Review: ‘Mame’ at Stoneham Theatre (Stoneham, MA)

Kathy St. George. Courtesy Stoneham Theatre

This Tony Award-winning Broadway classic centers on the incomparable Mame Dennis, brilliantly played by Kathy St. George, whose carefree life in 1920’s New York City unexpectedly changes when she becomes guardian to her 10-year-old nephew, Patrick. She introduces him to her exciting and unconventional world and together they learn the joy and love that comes from having a family. Wonderfully directed and choreographed by Ilyse Robbins this talented cast brings this fun and heartfelt story to life.

The set, designed by Katheryn Monthei, was black and white with two levels and featured sparkly stars and moon in the background as well as triangular columns that were rotated depending on the scene. Music Director Matthew Stern led the live seven-member band. Sound designer John Stone kept the volume of band well matched with the volume of the vocalists throughout the two and a half hour production.

The opening number, “St. Bridget”, was divinely performed by Ceit Zweil as Agnes Gooch, and Cameron Levesque as Young Patrick Dennis. Both had beautiful vocal tones and their higher notes were lovely to listen to. This number was a solid start to the show and set the barre high for the rest of the performance. The following number, “It’s Today”, showed that the rest of the cast was ready to give the audience a top-notch night of entertainment. “It’s Today” was very upbeat and celebratory and it was clear the cast was having a great time on stage. Their momentum continued with their energetic performance of “Open a New Window Parts I and II”, led by St. George and Levesque.

The choreography in the song “Mame” was especially well performed. It was clean, crisp and fantastically danced by the ensemble who were dressed head to toe in riding outfits. It was certainly one of the best numbers in the show. While everyone was cheerfully singing and dancing, young Patrick was off to the side silently coming to the realization that his Auntie Mame was getting married and thinking that this man was going to take his place. Levesque demonstrated acting skills beyond his years as he silently felt his world crumbling in front of him. His facial expression was full of uncertainty and sadness. As he started singing the act one finale, he was embraced by his Aunt in a way that let him know he would always be the main man in her life.

From the moment St. George stepped on the stage as Mame Dennis in “It’s Today”, she engaged the audience and kept them captivated by her charismatic performance for the rest of the show. Not only does St. George deliver passionate vocals, but incredibly sharp comedic timing and dancing that fully embodied her character. Her witty banter with Vera Charles, played by Mary Callanan, was highly amusing and thoroughly enjoyed by the audience; especially their rendition of “Bosom Buddies” that included tight harmonies and was humorously sarcastic. St. George’s interactions with Levesque are even more wonderful. They were perfectly cast in these roles and their relationship is realistic and genuine. “My Best Girl”, sung by the pair, is so sweet and tender sniffles could be heard from the audience.

Other highlights include a kick line in “We Need a Little Christmas” performed by Mame (St. George), young Patrick (Levesque), Agnes (Zweil) and Tanner (Robert Saoud) that received robust applause from the audience. Callanan’s powerful vocals shined in “The Moon Song”, just as Zweil’s shined in “Gooch’s Song”. Between them and St. George it was clear to see this show wasn’t short on talented female vocalists. Will McGarrahan, as Mr. Burnside, was the quintessential Southern gentlemen. His interactions with St. George were sweet and tenderhearted. St. George’s whole-hearted performance of “If He Walked Into My Life” was powerful and touching. One of the most hilarious moments in the show was when Levesque played bartender for Mr. Babcock (Sean McGuirk) by mixing him up a martini like a pro which generated chuckles and well deserved applause from the audience.

Kathy St. George as Mame is exquisite and her performance is not to be missed. This family-friendly musical is a beautiful reminder of the importance of family, love and a positive outlook on life. © Mame plays at Stoneham Theatre (395 Main Street, Stoneham, MA 02180) until December 23^rd. Tickets range between $20-$55 with discounts for Seniors and Students. For tickets or more information visit www.stonehamtheatre.org or call the Box Office at 781-279-2200.

Review of Boston Ballet's production of Mikko Nissinen's The Nutcracker

Mikko Nissinen’s The Nutcracker World Premiered in 2012 and is back again this year performed by the Boston Ballet Company, Boston Ballet II, and Boston Ballet School Students with approximately 150 dancers involved in each performance. Mikko Nissinen’s production is based on the libretto by Alexandre Dumas père, titled The Tale of the Nutcracker, which is adapted from E.T.A. Hoffmann’s story The Nutcracker and the Mouse King. Set in Germany in the early 1800s, The Nutcracker, is a story of a young girl named Clara, her family’s Christmas Eve party, and the adventure she has when her nutcracker doll comes to life.

                                                                                                            

Conductor Beatrice Jona Affron masterfully led the orchestra through the delightfully familiar music by Peter Ilyich Tchaikovsky. The set and costumes were exquisitely designed by Robert Perdziola and were pleasantly complimented by the lighting, designed by Mikki Kunttu. The detailed sets were all painted by hand and roughly three hundred and fifty costumes were made for this production to accommodate multiple casts. One hundred and eighty-two of those costumes appear on stage in each performance. Each was creatively designed to not only look stunning on stage, but also be fully functional for the dancer wearing it. Meticulously crafted, many costumes feature hand painted patterns and hundreds of jewels.   

Boston Ballet in Mikko Nissinen's The Nutcracker; photo by Liza Voll, courtesy of Boston Ballet

The prologue features Drosselmeier, expressively portrayed by Eris Nezha, putting on a Children’s Theatre performance in the town square. Minutes later the curtain opens to further to reveal the Silberhaus’ home and the Christmas Eve party they are hosting for family and friends. The interactions between siblings Clara (Delia Wada-Gill) and Fritz (Kao Chun) were nicely acted. They and the other children in the party scene were energetic, engaged in the story they were sharing, and demonstrated clean technique. There were a few instances however, where their smiles were not realistic and looked forced as if they were trying really hard to continue smiling throughout the scene. The adult characters, on the other hand, all exhibited more natural and cheery expressions. Drosselmeier brings larger-than-life toys to perform for the party guests and each was thoroughly enjoyed by the audience. Both Harlequin (Irlan Silva) and the Ballerina Doll (Ji Young Chae) were fantastic and their movements were spot on with the music. The audience gasped when the Bear (Lawrence Rines) emerged from his gift box and he quickly become one of their favorite characters.

Boston Ballet in Mikko Nissinen's The Nutcracker; photo by Liza Voll, courtesy of Boston Ballet

As the Christmas tree grows and reveals the life size nutcracker, the amazed audience applauds the wonder before them. It is truly one of the most magical and stunning moments in the show. If the audience wasn’t engaged in the performance before that point, they certainly were now. Overall, the battle scene between the Mouse King, mice, baby mice and the Nutcracker Prince, soldiers, bunny and gingerbread man is amusing and action packed; though it is hard to focus on any particular part because so much is going on at once. The mice sneaking treats was adorable and the small gingerbread man being nibbled on by the baby mice and being saved by the bunny was a very cute interaction receiving chuckles and awes from the audience.

Seo Hye Han and Paul Craig as Snow Queen and King in Mikko Nissinen's The Nutcracker; photo by Liza Voll, courtesy of Boston Ballet

Act one ends with the elegant and enchanting snow scene. The snow sparkled as it fell to the stage and little reindeer pulling a carriage carrying the Snow Queen and King appeared. The Snow Queen was beautifully danced by Seo Hye Han, who was partnered by Paul Craig as the Snow King. Their Pas de Deux was exquisitely magical. Their expressions were blissful and their dancing divine. The snowflakes, as a whole, all had sweet smiles on their faces as they gracefully floated across the stage. They danced completely in sync and were a spectacular end to act one.

Boston Ballet in Mikko Nissinen's The Nutcracker; photo by Liza Voll, courtesy of Boston Ballet

Act two opens in the clouds of the Nutcracker Prince’s Kingdom. The Nutcracker Prince, played by Patrick Yocum, and Clara float into the Kingdom on a cloud and are greeted by the Sugar Plum Fairy and many members of the royal court. The Nutcracker Prince shares with them how Clara aided him in defeating the Mouse King and a special performance ensues to show Clara their gratitude. The first performance is an upbeat Spanish routine danced by Emily Entingh, Kathryn McDonald, Alexander Maryianowski, and Desean Taber. Next is an Arabian number that was supremely danced by Lia Cirio and Lasha Khozashvili. His entrance was incredibly strong and he continued to demonstrate his strength and power in his partner work with Cirio. In one moment they were flying through the air, in the next he was lifting her overhead as she extended her limbs into various positions. Cirio demonstrated exceptional flexibility, control and fluidity throughout. Their performance was easily a favorite of the night.

Lia Cirio & Lasha Khozashvili of Boston Ballet in Mikko Nissinen's The Nutcracker; photo by Liza Voll, courtesy of Boston Ballet

The Chinese number was led by Ji Young Chae and Irlan Silva who nicely executed each jump and turn all while maintaining pleasant expressions. The highlight of Pastorale were the lovable bouncing little sheep who received an audible “awe” upon their entrance. While the trio of Florimond Lorieux, Diana Albrecht, and Maria Alvarez danced wonderfully, these sheep stole the scene for sure. Next up was Mother Ginger (Marcus Romeo) and her children who were an instant crowd pleaser. Romeo was fantastic with expressive facials and great character choices. The exuberant Russian routine led by Isaac Akiba with Mamuka Kikalishvili and Lawrence Rines was bursting with energy and power from start to finish. They consistently soared across the stage with numerous and fast jumps and turns. Akiba, a Boston native, was confident as he strongly executed a turning combination that got the audience cheering. By the end the audience broke out into thunderous applause for this powerful trio making it clear this was another of their favorites.

Boston Ballet's (L to R, foreground) Lawrence Rines, Isaac Akiba, and Mamuka Kikalishvili in Mikko Nissinen's The Nutcracker; photo by Liza Voll, courtesy of Boston Ballet

The gorgeous Waltz of the Flowers followed, led by Lead Flowers Lauren Herfindahl and Addie Tapp and the always graceful Ashely Ellis as the Dew Drop. The trio was lovely together and when joined by the other flowers it was easy to be enrapt in their performance. Their grande développé’s towards the end of the routine were high and executed in perfect unison. Ellis as the Dew Drop was dazzling and not just because of the sparkles in her costume. Her joyful facial expression and the way she glided around the stage with ease made it clear that she truly enjoys dancing and sharing this magical story with the audience.

Ashley Ellis as Dew Drop (in center) and Boston Ballet in Mikko Nissinen's The Nutcracker; photo by Liza Voll, courtesy of Boston Ballet

The Grand Pas de Deux featured Misa Kuranaga as the Sugar Plum Fairy and Patrick Yocum as the Nutcracker Prince. They maintained great eye contact and moved together with perfect musicality. They were graceful with exquisite extensions and impeccably timed lifts. Yocum’s solo was strongly executed with sharp, clean lines and jumps that ascended off the floor. Kuranaga’s solo was flawless. Her footwork was precise and delicately executed. She maintained supreme balance and control and her turns were quick and clean, moving around the stage effortlessly. Their Pas de Deux was breathtaking and received roaring applause. The audience clearly loved this pair.

The finale was energetic and brought all the characters bursting back onto the stage including the strong Arabians with perfect double attitude jumps, the powerful Russian trio and the beautiful Dew Drop and Flowers. Overall, this performance was a glittering, majestic production full of holiday magic. This family-friendly holiday masterpiece is not to be missed and will certainly give you memories that will last for years to come. © Boston Ballet’s The Nutcracker performs all 43 performances at the Boston Opera House (539 Washington St, Boston, MA 02111) from November 25^th through December 31^st. Tickets and more information can be found at www.bostonballet.org or by calling the Box Office at 617-695-6955.

West Side Story at North Shore Music Theatre (Beverly, MA)

West Side Story was originally conceived, directed and choreographed by Jerome Robbins for the Broadway stage back in 1958. It is a modernized version of Shakespeare’s Romeo and Juliet with book by Arthur Laurents, music by Leonard Bernstein and lyrics by Stephen Sondheim.

This production is led by husband and wife director and choreographer team Bob Richard and Diane Laurenson. Music director Milton Granger conducts the wonderful sixteen member orchestra, whose beautiful playing of the well-known score is truly a highlight of this production.

Robbins’ original choreography was adequately performed by the cast, but often seemed cramped on the circular stage. The formation and spacing adjustments may have been to blame when it came to the synchronization and timing of some of the numbers; notably the dance-break in “Cool”.  However, the dancers’ skill and their high energy made “Dance at the Gym” and “America” instant audience favorites. “America” was fiercely led by Anita, played by Michelle Alves, who shined not only as a strong dancer, but vocalist throughout the production.

Tony, played by Bronson Norris Murphy, executed smooth and controlled vocals in both “Something’s Coming” and “Maria”; though, at times, he was drowned out by the orchestra. Murphy’s portrayal of Tony came across as low key and passive which made it difficult to believe that Tony was ever the leader of the Jets gang. Evy Ortiz as Maria, however, was youthfully in love and completely believable. Her heartbreak and anger in the finale was genuine and palpable, pulling on the heartstrings of the audience. Their duets: “Tonight”, “One Hand, One Heart”, and “Somewhere Ballet”, were sweetly and beautifully sung by the pair whose classically trained voices were perfectly matched and a delight to listen to.

Bronson Norris Murphy (Tony) and Evy Ortiz (Maria) in WEST SIDE STORY. Photo©Paul Lyden

The most emotionally driven performance was the duet between Anita (Alves) and Maria (Ortiz) in act two: “A Boy Like That/I Have a Love”. The pair was connected and wore their hearts on their sleeves in this riveting and powerful number. Interestingly, while the Jets delivered concrete vocals in the “Jet Song”, “Cool” and “Gee, Officer Krupke”, the humorous lyrics in the later failed to land with the audience. NSMT audience favorite, David Coffee, delivered a notable performance as Doc, an older shopkeeper who was often trying to talk sense to the younger generation.

The finale is one of the most tense and emotionally powerful scenes in the show, however at this performance, the audience seemed caught off guard and nervously laughed when the gun was shot, immediately breaking the tense mood and causing the dramatic ending to fall flat. One has to wonder if there was a “gunshot notification” posted on the theatre doors that the entire audience missed. This production lacked character and emotional depth; the racial strife and intolerance, at the core of the story, was not believably conveyed. The audience seemed unengaged at times as their reaction to the action on stage was noticeably minimal. ©   

West Side Story runs about 2 hours and 20 minutes including intermission and plays Tuesdays-Sundays through November 20th. Tickets range from $54-$79 with group rates available for groups 10 or more. The show contains violence and adult language; it may not be suitable for all audiences. For tickets or more information visit www.nsmt.org , call 978-232-7200 or visit the box office in person at 62 Dunham Rd. Beverly, MA.