor and weirdness in Ibsen’s emotionally tortured character.

The fault, dear audience, lies in the direction. The set depicts an old, stylish apartment complete with library and beach-like furniture. The sex is too playful touch and tickle. The kids and dog scene can be cut. Most importantly is the ending. Nora’s sacrifice is paramount and succinct. The scene drags endlessly, tells the audience what we already know, and emphasizes Torvald instead of Nora. Not good.

This, being opening night, leaves time to make improvements. WTF is such a respected theatre venue, that the alterations are very possible.

Dinner with Friends

New Century Theatre, Northampton, MA
www.newcenturytheatre.org
through July 23, 2011
by Jennifer Curran

"Dinner with Friends" was first presented won a Pulitzer Prize in 2000. The play focuses on two married couples who vacation together, dine together and raise their children together and what happens when one of the marriages ends seemingly abruptly.

The upper-class Gabe (Sam Rush) and Karen (Kathy McCafferty) is the couple trying to understand what happened to their friends' marriage and more importantly, what that says about their own lives and partnership. As Tom (David Mason) and Beth (Brianne Beatrice) let go of their union and reveal the truth about their lives to their friends, Gabe and Karen are left struggling to deal with possible weak spots in their own marriage.

With beautiful set design by Jacquelyn Marolt that puts the audience smack dab in the middle of Connecticut suburbia or the coast of Martha's Vineyard, gorgeous lighting by Daniel D. Rist and understated costume design by Emily Justice Dunn, everything is in place to create a perfect playground for willing and capable actors.

It's always surprising when a professional theatre fails to remember some of the basics. The director's hand is seen in awkward movements and blocking which gets in the way of the action. In moments that were clearly written to be light-hearted to reveal an unspoken intimacy or the closeness of the characters, the lines tend to fall flat or sound over-wrought.

That isn't to say that there isn't much to like about "Dinner." David Mason provides a man reborn in his flawed but lovable Tom. Sam Rush's Gabe offers a reaction to his friend's departure from assumed domestic bliss with just the right amount of horror and hurt. There a person in the room who wasn't silently cheering for Brianne Beatrice's Beth as she offers up some brutal honesty to her friend Karen.  And then in the center of it all is Karen herself.

Kathy McCafferty's performance is excellent. Her character's desperate need to hear the words, to feel the feelings, to be reminded that it is in fact all worth it in the end is as universal to marriage as car pools and dinners with friends.