Much Ado About Nothing

Suffield Players, Suffield, CT

www.suffieldplayers.org

through October 21, 2017

by Shera Cohen

This is not your usual review, but a commentary on Shakespeare’s plays, “Much Ado About Nothing,” and community theatre.

Last weekend I enjoyed the fun of “Much Ado” at Suffield Players. Bravo to Suffield for taking on the task of mounting a play whose language is far from the norm. It’s difficult enough to learn lines, let alone Shakespeare’s. While Friday nights are traditionally sluggish for actors, crew, and audience members who are tired at the end of their work weeks, it was disappointing that so few attended what I consider, one of the Bard’s best.

Aside from “Romeo and Juliet,” a given for all high school students who intend to graduate, I suggest that today’s audience look at “Much Ado” as Shakespeare 101. Please, do not heed the many “warnings” about attending a Shakespeare play. I won’t understand it. I’ll have to pay attention to every word. It’s ancient history. It doesn’t relate to me. It’s long and boring. There are too many characters to remember. It’s expensive. The man is dead and who cares.

Now, let’s look at various bright sides of “Much Ado,” Suffield Players,” and theatre. This is a Comedy. Sections of some of the Dramas can be a bit difficult to understand at times, and (admittedly) good chunks of the History plays as well, but laughter and the reasons audiences laughed in the 1500’s England (or any other venue used by Shakespeare; i.e.  Italy, France, or fantasy islands) are pretty much the same now.

This production has been set in the Roaring 20’s (that’s 1920’s, not 1520’s), New York with nifty costumes, hairstyles, and music that accentuates the time. While this play is not nearly as long as some of Shakespeare’s, just the same, it has been adapted and edited enough to tell the entire story without skimping. In other words, the play is short.

The Cast

Yes, there are many characters, but again, the editor’s computer has deleted the unnecessary. The comprehensive plot is intact whether it be set five centuries ago or 100 years. “Much Ado” is a humorous love story. The male feigns disinterest in his female counterpart. In turn, she pretends to care less. There’s lots of humorous scheming by friends and family who want to make the two a match. It’s no spoiler alert that, indeed, Beatrice and Benedict wed at play’s end.

Most importantly, neither you nor the people with you, or for that matter most in the audience, will comprehend every word. Don’t even try. It doesn’t matter. Trust me, you will “get it” quickly, with no brain cells lost in this seemingly arduous task. The fact that a community theatre troupe, Suffield Players, is the producer, indicates that this “Much Ado” or any other Shakespearean play will be easily accessible. Also, by trying out Shakespeare at this level of theatre, you get top quality at a good price.

Any Shakespeare play featuring bumbling Keystone Kops has got to be fun for all. Give the Bard a shot. And remember that “Much Ado” is where you should start.

Gaslight

Barrington Stage Company, Pittsfield, MA

www.barringtonstageco.org

through October 22, 2017

by Shera Cohen

Photo by Scott Barrow

Undeniably, the best tales of psychological suspense were those in black & white; i.e. movies. Films, primarily from the mid-1930’s-1950’s, provided the ideal canvas for sinister, manipulative, crafty stories. Probably, most readers of this review have seen the film version of Patrick Hamilton’s play, “Gaslight” – surely the benchmark tale of pure cerebral evil. Think Charles Boyer and Ingrid Bergman; yes, that’s the one.

Precise, impeccable, and intelligent husband Jack and irresponsible, dull, and confused wife Bella live in a large mid-19th century home. Every wall and most furnishings are brown. From the play’s start, the dark façade, coupled with macabre violin notes, are intriguing clues. At its crux, Jack’s goal, disguised under the cloak of care and concern, is to make Bella think that she is insane. [In fact, the verb “gaslight” was coined from the original 1938 play, then 1944 movie.] Jack is obviously doing a damn good job of it; we see this pathetic, duped woman, sinking into madness.

“Gaslight” features three primary characters: Jack, Bella, and Inspector Rough. In smaller, yet important roles are their two women servants. Having seen Mark H. Dold (Jack) in several Barrington shows, I knew that in demeanor, looks, voice, grin, playfulness, and concentration to minutia of each element, no other actor could fit the part. Jack must be precise and calculating always. Dold portrays cunning and controlling with capital “Cs” as his character proceeds in his unstoppable mission. Kim Stauffer (Bella) is not quite Dold’s match, although her character is never intended to equal that of Jack, either. Stauffer comes on strong in Act I as unassertive and pitiful. As the play proceeds, it is a bit unclear if Stauffer depicts Bella as silly or truly at the brink of despair. The latter is what the audience needs to see. Kevin O’Rourke (Inspector) represents a tough, determined man with a cold case on his hands. O’Rourke’s dialog offers him snippets of humor which come naturally from his role. It is also O’Rourke’s job to provide the exposition of the plot. This becomes talky, but the actor is an excellent storyteller with a resonant voice.

Director Louisa Proske, somewhat of a Barrington regular, is skilled at focusing on new plays, most fast paced and situated on unusual sets. It is clear she has a deft hand at a classic, as well, especially in her complex movements of Jack in Act II.

Listening to remarks of many audience members exiting the theatre, the common thought was, “I’ve got to see the movie, again.”

Interview with Kate Hennig, Playwright of “The Last Wife"

WAM Theatre, Lenox

www.wamtheatre.com

by Gail Burns

Kate Hennig is a diverse, multi-award-winning theatre artist, with over 30 years of professional experience as a performer. “The Last Wife” was inspired by the life of Katherine Parr (1512-1548), the last of the six wives of King Henry VIII. Katherine was an educated woman who had had two husbands before Henry. Hennig’s play tells the story of Kate and Henry.

SPOTLIGHT: How did you come to write this play?

KATE HENNIG: This strange journey started for me in 2011, during the Arab spring. I was looking at all these dictators, these men in the Middle East who were overthrown, and I started looking for the women. Where were the women in this story? My thoughts went straight to Henry VIII, as he is an identifiable dictator of my own cultural past.

SPOTLIGHT: And what drew you to specifically to Katherine Parr?

KATE: I learned how unique her relationship with, and influence on, Henry was among his wives. She could speak to him the way none of the others could, and he would take the sharpness of her tongue. Her influence over his daughters Mary and Elizabeth was tremendous. The letters between Katherine and Henry’s son, Edward VI, are intimate and moving.

Did you know Katherine Parr was the first woman to have her writing published in the English language under her own name? Why don’t we know more about this woman who had so many accomplishments in her own right?

SPOTLIGHT: What inspired you to move the story to the present day?

KATE: I set it in the present day because that’s the root of my interest. There are women now who are silent, like the women behind those Arab Spring leaders. I look at ISIL/ISIS – where are the women? That led me to use the contemporary voice, to try to echo what women are dealing with now in what Katherine was dealing with. It is still happening. We struggle to find a place in leadership as women and we still struggle to find a voice. We have come a long way in recent decades, but the Tudors had come a long way too. Tudor women were given fantastic educations, they were writers, they were humanists, and then BOOM the Puritans came in and it was all undone. The male animal is larger and can always physically dominate, and is prone to dominate. We see that now. This story fits neatly in to present day American politics, audiences will see the correlation.

SPOTLIGHT: Is playwriting a new venture for you?

KATE: I’ve been writing plays for 14 years, which is not long in the scope of my 35-year career in theatre. Being an actor, I have an understanding from the inside of how the play structure works and how characters work. I would be happy to act any of the roles in my work. I wouldn’t want to put any character up on stage who is boring to play or who has little to do.

SPOTLIGHT: The Last Wife had its premiere last summer at the Stratford Festival. That’s an auspicious beginning!

KATE: This is the first major production I’ve had of my work. I have a long history at Stratford. It is thrilling to have an organization of this caliber take your play and do it with some of the best actors and a top-notch creative team. It was an extraordinary experience for me. Before anyone had even seen the play, six months before the opening, we were selling out, so obviously the subject matter and the actors and the Stratford setting appealed to audiences. Then once the play was running they sold out and extended the run three times. I was gob-smacked and really humbled to have a beginning like that to my playwriting career.

The Northeast Regional Premiere of “The Last Wife” takes place at the Elayne P. Bernstein Theatre, October 13 – November 5, 2017. For ticket information check WAM’s website at www.WAMtheatre.com.

Les Misérables

The Bushnell, Hartford, CT

www.bushnell.org

through October 8, 2017

by Shera Cohen

Photo by Deen Van Meer

Just when I thought that it might be over-kill for me to see "Les Miz" for the 10th time, I was wrong. While this big and bold, dramatic and dark, one of a kind musical has been produced on Broadway and regionally for decades, last night’s “Les Miz” was new. It was a treat for me that my Plus 1 guest was a newbie to the show.

Not that the 10th time was a charm, and my previous outings were second-rate prelude versions, but “new” is the simplest and best word to describe the Bushnell’s production. The first percussion beats of the orchestra keeping time to the slaves at their ores marks an immediate fresh start for what will be three hours of intensity. Victor Hugo’s story of justice, redemption, and forgiveness gnaws at the core of each main character. It was easy to see that even behind the beard, long hair, and rags was the youngest Jean Valjean that I had seen. Nick Cartell, who lacks the experience of a mature actor took on this herculean role only two months ago. Yet, he has embodied every cell of his character’s voice, demeanor, and gestures.

His match is nemesis Javert, portrayed by Josh Davis. The character is complex. Davis’ power makes his audience slowly learn what makes Javert tick. Certainly, it is no spoiler to mention Javert’s demise. This, too, is new. In a heartbeat one set weaves into another, music intensifies, and lighting techniques become indescribable. The craftspersons on electronics, working in tandem with the musicians, shine a new light throughout the entire production.

When my Plus 1 friend looked through the program book she noted the long list of songs. I agreed, describing the ever-present refrains of “One Day More,” “Master of the House,” and “The People’s Song” which carry the plot points through at an exciting pace.

The balance of ensemble numbers with solos is perfection. Just when you “pick” your favorite singer, comes the next who is equally exquisite. Each lead is given his/her moment to shine: Fantine’s “I Dreamed a Dream” combines beauty with anger, Eponine’s “On My Own” presents a sweet torch song, “Marius’ “Empty Chairs at Empty Tables” laments friendship. Javert’s “Stars” and “Soliloquy” give his character a wrenching sadness. Of course, Jean Valjean is given the bulk of the solo work. Without a doubt, Cartell is up to the task from his strong introductory “Soliloquy” to self-questioning “Why Am I” and signature piece, the emotional “Bring Him Home.”

“Les Miz” is superb – its music, story, message, and characters, especially in this production.

Lost Lake

Berkshire Theatre Festival, Stockbridge, MA

www.berkshiretheatregroup.org

through October 22, 2017

by Barbara Stroup

Photo by Emma Rothenberg-Ware

Renting a lakeside cabin for a week should be a simple transaction, but for the two characters in “Lost Lake,” it becomes a learning experience. Their lives start intersecting when city-based Veronica, making summer plans for her kids, inspects Hogan’s lakeside cabin. She sees that he is an overeager advice-giver in a near-subsistence existence. Unimpressed, she rents it anyway. Over the course of her week’s stay and a visit six months later, these two reveal their back stories to each other.

David Auburn’s two-character play is never wordy; it is serious when it needs to be with interjections of humor just when they are needed. Quentin Maré brings the perfect voice and physicality to the part of Hogan – it seems to have been written for him. His gradual self-revelations allow the audience to grow into a relationship with the character, to appreciate his torments and see his vulnerabilities. Maré’s timing is exquisite.

Lynnette R. Freeman’s Veronica is less volatile but still finds herself suppressing frustration with Hogan – the audience learns that she has her own set of problems. Hogan’s presence both unsettles and saves her. Honesty between them is the result of these struggles, and admiration from the audience as well.

The clever set design has three entrance doors and ample space; the characters’ movements seem appropriate and not excessive. The backdrop shows a dreamy lake view where the audience can imagine the dock Hogan promises to repair and Veronica’s children splashing in the water. Time and seasonal changes are signaled clearly but unobtrusively by the writer and the director.

This play is a quiet triumph of character writing and narrative and a fitting finale to the season. Next year, Berkshire Theatre Festival celebrates 90 years of bringing live theatre to Stockbridge residents and visitors; one looks forward eagerly to plays of this quality in 2018.

Interview with First-Timer at Paradise City

By Jenn Curran

 

Meet Katherine “Kat” McClelland, mixed media artist from Western Massachusetts. Paradise City Arts in Northampton is featuring McClelland’s work this October for the first time. The artist works with acrylics, sculpture and fiber. Her focus recently has been on her work in fiber arts. Her incredibly detailed portraits, needle felted on wet felted backgrounds, deliver imagery rich with texture and depth adding to the overall impact of the individual piece.

Tell us a little about yourself.

I was born in Maine and grew up in a small town in Pennsylvania. I attended Maryland Institute College of Art where I met my husband, Ryan. I am a mom to two lovely girls. I spent 14 years teaching Special Education and Literacy. I earned my Masters of Education at UMASS, and presently I teach art for the Department of Youth Services (DYS).

Why do you do what you do?

I can’t imagine not creating. Even when I had small kids, worked a full-time job, and was earning my master’s degree, I was creating art. The simplest answer is because I have to.

How do you work?

My work often begins with a visual that catches my eye. One piece will lead to another. I’ll wonder what if I changed or added this or that. Recently all my focus has been on felting. I work from photographs. For my more complicated pieces, I’ll do sketches and paintings before beginning the felt piece.

What’s integral to the work of an artist?

Inspiration, support, and time. I am in short supply of the latter! My husband is my support; I respect his honest feedback and opinion. My daughters are my inspiration. My older daughter often helps photograph my subjects; her images inspire my work, and my younger is often the subject of my pieces.

If you could snap your fingers and make any piece of art legally and freely appear inside your house, what piece would it be?

That’s a tough one. If I had to choose it would probably be Klimt, maybe “The Kiss.” Perhaps a John Singer Sargent or Frida Kahlo piece. Can I have a whole gallery? It would be eclectic but awesome with some art quilts, ceramic pieces, and paintings!

https://festivals.paradisecityarts.com/shows/northampton-october-show

A Midsummer Night’s Dream

Hartford Stage, Hartford, CT

www.hartfordstage.org

through October 8, 2017

by Mary Fernandez-Sierra

The Bard is alive and well at Hartford Stage’s magical and melodious production of “A Midsummer Night’s Dream.”

Director Darko Tresnjak has created an uncommonly polished and lovely version of one of Shakespeare’s most familiar comedies, with brilliant British touches everywhere. From the typically English elegant costumes (including Hippolyta in jodhpurs) to the stately gatehouse and grounds, to the delicate birdsong and strains of Mozart and Haydn playing softly in the background, the fine hand of a master director can be seen.

For those new to the story, it intertwines several different plots: that of four love-struck teenagers, a royal wedding, six bumbling actors, and a feud between a fairy king and his lady.

All the performances are exceptional, and truly do justice to the characters, story and poetry of this great classic. Most outstanding are Fedna Laure Jacquet as the passionate Helena, John Lavelle as the appallingly conceited Bottom, and Scarlett Strallen as the honey-voiced fairy queen Titania.

It is great fun to watch the doubling of the actors in several roles (Puck is also Philostrate, Duke Theseus’ manservant, and Theseus also plays Oberon, for example.) Having the Mechanicals as servants in the Duke’s retinue instead of low-life locals is also a clever innovation.

As always, the scenery, sound, costumes, and lighting at Hartford Stage nearly steal the show. Designer Alexander Dodge’s gatehouse is magnificent, providing multiple levels for the actors to peer out of archways and windows, and the hedges around the perimeter of the grounds are used to incredible effect as platforms and hiding places for fairies and lovers.

Stunning and sensuous soft colors permeate the stage, whether at the Duke’s estate or in the wild kingdom of the fairies, thanks to lighting designer York Kennedy; Sound Design from Broken Chord complements the majestic feel of the production, and the costumes by Joshua Pearson match the characters to perfection, as well as being lovely to look at.

For a refreshing evening of fine theatre, one can’t do better than take in Hartford Stage’s “A Midsummer Night’s Dream.”