Cabaret at the Winnipesaukee Playhouse (Meredith, NH)

Mallory Newbrough as Sally Bowles. Courtesy The Winnipesaukee Playhouse

Cabaret features music by John Kander, lyrics by Fred Ebb and book by Joe Masteroff. It is based on the play I am a Camera by John Van Druten and Christopher Isherwood’s The Berlin Stories. It opened on Broadway in 1966, and many may recall seeing the 1972 film version with Liza Minnelli and Joel Gray that was directed by the great Bob Fosse. This production, however, is quite different from the film according to director Clayton Phillips who was inspired by the 1998 revival production. It still tells the story of Sally Bowles, Clifford Bradshaw, The Kit Kat Klub, and the various people of Berlin in 1931, but with a fresh perspective that invites the audience to not just enjoy the performance, but really listen and think about the story being told.

Sally Bowles is a nightclub singer who meets Clifford Bradshaw, an American writer from Pennsylvania, at The Kit Kat Klub on New Year’s Eve. Romance sparks between them and it’s not long until they are planning a future together. Another romance between the owner of the boarding house where Cliff and Sally live, Frӓulein Schneider, and another tenant Herr Schultz also begins. From beginning to end the Master of Ceremonies (Emcee) guides the audience along and gives them insight to stories unfolding. While there is plenty of dancing, singing and merriment in this musical, the historically based story, at its core, is much less joyous and reminds us of the tragic past.

The musical takes place in The Kit Kat Klub that features two iron sets of stairs on either side of the thrust stage that lead to the upper level where the band is seated and a lit Cabaret sign is hung. Upstage, under the upper platform, there are three doors across a tracked wall. The set design by Melissa Shakun along with lighting design by Graham Edmondson, sound design by Thom Beaulieu and costume design by Daneé Rose Grillo all blended seamlessly together to create the world of the show. The creative team, that also included director Clayton Phillips, music director Judy Hayward, and choreographer Bryan Knowlton, did a fantastic job of bringing this entertaining and reflective show to life.

Cast of Cabaret. Courtesy The Winnipesaukee Playhouse

A major highlight of this production was the choreography by Bryan Knowlton. It was fantastically danced by the cast; especially the Emcee (Michael Luongo) and Kit Kat girls and boys including: Rebecca Tucker, Kelsey Andrae, Monica Rodrigues, Irene Schultz, Kristin Guerin, Leigh Martha Klinger, John-Michael Breen, Sean Burns, Wayne Shuker, and Nicholas Berke. From the cast’s behavior in the pre-show stretching, the audience could tell this show was going to be very risqué. The movement was stylistically Jazz, with flourishes of Fosse. It was sharp, provocative and very well executed. “Willkommen” as performed by the Emcee and Kit Kat boys and girls was characteristically performed: in that each person danced as their character and not necessarily as a dancer in a musical. They each had their own personality in their movement and showed various emotions as if it was just another night at the club. Some were happy to be there making money, while others didn’t want to be there or were tired. It made the performance more interesting to watch. The classic “Money” song, later in act one, was superbly done. In the show it occurs right after Cliff has agreed to make a trip to Paris for Ernst for which he will be well paid. I loved that the briefcase he was to use for this trip was the focus of the Emcee and dancers, who were dressed in skirts, bows and bowties made of money. It tied the storyline and this number together in a way I’ve never seen done before.

Michael Luongo.Courtesy The Winnipesaukee Playhouse

Michael Luongo delivered an outstanding performance as the Master of Ceremonies (Emcee). He was engaging, humorous and charismatic. He made solid and consistent character choices and sang strongly throughout. His rendition of “I Don’t Care Much” was heartfelt and beautifully done. He is easily one of the best Emcee’s I have seen. Sally Bowles was incredibly played by Mallory Newbrough. Her English accent was steady, she made great character choices, and had wonderful facial expressions. Her vocals were beautiful both in her rich lower range and light higher range. When she belted her heart out in “Cabaret” in act two the audience erupted in applause. It was emotionally raw as if she was saving some of her power for that number and it certainly paid off. Clifford Bradshaw was nicely played by Phil Sloves. His young face suited his character well, as Cliff was at times naïve. Cliff’s journey from a young man seeing the world, to a grown man with morals and firm beliefs was clear in Sloves’ portrayal. His chemistry with Newbrough was sweet and believable. Frӓulein Schneider, as played by Sebastian Ryder was soft and sweet, but also strong. She was not one to let her emotions show, especially in front of Herr Schultz, played by Fred Frabotta. The pair was lovingly affectionate towards each other. They played the relationship tenderly and playfully; particularly in “It Couldn’t Please Me More”. Playhouse favorite Rebecca Tucker, who also played Kit Kat girl Fritzie, portrayed the fierce and sometimes spiteful Frӓulein Kost, a tenant in Frӓulein Schneider’s home. She beautifully sang a section of “Married” in German that was clear and nicely accented. It made watching Schneider and Schultz dance together even more sweet. Ernst Ludwig, as played by Jason Plourde, was kind and seemingly a good friend to Clifford. That is until his political associations are made apparent and he tried to force his beliefs on others at the end of act one. Plourde’s acting was strong throughout. He even shared his commanding voice in “Tomorrow Belongs to Me”. 

The emotional mood and overall tone of the show changes quickly at the end of act one and the cast made this change clear as they moved through the darker act two. Tensions were heightened, emotions were heavier and lines were sharper. Everyone was more on edge as the realization of the Nazi’s power and reach sunk in and it became apparent that even at the Kit Kat Klub they were in danger. The final moments of the show were simplistic, yet powerful, leaving the audience in awe as they applauded this talented cast. ©

 

Due to the explicit and mature content of this musical, it is a show best appreciated by adults. So find yourself a babysitter, gather your friends and go see this exciting, emotional, and powerful production. Cabaret plays at the Winnipesaukee Playhouse until September 3^rd.  For additional information and tickets to Cabaret visit www.winnipesaukeeplayhouse.org.

Cymbeline by Brown Box Theatre Project

Brown Box Theatre Project is performing its Sixth Annual Free Shakespeare Tour with William Shakespeare’s tragedy Cymbeline. This production is being performed in various locations on the East Coast throughout August and September in the hope of sharing Shakespeare’s work with those who ordinarily may not get to see live theatre. It is a story about love, loss, family, and honor. Cymbeline is the King of Britain whose sons were taken from him when they were infants leaving Cymbeline with only a daughter, Imogen, as heir to his throne. His second wife conspires to wed her son, Cloten, to Imogen in order to gain control of the throne. Imogen is already secretly wed to Posthumus, a young man her father does not fully approve of. Imogen despises Cloten and wants nothing to do with him. When the marriage of Imogen and Posthumus is discovered by the King, Imogen is imprisoned and Posthumus is banished and must flee to Italy to save his life. Imogen, not wanting to endure Cloten’s advances any longer and afraid she has lost her husband, disguises herself as a boy to escape the country, with help from Posthumus’ servant Pisanio, and finds comfort and company amongst new friends. This story is a tragedy, and has its fair share of sword-fighting, battles and death, yet the play ends happily for most of its characters.

Although this play is performed outdoors, the creative team did a nice job of using modern technology to aid in its telling. The cast wore wireless microphones that fed into a few speakers on either side of the performance area. Original music and sound design by Andrew Paul Jackson also played through the speakers, but at times the volume over powered the lines being spoken. Occasionally, gusts of wind would be picked up by the microphones but that can’t be helped being outdoors. The lighting design by Joey Guthman was simple, using a dozen or so lights, but they were very effective in setting an eerie tone and projecting just enough light for the actors and set to be seen. The set was made of wood and featured various levels for the action to take place including the bare ground in front of it. Creative staging by director Kyler Taustin fully utilized the set and the outdoor space.

The cast of twelve each portrayed their character with various degrees of understanding, charisma, emotional depth and strength. As a whole, they had wonderful chemistry with one another and did a nice job making the story understandable for the audience. The cast includes Isa Braun as the conniving Queen, Kai Tshikosi as King Cymbeline, Jamie Davenport as Imogen’s servant Helene, and Sydney Lynn Stachyra as Roman Ambassador to Britain Caius Lucius. Cymbeline’s daughter Imogen was dynamically played by Austyn Davis who wonderfully displayed both the strength and vulnerability of her character. She was able to fervently dismiss advances from Cloten and Iachimo and later, in her grief-stricken state, beg Pisanio to kill her. Her love, Posthumus, was played by Felix Teich who was convincingly heartbroken by news he receives from Iachimo that his wife has been unfaithful to him. His sadness quickly turns to anger when he orders Pisanio to kill her; a request he later regrets. Teich and Davis, though they spent much of the play apart, had a believable connection that had the audience rooting for their marriage to survive the chaos that surrounded it. Pisanio, who was at times conflicted about his loyalties to Imogen and Posthumus, was strongly portrayed by Will Madden. Even when he was held at knife point and forced to serve Cloten, Pisanio’s loyalties to Imogen and Posthumus held fast. Pisanio was a man who undoubtedly wanted to do what was right and Madden clearly portrayed this quality in his performance.   

Cymbeline’s long-lost sons were played by Ben Heath as Guiderius and Marc Pierre as Arviragus. They were believable as brothers as they were both playful and protective of each other. Belarius, the British nobleman who was banished by Cymbeline and who kidnapped the King’s infant sons, was portrayed Cameron Scott. Scott played Belarius as a fierce leader, hunter and protector. His strong, deep voice fit his character well. Cloten, as played by James Wechsler, was full of himself and his only power was that he was good with his sword. He used this power to intimidate and control others. Wechsler’s characterizations were fantastic and completely unexpected. He was at times amusing, for instance as in his early morning wake-up song that he sang for Imogen, while at other times he came across as a terrible person and very sleazy. Ben Heath and Marc Pierre, who also performed as Cloten’s servants, had comical facial expressions during his early morning song to Imogen and their musical accompaniment was nicely done. Chris Olmsted as Iachimo delivered a remarkable performance with intelligent choices and characterizations.  He clearly understands the text as if Shakespeare was his first language. Notably in act one, Iachimo says, “I am the master of my speeches” and I think the statement applies not only to Iachimo but Olmsted himself. He was suave and charming as he tried to woo Imogen and quick on his feet playing it off as a misunderstanding when she turned him down.

Highlights of the performance were the quick swordplay and fight choreography by Ben Heath. The swordfight between Heath and Wechsler was very well done and the full cast battles were exciting to watch. Another highlight is the original music by Andrew Paul Jackson for “Fear no more the heat o’ the sun” that featured three part harmony performed by Pierre, Heath and Scott during the burial scene in act four. The new tune was haunting and dark and fit well with Shakespeare’s lyrics. ©

Cymbeline is being performed at a variety of locations in and around Boston through August 28^th and then plays at a number of locations in Delmarva September 2^nd -18^th.  The play runs 2 hours with no intermission. These are free performances with donations always welcome. For more information, specific performance locations and times visit www.brownboxtheatre.org. 

Regional Premiere of The Mountaintop at Chester Theatre Company (Chester, MA)

The Regional Premiere of The Mountaintop written by Katori Hall tells a story of one night in the life of Dr. Martin Luther King Jr.. It features two actors who tell the playwright’s captivating story. Jordan Mahome, as Martin Luther King Jr., and Shelley Fort as Camae, over the course of one evening, come to fully realize the societal impact Dr. King has accomplished, yet at the same time realize he is only one man and he can’t carry the baton of social change alone. He will soon need to pass it off to the next person who will carry on his mission.

Both Mahome and Fort were strong in their rolls and fully captured their character’s spirits. Mahome, as Dr. King, spoke with clarity and conviction. He realistically displayed a range of emotion that made it easy for the audience to sympathize with him, his struggles, his hopes and his fears. Fort, as Camae, a maid hiding her true identity, was contrary to the poised Dr. King. She was straightforward, sharp of tongue and quick-witted while at times also showing a softer, gentler side. They had a great chemistry that made their dialogue seem fluid and free. It was easy for the audience to become enthralled with this drama. When the story took an unexpected turn, the audience shifted in their seats and was more intently drawn into the play. From that moment it seemed as though the pace quickened and the story unfolded faster. By the time the last five minutes came around, the audience was captivated on the edge of their seats. When the lights went down it didn’t take long for them to stand to their feet and applaud the superb performance they had just seen. 

Jordan Mahome and Shelley Fort. Photo courtesy Chester Theatre Company.

Director Colette Robert and the design team that includes Travis George (scenic), Lara Dubin (lighting), Tom Shread (sound) and Heather Crocker Aulenback (costume) created a world that was neatly tied together by each technical element. From the use of sound to create a thunderstorm to a machine that dropped snow to a backdrop that historic film clips were projected on; each played a role in making this story realistic and intriguing for the audience.

The Mountaintop is a provocative and thought provoking play that is sure to spark conversations amongst its audience members. It is best viewed by a mature audience due to language and mature content. © It runs about 90 minutes with no intermission and plays until August 28^th at the historic Town Hall, 15 Middlefield Road in Chester, MA. Show times are 8:00pm on Wednesdays, Thursdays and Saturdays, and 2pm on Thursdays, Fridays and Sundays. Ticket prices are $37.50 for general audiences and $10.00 for students and residents of Chester. For tickets or more information visit www.chestertheatre.org.

The Ladies Man at Peterborough Players (Peterborough, NH)

Written and directed by Charles Morey this farce entitled: The Ladies Man, is based on the many plays written by French playwright Georges Feydeau in the late 19^th and early 20^th centuries. It combines the classic elements of mistaken identities, misinformation, and misunderstandings with many slamming doors; actively inviting the audience to laugh at the misfortunes of the characters while relating to some of the relationships portrayed. Although the audience laughed aloud and seemed to enjoy this production, reminiscent of the Marx Brothers, for me it did not meet the higher quality of other shows performed this season.   

Karron Graves and Anderson Matthews. Courtesy Peterborough Players.

The story revolves around the mature Dr. Hercule Molineaux (Anderson Matthews), the small lie he tells his young wife Yvonne (Karron Graves), after staying out all night and the chaos that ensues when the lie erupts out of control. The cast also features David Breitbarth as Dr. Molineaux’s long time valet Etienne, Susan Riley Stevens as the new house maid Marie, Kraig Swartz as Bassinet, a patient with a severe lisp and Dale Hodges as Yvonne’s domineering mother, Madame Aigreville. Kate Hampton played another patient, Suzanne Aubin, who has in mind an affair with the good doctor, and Tom Frey played her Prussian Soldier husband Gustav Aubin. This energetic cast embraced the over the top comedy within their dialogue and actions. The doctor is a sympathetic character who somehow seemed to continually find himself in a compromising position either physically or verbally. His situation was not helped by his patient Bassinet who was always around to add to the confusion. Both Matthews and Swartz excelled in these roles to the delight of the audience. While the show was meant to be a farce there were a few confusing points:  the show takes place in Paris and therefore, with the exception of the Prussian Gustav Aubin, it would be assumed that the rest of the characters would all have French accents. However, this was not the case as only Etienne consistently had a French accent while the others sounded British with a few French flourishes. Secondly, Frey, as the Prussian Officer, had a German accent that was so thick; most of what he said could not be clearly understood. It is unsure to the viewer if this was purposefully done to increase the comedy of the play or if it just happened to occur.

The set, designed by Harry Feiner, featured five doors that were excessively used throughout the production as characters entered, exited and slammed them in each other’s faces. The first act and end of the second act takes place in the home office of Dr. Molineaux, while the start of the second act takes place in a dress shop. The set transition in act two going from the dress shop to the office was jumbled and lengthy. The actors themselves, in addition to the stage hands, converted the space in what appeared to be a confusing bridge of one scene to the next. Overall, the show does contain many amusing, farcical elements and double entendres which the mature audience seemed to enjoy. ©

The Ladies Man plays on the Peterborough Players stage, 55 Hadley Road, Peterborough, NH, until August 28th. For tickets call the box office at 603-924-7585 or check out www.PeterboroughPlayers.org