I Am My Own Wife

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "I Am My Own Wife"" by Doug Wright

Date: Wed, Sept 20, 10:58 PM

Quicktake on I AM MY OWN WIFE

     As the author of "I Am MY Own Wife" points out, this bio-docudrama has two focuses, Charlotte von Mahlsdorf and himself, Doug Wright. His fascination with that unique person, a German transvestite who survived the Nazi's and the East Germans, helped him deal with his own sexuality, though his self-exploration seen onstage is rather perfunctory. Charlotte's however is as detailed as the woodwork on her beloved furniture from the gay '90s. Thomas Derrah plays both, and about 40 other incidental characters, transforming in an instant into figures from her past, tourists at her museum, relatives, and of course Wright. The original script was created with the assistance of Moises Kaufmann and Jefferson Mays, who played the part of Charlotte. Derrah brings his own physical acumen to this interpretation, directed by Jason Southerland.

     Wearing a version of Charlotte's black "hausfrau" dress created by Rachel Padula Schufeld, the actor conjures up Charlotte's particular world. Eric Levenson's sparse 3/4 set is largely black and white except for a highly polished antique Edison phonograph on the upper level--reached by a ramp and one small turn-of-the century desk downstage left. John. R. Malinowski's fluid lighting constantly redefines the acting area, while Nathan Leigh's sound design includes vintage recordings from Charlotte's special period. Those who saw Jefferson Mays ethereal performance downtown will be especially interested in Derrah's more robust approach. Incidentally, Wright's previous work includes "Quills" seen two seasons ago at the New Rep. His current show, about to move onto Broadway is "Grey Gardens."

---

"I Am My Own Wife"" by Doug Wright, Sept.14 - Oct. 8

Boston Theatre Works at Zero Arrow St.

Arrow & Mass. Ave. Harvard Sq., (617) 728 - 4321

Boston Theatre Works

Monsters the musical

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Monsters" - book by Gail Phaneuf, music by Ernie Lojil

Date: Sun, Sept 17, 2006 12:14 PM

Quicktake on MONSTERS

     Gail Phaneuf's musical comedy "Monsters" had a workshop last season at Emerson. and now under Centastage's aegis joins Geo. Sauer's "Heading for Eureka" as their second premiere of locally developed work this calendar year. It seems to be Phaneuf's entry for the category of plays for women about mid-life crises, but cleverer than most. It will be interesting to see how it develops. The show currently has one set, six characters, a passable of contemporary songs which relate fairly well to the eccentric story line, and no intermission. It wouldn’t be hard to find the right moment for one. The music needs further arrangement and the perfunctory overture should be dropped for a more interesting opening.

     As Samantha, the main character neurotically turning forty, Lisa Beausoliel who’s been with the project for awhile, has an interesting comic sense and good musicality. Her nemesis, her domineering mother, played by Cheryl McMahon, is almost a stereotype, but shows some of her own neuroses as the show progress, More sooner might help. Sam’s real opponents are her own phobias, who confront her musically in the most interesting—and potentially confusing—center of the show. Michelle Dowd is Fear, dressed in purple and black with a cape, Patti Hathaway in a baggy green track suit is Apathy, the funniest of the lot, and Wayne Fritscher is Body(Image?) wearing an outfit which suggests that he’s a hairdresser. He’s the bitchiest of the three. The final member of the cast is Molly Anne Kelleher who shows up as a Birthday stripper sent mistakenly for “Sam.” The three demons all need to be connected to persons from the heroine’s past.

     The show has various twists which aren’t necessarily reflected by Ernie Lijoi’s contemporary score which is well-presented by music director/conductor Stephan Bergman. The only obviously missing number is a confrontational duet during the first mother/daughter scene. Joe Antoun’s direction is competent and Christine MacInally choreography adds interest though neither really captures the fantasy of the piece. Ken Ross' set, lit by Jeff Adelberg emphasizes Samantha’s plainess but hasn’t much appeal. However, the technical support is sufficient to raise his production above the usual workshop presentation and all-in-all, “Monsters” works, except for the title, which is justified by the storyline would probably give prospective audiences the wrong impression. “Samantha’s Monsters” might be better, but something more evocative should be found..

---

"Monsters" - book by Gail Phaneuf, music by Ernie Lojil, Sept.15 - 30

Centastage at BCA Plaza Theatre

539 Tremont, (617) 933 - 8600
Centastage

A New Brain

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "A New Brain", music & lyrics - William Finn; Book - Wm.Finn & James Lapine

Date: Sat, Sept 16, 9:48 AM

Quicktake on A NEW BRAIN

     When William Finn, then best known for his "Falsettos" shows, came close to dying from an inherited brain condition, his quirky sensibilities naturally turned his experience into a musical—with the help of sometime Sondheim collaborator, director James Lapine. "A New Brain" has had several Boston-area production since its NY run at Lincoln Center, but Metro Stage's current brief run in Cambridge may come closest to realizing its potential. Directed by Turtle Lane regular James Tallach, the show boasts an ensemble cast of well-trained and experienced local singers, who've been seen in various area productions recently. Community theatre veteran Jim Fitzpatrick takes the main role of Gordon Michael Schwinn. His mother Mimi is played by another area veteran, Mary O'Donnell, who was part of Metro's production of Jason Robert Brown's "Songs for a New World" last spring. Brown did the vocal arrangements for "A New Brain".


     Kendra Kachadoorian, trained in opera, here plays Lisa, the homeless woman whose harsh worldview balances Schwinn's self-pity. Also in "Songs..." she was last seen at TLP as the brash gun-toting New Jerseyite in Ahrens & Flaherty's early musical, "Lucky Stiff." Schwinn's other nemesis, Mr.Bungee, the frogee star of the children's show for which he writes songs, is Gary Ryan, TLP's "Pippin" last season and Sr. Leo in Metro's "Nunsense A-Men" last fall. On the more sympathetic side, another community theatre veteran, Peri Chouteau, plays Rhoda, Schwinn's agent, and gets to show her comic flair as Gordon's ventriloquist dummy in a dream sequence. She'll next play Little Sally in Vokes upcoming "Urinetown."


     Metro's artistic director, versatile Robert Case, who with Tallach designed the simple but effective set, plays the Doctor, while conservatory-trained Anne Velthouse plays his nurse Nancy. Her husband Aaron, an NEC opera student last seen as Sky Masterson at TLP plays the hospital chaplain. Nicholas Nunez, a senior music major at BosCon, plays Roger Della-Bovi, a wealthy sailor and Gordon's life partner. Recent BU grad Joe Lanza is Richard, the nice nurse, who feels trapped in his hospital career. This ensemble, under the music direction of Jennifer Honen Galea should be enough to alert in-town music theatre fans to the wealth of talent in various suburban producing groups. We can only hope that Metro, whose work has steadily improved, can somehow afford longer intown runs for future efforts. "A New Brain" has four performances, Thu -Sat at 8pm, Sun. at 2pm, next weekend, Sept. 21-23.


"A New Brain", music & lyrics - William Finn; Book - Wm.Finn & James Lapine, Sept. 15-23

Metro Stage Co. at Durrell Hall, Camb YMCA

800 Mass. Ave. Central Sq, (617) 624 - 5023
Metro Stage

Radio Golf

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Radio Golf" by August Wilson

Date: Thursday, Sept 14, 9:51 AM

Quicktake on RADIO GOLF

     Even though it's a full-length play, "Radio Golf," the last of his 10 plays set in Pittsburgh's Hill District, one for each decade of the 20th century, August Wilson's last effort seems somehow unfinished. Despite director Kenny Leon's best efforts, and a hardworking cast experienced in the author's style, the play never quite comes together. The main character, Harmond Wilks, played by Hassim El-Amin, undergoes a reversal of fortune, but his personal changes seem arbitrary. The references to characters in others plays in the cycle also seem gratuitous. The effect of the action is melodramatic; the fortunes of Harmond and his partner, Roosevelt Hicks, played by James A. Williams never seem compelling. And Harmond's wife, Mame, played by Michole Briana White, seems somehow nonessential; more of a plot device.

     The rest of the cast includes two slightly mythic characters, Sterling Johnson played by Eugene Lee, and Elder Joseph Barlow, played by Anthony Chisholm, both typically Wilsonian. Their speech is colorful, embellished by folk wisdom. Their world views are unique if somewhat arbitrary. Their scenes elevate the action beyond a comedy about two ambitious black businessmen which ends in unanticipated betrayal. As usual the set is impressive and the rest of the technical support fully professional, from David Gallo's detailed set design to Donald Holder's lighting, Susan Hilfrey's costumes, and sound design featuring Kathryn Bostic's compositions.

    Wilson's work is always worth consideration, but "Radio Golf" lacks the impact of his more important plays. With the help of friends and longtime collaborators, its a satisfactory evening of theatre even where the work seems embryonic.

---

"Radio Golf" by August Wilson, Sept. 8 - Oct.15

Huntington Theatre Co. at Mystic Theatre

264 Huntington Ave, (617) 266 - 0800
HTC

1776

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "1776" by Peter Stone & Sherman Edwards

Date: Sun, Sept. 10, 9:37 PM

Quicktake on 1776

     On the 5th anniversary of 9/11/01, reviving Sherman Edwards and Peter Stone's Tony winning "1776" in Massachusetts is an interesting patriotic opening to the Lyric's season. In this Commonwealth which has been opposed to the now dwindling national majority in favor to military response the American Revolution not merely legendary. This country of immigrants, borne from a continuation of Cromwell's parliamentary insurrection century earlier in Britain, is still in a sense debating to competing concepts of liberty and property which bedeviled the Founding Fathers. Just who owns what--and even who--has not been settled yet to everyone's satisfaction. Director Spiro Veloudos has chosen the right moment to bring it back.

    The cast of this current production of "1776", which seems to be becoming biennial hereabouts, leads off with Peter A. Carey as an engagingly acerbic John Adams, with J.T.Turner from the North Shore as a jovial Benjamin Franklin, equally determined to press for Independence. Eileen Nugent returns the Lyric as Abigail Adams, John's "dearest friend." The author of the Declaration--at Adams urging--Thomas Jefferson is played by Terry O'Malley, whose better half, Martha, is played by Jennifer Ellis. The opposition is led by Frank Gayton as John Dickinson, one of the Pennsylvania delegation, and from South Carolina, planter Edward Rutledge, played by local favorite Christopher Chew, whose aria about the triangle trade of molasses, rum, and slaves is the show's penultimate number. Timothy Smith, as irrepressible Richard Henry Lee, an FFV, enlivens the first act. Not only is this the largest cast on the Lyric stage to date, it's also perhaps the strongest, from John Davin as ailing Cesar Romney of Maryland to B.C. student Andrew Glynn, the weary Courier, whose simple ballad about a dying soldier closes the first act.

    Janie E. Howland's somewhat abstract set avoids making Independence Hall seem oppressive, music director Jonathan Goldberg keeps the the tunes lively, and Ilyse Robbins finds appropriate choreography for the several moments that require it. Gail Astrid Buckley makes the hired period costumes suit the cast and Scott Clive's lighting is effective. The technical support and a fine ensemble of local talent makes for a vivid history lesson as we face up to another possibly decisive mid-term election.

---

"1776" by Edwards and Stone, Sept. 8 - Oct. 14

Lyric Stage Co. at Copley YWCA Theatre

140 Clarendon, (617) 585-5678
Lyric Stage

FeverFest06

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "FeverFest06" hosted by Whistler in the Dark

Date: Sat, August 26, 2006 11:15 PM

Quicktake on FEVERFEST06

     The Whistler in the Dark company gathered the majority of the “experimental” theatre groups together for an end of summer event in spacious Durrell Hall at the Camb. YMCA. There was some overlap in casting and something of a general theme involving love and loss. Whistler presented two short plays of their own, Deborah Levy’s feminist exercise, “The B File”, directed by Meg Taintor and Howard Barker’s “Don’t Exaggerate, subtitled “A Political Statement in the Form of Hysteria,” directed by Ben Fainstein. Taintor appeared in the latter while Fainstein took part in Dangerous Animal’s movement piece, “Seal Skin,” directed by Caleb Hammond.

    Mill6 resurrected two memorable Theatre Marathon pieces, Larry Blamire’s sketch about slow service, “My Name is Leslie” directed by Antoine Gagnon and John Edward O’Brien’s “10 Minute Clinic”, directed by Kathy Maloney, both with the same cast including Rough & Tumble regulars. Alarm Clock presented Brian Polak’s chilling monodrama, “Bombs and Manifestos” directed by Daniel Bourque, featuring Steve Johnson as a deranged street musician—of sorts—down in the subway. Imaginary Beasts—formerly the Iron-Rail Company from Lynn Arts—did a scene from their recent “Good Witch/Bad Witch” called the “Dream of a Good Witch” directed by Cathy McLaurin featuring Lorna McKenzie using a mask and a complex costume assisted by Jennifer O’Connor.

     All the pieces were interesting in their own right, though several seem too long for such a program. Tech was minimal as befitted a one day event. If the cooperation between these companies can be extended to promotion of their efforts during the season, “Fringe” activities may receive the attention they are coming to deserve once again. Especially since the Theatre Coop is on hiatus and the Rehearsal Hall at the BCA is becoming too expensive for most companies.

---

"FeverFest06" hosted by Whistler in the Dark, Sat. Aug. 26

Whistler in the Dark, Dangerous Animal, Alarm Clock, Mill6, Imaginary Beasts at Durrell Hall

Camb YMCA, Mass. Ave. Central Sq.
Whistler in the Dark