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

Courtesy Shakespeare & Company

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

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

Nigel Gore as Prospero. Photo by Stratton McCrady

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

Jason Asprey as Caliban. Photo by Stratton McCrady.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Special Events from the Education Department:

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

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

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

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

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

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

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

Courtesy The Winnipesaukee Playhouse

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

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

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

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

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

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

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

Photos © Paul Lyden

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

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

Taylor Crousore (Gaston) and Andrew Kruep (Lefou)

Photos © Paul Lyden

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

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

Phillip Taratula (Cogsworth) and Benjamin Howes (Lumiere)

Photos © Paul Lyden

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

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

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

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

‘Beauty and the Beast’ plays Tuesdays-Sundays through July 30^th.Tickets are between $57- $82 with group rates available for 10+ people. Children under 18 save 50% at all performances. For tickets or more information visit www.nsmt.org , call 978-232-7200 or visit the box office in person at 62 Dunham Rd. Beverly, MA.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Q: What is your favorite scene or line? 

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

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

Q: What is your favorite characteristic of your character?

(LE): Her practicality and her wit.

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


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

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

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

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

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

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


Q: Why should audiences come see this play? 

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

(RO): It is hilarious.

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

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

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.