Oklahoma!

Goodspeed, East Haddam, CT

www.goodspeed.org

through September 23, 2017

by Mary Fernandez-Sierra

With stunning vocals, dance, acting, sound, costumes, scenery and an incredible orchestra, Goodspeed musical Oklahoma! is a triumph.

Director Jenn Thompson creates a refreshing interpretation of the great-grand-daddy of all musicals, re-visioning the songs and scenes so many of us know by heart. This show arrives like the proverbial beautiful morning onstage, dazzling, delightful, and truly reborn.

Every aspect of this production merits superlatives, but most outstanding is the sheer joy and exuberance of all the performers. Each one brings something unique and fresh to their role, bringing new zest to the experience of watching this well-known story unfold.

Photo by Diane Sobolewski

Samantha Bruce as Laurey is a perfect example; there is a more than a touch of tomboy in her performance, adding a bold, bright edge to her ingénue. Matt Faucher gives a sultry, sensuous quality to his Jud Fry, which, combined with his powerhouse voice, makes the character very much alive. As the ever-grasping Ali Hakim, Matthew Curiano “oozes charm from every pore,” making his peddler most lovably sleazy.

More amazing originality: the choreography created by Katie Spelman brings the wild west to life in many of the numbers, while her dream ballet is an exotic, almost nightmarish vision danced beautifully throughout. (One audience member was heard to murmur: “I don’t want it to end.”)

The orchestra, led by Music Director Michael O’Flaherty, flows and supports the singers flawlessly. The touches here, including a banjo, make it easy to fall in love with this score all over again. Kudos to this gentleman also for inspiring the incredible singers; these vocals must be heard to be believed.

Lovely and authentic period costumes by Tracy Christensen move with ease and grace in the dance sequences. Scenery by Wilson Chin is a feast for the eyes, with a gorgeous sky cyclorama (beautifully lit by designer Philip Rosenberg) and clever cornrows and barn-touches everywhere. Sound Designer Jay Hilton adds his brilliance in how lovely all the voices sound, cricket song at just the right moments, and even a dog barking offstage at one point!

Of special note, too: it is wonderful to watch an ensemble that creates their own background characters, adding to the richness of the scenes in which they appear. Everywhere in Goodspeed production of Oklahoma!, love and skill create the masterpiece anew.

Finding Neverland

The Bushnell, Hartford, CT

www.bushnell.org

through August 6, 2017

by R.E. Smith

Like the oft-beloved movie of the same name, “Finding Neverland,” is “inspired” by the tale of how J.M. Barrie came to write “Peter Pan.” But an adaptation must stand on its own merits and this well produced and performed musical does just that.

Photo By Carol Rosegg

The leads are all strong in presence and voice. Billy Harrington Tighe, as the charming Barrie, develops an instant rapport with the audience, as a talented man facing not only writer’s block but a crisis of self as well. He is afforded a number of powerful musical numbers like “My Imagination,” “Neverland” and “Stronger.” John Davidson (remember him from “That’s Incredible!” and many game shows?) gets to shine in 2 roles, that of theatrical producer Charles Frohman and the scoundrel Captain Hook. Disappointingly, he is never really given a true solo number, but certainly makes the most of his supporting role. He has a formidable stage presence and mischievous gleam in his eye. As Sylvia, mother to Barrie’s muses, Christine Dwyer’s beautiful voice and playful demeanor are an irresistible combination. Also included in the delightful cast are 4 scene-stealing young boys (in rotating roles) and one very shaggy dog.

Original Broadway director Diane Paulus has multiple Tony Awards to her name and, as befits a show centered strongly on the virtues of imagination, the production is inventive and visually unique. Although set in the early 1900’s, some very modern flourishes, like video projection, are employed to magically enhance the proceedings. Lighting, glitter, and slight-of-hand add to the wonder. Even the music, by 2 members of a 90’s British pop group, is traditional Broadway but embellished with a pop sensibility.

But it is the choreography of Mia Michaels that truly soars. Just as flying is a key motif in Peter Pan, so too, is the use of horizontal space in the dancing. Whether climbing up tables, or being lifted in the air, there seemed to always be a performer “up there” during the big numbers, like ‘Play.” “Welcome to London” included a truly unique staccato movement . The nightmarish “Circus of Your Mind” was visually stunning, creating a carousel with a few unique props and use of light.

Like “Peter Pan,” there is a melancholy to “Finding Neverland,” with the passage of time a strong underlying theme. But this singularly unique spin on a familiar tale seemed to make audience members young and old feel like they stopped growing up, at least for a few hours.

Stravinsky/Ravel/Berlioz/Beethoven/Walton

Tanglewood, Lenox, MA

www.bso.org

July 29-30, 2017

by Michael J. Moran

Regular guest conductors always bring a special excitement to Tanglewood, especially when they’re accompanied by world-class vocal and instrumental soloists. All this and the Tanglewood Festival Chorus made for two memorable concerts over the past weekend.

On Saturday evening suave Swiss-born maestro Charles Dutoit opened his program with Stravinsky’s early “Chant Funebre,” written in memory of his teacher, Rimsky-Korsakov, after the latter’s death in 1908, then lost until rediscovered only in 2015. The BSO and Dutoit presented a somber, intense performance of this dark-hued twelve-minute elegy.

A virtuosic rendition of Ravel’s “Piano Concerto for the Left Hand,” commissioned in 1930 by Viennese pianist Paul Wittgenstein, who had lost his right arm in World War I, showcased the protean technical and interpretive skills of French pianist Pierre-Laurent Aimard.

The Tanglewood Festival Chorus, the Choral Arts Society of Washington Youth Choir, tenor Paul Groves, and organist James David Christie joined the orchestra and conductor on a very full stage for a riveting account of Berlioz’s massive “Te Deum.” The six movements of this fifty-minute ceremonial hymn of praise alternate between grand and hushed tones. Groves sang the quiet fifth movement with lyrical plangency, and Dutoit led the assembled forces with power, color, and precision.

On Sunday afternoon jovial Canadian maestro Bramwell Tovey was joined by soloist Pinchas Zukerman in a relaxed yet bracing presentation of Beethoven’s mighty violin concerto. Clearly at home with the piece and at ease with the musicians, Zukerman brought warmth to the long opening “Allegro,” tenderness to the central “Larghetto,” and romping high spirits to the closing “Rondo.” Tovey’s rapport with the BSO elicited playing of deep emotion and finesse.

Ryan Speedo Green

Perhaps the most astonishing performance of the entire weekend was that of rising African-American bass-baritone Ryan Speedo Green as the blazing soloist in Walton’s dramatic oratorio “Belshazzar’s Feast.” For such a young singer (he’s 31), Green has exemplary breath control, and the stunning power of his sound must be heard in person to be believed. Tovey, along with the orchestra, chorus, and soloist, made this gripping score sound as fresh as if it had been written yesterday.

Taking Steps

Barrington Stage Company, Pittsfield, MA

www.barringtonstageco.org

through August 5, 2017

by Jarice Hanson

Alan Ayckbourn’s 1979 play, “Taking Steps,” presents a staging challenge for any theater. The play takes place in a large, run-down, three-level house, but the various levels are all played on a flat stage, with location indicated by actors miming the stair steps separating the different floors. Timing and blocking of actors makes up much of the comedy in this farce as actors on the different “levels” pass within a whisker’s distance from each other.

Photo by Daniel Rader

In Barrington Stage Company’s production of this clever, wacky story, director Sam Buntrock moves his actors as though they were chess pieces. Aided by a clever set by Jason Sherwood and punctuated by a complicated lighting system designed by David Weiner, the house becomes a “character” as much as any of actors do. Oh yes, and the house has a history too—it was reputed to have been a brothel, with at least one ghost still frequenting the premises.

The talented sextet of actors each portray strong characters, representing the usual “types” you expect in a farce. On the night I saw the show, Carson Elrod as Tristram, the bumbling representative from a Solicitor’s Office (remember, this is British) was a particular crowd pleaser. Tristram’s physicality and vacuous demeanor play beautifully against the others who all have their own reasons for trying to manipulate the outcome of the story. Another stand-out is Richard Hollis as Roland, the severe “man of the house” who likes to exercise what he sees as his superior intelligence and control, over others. When Roland’s tightly-wound character begins to unravel, we see some of the funniest scenes generating spontaneous belly-laughs from the audience.

The pacing and timing in this production are admirable and the characters strong and convincing. It may take a few more performances for the cast to find their “grove” and make this gem sparkle, but I have no doubt that as this cast’s comfort level on the stage grows, so too will the audience’s appreciation of Ayckbourn’s farce, which offers the best of eccentric characters, silly situations, and opportunities for laughter.

Williamstown & North Adams by Day

by Shera Cohen

Just when friends ask me if I’m too old to jam pack so many cultural activities into one day, I defy the odds. Thursday, July 20th was one of those average days; the trip being Williamstown and neighboring North Adams.

Orchestrating Elegance

Clark Art Institute, Williamstown, MA

No museum in the U.S. (in my opinion) does grace and style better than Clark. “Orchestrating Elegance: Sir Lawrence Alma-Tadema and the Marquand Music Room” is the personification of sophistication in wood, design, textiles, sculpture, and drawings. The intricately designed Steinway piano is its centerpiece. One can’t help but “ooh and aah.” To be fair to yourself, don’t rush through, take at least 3-4 hours to appreciate all that there is to offer. www.clarkart.edu

Williams College of Art, Williamstown, MA

On the campus of Williams College, this museum is open year-round to the public. The range of art genres on exhibition is varied. On this day, we saw numerous donations made by former students; some acquisitions bearing the names of a who’s who in the art world. Admission is free. BTW, the gift shop is one of the most all-inclusive in the Berkshires. https://wcma.williams.edu

 

Susan B. Anthony Birthplace, Adams, MA

Our docent is so enthusiastic in relating the story of Susan B. that you would think that they met and were on a first name basis. One of the first feminists, suffragette, abolitionist, and temperance member, Anthony’s home and rural community is, to some degree, translated to tell visitors of this woman’s background and what and why she pursued controversial subject of her day. www.susanbanthonybirthplace.com

MassMoCA, North Adams, MA

Nick Cave

Big is the word. The building. The art installations. The ambition by staff, curators, and artists. In fact, an additional wing was added this year to the existing building. I’m not particularly keen on “big” when art is the subject. However, Nick Cave’s “Until” (leaving in September) is a sparkling, whimsical forest of spinning colorful objects, and foil hanging from ceiling to floor. Visitors walk along a path through this amazing maze. It’s hard to leave. http://massmoca.org

Music from the Hills

by Shera Cohen

There is no escaping music in the Berkshire Hills, even when you are least expecting. In the last six days, I have had five music experiences all within a short drive from each other.

“The Music Man” – Berkshire Theatre Group, Colonial Theatre,

Pittsfield, MA

It is obvious that a play with this title will provide music. I must say that, perhaps except for “Annie” renditions of “It’s a Hard Knock Life,” I would safely say that “The Music Man” claims the distinction of having the most brain worms ever to be found in a musical. “The Wells Fargo Wagon,” “Ya Got Trouble,” and “Gary, Indiana” are still in my head.

www.berkshiretheatregroup.org

Sevenars Music Festival – Worthington, MA

Once a week, the Schrade family hosts a small concert in their lovely, rustic theatre. While the Schrades are usually onstage, the musicians were the talented Emmanuel Feldman (cello) and Joy Cline Phinney (piano). The selected music was penned by Beethoven, Brahms, Gershwin, and George Walker. The latter’s composition, atypical from the others, was upbeat contemporary jazz. Intermission treats included the best mini-éclairs I’ve ever tasted. www.sevenars.org

Berkshire Choral Festival – Norman Rockwell Museum, Stockbridge, MA

Last week’s concert was the last performance by this group to take place in the Berkshires. While 30 or so of the 300 voices were heard on the veranda of the Norman Rockwell Museum, the sampling of BCF talents was heard loud and clear. To me, combining two or more art forms in one venue at the same time, is a class act. Rockwell and Warhol, “accompanied” by folk and show tune songwriters was a perfect mix.
www.berkshirechoral.org

Emerson String Quartet – Tanglewood, Lenox, MA

Shostakovich and The Black Monk, Chekov and Stalin, the Emerson String Quartet and Osawa Hall made for three unique duos. The impetus for my Tanglewood visit was the quartet, not realizing that I would also hear a narrated/acted theatre piece set, in part, to music. Tanglewood is certainly the place to experience ambitious work in music. Admittedly, the sections highlighting the quartet stood out splendidly. The following evening’s concert featured only the quartet. www.bso.org/tanglewood

Lots of bands, 3rd Thursday in Pittsfield, downtown Pittsfield, MA

A walk on Main Street, Pittsfield on each month’s third Thursday makes for a fun community experience for adults and kids. There’s all kinds of food (junk or healthy, entrees or just on a stick), farmers market, hula-hoop contests, basketball games, antique cars, and guys on stilts. And music! Mostly rock, mostly contemporary, and good ol’ oldies tossed into the assortment. www.discoverpittsfield.com

Music from the Court of Isabella d’Este”

Aston Magna Music Festival, St. James Place, Great Barrington MA

www.astonmagna.org

July 22, 2017

by Barbara Stroup

To conclude their 45th season, Aston Magna Festival offered a concert of 16th century court music, and related their program specifically to the “first woman of the Renaissance,” Isabella d’Este. The concert was thematically organized, beginning with “Infidelity” and ending with “Time to Fish”! Evidently, both of these activities were plentiful; because of her voluminous letter writing, we know they both affected Isabella’s life. Excerpts from her letters (over 12,000 survive), were read with clarity and drama by violist Laura Jeppesen, and were an apt introduction to each section of the program. They ranged from poignant words to the humorous, and were effective in drawing modern listeners into the daily life of a 16th century woman of privilege.

Deborah Rentz-Moore and Aaron Sheehan

Featured were singers Deborah Retz-Moore (mezzo) and Aaron Sheehan (tenor). Both had total command of the music and complimented each other and the instruments well. Although the first half labored to overcome the aural limitations of tessitura and dynamic range, it was highlighted by the “J’ay pris amours” set. This melody (hit song of the age) wears well.

Laura Jeppesen on tenor and bass viol, were joined by Jane Hershey and Emily Walhout on similar instruments. Their ensemble was solid and secure, their sound clear and smooth, and Walhout’s treble playing especially engaging. It might benefit other ensembles for these instrumentalists to share their secret of playing in perfect tune without frequent onstage re-tuning of their gut-strung viols. Isabella, patroness of musicians, poets, and artists would have enjoyed this musical offering.