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

Reagle Music Theatre’s production of the classic musical ‘Show Boat’ fails to impress (Waltham, MA)

Michel Bell as JOE (center) & ensemble perform

“Ol’ Man River”.

Courtesy Reagle Music Theatre/©Herb Philpott

‘Show Boat’ originally opened on Broadway in 1927 and is based on the novel of the same name by Edna Ferber and features music by Jerome Kern and book and lyrics by Oscar Hammerstein II. Reagle’s version of ‘Show Boat’ was originally produced by Goodspeed Musicals in 2011 and runs a bit shorter than the original version.  This production was directed and choreographed by Rachel Bertone with music directed by Dan Rodriguez. Unfortunately, the production was plagued with problems in both technical and performance, leaving much to be desired.

The mediocre opening should have been a clue that this production was going to lack excitement, investable characters and overall cohesiveness. Unfortunately, the way the characters were portrayed, I didn’t connect with them or their stories. The accents were varied and erratic amongst the cast and even with individual characters. The scenery was plain and could have easily been used for any number of productions just by changing the paint. It seemed more often than not that the cast was play acting and not fully committing to their characters; they were performing caricatures rather than real people living out real stories. Furthermore, the choreography was extensively ballet based, making it inconsistent with the characters who danced it. One minute they’re picking cotton or working on the docks and the next they are turning and moving gracefully across the stage like a well-trained dancer. It fractured the illusion and therefore the story.

The biggest problem with this production was the poor sound quality. The microphones continually cut in and out making it difficult to hear a few of the leads. The sound problems in this theatre are incredibly frustrating and need to get figured out! Not being able to hear Sarah Oakes Muirhead (Magnolia Hawks) sing for half the show is not only annoying, but incredibly unfair to her because she has such a beautiful voice. She’s well-trained with great musicality and a wonderful, clear tone. It’s too bad we couldn’t hear more of her!

Sarah Oakes Muirhead as MAGNOLIA HAWKS 

& Ciarán Sheehan as RAVENAL.

Courtesy Reagle Music Theatre/©Herb Philpott

While there was not much I liked about this production, it did, thankfully, have some top notch vocalists in the leading roles; like the aforementioned Sarah Oakes Muirhead as Magnolia Hawks. Both “Make Believe” and “You are Love”, her duets with Ciarán Sheehan (Gaylord Ravenal), were beautifully sung. Their voices blended nicely together and made their romance more believable. Michel Bell, as Joe, delivered in his deep and rich rendition of “Ol’ Man River”. Regretfully, his words were muddled at times and he was difficult to understand. The male ensemble that joined him for the ending of the number could have been more powerful and impactful had there been more than three of them. Nonetheless, they were strong and confident in their parts. Dani Wrenn, as Julie LaVerne, showcased strong vocals on both “Can’t Help Lovin’ Dat Man” and “Bill”. While she didn’t come across as heartbroken and distressed in “Bill” as she could have, her sweet nature and joyful smile captured the audience during “Can’t Help Lovin’ Dat Man”. Yewande O. Odetoyinbo, as Queenie, was naturally funny and a delight to watch. Joy Clark, as Ellie May Chipley, and Kevin Patrick Martin, as Frank Schultz, were amusing and showed off some of their stellar dance skills.

Though some audience members seemed to really enjoy this production, many commented on the poor sound quality and how it negatively impacted their overall enjoyment of the show. They thought the talent was good, but wished the cast had been larger and the overall production more grandiose. ©

‘Show Boat’ plays until July 16^th at the Robinson Theatre (617 Lexington Street, Waltham, MA). For information and tickets visit www.reaglemusictheatre.com. 

A stunning production of ‘Constellations’ is on stage now at Peterborough Players (Peterborough, NH)

One of the most complex, yet well executed and entirely magnificent parts of Peterborough Players latest production is the combination of scenic, lighting and sound design. Director Gus Kaikkonen in working with lighting designer John Eckert came up with a distinctively beautiful set that incorporated dozens of light bulbs that hung at various heights above the stage and over the audience. Tying their use in with specific sound cues, designed by Kevin Frazier, brought the superior technical execution of this play to the next level of incredible. The combination of these three elements blended seamlessly and worked together perfectly. One of the main messages in this play had to do with time and time itself was also an essential part of the technical aspects of this production. One wrong, late or early cue and the connection between the audience and the actors and their stories would have been disrupted. This trio certainly brought their A game when creating the set for this complex play to come to life in and it entirely paid off as its design and crisp execution was above and beyond one of the best I have seen so far this year.

Sean Patrick Hopkins & Bridget Beirne in 'Constellations'. Photo courtesy Peterborough Players.

Written by Nick Payne, this play premiered on Broadway in December of 2014 and ran through the early spring of 2015. This two person drama shows us the journey and relationship of a beekeeper named Roland, and a theoretical physicist named Marianne. In this production Roland is played by Sean Patrick Hopkins and Marianne is played by Bridget Beirne. The pair delivered strong performances and were clearly very comfortable with the material, their characters and their relationship to each other. Considering the play is non-linear and jumps back and forth in time, the complexities of fully understanding and being able to portray these two people in a way that the audience can relate to, while also following the story, is no small feat. Their emotional rollercoaster was fast moving with a story that was constantly changing directions. As the play went on, the audience wasn’t merely laughing at the humorous moments, as they were at the start; rather they were becoming intrigued and invested in the lives and relationship of the two people being portrayed on stage. As scenes became heavier and the emotional stakes got higher, the audience was riveted, wondering how it was all going to turn out. One of the most moving scenes was when they communicated through sign language. It really made their situation and the struggles they were going through even more realistic and heart wrenching.  

It is imperative to again emphasize that this is not a linear play! Therefore the audience cannot watch it like a regular play. It is not one where you can sit back, relax and be entertained. You have to take it in scene by scene and then piece the story together as you go along. It is very cerebral and unique. It is unlike anything I have seen on stage before, but it reminded me of the recent film ‘Arrival’ with Amy Adams. The theme of time and how it is not linear was prevalent in both pieces. If you were able to enjoy that film, I think you would also enjoy this play. ‘Constellations’ is a play without boundaries and in questioning what is choice vs. what is destiny, it sends the audiences’ heads spinning as we contemplate our own choices and how we have played a part in shaping our own destiny. This production was technically superb, wonderfully performed, and absolutely fascinating to watch! ©

‘Constellations’ runs about one hour and fifteen minutes without intermission and plays on the Peterborough Players stage, 55 Hadley Road, Peterborough, NH, through July 16^th. For tickets call the box office at 603-924-7585 or check out www.PeterboroughPlayers.org.