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.