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. © 

KNYUM at Merrimack Repertory Theatre is transformative storytelling at its best (Lowell, MA)

Vichet Chum (Guy). Photo By Meghan Moore

This world premiere production of Vichet Chum’s compelling play, “KNYUM”, invites the audience on a journey of discovery. Written and performed by Vichet Chum, Chum portrays Guy, a hotel clerk who works the night shift while studying Khmer, the language of Cambodia.

In his quest to learn his family’s native language in preparation for their upcoming trip to Cambodia, Guy delves into the horrific history that brought his parents to America in the first place. In learning about the past and better understanding his parents, he is able to more fully appreciate where he is, how he got there, and the future he is being guided towards. He dreams of writing stories about the Cambodian people, but in order to do that he must know the language as they do.

Before the play even begins the audiences’ interest is peaked when they hear a recorded curtain speech. In and of itself it may not seem like anything out of the ordinary, but this curtain speech plays in English and then in Khmer. This artistic choice prepares the audience for hearing the language throughout the play. As Lowell Massachusetts is home to the second-largest Cambodian community in the United States, it makes sense that members of this community may attend a play written by a Cambodian American. And when they do, hearing the curtain speech in their native language I’m sure is something they don’t experience all the time. Personally, I can only recall a few instances where a curtain speech was said in any language other than English, so I found it to be a welcomed surprise.

The scenic design by Dan Conway at first seems simple with clean lines and a neutral color palette. It was easily believable as a hotel lobby; minimalistic with simple furnishings and few props. Where it surprises us is in the use of projections by designer Jon Haas. Projection screens cover the surfaces of the columns, walls, and reception desk on and above the stage. They transform throughout the play showing us the streets of New York, pictures of Guy’s family, and ultimately of the Cambodia he travels to. The use of projections takes Chum’s storytelling to the next level of transformative theatre.

Directed by KJ Sanchez, Chum has great use of the stage. He very much seemed at home on the set and in that space. As Guy, he was engaging and he quickly grabbed the audiences’ attention. In no time, they were chuckling at his anecdotes and imitations of the people in his life. He shared an emotional story of survival from when his parents had to flee Cambodia decades earlier. He was visibly fuming with rage when discussing the war and the work camps his family was sent to. He shared his passion for creating a story with Cambodian characters that would stand the test of time and shine a light on a part of the world many know little about. Chum was naturally charismatic and amusing. Every part of his portrayal was genuine. The final moments of this play are quietly some of the most powerful as he finally holds what he’s been chasing in his dreams for so long. His last word says it all.

I’m not going to divulge any more details than that, because this is one of those plays you just need to experience for yourself. I will say that Chum’s performance of his beautifully poetic play was well deserving of the standing ovation he received from the captivated audience. © ‘KNYUM’ plays at Merrimack Repertory Theatre, located at 50 East Merrimack Street Lowell, MA, until February 4^th, 2018.  Tickets range from $73-$26 with discounts available for groups, students, seniors, Lowell residents, and military service members. To purchase tickets or find more information visit www.mrt.org or call 978-654-4678.

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

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

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

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

Rebecca White & Joel Colodner. Photo by Meghan Moore.

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

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

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

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

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

Victoria Grace and Alexis Bronkovic. Photo by Meghan Moore

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Courtesy The Winnipesaukee Playhouse

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

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

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

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

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

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

Special Events from the Education Department: 

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