Review “It’s a Wonderful Life: A Live Radio Play” at Merrimack Repertory Theatre (Lowell, MA)

Photo Credit: Merrimack Repertory Theatre

“It’s a Wonderful Life: A Live Radio Play”, adapted by Joe Landry, is a presentation of the classic film as a 1940’s radio drama. The story of George Bailey comes to life as five talented actors gather around microphones to voice over 40 characters and create superb sound effects live onstage. The audience itself plays the role of the live studio audience and is encouraged from the start to react to the story as it plays out to “help the listeners at home fully enjoy the story”.  The radio station, WMRT, brought the audience, many of whom could have been around during the glory days of radio programing, back in time to a Christmas Eve performance of one of the most beloved holiday stories.  

A large part of the play includes the cast creating live sound effects; everything from crunching snow to wind to splashing water to moving vehicles in addition to a few dozen other effects. Each of these was executed effortlessly and skillfully by the cast. Amanda Williams did a fantastic job as Scenic Designer creating a detailed and prop filled set that was fully utilized throughout the play. Together with Sound Designer Jonathan Mastro and Lighting Designer Carter Miller they masterfully created a realistic and fully functional radio station stage that gave the cast everything they needed to brilliantly bring this story to life.

The five incredibly talented actors were directed by Megan Sandberg-Zakian and include Jason Bowen, Joel Colodner, Veronika Duerr, Nael Nacer and Celeste Oliva. Each actor delivered unique characterizations and vocal diversity for each of their various characters throughout the play. As a group they worked together seamlessly and were wonderfully dynamic and compelling. From the moment they walked on stage they captured the audience’s attention and it wasn’t long before they captured their hearts with their magnificent performances.

The play, running at 90 minutes with no intermission, flew by and fully enthralled the audience from start to finish.  Simply put this show will make you laugh, make you cry and warm your heart on the coldest of winter nights.

“It’s a Wonderful Life: A Live Radio Play” plays at Merrimack Repertory Theatre until December 20th. Tickets range from $60-$23 and are selling fast so don’t hesitate to book your seats for this must see holiday production.  To purchase tickets or find more information check out www.mrt.org/wonderful or call 978-654-4678.

Review of ‘The Producers’ at J-ART @ the Jewish Cultural Center (Springfield, MA)

Cast of 'The Producers' (Photo Credit J-ART)

‘The Producers’ is a multiple Tony award winning musical from the comedic mind of Mel Brooks. It is a farce style musical comedy meaning that most of the show is over the top. So when community theatre group J-ART at the JCC decided to put such a huge hit on their stage they knew it would be a challenge to pull off. Unfortunately, the production did not entirely live up to the hype it created for itself in its playbill, though I do agree that it was a unique night at the theatre.

The show, accompanied by a five piece orchestra, began its performance to a moderately full audience who seemed to really enjoy the show. The first area that could have been focused on a bit more was that of the sound. Though the orchestra was small, at times their volume overpowered the vocals. Many, if not all, cast members were wearing individual mics which often times were either set too loud for some or not high enough for others. This made not only hearing, but understanding each character a bit more challenging. However, I will commend the cast for being able to project their voices into the space rather than rely on the microphone to do all the work. Secondly, often times the choreography came across unrefined as certain dancers looked uncomfortable and seemed to lack confidence with the steps. I would suggest that if dancers are not confident they can perform certain moves cleanly and correctly that the moves be changed in order to have a polished final product.

The ensemble, all of whom played many roles throughout the performance, overall did a good job. Portraying multiple characters is not an easy task, but this group took on the challenge, and though some characters were not convincing, others were very well done. Two of those well done characters were portrayed by Steven Grabowski, as Franz, and Kevin Lempke, as lead storm trooper.  Steven’s portrayal of German playwright Franz was energetic and highly amusing. Kevin’s vocals during “Springtime for Hitler (part 1)” were a wonderful highlight within the production.

The lead roles of Max Bialystock and Leopold Bloom were nicely done by dynamic duo Austin Kopp, as Max, and Chris Rojas, as Leo. They played off each other very well throughout the performance and it was clear they worked hard on their comedic timing as they consistently hit their punch lines just right. Austin’s comedic talent shined brightest in his solo song in Act 2 entitled “Betrayed”. This song is very upbeat and not only vocally challenging but physically challenging as well. Austin did a great job not only remembering the extensive amount of lyrics, but his vocal and physical performance during the number made it a hilarious audience favorite.

The perfectly cast Chris Rojas, as Leopold Bloom, was a consistent highlight of the production. From the moment he walked on the stage he had the audience engaged in the story and steadily chuckling. He made clear character choices, embodying his neurotic character, and stuck to his choices from start to finish. He nailed all aspects of the physical comedy he attempted. Looking like a young Matthew Broderick, who originated the role on Broadway in 2001, certainly didn’t hurt.

Overall, this production was a unique experience that the audience highly enjoyed. ‘The Producers’ can be seen on stage until November 22^nd at the Springfield Jewish Cultural Center. For more information or tickets visit https://www.springfieldjcc.org/events/theproducerspresen/.

Review ‘The Love of the Nightingale’ at Hub Theatre Company of Boston (MA)

There are times when I walk into a production unsure of what I am about to experience and wondering if it will meet my expectations or fall short. Rarely does a show surpass my expectations, but the production of ‘The Love of the Nightingale’ I experienced this past weekend was one of those rare shows. I walked into the theatre knowing I would be seeing a darker drama, but what I didn’t expect was that it would be so compelling, thought-provoking and poignant in relation to today’s society.

‘The Love of the Nightingale’ written by Timberlake Wertenbaker and fantastically directed by Rebecca Bradshaw is a play based on Book VI of the Roman poet Ovid’s epic verse narrative Metamorphoses; which was itself adapted from earlier Greek tales of people transformed by the gods. It focuses on the lives of King Tereus, his wife Procne and her sister Philomele and is a tale about love, lies, vengeance and the cost of silence. The show included original music created by Bahar Royaee which added depth and power to the production. Strategically placed choreography, by Tyler Catanella, not only enhanced, but when combined with the original music, was a driving force within the show.

Bridgette Hayes as Procne courtesy The Hub Theatre Company

The entire cast was wonderfully unified, clearly showing just how much dedication they had for their characters and the story they were telling. My one critique is that multiple times during the performance certain actors seemed thrown off by the close proximity of the audience which resulted in them shifting their eyes and losing focus of their current scene. Nonetheless, they worked together seamlessly from the start to draw the audience into the world of the story.

One performer that never lost focus and was a fierce force to be reckoned with was Bridgette Hayes as Procne. From start to finish she was a powerhouse performer delivering a wide range of emotional depth and smart character choices. Other actors delivering notable performances were Jeff Marcus who was a cunning and deceitful Tereus and Lauren Elias as the sweet and naïve Philomele. The cast also included Liz Adams (Niobe), Aina Adler (Helen/Nurse), Rachel Belleman (Hero/Aphrodite), Blyss Cleveland (Iris/Chorus), Scot Colford (1^st Soldier/Thesaus/ Male Ensemble), Jenny Leopold (Queen/ June), Ryan MacPherson (Captain/Male Ensemble), Will Madden (2^nd Soldier/ Hippolytus/Male Ensemble), Eric McGowan (Greek Chorus/Male Ensemble), George Page (King Pandion/Male Ensemble), Shanie Schwartzman (Echo/Phaedre/ Servant), and Edan Zinn (Itys).

Overall, this production was well put on by a consistently connected cast. The message about the high cost of silence and the need to find the power of one’s voice was clearly portrayed by this talented group of actors. The 90 minute, thought-provoking play ‘The Love of the Nightingale’ is being performed through November 21^st at First Church Boston located at 66 Marlborough Street, Boston, MA.  For more information and tickets visit http://www.hubtheatreboston.org/. Due to the complex and adult subject matter it is a play for a mature audience. Tickets for all shows are set as “pay-what-you-can”; therefore there is no reason not to go see this production!

From Left to Right in the foreground of the photo: Jeff Marcus (Tereus) & Will Madden (2nd Soldier/ Hippolytus/Male Ensemble) courtesy The Hub Theatre Company

Review of ‘Laughter on the 23rd Floor’ at Bay Players (Duxbury, MA)

Comedy, even with a solid script, is not the easiest genre to perform. There’s a fine line between allowing the comedy of the script to shine and pushing for laughs. Oddly enough both can occur within a production based on the performances of each actor; at least that was my observation from the performance of ‘Laughter on the 23^rd Floor’ that I viewed this past weekend.

‘Laughter on the 23^rd Floor’ by Neil Simon was written as a tribute to his colleagues in the writers’ room on Sid Caesar’s Your Show of Shows. The show ran every Saturday night on NBC in the early 1950’s; similar to the Saturday Night Live program we have today.

This production by Bay Players with direction by Michael Pevzner was an admirable attempt that had the audience chuckling throughout. The small set transported the audience in the intimate space back to the writer’s room of the fictional Max Prince Show in 1953. It opens with newcomer to the writing team Lucas (Chris Tilden) setting the scene for the audience and as the play progresses various characters, all with their own quirks, enter the room and engage in friendly banter.

The show though running a bit over 2 hours moved along and kept the audience engaged throughout. However, a few things diminished the overall quality of the production. Firstly and I know this can happen with any show, lines were dropped or were being jumped by the actors. Ordinarily, this isn’t noticeable by most audience members unless they have a theatre background and the show continues as if nothing happened. Unfortunately, however, it occurred a few too many times and though covered well by the cast I could tell it had an effect on them.

The more mistakes that were made the more certain actors tried to cover it up by pushing the comedic line past humorous into the area of overdone leaning towards farce. Secondly, character accents went in and out making it difficult at times to understand what was being said.

That being said there were a few stand out performers who gave a consistent, solid performance. Firstly, was James Koonce as Kenny who was believable throughout offering many witty one-liners. Secondly, was David Giagrando who portrayed Max Prince. His comedic timing was right on the money and he pushed the comedic line without going too far. Other cast members include: Chris Tilden (Lucas), Ed Krasnow (Milt), Stephen Doherty (Val), Brian Hurley (Brian), Jennifer Walsh (Carol), Sarah Wall (Helen), and Paul Antico (Ira).

Overall, this production was a fun night out and the audience clearly enjoyed themselves. One note to the cast is this: don’t try so hard to be funny; you already have a great script that contains ample humor so let it guide your characters.  

‘Laughter on the 23^rd Floor’ plays for 2 more performances this coming weekend Friday November 13^th & Saturday November 14^th both at 8pm. Performances are at 842 Tremont St. (Rte. 3A) Duxbury, MA. For more information and to reserve tickets visit http://www.bayplayers.org/

Review of “I and You” at Merrimack Repertory Theatre (Lowell, MA)

As a theatre –lover and reviewer, I always go into a performance hoping to see something new, something of value, something amazing, but most of all something that will resonate within me. It may be a particular song, an emotional scene, a theme or a connection, but something that will make me want to share this show with everyone around me. Rarely do I find a show that does all of those things and then some! But ladies and gentlemen, I am pleased to say that “I and You” is one of those rare shows. As I walked out of the theatre this past Sunday afternoon I found myself completely at a loss for words. I usually always find something to say that sums up what I just saw, but this time there was silence. That silence is entirely because of the indescribable, mind-blowing brilliance that is “I and You”.

Kayla Ferguson and Reggie D. White. Photo by Meghan Moore

“I and You” is masterfully written by Lauren Gunderson, who, in my opinion, is one of the best writers in the business today.  It tells the story of teenagers, Caroline and Anthony, as they try to fight through their differences to complete a school project on Walt Whitman. As they learn and discover more about the poet that brought them together, themselves and each other, they create an unbreakable bond. They soon discover they have more in common than they realize. This theme is one that drew director Sean Daniels, Merrimack Repertory Theatre’s Artistic Director, to the show in the very beginning.

The cast features Kayla Ferguson, as Caroline, and Reggie D. White, as Anthony. These two engaging actors embody their characters in a way that draws the audience into the story from the moment they walk on stage. From their first amusing interaction to their last intense moments, and everything in between, they were uniquely captivating. It’s no surprise that they will be continuing in the show when it heads to Off-Broadway this winter.

Kayla Ferguson and Reggie D. White. Photo by Meghan Moore

“I and You” shows us that though we may have differences, such as our preferred music choices, we also have a lot in common. It encourages us to understand those around us. This play reminds us to be present with the people we are with. We never know what we might learn when we put down our phones and actually listen to something other than our own thoughts. Like Caroline, we may realize that even with all the barriers we’ve set up and the distance we’ve put between us and everyone else; that there is someone out there that gets us; even our most complicated and emotional self.

This show will make you laugh, but it will also pull on your heartstrings as it brings tears to your eyes. And just when you think you have it all figured out, it will astonish you and take your breath away. At the end of the performance, Sunday’s audience couldn’t stand fast enough to give this show a robust and well-deserved standing ovation. And when you see it, you will too!

I don’t just highly recommend that you see this show; I am telling you, you HAVE to see this show before it heads to Off-Broadway at New York’s 59E59 Theatres in January 2016 where it will feature the same actors, designs and direction as in the Lowell production. “I and You” plays at Merrimack Repertory Theatre until November 1^st. Tickets range from $60-$23. To purchase tickets or find more information check out www.mrt.org or call 978-654-4678.