Moonlight

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Moonlight" by Harold Pinter

Date: Wed, June 28, 11:58 PM

Quicktake on MOONLIGHT

     "Moonlight" (1993) is one of the last of Nobel Laureate Harold Pinter's 29 some plays. It revisits many of his earlier themes of family, responsibility, and death in a poetic framework where the drama is only implied. The QE2 Players, in their annual outing at the BCA have given the work a careful journeyman like production. Director Michael Halloran uses the particular strengths of his diverse cast to let the language of the piece speak for itself, however obliquely.

     Central to the piece is Jim Robinson as Andy, a retired civil servant raging against fate from his deathbed. Gwen Sweet is his patient and often acerbic wife. Their youngest, Bridget played by Emma Stanton, functions as a minor chorus to the action, and may in fact be a ghost. Their two sons, who're somewhere planning something, but doing very little, are Rob Rota as Jake and Travor Thompson as Fred. This duo is almost a parody of early Pinter by the master; their dialogue is almost entirely constructed from cliches. Jennifer Barton Jones and Edwin Bescheler are Maria and Ralph, friends of the family, who seem to be in contact with the boys, who are somehow estranged from their father. The action resists any definite interpretation.

     The shows been kept simple. Cara McCarthy's set has two acting areas on levels with furniture, backed by a blue scrim overlaid with a grid of pinkish rectangles. Kathy Maloney's lights help define the show from moment to moment. Andy Bergman has selected some trancy music to provide transitions. All in all it's an effective use of the oldest theatre space at the BCA. The whole effort has the touch of the Absurd necessary to set off the obscure dialogue, which provides clues to the action, but little conclusion, just moonshine.

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"Moonlight" by Harold Pinter, June 28 - July 1

QE2 Players at Plaza Theatre, BCA

539 Tremont, (617) 933 - 8600
QE2 Playersa

Romeo and Juliet

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Romeo and Juliet" by Wm. Shakespeare

Date:Thur. June 22, 11:29 pm

Quicktake ROMEO AND JULIET (seen at Final Dress)

     Brian Tuttle's 11:11 Theatre has generally presented his new plays in the intimate confines up the stairs at the Actor's Workshop on Summer St. Their naturalistic style, moved to the larger open space of Durrel Hall, works well enough for this modern dress "Romeo and Juliet," but seems a bit more like a workshop. Some of the cast need additional work on volume and verse-speaking, and the whole production, which clocks in at slightly over two hours even though edited. Pace and consistency should improve as the show runs. Director Tuttle takes a small role in the play and probably would have benefited from a strong assistant director/verse coach to improve things.

     As the star-crossed lovers, Kerlee Nicholas and Melissa Baroni are interesting choices. He's best when moody and street smart, getting too close to yelling when emotional. She's consistently childish and occasionally runs on, playing against her physical presentation. However, their relationship is more believable than the brawling lovers seen earlier this season at the ART. John Ferreira's Mercutio comes closest to a Shakespearean presentation and his quite effective. Various roles have been changed and reduced. Emily Evans' Nurse is younger than usual and less humorous. Peter played by Rebecca Maddalo is just the Capulet's houseperson. The Montague street presence is coed; Fran Betlyon plays Romeo's Page, Balthasar. The director plays his father, which may be out of necessity. As Juliet's parents, Curt Klump and Diana Varco do well enough in these plot-essential roles. James Smith and Adam Harper have the airs for Prince Escalus and Count Paris. Jason Warner is more a plot element as Friar Lawwrence. The 21 person ensemble for this production is at least twice the size of many recent barebones productions.

    The show features live music and songs by Lucas Carpenter backed by drummer John A. Brewton. These definitely help define the show as contemporary. Lighting and set are rudimentary but appropriate, though more of the action could be played closer to the audience. The death scene is, but setting it up is difficult. Bodies can be very inconvenient. The ending thus becomes a bit sketchy, especially the final discovery. Only Rick Lombardo's New Rep production last fall made the whole confusion work.

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"Romeo and Juliet" by Wm. Shakespeare, Jun. 23 - July 1

11:11 Theatre Co. at Durrell Hall, Camb. YMCA

820 Mass. Ave., (617) 549 - 7770
11:11 Theatre Co.

In Perpetuity throughout the Universe

Subject: Quicktake - "In Perpetuity Throughout the
Universe" by Eric Overmeyer

Date: Fri, June 16, 11:26 PM

Quicktake on IN PERPETUITY THROUGHOUT THE UNIVERSE

     Connoisseurs of
wordplay in the tradition of Ionesco and the Absurd
will be delighted with Whistler in the Dark's current
production of Eric Overmeyer's 1988 dark comedy "In
Perpetuity Throughout the Universe." This fragmented
after-dark peek into the purported world of
ghostwritten conspiracies, chain letters, and the
resurgence of Dr. Fu Manchu--aka the Yellow Peril--is
obliquely prophetic and potentially disquieting. The
second production of this new theatre group brings
back Lorna McKenzie and Jennifer O'Connor, who
appeared in their production of "The Possibilities"
earlier this season, along with Travis Boswell, Stacey
Kirk. Chuong Dinh Pham, and Alejandro Simoes to form
an interesting ensemble, all associated with the
publishing firm headed by Maria Montage. Simoes plays
Lyle Vial, who's getting chain-letter after
chain-letter. Pham plays Dennis Wu, an American of
Chinese extraction, and also appears as a sinister Far
Eastern merchant, Tranh Kirk plays his girlfriend,
Christine, who's been given a most important
assignment by editor-in -chief McKenzie. O'Connor is
her assistant, Buster, but also Mrs. Peterson, and the
Joculatrix, the Norman inventor of the chain letter.
And they all work for Boswell's Ampersand Qwerty. He
also plays Oscar Rang, a strange podiatrist.

     If this doesn't all quite
make sense, the show somehow does. Co-Artistic
director Ben Fainstein has directed the piece
efficiently on a simple set with simply defined
areas, Andrew Dickies' lighting helps define these as
needed. Kelly Leigh David's basic '80s costuming
gives the cast a slight retro look. Overmeyer's
convoluted scripts haven't been seen much around these
parts lately. Perhaps this energetic production will
encourage consideration of his unique--albeit
twisted--talents.

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"In Perpetuity Throughout the Universe" by Eric
Overmeyer, Jun.24 - July

Whistler in the Dark Theatre at Charlestown Working
Theatre

442 Bunker Hill St, Charlestown/ (866) 811 - 4111
Whistler in
the Dark

Samurai 7.0

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Samurai 7.0 - under construction" by Beau Jest

Date: Sat, June 10, 10:55 PM

Quicktake on SAMURAI 7.0

     Every thing old is new again--or something like that. Beau Jest, a movement theatre back in Boston after seven years, brings the experience of its varied members, who began working together in 1984, to its latest project. "Samurai 7.0" somewhat ruefully subtitled "under construction" is a theatrical collage built around the storyline of Kurosawa's epic tale of a village's battle against bandits. Having been refused permission to adapt the original, the group widened their horizons to include the Hollywood blockbuster "The Magnificent Seven," based of course on the Japanese original, which itself had been inspired by movie westerns, plus the unlikely movie musical, "Seven Brides for...." But being Beau Jest, additional cultural references to seven began to intrude, such as Disney's Seven Dwarves, followed by the six rude mechanicals, Shakespeare's Henry V, etc. The result is "cinematic theatre," similar to that practiced by Rough & Tumble or Pilgrim, but with BJ's own particular comic sense, which in this case meshes very well with Kurosawa's Zen impulses. The existential tragedy of the farmers, the warriors, and the bandits trapped in a static dysfunctional society continues to resonate in the daily news, which doesn't have to be directly referenced to be relevant.

     The eight members of the ensemble, Larry Coen, Robert Deveau, Elyse Garfinkel, Jordan Harrison, Scott Raker, Davis Robinson, Robin JaVonne Smith and Lisa Tucker play the seven, morphing into the villagers, the marauders, and the scenery. Five are past company members--four appeared in their awardwinning "Krazy Kat" (1995)-- and the other three are Bowdoin graduates who've studied with Robinson there. His innovative direction creates a physical framework for the action, which is supported by Judy Gailen's scenic imagination, which used projected surtitles, symbolic props such as bamboo screens, giant fans, decorative fans, etc.--acquired at Crate & Barrel--along with simple puppets, shadow, rod, and toys provided by Libby Marcus. The cast wears simple color-coded pajama style costumes created by Seth Bodie, which range from Larry Coen's more traditional deep orange garb as the leader to very plain white wear for gangly Jordan Harrison who takes the Mifune role, named "Dopey" in this production. M.I.T.'s Karen Perlow puts the simple lighting available in Calderwood Rehearsal A through its paces to great effect. Composer Don Dinicola provides a soundscape which mixes traditional percussion, played by Tamora Gooding, with pop recordings and of course the "Magnificent Seven" theme (best known from Marlboro commercials). It's a whirlwind cultural stew with theatre at its heart, whose agenda is aesthetic and possibly philosophical, intended as stimulating entertainment. Welcome back.

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"Samurai 7.0 - under construction" by Beau Jest, June 7 - 24

Beau Jest at Calderwood Rehearsal

BCA, 529 Tremont, (617) 933 - 8600
Beau Jest

Playwrights Platform A

"Playwrights Platform Festival, Series A"

Reviewed by Will Stackman

    The 34th annual Playwrights' Platform Festival of New Plays got off to a good start this past weekend with nine varied pieces by new and longtime participants. Several were ten minute efforts, from the opener, Ludmilla Anselm's comic view of "Three Friends,"--translated by Natella Poladzade--all Russian emigres seeking male companionship to Marika Barnett's "The 11th MInute," an Absurdist dilemma for playwrights acted with brio by Ted Hewlett and Lewis D. Wheeler which opens part two. Anselm's piece would function as the opening for a longer play. George Matry Masselam's "Charlie's Gift, Sheila's Gift", on the other hand, seemed like the condensation of a longer one-act--or more. Theatre Coop hands, Peter Brown and Linda Goetz, along with Jonathon Popp, tried hard to develop unique characters in the short time allotted, but the play needs more development itself. Erik Sherman's comic confrontation at a bank, "Spare Change," never quite came up to its premise but got more than a few laughs, thanks to the efforts of Dana Ozik and Todd Radford as teller vrs. customer. Holly J. Jensen's "One Two Many" performed by Suzanne Taylor and Emanuel Ward was all setup--for a proposed threesome--but no pay off. Wrapping up the first half, Anthony Donahoe's "Dancers"--with the author playing the male lead--was slice of life meeting between two lonely people with Patti Hathaway as a plain woman who offers a place for the night to an Irishman who missed the last tube home to his flat. A plot that came up to the character potential would make the terpsichorean ending less arbitrary.

    In the second half, Jonathon Myers' "Progress" was a sketch ably acted by five young actors playing college students, long on a vaguely science fiction premise but short on development and real complication. The material could be used for a longer piece or the cast reduced for a shorter piece. The most elaborate production of the evening was a mini-musical (three numbers) with book and lyrics by Hortense Gerado, music by Tony Carafone, "River of Babylon" which draws inspiration from a famous Rasta tune, but doesn't use it for any musical purpose in the show. Set in the ladies room of a posh restaurant, the action involves two couples who turn out to have prior relationships and the incipient birth of a child. The resulting farce and the musical numbers, accompanied by David Reiffel, the Program Director of NOMTI, are interesting in themselves but not fully integrated. Perhaps this material could be used for a longer show with a clearer purpose. The program ended with Frank Shefton's urban melodrama, "Wounds," first seen two summers ago at the Hovey Summer Festival held at Turtle Lane. Given the continuing street violence in the city the play has continuing relevance.

    The Series B next weekend has seven scheduled plays of various lengths which include usual confrontations between couples plus a play set in a graveyard, some politics, and in closing, G.L.Horton's dark comedy about going to Grandma's for Christmas. A new feature of this year's festival is that Heuer Publishing intends to offer publication to the winners of the audience and playwrights choice winners. The Platform continues its mission of providing a chance for area playwrights to have their works heard, first in cold readings on Sunday nights out in Waltham, then on to the increasing number of new play programs which have grown in the two decades, including the Platforms own annual event. Not a few ten minute plays heard there of course are entered in the Boston Theatre Marathon. Another upcoming new play program is Hovey's Summer Festival in their home theater on Spring St. in Waltham in August, which will feature longer works. Boston area playwrighting has grown during the last three decades.

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"PLAYWRIGHTS PLATFORM FESTIVAL, SERIES A" by ten writers

Playwrights' Platform at Boston Playwrights' Platform

929 Comm. Ave. Allston, June 8-10

(617) 358 - PLAY

Songs for a New World

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Songs for a New World" by Jason Robert Brown

Date: Thurs, June 8,

Quicktake on SONGS FOR A NEW WORLD

     The Metro Stage Company's revival of Jason Robert Brown's 1995 revue, "Songs for a New World" shows the continued development of this company. At least on par with their successful "Assassins" a little over a year ago, this current effort, again directed by Janet Neely, achieves much of the potential in this collection of songs which vary from the universal to the personal. Originally staged with only four singers, Metro is using eight, which adds variety and offers more vocal color in the group numbers, which are not the show's strongest material.

     The first real show stopper is the third, "Just One Step" Tracy Nygard's comic suicide attempt. Her last musical was "The Full Monty" at Turtle Lane. Kristin Huberdeau, whose various credits include NSMT, soon gets into "Stars and the Moon," a song which has moved into the repertoire of some well-known singers. She's also affecting in the "Christmas Lullaby." The second part starts with Grace Summer, who just played Helena in "Midsummer..." for Hovey, doing a Kurt Weill parody. "Surabaya-Santa". Mary 'ODonnell, the most experienced cast member, repeats the "New World" theme several times starting with the opening, but is most impressive doing "The Flagmaker 1775," one of the show's two historical numbers, an anti-war piece.

     James Tallach, a Turle Lane stalwart who was seen in Metro's "Assassins," has a strong romantic duet with Nygard, "I'd Give It All for You," one of several numbers foreshadowing Brown's better known show, "The Last Five Years." Aaron Velthouse, most recently Sky Masterson at Turtle Lane, is most impressive doing "KIng of the World," about a jailed dictator. Joshua Heggie, seen last winter at Turtle Lane as Jim in "Big River" joins Chas Kircher in "The River Don't Flow," followed soon after by "She Cries". Kircher closes the first act as the lead singer in "The World Was Dancing," a bittersweet romance with Huberdeau. Velthouse leads the penultimate number, "Flying Home."

    The distinctive voices of this ensemble are backed up by music director Karen Gahagan at the keyboard, with Michael Joseph on a second. Kimmerie Jones provided the cast with simple black costumes suited to their personae; Andrew Haserlat created an effective unit set, and John MacKenzie gets effective lighting out of the limited positions available. Choreography, necessarily brief, is by Donald Ray Gregorio, another Turtle Lane hand. Anyone interested in the continuing development of the American Musical Theatre who hasn't heard this collection of smart songs should take in this production. Incidentally, all the lyrics are available of the author's website.

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"Songs for a New World" by Jason Robert Brown, June 10-17

Metro Stage Company at Durrell Hall, Camb. YMCA

850 Mass. Ave. Camb, (617) 524 - 5013
Metro Stage Co.

Waters Rising

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Waters Rising" by Wesley Savick & co.

Date: Sun, June 4 9:02 AM

Quicktake on WATERS RISING

     Last season, Wesley Savick and his cohort presented "Shouting Theatre in a Crowded Fire" based on the writing of Howard Zinn. This year's effort in experimental social commentary was presented as a workshop last weekend. Entitled "Waters Rising", with oblique references to global warming, the piece seemed more personal and included some parodies of earnest country songs. Both shows continue in development and will be run in repertory next season at Boston Playwrights', the first three weekends in December. Might make a change from the usual holiday fare, and certainly represent experimental nonlinear theatre performed by students, but guided by one of Boston's most creative directors.



Wesley Savick & co., in workshop June2-3

Suffolk Workshop at Boston Playwrights

949 Comm. Allston,
Boston Playwrights Theatre

An Ideal Husband

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "An Ideal Husband" by Oscar Wilde

Date: Sat, June 3, 10:28 PM

Quicktake on AN IDEAL HUSBAND

     For their late spring show, the Wellesley Summer Theatre is presenting a full version of Oscar Wilde's dramatic comedy, "An Ideal Husband," with every quip in place. In the hands of this experienced ensemble the four acts pass quickly enough. IRNE winner Alicia Kahn is back in town to play the dangerous and alluring Mrs. Cheveley with Derek Stone Nelson as her chief foil, playing Lord Arthur Goring, man about town--and the author's standin. The target of the lady's machinations is ambitious politician Sir Robert Chiltern, played by Shelly Bolman, with Angie Jepson as his highly moral wife, Gertrude. Lord Arthur is Sir Robert's oldest friend, and has been diffidently courting Gertrude's younger sister, Mabel, played by Wellesley student, Kelly Galvin. His father, Lord Caversham provides another finely drawn character for Ed Peed, with Charlotte Peed playing Mrs. Cheveley's talkative friend, Lady Markby. Among the WST regulars are Lisa Foley as aging Mrs. Marchmont and Wellesley grad Victoria George as her catty friend Lady Basildon. MOst of the members of this cast were seen inn early spring in WST's production of "Under Milk Wood," including Marc Harpin, who plays the Chiltern's butler, Mason. John Gavin, who was seen last season in "Pride's Crossing" and "After Mrs. Rochester" performs the same service for Lord Arthur as his man Phipps. Luis Negron doubles as Vicomte de Nanjac in the first act and Lord Arthur's footman Harold in the third, while Dan Bolton is Mr. Montford , then Mason's assistant, James.

     Ken Loewit has created an stylish unit set with an appropriately mauve tone, well lit as usual. Nancy Stevenson's costumes bring these Edwardians to life, with the help of a company that knows how to wear clothes. With WST's associate director Andrea Kennedy at the helm the dialogue moves right along through Wilde's witty patches and the play's more serious action. Less produced than "The Importance of Being Earnest", which was also written in 1895, this social satire with political implications suggests that if Wilde had been able to continue developing as a dramatist, he might have rivaled Shaw in taking on the complacency and moral failing of the pre-WWI Empire. There's an echo of his own impending predicaments in the play, particularly in Lord Goring's almost Nietzchean approach to his life of leisure, and his turning into "An Ideal Husband."

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"An Ideal Husband" by Oscar Wilde, May 30 - June 24

Wellesley Summer Theatre in Ruth Nagel Jones Theatre

Alumni Hall, Wellesley College, (781) 283 - 2000
Wellesley Summer Theatre