Review: Goodspeed Musicals, "Ragtime, The Musical"

Goodspeed Opera House, Essex, CT

www.goodspeed.org 

through June 15, 2025

by Suzanne Wells

"Ragtime, The Musical" is a dramatic, inspiring, and entertaining production by Goodspeed Opera House, directed by Christopher D. Betts. Representing three demographics during the Golden Age of America—the wealthy, the immigrants, and the children of freed slaves—"Ragtime" captures the disappointments, struggles, hopes, and dreams of each as they strive to embrace the American ideal that all are welcome and anyone can be successful.

Photo by Diane Sobolewski

The stage is set in a large room with cathedral ceilings, a second-level catwalk in front of long floor-to-ceiling windows, and a rolling staircase. This simple, elegant design by Emmie Finckel offers a myriad of locations, from ships docked in the harbor to salons in mansions to train stations. With the assistance of colorfully painted backdrops, the open-air construct allows for outdoor scenes on city streets, parks, and roadsides.

The costume design by Stephanie Bahniuk transports the viewer to a time when the wealthy were clad in chiffon dresses with parasols, three-piece suits and top hats; immigrants struggled in the cottons and wools of their homelands; and colored folks, in their taffeta dresses and off-the-rack pinstripe suits celebrated life in Harlem dance halls. Background to the latter is the spectacular, star-spangled sequins of the vaudevillians.

The music, conducted by Adam Souza, superbly blends a variety of genres including ragtime, gospel, and traditional melodies. Choreography by Sara Edwards, with its varied kick lines and shadow waltzes is a sensational sight to behold.

Every actor of this 23-person cast plus ensemble deserves recognition for their exceptional performances.  Each member’s unique energy and skill in acting, singing, and dancing enhances the deep, emotional experience of this story. Michael Wordly’s portrayal of Coalhouse Walker, Jr, is powerful and poignant.  His deep, earthy voice reaches into the soul and extracts emotions of hope, joy, and sorrow.  Mamie Parris’ nuanced performance of strength and vulnerability establishes her character, “Mother,” the heart of the show.  As “Father,” Edward Watts is compelling with the evolution of his character from segregated elitist to a believer of equality.  Stephen Tewksbury’s versatility shines in his dual roles of “Grandfather,” providing comic relief, and of Irish immigrant, Willie Conklin engendering feelings of hatred and revulsion. 

“Ragtime, The Musical” is a testament to the power of theater to provide a deeper understanding of the complexities of the American experience, both then, and now.

REVIEW: Springfield Symphony Orchestra "Variation and Virtuosity"

Symphony Hall, Springfield MA

www.springfieldsymphony.org

May 3, 2025

by Lisa Covi

Marcelo Lehninger served as guest conductor for the last subscription concert of the 2024-2025 season (there will be an additional free Juneteenth Concert). Moving from the contemporary to the 19th century, the program achieved its desired theme of transformation not only in the musical presentation but by transfixing the audience with dynamic performances. Although the hall seemed less than half full, attendees received the program enthusiastically.

The first selection, "Temporal Variations (Beethoven Revisited)," was written by Ronaldo Miranda in 2014. Perhaps it takes a Brazilian-native conductor to deliver this Brazilian composer's lesser-known interpretation of variations in both tempo and our human experience of time through the weather. Lehninger chose this piece for the program to complement Beethoven's symphony since it includes quotes from several of his sonatas.

 

Through liberal use of the percussion section, whipcracks, xylophone and marimba punctuated the transitions between sweet pastoral melodies and atonal passages. The winds and horn section were in fine fettle, and though small in number, they blended well with the multitude of strings to lead fine call and responses.

Appearing only for the second selection, guest pianist Natasha Paremski was as strong as the golden vision of her personal presentation. Her piano technique demonstrated mastery of the Rachmananoff "Rhapsody on a Theme of Paganini, Op. 43". She demonstrated the strength to articulate the piano against the swell of the orchestra, the dexterity to play the proliferation of runs and frequent crossovers flawlessly and the ability to deliver intonation to convey the emotion of the familiar theme. The orchestra seemed to breathe as one with the soloist producing goose pimples and hair-raising mellifluousness.

The final selection was Beethoven's "Symphony No. 7 in A Major, Op. 92". Regarded by the composer as one of his best works, dance rhythms propelled celebratory motifs throughout each of the four movements. The performance vibrated with mastery and passion as a favorite for both musician and classical music audiophile. The hallmarks of Beethoven – tonal shifts between major keys, the drama of timpani thunder and the forceful dramatic coda in the loudest forte fortissimo – invited toe-tapping and armchair conductors to unite themselves to the endeavor.

Review: Opera House Players, “Anastasia”

Opera House Players, Enfield, CT

www.operahouseplayers.org

through May 18, 2025

by Shera Cohen

The musical “Anastasia” returns to CT after its premier at Hartford Stage some years ago, then onto Broadway. The story of Anastasia, daughter of the Romanov family of early 20th-century Russia during the Russian Revolution, is absorbing, emotional, and somewhat true.

The plot couples a history play with a mystery. Is this young woman really a street sweeper by trade, or the unbeknownst princess of the fallen Russian Empire?

In many aspects, especially in opening scenes, “Anastasia” is reminiscent of “My Fair Lady”. There’s the spitfire girl/woman taken under the wings by two male strangers. All is pure and innocent; the girl seeks her identity; the men seek profit; everyone can possibly win at no expense to the others.

Community theatre director extraordinaire Sharon FitzHenry never shies from taking on big productions: nearly 30 actors; 25 songs plus 5 reprises; a very long, high, and deep stage – in other words, an ideal venue.  A small orchestra, led by the ever-popular Bill Martin, sounds big. Never hesitate to attend any musical which FitzHenry has directed.

A giant map of Europe and Russia stretches to create the entire backdrop; it remains throughout. The crew seems to utilize every inch of space permitted, yet at no point are the sets and actors crowded.

Moonyean Field’s masterful costuming is often taken for granted because her work is always extraordinary: elegant garb worn at the ball in old Russia, a full-stage flapper jazz concert in 1920’s France, and actual “Swan Lake” -type ballet performances within the play.

At the core of the tale is the erstwhile princess Anastasia, portrayed by Olivia Grimard, a newcomer to Opera House Players, and an amazingly talented singer/actress. Just about any local community theatre should try to scoop her up for future roles. Grimard plays the lead role as sharp, determined, and forthright. She’s sweet and rather petite in frame but holds her own with the male characters.

David Webber, Zach Bakken, and Michael Noel depict the roles of the men who Anastasia encounters on her journey to Paris to learn her identity. Each is a first-rate vocalist.

Without hesitation, OHP has assembled a troupe of the best community theatre voices in the region for “Anastasia”. Those in secondary, yet important roles, could easily turn in star performances, if required.

REVIEW: The Bushnell, "Some Like It Hot"

The Bushnell, Hartford, CT

www.Bushnell.org

through May 4, 2025

by Jarice Hanson

 

For fans of the 1959 “Some Like It Hot” movie with Tony Curtis, Jack Lemmon, and Marilyn Monroe, by all means get to the Bushnell and see the updated version of the story complete with music and a lot of tap dancing. 

 

This story has aged remarkably well, but with the help of an updated book by Matthew Lopez and Amber Ruffin, and music by Marc Shaiman and lyrics by Scott Wittman and Marc Shaiman, this show brings plenty of laughs, and a feel-good vibe to today’s world.

 

Photo by Matthew Murphy

Set in 1933 Depression America, the action on stage is complemented by the Bushnell’s art deco architecture. This is an old-fashioned musical that is pure entertainment, delivered by a fine cast of singers and dancers guaranteed to put smiles on faces.

 

The Broadway version was a sparkling gem on the boards in 2022. The Bushnell production is one of the first touring companies to bring the big, lavish musical to this region.

 

The story is fairly simple. Two male musicians witness a mob hit and have to go into hiding. Hoping to make it to Mexico, they see the opportunity to join Sweet Sue and her Society Syncopators, an all-woman orchestra traveling across the country. When confronted with a sexy singer named Sugar Caine, portrayed deliciously by Leandra Ellis-Gaston, the two heroes, Joe/Josephine, masterfully played by Matt Loehr, and Jerry/Daphne, played by Tavis Kordell, evade thugs, find love, and hilarity ensues. 

 

Kordell may have the greater challenge in making his character believable, but he brings such thought and dignity to the role, and builds the character slowly so that the audience is ready for the updated twist that emerges in Act II. His honest portrayal is so convincing that the audience cheered what otherwise might have seemed like a simple line—but in the context of contemporary times, the simple line is profound. 

 

A surprise character emerges in Osgood Fielding, acted by the energetic Edward Juvier, whose performance would have made the originator of the role, Joe E. Brown, proud. While every voice in the cast is exceptional, Juvier’s romantic rendition of “Fly Mariposa, Fly” is a masterpiece.

 

This cast overflows with talent. Almost everyone sings and dances, and Nicholaw's choreography is a force to behold. In addition to the leads, the all woman "orchestra" sings and taps throughout the show.

 

Act II is also peppered with a highly creative mad-cap number reminiscent of the Keystone Kops. The result is non-stop fun that reminds audiences of what a Broadway musical used to be, and it fills the heart with joy.

 

REVIEW: Springfield Chamber Players, "Broadway With Strings Attached"

52 Sumner, Springfield, MA

www.springfieldsymphonymusicians.com

April 26, 2025

by Lisa Covi

To echo a question from Cabaret, "What good is sitting alone in your room?"

 

An enthusiastic crowd answered the siren call of musical theater to experience a unique program of favorites and hidden gems at 52 Sumner, Springfield. 

Mark Auerbach, a performer, journalist and PR consultant for the Springfield Chamber Players (formerly called MOSSO) along with Marty Kluger (narrator, vocalist and conductor) compiled selections from 21 Broadway musicals for string quartet and voices.

Each selection related to orchestral strings: "Fiddler on the Roof," characters who are string players ("A Little Night Music"), or Thomas Jefferson's courtship by "Violin" ("1776").

 

The virtuosity of Beth Welty, Delores Thayer, Yoonhee Ko and Ronald Gorevic transformed their instruments into harmonious and atonal passages that furnished both setting and Greek chorus to the gifted singers. Spencer Reese and Sara Vincelett Dredge delivered expressive vocal interpretations that made even the most familiar ballads such as “Send in the Clowns” or “The Impossible Dream” unique characterizations. Orchestral passages showcased breadth and depth in “The Band's Visit” Israeli bleatings, “Oklahoma” broad square dance twangs and “On The Town” New York's romp of fleet week.

Although the 52 Sumner venue provides fine acoustics, comfortable seating and cash bar, the stage layout seemed a bit awkward with Kluger conducting the quartet occasionally from the center of the stage between the other vocalists and the strings seated on the far left.

The informal tone struck a pleasant chord with the humor in the narration, the named t-shirt costume, surprisingly choreographed dance and finale sing-along.

The Springfield Chamber Players are a valuable cultural resource which provided a convenient and pleasant opportunity to enjoy a well-crafted Pops program.

REVIEW: Theatre Guild of Hampden, "Jerry’s Girls"

Hampden Senior Center, Hampden, MA 

http://theatreguildofhampden.org

Through May 4, 2025

by Michael J. Moran

This “musical revue of songs from classic Jerry Herman musicals” premiered on Broadway in 1985. It features 33 numbers from seven of the prolific composer/lyricist’s Broadway shows, from “Milk and Honey” (1961) to “La Cage aux Folles” (1983), and one Off-Broadway revue, “Parade” (1960).

Director Mark Giza stages the Theatre Guild of Hampden’s elegant production in the intimate cabaret setting of the Hampden Senior Center’s community room. Audience members are seated at round tables, and the low stage against a simple backdrop of colorful banners for Herman’s shows allows the cast of nine singing actresses, all clad in stylish black, to mingle easily with attendees.

Most selections are sung by multiple cast members, but they range from solo performances to full ensemble numbers. The mix of slow ballads and upbeat showstoppers reveals the breadth of Herman’s talent and moves the show forward with satisfying variety. Imaginative choreography by Dina Del Bueno (who tap dances adroitly several times) keeps the cast in constant graceful motion. One-man-band musical director Parker Eastman coaxes a vast range of sounds from his keyboard.  

With no weak links in this strong cast, everyone has at least one highlight, including: Jessica Glasser’s rapturous “It Only Takes a Moment” (“Hello, Dolly!”); Amanda Emet’s scathing “Wherever He Ain’t” (“Mack and Mabel”); a joyous full-cast “We Need a Little Christmas” (“Mame”), complete with garland and twinkling headgear; and Robyn Scott’s heartbreaking “I Won’t Send Roses” (“Mack and Mabel”).

 

Equally impressive are: Margie Secora’s rousing soliloquy and “Before the Parade Passes By” (“Hello, Dolly!”); a devastating “I Don’t Want To Know” (“Dear World”) by Becca Greene-Van Horn; Kate Fusco’s poignant “Time Heals Everything” (“Mack and Mabel”); Andrea Stolar’s hilarious “Gooch’s Song” (“Mame”); and a few delightful cameos by stage manager Gail Weber.

 

But the star performer of the evening, who keeps stealing the show, is veteran Kathy Renaud, who delivers: a witty “Bosom Buddies” (“Mame”) with Secora; a shattering “If He Walked into My Life” (“Mame”); an uproarious “Nelson” (“A Day in Hollywood/A Night in the Ukraine”), ending on a clear high C; and a defiantly vital “I Am What I Am” (“La Cage aux Folles”).  

 

Fans of entertaining cabaret sung with heart and spunk by a talented team of resourceful women should waste no time getting tickets.

REVIEW: Hartford Stage, “Romeo & Juliet”

Hartford Stage, Hartford, CT

www.hartfordstage.org

through May 18, 2025

by C. L. Blacke

The brilliance of Director Melia Bensussen’s production of “Romeo & Juliet” cannot be overstated. With a deft hand, she peels back the play’s many layers of pervasive prejudice, generational divide, familial complications, and yes, even young love. She makes one of Shakespeare’s most recognizable plays accessible and relatable to viewers of all ages.

Photo by T. Charles Erickson 

Retaining classic elements of Verona, Italy while imbuing the world with Latin American traditions, Bensussen’s production of “Romeo & Juliet” is as entertaining and lively as it is eerie and tragic. Her inspiration based on Día de los Muertos (the Mexican Day of the Dead) weaves throughout the play in both theme and design. These fragile relationships between light and dark, life and death can be seen in costume designer Fabian Fidel Aguilar’s flower-adorned papier-mâché skull masks, lighting designer Dan Kotlowitz’s hanging tin star lanterns, and scenic designers Christopher and Justin Swader’s lace trimmed bed turned cold, marble tomb. Even choreographed sword fighting is juxtaposed against court dancing with a flamenco flair.

But it’s the cast of many talented equity actors that ultimately makes this production a resounding success. Niall Cunningham as Romeo and Carmen Berkeley as Juliet both embrace their characters’ childish passions and overwrought emotions so convincingly that the audience experiences their relationship’s growth from infatuation and sexual desire to an unbound maturity and purity. The viewer is reminded of their own teenage years when everything is dire and the consequences indeed mean life or death.

This production owes just as much to the lovable duo of Juan Arturo (Benvolio) and Alejandra Escalante (Mercutio). Together, they capture the true comedy of Shakespeare with their bawdy conversations, lewd mannerisms, and good-natured teasing. Despite the many laugh-out-loud moments they provide, they just as expertly sever the lighthearted mood with the clash of two swords. Without pretense, Escalante’s portrayal of Mercutio’s mortal wound turns the story towards its dark and deadly conclusion.

Honorable mentions must also go to Annemarie Kelly’s over-the-top mannerisms of The Nurse and Carman Lacivita’s steady benevolence and guidance as Friar Laurence.

There is no attitude of preciousness in Bensussen’s production. Having stripped away the reverence and sanctity of a Shakespearean play, she exposes “Romeo & Juliet” for what it is—a bawdy, silly, absurd, and tragic love story. Indeed, this production is how every high school student should experience Shakespeare.