REVIEW: The Bushnell, Hamilton

The Bushnell, Hartford, CT

www.bushnell.org

through December 30, 2018

by Shera Cohen

Did you realize that we look at the face of Alexander Hamilton at least a few times each week? There he is in the middle of a $10 bill. Other than this claim to fame, who was this man? He had probably done something important during the Revolutionary War? Doubtless that Hamilton knew George Washington on a first-name basis? And, wasn’t he the man who was killed in a duel? Is this enough subject matter for a musical, not to mention a game-changing, Tony Award winning, world-class musical on Broadway? Yes!

It was obvious that a large percentage of the Press Night audience at “Hamilton” at the Bushnell had seen this now-classic (even in its infancy as a musical production) before. It was eager with anticipation when many of the songs and movement began.

Photo by Joan Marcus

The unique music style is a trademark of “Hamilton.” Would a traditional theatre audience grasp, value, and literally understand the music, and especially the lyrics of rap? Do you have to be under age 30 to “get it”? Being a bit leery after the first five minutes of Aaron Burr’s opening number, which thankfully were not paced on warp speed, easily opened the door to an appreciation of the next two+ hours of rap. In many ways, “Hamilton” replicates the text of Shakespeare; it is not necessary to hear or recognize every word. The essence is there. No one need question, “Is ‘Hamilton’ for me?”

Lin-Manuel Miranda – writer of “Hamilton’s” book, music and lyrics -- has become a near-household name, defining creativity, innovation, and talent. Coupled with the genius of choreographer Andy Blankenbuehler and director Thomas Kail, the visuals are remarkable. There are no static moments; the dance and songs never stop. Accentuating the steady beat of rap is discordant movement all about the stage. “Hamilton” is truly your atypical musical with juxtapositions of costumes and wigs of various eras, dialogue from the 1770’s and 2018 creating a joy in the experience.

The dark monstrous staging asks little of the audience’s imagination to “see” numerous indoor and outdoor settings. Strong flashes of lighting are synchronized with onstage movement to the timing of a millisecond.

Few musicals can pack in one dramatic song almost immediately followed by another; one superb voice after another. Austin Scott and Hannah Cruz (Alexander and Eliza Hamilton) lead the cast of approximately a dozen actors, each with exemplary voices. But, “Hamilton” is not merely a production of song upon song. The story is profound; the balance of one man’s adversity with the hardship of future Americans founding a new home. Exciting as it may be, this tremendous musical does not always paint a pretty picture of that era

Note: The Bushnell’s “Hamilton” run is longer than the one-week performances in the Broadway Series.

PREVIEW: Goodspeed Musicals, A Connecticut Christmas Carol

Goodspeed Musicals, Terris Theater, Chester CT,

www.goodspeed.org

through December 30, 2018

by R.E. Smith

Say the name “Goodspeed” to anyone in New England (or perhaps the country) with even the slightest knowledge of musical theatre and they will probably describe the majestic site of a well-restored late 1800’s Opera House sitting on the banks of the Connecticut River in East Haddam CT.

However, that structure, and its dedication to the American musical, is really only half the story. Sitting a mere 5 miles south, in Chester, CT, is Goodspeed Musicals’ Norma Terris Theater, dedicated to the discovery, creation and refinement of new American musicals. The shows staged here might not be quite ready for the lights of Broadway, but this place can get them closer than anywhere else. Chester center during the holiday season, with its festively lit shops and restaurants, is as quaint looking as any small town you would see in a Hallmark Channel movie, so it is only appropriate that the current production at the Terris is a new show called “A Connecticut Christmas Carol”.

Photo by Diane Sobolewski

After debuting last year, this “Nutmeg state”-centric retelling of the Dicken’s classic returns and it continues to evolve and shape itself into a top-notch, family-friendly seasonal production. Speaking of winter. . .the show has not been “frozen”, meaning that it could/can/will undergo changes like many shows at the Terris do. At a talkback after the show there were a number of people who had seen both this year’s production and last’s, giving the author an opportunity to gauge what was thought of various changes. Some of those changes included the addition of a new song, an intermission and the switching out of an entire character.

While core figures like Scrooge and the Cratchits remain the same, various other characters, locations, and even the “spirits” are now decidedly Connecticut-themed. There are references and representations of notable regional figures such as Igor Sikorsky and JP Morgan, as well as famous Hartford landmarks and businesses. Like a kid’s cartoon with adult humor, the show can be enjoyed on multiple levels. Having knowledge of Connecticut history will enhance your enjoyment of the show, but it is not absolutely necessary to appreciate this timeless tale of redemption. L.J. Fecho’s book is rife with actual quotes from the famous denizens of the Constitution State, skillfully woven into the script.

Goodspeed’s long-standing musical director, Michael O’Flaherty has crafted some memorable new songs such as “How Can You Resist the Irresistible” and “Everyone But You” that practically beg for a bigger stage and a larger chorus. Robert Cuccioli as Scrooge/William Gillette, a Tony-nominated actor, leads the cast, so rest assured that this smaller second stage is in no way “second best”. The entire cast, many returning from last year, is talented and engaging, from Michael Thomas Holmes’ multiple “ghosts” to Robbie Berson’s Tiny Tim. Though familiar, the various scenes of past, present and future move along briskly and feature some inventive stagecraft.

No matter the season, a trip to a Terris Theatre production is an experience no musical theater buff should miss, and seeing “A Connecticut Christmas Carol” during the holidays is the gift any musical theater fan will appreciate.

REVIEW: Springfield Symphony Orchestra, A Holiday Celebration

Springfield Symphony Orchestra, Springfield, MA

www.springfieldsymphony.org

December 8, 2018

by Jarice Hanson

Holiday concerts are expected to have at least a smattering of familiar tunes and seasonal jokes, but the Springfield Symphony Orchestra’s holiday program also celebrated the diversity of the community and the talent of many musical artists with a program that left the audience with a smile on their faces and warmth in their hearts.

From the time conductor Nick Palmer bounded onto the podium in red pants with candy canes, members of the Symphony, and the Springfield Symphony Chorus treated the audience to seasonal favorites and some special numbers that captured the magic of the holiday season.

Special guests including the Children’s Chorus of Springfield, Mary Lambert, Cantor Elise Barber, the Extended Family Choir, and young Brynn Cartelli, winner of NBC’s “The Voice” entertained the enthusiastic audience with songs and musical renditions that reflected a myriad of musical styles appealing to all ages. It was obvious that many families were introducing their youngest members to an evening at the symphony, and the children were treated to a few special appearances by Santa, who at one point, ascended the podium and conducted “Sleigh Ride” with some comic hip swings and an appropriately jaunty attitude.

The first hour of the concert featured a number of familiar tunes along with Cantor Elise Barber’s soulful interpretation of “Ki Eilecha” and “Ocho Kandelikas,” but the second hour left no doubt that the Springfield Symphony Orchestra is a first class musical organization. Their two selections, “Wizards in Winter” and “Christmas Eve/Sarajevo 12/24” were breathtaking in their complexity, complementarity, and musicianship.

All received a well-deserved standing ovation for providing the sold-out audience with an evening of warmth and heart, despite the frigid temperature outside.

REVIEW: Hartford Symphony Orchestra, Tchaikovsky’s Firsts

Hartford Symphony Orchestra, Hartford, CT

www.hartfordsymphony.org

November 30–December 2, 2018

by Michael J. Moran

To open the second “Masterworks series” program of the HSO’s 75th anniversary season, Music Director Carolyn Kuan selected the elegant “Polonaise” from Tchaikovsky’s opera “Eugene Onegin.” The orchestra’s stately and refined account set a festive tone for the evening.

Szymon Nehring

The program continued with a sensational HSO debut by rising 23-year-old Polish pianist Szymon Nehring in a full-blooded performance of perhaps the best known of all piano concertos, Tchaikovsky’s first. From the majestic introduction, through the lyrical Andante and the rip-roaring finale, Nehring, now a student of Boris Berman at the Yale School of Music, skillfully varied his touch from delicate to thundering as the music ran its volatile course. In a novel and engaging use of technology, an image of the keyboard was projected on a large screen above the Belding stage as Nehring played, making his fluid fingers visible throughout the hall. Kuan and the HSO supported him with equal passion and precision.  

A standing ovation brought Nehring back on stage for a dazzling rendition of the lively “Russian Dance,” one of three movements which Igor Stravinsky arranged for solo piano from his ballet “Petrushka” for Artur Rubinstein, who could hardly have done it better than his fellow Pole.

The concert closed after intermission with a vibrant account of Tchaikovsky’s seldom-heard first symphony, called “Winter Dreams” by the young composer, who wrote it when still in his mid-twenties. Despite its sometimes-episodic structure and slightly bombastic finale, the symphony often foreshadows the colorful orchestration and melodic genius of the mature Tchaikovsky. Committed playing by all HSO sections under Kuan’s dynamic leadership, from the haunting “Allegro” opening, through the dreamy “Adagio cantabile,” elfin “Scherzo,” and spirited finale, made a strong case for the piece.

Just before the symphony, Kuan tearfully recalled the sudden passing in October of HSO assistant principal cellist Eric Dahlin and expressed the musicians’ sorrow at his loss with a single red rose at his chair and a heartfelt performance of the “Nimrod” movement from Elgar’s “Enigma Variations.” This was a classy tribute to a beloved, world-class musician, who will be sadly missed by Hartford audiences.

REVIEW: The Bushnell, Fiddler on the Roof

The Bushnell, Hartford, CT

www.bushnell.org

through November 11, 2018

by Stuart W. Gamble

Photo by Joan Marcus

The oft-told tale of Tevye the milkman is given a fresh interpretation at Hartford’s Bushnell. Filled with timeless music composed by Jerry Bock, lyrics by Sheldon Harnick, book by Joseph Stein based on the stories of Sholom Aleichem, “Fiddler on the Roof” pays honor to tradition and nursing undying hope for the future. Opening night showed that this Broadway behemoth has lost none of its charm for the audience.

The success of this production lies largely, but not totally, on its central character. Israeli actor Yehezkel Lazarov makes a warm and welcoming Tevye. His sardonically funny quips and comments to God and the audience are full of just the right combination of chutzpah and sentiment. His Tevye is a feisty pushover to his strong-willed daughters Tzeitel, Hodel, Chava, Shrprintze, and Bielke. But his comic confrontations with his wife Golde show who wears the proverbial pants. Musically, Lazarov does a solid job with his fine baritone voice, particularly when singing the opening “Tradition” and his signature “If I Were a Rich Man.” Maite Uzal’s Golde demonstrates the tireless energy needed to keep abreast of Tevye and their five daughters.

Mel Weyn’s Tzeitel pleasantly joins her sisters in the sweeping “Matchmaker, Matchmaker.” Hodel (Ruthy Froch) also displays defiant strength when choosing love and devotion over tradition and oppression as she liltingly sings of her torn loyalty to Tevye “Far from the Home I Love.” But most rebellious of all is middle daughter Chava (Natalie Powers), whose inner strength towers above her small stature. Each daughter is well matched with her prospective groom: Tzeitel’s intended Motel (Jesse Weil, a rubber legged comic gem), Hodel’s beau Perchik (the sharp witted and blunt speaking Ryne Nardecchia), and Chava’s gentile boyfriend Fyedka (the sweetly affable Joshua Logan Alexander).

This production is visually sumptuous yet simple. The brown and red overcoats, peasant dresses, head scarves, and caps are carefully tailored by costume designer Catherine Zuber. The huge ensemble moves effortlessly in this historical garb choreographed to rousing effect by Hofesh Schechter and Christoper Evans. The stunning sunset backdrop for the wedding scene and the quiet hymn “Sunrise, Sunset” is by scenic designer Michael Yearn. Direction by Bartlett Sher cannot be faulted. The actors are all comfortable in their characters’ skin.

Worth noting is the final image of the silhouetted denizens of Anatevka, off to their various destinations (Poland, the Holy Land, and America) moving in a continuous circular caravan.

REVIEW: Majestic Theater, The War, and Walt Whipple

Majestic Theater, West Springfield, MA

www.majestictheater.com

through December 9, 2018

by Konrad Rogowski

The new original play by Danny Eaton, “The War, and Walt Whipple,” lives up to the words that he writes in his director’s notes, … “a warm and gentle play.”

Photo by Kait Rankins

This is a story of war fought on two fronts, that of the great battles of World War II and the hard trials they bring to the Whipple family; and the war churning in Walt Whipple’s head and heart, as his home, his values, and his prejudices are assaulted by the realities of a world changing faster than he can. These conflicts are told as a retrospective by a narrator, “older Ted” (John Thomas Waite), setting the scenes, and offering the insights of Walt’s youngest son Teddy (Christopher Rojas).

Greg Trochlil’s set reflects a safe and homey space from which the Whipples take on their problems, big or small. Walt’s struggles, adeptly portrayed by Ron Komora, are paralleled by those of his family. His wife, Alice (Sue Dziura), keeps him in touch with all that he would prefer ignore, while bartering gas stamps with a black market, cigarette smoking nun.

Walt’s renter, Charlie (Cliff Blake), a man badly scarred by an industrial accident, deals with a world uncomfortable with his presence. Walt’s son Hank (Tom Dahl) is wheelchair bound as a result of the war, and longs to see his wife live a ‘normal’ life.

Eaton’s direction of these troubled characters strikes a fine balance between the drama of their lives, and the daily humor of life’s little surprises, and delivers genuine, solid performances across this cast. Truly, Walt faces many trials, like his three sons’ wives living with him while their husbands are at war, which strains the bounds of his set bathroom conventions. For Walt Whipple, a house full of women and the diverse perspectives and values they bring may just be his greatest challenge.

In the end, life goes on for the Whipples, and audience members feel good for having spent an evening with them on their warm and gentle journey through, and beyond, whatever life’s wars try them with.

REVIEW: Opera House Players, Beauty and the Beast

Opera House Players, Enfield, CT

www.operahouseplayers.org

Through November 25, 2018

by Michael J. Moran

In her “Director’s Notes” for the OHP production of “Beauty and the Beast,” Becca Coolong attributes the continuing appeal of this “tale as old as time,” most recently retold in two Disney films and this popular Broadway musical, to the fact that it’s “a story of hope, of love, and of acceptance.” Her diverse cast of 30 singing actors, including a Beast with dreadlocks, brings it to colorful and affecting life.

With music by Alan Menken, lyrics by Howard Ashman and Tim Rice, and book by Linda Woolverton, the story has two settings. The first is a medieval French village, where the bookish Belle (“Beauty”) and her artist father Maurice are regarded with curiosity by other townsfolk. The other is a nearby castle, where a prince has been transformed into a Beast for his selfishness and his servants are gradually turning into household objects. To recover his and their humanity, the Beast must learn to love Belle. 

Kaite Corda is a radiant Belle, with a gorgeous singing voice and acting chops to match. Frank Cannizzo’s Maurice is a dignified and doting father. While less impressive than his co-star, Silk Johnson's "the Beast" has perhaps the show’s most poignant moment, when he releases Belle from captivity to find her lost father. Tim Reilly plays the self-important ladies’ man Gaston with hilariously over-the-top swagger, and Harper Laino is a hoot as his obsequious henchman LeFou.

Kaite Corda & Tim Reilly

Musical highlights include: Reilly’s exuberant celebration of himself, “Gaston;” a joyous “Be Our Guest,” as Michael Graham Morales’ suave Lumiere and the Beast’s servants welcome Belle to his castle; a lovely “Beauty and the Beast” from Stevie Norman’s warm-hearted Mrs. Potts; and Erin Dugan’s Madame de la Grande Bouche deliciously nailing a coloratura Mozart aria passage.

Resourceful set design by Francisco Aguas allows for seamless transitions between the two settings, and musical director Devon Bakum’s four-member ensemble sound deceptively larger and consistently spot on. Inventive choreography by Krista Brueno, ingenious costume design by Moonyean Field, and Coolong’s skillful use of off-stage space at the company’s temporary home in the Enfield Annex (formerly Fermi High School) further enhance this entertaining production.