Moonlight and Magnolias

Playhouse on Park, West Hartford, CT

www.PlayhouseOnPark.org

through February 10, 2013

by Jarice Hanson

The stories and anecdotes that surrounded the making of the movie "Gone With the Wind" are as legendary as 1930s Hollywood itself. "In Moonlight and Magnolias," one of those stories is realized as a zany farce. The play uses slapstick and speculation to comically comment on popular culture, the star system, and the role of Jews and Blacks in the formation of the most powerful storytelling industry in the world.

Self-referential and melodramatic, the play is written in the same way that Margaret Mitchell wrote her novel. There are moments of insight, but more often, clunky dialog drags down the story. The play comes alive with director Russell Garrett’s deft hand and ability to “find the funny” on the arena stage.

The three fine actors who energetically infuse their characters with charm, narcissism, and intelligence, portray what might have happened when Selznick (Kevin Eldon) summoned screenwriter Ben Hecht (Allan Greenberg) and director Victor Fleming (Bill Mootos) to “fix” the movie that had already started production. The three attempt to reenact famous scenes while sequestered for a five day period in Selznick’s office, including the burning of Atlanta, the search for a better way for Rhett to say “I don’t give a shit,” and the meaning of Scarlett’s famous last line in the movie, “Tomorrow is another day.” Beleaguered secretary, Miss Poppenghul (Denise Walker) adds a comic comment and the result is an evening of fun.

Playhouse on Park is a young professional theater, but productions like this are promising. Kudos to the cast and the exceptional production team for their attention to detail and allowing the spotlight to shine on this story of Hollywood history with passion, whimsy, and good, old fashioned fun!

NOTE: Contains some strong language

Scheherazade

Springfield Symphony Orchestra

Symphony Hall, Springfield, MA

www.springfieldsymphony.org

January 12, 2013

by Michael J. Moran

Two familiar masterpieces bookended the local premiere of a work by a leading contemporary American composer in the third classical concert of the Springfield Symphony Orchestra's season. The programming skills of Music Director Kevin Rhodes made the old warhorses sound new again.

The program opened with four selections from Grieg's incidental music for Ibsen's "Peer Gynt." Placing "Ingrid's Lament" from the standard second orchestral suite before three movements from the first suite commanded the attention of the well-filled house, after which "Morning Mood" was a calm interlude, "Anitra's Dance" a light diversion, and "In the Hall of the Mountain King" a rousing finale. The orchestra played with warmth and flair.

Next came Ellen Taaffe Zwilich's 2003 piece "Rituals" for five percussionists and orchestra. Thirty percussion instruments arrayed in five "stations" across the front of the stage were introduced and demonstrated by the soloists. The Maestro added that the title of the 25-minute work reflects the ceremonial importance of drumming in many cultures and eras. The titles of its four movements - Invocation, Ambulation, Remembrances, and Contests - suggest the wide range of sounds produced by the various gongs, cymbals, bells, drums, and other instruments played with amazing dexterity against a colorful orchestral backdrop. "Contests" in particular gave the soloists their chance to sound like rock stars, and the audience loved it.   

Scheherazade

Those extra percussionists came in handy for the exhilarating account of Rimsky-Korsakov's symphonic suite "Scheherazade" that followed intermission. Inspired by the Arabian setting of the stories told by the title character in its four movements, the brilliant orchestration sounded even more exotic than usual in the wake of "Rituals." Rhodes' flexible tempos and careful balances highlighted the surprising intimacy of many quieter passages, and concertmaster Masako Yanagita played "Scheherazade's" recurring theme with heartfelt sensitivity. 

Along with Rhodes and the orchestra members, no one is more responsible for the SSO's current artistic excellence than retiring executive director Michael Jonnes, who was honored for his distinguished 15-year tenure here by a proclamation from Springfield Mayor Domenic Sarno before the concert and a special reception in Symphony Hall's Mahogany Room afterward.

The Cabbage Patch

The Majestic, West Springfield

www.majestictheater.com

through February 10, 2013

by Shera Cohen

While reviews should primarily focus on production quality, actors’ talents, and the director’s vision, it is sometimes difficult to set aside a story’s shifting premise and the script’s cliché writing.  Kristen van Ginhoven and her troupe of excellent performers, unfortunately, have little to work with, although the actors especially, pore themselves into the roles as much as can be possible.

Set in Canada in the 1980’s, with frequent flashbacks to a decade earlier, are the adult members of the McKay family – Mr. & Mrs. along with a brother and sister-in-law. It’s not an interesting bunch so their conflicts are boring. Admittedly, the play revs up toward the end of Act I with the presence of the town drunk, bringing with him the more important parts and true essence of the story – the personal experiences of veterans and effects of war. However, this element in the script is secondary. Not that the theme should immediately hit the audience in the face, but it seems ancillary to the plot.

Barry Press and Jeannine Haas in the lead roles are quality actors portraying an old married couple who often take each other for granted. Sam Rush’s character, arriving late in the play, realistically exemplifies narcissism and meanness. John Thomas Waite, perhaps one of the finest actors frequently seen on the Majestic’s stage, is given the role of the town drunk which, for the most part, is played without individuality.

There are numerous distractions throughout, the most frequent being one character’s constantly changing his shoes. Only two off-handed lines in the script indicate his reason for this habit. It’s a guess that this was a director’s choice that ended up being a nuisance.

Greg Trochlil continues to work magic on set design. The kitchen/porch complete with essence of a roof is enough to depict an entire house. Planks of wood and a dirty window create a work shed. This house becomes a home that “real people” live in.

Perhaps the best part of the experience of “The Cabbage Patch” was the full house in attendance on a Wednesday night. This speaks to the reputation of the Majestic and its large following.

Million Dollar Quartet

The Bushnell, Hartford, CT

www.bushnell.org

through Janaury 13, 2013

by Eric Sutter

Ironically, Elvis' 78th birthday coincided with the opening night of the Broadway musical "Million Dollar Quartet" at The Bushnell.

Hartford is stung with a smash rock n' roll revival show that re-enacts the date of December 4, 1956 when four alumni of Sun Records met in Sam Phillips Sun Studio for an impromptu jam. All the early rock n' roll moves are presented as the company sings "Blue Suede Shoes." The rock n' roll beat, stand-up bass twirls and swiveled hips bring back the glory of the sound.

Benjamin Goddard plays a "Real Wild Child" as Jerry Lee Lewis who pounds the keys and creates theatrical drama on piano. James Barry as Carl Perkins proves to be an unruly presence with guitar swagger performing snatches of "Matchbox" and "Who Do You Love." A unique Johnny Cash persona is portrayed by David Elkins whose deep bass voice sings hits "Folsom Prison" and "I Walk The Line."

Then there's Elvis. Billy Woodward's Elivis is pure charisma, crooning both softly on "Memories Are Made Of This" and frenzied on "That's All Right Mama." Woodward has the Elvis magic, moves, and mannerisms. The greatness of the young Elvis style is precise. In a quieter moment, he sings the gospel song "Peace In The Valley" in harmony with the entire company.

Putting this "fab four" together is Vince Nappo as an impressive Sam Phillips with his hard driving style and banter.

"Let's Have A Party" really rocks the Bushnell house and lights the fuse for fun. As Carl Perkins cranks out guitar riffs, Elvis swivels and slides to the floor. "Great Balls Of Fire" finds the audience giving into the fun spirit. The piano sounds vibrant with energy that transfers from stage to audience. Elvis sneers "Hound Dog" for smiles galore. Each performer has his turn in the spotlight and together. The show is on fast pace, to say the least. The cast encores with a must see finale of "Whole Lot Of Shakin' Goin' On.

Pachelbel and Tchaikovsky

Hartford Symphony Orchestra, Hartford, CT

www.hartfordsymphony.org

by Michael J. Moran

The first half of the third “Masterworks” program in the current HSO season offered a historical survey of music for string orchestra over several centuries. It played to the strengths of guest conductor Joel Smirnoff, a former longtime violinist in the Juilliard String Quartet.

Joel Smirnoff

The program opened with Pachelbel’s Canon, likely written around 1694 but lost until 1919, which, for all its familiarity, is rarely performed in concert. The Hartford string section gave it a warm, affectionate reading at a steady, flowing tempo. A smaller ensemble then backed HSO principal violist Michael Wheeler in Telemann’s 1720 Concerto in G for Viola and Strings. Wheeler played this tuneful and appealing showpiece with a sweet, mellifluous tone that earned him enthusiastic applause from the audience and his colleagues alike. Orchestra keyboardist Margreet Francis gave discreet support on harpsichord continuo in both works.

The string ensemble expanded again for a sumptuous account of Vaughan Williams’ gorgeous Fantasia on a Theme by Thomas Tallis. Premiered in 1910, the Fantasia opens and closes with a simple 1567 melody by Elizabethan composer Tallis and features a string quartet and a larger group which build to a rhapsodic climax in counterpoint with the full string orchestra. Smirnoff balanced these antiphonal forces with passion and precision.

The full orchestra appeared after intermission for a terrific performance of Tchaikovsky’s seldom heard Symphony No. 1, called “Winter Dreams” by the fledgling composer, who wrote it when still in his mid-twenties. Despite its sometimes episodic structure and an overly bombastic finale, the symphony often foreshadows the colorful orchestration and melodic genius of the mature Tchaikovsky. The woodwind, brass, and percussion sounded supercharged by their earlier rest period, with impressive solo turns by oboist Stephen Wade in the dreamy “Adagio Cantabile,” principal flutist Greig Shearer in the Mendelssohnian “Scherzo,” and bassoonist Louis Lazzerini in the opening and closing movements.

Smirnoff brought a lively and engaging stage presence to Hartford, earning the affection and respect of both his fellow musicians and an appreciative audience. A return invitation to the Belding podium would clearly seem well advised. 

A Christmas Carol

Hartford Stage, Hartford, CT

www.hartfordstage.org

through December 29, 2012

by Jarice Hanson

From the opening scene featuring dancing and flying ghosts, the audience knows that this version of "A Christmas Carol" is going to be different. The 15th anniversary production of Charles Dickens’ classic story, directed by Maxwell Williams, marks the holiday season in a spirited way (pardon the pun). Originally adapted and directed by Michael Wilson, this production is a masterpiece of family fun that Dickens himself would appreciate.

Bill Raymond is irascible, endearing, and a master of comic timing as Scrooge. His portrayal of the iconic curmudgeon reflects an ability to integrate classic and children’s theatre to entertain audiences of all ages. The venerable Noble Shropshire, in a dual role as Mrs. Dilber and Jacob Marley’s ghost, provides a brilliant catalyst for Scrooge’s epiphanies. The professionals gently guide the children in the cast to realize their own characters, and the result is a caring stage family that resonates with everyone. When Tiny Tim says “God Bless Us Everyone” audible sniffles of sympathy from the audience were heard.

While the story is true to the original text, special mentions are deserved for choreographer Hope Clarke, scenic designer Tony Straiges, costume designer Zack Brown, and lighting designer Robert Wierzel for their contributions. The Spirit of Christmas Past (Johanna Morrison), the Spirit of Christmas Present (Alan Rust) and the Spirit of Christmas Future (whom, according to the playbill, was played by “Himself”) are memorable portrayals.

For those who know youngsters who have never seen a live performance before, this production is a wonderful way to introduce them to the magic of theatre. When the performance was over, one bright eyes young girl was asked what she liked best about the production. Her reply was, “All of it.” She might not become a theatre critic in the future, but it's pretty sure she’ll want to go to the theatre again.

Barefoot in the Park

Majestic Theater, West Springfield, MA

www.majestictheater.com

through December 16, 2012

by Walt Haggerty

In "Barefoot in the Park" playwright Neil Simon has created one of his most endearing and enduring triumphs. The Majestic is presenting a superb production of this first of Simon's long list of hits. In this presentation everything works. From the moment the lights go up on the unfurnished, fifth floor walk-up on New York's East 48th Street, the laughter begins and, except for a few moments of tension, it never stops.

Director Rand Foerster has assembled an amazing cast for this romantic comedy. The plot invites the audience to look in on the first week of a newlywed couple as they settle into their first apartment, immediately following their honeymoon. It is, as Foerster says in his Director's Note, a "flash back in time." Yesterday's audience clearly identified with, and thoroughly enjoyed, that nostalgic view of the past.

Darcie Champagne, as the young and impetuous bride, is perfection. From her opening scene, without a single word of dialogue to help her, she establishes her character while eliciting ever bigger laughs from the audience. Matching her, laugh for laugh, is Matt Clark as Paul the husband, also in a Majestic debut. He delivers a hilarious, boisterous, physical performance that is a joy to witness.

In what would normally be considered secondary roles, Barbara McEwen as the caring but intrusive mother of the bride, and Bill Nabel as the eccentric, charming and impoverished neighbor, are both absolutely wonderful. Their performances are exquisite examples of creating believable, loveable characters from material that might easily be overplayed by less skillful actors. These two are pros who never miss a beat.

Even such brief roles as Roger Patnode's Lord & Taylor Delivery Man and Stuart Gamble's Telephone Repairman become standout gems of humor as presented by these veteran performers.

Set designer Shawn Hill deserves special praise for his excellent apartment setting that is transformed from drab to charming between Acts I and II - and the snowstorm is a convincing winner.

The Majestic is a comfortable, affordable, and easily accessible theatre producing outstanding diversified entertainment. Missing the current production of "Barefoot in the Park" would be a mistake. It is a complete delight.