MISS WITHERSPOON

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Miss Witherspoon" by Christopher Durang

Date: Mon. Mar. 26, 5:00 pm

Quicktake on MISS WITHERSPOON

     Since "Sister Mary Ignatius..." in 1981,Christopher Durang's fantastical excursions , some more successful than others, have incorporated religious satire. His recent Pulitzer nominated whirlwind consideration of reincarnation, "Miss Witherspoon," now running at the Lyric Stage, harks back stylistically to "The Actor's Nightmare", with a single character careening through a metaphysical adventure. Director Scott Edmiston, whose Fall production of "The Women" for Speakeasy just won IRNEs for Best Play and Best Director, couldn't have found a more ideal title player than Paula Plum, who just picked up another Best Actress award at this year's IRNEs for Lyric's "...The Goat." Plum, who's created seven one woman shows as well as appearing for the ART, the Huntington, the Gloucester Stage, and the Lyric among other companies, easily draws her audience into this fantasy which carries her from suicide into Bardo, the Buddhist equivalent of Purgatory, for a series of unwilling reincarnations.

     Attempting to guide her is perfectly cast Mala Bhattacharya, a true diva. Marianna Bassham, last seen as Ymma in "Silence" over at the New Rep, plays two entirely different mothers, while Larry Coen, who just did Laura in "The Plexiglas Menagerie" for Goldust, is the fathers, as well as Gandalf in the finale. Fellow IRNE winner Jacqui Parker (Best New Play and Best Musical Actress) shows up as a guidance counselor but steals the finale as a really cool Jesus. The result, on a whimsical set by Janie E. Howland, this year's Best Scenic Design IRNE winner with a soundscape by Dewey Dellay, who got the Sound Design IRNE, is something to behold, enjoy, and possibly think about. Durang has zeroed in on questions not normally raised in secular everyday theatre, especially the big one; "What's next?" The epiphany he ends on seems less pat and satirical than more downbeat conclusions to his other works.

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"Miss Witherspoon" by Christopher Durang, Mar. 23 - April 21

Lyric Stage at Copley YWCA

140 Clarendon St., (617) 585 - 5678
Lyric Stage

White People

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "White People" by J.T.Rogers

Date: Sun, Mar 18, 9:25 PM

Quicktake on TITLE

     The New Rep’s smaller space opened last Fall with Diego Arciniegas performing “Thom Paine (based on nothing)”, an avant garde monodrama. Their last Downstage offering of the season is a trio of interlocked monodramas by J.T.Rogers entitled “White People” directed by Arciniegas. This intense piece has three “white” Americans, a corporate lawyer originally from Brooklyn but now managing a branch office in St. Louis, an idealistic young college instructor in lower Manhattan. and a former highschool beauty queen in North Carolina. The lawyer, Martin, played by Stephen Russell, has a teenage son who’s become a sullen skinhead, the teacher, Alan, done by Robert Knopf, is struggling to relate to his student’s slang, and Georgia Lyman’s Mara Lynn has an epileptic son.


     The misery behind their lives unfolds through direct address woven together on a composite set by Harvard’s J. Michael Griggs. Stage right is an office being packed up where Michael’s tale unfolds. It stretches across to upstage left. The center is a pigeon-spattered bench in Stuyvesant Park where Alan describes his frustrations. Mara Lynn is mostly stage left or down center, except when she uses the office to remember visiting a Hindu doctor at the hospital. Upstage right a row of chair indicates a waiting room which unfortunately figures in each story. The question remains, why “white people?”


    It boils down to language, most evidently for the teacher, but a stumbling block for all concerned. Martin has lost all contact with his son, Alan and his wife fall prey to street violence, and Mara Lynn feels that everyone from her husband to the doctor talks right through her. And behind each character are unresolved issues concerning race and class. It’s an unsettling show acted with admirable intensity. No solutions are offered and audience reaction could well depend on whether or not they identify with the three characters. The technical support, Charles Schoonmaker's well-chosen costumes, David Kahn’s careful lighting, and Scott G. Nason's sound design all contribute to the effect.

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"White People" by J.T.Rogers, Mar. 9 - Apr. 1

Downstage at New Repertory Theatre

321 Arsenal St. Watertown, (617) 923 - 8487
New Rep

WELL

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Well" by Lisa Kron

Date: Thurs, March 15, 12:03 AM

Quicktake on WELL

     The distinction between true allergic reaction and psychosomatic response is as hard to pin down as the real nature of Lisa Kron's Obie-winning Tony-nominated quasi-autobiographical “theatrical exploration,” Currently being recreated at the Huntington, at first “Well” seems to be a one woman show starring Kron with five extra characters, chief of which is her mother played by theatre veteran Mary Pat Gleason. The other four play multiple roles as the author attempts to define wellness. In the course of two intermissionless hours however this purpose becomes muddied and the show becomes personalized and ultimately inconclusive, more a commentary on itself.

     The process of creating a solo piece from elements of one’s own life is certainly relevant to today’s theatre, but is not in itself necessarily interesting, at least not for two hours. The show has a pastiche quality, attempting to correlate race relations in 1960s Lansing Michigan to the minutia of a residential allergy clinic in Chicago, combined with memories of growing up with a mother whose life was limited by illness. The author challenges her own veracity in the process which leaves additional questions unanswered.

    All of which is sporadically amusing; Kron’s standup timing is impressive, regularly garnering laughs at her own expense. Tony Walton’s set, done for Broadway looms over the action but seems more decorative than appropriate. The conceit that all this is somehow an exploration with no clear course, except on some notecards in the author’s pocket, seems hollow and unfortunately true, the sporadic effort of a skilled performance artist to deal personal concerns working from contradictory premises. The results are maudlin at best, and probably much more compelling in Off-Broadway confines than displayed on the Huntington’s vintage proscenium.

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"Well" by Lisa Kron, mar. 9 - Apr.8

presented by Huntington Theatre Co. at BU Theatre

264 Huntington Ave., (617) 266 - 0800
HTC

Brendan Behan

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Brendan Behan" adapted by Shay Duffin

Date: Wed, Mar 7, 11:36 PM

Quicktake on BRENDAN BEHAN: CONFESSIONS OF AN IRISH REBEL

     The season of one-person shows continues. Behan’s back, or rather Shay Duffin’s resurrected the man again, and his show seems as fresh as ever. Duffin, who was last here in Boston as part of the ensemble for “The Departed”, first put his fellow South Dubliner onstage here at the Charles Theatre about 20 years ago. He’s now older than the writer was at his death aged 41, and brings a depth to the sadness behind the banter. Material for this piece comes from Behan’s various published writing, including “The Borstal Boy”, but most of the songs are traditional barroom tunes heard in his best-known play, “The Hostage.” The intimate confines of JTOB, with Guinness available in the lobby, make this show seem like a homecoming. Maybe it’s time some of our local theatres took a second look at his plays, and the social criticism behind their antics.

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"Brendan Behan" adapted by Shay Duffin, MAR.7 - 31

JIMMY TINGLES’ OFF-BROADWAY

255 Elm St. Davis Sq., (1-866) 811 - 4111
J T O B

Grapes of Wrath

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Grapes of Wrath" adapted from John Steinbeck by Frank Galati

Date: Thur, March 8, 11:15 PM

Quicktake on GRAPES OF WRATH

     The Stoneham Theatre has produced several shows based on works of literature, including John Steinbeck's “Of Mice and Men” which the author adapted himself. His masterwork. “The Grapes of Wrath” was however turned into a film starring Henry Fonda, which is how most audiences remember the story. Frank Galati's adaptation of this epic for Steppenwolf won a Tony award and introduced Gary Sinese to the Broadway stage, but is a much more challenging piece. Director Weylin Symes and his staff have made an honest effort to
deal with this tale of the Joad's journey from the Oklahoma dustbowl to California’s fruitlands.

     With a large cast of professional and local actors, an effective if somewhat monochromatic unit set by Gianni Downs, and live fiddle and banjo music chosen by Jim Warner, the show does justice to the original, but doesn’t come to life often enough. It’s hard to come up to the level that a practiced ensemble can achieve. Susan Bigger and Ed Peed inhabit the roles of Ma and Pa Joad, and Jonathan Popp is believable as Tom Joad. Derek Stone Nelson doesn’t rise to the mythic figure of Preacher Jim Casey often enough. Richard Arum and Darius Omar Williams turn in effective cameo roles as does Jim Wryna as Grandpa. In the end, the production doesn’t balance the grimness of Steinbeck’s tale with the novels theme of the indominability of human spirit. Galati’s adaptation does preserve his parable and poetic ending unlike Hollywood’s effort.

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"Grapes of Wrath" adapted from John Steinbeck by Frank Galati, Dates, Mar.1 - 18

Stoneham Theatre

395 Main St. Stoneham, (781) 279 - 2200
Stoneham Theatre

More Than What - Review

Reviewed by Will Stackman

Janet Kenney’s cycle of short “ten minute” plays orbiting around Jack and Andrea’s wedding provides a broad look at the family behind the occasion, but only hints at the depths of their lives. As a result, More Than What is long on what—divorce, approaching death, grieving, mourning, and of course relationships—and rather lessthan more on any epiphanies for its characters. Thus the show doesn’t really get anywhere—the marriage isn’t ever likely to be in danger— but rather seems like a sequence in some daytime drama.

     Fortunately, the dialogue is effective and a skilled cast of local actors is quite up to fleshing out these ordinary people. Ellen Adair, who’s been busy the last few seasons, is Andrea the bride and forms a solid and sympathetic center that almost binds the piece together. Mike Dorval’s Jack almost deserves her; his qualities shine through in a scene with his widowed younger sister. His divorced parents, Jack and Ruth, are handled like pros by Jeff Gill and Donna Sorbello. Gill is jokey, but still affectionate, while Sorbello, whose character is dying of cancer, projects dignity. The interlude between Ruth and Andrea is the emotional center of the show. Harold Withee is Andrea’s Uncle Bob, who’ll be walking her down the aisle in place of her deceased father, and then gets to do his Satchmo iimpression at the wedding supper. Andrea’s younger sister, Melody, is tartly played by Sarah Augusta, while Nicki Carroll, from Australia, is her best friend Eve. Christine Power plays Stephie, Jack’s sister. All three of these supporting characters are well fleshed out but only Melody is really intergrated in the action.

    Centastage has made its mark giving fully-mounted productions of works in development, and “More Than What” shows real promise. Costumes are appropriate and functional; the set pieces could be more easily changed but add nice touches. It’s quite entertaining as it stands. But to become fully dramatic, discoveries and implications from each seperate playlet need to be woven into the whole and some sort of dramatic tension needs be found, to create an arc so the action can have a real ending. Somebody or something has to change.

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“More Than What”, Feb.23 - Mar.10

CentaStage, BCA Black Box

539 Tremont

(617) 933-8600

Comedy of Errors

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Comedy of Errors" by Wm. Shakespeare

Date: Fri, March 2, 2007 11:23 AM

Quicktake on COMEDY OF ERRORS

     The Imaginary Beasts, a physical theatre resident at the Lynn Center for the Arts, has opened their latest effort at the Charlestown Working Theatre. “The Comedy of Errors”, largely borrowed from Plautus’ Roman farce, “The Twin Menachmi” is an early Shakespearean effort with a complicated Italianate plot and various passages intended to show off the author’s rhetorical skill, including a solemn opening which sets for the circumstances. Matthew Woods’ the group director starts off with this static scene but quickly moves into a commedia mode which suits the varied skills of his company. Unfortunately these don’t include consistent verse speaking and enunciation on the part of all these young actors. He’s also emphasized the confusion of identities in the plot by a lot of cross-gender casting. Of the identical twin brothers, Antipholus of Syracuse is played by Debra Mein, while Antipholus of Ephesus is played by Daniel Balkin. The latter’s wife is played by Rocky Graziano while her sister is played by Elizabeth Olson. The two Dromios, slaves both. are played by Jennifer O’Connor and Caitlin Stewart-Swift, dressed in clown suits made from over-sized long underwear.

    The costumery in general much of which is changed onstage behind a pair of rolling racks which constitute the show’s only scenery, is an imaginative hodgepodge with a period feel. The rest of the ensemble. all women, play a variety of characters with energy if some tendency to indicate. The pace of the show would be improved by cutting some of the obscure humor and an attempt to identify locations. Better music choices would also help or even an original score with identifiable themes. Woods might do well to put this concept on the shelf and revisit it when he had a stronger company. The present production is however worth the short trip over to Charlestown. The Working Theatre is after all only two and a half blocks from the Sullivan Sq. stop on the Orange Line and street parking is available. The Imaginary Beasts will also be running the show at the Lynn Center for the Arts.

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"Comedy of Errors" by Wm. Shakespeare, Mar.1 - 10

The Imaginary Beasts at Charlestown Working Theatre

422 Bunker Hill St., Charlestown / (978) 500-5533
ImaginaryBeasts

Charles Dicken's OLIVER TWIST

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Oliver Twist"adapted from Charles Dickens by Neil Barrett

Date: Wed, Feb 22, 11:58 PM

Quicktake on CHARLES DICKENS "OLIVER TWIST"

     At the center of this faithful adaptation of Dickens best known novel is Ned Eisenberg's scenery chewing performance as Fagin, the mastermind of the gang of juvenile thieves. This role, played as a version of Shylock, was a favorite of Victorian actor/managers. Michael Wartella as the title character, young Oliver, is convincing as the eternal victim, good but very naive. ART regulars, Remo Airaldi as the Beadle Mr. Bumble, Karen MacDonald as the harridan who keeps the workhouse and marries Mr. Bumble, Will LeBow as Mr. Brownlow, Oliver's grandfather, and Thomas Derrah as Mr. Sowerberry, the undertaker as well as Mr. Grimwig, Brownlow's cynical friend perform up to their usual standard, and fill a number of minor roles.

     Notable visiting artists include glowering Gregory Derelian as Bill Sykes (sans dog) and Mrs. Sowerberry, Jennifer Ikea as doomed Nancy, and Carson Elrod as the Artful Dodger, who narrates the story up until his fateful meeting with Oliver on the road to London. The rest of the cast are uniformly convincing as they morph from character to character, form a street band to play Gerald McBurney's original score and join the ensemble in musical interludes in which the cast sings short setting of the author's prose commentary.

     Rae Smith's set is a unique combination of early Victorian popular theatricals, penny dreadful tableaus, toy theatre, and stylized grand guignol. Her costumes are drawn from crude illustrations from the time. Neil Barrett's direction is marvelously choreographed with moments of mock solemnity and frozen violence. Lighting by Scott Zielinski, who recently did Three Sisters and Dido for the ART, and David Remedios' usual first-rate sound design complete this revival of "Oliver Twist" which will next move to NYC's Theatre for a New Audience.

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"Oliver Twist" by adapted from Charles Dickens by Neil Barrett, Feb.17 - Mar. 24

A.R.T at Loeb Auditorium

64 Brattle St. Harvard SQL,, (617) 547 - 8300
A.R.T