A fresh take on the holiday classic ‘A Christmas Carol’ now plays at Merrimack Repertory Theatre

‘A Christmas Carol’ was written by Charles Dickens in 1843 and has since become a holiday classic. It tells the story of Ebenezer Scrooge who is visited by three ghosts on Christmas Eve who remind him of his past, guide him through his present and show him his potential future. By the end of these visits, Scrooge finds himself permanently changed and vows to be a better man to those around him and keep the Spirit of Christmas alive all year long.

Over the years this story has been adapted into films, stage productions and more. Each year families will gather together to take in a production of this story, be it a film like ‘A Muppet Christmas Carol’ or a lavish stage production performed by a local theatre company. What makes MRT’s production stand-out amongst the rest is its simplistic approach to sharing this story as Charles Dickens himself would have shared it and allowing the audience the opportunity to focus on its message of hope, redemption, compassion and love. 

Adapted by Tony Brown, this version gives us the story as told by author Charles Dickens in a similar fashion to how Dickens himself did public readings of the novella over the last eighteen years of his life before passing in 1870. What enriches this minimalistic production further is the performance of traditional carols by two musicians throughout. The choice by the creative team, led by director Megan Sandberg-Zakian, to include music in the telling of this well-known story was an inspired decision that I believe truly enhanced the performance. Music director Nathan Leigh selected songs that were around when Dickens was writing the story and was careful to include the lyrics of the time and not the revised versions that were written years later. So while the tunes were oftentimes familiar to audience members, many might not have noticed the lyrical differences which added another level of authenticity to this production. 

Rebecca White & Joel Colodner. Photo by Meghan Moore.

Taking on the role of Charles Dickens and wonderfully bringing life to characters of this story, including the wealthy but tightfisted Ebenezer Scrooge, is stage veteran Joel Colodner. With his rich voice and charming persona, he grabs the audience’s attention within moments of stepping on stage and for the next two hours had us amused and chuckling one minute and pondering our own lives the next. His invested, emotional portrayal of Scrooge humanized a character who oftentimes can be viewed as just a cranky, stingy old man. Colodner brought new life to him and gave the audience a fresh perspective of this old story. 

Also on stage were Rebecca White, one of the musicians who also portrayed the three ghosts, as well as Nathan Leigh the second musician and music director whose instrument selections for the carols were ingenious and completely fit within the story. Having seen this play performed with these two fantastic musicians, it makes me wonder if I would have liked it as much without them. And honestly, I don’t think the play would have had the same impact on the audience as it does with the added musicians.  

The technical elements of this production nicely matched the tone of the play and made the audience feel as though we may be sitting in someone’s living room hearing this story told to us and singing carols during a holiday gathering. The scenic design was by Randall Parsons with lighting design by Devorah Kengmana. The costumes were designed by Miranda Kau Giurleo.

This production is unique from any other I have seen and it was refreshingly enjoyed by the audience who gave it a well-deserved standing ovation. © ‘A Christmas Carol’ plays at Merrimack Repertory Theatre, located at 50 East Merrimack Street Lowell, MA, until December 24^th, 2017.  Tickets range from $73-$26 with discounts available for groups, students, seniors, Lowell residents, and military service members. To purchase tickets or find more information visit www.mrt.org or call 978-654-4678.

Review: A Mesmerizing Production of ‘Silent Sky’ now plays at Merrimack Repertory Theatre (Lowell, MA)

Victoria Grace and Alexis Bronkovic. Photo by Meghan Moore

Having thoroughly enjoyed other works by writer Lauren Gunderson, including MRT’s production of ‘I and You’ in their 2015-2016 season, ‘Silent Sky’ was high on my list of plays to see this fall. Creatively directed by Sean Daniels, the play is based on the life and work of Harvard astronomer Henrietta Leavitt, who yearned to do, learn and discover more than the men she worked for were accustomed to allowing women to do. In developing the techniques that led to the first discovery of galaxies beyond our own, she learns just how much strength, determination and passion she is capable of and surprises everyone around her.

When I walked into the theatre, I was awestruck by the impeccably detailed and elaborate scenic design. I couldn’t stop staring and taking it all in as I awaited the start of the performance. Scenic designer James J. Fenton, along with lighting designer Brian J. Lilienthal, created a magnificent place in which the characters would soon come to life. As I scanned the theatre I noticed dozens of various shaped lights that encircled not only the stage, but extended out above the heads of the audience. While I assumed, based on the subject of the play, that these lights would represent the sky and stars in some way, I was curious to see exactly how and when they would be illuminated. Trust me when I say, that moment is one of the most spectacularly crafted moments of the show. 

The first act flew by as the audience became fully engulfed in story being told by the charismatic five member cast. Marvelously lead by Alexis Bronkovic, as Astronomer Henrietta Leavitt, they transported us back to the early 1900’s, just as the women’s rights movement was ramping up and traditional gender roles where being challenged. Bronkovic is joined by Julia Brothers as Williamina Fleming, Tom Coiner as Peter Shaw, Victoria Grace as Margaret Leavitt and Polly Lee as Annie Cannon. The chemistry and camaraderie amongst this cast made their characters and their performances even more believable and enjoyable. The playful and affectionate relationship between sisters Henrietta and Margaret, Bronkovic and Grace, was portrayed just right. It was easy to accept them as adoring sisters. Bronkovic, Brothers, and Lee were spirited in many of their interactions as Henrietta, Williamina and Annie. Though at times they squabbled back and forth, there were also many amusing comments made and loving moments shared throughout their scenes together. Coiner as Peter, supervisor to Henrietta, played his awkward yet flirtatious scenes with her in a way that was endearing and had the audience hoping the pair would end up together. These five actors portrayed their characters with truth, conviction, raw emotion and clear passion. 

The second act brought changes in relationships, the increasing presence of the women’s fight for a vote and equal rights, as well as important and life changing discoveries. It further solidified for the audience the strength of the women in this play and their determination to make progress not only in the field of astronomy and science, but for their gender and for future generations of women. It was inspiring to witness. As the play reached its climax and began to conclude sniffles could be heard throughout the theatre, and tissues could be seen dabbing eyes as many in the audience wiped away tears. 

Though the story is based in the scientific world, the writing is full of honest humor and relatable characters. It is a story full of discovery, laughter and heart. This production is stunning from start to finish and I highly recommend seeing it. It is overall, one of the most beautiful productions I have ever seen. ©

Julia Brothers, Polly Lee, Alexis Bronkovic, Victoria Grace, and Tom Coiner. Photo by Meghan Moore

‘Silent Sky’ plays at Merrimack Repertory Theatre, located at 50 East Merrimack Street Lowell, MA, until November 12^th, 2017.  Tickets range from $73-$26 with discounts available for groups, students, seniors, Lowell residents, and military service members. To purchase tickets or find more information visit www.mrt.org or call 978-654-4678.

Review: Merrimack Repertory Theatre’s production of “The Royale” is no doubt a knock out! (Lowell, MA)

Toran White, Mark W. Soucy, and Thomas Silcott. Photo by Meghan Moore.

Merrimack Repertory Theatre sets the bar extremely high for their 39^th Season with the New England Premiere of the award-winning boxing drama “The Royale”. The play, written by Marco Ramirez, is inspired by the life of Jack Johnson, the first black man to fight for the title of World Heavyweight Champion. First premiering in 2013, this play won numerous awards including Obie and Drama Desk with an Off-Broadway run at Lincoln Center. MRT’s production is smartly staged and directed by the company’s Director in Residence Megan Sandberg-Zakian. 

When I walked into the theatre on opening weekend, I was not sure what to expect from a drama concentrated around the sport of boxing. I was intrigued for sure; as I am sure many in the audience were as well. As the play began and the first “fight” started at the sound of the bell, I was amazed at the decision to have the actors fight towards the audience rather than toss fake punches at each other. The lines we hear are the thoughts going through their heads as they give and receive hit after hit. The choreographed theatricality of their boxing and the focus on rhythm and timing was marvelous to watch. From the first round, I was hooked.

The cast features five incredible actors all making their MRT debut in this production. Jay, whose character is based on Jack Johnson, is passionately and intuitively performed by Thomas Silcott. He portrayed his character’s many layers with conviction and laser focus. With every scene we saw a different side of Jay and we began to understand his motivations. His friend and trainer, Wynton, was played by Jeorge Bennett Watson. He easily reminded me of a real boxing trainer with his commitment to the sport and to his star athlete. Fish, Jay’s opponent turned sparring partner, was strongly portrayed by Toran White. He played the younger boxer with fresh, optimistic energy. During his first match with Jay, White’s facial expressions and his delivery of his character’s inner thoughts and feelings were perfectly timed. The chemistry between Silcott and White was fantastic and the rivalry turned friendship they portrayed as their characters was very easy to believe. Max, Jay’s booking agent and announcer, was played by Mark W. Soucy. His character’s relationship and interactions with Jay, Wynton and Fish, received numerous audience chuckles at times, yet in other moments, got us thinking about the reality of social norms in the early 1900’s and how blacks and whites were very much segregated and seen as unequal. Lastly, the sole female in the show, playing Nina, Jay’s sister, was Ramona Lisa Alexander. Though her scenes with Jay came late in the show, her performance was nothing short of powerful and deeply emotional. Alexander and Silcott were believable and showed a strong bond as brother and sister. Their final scene had the audience fully captivated and I dare say there were few dry eyes in the house. This cast as a whole was exceptionally strong and in sync. 

While I thoroughly enjoyed the performances by the cast, the technical aspects of this production were also very impressive. The scenic design by Lawrence Moten was detailed, but sparse with a raised platform that served as the boxing ring and a punching bag hanging from above. Karen Perlow’s lighting design played off the set nicely. Her use of special spot lights that focused on the boxers in the ring showcased the performers and the creative way they brought their matches to life. The intricate sound design was created by David Remedios and the costumes were designed by Miranda Kau Giurleo. The fight choreography was designed by Kyle Vincent Terry. 

Both the technical and performance elements of this play were impeccably well done. Though I didn’t go into the show with expectations, I found myself completely blown away by what I had witnessed. And I am sure I wasn’t the only one based on how quickly the audience stood for a robust and lengthy ovation at the close of the performance. This production is a must see this fall and I believe it to be one of the best plays of 2017! © 

This 80-minute production runs with no intermission. “The Royale” plays at Merrimack Repertory Theatre, located at 50 East Merrimack Street Lowell, MA, until October 8^th, 2017.  Tickets range from $73-$26 with discounts available for groups, students, seniors, Lowell residents, and military service members. To purchase tickets or find more information visit www.mrt.org or call 978-654-4678.

Review: ‘The Man Who Shot Liberty Valance’ at The Winnipesaukee Playhouse (Meredith, NH)

Courtesy The Winnipesaukee Playhouse

The Winnipesaukee Playhouse ends their summer season with the classic western ‘The Man Who Shot Liberty Valance’. The play, written by Jethro Compton, is based on the short story by Dorothy M. Johnson. It has less in common with the popular western film of the same name that stared John Wayne, so don’t come to the theater expecting to see the film version play out on stage. This version is darker and grittier than many of the Hollywood Westerns audience members may be used to seeing. It is the tale of one educated man’s journey west and how he inadvertently becomes the hero of a small town called Twotrees. After surviving a difficult situation and facing impossible odds, he becomes the subject of a legend that changes his future and his life in ways he never expected.

Robert Vaughn, who recorded the narration for the English production of this script, is featured as the voice of the narrator in this production. His voice opens the show as the cast slowly makes their way onto the stage. The Prologue somberly began with the eight person cast singing in harmony, a bluesy feeling hymn accompanied by a single acoustic guitar, played by Nicholas Wilder. As they sang, they looked sadly towards the wooden box holding their friend and cowboy Bert Barricune. These first few minutes were some of the strongest in the show. What followed however, was a performance lacking in energy, urgency and at many times compelling believability.

Directed by Matt Cahoon, the play features many familiar faces as well as some new ones. Marshall Taylor Thurman takes on the role of New Yorker Ransome Foster, who, after a dangerous encounter with Liberty Valance (Nicholas Wilder), is rescued by Bert Barricune, played by Samuel Shurtleff. Foster is brought to Truetrees (circa 1890) where he meets saloon owner Hallie Jackson, played by Shanel Sparr, and her best friend Jim Mosten, played by Jabari Matthew. Rounding out the cast are Jason Plourde as Jake Dowitt/ Marshal Johnson and Andrew Burke as the Deputy.

The saloon set was designed by Andrew Stuart with assistance from Claire Beck. The costumes were designed by Lori McGinley with Hallie’s gown specially designed by Kat Middleton. Lighting was designed by Thom Beaulieu and sound was designed by Neil Pankhurst.

Running at just over two and a half hours including intermission makes this play one of the longest I have seen this summer season, and unfortunately it felt that long. The pace dragged at many points during the performance partially because of the writing and partially because of the multiple line flubs committed by the cast. However, these things did not keep most of the audience from laughing, applauding and overall enjoying the performance. ©

‘The Man Who Shot Liberty Valance’ plays at the Winnipesaukee Playhouse until September 9^th. Performances are Mondays through Saturdays at 7:30pm with a matinee on September 4^th at 2pm. Tickets range from $20-$34. For additional information and tickets visit www.winnipesaukeeplayhouse.org

Special Events from the Education Department: 

Wednesday, September 6th - Talk-back
Following the performance, you’re invited for an informal discussion with the cast and creative team.

Review: ‘Round and Round the Garden’ at The Winnipesaukee Playhouse (Meredith, NH)

Courtesy The Winnipesaukee Playhouse

‘Round and Round the Garden’ is the final play in The Norman Conquests Trilogy written by Alan Ayckbourn. The first, ‘Table Manners’, was performed at the Winnipesaukee Playhouse during the summer of 2015, and the second play, ‘Living Together, was performed there in the summer of 2016. Artistic Director Neil Pankhurst, director of all three plays, set out to bring the trilogy to Playhouse audiences over the course of three consecutive summer seasons.

While each play stands on its own, they all take place at a country house in West Sussex, England, era 1974, and revolve around six characters and their feisty, flirty, and funny interactions one summer weekend. Each play takes place in a different area of the estate: one: the dining room, two: the living room and three: the garden. They even have overlapping scenes, where an exit in one play corresponds to an entrance in another. While the characters are the same and the plot of Norman conquering and confusing the females is same, each of the characters is showcased differently in each of the three plays. That being said, while I have seen each play and have enjoyed them all, there were a number of audience members who had not seen the previous two productions and they had no problem following the story and it was clear by their response they very much enjoyed this play.

The Cast of Round and Round the Garden. Courtesy The Winnipesaukee Playhouse

As I mentioned, this play focuses on six characters, three of them grown-up siblings who bicker as if they were still children, and their significant others who contribute quite a bit to the squabbling and chaos. Annie, played by Shanel Sparr, lives in the family home and cares for her elderly mother. Sparr, who was new to the role this season, was likable and fit in nicely with the other cast members, all of whom were reprising their roles. Annie’s older brother is Reg, played by Richard Brundage, who is married to the uptight and harsh Sarah, played by Molly Parker Myers. This pair with all their snippiness and back and forth is very amusing and believably portray the married couple. Annie’s older sister is Ruth, played by Suzanne Kimball, who is married to Norman, a mischievous man who feigns his innocence, while manipulating everyone around him. Norman was outstandingly performed once again by Nicholas Wilder. Add in Annie’s sort-of boyfriend Tom, played by Jason Plourde, and these six personalities and temperaments clash and make for a very entertaining play. Kimball, was funny as Ruth and I enjoyed her scenes with the sweet but slow-to-catch-on Tom (Plourde). They played off each other wonderfully. Their dialogue was well timed with pauses for their characters’ awkwardness and confusion. I really enjoyed their interactions in this play; which added more to their characters and to the story overall than I what I had observed in the previous plays.  Wilder, as Norman, has gotten stronger and funnier every time he has stepped back into this role. In each part of the trilogy, he has displayed charisma, perfect comedic timing, and great chemistry with his fellow actors. He is absolutely outstanding and I think this is one of his best roles at the Playhouse in his many years performing there. 

The detailed and very pretty garden set was designed by Meredith Brown, who also did the set design for the previous plays in the trilogy. The lighting design was by Becky Marsh, assisted by Beth Marsh. The costumes were by Daneé Rose Grillo and the sound was designed by Neil Pankhurst. This is a delightful comedy full of family drama, witty dialogue, playful flirtations and a top notch cast. It is a great play in which to escape, to relax and laugh for a few hours at the zany dysfunction of a family that isn’t your own. ©

‘Round and Round the Garden’ plays at the Winnipesaukee Playhouse until August 26th with performances Mondays through Saturdays at 7:30pm and a 2pm Matinee on August 21^st. There are no Sunday performances. Tickets range from $20-$34 and are selling quickly. For additional information and tickets visit www.winnipesaukeeplayhouse.org.

Special Events from the Education Department: 

Tuesday, August 22nd 6-6:45pm - Symposium: “The English Garden: Techniques and Philosophies”. Presented by Neil Pankhurst, Artistic Director 

Wednesday, August 23rd - Talk-back: Following the performance, you’re invited for an informal discussion with the cast and creative team.

Review: Shakespeare & Company presents a delightful production of ‘The Tempest’ in their new outdoor theatre (Lenox, MA)

Courtesy Shakespeare & Company

Shakespeare and Company presents William Shakespeare’s ‘The Tempest’ in their new outdoor Roman Garden Theatre, located in the Shakespeare Garden adjacent to the Tina Packer Playhouse. Directed by Allyn Burrows, the Company’s newly appointed Artistic Director, it is the story of Prospero, a betrayed duke and magician, who is fixated on justice and revenge until he sees, through his daughter, the power of love and forgiveness. This play touches on many themes including envy, betrayal, redemption, forgiveness, freedom and love. Shakespeare’s writing beautifully encompasses the human spirit and the resiliency and ever-changing emotional and mental states of his characters. 

All performances of this play are performed in-the-round at dusk and it is the perfect fit for the new, intimate outdoor venue. The atmosphere is woodsy with ample natural lighting. The set includes ropes that hang over the stage and above the heads of the audience. Well placed sails hang over one section of the audience to decrease some of the glare of the setting sun while also hinting at the storm that swells and wreaks a ship at the start of the play. The wooden stage is cut with jagged edges and is surrounded by large rocks, sand, shells and beach grass. The set, designed by Jim Youngerman, features multiple levels and locations throughout the space for the actors to utilize and fully immerse the audience in the world of this island and its inhabitants and visitors. The added musical elements and creative magical moments were unexpected, but enjoyed. They added humor, lightness and intrigue to the overall performance. 

Nigel Gore as Prospero. Photo by Stratton McCrady

Taking on one of Shakespeare’s most famous characters, Prospero is veteran actor Nigel Gore. He was commanding of the stage, and performed a believable and tender father-daughter relationship with Miranda, played by Ella Loudon. Gore has a fantastic grasp of the Shakespearian language and he seemed very comfortable in his character. Loudon, as Miranda, was innocent with youthful esperance. She was fully invested in her character and never broke from her character, staying fully present in each scene as it took place. She was very natural, with a sweet, yet strong demeanor. In an early scene where Miranda lashes out at Prospero’s savage servant Caliban, Loudon was boomingly infuriated. She exhibited fiery power and anger that once the scene was over we didn’t see come out of her again. It was a very powerful and riveting moment.

Jason Asprey as Caliban. Photo by Stratton McCrady.

Caliban, the savage son of the witch Sycorax, was born on the island and cared for by Prospero and Miranda. He was perfectly portrayed by Jason Asprey who, in detailed costume and make-up, gave a horrifying, but at times humorous performance of the servant monster. He fully embodied his characters’ voice, physicality and quirks while also showing various emotional sides of his character. He didn’t just play the monstrous qualities; he portrayed a multi-faceted character, who experiences a variety of emotions, thoughts, impulses and temptations. His portrayal was impeccably well done and one of the strongest performances I’ve seen this summer. 

A few stand-out scenes during the production include the multiple drinking scenes involving Stephano (Josh Aaron McCabe), Trinculo (Bella Merlin) and Caliban (Jason Asprey). Each was very funny with superb physical comedy elements and characterizations by the trio. The audience couldn’t help but smile and laugh aloud during most of the time this group was on stage. Another scene was when Ferdinand was carrying logs for Prospero, and Miranda joins him and easily takes the logs from him and adds them to the pile for him. Their interaction was full of sweet, falling in love moments that were performed genuinely by Deaon Griffin-Pressley, as Ferdinand, and Ella Loudon, as Miranda. The pair had wonderful chemistry. It was easy to believe they were falling love in at first sight and becoming completely infatuated with one another. 

The cast is rounded out by a number of other Company favorites including Tamara Hickey as the airy sprite Ariel who is impatiently awaiting her freedom from serving Prospero. Thomas Brazzle as Sebastian, the brother to Alonso, King of Naples played by Josh Aaron McCabe who also played Stephano, and Mark Zeisler who played Prospero’s brother Antonio.

Ella Loudon as Miranda, and Deaon Griffin-Pressley as Ferdinand. Photo by Stratton McCrady

Shakespeare’s language is so melodic, that though you may not understand each word and phrase that is spoken you can understand the sentiment that’s there through the actor’s passionate portrayals and their wonderful story-telling ability. This play was very well done and I was captivated from start to finish. Looking around at the other audience members, it was clear they too were enthralled by these characters and the world they had brought us in to. The audience thoroughly enjoyed the production giving it an enthusiastic standing ovation. This show was definitely worth the long drive and traffic I experienced to attend and I encourage any Shakespeare lovers within a 3 hour drive to go see this production.©

‘The Tempest’ plays through September 3^rd at the Shakespeare & Company campus located at 70 Kemble Street in Lenox, Massachusetts. Tickets and more information about this play as well as Shakespeare & Company’s full season can be found at www.shakespeare.org or by calling the box office at 413-637-3353. 

‘The Producers- A Mel Brooks Musical’ at Peterborough Players (Peterborough, NH)

From L to R- Tom Frey as "Leo", Elyse Collier as "Ulla", and Kraig Swartz as "Max". Photo Courtesy Peterborough Players

Mel Brooks’ Tony award winning musical farce, The Producers, tells the story of long-time Broadway Producer Max Bialystock and accountant Leo Bloom who form a partnership to pull off, what they think, is a masterful scheme to make a few million dollars by producing the biggest musical flop Broadway has ever seen. With original direction and choreography recreated by Gus Kaikkonen and Bill Burns, the Peterborough Players’ production kept the audience laughing aloud despite the many technical nuisances that occurred.

Oy-vey with the sound issues! While this production was funny and featured talented performers, they were unfortunately over shadowed by the multiple sound problems that occurred throughout the production. The most notable being the muddled sound quality with a number of the individual microphones. There were many instances where I was unable to understand what the actors were singing because of a lack of clarity, crispness and, at times, balanced volume. In addition, there were multiple occasions when actors’ microphones were on while they were not on stage and their conversations could be clearly heard over the actors speaking on stage. You know things are not going well when the actors on stage are being distracted by hearing voices coming from the speakers that they shouldn’t be hearing and are trying to subtly motion to people off stage that their microphone is hot and to stop talking. Furthermore, while the orchestra, led by music director Michael Sebastian, adequately played the music, they often drowned out the actors.

However, even with the technical problems, the cast, led by Players favorites Kraig Swartz and Tom Frey as Max and Leo, kept the audience engaged in the story and laughing throughout almost every scene. Their voices blended nicely together and they had a fantastic, believable camaraderie. Elyse Collier, as Ulla, delivered a strong performance with consistent character choices and fantastic dancing skills. It was unfortunate that her microphone was one that continued to have problems making it difficult to hear and understand her consistently during the show. Strong and very funny performances were also given by Leon Axt, as Franz Liebkind, and Danny Vaccaro, as Roger DeBris. Both men had sharp comedic timing and powerful vocals that were nicely showcased in their solo numbers. Another highlight of this performance were the superbly danced production numbers including “I Wanna Be A Producer”, “Keep It Gay”, and “Springtime for Hitler”. The large cast shined in these numbers that allowed them to portray their unique characters and show off a few special tricks. The tap dancing sections were especially well done with crisp, clear and unified sounds.

The Producers runs about 2.5 hours including intermission and plays on the Peterborough Players stage, 55 Hadley Road, Peterborough, NH, through August 13^th. For tickets call the box office at 603-924-7585 or check out www.PeterboroughPlayers.org.

‘The Graduate’ at The Winnipesaukee Playhouse (Meredith, NH)

The Graduate is a play adapted by Terry Johnson based on the novel by Charles Webb and the motion picture screenplay by Calder Willingham and Buck Henry. Most people can recall the film version that launched Dustin Hoffman to super stardom fifty years ago and has since become a cinematic classic. This “coming of age” comedic drama is the story of Benjamin Braddock, a recent college graduate, who is struggling with what he wants to do next, where he wants to go and who he really wants to become. Though he comes from an affluent family, and may appear to have everything going for him, he feels lost with no direction and no connection. His encounter with a family friend, the older Mrs. Robinson, starts him on a path of rebellion; rebellion against everything he has ever known, and in search of himself. In the end he may not have a clearer understanding of his career path, but he has a better understanding of himself, of other people, and how he wants his future life to be different from his past.

Under the sharp eye of director Samantha Tella, this eight-person cast, delves into their characters and brings to life a story most audience members may have previously only seen on screen. The result is a funny, realistic, and touching production that audience members clearly enjoyed. The design elements of the production were simple, with clean, sharp lines in both the architecture of the set, as well as the costumes, thus allowing for the humorous language of the script and performances of the actors to shine.

Outshining all the rest were the two young actors playing Benjamin Braddock and Elaine Robinson: John-Michael Breen and Kelley Davies. Together they were delightful to watch, fully engaging with one another with their eye contact and authentic character connection. Their rocky relationship was at times amusing, at times fierce, but always completely heartfelt. Their journey from two young people being set up on a date by their parents and dreading it, through Benjamin falling crazy in love with Elaine and following her back to school so he can propose, to Elaine making a difficult decision moments before saying “I do”, was wonderfully performed.

Breen’s comedic timing was spot on throughout the production. Even in the midst of changing costumes (many times) on stage while carrying on a conversation, his character never dropped. He was entirely believable as a college graduate finding his way and rebelling against what he believed everyone else expected his life to become. His interactions with his parents, played by Richard Brundage and Pam Schnatterly, were familiarly amusing to many in the audience. Breen was strong in portraying Benjamin’s ever-changing feelings about his dramatic affair with the seductive Mrs. Robinson, played by Molly Parker Myers, and he aptly showed the complexity and confusion of his characters’ emotional and mental state during much of the play.

As Elaine, Davies was stunning and displaying a wide range of confusing emotions as her character dealt with her mother’s affair, falling in love, trying to please other people, being a college student, and finding her own voice and ultimately, her own path. There were many moments when Davies captured the audiences’ attention; completely charming them by her performance. One instance that stands out was when she was fighting with Benjamin and let out a bloodcurdling scream. In this moment, it was as if the audience didn’t exist and Elaine and Benjamin were alone in the room arguing about getting married. In this role, Davies delivers not only one of the best performances in this production, but of the Winnipesaukee Playhouse Summer Season overall.

Needless to say, Breen and Davies were absolutely perfectly cast in these roles and their performances are not to be missed!

The cast is rounded out with more admirable performances including Ray Dudley, as Mr. Robinson, passionate about business and seemingly less so about his wife, yet after learning of his wife’s affair, comes across as a very realistic, poignantly sad and pitiful man. Also in the cast is Playhouse favorite Nicholas Wilder, playing multiple roles including, in a very funny scene, a desk clerk who is overly attached to his bell. Shanel Sparr, and the previously mentioned Pam Schnatterly, Richard Brundage and Molly Parker Myers complete the cast. ©

The Graduate plays at the Winnipesaukee Playhouse until August 12^th with performances Mondays through Saturdays at 7:30pm and a 2pm Matinee on August 7^th. There are no Sunday performances. Tickets range from $20-$34 and are selling quickly. Please note this production contains brief nudity in addition to its mature content. For additional information and tickets visit www.winnipesaukeeplayhouse.org

Special Events from the Education Department:

Tuesday, August 8th at 6pm – Symposium
Join us for an enlightening conversation led by an expert in a field connected to the production.

Wednesday, August 9th - Talk-back
Following the performance, you’re invited for an informal discussion with the cast and creative team.

National Premiere of ‘The Hound of the Baskervilles’ plays at The Winnipesaukee Playhouse (Meredith, NH)

In The Hound of the Baskervilles, the classic tale from Sir Arthur Conan Doyle, detective Sherlock Holmes and Doctor Watson are once again off on an adventurous and dangerous journey to solve, what may be one of their most famous cases. This version, adapted by Clive Francis in 2008, features four actors playing all the roles while also portraying four distinct fragments of the one and only Doctor Watson. It is the good doctor’s account of how they were able to solve this complex and, at times, terrifying case. Originally produced in the United Kingdom, The Winnipesaukee Playhouse is proud to be featuring the national premiere of this play in their summer season.  

For those of you unfamiliar with this detective novel, it centers on the aristocratic Baskerville family and a disturbing curse they have long-feared. Long before this story begins, Sir Hugo Baskerville was killed by a demonic hound sent to punish him for his wicked ways. Two hundred years later his final descendant, Sir Henry, fears a similar fate when he goes back to his family home of Baskerville Hall. It is up to Sherlock Holmes and Doctor Watson to solve the case before Sir Henry comes face to face with the monstrous hound.

From L to R: Back Row- Nicholas Wilder, Richard Brundage,

Front Row- John-Michael Breen, Marshall Taylor Thurman.

Courtesy The Winnipesaukee Playhouse

The cast, directed by Neil Pankhurst, features three wonderful Winnipesaukee Playhouse veterans and one newcomer; all quickly captured the audience’s attention and had them chuckling in no time. While all four gentlemen did an admirable job playing Dr. Watson and their secondary characters, a few of their characters stood out from the rest. Nicholas Wilder excelled as the brilliant, self-described intellectually superior, Sherlock Holmes. John-Michael Breen was strongly versatile in each of his character portrayals, especially as the anxious, yet determined, American aristocrat, Sir Henry. Marshall Taylor Thurman was solid as both the peculiar Dr. Mortimer and sinister Stapleton while Richard Brundage comically portrayed dear old Mrs. Hudson. The use of a multitude of props and accessories enhanced the actors’ portrayal of their many characters. Though there were a few line hiccups, not surprising considering the complexity of the play and the constant changing of characters, the cast was connected and played off each other effectively. Their transitions from character to character and scene to scene were very well done.

The technical elements of this show worked wonderfully together: from the custom-made matching suits, to the projections, the props, the lighting and the eerie music and sound effects. The costumes were designed by Lori McGinley, the set and projection design was created by David Towlun, the lighting design was by Graham Edmondson and director Neil Pankhurst created the sound design.

If you are a fan of the Sherlock Holmes stories, you will certainly enjoy this play. It’s mysterious, humorous and overall entertaining. © The show runs just about two hours including intermission. It plays at the Winnipesaukee Playhouse until July 29^th with performances Mondays through Saturdays at 7:30pm and a 2pm Matinee on July 24^th. There are no Sunday performances. Tickets range from $20-$34 and are selling quickly. For additional information and tickets visit www.winnipesaukeeplayhouse.org

Special Events from the Education Department:
Tuesday, July 25th at 6pm – Symposium – Join us for an enlightening conversation led by an expert in a field connected to the production.

Wednesday, July 26th - Talk-back
Following the performance, you’re invited for an informal discussion with the cast and creative team.

Review: North Shore’s ‘Beauty and the Beast’ delights and dazzles the audience (Beverly, MA)

Stephen Cerf (Beast) and Rose Hemingway (Belle).

Photos © Paul Lyden

With music by Alan Menken, lyrics by Howard Ashman and Tim Rice and book by Linda Wolverton, ‘Beauty and the Beast’ originally premiered on Broadway in 1994 and was nominated for nine Tony awards that year. The musical is based on the popular animated Disney film of the same name and features all your favorite characters and songs with many more originals added. North Shore’s production features direction by Michael Heitzman, choreography by Lisa Shriver and music direction by Rick Fox. The combination of these three truly exceeded expectations and provided the audience with an exceptional evening of theatre. The supreme staging and creative choreography paired with outstanding performances by the cast make this production one of the best I have seen at NSMT.

Detailed and specific set pieces designed by Stephen Dobay perfectly set each scene. Original costume design by Ryan J. Moller with additional designs and coordination by Sandra Pelletier help bring each character to life. From Cogsworth’s clock costume, to Mrs. Potts’ teapot shaped dress to all the unique and colorful enchanted objects that filled the stage during production numbers like “Be Our Guest” and “Human Again”, each costume was detailed and imaginative. The hair and wig design by Gerard Kelly and makeup design by Dena Olivieri further enhanced each character. The lighting design by John Burkland and sound design by Don Hanna innovatively guided the audiences’ attention towards each scene or specific characters, making scenic transitions seamless and the magical elements more impactful and impressive.

Taylor Crousore (Gaston) and Andrew Kruep (Lefou)

Photos © Paul Lyden

As I mentioned, the performances given by the cast of this production were absolutely fantastic. Their individual character work, strong vocals, dancing and physical comedy elements were even better than I’d hoped they would be. The cast as a whole clearly loves performing this show and sharing the story and beloved music with audiences. Each lead was superbly talented and putting them together on one stage made for an outstanding production.

Gaston, played by Taylor Crousore, with his booming, deep voice and perfect characterizations, was fully committed to his character, portraying both his appealing and appalling qualities equally as if they were actually a part of who he was. His side-kick Lefou was amusingly played by Andrew Kruep whose strong physical comedy skills were fully utilized just about every time he was on stage. The performance of “Gaston” was upbeat and fun, while “Maison des Lunes”, sung with Monsieur D’Arque, chillingly played by Mark DiConzo, was dark and vocally rich.

Phillip Taratula (Cogsworth) and Benjamin Howes (Lumiere)

Photos © Paul Lyden

Lumiere (Benjamin Howes) and Cogsworth (Phillip Taratula) were incredibly funny and the dynamic duo was clearly audience favorites. It should come as no surprise that “Be Our Guest” was the stand-out production number of the night as the outlandish and exciting performance received extended and exuberant audience applause. Almost a full minute went by before the actors could continue the scene.

The father-daughter relationship between Belle (Rose Hemingway) and Maurice (David Coffee) was believable and super sweet. Their performance of “No Matter What” was truly heartwarming. Hemingway was bright-eyed and optimistic as Belle, with lovely vocals that matched her cheerful portrayal. Her vocals and emotional range were showcased in “Belle”, “Home”, and “A Change in Me”. The Beast was strongly performed by Stephen Cerf whose powerful vocals shined in “How Long Must This Go On?” and “If I Can’t Love Her”. As a pair, Hemingway and Cerf nicely showed their characters’ relationship arc and how it developed over time from one of fear and unhappiness to one of understanding, acceptance and love. Two of their strongest moments were when Belle reads the Beast the story of King Arthur in the library, and then later during their dinner and dancing to the well-known title song “Beauty and the Beast” (pleasantly performed by Christiane Noll as Mrs. Potts). By the time we reached the “Transformation/Finale” the audience was fully captivated by Hemingway and Cerf and was excitedly awaiting their happy ending. The transformation was nothing short of magically and beautifully done leaving the audience overjoyed and smiling.

David Coffee (Maurice) and Rose Hemingway (Belle) in North Shore Music Theatre's production of Disney's BEAUTY AND THE BEAST running thru July 30. Photos © Paul Lyden

The audience couldn’t stand to their feet fast enough during the curtain call and gave the cast an overwhelming amount of applause and cheers. Tickets to this show are sure to sell quickly, so if you love this story and its wonderful characters, get your tickets now. North Shore Music Theatre’s production of ‘Beauty and the Beast’ is sure to please the whole family. ©

‘Beauty and the Beast’ plays Tuesdays-Sundays through July 30^th.Tickets are between $57- $82 with group rates available for 10+ people. Children under 18 save 50% at all performances. 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.

ADDITIONAL FREE EVENTS
MEET THE THEATRE: Free post-show audience discussion with the artists and theatre management.
• TUESDAY, July 18 at 7:30pm
• SATURDAY, July 22 at 2pm
OUT AT THE NORTH SHORE: An evening for the LGBTQ Community including a free post-show reception with the cast at the Backstage Bistro.
• THURSDAY, July 20 at 7:30pm

Behind-the-scenes Q & A with the cast of ‘Waiting for Waiting for Godot’ (Boston, MA)

Opening this weekend at Club Café is Hub Theatre Company of Boston’s production of ‘Waiting for Waiting for Godot’ by Dave Hanson. Directed by Paula Plum, the production runs Friday, July 14 through Saturday, July 29 at Club Café, 209 Columbus Avenue in Boston’s Back Bay. Performances are Thursdays, Fridays, and Saturday at 7:30 pm and Sundays at 2 pm. All performances are Pay-What-You-Can and donations of non-perishable food items will be collected at all performances for local charities. For tickets and more information visit www.hubtheatreboston.org. 

The play follows a pair of devoted understudies, Ester and Val, as they ponder art, life and theatre. Each night they wait, wondering if tonight will be the night they get to go on stage and hopefully have their big break. This madcap comedy pays hysterical homage to Samuel Beckett’s classic drama and makes its Boston debut after critically acclaimed runs in both New York and London. It is being promoted as a show for theatre lovers and haters alike. In this interview, I was able to hear from two of the cast members about the play, the rehearsal process, and more. Lauren Elias (shown below as LE) plays the stage manager Laura, and Rob Orzalli (shown below as RO) plays Ester.

Q: How is this play relevant in today's society? 

(LE): There is so much turmoil and despair in our community at the present time that I feel now, more than ever, people need a place to come for 90 minutes and laugh and celebrate life.

(RO): "What's the point of anything?" - one of the lines in the show. In addition to the humor, some of the existential ideas from the original remain here if you pay attention :)

Q: What drew you to this play when you first read it? 

(LE): What I loved right away was that I found it absolutely hysterical- I was actually laughing out loud as I read it. Later, the more we delved into the language of the play and the development of the characters, the more I recognized how much heart and love there is in this play.

(RO): This play is so smart: there are so many levels! I think it's written in a way that is accessible and funny to everyone, regardless of how much they know about theater or the source material. The more you know, the more jokes and references you get, but everyone can enjoy it. I myself had not read or seen Waiting for Godot before we started rehearsals, and I found the play laugh-out-loud funny on the page.

Q: How is this play different from the other shows in Hub Theatre Company’s season? What makes it stand out?

(LE): Well, our last show (Coyote on a Fence) was a compelling drama about two death-row inmates and the play before that was a heart wrenching yet heartwarming drama about a woman dying of ovarian cancer (Wit) so I think we were ready for some serious fun! (pun intended).

(RO): Compared to the last show, Coyote on a Fence, this play could almost not be more different: drama v. comedy, realism v. non, new play v. known work, etc. Compared to our next show, Robyn is Happy which is a very Sex and the City type humor, this show is a very different kind of vaudevillian humor.

Q: When you auditioned for this show, what was the biggest factor that made you want to be a part of it? 

(RO): Working with Paula was a huge reason I wanted to work on this show. I had worked with her as a stage manager before but not as an actor, so I know how well she works with actors to get the best performance possible. She is also a genius at comedy, so I knew this show was in her wheelhouse to direct! 

Q: When someone asks you what show you’re currently working on, how do you describe this play to them?

(LE): As a hysterical love-letter to theatre.

(RO): I give the premise of two understudies waiting to find out if they will go on in a production of Waiting for Godot. I usually expand to say it's largely a two-person show that is utterly ridiculous and hilarious.

Q: What is your favorite scene or line? 

(LE): While the show is littered with fabulously funny scenes, my absolute favorite moment is when Rob's character has this amazingly heartfelt monologue at the end of the play about what it means to be an artist (we call it the "what I did for love" monologue.) It gets me every time I hear it.

(RO): My favorite scene/sequence in the show is when Ester is "teaching" Val about acting. There are lots of acting inside jokes in the scene, but I think it is also genuinely hilarious, even if you don't get the Meisner reference.

Q: What is your favorite characteristic of your character?

(LE): Her practicality and her wit.

(RO): Confidence. For most of the play, Ester is exceedingly confident in himself and his place in the world. I admire that self-assuredness (even if it may be foolhardy in this particular case).


Q: How are you and your character similar? How are you different? 

(LE): I can be pretty blunt when I have to be but Laura takes it to a whole new level!

(RO): I feel I share Ester's ability to hope in all circumstances and his efforts to stay positive at all costs. I'd like to think I don't have his braggadocio.

Q: What parts of this story do you think the audience will relate to most? What will resonate most with audiences? 

(LE): I think anyone who has ever waited in the wings, anyone who has ever tread the boards, or truly, anyone who has ever waited for anything, will readily relate to the characters' experiences, not to mention anyone who loves theatre and anyone who loves to laugh.

(RO): Everyone knows what it is like to wait: Whether it's the everyday waiting, like for the T or the work day to end, or the long term waits, like waiting for "the one" or the right job. This play gives action to that feeling of waiting and the hope that can be found in waiting.


Q: Why should audiences come see this play? 

(LE): Because what more could you want from a summer night in Boston than the chance to enjoy a good drink (or two) while watching a fantastic play!

(RO): It is hilarious.

Special thanks to Lauren and Rob for taking the time to give us a behind-the-scenes look at their upcoming production of ‘Waiting for Waiting for Godot’. The show runs approximately 90 minutes with one 10 minute intermission and is suitable for an adult audience. ©

Just a reminder: Performances are Friday, July 14 through Saturday, July 29 at Club Café 209 Columbus Avenue in Boston’s Back Bay and are Thursdays, Fridays, and Saturday at 7:30 pm and Sundays at 2 pm. All performances are Pay-What-You-Can and donations of non-perishable food items will be collected at all performances for local charities. Tickets are Pay-what-you-can for all performances. For more information or to purchase tickets online visit: www.hubtheatreboston.org