Review: Simon Stephens’ Heisenberg at Shakespeare & Company

Written by Simon Stephens this two-person play features talented actors Tamara Hickey as the talkative Georgie Burns and Malcolm Ingram as the mature and compassionate Alex Priest. Set in present day London, we watch as the relationship between two unlikely companions changes over the course of six scenes. A common thread that connects them is the loneliness they feel because they have lost the people who meant the most to them. Georgie is a vibrant, spirited woman in her forties who mistakenly kisses the neck of Alex in a busy train station thinking he was someone else. Alex, poised, quiet, and seventy-five, becomes entangled in Georgie’s life, but it might just be the excitement his solitary life needed.

The scenic design by Juliana von Haubrich and lighting design by Dan Kotlowitz paired nicely to create sharp edges, and a world of clean-cut black and white. At the start of the play, there were thin lines, possibly from projections, that crossed in all sorts of directions along the movable flats that were covered in white fabric and stood across the upper part of the stage. Since the play begins in a train station, it makes sense that these lines could have represented various train routes. But it also showed how at various points each line would cross with another; just as human beings at various points cross paths with others that may or may not have an impact on their lives. It accentuated the Heisenberg principle which simple put, states that humans have an unavoidable tendency to influence situations that they may think they are only observing or have no part of. Even the slightest interference can cause the velocity or trajectory of a situation to change. So while Alex is sitting at the train station, listening to his music and minding his own business, he has no idea of the impact that Georgie and her seemingly chaotic personality will have on his life and his path.

Malcolm Ingram and Tamara Hickey. Photo by Eloy Garcia

Under the direction of Tina Packer, Hickey and Ingram wonderfully bring out the nuances and quirks of their very different characters. With each passing scene the audience is unsure where this relationship will go next or if it will fizzle out and the characters will go their separate ways. What we see is how two people can effect one another in both the smallest and biggest ways. Alex likes to tango, but doesn’t want to teach Georgie. He tells her she must learn elsewhere and then he will dance with her. Does he expect that she will actually go learn how to tango just to dance with him? Probably not. So when she surprises him weeks after their friendship began with knowledge of the complex dance steps, he is pleasantly amazed. When Georgie finally reveals her dishonesty and true motives for striking up a conversation with Alex that first day at the train station, though he is confused and hurt, he shows her kindness. He stands by her side as she comes to terms with the fact that she may never see her son again and in doing so is the steadfast rock that Georgie so desperately needed.

While this play was confusing at times and the antics of Georgie seemed to overshadow the calmness of Alex; Hickey and Ingram were fascinating to watch. Stephens writing is fast-paced and intense, but there was a sereneness in the silent moments between this pair that kept the audience fixated. It is an intricately complex play woven with tenderhearted moments that were admirably performed by this duo. ©

This production runs about 90 minutes with no intermission. Heisenberg plays through September 2^nd in the Tina Packer Playhouse on 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. 

Shakespeare & Company presents Terrence McNally’s Mothers and Sons

Having premiered on Broadway in 2014, Terrence McNally’s incredible drama Mothers and Sons is now playing on the Elayne P. Bernstein Theatre stage at Shakespeare and Company in the Berkshires. It is a timely play about the complexity of the relationship between a mother and her son. McNally skillfully crafts characters that seem all too familiar and yet we in the audience don’t see how events will unfold as we become engrossed in each scene. We laugh at the uncomfortable jokes they make in their effort to ease the tension that is building. We gasp at the harshness and bluntness of the things they say. We tear up when they break down in unbearable pain. We see our family members, our friends and our coworkers in the various facets of these characters. In this play about change, personal growth, acceptance of others and, without a doubt, love, we see a glimmer of hope and compassion come from the youngest character; who in his innocence and kindness, shows us that good can come from bad and love can be shown in the smallest of ways.

Similar to Shakespeare and Company’s production of Morning After Grace earlier this summer, Mothers and Sons brings people together by using a character who is spoken about and very important to the other characters within the play, but who never actually appears. It was clear early on that this character, Andre, had a vast impact on the other characters within the story. Katharine, his mother whom he did not have the best relationship with, Cal, his love who cared for him until his passing, Will, Cal's husband, whom Andre never met, but who sometimes feels like he lives in Andre’s shadow, and Bud, the child born long after Andre’s death who knows nothing except how to show kindness and love to another person; even one he just met. It is in Bud that Katharine finds the love she has been seeking. A love she didn’t feel from any other person in her life, including Andre.

Bill Mootos and Annette Miller. Photo by Eloy Garcia.

Directed by James Warwick the cast of four included Annette Miller as Katharine Gerard, Bill Mootos as Cal Porter, David Gow as Will Ogden, and Evan Miller as Bud Ogden-Porter. Miller was riveting as Katharine. At times the audience was shocked at the things Katharine said, audibly gasping. At other times we could feel the pain and anguish Miller was displaying as Katharine mourned her son and lamented their relationship. Katharine was riddled with guilt and after years of stifling her feelings and being angry with her son and how he died, she finally starts to accept the role she played in his life. Many scenes throughout the play paired Miller and Mootos who consistently brought the audience on an emotional rollercoaster as their characters verbally sparred, sympathized and cried with one another all the while standing firm in their own beliefs. As Cal, Mootos often spoke with compassion and tenderness, but soon enough was enough. He was clearly torn up by Katharine’s unplanned and unannounced visit and reliving the past was not how he planned on spending his afternoon. Mootos portrayal was controlled and measured and balanced nicely against Gow’s younger, relaxed and fun loving portrayal of Will. As Will, Gow, was a compassionate father who put his son and his sons’ best interest above everything else. His father-son relationship with Evan Miller, who played Bud at this performance, was believably sweet.

This real-to-life play with its honest confrontations, three adults who want to be good parents and a child who brings life, laughter and love to those most in need gave the audience much to consider as they left the theater and walked out to their cars. Is it possible, after losing someone so important, that the void one feels could ever be filled by another human being? If Andre had not died and left a devastated Katharine and Cal behind, Cal would not have met Will. They would not have gotten married and had their son Bud: the redeeming, wholesome, pure love that each of the adults in this play so desperately needed.

Gut-wrenchingly authentic performances given by the adult cast, who were so invested in these characters and telling this story makes this play one that shouldn’t be missed. The audience was all in, attentive to the actors every moment and they were clearly stirred by their performances. Sniffling, wiping tears, reaching for tissues all while rising to their feet applauding. All signs that this play and these actors truly moved the audience, as I am sure they will continue to do over the course of this run. ©

This production runs about 95 minutes with no intermission. Mothers and Sons plays through September 9^th in the Elayne P. Bernstein Theatre on 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. 

Review: As You Like It at Shakespeare & Company (Lenox, MA)

William Shakespeare’s comedy As You Like It is a story of love and the adventurous journey towards new beginnings. Duke Senior has been banished from court by his younger brother Duke Frederick. Frederick then banishes his niece Rosalind who has grown close with his daughter Celia. The pair attend a wrestling match where Rosalind first lays eyes on Orlando whom she quickly becomes enamored with. Orlando flees from his older brother Oliver who is threatening his life and withholding his rightful inheritance from their father Sir Rowland. He ends up in the Forest of Arden, where Duke Senior, Rosalind and Celia have also found sanctuary. But as we see in the play, when characters take on a foreign persona and live in disguise happily ever after doesn’t come as quickly as they’d like.  

Aimee Doherty and Deaon Griffin-Pressley.

Photo by: Nile Scott Studios

Director Allyn Burrows creatively used the entirety of the Roman Garden Theatre as a playing space for the characters in this Roaring Twenties themed production. The scenic design by Jim Youngerman afforded the actors the opportunity to enter from a dozen different locations that surrounded the audience and main performance space. This kept the audience present in the play as they consistently had to change their focal point as the scenes progressed and the characters entered and exited. 

The cast of nine, many of whom took on multiple roles, made each of their characters appealing in some way. The couples were clearly smitten with one another; especially Rosalind and Orlando, played by Aimee Doherty and Deaon Griffin-Pressley. The charismatic Aimee Doherty was perfectly cast as Rosalind. She was kindhearted, but direct in her conversations with other characters. Her interactions with Orlando, Deaon Griffin-Pressley, were bursting with the sweetness of young love. The cast also included Gregory Boover as Silvius, Thomas Brazzle as Oliver/Aubrey, MaConnia Chesser as Touchstone, Nigel Gore as Duke Frederick/Duke Senior, Zoё Laiz as Celia/Adam, Ella Loudon as Phoebe/LaBelle and Mark Zeisler as Charles/Jacques. This talented cast kept the pace of the show moving right along while also giving the audience plenty of opportunities to laugh.  

The original music, by sound designer Arshan Gailus, was well performed by the cast, led by music director & guitarist Gregory Boover. The musical additions both live and recorded were meticulously placed in the production to add to the jazzy twenties atmosphere.

All that being said, for a comedy, this play dragged on at times, though it was through no fault of the actors or the direction, it was simply Shakespeare rambling on. It was not my favorite comedy that Shakespeare & Company has produced, but it was lighthearted and amusing and the audience enjoyed themselves; which is often half the battle. © 

This production runs about two hours and fifteen minutes with an intermission. As You Like It plays through September 2^nd in the Roman Garden Theatre on 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. 

Pure entertainment now plays on The Winnipesaukee Playhouse stage with their production of Mamma Mia!

Courtesy The Winnipesaukee Playhouse

Mamma Mia!, the jukebox musical that features some of ABBA’s most beloved hit songs, is delighting audiences at The Winnipesaukee Playhouse in Meredith, New Hampshire. Since premiering in London’s West End in 1999, Mamma Mia! has become a worldwide phenomenon and gone on to become one of the most popular, if not the most popular, jukebox musical of all time. The story revolves around the wedding of twenty-year old Sophie Sheridan who, in an effort to discover who she really is, reads her mother’s diary and discovers the identities of three men who could possibly be her father. She secretly invites them to her wedding with the hope that when they arrive she will know which man is her father. Upon arrival, Harry, Bill, and Sam, all of whom thought their old flame Donna had sent them invitations, realize it was the possible daughter they didn’t know they had and not Donna who invited them. Tensions rise when Donna sees for the first time in twenty-one years her old lovers again, but will she give in to the love she still has for them or will she dig in her heels and allow her complex past to keep her from a happy future?

The performance opened with an overture performed by the six piece band led by Music Director and Conductor Shoshana Seid-Green. In those first few minutes the tone for the performance was established and it was electric. The pulse set by the band kept the momentum of the show moving right along. There was never a moment of awkward silence or a chance to look at ones watch wondering when it would be over. 

This energetic cast was directed by Bryan Knowlton, who also served as choreographer. Bryan skillfully showcased the tenderness and heart of this production while also allowing for as much fun as possible to be had by not only the cast, but the audience as well. His choreography was a fantastic mix of jazz, modern, and a bit of hip hop, and felt exhilaratingly fresh when performed by the talented cast. They danced with sharpness and intensity in numbers like “Money, Money, Money”, “Gimme, Gimme, Gimme” and “Voulez Vous”.  The ensemble, with their supreme dancing, clearly loved each moment they were on stage.

Molly Parker Myers as Donna Sheridan, delivered strong vocals and played the feisty, independent Donna wonderfully. Her scenes with daughter Sophie, played by Teghan Marie Kelly, were tenderhearted and their chemistry as mother-daughter was entirely believable. Their performance of “Slipping Through My Fingers” was beautifully performed and brought tears to the eyes of many in the audience. Teghan Marie Kelly as Sophie Sheridan was perfection! Having seen her in a number of productions over the years this was by far the best performance I have seen her give. Her vocals were gorgeous and she made smart character choices. She was charming, sweet and genuine in her portrayal. 

The supporting characters featured Kelley Davies and Lindsey Bristol as Sophie’s best friends Ali and Lisa, Roxy York and Sebastian Ryder as Donna’s best friends Tanya and Rosie, Nolan Baker as Sophie’s fiancé Sky, Chris Hendricks and Olin Blackmore as Sky’s best friends Pepper and Eddie, Mark Stephen Woods as Bill Austin, Marc Willis as Sam Carmichael and Kyle Yampiro as Harry Bright. Each had their own likable traits, strong vocals, and all were delightful to watch.

The scenic design by Melissa Shakun was beachy with various levels of docks connected upstage and high walls with windows framing the stage that looked like a building made of shiplap. The lighting played a big part in creating the moods of each scene and designer Graham Edmondson used lighting that paired pleasantly with the set. The colorful and plentiful costumes were designed by Chelsea Kerl. 

It was not a perfect performance, but live theatre is rarely all together perfect and that is one reason why people love it so much. It’s fresh, exciting and anything can happen; just like life. The audience couldn’t get enough and stood loudly applauding not only during curtain call, but again through and to the end of the encore. Direct quotes from the audience after the show: “Wow”, “Excellent”, “So much fun”, “I loved it” and many more positive comments. If you need a break from a reality of stress and strife, go see this immensely enjoyable production. ©

Mamma Mia! runs about two and a half hours including intermission and plays at The Winnipesaukee Playhouse until August 11^th. Performances are Mondays through Saturdays at 7:30pm with matinees on July 30^th, August 2^nd, August 6^th, and August 9^th at 2pm. There are no performances on Sundays. Tickets range from $20-$34. For additional information and tickets visit www.winnipesaukeeplayhouse.org

Special Events from the Education Department:

Wednesday, August 1st- Talkback
Following the performance, you’re invited for an informal discussion with the cast and creative team.

Thursday, August 9^th, 6-6:45pm – Symposium

Pre-show presentation offering insight into the play. Presented by Musical Director Shoshana Seid-Green.

Review: An engrossing production of August Strindberg’s Creditors now plays at Shakespeare & Company

August Strindberg’s tragic comedy Creditors is a fast-paced, psychologically intense look at life and the cost of relationships. In this adaptation by playwright David Greig, three characters must face their past choices, and in doing so come to the realization that their present state is a result of those choices. Through deception they come to realize the debts they owe others and the unfathomable cost of love. Strindberg, in his naturalistic style, is a master of balancing the darkness of a dramatic psychological thriller and an authentic, unapologetic comedy. The three veteran actors (Jonathan Epstein, Ryan Winkles and Kristin Wold) who have taken on this play under the incredible direction of Nicole Ricciardi have expertly captured each facet of their multidimensional characters. In doing so, they grabbed the audience’s attention from the onset and held it to the end. 

Ryan Winkles. Photo by Nile Scott Studio

Adolph, a successful young artist who struggles with confidence in himself and his work, is portrayed by Ryan Winkles. Adolph is an impressionable man who befriends Gustav while at a seaside resort where they are both vacationing. Gustav, played by Jonathan Epstein, is a sophisticated professor. He is both charming and manipulative, though what his endgame is isn’t revealed until late in the play. Tekla, played by Kristin Wold, is a well-known writer and Adolph’s wife. 

Given that the play is only ninety minutes and is staged on one set with no black outs, the flow of action is continuous. This allows for the actors to really hone in on the language and story they are telling. This play examines the flaws and attributes of humankind: jealousy, revenge, desire, passion, domination, and love. Throughout the play, each character goes back and forth between being likable and sympathetic to being perplexing. We feel sorry for them one minute and the next, they frustrate us. The characters are unfiltered and honest, saying things to each other that some of us would have kept as an inner thought and not said aloud. There were moments when I felt for each of these characters, what they were going through and how they must have been feeling.

Jonathan Epstein. Photo by Nile Scott Studio

This cast was phenomenal, they were so invested in their characters and the story they were sharing that no amount of audience reaction, or lack thereof, could distract them. As I looked around at the audience at various points during the performance, I saw faces of astonishment, others smiling, some with dropped jaws and some with no expression at all. I further appreciated the skill and the focus of these three actors to perform such an intense and humorous work and not allow the reactions of the audience to faze them in the slightest. I’ve said this before, but I think it’s even more evident in a smaller theater (where the audience can be inches from an actor), that the focus it takes for the actor to not lose concentration or get thrown off by a reaction from an audience member really speaks to their professionalism and skill; both of which were abounding from this cast. 

Ryan Winkles, Kristin Wold. Photo by Nile Scott Studio

The play did not end how I was expecting it to and while some moments I could see coming, the final few minutes surprised me and I think many in the audience were as awestruck in those last moments as I was. This trio’s performance was humorous and fascinating to watch. The audience was fully engaged and quickly stood with resounding applause upon the plays’ completion.

This play isn’t a light, just for fun and entertainment-type of production that many people may be used to. While it has humor, it is a meaty, realistic look at human nature, our positive attributes as well as our worst flaws. It's real life reflected before us and it’s not to be missed. ©  

This production runs about 90 minutes with no intermission. Creditors plays through August 12^th in the Elayne P. Bernstein Theatre on 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. 

Review: A Doll's House Part 2 at Barrington Stage Company (Pittsfield, MA)

Henrik Ibsen's A Doll's House premiered in Denmark in 1879. Over one hundred and thirty years later, A Doll's House Part 2 by writer Lucas Hnath, brings us back to Norway and the Helmer house where Nora slammed the door and left her family and life behind her. Premiering on Broadway in 2017, this play begins fifteen years Nora left her family. Directed by Joe Calarco, this emotional rollercoaster of a play is performed by four talented actors who are so deeply invested in their characters it is easy for the audience to get wrapped up in the story. 

Laila Robins & Christopher Innvar. Photo creditDaniel Rader. 

Laila Robins plays Nora, a strong willed woman of the world who chose to change the course of her life and become her own independent person in control of her destiny. Since leaving her husband Torvald, Nora has become financially independent as a successful writer and is enjoying living her happy life alone. Robins remarkably taps into each distinct facet that makes Nora who she is: her strength, her independent thinking, her emotional complexity and the pain she felt having to leave and live separate from her children. As well as her belief that women should have more of a role and choice in how they live their lives and not be constantly controlled by their husbands. Robins' vocal variations were intuitively well executed. There were times when she was visibly distraught or intensely angry and yet her vocal tone stayed low and she spoke from her gut rather than allowing her voice to get high pitched and screechy. In doing this, her portrayal of Nora resonated as meticulous and powerful instead of demanding and shrill.

Christopher Innvar plays Torvald, who we are guided into disliking in Ibsen's play, but in Hnath's sequel we gain further understanding of Torvald's character and the decisions he makes. Innvar's dynamic portrayal made Torvald a slightly more sympathetic character. Mary Stout plays Anne Marie, the nanny/ house keeper/confidant of the Helmer family. Stout delivered a nice mix of humor and heart in her portrayal. Ashley Bufkin portrays Emmy, the grown daughter of Nora and Torvald who meets her mother for the first time when Nora comes home to obtain a divorce. While it seems that, at the start of their conversation, Emmy is sweet and naïve, it is not long before we see the clever side of her when she tries to convince Nora of the best way to solve the problems both her and Torvald's past sins have caused, all the while ensuring a secure future for herself. Bufkin delivered an innocent, yet smart and at times humorous performance of Emmy.

While the technical elements were kept simple, the sound design stood out in its ability to amplify the core theme of this play: "You Don't Own Me". Lindsay Jones (Original Music and Sound Designer) took the basis of this contemporary R&B song and crafted it into a musical anthem that played instrumentally in between scenes and with the vocals during the curtain call. It perfectly enveloped this play and its characters tying it all together for the audience and ending with a powerful message of strength and independence. ©

A Doll's House Part 2 runs about 90 minutes with no intermission and plays on the Boyd-Quinson Mainstage until July 28^th. For tickets and more information on this and other productions call the box office at 413-236-8888 or visit www.barringtonstageco.org

A unique production of Macbeth now plays at Shakespeare & Company (Lenox, MA)

Written by William Shakespeare, Macbeth, or as most theatre folks refer to it, The Scottish Play, is a psychological and tragic tale of blind ambition and destructive, consuming power. It is a play full of malicious intentions and gruesome murders. Fantastically directed by the Obie Award-winning Melia Bensussen, who was inspired by the ghost stories of Edgar Allen Poe, this production with its intriguing artistic choices made it unique, unlike many of the others I have seen. In this rendition, Macbeth’s ambition and belief in his imagination lead to his destruction more-so than the witches and supernatural forces who, in other productions, are so often blamed. He mercilessly pursues his dreams and desires. Rather than allowing fate or anyone else to decide his future, he makes the future that he desires a reality. Blinded by his ambition and obsessed with gaining power over others, he gives in to the darkness within him to bring his future to fruition. It's not long before he thinks himself to be untouchable and undefeatable. Little does he know his time at the top will be short-lived.

Tod Randolph & Jonathan Croy. Photo by Daniel Rader.

The notorious Macbeth was portrayed by Jonathan Croy. He had a calmness about him that eerily intensified his evil deeds. His descent into madness was often quiet and more psychological than outwardly physical. His wife, Lady Macbeth, was portrayed by Tod Randolph who brought an interesting lightness and humor to the role; most notably in her relationship with Macbeth. It was clear that she was the mistress of the house and, more often than not, was in charge of not only the house and staff, but of her husband. Her influence over him was apparent from their first scene together. The pair was captivating to watch.  

Macduff, fellow nobleman and leader of an army rising against Macbeth after he becomes king, was terrifically portrayed by Thomas Brazzle. He played Macduff as a strong defender of what is right. Macduff is devastated when all he loves is taken from him igniting his rebellion against Macbeth. Their final vicious encounter was intensely crafted by violence designer Ted Hewlett. While both actors did a great job during this scene, it seemed like they were holding back. Granted, being fully comfortable with a lengthy violent action sequence takes time. That being said, the audience was riveted to the action being performed in front of them.

One of the best casting choices in this production is Ella Loudon as Banquo, Macbeth’s friend and fellow soldier. She was outstanding. Her low voice and commanding presence was well matched to the self-important stature of Croy’s Macbeth. Her portrayal of Banquo is one of the best I have seen. As Hecate, Zoё Laiz was mysterious and mystical, floating in and out of scenes. She was the perfect mix of supernatural darkness and devious playfulness. Nigel Gore gave a humorous performance of the Porter while also portraying the regal King Duncan. The cast was rounded out by Gregory Boover, Deaon Griffin-Pressley, and Mark Zeisler.

Zoё Laiz as Hecate. Photo by Daniel Rader.

The at-first-glance simple, yet increasing intricate and detailed scenic design by Cristina Todesco featured a long, raked, black runway or platform that also served as a table. It sliced through the playing space diagonally from an up stage corner and ended just shy of the audience. A rectangle Plexiglas wall stretched almost entirely from the stage floor to the ceiling. The wall's purpose would not be revealed until mid-way through the first half of the production and though I don’t want to give away too many of the technical elements of this show, I will say, when it was used it amplified the scene taking place unlike any other production element in recent memory. The scenic design, blending with the impeccably well placed lighting by designer Dan Kotlowitz as well as the sound design by Brendan F. Doyle became almost like another character within the play. Combined, they elevated the entire production value. While the actors' performances were terrific, without these exceptionally well designed technical elements, this could have ended up just another one of many Shakespearian productions. 

I thoroughly enjoyed this creative work and as I observed the audience around me, many sat on the edge of their seats and were completely enthralled by the performance taking place. Therefore, it's no surprise the audience didn’t take long to rise to their feet giving this company a rousing standing ovation. ©

This production runs 2 hours plus an intermission. Macbeth plays through August 5^th in the Tina Packer Playhouse on 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. 

Review: Boeing Boeing at The Winnipesaukee Playhouse

The outlandish farce Boeing Boeing now plays on The Winnipesaukee Playhouse stage in Meredith, New Hampshire. Originally written by Marc Camoletti and translated by Beverley Cross and Francis Evans, it is the story of Bernard, a Parisian bachelor played by William Wilder, who has, through meticulous calculations, gotten himself intertwined with three fiancés. There’s Gloria, an American air hostess played by Rebecca Tucker, Gabriella, an Italian air hostess played by Molly Parker Myers, and Gretchen, a German air hostess played by Suzanne Kimball. The essential factor that keeps all his fiancés from ending up in their Paris flat at one time is the fact that they all work for different airlines and have different routes around the world.

(L to R) Rebecca Tucker, William Wilder, Suzanne Kimball, & Molly Parker Myers in Boeing Boeing. Photo by Matthew Lomanno.

When Boeing introduces a larger, faster aircraft the odds for Bernard's well-crafted life style to disastrously crumble exponentially increase. Thankfully, his housekeeper Berthe, played by Barbara Webb, helps him keep it all sorted. When his old school friend Robert, outstandingly played by Nicholas Wilder, comes to visit, rather than showing him how easily he keeps his charade with three fiancés working, Bernard inadvertently demonstrates just how easily forces beyond his control can send his world into a tail spin.

Played out in a colorful living room that was designed by Dan Daly and lit by Becky Marsh, the bright design elements matched the vibrant characters that inhabited the space. The costumes, designed by Lori McGinley, paired nicely with each character and their personality. The sound design by Neil Pankhurst included pre-show music that featured jazzy instrumentals, bluesy tunes sung in French, and a bit of Frank Sinatra. The music effortlessly eased the audience into a relaxed state making them ready for a few laughs, and laugh they did.

If the farfetched story summary wasn’t clear, this play is a classic farce. It is filled with overdone characterizations, bordering on obnoxious accents and non-stop physical comedy. While all that might make a regular comedic play seem overtly over the top and unbelievable, when it comes to a farce if it’s not exaggerated, the well timed physical action and punch line delivery won’t have the same effect on the audience. The goal of a farce is to make the audience laugh and while the circumstances the characters find themselves in can be ridiculous, it makes how they handle those situations all the more humorous for the audience.

This cast did a splendid job presenting this highly entertaining play. It was clear the audience enjoyed escaping from reality for a few hours of frivolous fun. © 

Boeing Boeing runs about two and a half hours including intermission and plays at The Winnipesaukee Playhouse until July 7^th. Performances are Mondays through Saturdays at 7:30pm with a matinee on July 2^nd at 2pm. There are no performances on Sunday or July 4^th. Tickets range from $20-$34. For additional information and tickets visit www.winnipesaukeeplayhouse.org 

Special Events from the Education Department:

Friday, June 29^th – How’d They Do That?

Following the performance, you’re invited to join the technical staff for a backstage tour of Boeing Boeing and learn the secrets of the set. 

Tuesday, July 3rd - Talkback
Following the performance, you’re invited for an informal discussion with the cast and creative team.

Thursday, July 5^th, 6-6:45pm – Symposium

Pre-show presentation offering insight into the play. Boeing, Boeing and The Three-Body Problem. Presented by Thom Beaulieu, BFA in Drama, Carnegie Mellon University & MS in Physics, Georgia State University. 

Review: Miss Julie sets the bar high for the Summer Season at The Winnipesaukee Playhouse

Rebecca Tucker as Miss Julie. Photo by Matthew Lomanno

Directed by Matt Cahoon, this US Premiere production of Howard Brenton’s new adaptation of August Strindberg’s 1888 play Miss Julie invites the audience into the kitchen of a home in Sweden. It tells the story of Julie, lady of the house, Jean, her father’s valet, and Kristin, the house cook and Jean’s fiancé. It is a story of lust, ambition and a desire to break through the barriers of class. When Julie and Jean give in to the building sexual tension between them, the unforeseen consequences are catastrophic.

At the start of the play, Julie is a seemingly happy young woman who is enjoying a good time on a midsummer’s eve while her father, the Earl, is away. She is playful and flirty with Jean, who tries to resist her advances for fear of being caught by the other servants with the Earl’s daughter. What is fascinating to watch is the game Julie and Jean play with one another; especially when they each think they are in control of it. Julie, who had sworn she would never let a man control her or have power over her, allows herself to be wooed by Jean and when it doesn’t end how she had hoped, it crushes her. She thought Jean was more than just a lover, she thought he was a friend she could trust. When he reveals that this is not the case, she is devastated by the decisions she made in her time of weakness. In the end, after what seems like a complete psychotic break that Julie is unable to recover from, she begs Jean to order her to do what she thinks will save her from her mistakes.

Riveting from start to finish, this torturous story was performed by an immensely talented trio that included Rebecca Tucker as Miss Julie, Nicholas Wilder as Jean, and Carey Cahoon as Kristin. They were so in tune with their characters and their relationships that the audience was quickly drawn into their world. Yet, in watching their performances, it was as if the audience didn’t exist and there really was a fourth wall in the kitchen. Their emotional intensity was strikingly palpable.  

Carey Cahoon’s portrayal of Kristin gave a down to earth contrast to the boundless desires of Julie and Jean. Rebecca Tucker’s powerful performance as Miss Julie captivated the audience. It was apparent that she poured every ounce of herself into this character. No part seemed forced or overdone, she was completely genuine. At the start she was classy and charming with a touch of naiveté. Later her performance of Julie’s rapid demise was done with raw emotional anguish. Her scenes with Jean, incredibly played by Nicholas Wilder, were passionate yet fiercely destructive. As Jean, Wilder was tender and affectionate, but also deceitful, cruelly honest, and angrily heartbroken. He played Jean unlike any other character I have seen him portray. Though I have enjoyed both Tucker and Wilder’s performances in the past, their portrayals of Julie and Jean, might be the most emotional, psychological and gut-wrenchingly transformative performances I’ve seen them give.

When the final scene concluded and the lights faded to black the audience sat silently stunned. The only thing that could be heard were a few breathless whispers of “Wow”. Moments later the lights rose for curtain call and it didn’t take long for the audience to stand and applaud. If an audience member wasn’t standing by the time Rebecca Tucker walked on stage they stood when she did. As one of the strongest casts I have seen in recent memory, they deserved every moment of that standing ovation. ©

Miss Julie runs about 80 minutes with no intermission and plays at the Winnipesaukee Playhouse until June 23^rd. Performances are Wednesdays through Saturdays at 7:30pm with a matinee on June ^21st at 2pm. Tickets range from $20-$34. For additional information and tickets visit www.winnipesaukeeplayhouse.org 

Special Events from the Education Department:

Friday, June 15^th – How’d They Do That?

Following the performance, you’re invited to join the technical staff for a backstage tour of Miss Julie and learn the secrets of the set.

Wednesday, June 20th - Talkback
Following the performance, you’re invited for an informal discussion with the cast and creative team.

Thursday, June 21^st, 6-6:45pm – Symposium

Pre-show presentation offering insight into the play. The Highest Shall Be the Lowest: Perspectives on Power in Miss Julie. Presented by Timothy L’Ecuyer, Education Director at The Winnipesaukee Playhouse

Review: The Nora Theatre Company presents Les Liaisons Dangereuses

Left to Right: Jaime Carrillo, Greg Maraio, Dan Whelton & Stewart Evan Smith. Photo by Forden Photography. 

Now playing at Central Square Theater (Cambridge, MA) is Les Liaisons Dangereuses presented by The Nora Theatre Company. The novel, of the same name, was written in 1782 by Pierre-Ambroise François Choderlos de Laclos. Two hundred years later Christopher Hampton penned the play that would go on to premiere at The Royal Shakespeare Company in 1985. While the story is familiar and has been produced a myriad of ways, in this version all ten characters, including six women, are portrayed by an all-male cast. Director Lee Mikeska Gardner first did this play with an all-male cast when she directed a production in Washington, D.C. in 2005 and wanted to direct a similar production here in Boston over a decade later. This concept is a new, intriguing way to tell an old story and I’m sure while some are confused by it, others are curious to see how it would play out on stage. 

The play opens with the cast, dressed in neutral trousers and various white shirts, stationed around the simplistically designed stage. One at a time they walk to a table placed down stage center and select an accessory that has something to do with their character. Items included a bejeweled choker, a flask, a ring, and a scarf, to name a few. Upon selecting their item they make a clear gesture or facial expression that gives us a hint as to whom they will be portraying. After just these first few moments I could tell, as I looked at the audience around me, that they were eager to see this unique concept unfold.

This story of seduction, deception, manipulation and jealousy is set in France amongst the aristocracy before the revolution. Humor is laced throughout with subtle, provocative jokes that in some cases were made more blatant due to the execution by the actors. While some of the performances lacked believability, and were rather mediocre, others kept the audience engaged in the story. Two of these were lead actors Greg Maraio and Dan Whelton whose amusing sparring sessions kept the intensity high. Greg Maraio, who portrayed La Marquise de Merteuil, gave a nuanced performance showing the audience just how calculating and clever the Marquise is. Rarely does the Marquise show all her cards. She has a powerful magnetism that seduces those around her, including Dan Whelton’s character Le Vicomte de Valmont. Valmont is, in many instances, the toy that La Marquise de Merteuil enjoys playing with and mistreating. When he falls in love with La Presidente de Tourvel, Merteuil’s jealous reaction confirms she will not be crossed. Valmont is standing up for himself, but it’s a little too late as his defiance leads to his demise. Whelton and Maraio’s scenes were often fiery with a mix of deep rooted passion and visceral distain. Maraio’s portrayal was not only sophisticated, strong and sultry, but he also showed the vulnerability of his character. He fully embodied not only the personality of his character, but the physical aspects as well, from the way he held his body, shoulders back and chest lifted as if he wore an invisible corset, to the way he spoke, crisply with the proper diction of an elite aristocrat. Maraio’s performance as La Marquise de Merteuil is a surefire highlight in this production.

The company notes this production contains full nudity, sexual content, violence and a sword fight and advises audience members be over the age of 18. I, however, found the nudity to be unnecessary and a bit detrimental to the concept of men playing the female roles. That being said, this old classic was artistically given new life that will hopefully appeal to a younger, more diverse audience. © Running at two and a half hours including intermission Les Liaisons Dangereuses plays until July 1^st. Tickets and more information can be found at CentralSquareTheater.org.  

Shakespeare & Company opens its 2018 Summer Season with Morning After Grace

Shakespeare & Company begins its season with the New England Premiere of Morning After Grace by Cary Crim. Directed by Regge Life, this new comedy explores the themes of loss, of love and of second chances. Crim carefully constructs a play that tackles some heavy subjects displaying the full extent of human emotions and the need for acceptance and love. What makes this play enjoyable to audiences is how Crim pairs very raw and intense moments with those of realistic and relatable humor. Life and his cast authentically invite the audience to journey with them on the path to recovery and to discovering how to be truthful to themselves.

L to R: Kevin Vavasseur, Steven  Barkhimer, Corinna May. Photo by EKRWCREATIVE. Emma Rothenberg-Ware

Steven Barkhimer plays Angus, a man struggling with grief and betrayal. When Abigail, played by Corinna May, meets him at a funeral the pair silently wonder if a second chance at love is possible. Ollie, played by Kevin Vavasseur, is struggling with who he really is and with the help of his new friends is able to face his fears and find his way to happiness. This trio of talented actors convincingly bring these characters to life. Their commitment to showing every flaw, every fault and every fear made them all the more relatable for the audience who truly embraced the characters being portrayed. The chemistry never seemed forced and made it easy for the audience to believe the honest human connections we saw being made in front of us.

The design team paid great attention to all the details within this production. From the functional set design by Patrick Brennan, to the costume design by Stella Schwartz, the lighting design by James W. Bilnoski and sound design by Iain Fisher. Each of these elements blended nicely together to create a cohesive picture.

While the audience laughed aloud throughout, there were also touching, thought-provoking moments that reminded us just how much real life was being reflected within the play. It was certainly a strong start to what is looking to be another wonderful season at Shakespeare & Company. ©

Morning after Grace plays through July 15^th in the Elayne P. Bernstein Theatre 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. 

Review: Boston Ballet’s ‘La Sylphide’ is a mesmerizing masterpiece

Opening the show is the Boston Ballet Premiere of choreographer August Bournonville's Bournonville Divertissements. It features three selections from his vast work. Following intermission is the full length production of La Sylphide.

It all begins with an ethereal Pas de Deux from Flower Festival in Genzano danced by Seo Hye Han and Junxiong Zhao. They are a well matched pair who danced to the music of Edvard Helsted with ease. The upbeat Jockey Dance from From Siberia to Moscow featured fast footwork from soloists Isaac Akiba and Irlan Silva. The pair was playful and comedic in their interactions with one another as they portrayed jockeys at a horse race. While their piece was fun and engaging for the audience to watch, it was also sharply danced by the pair to the music of C.C. Møller.

Thirdly came Pas de Six and Tarantella from Napoli. Both were stylistically very similar to the earlier Pas de Deux with light, elevating movement. The upbeat group sections were reminiscent of the local Italian folk dancing Bournonville was inspired by. This selection featured Kathleen Breen Combes, Ji Young Chae, Lia Cirio, Ashley Ellis, Paul Craig, Patric Palkens and Lawrence Rines. The talent of the individual dancers was highlighted throughout the piece with each having their own solo moments. It was seamlessly performed with the dancers switching partners and various small group combinations throughout. They all seemed to be thoroughly enjoying themselves. Even more so when tambourines were brought on and the dancers added percussion to the music of Holger Simon Paulli being played by the orchestra. This fun addition brought youthful energy and exuberance to the dancing. It was less “dancers performing on stage for an audience of hundreds” and more “a group of young people dancing with their friends, keeping tempo by hitting their tambourines.”  

Boston Ballet Dancers. Photo Courtesy Boston Ballet

Following intermission the curtain rises on an immensely striking stone home where the tale begins. A story ballet from start to finish, La Sylphide is full of romance, sorcery and tragedy. Set in the Scottish Highlands, the scenic and costume design by Peter Cazalet and lighting design by John Cuff quickly transported the audience back in time and amplified the atmosphere surrounding the story. Bournonville's La Sylphide is one of the world's oldest surviving ballets. It is the story of James, a young Scotsman, who is set to marry Effie, but on the eve of their wedding he dreams of a beautiful sylph whom he, upon awakening, briefly sees before she mysteriously disappears. His friend Gurn has also fallen for Effie, but believes he'll never have the chance to be with her. That is until the village sorceress Madge tells Effie that it is Gurn she'll marry, not James. James is outraged and sends Madge away, but his outrage is quickly diminished when he sees the sylph playfully dancing around the room, apparently unseen by his other guests. When she leaves, James follows her, leaving Effie confused and crushed. Act two takes place in the forest, where witches dance around a cauldron, sylph's float through the trees and tragedy befalls James and his beautiful woodland fairy.

Patrick Yocum dances the role of James while Misa Kuranaga dances the role of the Sylph. He is strong and adventurous throughout with hints of boyish innocence. She, as always, is stunning and graceful. She’s the perfect embodiment of the playful fairy. When tragedy strikes, her body language completely changes and she crumbles as if merely standing is torture. The contrast between how she danced at the start and how she moved at the end was fantastic.

Derek Dunn portrayed Gurn, friend of James, and seemingly the comedic character within the ballet. The humorous elements of his role were strongly and clearly executed and received numerous chuckles from the audience. His soaring jumps make him a dancer to keep our eyes on in future Boston Ballet productions. The sorceress Madge is cunningly portrayed by Maria Alvarez who, from the way she walks to her facial expressions, fully embodies the darkness and conniving evil within her character.

This ballet features intricate footwork as well as dreamy and flowing romantic movement. It is playful and flirty with extensive character and acting moments. My one critique is that there were moments when certain hand gestures were barely visible and could have been easily missed had an audience member not been watching carefully. While we don’t want the acting and hand or arm motions to come across as forced, we also want them to be big enough and sustained long enough for the audience to see them.

Beautiful dancing and charismatic characters make this production an enjoyable evening of classical ballet. © Boston Ballet's La Sylphide plays at the Boston Opera House from May 24th- June 10th. The Boston Ballet Orchestra is conducted by Beatrice Jona Affron. Though the production runs 2 and a half hours including 2 intermissions, time flies just as quickly as the dancers fly across the stage. For tickets and more information visit www.bostonballet.org

‘True West’ hilariously kicks off Hub Theatre Company of Boston’s 6th Season

‘True West’ was written by Sam Shepard in 1980, and yet his understanding of family dynamics and the volatility of stage and screen producers, allows this play to burst from the page decades later when his characters are portrayed with boundless energy and charisma. What makes them all the more believable is when passionate, seasoned actors are partnered with a visionary director to present a realistic look at a tumultuous relationship. That is what I have found with Hub Theatre Company of Boston’s production of ‘True West’. 

Bob Mussett plays Austin, a respectable, ambitious screenwriter tirelessly working on the script that will make him a household name. But when his older brother Lee shows up unannounced, to say Austin gets distracted would be an understatement. Lee, played by Victor Shopov, is a heavy drinking nomadic thief, who gets an unforeseen break that could turn his life around. It may send his brother into downward spiral, but Lee doesn’t seem too concerned about the havoc he is wreaking on Austin’s life.  The brotherly chemistry between Mussett and Shopov is believable from the start. The tension between them builds then spills over the edge a few times during the course of the play. It finally overflows as the lights dim on the last moments of the production. This careful balance of emotional and physical turmoil was skillfully directed by Daniel Bourque. He had previously directed the pair in Hub Theatre’s ‘Art’ a few years back and it was a smart choice to put them together once again for ‘True West’. Their portrayals of Austin and Lee were authentic and unpredictably funny.

The cast also included Robert Orzalli as Saul, a sleazy Hollywood Executive who toys with the brothers’ futures and seems to enjoy it a bit too much. Orzalli’s performance was the perfect blend of greasy, intimidating mob boss & high powered business executive. The audience could not get enough of him. Austin and Lee’s Mom was portrayed by Maureen Adduci who comes home to find her kitchen not exactly how she left it. Though she appeared late in the show, her interaction with Austin and Lee was well received.

The audience couldn’t stop laughing for most of this 90 minute, immensely enjoyable production. ‘True West’ is being performed through April 28^th at First Church Boston located at 66 Marlborough Street, Boston, MA.  For more information and tickets visit http://www.hubtheatreboston.org/. Tickets for all shows are set as “pay-what-you-can”; so why not invite your siblings for a night out and a few laughs. By the end of this play you may realize your sibling relationship, when compared to Lee and Austin, is relatively normal. ©