QUICKTAKES ARCHIVE

Parade

2007-05-15T12:45:00.000-07:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Parade" by Alfred Uhry and Jason Robert Brown

Date: Mon, May 14, 11:12 PM

Quicktake on PARADE

     Speakeasy is ending their season with Boston's first professional production of Uhry and Brown's Tony winning "Parade", a large cast music drama based on Alfred Uhry's book. He's better remembered for another modern classic, "Driving Miss Daisy." Jason Robert Brown is better known for his quasi-autobiographical reversed order romance, "The Last Five Years" which Speakeasy also produced plus his revue, "Songs for a New World." Director Paul Daigneault has assembled a impressive cast of 29 musical actors to recount the fate of Leo Frank, a Jewish factory superintendent from Brooklyn, who managed his father-in-law's factory in Atlanta in 1913. He was falsely accused of raping one of his young female employees, sentenced to hang. When the governor commuted this sentence, citing faults with his trial, a mob lynched Frank. The real murderer, presumed in this retelling to be a black janitor who testified against Frank at his trial, was never tried.

     Produced at Lincoln Center by Hal Prince, "Parade" had a disappointing first run, but has since found a place in the ongoing development of American Musical theatre. The principal cast members are two Speakeasy favorites, Brendan McNab, seen in "Kiss of the Spider Woman," as well as last fall's "See What I Wanna See," and Norton winner Bridget Beirne, who played Queenie in their production of La Chieusa's "The Wild Party." Also prominent is Timothy John Smith, recent IRNE winner from Lyric's "1776." as a local reporter who seizes on the case as his chance at fame. Paul D. Farwell plays both the through character of a Confederate veteran, and sickly Judge Roan. Austin Lesch, seen regularly locally and just in from the national tour of "Altar Boys: opens the show as confederate soldier when young, singing "The Old Red Hills of Home," something of a theme for the piece. Edward M. Barker is the rascally janitor. There are also first rate performances from local music theatre regulars. David Krinnit is the suave and unpricipled prosecutor,Dorsey, while Terrence O'Malley is the "dancing governor", Slaton. Gerald Slattery doubles as the local barkeep and Frank's "good old boy" lawyer, Luther Rosser. Brett Cramp is Tom Watson, a local firebrand preacher and anti-Semite, who joins forces with the prosecution. Speakeasy veteran Kerry A. Dowling, seen this fall in "The Women" is affecting as the victim's mother, Mrs. Phagan.

     The show's design by Eric Levenson is an elegant unit set which efficiently suggests the various locales required. Stacy Stephen's period costumes, including numerous changes, give a real sense of pre-WWI Atlanta, trying to make its way into the 20th century, still very much "olde South." IRNE winner Karen Perlow provides the necessary flexible lighting design. Changes of set pieces and furniture are handled a vista by the ensemble with admirable dispatch. Jose Delgado conducts a an ample pit orchestra with fellow IRNE winner Paul S. Katz at the keyboard. Don't let this "Parade" pass you by.

"Parade" by Alfred Uhry and Jason Robert Brown, May 12 - June 16

Speakeasy Stage Co. at Roberts Studio, Calderwood

BCA, 529 Tremont, (617) 933 - 8600
Speakeasy

The Wild Party

2007-05-03T12:14:00.000-07:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "The Wild Party" by Andrew Lippa

based on the poem by Joseph Moncure March

Date: Wed, May 11:59 PM

Quicktake on THE WILD PARTY

     Those with fond memories of Speakeasy's production of Michael John LaChiusa's version of "The Wild Party" a few season's back are liable to be slightly disappointed in Andrew Lippa's approach to the same material. Not that the New Rep's current production just could be the sharpest and most energetic small music theatre presentation of the season, but that Lippa's one-man show (book, music, and lyrics) seems something of a pastiche. He's tried to meld the jazz and music theatre sounds of the Roaring '20s with contemporary styles with mixed results. He's also concentrated on four principal characters, leaving the rest of Moncure's menagerie mostly as background. None of the four are particularly well motivated.

     First there's Queenie, the archetypical blonde nightclub dancer, played Marla Mindelle, the center of most of the numbers, bored after three years living with Burrs, a vaudeville clown with a dark side. Burrs gives Todd Alan Johnson, seen as Mac the Knife previously at the New Rep a chance to play full-throttle. The other woman, who shows up for the party is Kate, a nightclub singer and old friend, played by Sarah Corey, who appeared in "Caroline or Change" as Mother, with an agenda to break things up. She's accompanied by Black, played by Maurice E. Parent, seen last season as Coalhouse in "Ragtime." He and Queenie hit it off, Sarah vamps Burrs, and tragedy ensues. But the major motivation behind it all seems to be terminal boredom, not a particularly dramatic emotion.

     The rest of the characters are given somewhat short shrift, though Leigh Barrett as Madeline True, Lesbian, has the show's most memorable number, the solo "An Old Fashioned Love Story." Jake Mosser and Ilyse Robbins as Eddie the Prizefighter and Mae, his diminutive partner, have their own musical hall number, "Two of a Kind" but no plot, and Phil the Broadway producer, played by Brian De Lorenzo, is really just part of the ensemble. Director Rick Lombardo has assembled a fine ensemble and choreographer Kelli Edwards generates a lot of erotic heat from them, with the help of Betsy Adkins and Ilyse Robbins as Dance Captains. One could only wish that all this talent had stronger material to work with, It's a show certainly worth watching, there are effective and challenging musical moments, masterfully handled by music director Todd C. Gordon, but the aftermath isn't a hangover, but rather like a large dinner of Chinese takeout where everyone ordered their favorites, a lot got sampled, but the result wasn't particularly satisfying. The ending is typical of this problem. When Queenie, whose world has crashed around her, should be waiting for the cops, she sings a rather moralizing power ballad and exits into the night. End of show.

     The design for "The Wild Party" is uniformly superb with a mirror filled set by IRNE winner Janie E. Howland, spot-on period costumes by IRNE winner Frances Nelson McSherry, and effective contemporary lighting by Franklin Meissner, Jr. Properties by Erik D. Diaz and a number of small movable pieces, notably the brass bed and the bathroom give a sense of Queenie and Burrs' hermetic world. All that's lacking is the author's dramatic focus, despite the best efforts of all involved. Sometimes you can't have everything. Incidentally, the New Rep is adding a summer show this year. Leigh Barrett, Andrew Giordano, and Maryann Zschau are doing "Side by Side by Sondheim" July 7 - 22 on the Arsenal Mainstage. That'll be something.

"The Wild Party" by Andrew Lippa, April 25 - May 20
New Repertory Theatre at Arsenal Center for the Arts

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

The Flu Season

2007-05-01T12:55:00.000-07:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "The Flu Season" by Will Eno

Date: Sun, Apr 29, 10:31 PM

Quicktake on THE FLU SEASON

     Whistler in the Dark, which has performed previously at the Charlestown Working Theater--and no doubt will do so again--is currently presenting the Boston premiere of post-modern playwright Will Eno's "The Flu Season." over in Watertown. The Black Box space opened officially last fall with the New Rep's production of Eno's more recent "Thom Pain (based on nothing), a monodrama performed by Diego Arciniegas. Eno's earlier play has a cast of six, two omnipresent as the Prologue and the Epilogue, whose commentary frames the action. Prologue is Ed Hoopman, who recently completed a run as Hamlet for the New Rep's school tour, while the acerbic Epilogue is Jennifer O'Connor, one of Whistler's Artistic Associates and Company Manager of the Imaginary Beasts from Lynn for which she last played a Dromio.

    The storyline concerns the Man, played by Nael Nacer and the Woman, done by Meghan Newsmith. Both are newcomers at a residential mental health facility, where they interact, barely, with the Doctor, done by David LeBahn, and the Nurse, Shelley Brown, two rather superficial professionals. There's an air of autobiography about the situation, which may simply be Eno's way with words and fervid imagination. A somewhat predictable plot takes a little too long to unfurl, but director Ben Fainstein and the cast hold the audience's attention.

     The various locales around the sanitarium are indicated by a few movable pieces of furniture and Andrew Dickey's area lighting. The tragedy of the Woman is largely due to the lack of affect on the part of the Man. No one's past is really much explored; this is very much a play in the present. Whistler in the Dark has previous presented works from the world stage. With this effort by Eno they come to these shores (Brooklyn), but will open next fall with another Howard Barker enigma "A Hard Heart." Before then we may see some local writing at the second "Fever Fest," this time to be presented at the Cambridge Multicultural Arts Center Aug. 23 - 25. Imaginary Beasts will be doing a show based Lorca's puppet pieces about "Don Cristobal and Sena Rosita," Aug 9 through 18 at the Arsenal Black Box. Both companies are outstanding examples of the new wave of Boston's theatre Fringe. By the way, the title of this piece may refer to the winter season during which the action unfolds. Or it may not. With Will Eno you never know.

"The Flu Season" by Will Eno, Apr. 27 - May 5

Whistler in the Dark at Downstage Black Box, Arsenal Center for the Arts

321 Arsenal St. Watertown MA, (617) 923 - THTR
Whistler in the Dark

SECRET GARDEN

2007-04-30T15:00:00.000-07:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Secret Garden" by Marsha Norman & Lucy Simon

from the novel by Frances Hodgson Burnett

Date:Sat, April 28, 1:21 PM

Quicktake on SECRET GARDEN

     Turtle Lane is closing their season with one of the best shows the company has done in a while. Director Michelle M. Aguillon has assembled an ensemble of voices which can handle Simon’s harmonies and Norman’s lyrics, and act as well. Music director Wayne Ward gets the best out of this well-trained group. The design team of Michelle Boll and John MacKenzie has met the show’s scenic requirements with a combination of well-painted scenery and effective projected backgrounds. Robert Itzcak’s costumes suit the period and mood, giving a final touch to this Victorian Gothic romance.

    While not a children’s show “The Secret Garden” is family friendly, as the plucky orphan, Mary Lennox peserveres against her uncle’s depression and his brother’s frustration. Hannah Grace Horsely captures the role and has enough of a voice for the music. Likewise Benjamin Hirsh as her supposedly sickly cousin, Colin. James Fitzpatrick is convincing as his father, as is Michael Goodwin as his doctor uncle. Elizabeth Robinson is luminous as his mother Lily, who died bearing, while Anne Velthouse is in good form as her sister, Mary’s mother, who died, along with her father, in India. It should be noted that more than half the cast are ghosts or “dreamers” as the program has it. Among the living, Michelle Mount makes a fine perky housemaid and Gary Ryan does well as her fey brother. Both were coached in their Yorkshire accents by James Tallach, who plays the old gardener, Ben Weatherstaff.

     Turtle Lane in Newton near the pike has once again proved its worth to the local music theatre community. The show runs through Jun. 3rd with some cast rotations.

"Secret Garden" by Marsha Norman & Lucy Simon Apr 27-June 3

Turtle Lane Playhouse

263 Melrose St. Auburndale MA, (617) 244 - 0169
Turtle Lane

Valhalla

2007-04-25T15:15:00.000-07:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Valhalla" by Paul Rudnick

Date: Sun, Apr 22, 2007 9:41 PM

Quicktake on VALHALLA

     Paul Rudnick is perhaps best known to the general theatre-goer as the author of "I Hate Hamlet". Several of his more overtly gay-themed plays has attracted notice. But "Valhalla", a sprawling attempt to weave the tale of mad Ludwig of Bavaria, whose monuments to history (late 19th Century) are the fairty-tale castle which inspired the one at Disneyland and funding Wagner's Opera House at Bayreuth with the career of a ne'er-do-well, James Avery from East Texas during the '30s, is a misshapen farce burdened with a two and one-half hour script with about one hour's too many "laugh-riot" one-liners

     The play doesn't create much sympathy for any of its characters, who number almost two dozen leaving the two leads, Ludwig (Brian Quint) and James (Jon Ferreria) focused on themelves and their pursuit of ineffable "beauty." The only semi-rounded character is IRNE winner Christopher Michael Brophy, as Henry Lee Stafford, James' sexually confused friend. The rest of the six actor ensemble includes Theater Coop veteran Maureen Adduci, who plays mostly Ludwig's mother but ends the show as tour leader, Natalie Kippelbaum, Elisa MacDonald who plays most of the princesses and Henry's wife whom James seduces (of course) and co-director Rick Park who plays Ludwig's various functionaries.

    The cast tries hard--often to little avail--but when a character is onstage for only a few minutes and the actor has to exit swiftly to make the next costume change, there's no much hope for more than a superficial sketch. Seth Bodie's costume assembly does the job but has a certain dress-up quality. Co-director David J. Miller's set is a bland unit with one end of the Black Box indicating Bavaria, the other Texas, neither particularly distinguished. The action thus has a lot in common with a tennis match. Jeff Adelberg's lighting helps and Walter Eduardo provides all the cuts from Wagner selected by Reinhold Mahler. But a play never really emerges.

"Valhalla" by Paul Rudnick, Apr.

Zeitgeist Stage Co. at BCA Black Box

539 Tremont, (617) 933 - 8600

Zeitgeist

Winnie the Pooh

2007-04-15T09:17:00.000-07:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Winnie the Pooh" adapted from A.A.Milne by Kristin Seigel

Date: Saturday, April 14, 2007

Quicktake on WINNIE the POOH

The Wheelock Family Theatre is taking children of all ages back to the Hundred Aker Wood for Spring break. Harold Withee, last seen as George W. in Zeitgeist effective "Stuff Happens," has the title role. Several other regulars, including Ricardo Engermann as Rabbit, Mansur as Eyore, Marina Re as Owl, and Grace Napier as Kanga complete the adult cast. Young Grace Brakeman is an energetic Piglet and Sirena Abalian hops along as Roo. A.Minh-Anh Day is Christopher Robin, who's the leader of a group of Narrators who lead into the story. The script is acceptable, but doesn't quite capture the charm of A.A.Milne's work.

The stuffed animal costumes by Charles Baldwin come closer but a very much old-school children's theatre, as is Harwich's James P. Byrne's direction. The large ensemble and the leading players come together on his set and the show is satisfatory for the younger set as an introduction to live theatre. Incidentally, Tigger, played by W. Yvonne Murphy bounced in the the finale.

"Winnie the Pooh" adapted from A.A.Milne by Kristin Seigel, Apr. 13 - May 13

Wheelock Family Theatre

200 The Riverway , (617) 879 - 2300
WFT

PERSEPHONE

2007-04-12T12:49:00.000-07:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Persephone" by Noah Haidle

Date: Wed, April 11, 10:44 PM

Quicktake on PERSEPHONE

The world premiere of Noah Haidle's "Persephone", read last spring as part of the HTC's Breaking Ground series owes its success as much to the author's cleverness and Nicholas Martin's apt direction as to a stunning performance by Melinda Lopez as the statue of Demeter, the main character in the piece. Through voice and very limited movement, Lopez creates a witty and believable Earth-mother, mightily dismayed by the world from which she cannot look away. The second half of the play, set in a Manhattan park circa 2007, is full of Durang-like non-sequitor and urban violence, the first in a sculptors studio in 1507 Florence; both handsome designs by David Korins.

All the various parts in the piece are played by a trio of actors, led off by Jeremiah Kissel, who appears as the sculptor's patron in Act 1, plus a laid-back harpist and a starving mouse. The sculptor, Guiseppe, is done by Seth Fisher; his model is Mimi Lieber. Each actor then plays innumerable walkons with Kissel memorable as a art-loving Rat in Act 2. Their reappearence in various guises underscores human--and animal--transience against Demeter eternal marble form. The play is full of surprizes, many of them unpleasant, but overall, it comes off as a rather dystopian and fantastic tragicomedy. Haidle has revived a species of drama not seen much since immediately after WWII and previously in the '20s. Let's hope he doesn't become "the next big thing." This summer, Company One will be mounting his "Mr. Marmalade" which made quite a splash for Roundabout in 2005.

"Persephone" by Noah Haidle, Mar. 30 - May 6

Huntington Theatre Co. at BCA Wimberley

527 Tremont, (617) 266 - 0800
HTC

...Young Lady from Rwanda

2007-04-10T14:33:00.000-07:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "...Young Lady from Rwanda" by Sonja Linden

Date: Sun, Apr 8, 4:05 PM

Quicktake on ...Young Lady from Rwanda

The full title of Sonja Linden’s compelling documentary play, "I Have Before Me a Remarkable Document Given to Me By a Young Lady From Rwanda " is far too long to fit on a marque, but does capture the special essence of her piece. For while the subject of the story, Juliette, is a survivor of the genocide, what’s staged is her recovery from the ordeal by writing about her life as a middle-class Rwandan, played by Dorcas Evelene Davis from New York. This process is facilitated by Simon. a British poet working with clients at a refugee center, played by the ever-dependable Owen Doyle. His life as a minor poet and frustrated novelist serves as a foil for her larger tragedy.

Director Weylin Symes presents the play with notable economy on a simple but strong black and white set by Richard Chambers. Stoneham has resisted adding multi-media details, using sound by David Wilson to enhance some key scenes. The play is easy to watch if not to listen to as we are reminded of the horrific violence wrecked on the Tutsi by their Hutu neighbors. But it’s a lesson not to be forgotten even as the world watches the barbarity currently savaging Darfur on the opposite side of Africa. The small hope this play offers for salvation somehow seems too little. Linden approach to the subject, using only two actors whose personal stories are revealed in a series of monologues and simple scenes is a unique way to deal with such a subject, however. This show is well worth the short trip out to Stoneham.

"...Young Lady from Rwanda" by Sonja Linden, April 5 - 22

Stoneham Theatre

395 Main Street Stoneham, (781) 279-2200
Stoneham Theatre

Conquest of the North Pole

2007-04-06T14:28:00.000-07:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "The Conquest of the South Pole" by Manfred Karge

Date: Fri, Apr 6, 9:43 AM

Quicktake on THE CONQUEST OF THE SOUTH POLE

     Molasses Tank, one of CWT's resident Theatre's, has mounted a darkly comic version of German filmmaker/playwright Manfred Karge's "The Conquest of the South Pole," an allegorical romp in the Brechtian tradition. This 90 minute play has a small group of unemployed men, who all feel like losers, reenacting Admundsen's epic journey in an attic. Written before the fall of the Berlin Wall, the play centers around one Slupianek, who's desperate to release them from their round of pinball, snaps, and trips to the unemployment office. This pivotal role is played by versatile Jason Beals, last seen playing Prospero in 11:11's under-rehearsed "Tempest." He's also canoodling with the wife of his friend Braukmann, played by George Saulnier III, the only one of the group to have a job, albeit an unsatisfactory one. La Braukman is done by Janelle Mills with admirable energy. The rest of the motley crew includes William McGregor as gruff Buscher, who emigrates at he end of the play, and suicidal Seiffert, played by quirky Bob Musset. There's also Frankieboy (Mike Budwey) who thinks he's a dog.

     The play is an excellent example of contemporary Continental writing, which blends heightened language, mixed metaphor, and bravura style in an adventurous manner not practiced much in the U.S. Director Steve Rotolo, who's also doing a cameo opposite Ashley Kelly, gives it a staccato interpretation on an interesting set by Christopher Allison. Matt Breton's lighting is appropriately non-realistic.
    Molasses Tank has mastered this style, which is worth the trip over to Charlestown. CWT is only three blocks from the Sullivan Sq. T stop, with street-parking a short ways down the hill.

"The Conquest of the South Pole" by Manfred Karge, Mar. 29 - Apr. 14

Molasses Tank at Charlestown Working Theater

442 Bunker Hill St., Charlestown, (866) 811 - 4111
Molasses Tank

MISS WITHERSPOON

2007-03-27T13:18:00.000-07:00

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.

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

Lyric Stage at Copley YWCA

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

White People

2007-03-19T13:19:00.000-07:00

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.

"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

2007-03-15T00:03:00.000-07:00

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.

"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

2007-03-13T12:57:00.000-07:00

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.

"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

2007-03-08T15:38:00.000-08:00

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.

"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

2007-03-05T14:32:00.000-08:00

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.

“More Than What”, Feb.23 - Mar.10

CentaStage, BCA Black Box

539 Tremont

(617) 933-8600

Comedy of Errors

2007-03-03T12:48:00.000-08:00

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.

"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

2007-03-01T10:55:00.000-08:00

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.

"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

Doubt

2007-02-07T13:47:00.000-08:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Doubt" by John Patrick Shanley

Date: Tues, Feb 6, 11:09 PM

Quicktake on DOUBT

John Patrick Shanley's "Doubt" starts out with a homily on "doubt," preached by Father Flynn, the pastor of Saint Nicholas, here played by actor/director Chris McGarry in his fifth collaboration with the author. In a sense, the play is Shanley's explication of the conflict between doubt and faith, between faith and "rules." The latter is personified by Sister Aloysius, the principal of the convent school associated with the parish, played by Cherry Jones, who received a Tony for her performance in the role on Broadway. The former is personified by Lisa Joyce as Sister James, a young 8th grade teacher who becomes Sister Aloysius's informant. The matter of the play is a possible improper relationship between the school's only black student and the pastor, who's also the basketball coach. In the course of Sister Aloysius' relentless pursuit of Father Flynn, whose liberal ways she does not approve of, the fourth member of the cast, the boy's mother, played by Caroline Stefanie Clay, who appeared in the original off-Broadway Manhattan Theatre Club production

Shanley's emotional and intellectual puzzle involves various unseen characters as well; the elderly monsignor who Sister Aloysius avoids since she's sure he'd side with the pastor, the boy himself, the sexton who caught him drinking communion wine, and in a sense, the world outside the Church which Sister Aloysius seeks to fend off by a firm application of rules. This ninety minute piece is very tightly constructed with measured revelations, always leaving room for multiple interpretations, which Doug Hughes Tony-winning direction evenhandedly maintains. With scenes moving across on John Lee Beatty's set, costumes by Catherine Zuber, and effective lighting by Pat Collins, this is probably the best mounted touring show the grace the Colonial's venerable boards in a long time.

"Doubt" by John Patrick Shanley, Feb. 6 - 18

MTC, Jon B. Platt, etc at the Colonial

106 Boylston, (6i7) 931 - 2787
Colonial

Beauty and the Beast

2007-02-05T22:47:00.000-08:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Beauty and the Beast" by Ashman, Menken, Rice & Woolverton

Date: Sun, Feb 4, 10:32 PM

Quicktake on BEAUTY AND THE BEAST

For their annual musical, the Wheelock Family Theatre has added to the current crop of "Beauty and the Beast" productions. The cast is made up from a number of returning professionals, a variety of local theatre students, and a few WFT participants, plus guest artist Douglas Jabara as the Beast. Angela Williams, seen previously in "The Sound of Music" plays Belle, while Christopher Chew who sang Von Trapp gets to be comic as Gaston. Mansur plays Belle's Father while Gary Ng gets knocked about as LeFou. The magical inhabitants of the Beast's castle include Robert Saoud as Lumiere the Candlestick, Chip Phillips as Cogsworth the Clock, Lisa Korak as Babette the Featherduster, Jeanine Belcastro as the opera singing Wardrobe, and Gamalia Pharms as Mrs. Potts, who gets to sing the title song.

Director Jane Staab relies on her professionals to develop the drama, while she manages a large ensemble who play the villagers, the magical dishes and tableware, etc. IRNE winning choreographer Laurel Stachowicz puts them through their paces for the Act I finale, "Be Our Guest," which might be more impressive with a bit of food. She does pull off the final battle with plenty of slapstick. Conductor Steven Bergman and a professional ensemble provide strong support from the pit. Anita Fuch's multilevel set on wagons is solves the complex staging for the castle with three wagons but seems a trifle under-decorated. Stony Cook's lighting creates all the necessary moods. The production is definitely a first-rate introduction to live music theatre, if a mite too long for some of the younger set.

"Beauty and the Beast" by Woolverton, Menken, Ashman & Rice, Feb. 2 - Mar, 4

Wheelock Family Theatre, 200 The Riverway

Boston, (617) 879 - 2300
Wheelock Family Theatre

Midsummer Night's dream

2007-02-04T22:09:00.000-08:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "A Midsummer Nights' Dream" by Wm.Shakespeare

Date: Sunday, Feb 4, 10:07 PM

Quicktake on A MIDSUMMER NIGHTS' DREAM

One of the Bard's most produced comedies, "A Midsummer Night's Dream" is almost actor and concept proof. Even the ART's aerial version had its moments, thanks to a strong group of rude mechanicals. Director Daniel Elihu Kramer's approach has had some less than intriguing publicity concerning the gender-switching between Paula Plum and Timothy John Smith. Plum plays Hippolyta and Oberon while Smith plays Theseus and Titania. The conceit works not because of insight but because of the skill of these principals, but an impressive ensemble of local Shakespeareans and fast paced direction.

The remaining six actors double their way through the action. Robert Pemberton is a stentorious Bottom assaying "Pyramus" and a powerful Egeus. Shelley Bolman is Lysander, in love with Egeus' daughter Hermia, and Peter Quince, the author "Pyramus and Theseus." Angie Jepson is petite Hermia, claimed by Risher Reddick's Demetrius, who also does Francis Flute, who of course plays "Thisbe." Jepson is a cute "Lion" as Snug the Joiner. Elizabeth Hayes is taller Helena, desperately in love with Demetrius, also plays Snout the tinker aka "Wall." Finally Ben Lambert is lithe Puck, as well as Starveling ("Moonshine"), and Philostrate. The four young lovers become Titania's fairies. Very basic costumes facilitate these character changes on a bare set, covered with red flowers, which might suggest field of poppies from Oz.

"A Midsummer Nights' Dream" by Wm.Shakespeare, Feb. 2 - Mar.3

Boston Theatre Works at BCA Plaza

539 Tremont, (617) 933 - 8600

BTW

States of Grace

2007-01-28T20:27:00.000-08:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "States of Grace" by Debra Wise and company

based on the writing of Grace Paley

Date: Sun, Jan 28, 8:27 PM

Quicktake on STATES OF GRACE

     After more than two years of development, Underground Railways Debra Wise and various collaborators are presenting the world premiere of "States of Grace," a monodrama featuring Wise as Faith, a stand-in for activist author Grace Paley. The rest of the cast includes versatile actor Owen Doyle in his first stint as a puppeteer/actor, UConn MFA Fay Dupras who fabricated most of the puppets, and Khalil Flemming a young actor seen at BCT, WFT, and Stoneham as well as on PBS.

    The script combines several of Paley's unique stories with her political concerns and her frustrations as a writer, mother, and public citizen. The puppetry is incorporated into the realistic kitchen set designed by David Fichter and constructed by Will Cabell, who won IRNEs for their previous work on "Alice Underground", URT's last adult drama created in 1997-1998. The show was directed by Greg Smucker, a longtime collaborator and lit by Karen Perlow, both of whom worked on "Alice..." The original score was created by world-music composer Evan Harlan, currently on the faculty of the New England Conservatory.

     Debra's performance is convincing and heartfelt, whether arguing with her father, a puppet that appears from a kitchen cabinet, talking with her spouse who appears from the refrigerator as a humanette, or dealing with a young black neighbor played by Khalil. She even morphs into a disgruntled retired druggist, conflicted over his black neighbors. She'll next be seen at the New Rep in Austin Pendleton's "Orson's Shadow." "States of Grace" will have a special performance at Tufts on Mar. 5 before it becomes part of URT's touring repertory.

"States of Grace" by Debra Wise, Jan. 25 - Feb. 10

Underground Railway Theater at Boston Playwrights' Theatre

949 Comm. Ave., Allston / (781) 643 - 6916

Underground Railway Theater

A Winter's Tale

2007-01-27T09:36:00.000-08:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "The Winter's Tale" by Wm. Shakespeare

Date: 01/27/07 9:30 AM

Quicktake on THE WINTER'S TALE

     The ASP's second offering of the season is a brisk production of Shakespeare's late romance "The Winter's Tale" played in the round. Veteran actor/director Ricardo Pitts-Wiley from Rhode Island makes a forceful Leontes, the King of Sicilia consumed by jealousy. B.U.’s Paula Langton is a forceful and extremely pregnant Hermione, his adoring wife. Visiting artist Joel Colodner plays Polixenes, King of Bohemia and Leontes boyhood friend who Leontes imagines has cuckolded him. Veteran Boston actor Richard Snee is Antigonus, Leontes loyal advisor, forced to spirit away Hermione's newborn daughter. IRNE winner Bobbie Steinbach is his strong willed wife Paulina, who later saves the day. Almost all the actors play at least two roles. Thus when exiting, pursued by a bear, after depositing the child on the coast of Bohemia Snee reappears moments later as the Shepherd, herding members of the company who moments before played the bear as a group mime. This is the moment when the first sign is given that the play isn’t merely a domestic tragedy.

    In the second half, things lighten even further when John Kuntz, noodling on his sax, appears as Autolycus and demonstrates his roguish ways by relieving Doug Lockwood who’s now playing the Shepherd’s clownish son of his possessions by pretending to be an Irish clergyman recently set upon by robbers. The young lovers, played by James Ryen and Cristi Miles, of contrasting heights but well-matched playing Florizel and Perdita, recall couples from the Bard's earlier romances. He's the Prince and she doesn't know she's really Hermione's daughter. At the festival which follows, just as they're about to be engaged by her father, Polixenes, who's there in disguise, halts the happy occasion and troubles loom. The young lovers abscond with the help of Camillo, Leontes' former adviser played by Doublas Theodore, who previously helped Polixenes flee from Sicilia and has been advising him these 16 years. The three return to Leontes' court.

    It's now up to visiting director, Curt L. Tofteland from the Kentucky Shakespeare Festival, to sort out the finale. Through happy accident, the Shepherd brings proofs left with Perdita when she was abandoned. Autolycus has duped the two bumpkins into bringing them to Polixenes who's pursuing his son--and future daughter-in-law--to Sicilia. This goes smoothly enough but the real challenge is when Paulina leads Leontes et al to a supposed statue of Hermione and brings it "to life." As with most of the show this is accomplished with few frills. The acting area is plain with an abstract motif suggesting a bare tree on the floor, a design echoed on banners hung from the balcony in the tall hall at CMAC. Costumes suggest period garb but are largely utilitarian. It takes a dozen adults and one child to carry off this show, but ASP has added a fourth to their season, in which director Ben Evett will use just six actors to mount "Love's Labours' Lost". That should be worth seeing.

"The Winter's Tale" by Wm. Shakespeare, Jan. 25 - Feb. 17

Actors' Shakespeare Project at Camb. Multicultural

Bullfinch Courthouse, 41 2nd St, E. Camb. (866) 811 - 4111 (TM)
ASP

Britannicus

2007-01-24T22:46:00.000-08:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Britannicus" by Jean Racine, translator C.H.Sisson

Date:Wed, Jan 24, 2007 10:56 PM

Quicktake on BRITANNICUS

     Robert Woodruff's final exercise for the ART as its Artistic Director is a surprisingly coherent modern dress production of Jean Racine's seldom seen "Britannicus"--if you basically ignore the titillating dumbshow in the shadows stage left and right and finally upstage. While the text provides all the information needed for the drama, the director seems to feel the audience won't get understand how decadent things are unless they see Nero taking a shower before the action while two minor characters have a quickie on the set center stage and his mother finishes dressing on the other side of the set ignored by a man in a robe on the bed nearby. C.H,Sisson's servicable prose translation is well-acted in prime-time drama style by an experienced New York and rep theatre cast, which includes Adrianne Krstansky from the Brandeis faculty as Albina, Agrippina's confidant. The poetic cast of the original--which is in rhymed couplets--is large missing but not essential to the drama

     Joan McIntosh acts up a storm as Agrippina, Nero's manipulative mother, the center of the drama from first to last. Alfredo Narisco is her dissolute son, ready to live up to the huge motto at the back of the stage; "Empire creates its own reality," the clearest expression of the director's intent. The title character is played rather monochromatically by Emerson grad Kevin O'Donnell, while his fiance Junia, the focus of the rivalry between him and his step half-brother the emperor, is done by boyish Merritt Janson from the Institute, who has the better part and deserves at least one decent costume. John Serrios plays Burrhus, Nero's Praetorian military adviser supplied by Agrippina, who's ultimately unable to control his Emperor while David Wilson Barnes is the duplicitous Narcissus, who pretends to befriend Britannicus while working for all the more powerful members of the court. He and Krstansky have a thing going. The man on the bed, who's never heard from, is Pallas, Nero's tutor, played by Douglas Cochrane.His character never actually appears in the original

     The historically minded will note that Seneca, Nero's chief political advisor is missing from the cast, though he is mentioned. Racine probably thought that the recent death of Mazarin, Louis XIV's eminence gris, made any attempt to include such a role politically unwise. "Britannicus" was intended as a morality play for the Sun King; on today's stage it becomes a dynastic thriller, a taut drama--the script of course maintains the unities--which doesn't need the multimedia signposts which clutter this production. Incidentally, Nero's current wife, Octavia, Britannicus' sister, done byMegan Roth, doesn't say a word--she's also an added presence--does get to sing a couple of arias--in French probably.

    The entire show is miked since the stage is cleared to the walls, the set is predictably techno, and the lighting grid looms overhead and out over the orchestra. Video projection plays a peripheral and only occasionally distracting role in the show. The costume plot is modern and indicative, and would be appropriate for any daytime soap. The result is more coherent that most recent ART efforts and the cast manages to do the play quite professionally despite the technical distractions.

"Britannicus" by Jean Racine, Jan. 20 - Feb. 11

American Repertory Theatre in Loeb Auditorium

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

RACE

2007-01-21T22:22:00.000-08:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "RACE" adapted by Jamie Pachino from Studs Terkel

Date: Sun, Jan 21, 10:22 AM

Quicktake on RACE

Studs Terkel's oral histories, the outgrowth of news work in Chicago, will like those of his Victorian predecessors become the chronicle of the last half of the 20th Century from the midwestern working class viewpoint, warts and all. Theatre On Fire, Darren Evan's new effort, brings this compendium of American attitudes towards race to the stage over issues such as dating, property values, job opportunities, and racially motivated fears. The focus of the last is the murder of 14 year old Chicagoan Emmett Till fifty some years ago, as recounted by his mother, voiced by Dee Crawford. Other members of the ensemble have their own moments, with Ann Carpenter playing everything from an elderly civil rights protestor in Atlanta to a housefrau ready to move when the second black family comes into the neighborhood. The cast creates a kaleidescope of attitudes towards race issues exploring the underlying frustration of both white and black, left and right at this thorny social issue. Jamie Pachino's distillation from Terkel's interviews and observations is rather despairing.

Evan's has directed this fast-paced show, compiled from Terkel's book of the same name, on a set of runways placed which occupy most of the space in Charlestown Working Theatre's black box space. The audience sits around the periphery or out in the middle of the action. Most are seated on double-stacked plastic milk crates (cushions are provided). The 90 minute show is a mutual experience as the ensemble plays in their midst, often speaking alone. Designer Audra Avery's maze of platforms, surrounded by sections of wire fence, recalls the sidewalks of the inner city, and the confines of the projects. Evans has used appropriate music for the Civil Rights movement and the unrest of the '60s to puntcuate the show, underlining how little things have really changed.

"RACE" adapted from Studs Terkel by Jamie Pachino, 19 Jan. - Feb. 3

Charlestown Working Theatre

442 Bunker Hill Ave. Charlestown, (866) 811 - 4111
CWT

Silence

2007-01-20T12:44:00.000-08:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Silence" by Moira Buffini

Date: Fri, Jan 20, 11:53 PM

Quicktake on SILENCE

     When London playwright Moira Buffini penned "Silence" in 1999, she probably didn't consider that this dark comedy about medieval times, roughly based on historical personages and events, would have even more resonance only eight years later. The script, which won the Washburn Prize, was inspired by the unease over the approaching millennium, but its freewheeling gender-politics, odd anachronistic attitudes, religious and political unrest now seems prophetic. Rendered as a chase and set in the mythic Dark Ages, a small cast of six raises some big questions about power, religion, and loyalty.

    The heroine of this mini-saga is Ymma of Normandy, played by luminous Marianna Bassham, seen last fall as Ophelia for the ASP. Her nemesis is Lewis Wheeler's Anglo-Saxon king, Ethelred, labeled by history as the Unready, whose bullying petulance and religious mania turns lethal as the action progresses. The King marries this princess, exiled from Normandy by her brother, to his ally, Silence of Cumbria, a small northwestern kingdom, created by the dissolution of Northumbria around 866 AD. Lord Silence, played by Emily Sproch, is not the boy he seems to be, and therein hangs the tale. Silence and Ymma flee north towards his homeland after Ethelred decides to marry the lady himself for his own salvation -- her mother was a saint. Ymma also has a powerful effect on the King's enforcer, Eadric Longshaft, a rough warrior played by IRNE winner Christopher Michael Brophy, who played the Thane for the New Rep's educational tour last spring. The ensemble is rounded out by IRNE winner Anne Gottlieb, seen this fall as the lead in "The Women" at Speakeasy, as Ymma's companion, Agnes, and B.U.'s Michael Hayes as Roger, a conflicted Catholic priest who attempts to instruct Silence, who's a pagan, in the faith despite his own urges.

     This three-act drama takes the cast from Dover to Kent through the midlands to the north, through a mythic landscape played on an impressive unit set by Cristina Todesco, constructed by Wooden Kiwi, expertly lit by Christopher Ostrom. IRNE winner Frances Nelson McSherry's period costumes complete the picture, while providing a subtle commentary on the action. Director Rick Lombardo, at the top of his form, has also provided an impressive original sound design. The play, which raises such universal questions as Father Roger's "Is God going to destroy us? And if he is, is he wrong?" could stand on its own, but the New Rep's impressive production values help sweep the audience along to the evening's ironic conclusion.

"Silence" by Moira Buffini", Jan. 17 - Feb. 11

New Repertory Theatre at Arsenal Center for the Arts

321 Arsenal, Watertown / 617 - 923 - 8487
New Rep

Amazon/Haiku

2007-01-15T10:34:00.000-08:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Amazon/Haiku" by Alfaro/Snodgrass

Date: Sun, Jan 14, 8:29 PM

Quicktake on AMAZON/HAIKU

     This Equity Members Project at Boston Playwrights', which runs for one more week there, before moving up for a weekend in Gloucester at the West End, features senior actor June Lewin in two compelling performances in two long one-acts. In Rosanna Yamagiwa Alfaro's "Sailing Down the Amazon" she holds the stage alone as Rima, a retired actress recently diagnosed with Alzheimers, who decided to take a exotic trip rather than have an MRI. It's the turn of the Millennium after all.

     In Kate Snodgrass' "Haiku" Lewin plays Nell, the mother of an adult autistic woman, Louise, played Emily Singara. She's become sure that her daughter comprehends more than most people realize. Her older daughter, Billie, played by Kippy Goldfarb, gave up on that possibility long ago. But Nell, a writer, has published two short books of haiku poetry which she believes comes from Lulu and a crisis is looming as she's slowly growing blind.

     These two pieces paint effective and contrasting portraits of mental illness with the help of a simple but effective set by Lisa Pegnato and careful lighting by Marc Olivere. Matt Otto did the sound design, most important in "...Amazon." The economy and elegance of the writing in each play is a reminder of the serious work being done by Boston's local playwrights.

"Amazon/Haiku" by Alfaro/Snodgrass, Jan.11-21, Jan. 26-28

JRV at Boston Playwrights & West End Theatre

949 Comm. Ave. Allston, 1 Wash.St, Gloucester (617) 661 - 7930
Boston Playwrights

GUYS ON ICE

2007-01-13T11:27:00.000-08:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Guys on Ice" (1998) by Fred Alley and James Kaplan

Date: Sat, Jan 13, 11:27

Quicktake on GUYS ON ICE

The closest we're liable to get to ice-fishing hereabouts this winter is currently running at the Stoneham Theatre. The duo who adapted "The Spitfire Grill" for the American Folklore Theatre in Wisconsin, Fred Alley and James Kaplan, turned their imaginations to this sedentary winter sport to create an engaging show, light on plot and folksy in demeanor. "Guys on Ice" is a day spent fishing for working men Marvin and Lloyd, played by Cory Scott and Bill Stambaugh, snug in a shanty out on the lake, drinking Leinenkugel (Linie beer) and singing about things like their snowmobile suits or "Fish is de Miracle Food." They're waiting for the arrival of Cubby from the cable TV fishing show, their shot at local fame, and hiding their beer from Ernie the Moocher, played by William Gardiner. He starts the second half with a bit of audience participation and a paean to "Linie" accompanied by the spoons.

"Guys on Ice" is an homage to the homegrown musical shows which had their roots in the Grange and the brief heyday of regional playwriting which began after WWI and faded after WWII. Its tunes echo lightweight country comedy with a touch of the polka. The creative team, IRNE winners director Jason Southerland from BTW, Jose Delgado, one of Boston's busier music directors, and eclectic choreographerIlyse Robbins, have let the material speak for itself, moreso than more frantic treatment of small town working class life seen in TV sit-coms. Jenna MacFarland Lord's set is a revolving fishing hut against a slanted drop of ice and sky, with an amazing collection of props and decor assembled by Karla Sund. Molly Trainer has dressed the cast in appropriately well-worn winter gear. The show is an affectionate portrait of small town Wisconsin which the American Folklore Theatre has played since its creation in 1998, complete with regional accent ( vaguely Scandanavian) and local slang and no particular political message. See you on de ice.

"Guys on Ice" by Fred Alley and James Kaplan, Jan. 12 -28

Stoneham Theatre

395 Main St., (781) 279 - 2200

Stoneham Theatre

The Woman In Black

2007-01-13T09:36:00.000-08:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "The Woman in Black" by Susan Hill, adapted by Stephen Mallarat

Date: Sat, Jan 13, 8:46 AM

Quicktake on THE WOMAN IN BLACK

Stephen Mallarat's adaptation of Susan Hill's story, a long-running London favorite, has once again surfaced hereabouts, this time as a "winter tale" down in the Hovey Players' basement digs. "The Woman in Black" is a Wilke Collins inspired thriller, set at the beginning of the 20th century, which involves a solicitor enlisting the aid of an actor to tell the story of a haunting which changed his life. Introverted Kipps, played by Randy Marquis, is coached to become all the people in the recounting while Chuck Swager who plays the bumptious actor takes over the narration. Director Kristin Hughes has used the whole small space to surround the audience with the show.

The storytelling is enhanced by "the miracle of recorded sound," a novelty on stage in pre-WWI London. The show takes place in a shuttered theatre as the pair rehearse the tale. A mysterious silent woman in black, played by Eden Land, joins in . Lighting designer John MacKenzie does his best giving the limitations of the Hovey's system and the spread of the show. The script, which follows the format of the original tale, seems a bit forced and could be condensed into a long one-act for more dramatic effect, but holds up well enough. The challenge of using two actors to accomplish a journey to the bleak shore of Northern England and the mysterious situation which unfolds there is interesting in itself.

"The Woman in Black" by Stephen Mallarat, Jan. 12 - 27

Hovey Players in Abbott Theatre

9 Spring St. Waltham / (781) 983 - 9171
Hovey Players

BRONTE

2007-01-11T11:32:00.000-08:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Bronte" by Polly Teale

Date: Thurs, Jan 11, 11:32 PM

Quicktake on BRONTE

     Wellesley Summer Theatre is currently presenting the American premiere of the third part of British playwright Polly Teale's trilogy. This award winning ensemble has previously presented her "Jane Eyre" and "After Mrs. Rochester," also directed by Nora Hussey. "Bronte" focuses on the author Charlotte Bronte, the author of "Jane Eyre", as well as her younger sisters; Emily, whose only published novel was the controversial "Wuthering Heights," and Anne who wrote "Agnes Grey" and "The Tenant of Wildfell Hall," two somewhat sentimental efforts. Alicia Kahn, one of WST founders, is back to play Charlotte, while Wellesley grad Catherine LeClair, who's been working in Maine but has relocated to New York, has returned to play Emily. Wellesley senior Kelly Galvin, with several WST credits, plays Anne. WST veteran Melina McGrew, who appeared in both of the earlier Teale productions recreates her role as Rochester's first wife, Bertha, and also becomes Heathcliff's Cathy. In several scenes, Kahn once again plays Jane Eyre.

     The men in this production are John Gavin as Rev. Patrick Bronte (nee Brunty), Dan Bolton as his curate, Arthur Bell Nichols, who married Charlotte, and Derek Stone Nelson, who plays the French schoolmaster who inspired Charlotte to develop her innate writing skills and also recreates his role as Rochester. Davin and Nelson also appeared in "After Mrs. Rochester." The important part of Branwell Bronte, the pampered son of the family, who lead a dissolute life of failure, falls to Greg Raposa, who also appears as Heathcliff. Branwell was probably Emily's inspiration for that unfortunate free spirit.
     As in past productions, the set and lights are in the expert hands of Ken Loewit, while Nancy Stevens does another fine job of effective period costuming. George Cook from BC's Robesham Center has supplied an effective sound design of music and sound effects. WST's production is up to their usual standard. The author has supplied a timeline of events in the lives of the Brontes which should be scanned before the show for a fuller understanding of their unique situation and achievements.

"Bronte" by Polly Teale, Jan. 10 - Feb. 3

Wellesley Summer Theatre in Ruth Nagel Jones Theater

Alumni Hall, Wellesley, (781) 283 - 2000

Wellesley Summer Theatre

The Cherry Orchard

2007-01-11T09:03:00.000-08:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "The Cherry Orchard" by Anton Chekov

Date: Thurs, Jan 11, 9:03 AM

Quicktake on THE CHERRY ORCHARD

The Huntington Theatre Company's current production, "Anton Chekov"s "The Cherry Orchard," directed by Nicholas Martin feels like a translation. British playwright Richard Nelson's version of one of the foundations of modern drama seems distant. The words are accurate but filtered through an interpretation which views the action as completely dependent on the difficult circumstances of the central character, Mme. Ranevskaya, played efficiently by Kate Burton, though more as Lyuba -- her character's diminutive. The cast, a mixture of older professionals and younger talent, dressed in accurate turn-of-the-20th century style, tries hard to bring the show to life. The last work of Chekov, which he thought of as a serious comedy, is more a novel than a drama. Martin's workmanlike direction doesn't lift it far from the page. Understanding the characters doesn't seem to help them become real.

The set, which has only two of the three locales specified by the author, is an undistinguished effort by Ralph Funicello with a limiting floorplan. The famous orchard is projected a double scrim curtain between acts. The only believable sound effect is the distant train; the famous snapping violin string and the sounds of trees being chopped are insufficient. All-in-all, the production has an undistinguished summer festival feel. Of the men, veteran actor Mark Blum makes Gaev, Lyuba's brother, almost too sympathetic, Jeremiah Kissell plays Pishchik, the impecunious neighbor accurately, but on one note, and surprisingly, Will LeBow's Lophakin, who can either be the show's hero or villain, comes off as just another frustrated Russian. The younger woman, Jessica Rothenberg, a BU/SFA sophomore, as Anya, the youngest daughter, and Sarah Hudnut, as Varya, the older adopted daughter who serves as Lyuba's housekeeper, brighten up their scenes and generate some sympathy, but their personal crises are only fleeting. Almost everything about the show is appropriate and respectful, but not particularly illuminating

"The Cherry Orchard" by Anton Chekov, Jan. 5 - Feb. 4

Huntington Theatre Co. at BU Theatre

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

Design for Living

2007-01-08T13:01:00.000-08:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Design for Living" by Noel Coward

Date:Mon, Jan. 8, 12:14 AM

Quicktake on DESIGN FOR LIVING

Publick Theatre's indoor debut at the BCA Plaza, Noel Coward's 1932 "Design for Living," is a stylish affair. Having previously tackled "Private Lives", director Spiro Veloudos, leaving Stephen Terrell to helm LaChiusa's"See What I Wanna See" over at the Lyric, has taken on shepherding Susanne Nitter and Diego Arciniegas, the Directors of the Publick, along with Gabriel Kuttner, last summer's Wil Shakspur, through the comic emotional minefield of this Coward classic. The complicated menage a trois of Gilda, Leo and Otto is complimented by Nigel Gore as Gilda's art dealer friend then husband Ernest, an essential part of this frothy mix. Beth Gotha as Hodges her housekeeper, Richard Arum, Janelle Mills, Jocelyn Parrrish, a trio of her New York friends, and Paul Melendy complete their world of art and hedonism. The three leads, in parts originally written for the Lunts and the author, slip into their high-class Bohemian roles as if born to play Coward. Nitter is especially impressive in one of Lynn Fontaine's signature roles.

Costumer Rafael Jaen from Emerson, assisted by Stephanie Cluggish, gives the cast truly elegant tailoring which Harvard's J.Michael Griggs sets off perfectly on a Matisee-inspired set. Upgrades in the furniture mark each act, from a Paris studio, to a comfortable London flat, to an elegant New York penthouse. Both artists use effective palettes, bolstered by Scott Clyve's careful lighting. The BCA's oldest theatre has seldom looked better. And Sir Noel hasn't been better served.

“Design for Living” by Noel Coward, Jan 4 - Jan. 27
Publick Theatre. in Plaza Theatre, BCA

539 Tremont, (617) 933 - 8600
Publick Theatre

See What I Wanna See

2007-01-08T12:53:00.000-08:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "See What I Wanna See" by Michael John LaChiusa

Date: Mon, Jan. 8, 12.04

Quicktake on SEE WHAT I WANNA SEE

     Versatile Aimee Doherty has had an interesting collection of roles in recent seasons, starting with "Into the Woods" at the New Rep's old Newton digs, one of Bobby's girlfriends in Speakeasy's "Company" then onto the plain heroine of Amimus' "Promises, Promises" opposite her husband, Jeff Mahoney, followed by Evelyn Nesbit in the New Rep's "Ragtime" over in Watertown. This fall she played the youngest member of the "set" in Speakeasy's "The Women" followed by strong ensemble work in their "Bubbly Black Girl.." Now she's front and center as the female lead for Michael John LaChiusa's twin music theatre pieces in "See What I Wanna See" for the Lyric, a show adapted from three short stories by early 20th century Japanese writer, Ryonosuke Akutagawa. Doherty plays the role of the role of Kesa, created by Idina Menzel in the original New York production. opposite tenor Andrew Giordano as Morita. A BosCon alum, he's back in town in a leading role this time.

     The duo play a pair of lethal lovers in Noh-like vignettes set in medieval Japan used as preludes for the two longer sections, where they play related roles. The first, more operatic piece, is "R Shamon", another retelling of "In the Grove", set in 1951 New York when Kurosawa's classic version was bursting on the film scene. The second more conventional music drama, a post 9/11 fable about the endtime, is "Gloryday" based on "The Dragon". The two halves are subtly inter-related, primarily through Brendan McNab's movie theatre janitor who morphs into disillusioned Catholic priest. he was notable as the political prisoner in Speakeasy's "Kiss of the Spider Woman. "The other two players are Julie Babolan as the Medium who becomes the priest's atheist aunt Monica and Emerson grad Andrew Schufman who first plays a knife-carrying hoodlum named Mako, then a young television reporter. Babolan played Emma Goldman last spring in the New Rep's "Ragtime." The cast becomes a seamless ensemble under director Stephen Terrell, with Doherty as the central focus in "R Shamon" and McNab as the force behind "Gloryday." in which she plays a rather wasted actress. Their intensity get the show over a few weak moments in Part 1.

    Music director Jonathan Goldberg makes the most of his talented vocalists, with himself at the keyboard, two reeds, and three percussionists. The unit set is an architectural creation reminiscent of origami by Brynna C. Bloomfied backed by the suggestion of the famous gate, expertly lit by Karen Perlow. Costumes were created by Rafael Jaen and capture the three periods of the show. LaChiusa's music, which has touches of Japanese tradition, hovers somewhere between modern chamber opera in the world of Weill, Sondheim, and other more contemporary composers who're expanding the horizon of the musical theatre.

"See What I Wanna See" by Michael John LaChiusa, Jan. 5 - Feb. 3

Lyric Stage Co. at Copley YWCA

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

Xmas Week - Park's 365 Plays

2006-12-31T13:21:00.000-08:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake-”Xmas week - Suzan-Lori Parks

Date: Sun, Dec. 31, 3:44 PM

Quicktake on XMAS WEEK - 365

After all the build-up, this example of Park’s recent year-long playwriting effort was rather underwhelming. TheatreZone’s diverse cadre was enthusiastic and interesting to watch in an hour-long effort that preceded their pre-New Years party. The nine pieces done had echoes of Beckett and Shepard, with a touch of Wilson in “The Key.”

Other companies will be trying other “weeks” worth of writing later in 2007 and Parks herself will be at MIT during the Spring semester. Perhaps if the author and one of her directors can get toether when these productions are over, a coherent piece could be extracted from these rough drafts. The best news of the evening was that construction of an elevator to reach TheatreZone’s third-floor hall is under way. Now if something could be done about public transportation and parking they’d be all set.

"Xmas Week/365" by Suzan-Lori Parksr, Sat. Dec.39, 2006

TheatreZone at Chelsea Theatre Works

189 Winnisimmet St. Chelsea, (617) 887 - 2366

TheatreZone

Importance of Being Earnest

2006-12-28T10:57:00.000-08:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "The Importance of Being Earnest" by Oscar Wilde

Date: Wed, Dec 27, 11:04 PM

Quicktake on THE IMPORTANCE OF BEING EARNEST

The easiest description of Ridiculusmus' "The Importance of Being Earnest," a slight reduction of Oscar Wilde's most popular play, is too clever by half. The comic duo of David Woods and Jon Haynes play all nine characters in the farce, using costume and voice changes which become fragmented as the play picks up pace and the farce heads for its coincidence-filled conclusion. The most obvious laughs result from costume incongruities though Wilde's famous epigrams win their share. Audience members familiar with the play will get the most out of this bravura performance, but probably won't see it as the social satire director Jude Kelly, OBE, and Ridiculusmus hoped to create for their British audience. Americans have always found the antics of Ernest Worthing and Algernon Moncrief risible but distant.

The production is however a solid entertainment even though the joke wears thin from time to time given the necessary hiatuses created by costume and scenery changes. The set has a jumble shop air with props kept on shelves at the back and anachronistic touches like a fridge hidden in the credenza and a music system which the actors ostensibly control using a remote to provide dramatic background. The acting is generally broad, on par with Monty Python, which keeps the focus on the trivial, certainly the author's original intent. The play has survived for more than a century not because of its deep analysis of Victorian mores, but its universal silliness. "The Importance of Being Earnest" is first and foremost farce, focusing on human fallibility, which comic writers have been puncturing for at least 2500 years.

"The Importance of Being Earnest" by Oscar Wilde, Dec.21 - Jan.14

Ridiculusmus at ART, Loeb Stage

64 Brattle St, Harvard Sq. (617) 547 - 8300

American Repertory Theatre

Inspecting Carol

2006-12-22T09:51:00.000-08:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Inspecting Carol" by Dan Sullivan and the Seattle Rep

Date: Thurs, Dec 21, 11:00 PM

Quicktake on INSPECTING CAROL

When Dan Sullivan and the Seattle Rep created "Inspecting Carol" back before the turn of this century from a collision between an annual production of the Dickens' classic and Gogol's political farce "The Inspector General," the resulting satire had personal meaning to the company and their audience. Productions since have had varying success; the Lyric Stage ran it a few seasons ago for the holidays and got a lot of laughs but made little impact. The show's since moved onto the community theatre stage where it will no doubt last a few years longer. Zero Point's current revival, running this weekend and next at Durrell Hall is in that class, and unfortunately not near the top.

The enthusiastic cast fills the roles unevenly, with Michael Aveller, a Theatre Coop veteran, coming closest to the mark as Wayne, the computer geek who wanders in for an audition and is mistaken for a dreaded NEA inspector. Michael Di Loreto as MJ the put-upon stage manager is also well-cast. The rest of director Emil Kreymer's motley crew are only fitfully believable and occasionally unintelligible. The show isn't helped by a sparse setting and uncoordinated costumery. Zero Point previous revivals have included "The Dinner Party" and "Moonchildren" with some of the same actors, but these experiences haven't yet generated the sense of ensemble needed for this complicated comedy. "Inspecting Carol" operates on several levels and styles of humor. The show's more of a challenge than it may first appear.

"Inspecting Carol" by Dan Sullivan & Seattle Rep, Dec. 21 - Dec.30

Zero Point at Durrell Hall

Camb YMCA, 820 Mass. Ave, Central Sq. / www.theatremania.com
Zero Point Theatre

Santaland Diary

2006-12-21T09:24:00.000-08:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "The Santaland Diaries" by David Sedaris, adapted by Joe Mantello

Date: Wed, Dec 20, 10:18 PM

Quicktake on SANTALAND DIARIES

Channeling his inner elf once again, John Kuntz has returned to "The Santaland Diaries" by David Sedaris, heard now and again on NPR. Wesley Savick directed this current run of Joe Mantello's adaptation in the New Rep's Downstage black box theatre. The program starts with two short pieces by Kuntz, first a riff on the presents from the "12 Days"--in a two room flat, followed by an interpretive "dance" audition-piece based on Dickens' three ghosts requiring audience participation. The action is backed by a large mural of St. Nick's whiskers, the centerpiece of Cristina Tedesco's design. Molly Trainer supplied John's elf uniform.

Kuntz's approach to the piece employs his range of quick characterizations, but develops a strong central voice for the aspiring soap opera actor at the center of it all. "The Santaland Diaries" skewers the commercial excess of season while retaining a whiff of nostalgia for its essential charm. Extra late night shows have been added due to demand for tickets. Contact the New Rep for details. The next program in the company's second space will be a series of New Voices play readings at the end of January into February.

"Santaland Diaries" by David Sedaris, Dec. 20 - Dec.31

New Repertory Theatre at Arsenal Center for the Arts, Black Box

321 Arsenal, Watertown, (617) 921 - 8487

New Repertory Theatre

Charles Dickens' Christmas Carol

2006-12-15T15:44:00.000-08:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Charles Dickens' Christmas Carol"" adapted by Rick Lombardo

Date: Thur, Dec 14, 10:40 PM

Quicktake on CHARLES DICKENS' CHRISTMAS CAROL

     'Tis the season, and Scrooge, played by Paul Falwell, is back on stage for the second year at the Arsenal Center for the Arts. Rick Lombardo's adaptation holds up quite well to a second viewing with its combination of professional actors and children's theatre kids, all singing to move the show along, and in the current fashion, providing their own accompaniment. Anna Lackaff's arrangements of the music chosen suit the performers, including the beginners among the kids.

     A number of current productions have a single narrator, often a grown up version of Tiny Tim, though Bob Cratchit and even Ebenezer himself have had their say. Lombardo's version uses successive narration in a story theatre style, emphasizing the author's words and moral indignation. Most of the cast from last year's premiere have returned, starting with Steven Barkhimer whose main role is The Ghost of Christmas Present. Brett Cramp is once again a gangly Cratchit, heartbreaking in a scene singing to his dead little one, while a monstrous puppet of Christmas Future looms over his family. Christmas Past is again a very fey Ilyse Robbins, the show's choreographer. Boscon opera grad Dawn Tucker has replaced Leigh Barrett as Mrs. Cratchit, since the latter is performing in Reagle's suburban holiday extravaganza this year. Opera singer Patrice Tiedman provides another soaring voice in the chorus and plays Mrs. Fezziwig. Returning men include a very ghostly Peter Edmund Haydu as Jacob Marley, Eric Hamel notable as Topper the perennial bachelor, and Terrence O'Malley as oratorical Fred, Scrooge's nephew. Cristi Miles is back as Belle among other roles, while Will Keary returns as Young Scrooge. And Tiny Tim this year is Spencer Evett, the third generation of that clan on the Boston stage.
    This production may start to grow in successive years; Peter Colao's rough hewn set is very flexible and John Malinowski's lighting provides considerable variety and effects. There are room for a few more street urchins and characters, though the concept of a group of performers telling Dickens' immortal tale is very well executed as is. The New Rep is providing an alternative however. Starting Dec. 21, local favorite John Kuntz is reviving David Sedaris' "Santaland Diaries" in the Art Center's intimate Black Box through the 31st. Seating needless to say is limited.

"Charles Dickens' Christmas Carol"" adapted by Rick Lombardo, Dec. 10 - 24

New Rep & Watertown Children's Theatre at Arsenal Center for the Arts

Watertown MA, (617) 923 - 8487
New Repertory Theatre

THE ONION CELLAR

2006-12-14T14:54:00.000-08:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "The Onion Cellar" by Amanda Palmer, Jonathan Marc Sherman, Marcus Stern et al

Date: Wed, Dec 13, 10:20 PM

Quicktake on THE ONION CELLAR

     With a title inspired by a paragraph in chapter 42 of 1999 Nobel Prize winner Gunter Grass' fable "The Tin Drum" and some creative differences during its creation, the American Repertory Theatre opened Amanda Palmer's "The Onion Cellar" in their flexible space at Zero Arrow St. This time this large black box space is set up as a cabaret with tables and a bar along the side serving beer and wine at the usual prices. A large circular array of lights hangs over stage against one wall. Opposite the stage the wall above the audience is covered with memorabilia. The conceit is that "Shmuh's Onion Cellar" is an establishment where patrons chop onions for themselves to release tears they've been holding back. Several interlocking family tales, created with the help of a cast made up from ART veterans and Institute students, are revealed between songs written and musical numbers written and performed by Palmer and her partner, Brian Viglione. The musicians play themselves with younger doubles from the ensemble.

     Both Karen MacDonald and Thomas Derrah appear in dual roles. MacDonald is the Mother of the Girl in Blue, who died in a car crash after her prom. Derrah is a probable Lunatic in a gray suit bound in wide white tape with a phone handset taped to his head. The pair also play the Louvers, a childless older couple from Wisconsin who've driven their RV to Cambridge to visit their nephew who attends Harvard. Jeremy Geidt is the Father quietly drinking himself into oblivion. Remo Airaldi is the MC for the cabaret who tells of his childhood and mimes to an aria sung by Caruso near the end of the show. The program doesn't identify individual roles, but two students appear as both Onion Boy and Mute Girl, two peculiar lovers, as well as the Girl in the Bear Suit and her friend, both of whom tend bar. Kristen Frazier is the daughter. The ensemble includes Claire Elizabeth Davies, Brian Farish, Merrit Janson, and Neil P. Stewart. The final show was directed by Marcus Stern, Associate Director at the ART, who teaches at Harvard, the Institute, and Harvard Extension.

    The 90 minute show is somewhere between a club concert, a theatrical collage, and an incipient rock album. The Dresden Dolls are frequently billed as Brechtian Punk Cabaret, and their often loud alternative rock sound can definitely alienate members of the audience from each other. Earplugs are available on request. Palmer's "Onion Cellar" performed at the opening sets out a premise, but the piece which best catches their essence is "Coin Operated Boy". Her lyrics when audible show flashes of wit. Viglione gets an impressive drum solo late in the show which lasts a bit too long. Of the various routines in the collage, MacDonald and Derrah's "Louvers" are the audience favorites. The show's theme of love and loss, which is of course universal, is only obliquely explored and hardly revelatory. Of the ART's two shows adapted from other mediums currently playing ("Wings of Desire" closes this Sunday), the earnestness of "The Onion Cellar" seems preferable.

"The Onion Cellar" by Amanda Palmer, Jonathan Marc Sherman, Marcus Stern et al, Dec.9 - Jan. 13

ART in Zero Arrow St.

Arrow & Mass. Ave, Harvard Sq. (617) 547 - 8300
ART

ON EGO

2006-12-05T14:36:00.000-08:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "On Ego" by Mike Gordon & Paul Broks

Date: Tues, Dec 5,

Quicktake on ON EGO

The latest reading of from MIT's Catalyst Collaborative, "On Ego" was a drama based on an intriguing question. "How does meat become mind?" How does the complex collection of neurons which make up the brain and the nervous system develop a sense of awareness? The science fiction premise of the play and the relationship between its characters moves it well beyond dry theory. A neurologist who firmly believes that the ego is merely a fiction is participating in teleportation experiments with his physicist father-in-law. During a demonstration, something goes wrong. Instead of his original body being vaporized in the process, a duplicate is created on the other end where he's meeting his wife for an anniversary. To complicate matters, his wife has just been diagnosed with an inoperable brain tumor which is robbing her of portions of her memory. Protocol demands that the original, which is indistinguishable from the new copy, be destroyed.

The cast was two founders of the Underground Railway Theater, Alice the wife, played by their artistic director, Debra Wise, and Derek, Alice's father, played by former artistic director, Wes Sanders. The neurologist was played by Stephen Russell, seen with various local companies including WHAT where he produces WHAT for Kids! The production was directed by Jon Lipsky, artistic associate at the Vineyard Playhouse and professor of theatre at BU. The script, called a "theatrical essay" by London playwright, Mick Gordon, was written in conjunction British neurologist Paul Broks, whose nonfiction work "Into the Silent Land" was the play's starting point. A complex multimedia piece as well, the play is still in development.

"On Ego" by Mike Gordon & Paul Broks, Dec. 4-5

MITA & Underground Railway at Rm 10-250 & Durrell Hall, Camb YMCA

(781) 643 - 6916 URT

MIT Office of the Arts

Mrs. Caudle's Curtain Lectures

2006-12-03T23:50:00.000-08:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Mrs. Caudle's Curtain Lectures" by Carl A. Rossi

adapted from Douglass William Jerrold, a columnist for the magazine, Punch

Date: Sun, Dec 3, 11:46 PM

Quicktake on MRS. CAUDLE'S CURTAIN LECTURES

This adaptation by Carl Rossi of Victorian humorist Douglass William Jerrold's popular series, what Mrs. Caudle, a middleclass London housewife, said to her husband before they went to sleep at night, is an effective monodrama. He has edited some 20 of them, shortening them effectively, providing a comic arc for the incessant concerns of the title character. Joseph Zamperelli, Jr. directed a one-night only staged reading of the piece at Boston Playwrights' for the Delvena Theatre.

Lynne Moulton was a redoubtable Mrs. Caudle, taking a taciturn Mr. Caudle, played by a silent Rick Park, to task for everything from loaning a friend his umbrella to the prospect of her mother moving in with them. Narration identifying each lecture was supplied by Hugh Metzler with stage directions given by Justine Curley. These two figures could well have more to say as the script develops. At present it provides a short pleasant glance at a bygone era, not all that different from more conservative aspects of our own. In the right setting, "Mrs. Caudle's Curtain Lectures" could play very well for the historical crowd.

"Mrs. Caudle's Curtain Lectures" by Carl Rossi, Dec.3

Delvena Theatre Co. at Boston Playwrights Theatre

949 Comm. Ave. Allston
Boston Playwrights'

Nickel and Dimed

2006-12-03T17:29:00.000-08:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Nickel and Dimed" by Joan Holden

adapted from Barbara Ehrenreich's novel

Date: Sun, Dec 3, 5:59 PM

Quicktake on NICKEL AND DIMED

When this dramatization played at Trinity in 2003 it was questioned as being too focussed on the travails of the author of the original book. Susan Lombardi - Verticelli plays Barbara very matter of factly, which helps shift attention to the workers who are of more interest. Director Megan Orwig has assembled an ensemble of five versatile actors to play the staff of a “Kenny’s” Restaurant in Key West FL, a team of “Magic Maids” in Portland ME, and associates at MallMart in Minneapolis. Ehrenreich's conclusion is remains true; you can’t make a living on minimum wage., especially when Social services are less than adequate, especially for women. These “workers” in alphabetical order are Jordan Harrison—the only guy—Jackie Heath, Ellen Lokos, Danielle Muehlenbein, and Donna Spurlock.

South City has as part of its mission to provoke the intellect and inspire change in the human condition. Joan Holden’s adaptation, which was done for the San Francisco Mime Troupe, has the same goal. Unfortunately, there’s no prescription in either the original book or this staging to suggest how the working poor, subjected to “repetitive stress of the spirit,” can really effect change. And even if the new Congress raises the minimum wage, too little too late, very little will change , particularly as the cost of the situation in the Middle East comes due. But maybe “Nickel & Dimed” will make a few people better tippers and refold merchandise at Target.

"Nickel and Dimed" by Joan Holden, Dec. 1 - Dec. 17

South City Theatre at Devanaughn

back of Piano Factory, (781) 874 - 9831
South City

A Christmas Story

2006-12-02T23:13:00.000-08:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "A Christmas Story" by Philip Grecian

based on Jean Sheperd's 1983 film and other tales

Date: Sat. Dec. 2, 11:13 PM

Quicktake on A CHRISTMAS STORY

Philip Grecian's stage adaptation in 2000 of radio humorist Jean Sheperd's 1983 film, "A Christmas Story" has become a community theatre staple in the last few years. The Stoneham Theatre's second professional production, directed this year by veteran Massachusetts director and playwright Jack Neary, has a depth and timing that can be difficult to achieve. It also boasts a different cast from last year, headed by Robert D. Murphy who's been widely seen around the area as The Old Man with Derek Santos, from Stoneham's Young Company Summer Program, as his son, Ralphie, the third grader who wants a Red Ryder BB gun for Christmas. Lisa Tucker, a founding member of Beau Jest who was seen last season in "A Prayer for Owen Meany", is Mother. Seven year old Evan Robinson-Johnson completes the Parker family as Randy, the little brother who likes to hide.

All the other adults in the show are played by Penny Benson, who appears as Miss Shields and the Department Store Elf, and Michael G. Dell'Orto who plays Santa, the Xmas tree salesman, the Prize Deliveryman, and Black Bart. The narration is handled by Mark S. Cartier, who brings a mature quality to the role of Ralph, the grownup writer. The rest of the kids include Zach Camenker as Scut the bully, Adam Fisher as Flick whose tongue gets frozen, Khalil Fleming as Schwartz, Ralphie friend, Gillian Gordon as Helen the smart girl and Rebecca Stevens as Esther Jane who likes Ralphie. Neary puts this talented crew through their paces and myriad costume changes on a two level set by Audra Avery. The forties period clothes were collected by Molly Trainer. Sheperd's functional if slightly eccentric family still resonates as real, even half a century past the period of the play. Family audiences will enjoy their antics, and maybe see something of their own situation during the holidays.

"A Christmas Story" by Philip Grecian, Nov. 25 - Dec. 23

Stoneham Theatre

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

A Christmas Carol - NSMT

2006-12-01T23:59:00.000-08:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "A Christmas Carol" by Charles Dickens

Date: Sat, Dec 1, 11:32 PM

Quicktake on A CHRISTMAS CAROL

     Practice makes perfect. Sometimes going back to an original concept does too. This year, North Shore Music Theatre's Artistic Director, Jon Kimbell, has taken the helm of their perennial seasonal show he helped create eighteen years ago. He's carefully reduced some of the extras added to A Christmas Carol - A Musical Ghost Story in recent years, but retained some old favorites. IRNE winner David Coffee returns as the area's most lovable Scrooge, IRNE winner Cheryl McMahon is once again his Cockney housekeeper, and Tom Staggs still soars overhead as the ghost of Jacob Marley.

     The score based on traditional carols and songs has been tightened by music director Brian Cimmet, and only drops the "Pig" song from the final Stave. There's less DayGlo and a somber scary Ghost of Christmas Future played by Richard Gallagher, who also plays Young Scrooge. Robert Jason Jackson seen at the Huntington last season as Holofernes and on Broadway in "Aida" is a new towering Ghost of Christmas Present--still on stilts--and Teri Dale Hansen is a new and luminous Ghost of Christmas Past as well as Mrs. Cratchit. The show is narrated by Erik Grafton as grown up Timothy Cratchit, in shirtsleeves, and Australian Benjamin Howes, seen Off-Broadway in [title of the show] is Bob Cratchit. Mark Aldrich is back for a second year as Scrooge's nephew Fred and Briga Heelan, who started with NSMT's Youth Academy, plays both Fred's new wife Meg and young Scrooge's lost love Belle.

    There's a bit more fog in old London Town, but the setting is much the same as previous productions.. The musician are again spread between two raised platforms and a visible pit. The ensemble is strong and the opening number includes the children of the company playing handbells. All in all the production emphasizes the humanity of the people in Dicken's story and gets the audience singing along with the curtain call's "We Wish You a Merry Christmas."

"A Christmas Carol" by Charles Dickens, Dates

North Shore Music Theatre at Dunham Woods

Beverly, MA , (978) 232-7200
North Shore Music Theatre

WINGS OF DESIRE

2006-11-30T00:11:00.000-08:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Wings of Desire" filmscript by Wim Wenders & Peter Handke

adapted by Gideon Lester & Dirkje Houtman

Date: Wed, Nov. 29, 10:43 PM

Quicktake on WINGS OF DESIRE

Regular patrons of the ART won't be surprised to be sitting through another theatrical collage,again an effort with international overtones. In 100 minutes the ART and Toneelgroep Amsterdam wrestle with a disjointed adaptaion of the filmscript for Wim Wenders' 1987 film classic "Der Himmel uber Berlin" (released internationAlly as Wings of Desire). The show opens with two immortal beings aka "angels" atop a canteen trailer at an outdoor cafe, somewhere. Fine sand drifts down from the flies in thin streams, indicating the passage of eternity. Mam Smith, a fine aerilaist, periodically soars above the scene, much more angelic than the show's two angels dressed in black and white formal wear. Periodically, actors playing characters address the audience. The only one who really makes contact is Stephen Payne, playing the role of a former angel done by Peter Falk in the original film. Loud rock music played live by Jesse Lenat and Hadewych Minis adds to the mix, especially as the action winds up. (Ear plugs might be a good idea.)

The production is an interesting set of glosses on the subject, but as live theatre, "Wings of Desire" just doesn't add up. There are a few memorable moments, but the text might as well have been done in Dutch most of the time, perhaps with the odd surtitle. Robin Young's presence as The Newsreader adds little except brief local recognition. The ideas behind the adaptation have potential but lack of follow-through, of any real attempt to deal with the diviseness in today's world, make for sterile theatrical experimentalism. It's as if every "why don't we?" thought of during its creation was tossed in, like the colorful furniture in the finale, without ever asking "Why?"

"Wings of Desire" by Wenders & Handke, Nov. 25 - Dec. 17

American Repertory Theatre & Toneelgroep Amsterdam at the Loeb

64 Brattle St, Harvard Sq. (617) 547 - 8300
American Repertory Theatre

AVMUCScientology Pageant

2006-11-27T13:01:00.000-08:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "A Very Merry Unauthorized Children's Scientology Pageant" by Kyle Jarrow

Date: Sunday, November 26, 2006, 10:44 PM

Quicktake on A VERY MERRY UNAUTHORIZED CHILDREN'S SCIENTOLOGY PAGEANT

As a critique of the Church of Scientology, Kyle Jarrow's parody of a children's holiday pageant is relatively mild and probably funnier to those who've had a brush with this 20th Century attempt to emulate a 19th century predecessor, Christian Science. "A Very Merry Unauthorized Children's Scientology Pageant", which got an Obie in 2003, is a rather weak brew compared to the overwrought accusations found on various websites. But as an hour long amusement performed by nine local youngsters, AVMUSCSP does suggest how contemporary religion continues to indoctrinate the young or alternatively turns its practitioners into children, sometimes with disastrous results. Director Jason Southerland has cafrefully avoided any overt criticism of the sect, preferring to let Jarrow's concoction speak for itself.

The set for the show by Jenna MacFarland-Lord uses cardboard cutouts like those kids produce for middle-school productions with a set of hired risers suggesting the same sort of atmosphere. Costumes by Laura Perrault are very basic, mostly choir robes, but include a cardboard box robot. Music director Jose Delgado, who's next door doing Speakeasy's "Bubbly Brown Girl..." has gotten the young cast to sing out along with a taped score with the same sort of synthetic pop quality as those operations like Disney distribute for their "kids" shows. Nathan Leigh did the orchestrations and sound design. At worst, AVMUSCSP is a piece of offbeat silliness for the holidays.

"A Very Merry Unauthorized Children's Scientology Pageant" by Kyle Jarrow, Nov. 24 - Dec. 16

Boston Theatre Works in Plaza Theatre

BCA , 539 Tremont (617) 933 - 8600
Boston Theatre Works

Exceptions to Gravity

2006-11-26T18:43:00.000-08:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Exceptions to Gravity" by Avner the Eccentric

Date: Sun, Nov 26, 6:43 PM

Quicktake on EXCEPTIONS TO GRAVITY

If there’s any show for the holiday season that can be described as pure entertainment, the current edition of Avner the Eccentric’s collection of timeless comic routines fills that bill. Suitable for all ages, combining slapstick humor, mime, audience interaction, disceptively simple magic, and an unique attitude, this 90 minute perambulation is an interesting contrast to the intense one womman show which just closed at the Lyric. Predictably unpredictable, every new stunt seems to grow organically from Avner’s persona, a serious clown, not so much sad as put upon by reality. What’s coming next is unclear, but it will be funny. See it soon, then take some friends and see it again.

"Exceptions to Gravity" by Avner Eisenberg, Nov. 24 - Dec.23

Lyric Stage Co. at Copley YWCA

140 Clarendon (617) 585 -5678
Lyric Stage

Rabbit Hole

2006-11-10T13:36:00.000-08:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Rabbit Hole" by David Lindsay-Abaire

Date:Wednesday, November 8, 2006

Quicktake on RABBIT HOLE

There's no White Rabbit in David Lindsay-Abaire's "Rabbit Hole" or any of the fantasy audiences have come to expect from the author of "Fuddy Meers,", "Wonder of the World," or "Kimberly Akimbo." There is, however, the same insightful view of human nature, this time at a suburban housewife and her stock broker husband try to come to grips with the loss of their four-year old son. Of course, her younger sister, Izzy (short for Isabel) opens the play by telling her that she's pregnant by a "real" musician, her tipsy mother can't forget her brother who died of a heroine overdose, and her husband misses the dog. The setting is realistic, all their actions are predictable, though Becca, the heroine, played by Donna Bullock, does punch a woman in the supermarket. That unfortunate was ignoring her own child. Geneva Carr's Izzy is not as flighty as her wardrobe would suggest, and Maureen Anderman as their mother Natalie has unexpected depths. Even Howie, the husband, played by Jordan Lage, starts to relate to his wife on a more hopeful level by the end of the evening. It's a play, like most of the author's work, works up slowly to its point, this time with far fewer mirrors and almost no smoke.

Predictably, the setting by James Noone is a monument to stagecraft, with three meticulous interiors that roll on and off. A two level unit set would have been less distracting and possibly more evocative. John Tillinger's low-key directing, and the cast's contemporary ensemble style are sufficient to establish the characters and their situation. The interior decoration is extraneous. Costumes, props, lighting, and sound are firstrate and more appropriate. Bullock leads the show with the same kind of detailed work that won Cynthia Nixon a Tony for her role. We know her and the rest of the cast quite well by the end of the play; where they've been, what they are, and where they might be going. Lindsay-Abaire's used everyday elements to tell a simple and moving tale, ending not with "happily ever after," but "they lived."

"Rabbit Hole" by David Lindsay-Abaire, Nov.3 - Dec.3

Huntington Theatre Co. at B.U.Theatre

264 Huntington Ave, (617) 266 - 0800
HTC

Screen Play

2006-11-05T18:39:00.000-08:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Screen Play" by A.R.Gurney

Date: Sun, Nov. 5, 6:43 PM

Quicktake on SCREEN PLAY

     Satire might just be a more effective antidote to tyranny than realism. David Hare's "Stuff Happens" extended down at the BCA imagines what might have been going on in the corridors of power in 2002 -2003 leading up to the current morass in the Middle East. A.R.Gurney's imaginative look at the state of these United States in 2015 resulting from such policies may be more instructive. The Nora Theatre, inching ever closer to a new home in Central Square, has a bang-up production running in Studio A at Boston Playwrights'.

    "Screen Play", directed by Richard McElvain, was written as a takeoff on the classic screen play for "Casablanca". It's presented as a mock staged reading by a sound and experienced cast with a soundtrack of folk and old, old standards played live by Jeffrey Goldberg. The story centers around Rick (of course), played by a welcome addition to the local scene, David DeBeck, who runs his family bar (what else?) in Buffalo, N.Y. (where else?). Disaffected Americans are once again fleeing to Canada, just across the Peace Bridge. Among those trying to leave, amid increasingly Draconian rules promulgated by "security" concerns, are political activist Walter Wellman, played in full voice by Peter Edmund Haydu and his wife, Rick's old flame, Sally, played by Stephanie Clayman. The song for the evening is "My Gal Sal," part of the repertoire of Myrna, the joint's chanteuse, warbled by Dee Crawford, who also does "Shuffle off to Buffalo" and "The Erie Canal." The local sheriff, source of a great deal of exposition, is Charley Washington, done by big Michael Nurse. Everyone's nemesis is Ass. Sec for HS, Abner Patch a Bible thumping Republican, played with gusto by John Davin. His flunky is played by John Porell, who takes on all the minor roles, including a local thug who steals the requisite "letters of transit," and a bored French airline clerk.

     Standing behind 7 black music stands, with some odd theatrical gear propped behind them, the ensemble uses their rich and varied experience to ring changes on this familiar story. Gurney, who was known around Boston for years as a member of the MIT English Department, has created an uncomfortable possible future based on the erosion of liberty taking place daily. Does everyone have their passport up to date in case they want to drive up to Montreal this winter--and get back into the States? We're liable to be seeing this script done again soon, but don't wait to get tickets to Nora's production. You never know.

"Screen Play" by A.R.Gurney, 2 - 19

Nora Theatre Co. at Boston Playwrights' Theatre

949 Comm. Ave. Allston, (866) 811 - 4111
The Nora Theatre Co.

URINETOWN at Vokes

2006-11-03T00:12:00.000-08:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Urinetown" by Mark Hollman & Greg Kotis

Date: Fri, Nov 3, 12:12 AM

Quicktake on URINETOWN, THE MUSICAL

     If you've avoided this musical satire for one reason or another, the current production at Beatrice Hereford's Vokes Playhouse out in Wayland on Rt. 20 would be a good place to catch what's become one of the most produced musicals across the country--if you can get a ticket. The Newton Country Player's just had a success with Tony winner "Urinetown" over at Lasell, the Lyric opened last year's season with it, and Newton South High's doing the show in the spring.

     Directed by Donnie Baillargeon, the show gets off to a good start with Vokes' stalwart David Berti as Officer Lockstock the narrator and his sidekick Little Sally the urchin, done by Peri Chouteau. The duo catches the show's attitude perfectly. The ensemble is in fine voice, the story which centers around a public revolt against having to pay to pee rings ludicrously true. The music and lyrics by Mark Hollman start off with echoes of Brecht and Weill and evolve into a sendup of contemporary musical theatre. The love story between Bobby Strong public facility attendant, sung by Kendall Hodder, and Hope Cladwell daughter of the urinal magnate, sung by Sarah Consentino, pushes all the right buttons. Supporting roles such as Lockstock's partner, Officer Barrel and Penelope Pennywise, Bobby's boss, done by Bill Stambaugh and Janet Ferreri are edgy. Ferreri's opening number, "It's a Privilege to Pee" helps set the tone for the evening. The energetic ensemble, who play both the downtrodden masses and Cladwell's flunkies, have moments to shine, like Mark Soucy's demented thug, Hot Blades Harry, one of the "good?" guys.

    Steven McGonagle has done another outstanding set for the company with echoes of the original, Mario Cruz conducts the small musical ensemble--out of sight in this production--with the required flair, and Jennifer Condon's choreography sends up all the usual suspects, from Robbins to Fosse to Twarp. It's a goodtime show with serious digs at the potential disaster of overpopulation, depletion of resources, and public indifference. Or as author Greg Kotis, trained as a political economist, ends the show, "Hail Malthus."

"Urinetown" by Mark Hollman & Greg Kotis, Oct. 26 - Nov. 17(shows added)

Vokes Players at Vokes Theater

RT.20, Wayland (508) 358 - 4034
Vokes Players

All That Flying...

2006-11-02T01:43:00.000-08:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "All This Flying, All This Tumbling Down" by Dario Fo & Franca Rame

Date: Thurs, Nov 2, 1:02 AM

Quicktake on ALL THIS FLYING, ALL THIS TUMBLING DOWN

Works by Nobel Laureate Dario Fo have been scarce on the American Stage since his injudicious remarks made after 9/11. Whistler in the Dark, who've previously been seen mostly at the Charlestown Working Theatre, have prepared four monodramas by the old clown and his wife/partner, Franca Rame, and taken them on the road. They're performing in various venues in Boston and Cambridge. The translations are by Gillian Hanna and Amy Nora Long. Meg Taintor directs three actors, two seen previously with Whistler in the Dark, Lorna McKenzie and Jennifer O'Connor, and Nikki Carroll, an Aussie who toured last year for Shakespeare & Co. Each woman does one solo piece, the trio combines for the final piece, "All Women Have the Same Story," a surrealistic fairy tale.

The first monodrama, "Rise and Shine" features O'Carroll as a woman so frazzled by work, an infant, and an inconsiderate husband that she feels she's going mad as she hurries to get ready for work. The second, "A Woman Alone" is an entire domestic melodrama with Lorna McKenzie, really going mad cooped up in her apartment with a crying baby and an invalid brother-in-law, being stared at by a pervert with binoculars, badgered by obscene phone calls, and pursued by an unwanted lover. Jennifer O'Connor is "Alice in Wonderless Land" succumbing to temptations and the modern world in ways which have made Lewis Carroll faint. Costumes are mainly lingerie and few accouterments chosen by Kelly Leigh David, the set is two translucent screen which can be used for shadows, and the interlude sounds are a danceable mixtrack. The show works surprisingly well in the informal atmosphere of a nightspot. Fo would approve. Be sure to check the group's website for directions to venues and any schedule changes. The tour wraps up Friday the 10th at the Charlestown Working Theatre.

"All This Flying, All This Tumbling Down" by Dario Fo & Franca Rame, Oct.24 - Nov. 9

Whistler in the Dark at Charles Playhouse Lounge, Midway Cafe (JP), Zeigeist (Camb), Art&Soul (Camb.), The Vault(Lynn Arts), and Charlestown WT

check website for directions; (866) 811- 4111

Whistler In The Dark

HOLES

2006-10-29T15:33:00.000-08:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Holes" by Louis Sachar

Date: Saturday, Oct 28, 6:12 PM

Quicktake on HOLES

Fans of Louis Sachar's popular juvenile adventure will enjoy seeing such colorful characters as X-Ray, Armpit. ZigZag, and Zero brought to life. Fan’s of the author’s movie adaptation will recognize the script, which is largely a stage adaptation of his screenplay. There in lies some difficulty for those coming to the tale for the first time. The action is fast and furious as it gets the hero, Stanley Yelnats IV, wrongly accused of theft, from juvenile court to Camp Green Lake, a sinister private rehabiltation facility in the desert. The program is to dig a large hole everyday for no apparent reason. Armando-Carlos Gonzalez, seen last year about this time of year in “The Lord of the Flies.” His best friend, Hector Zeroni, aka Zero, is played by Dan Reulbach, also in “...Flies.” The core of the show is fellow WFT students, including Cyrus Akeem Brooks, Nicholas Carter, Shauday Johnson- Jones, David M. Kalm, and Tadesh Inagaki. The adult, mostly Equity cast includes Whitney Avalon as Kissing Kate Barlow, WST regular Shelley Bolman as Mr. Pendanski. Neil Gustafson as Mr.Sir. Monique Nichole McIntyre, style="font-weight:bold;">Ed Peed as the Sheriff, Marina Re as the mysterious Warden, Darius Omar Williams as Onion Sam, and WST General Manager Jane Staab is madame Zeroni, whose curse on Stanley’s pig-stealing great great grandfather just may be the reason for his troubles. Additional grown-ups include tall Kevin Ashworth as nasty Trout Walker, Wheelock grad Chris Burcato as Stanley’s dad (III) and Rydia Q. Vielehr as Zero’s mom. Most double in other small roles as well. It’s a really big show.

Director Susan Kosoff, WST’s producer keeps the fragmented action moving, but the result isn’t especially dramatic. Sachar’s dilemma in creating this script was to continue an already successful franchise. He might have been advised to let a more skilled playwright adapt his work to make it less linear, to make the melodrama more consistent, getting all the plot elements better foreshadowed in the first half. The result is still engaging most of the time, though Danila Korogodsky’s modernist unit set somewhat overdoes the “hole” motif and doesn’t capture the feeling of the desert very well. It’s still far better family entertainment than the expensive arena shows which blow into the Wang or the Paramount Opera House.

"Holes" by Louis Sachar, Oct.27 - November 26

Wheelock Family Theare

200 The Riverway, Boston, (617) 879 - 2300

Wheelock Family Theatre

The Ice-Breaker

2006-10-29T15:29:00.000-08:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "The Ice Breaker" by David Rambo

Date: Fri, Oct 27, 11:35 PM

Quicktake on THE ICE BREAKER

     Hollywood veteran David Rambo's "The Ice-Breaker", originally commissioned for the Geffen in L.A. is having part of its National New Play Network's "rolling national premiere" at the New Rep over at the Arsenal Center for the Arts. The piece has the feel of a treatment intended for development in a small film being tried out as a play. As a concept, comparing the immensity of an incipient ice-age to a December/May (June) relationship between an older male scientist in seclusion and a brash young grad student is intriguing if inconclusive. The resulting pedestrian script is however isn't and ultimately banal with a weak payoff. The play has actually very little to say about global warming.

     Will Lyman, the voice of Frontline and Boston's best underworked actor, seen recently as Claudius on the Common, makes a convincing senior scientist, driven to a desert hideaway by academic politics over his controversial ideas and a family tragedy. Amy Russ plays the perennial student of indeterminate years, juvenile because of her lowly academic position. Unfortunately her underwritten role becomes monotonous, dependent on superficial charm and bumptiousness. While Lyman has a deliberate depth to his performance, her's becomes tedious and not very believable. The two sometimes seem to be in two different plays not written by the same author. Too many of her actions are plot devices, from finding his diary in Antartica while there on an punitive Outward Bound visit to finally "getting" the significance of his research. Director David Zoffoli from Merrimack keeps the action going through some fairly dubious passages but ultimately the climax is unconvincing being delivered by mail with a final spotlit scene.

     The New Rep production is good-looking with an effective realistic set by architect Alan Joslin, well lit by David Parichy who's worked with Zoffoli in Lowell. Molly Trainer's costumes done for two people in one setting suggest their academic lack of concern for fashion. David Kahn's passing thunder storm and incidental Southwestern local radio cuts add to the verisimilitude. Supporting new scripts is an important though risky part of today's regional theatre. This one has been done by San Francisco's Magic Theatre and at the Phoenix in Indianapolis. The New Rep presented Philadelphian Thomas Gibbon's "Permanant Collection" in 2004 also under the auspices of the same National New Play initiative. They'll present Austin Pendleton's "Orson's Shadow", which they read successfully in 2003 later this season. It's been seen in NYC and its suburbs.

"The Ice Breaker" by David Rambo, Oct. 25 - Nov. 19

New Repertory Theatre at Arsenal Center for the Arts

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

HAIRSPRAY

2006-10-26T23:31:00.000-07:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Hairspray" by O'Donnell & Meehan, Shaiman & Wittman

based on film by John Waters

Date: Thurs, Oct 26, 11:30PM

Quicktake on HAIRSPRAY

     See NSMT do the first regional theatre production of "Hairspray", A Tony Award winning musical based on John Waters' 1988 film. Listen to an affectionate parody of a not so affectionate parody, book by Mark O'Donnell & Thomas Meehan, music by Marc Shaiman, lyrics by Scott Wittman and Shaiman. Watch a large energetic cast in costumes originally designed by William Ivey Long, on a set by Howard C. Jones, who's done a dozen or more shows for NSMT. Catch Boscon grad Bridie Carroll as Tracy Turnblad, appropriately padded out and madTV personality Paul C. Vogt as her mother Edna, augmented for and aft. He did the role in the Las Vegas production as well.

     Joining them are Inga Ballard as Motormouth Maybelle, the Black D.J. —once a month—on the TV show based on American Bandstand. Todd DuBail is Corny Collins the M.C. of 20 or so. North Shore favorite . IRNE winner David Coffee plays the show's sponsor, Tracy's high school principal, and Mr. Pinky, who hires her—once she's become a local celebrity—to be a spokesman for his boutique for large women. Tracy's true love, a budding rock & roll singer, Link Larkin is David Larsen, seen in NSMT's "West Side Story" in 2003. The other pair of lovebirds is Sarah Elizabeth Nischwitz as Penny Pingleton, Tracy's best friend and Dashaun Young, as Seaweed J. Stubbs, Maybelle's son.

     The rest of director/choreographer Barry Ivan's integrated ensemble is equally talented and ready to dance the night away. Music director Dale Reiling doesn't stop the beat, except when a ballad is called for. Lighting, sound support, and effects are as usual top-drawer and really cool. The show's message "Can't we all dance together?" is welcome as ever, given the divisiveness in today's society, even when delivered as a modern fairy tale with almost cartoon characters. Welcome to the early '60s.

"Hairspray" by O'Donnell & Meehan, Shaiman & Wittman, Oct.24 - Nov. 19

Nortth Shore Music Theatre at Dunham Woods

Dunham Rd., Beverly MA, (978) - 232 -7200
North Shore Music Theatre

HAMLET (ASP)

2006-10-25T13:58:00.000-07:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Hamlet" by Wm. Shakespeare + Hamlet Conversation with ASP and S&C

Date: Tuesday, October 24, 2006

Quicktake on HAMLET

Ben Evett's Actors Shakespeare Project continues to find new ways to look at the canon, without resorting to adaptation or techical trickery. This time they've put the play on the stage of the Strand Theatre, the renovated silent movie palace in Dorchester at Upham's Corner. Evett himself takes the title role under the direction of the New Rep's Rick Lombardo who he's worked with before. The usually eclectic ASP cast is bolstered by Johnny Lee Davenport, who's appeared with S&C and many other Shakespeare companies, as Claudius. He's joined by several other African Americans, including Willie E. Teacher as Horatio and Edward O'Blenis as Laertes. Marya Lowry as Gertrude, Robert Walsh as Polonius, plus Ken Cheeseman as The Ghost, the Player King, and the Gravedigger and Sara Newhouse as both Rosenkrantz and Osric—the first played as a man, the second as a woman—have all appeared previously with ASP. Marianna Bassham, seen at the New Rep and the Lyric, is a heart-wrenching Ophelia. Actors with other Shakespeare credits fill out the 16 member ensemble, including composer Bill Barclay, who performs onstage during "The Mousetrap" and plays the steel cello under it throughout.

In what may become a regular part of their programme, the company hosted a discussion moderated by Harvard's Steven Greenblatt, with Tina Packer, her husband Dennis Krausnik, and son Jason Asprey from the S&C "family" production of "Hamlet" this summer and Bassham, Davenport, Lowry, Walsh & Evett representing ASP's current effort. Joining them was assistant director Per Jensen from Trinity, where the play was done last season with an "Upstairs/Downstairs" motif plus Steven Maler, who helmed Commonwealth Shakespeare's version on the Common two summer's ago. The points under discussion were illustrated by short scenes performed by members of S&C and ASP to appreciative applause. Maybe next time, the Publick Theatre and Shakespeare Now! can join the fray.

""Hamlet" by Wm. Shakespeare, Oct. 19 - Nov. 12

Actors Shakespeare Project at The Strand, Upham's Corner

543 Columbia Rd. Dorchester, 1 (866) 811 - 4111
A.S.P

9 Parts of Desire

2006-10-22T18:04:00.000-07:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "9 Parts of Desire" by Heather Raffo

Date: Sun. Oct. 22, PM

Quicktake on 9 PARTS OF DESIRE

Heather Raffo's "9 Parts of Desire" is a unique sole show based of interviews with Iraqi women, composited down into 9 distinct characters. While Raffo performs her award-winning piece in Washington DC, Lanna Joffrey takes up the headscarf and burka on the Lyric Stage in Copley Sq. Award-winning director Carmel O'Reilly helps her conjure up these troubled women on a unique thrust unit set created by her frequent collaborator, J. Michael Griggs from Harvard, well lit by the Lyric's own Rob Cordella. Rafael Jaen from Emerson provides a range costume accessories to distinguish between the several woman. There are definite elements of tragedy in this theatrical collage, but these woman forge on, seeking love, seeking security for their families and their country. They range from a elderly leftist exile in London to a Baghdad teenager confined to her house. They all blend into a powerful indictment of the foreign policy blunders which led to the current endless occupation without getting into politics, but concentrating on individual human consequences.

"9 Parts of Desire" by Heather Raffo, Oct.20 - Nov. 8

Lyric Stage Co. at Copley YWCA

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

Around the World in 80 Days

2006-10-20T14:11:00.000-07:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Around the World in 80 Days" by Mark Brown, adapted from Jules Verne

Date: Fri, Oct 20,

Quicktake on AROUND THE WORLD IN 80 DAYS

     Jules Verne's "Around the World in 80 Days" was first adapted to the stage by the author himself for a spectacular production in Paris around the turn of the 19th century This breezy novel is best remembered for Mike Todd's blockbuster film done about 50 years ago. Mark Brown's recent adaptation, seen around the country, is having its first outing in the Boston area at the Stoneham Theatre for the next three weeks. With only five cast members, a lot of simple costume changes, and enough props, it probably won't be the last time this amiable adventure/farce is seen in these parts.

     The story revolves around an eccentrically orderly English gentleman, played with his usual aplomb by IRNE winner Steven Barkhimer, one Phileas Fogg, Esq., who makes a bet with members of his club that he can circumnavigate the globe in 80 days. His main companion on this exciting journey is his new valet, Passepartout, played by Christopher Brophy, first seen locally at Stoneham. Brophy won his IRNE for the role of Shane Muggitt in Speakeasy/BTW's award-winning "Take Me Out." All the rest of the parts are taken by three actors. Petite Eve Kagan, seen last spring in Sugan's "Talking with Terrorists," plays various servants and supernumeraries, but by the middle of the first act has taken on the role of Aouda, the Indian beauty Passepartout and Fogg rescue from suttee. Antic Victor Warren, who was seen last seaon in the title role of Margulies "Brooklyn Boy" for Speakeasy, is persistent Detective Fix, when he's not playing everything from a member of the Reform Club to the driver of a train in the Old West. Veteran comedian Robert Saoud, seen in the season opener "You Never Know," plays so many parts, from ship captains, several pukka sahibs, various authorities and even a U.S.Cavalry colonel, that he's designated as Actor 1 in this story theatre ensemble. Director Weylin Symes keeps his solid cast scurrying up and down the complex levels or zipping offstage to change into their next costume while Barkhimer forges serenely on.

     The effective unit set is another architectural creation by Cristina Todesco, backed by a projection screen which alternately displays backgrounds or a world map. This changing backdrop is flanked by signs for the major cities Fogg passes through on his journey which are illuminated in sequence. Rachel Padula Shufelt has provided an array of costume pieces which allow the ensemble to create about 40 characters during this two hour show. Sound designer Nathan Leigh and lighting designer Mark Lanks help keep the whirlwind trip going. Once again the short trip out to Stoneham is worth taking.

"Around the World in 80 Days" by Mark Brown, Oct.19 - Nov. 8

Stoneham Theatre

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

MAURITIUS

2006-10-18T19:20:00.000-07:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - " Mauritius" by Theresa Rebeck

Date: Wed. Oct. 18, 11:33 PM

Quicktake on MAURITIUS

    Theresa Rebeck's new play " Mauritius" is receiving a powerhouse world premiere on the Huntington Theatre Co.s Wimberley stage at the BCA. The script, which was developed at Lark in NYC was read last spring during HTC's Breaking Ground series. It's since under gone further rewrites and is being directed by Woolly Mammoth's Rebecca Bayla Taichman , who's also continuing her collaboration with Rebeck in a remounting of "The Scene" at Second Stage in NYC. That show ran at last year's Humana Festival. Rebeck also opened another new play, "The Water's Edge" at Second Stage last spring.

    "Mauritius" is a modern melodrama with humorous overtones involving sibling rivalry and stamp collecting. The latter obsession allows for the plot complication, the former defines the character development. The excellent five actor ensemble centers around wild child Jackie played by Obie winner Marin Ireland and prim Mary, her older half-sister, played by Boston's favorite Canadian actress, Norton winner and Brandeis MFA, Laura Latreille. Their struggle is over Mary's grandfather's stamp collection which has been in their mother's possession since his death. Jackie wants to sell, Mary claims sentimental attachment and rightful ownership, even though she's not been around for a long time. Jackie, who took care of their mother during her long decline due to cancer has already started trying to find out what the collection's worth.

    The album contains two legendary very early "error" stamps from the British colony of Mauritius in the Indian Ocean. She's met with seeming indifference from seedy stamp dealer, Peter, played by Robert Dorfman and been romanced by slick young operator, Dennis, played by Michael Aronov, who she meets at the stamp shop. Dennis ultimately makes a deal for her with a wealthy collector, belligerent Sterling, a shady Brit played by James Gale. And that;s just the start of the plot.

    While the show is predicated on past relations between Jackie and Mary leading to their present situation, between hanger-on Dennis and Peter, which seems somehow paternal, and some sort of prior incident between Peter and Sterling, the play, like most melodramas is about present actions. The ensemble does somehow seem like a tight dysfunctional family however, given to extended monologues, simultaneous arguments at crosspurposes, and devious often farcical personal confrontations. Jackie is the primary focus but Mary comes on strong in the pinch. Dennis is less a villain than a trickster, looking for excitement in the main chance. Further tweaking, when and if the show finds a future production, will heighten the intrigue.

    HTC as usual hasn't stinted on production values. Trinity's Eugene Lee, whose last Obie was for "Wicked," who got an IRNE for "Top Dog..." has created a very detailed shabby office as the main scene, with wagons which come out of the walls for alternate locations. Costumes chosen by peripetatic Miranda Hoffman and jarring original music by Martin Desjardins add unique touches. The script may undergo further development to tie up loose ends but is a crackling show at the moment.

" Mauritius" by Theresa Rebeck, Oct. 6 - Nov.12

Huntington Theatre Co. in Wimberley Theatre

BCA Calderwood, 539 Tremont, Boston / (617) 933 - 8600

HTC

A Night in November

2006-10-13T20:34:00.000-07:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "A Night In November" by Marie Jones

Date: Fri, Oct 13, 10:58 PM

Quicktake on A NIGHT IN NOVEMBER

     The mystical art of the shannachie is alive and kicking at Jimmy Tingle's Off-Broadway in Davis Sq. Somerville through Thanksgiving. Award-winning actor Marty Maguire, using a one-man comedy written by Marie Jones, brings Kenneth Norman McAllister, a Belfast Protestant, and some forty of his countrymen--and women--to uproarious life. More than that, he and the author turn Kenneth's mid-life crisis into what could be taken for a religious conversion, from a thoughtless bigot into a bona fide Irishman, in a show which swoops from laughter to tears as a real story should.

    Jones, whose "Stones in His Pockets" was an instant classic, starts this tale, once upon a time, on "A Night in November" when Kenneth begins to realize how hollow his lower-middle class existence as a dole-clerk has become when he takes his nicotine-fiend father-in-law to a crucial soccer match between Northern Ireland and the Republic, and is ashamed at how completely prejudiced the old hooligan is. His frustration mounts with his wife, his job, his social friends and the dismal political stalemate under which he lives. The comic absurdity of it all becomes maddening. There's no way out. But of course there is. Jones sends him on an impulse off to New York the next April to be close to the World Cup competition. The result is even more hilarious and ultimately uplifting. Like any good fable there's a chance McAllister might just live happier when he goes back to Belfast.

    This energetic one-man show is perfectly suited for JTOB, which is set up cabaret style. The only set is a stack of boxes, red white and blue at first, representing McAllister's Unionist background. A suit coat, a red cardigan, and a football supporters T-shirt are Maguire's sole costume changes/props. The backdrop is an out-of-focus mural of soccer fans in the stands. Minimal lighting effects help change the scene, particularly for our man's inner monologues. Maguire first appeared in one of Marie Jones plays in Ireland in 1986 and this script could well have been written with this versatile actor in mind. He first presented "A Night in November" in L.A. , then at the 2002 Edinburgh Festival, followed by two soldout runs at the Tricycle in London, two runs in Dublin, and back to L.A. where it won two Ovation Awards in 2005. Recently Maguire appeared at the Edinburgh Festival in Jones latest play, "The Blind Fiddler."

     Many impressive shows from the contemporary Irish theatre have been seen in Boston, and this comic jewel, directed by Tim Byron Owen, is up with the best of them. JTOB in Davis Sq. is easy to get to on the Red Line, there are dinner packages available, and the Burren just next door upstairs. Guinness and Harp are available at the refreshment stand as well. Shows start at 7:30 pm evenings, Sunday matinees at 3pm. Come early for the best seats and something before the show.

"A Night In November" by Marie Jones, Oct.11 - Nov. 26

at Jimmy Tingle's Off-Broadway

255 Elm St. Davis Sq, Somerville (866) 811-4111
JTOB

By the Bog of Cats

2006-10-12T16:29:00.000-07:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "By the Bog of Cats" by Marina Carr

Date: Thurs. Oct. 12, 11:23 PM

Quicktake on BY THE BOG OF CATS

     Marina's Carr's country tragedy, "By the Bog of Cats," owes a bit of its inevitability to Euripides, but at least as much to J.M.Synge. The violence in the show marks it as contemporary while its poetic diction plus touches of the supernatural make piece unmistakably Irish. The Devanaughn Theatre, under Rose Carlson's direction, manages to make a complex and ingrown plot come together in the confines of their brick box in the basement of the Piano Factory. More extensive scenic background and less cumbersome changes would help create a stronger air of magic realism, though the full-sized "caravan" stage left is impressive.

    The ensemble cast revolves around Hester Swane, the daughter of the Travelin' People, played by Abbey Theatre veteran Dani Duggan, who's the current producing artistic director of the company. Hester's been thrown over by Carthage Kilbride, a local lad, played by Charles Hess. They have a young daughter, Josie, named for her grandmother, played on alternate nights by Holly Payne-Strange & Sarah Smith. Carthage believes he has bought Hester off and is marrying the daughter of a rich neighbor, Xavier Cassidy, played by Phil Thompson. His new love is Caroline, played by Ellen Adair, The source of this basic tale is of course "Medea". But Hester first appears carrying a dead black swan, an old friend which she buries, but not before being accosted by a mysterious Ghost Fancier, played by Jordan Harrison, and engaging in gossipy exposition with her oldest friend Monica, played by Jean Sheikh. She also gets a visit from the Catwoman, a blind seer, played quite spookily by Liz Robbins. Jordan shows up in act two as a waiter and the ghost of Hester's brother. Fred Robbins also appears briefly in the second act as dotty old Father Willow, the parish priest.

     The cast manages acceptable Irish accents, though Duggan's more accurate Midlands brogue is not always immediately comprehensible amidst the Americanized sound. Nothing important gets lost however. Within scenes the action makes good use of the limited space. The lighting is servicable, though a more elaborate plot would support the varied scenes more fully. The original music by Katie McDonnell adds an appropriate touch. There's a sense of commitment to the play which definitely helps the show.

"By the Bog of Cats" by Marina Carr, Oct. 12 - 29

Devanaughn, back of the Piano Factory

791 Tremont, (617) 247 - 9777

Devanaughn Theatre

Little Shop - Animus

2006-10-07T23:12:00.000-07:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Little Shop of Horrors" by Ashman & Menken

Date: Sat, October 7, 11:10 PM

Quicktake on LITTLE SHOP OF HORRORS

The most important character in Howard Ashman & Alan Menken's first hit show is Audrey II, a "strange and unusual plant" usually done with puppets, from a small sock type to a giant body puppet. For their "Little Shop of Horrors", John Ambrosino and his Animus Ensemble are trying something different. Veteran Boston rocker Neil Chapman, dressed in a green Capitol Records T-shirt is the villainous talking and singing vegetable. He's first rolled onstage in a little red wagon, but soon stands tall and as A2 grows gets three dancers, Melissa Ham-Ellis, Christin Fagone, and Maria Larossa as tendrils. Choreographer Josie Bray, the group's other Artistic Director, gets the whole cast dancing as part of the plant by the end, except of course by the girl group, Chiffon, Crystal, and Ronette aka Heather Fry, Emilie Battle, and Sehri Wickliffe. The latter two are both music theatre students at BosCon while Princeton grad Fry will be directing Geo. C. Wolfe's "The Colored Museum," Animus' show next April.

The show, as everyone will remember, takes place in a Skid Row flower shop. The owner, Mr. Mushnik is done by Eric Ruben, seen last spring in the company's "Once Upon a Mattress" as the King, and at the New Rep in "Into the Woods" the year before. His clerk, Audrey (1) is Erin Tchoukaleff, who was Lady Larkin last spring and Sylvia midseason in "Promises, Promises," bringing her distinctive soprano to the role. Audrey's boyfriend Orin, the evil dentist, is Turtle Lane regular Jim Jordan, who was also in Animus' "...Mattress" and "Promises..." Jordan also essays a variety of walkons. His counterpart, who does all but one of the female cameos and the doorbell is Perri Lauren. And at the center of it all as Seymour the orphan is Christian Kiley, who's done shows with Reagle. His naive sound blends well with the other voices in the show. Music director Robert Mollicone at the keyboard, backed by electric bass and drums keeps the score hopping along and is well served by the ensemble. This show rocks! "Little Shop..." has two more weekends to go. Real fans will also want to catch Turtle Lane's version which plays from mid-November through the holidays.

"Little Shop of Horrors", book & lyrics by Howard Ashman, music - Alan Menken, Oct. 6-21

Animus Ensemble at BCA Plaza Theatre

539 Tremont, (617 933-8600)
Animus Ensemble

ALMOST ASLEEP

2006-10-05T11:57:00.000-07:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Almost Asleep" by Julie Hebert

Date: Wed, Oct 4, 11:32 PM

Quicktake on ALMOST ASLEEP

     One of the innovative companies producing at the old firehouse at the base of Bunker Hill Ave. in Charlestown, a few blocks from the Sullivan Sq. T-stop on the Orange Line is Molasses Tank Productions. Their fall offering is Julie Hebert's short but intense drama, "Almost Asleep." This ensemble piece is essentially a nightmare, as a woman's persona fragments into five characters. Susan Gross plays The Chatterer, who recounts a brutal encounter which an incident at work earlier in the day has brought back to mind. Becca A. Lewis is The Sleeper, who is able to repress this past--much of the time. Wendy Nystrom is The Dreamer, who tries to make sense of her fears. Kristin Shoop is The Fool, who survives by childlike play. And Loann West, who also did the set and costumes, is The Warrior, a strong and bitter realist.

     Artistic director Steve Rotolo, one of the group's founders, has staged the piece simply, allowing the poetic flow of words, which occasionally overlap, to build a dense abstract of this unnamed woman's mental turmoil, a mix of fear and hope. "Almost Asleep" builds to a crescendo and fades on an image. The show is less than an hour long, but just long enough. The author had worked with various contemporary theatre groups, several on the West Coast, and is currently writing for the Scott brothers T.V. hit, NUMB3RS.

    The Charlestown Working Theatre has a number of interesting shows scheduled this year. Next up is a brief visit at the end of the month by a mask and movement duo from Brelin, Theatre Kranevit, perrforming a piece based on the Bros. Grimm, followed in mid-November by the Obie-winning Great Small Works performing their latest effort, "The Rapture Project". This Greenwich Village/Cambridge based tabletop puppet company continues to create sharp political shows. CWT is only a short walk from the Sullivan Sq. Station on the Orange Line. Park at that lot or come abit bit earlier and find street parking nearby.

"Almost Asleep" by Julie Hebert, Oct. 5 - 21

Molasses Tank Theatre at Charlestown Working Theatre

442 Bunker Hill Ave., Charlestown, (617)242.3285
Molasses Tank

I Am My Own Wife

2006-09-20T13:38:00.000-07:00

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

2006-09-17T13:16:00.000-07:00

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

2006-09-16T15:51:00.000-07:00

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

2006-09-14T14:03:00.000-07:00

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

2006-09-10T14:06:00.000-07:00

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

2006-09-02T13:18:00.000-07:00

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

Beauty and the Beast

2006-08-17T12:26:00.000-07:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Beauty and the Beast" by Woolverton, Menken, Rice & Ashman

Date: Sat, Aug 12, 11:10 AM

Quicktake on BEAUTY AND THE BEAST

     To close their 38th season, the Reagle Players have mounted a full-scale production of Disney's "Beauty and the Beast," which has had several local productions in the past two years, from North Shore's arena version to various community and school attempts. As usual, Reagle's show is an ambitious effort featuring a massive set with full orchestra, an experienced cast, two level wagons and impressive costumes, some hired from North Shore's production. The effect is generally impressive, though Michael Jarrett's lighting design, which features a quartet of moving instruments seems too dark at critical moments and would benefit from integral lighting on the set wagons, which might be too complicated.

     As usual the voices and talents are impressive. Reagle's "resident" Broadway star, IRNE winner Sarah Pfisterer is a heartfelt Belle, while Fred Inkley's signature Beast is heartbreaking with a surprising comic side. Edward Watts, seen last month in "Thoroughly Modern Millie" gets a workout as Gaston with a voice to match his biceps. Among the local favorites, Reagle stalwart Harold Walker plays Belle's father Maurice while newcomer Paul Giragos displays his abilities as a physical comedian as Lefou, Gaston's much-abused sidekick. Among the enchanted objects, Beth Gotha, seen on various local professional stages is Mrs. Potts with Sam Blumenfeld as her son Chip, the teacup. Another Reagle veteran, Roy Earley is Cogsworth the clock. Recent B.C. grad M. Zach Bubolo shows promise as the candlestick Lumiere, while community theatre regular Melissa Beauregard is Babette the feather duster. NEC opera grad Rachelle Riehl is Madame de la Grande Bouche, the operasinging vanity. Among the dancers, Kia Chao is outstanding as the acrobatic Rug.

     The creative staff is led by director Kate Swan, a veteran of the original show and associate choreographer for various tours. The recreated choreography is managed by Reagle's new associate producer Eileen Grace. Reagle's staff music director Paul S. Katz is in charge with conductor Jeffrey P. Leonard getting impressive sound as usual from his full professional pit. The costumes are from Terry Schwab at the Cumberland County Playhouse with additional pieces from Miguel Angel Huidor at NSMT. The set was hired from ZFX. "Beauty and the Beast" is an impressive finale to this season. It runs for one more weekend with a 7:30 curtain to accommodate familes.

"Beauty and the Beast" by Woolverton, Menken, Rice & Ashman, Aug. 10 - 19

Reagle Players at Robinson Theatre

Waltham High, Lexington St. / (781) 891 - 5600
Reagle Players

SWIMMING AFTER DARK

2006-08-07T16:49:00.000-07:00

SWIMMING AFTER DARK
at Devanaughn Theatre

note: entire contents copyleft 2006 by Will Stackman

written by Emily Dendinger
directed by Krista D'Agostino
Scenic Design .... Tim Hoover
Costume Design .... Crystal Gomes
Lighting .... Dan O'Brien
Production Stage Manager .... Katie Mihalko
CAST
Zoe Weingart .... Bronte Keller
Daniel DeStefano .... James Godfrey
Susan Gross .... Claudia Stevens-Keller
Jonathan Popp .... Morton Jefferson

This was the third outing for recent BC grad Emily Dendinger's long one act "Swimming After Dark". This drama about family secrets and literary ethics has already been seen on campus as a part of a departmental mainstage production and at the Kennedy Center's American College Theatre Festival, where it received a award in 2005. The production which just closed at the Piano Factory showed a lot of promise and is certainly ready for a final phase of development. It's complex mystery involves the unexplained suicide of writer Claudia Stevens-Keller and its effect on her daughter Bronte Keller. Susan Gross handled this flamboyant character with typical flair while Zoe Weingart showed depth as her repressed daughter. We never see the two together in real time, since Claudia died in 1984 and the play begins in 2004, as Bronte is about to sell the family home after the death of her father, whom she's been caring for.

The story is told by alternating between scenes from the past on the day of Claudia's death , and in the present, when Bronte reunites briefly with a former lover from her college years, James Godfrey played by Daniel DeStefano. Currently a college instructor, he's trying to finish his dissertation on American "one hit wonders," writers who produced only one major work, as Claudia did. He's found a manuscript of "Swimming After Dark," the only novel of Morton Jefferson, played by Jonathan Popp with a cryptic handwritten dedication from Claudia. Gradually it becomes clear that the two were lovers. The two female leads are more fully developed than the their partners, though all four characters would benefit from both detail and scope.

The alternations between present and past, with occasional overlaps, keep the plot abreast of the revelations concerning the four characters, Director Krista D'Agostino kept a tight rein on both, culminating in the final scene when Bronte listens to her mother, who was recording "Wuthering Heights" for her young daughter, as she switches to "Good Night, Moon," a childhood favorite. What the script needs as a next stage in development is more depth for these two women and their complex relationship. All the facts are there, it's the motivations which remain thin. "Swimming After Dark" is another current drama which needs an intermission and the resulting breathing space. Also the question of why Claudia only wrote one novel is noticeably passed over. After more work, a longer version would certainly be welcome on any regional stage.

"Swimming After Dark" (July 27 - Aug. 6)
Holland Productions
Devanaughn Theatre, Piano Factory

The Taming of the Shrew

2006-08-01T12:13:00.000-07:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "The Taming of the Shrew" by Wm. Shakespeare

Date:Sunday, July 30, 2006

Quicktake on THE TAMING OF THE SHREW

At least it's free. And since the stage has been set up parallel to Charles St., the audience doesn't have to watch on a slant unlike last summer's "Hamlet". VIP seating doesn't obscure the view for the groundlings as much, though inconsiderate people with tall chairs tend to. As for this summer's production, a modern dress version of "The Taming of the Shrew"--set in the North End of "Bostonia" instead of Padua--it's more of the same misplaced invention. The young lover, Lucentio, played by Scott Barrow, lurches onstage on roller blades. His man Tranio, played by Nat DeWolf, has a textbook "Bahstin" accent, less convincing than Larry Coen's homegrown improv honed version as Biondello. Petruchio, played by Darren Pettie rides in on a Vespa scooter. After marrying Jennifer Dundas' Kate, he takes her home to Revere Beach, suggested by a backdrop of giant beach towels, beach chairs, and a Weber grill. Baptista, Kate & Bianca's father, played with an accent by Paul D. Farwell, runs an italian restaurant called 'Tista's, spelled out in illuminated letters which dominates the set. Younger daughter Bianca, played by Angie Jepson, elopes also on skates. And so it goes.

An experienced cast does as well as can be expected jumping from situation to situation, developing rather one-note characterizations. This is least effective, unfortunately, for the two leads who come off as singleminded and loud, with no simpatico. Those with clownish roles, like Remo Airaldi's Hortensio, one of Bianca's official suitors, come off better. As Petruchio's man Grumio, energetic Antonio Edwards Suarez is too intent on physical comedy, however. The tone of the show is set more by Clint E.B.Ramos' post WWII costuming and J Hagenbuckle's selection of pop tunes than by John Coyne's impressive but inflexible realistic set. This large cast effort demonstrates that throwing money at an idea doesn't help if there's no core to the basic idea.

The Taming of the Shrew" by Wm. Shakespeare, July 22 - Aug.13 (weather permitting)

Commonwealth Shakespeare at the Parade Ground

Boston Common, (617) 532-1212
Commonwealth Shakespeare

Hovey Summer Arts Festival A

2006-07-30T11:35:00.000-07:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Hovey Summer Arts Festival, A"; Kelly Dumar & Philana Gnatoski

Date:Sat, July 29, 8:20 AM

Quicktake on WHAT WE SAVE & THE HALFWAY HOUSE CLUB

     The two long one acts in the first half of the Hovey Players annual summer festival, done basically as workshops, are both long on interesting characters and situations fraught with possibilities. Both however would be more effective dramas if expanded into full-length two act dramas with more attention paid to their structure. Kelly Dumar's "What We Save" would get some real dramatic tension if it broke leaving the audience wondering whether Corri, played energetically by producer Leigh Berry would go to California to confront her first love Lance, played by Ted Batch. Moreover, there would be time to flesh out the other two characters including Lance's wife Sharon, played by Jeannie Lin and Corri's wheelchair-bound husband Vic, played by J. Mark Baumhardt. And possibly, since there is one flashback scene already, the important character of Lance's grandmother, Nana, a minister might join the action "then" as well as now. Director Michelle M. Aguillon gets good performance from her cast as it is.

     "The Halfway House Club", whose title might be evocatively shortened to "Halfway", written by recent Emerson grad Philana Gnatoski brings four unlikely lost souls together in an informal temporary rooming house, basically a place to stay for those who've just broken up with someone and lost their place to live. The central role, Samantha, played by the author, is a 20ish bookstore clerk who's been in and out of this residence, Anne, her new roommate played by Penny Benson, on the other hand, has just walked out on her philandering husband of more than a few year. They're joined, by a stretch of imagination by two guys, John Grenier-Ferris last seen at Hovey in "Buried Child", as Paul, a banker, and Jack, a photographer new in town, played by James Tallach. Their various exchanges are interesting, but there's a sense of the Absurd to the situation. The staging needs to be rethought--perhaps move to a common area and some sort of dramatic arc created. Breaking just after the first man arrives would set up a second half, and allow more time for development. J. Mark Baumgarten directs the action with understanding.

     The second set of plays, "Fin and Euba" by Audrey Cefaly and "Bob's Date" by John Shanahan were done this Saturday, and will be repeated next Friday. The two discussed above will be seen again next Saturday. Both programs start with showings of short dramatic or comic films by local filmmakers. While the contrast is interesting, live and recorded acting don't blend all that well. The film showings really do deserve their own night.

"What We Save" by Kelly Dumar & "The Halfway House Club" by Philana Gnatoski, July 28, Aug. 5

Hovey Players at Abbott Theatre

9 Spring St., Waltham MA (781) 893 - 9171
Hovey Players

Copenhagen

2006-07-26T23:31:00.000-07:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Copenhagen" by Michael Frayn

Date: Wed, July 26, 11:16 PM

Quicktake on COPENHAGEN

     When Michael Frayn's Tony winning drama "Copenhagen" toured through several seasons ago it received respectful attention but not much comment. With the nuclear issue once again in the news, not to mention harbingers of WWW III--and possible Armageddon-- in the Middle East, this historical mystery/morality seems much more relevant. With only three actors and a simple elegant setting by Judy Stacier, Diego Arciniegas has once again done a firstrate production, equal to anything seen by any local theatre so far this season.

    Barry Press plays the father of modern atomic theory, Neil Bohr, trapped in Nazi-occupied Denmark along with his wife Margrethe played by Suzanne Nitter. It's 1941 and half-Jewish Bohr can see the writing on the wall. His former student, Werner Heisenberg played by Gabriel Kuttner, now chair of Nuclear Physics at Leipzig, has come on a formal visit.Bohr learns that Heisenberg, largely responsible for quantum mechanics, whose name is attached to its "Uncertainty Principle," is in charge of Germany's program to exploit nuclear fission, presumably to build a Bomb. Exactly what the two spoke of during this brief visit has been the source of much speculation, especially since each man gave vague differing reports of the event after the war. Frayn's weaves several conjectures into a two act text which circles, like electrons in orbit around a nucleus, around issues like scientific responsibility and patriotism, in an attention grabbing script.

     All three actors are wearing discrete headmikes, which frees up the blocking considerably, allowing Kuttner on occasion to circle the audience, and the two men to be seen back in the garden but still heard clearly. There's a complex score prepared by Steven Barkhimer and Anthony Phelps finds new uses for Publick's slowly improving lighting. This may not be light summer entertainment like "The Beard of Avon", it's partner in rep through the first week in September, but "Copenhagen" is perhaps the strongest and most intellectually stimulating on this summer.

"Copenhagen" by Michael Frayn, July 26 - Sept. 10

Publick Theatre at Herter Park

Soldiers Field Rd. Brighton, (617) 782 - 4525
Publick Theatre

HAMLET

2006-07-19T13:38:00.000-07:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Hamlet" by Wm. Shakespeare

Date: Mon, July 17, 9:48 AM

Quicktake on HAMLET

Eleanor Holdridge, the director of the first production of "Hamlet" this esteemed company has presented has fallen prey to concept, but fortunately that doesn't much get in the way of a cast of experienced Shakespearean's doing the play up brown. Her opinion that young Hamlet would have made a terrible king does limit the possibilities of Jason Asprey's development of the melancholy Dane, however. The role is played with a bit too much teen age angst and perhaps too little of the noble mind, but is still affecting. Holdridge also suggests that the whole evening is some sort of massive flashback, the Prince's life flashing -- literally -- before his eyes before he dies. The loud sounds and strobes which accompany this concept do keep the audience on its toes. Since the company for the play has been reduced to 11, she's also made cuts and rearrangements. The play starts in the court rather than on the battlements--a not uncommon tactic when trying to shorten this three hour plus work--but later on reduces the players to the Player King alone, which then requires Gertrude, played by Tina Packer, founder of S&C and Jason's mother, and Claudius, played by Nigel Gore, to read their parts in "The Mousetrap." Hamlet also delivers his advice to the players to them, something of an in-joke. This complex rewrite is interesting to watch and works more or less, but perhaps Polonius, played by Asprey's stepfather, Dennis Krausnick, in the context of the action, might more logically have done the murdering brother. Gore plays the realization as well as can be expected but the scene becomes muddled.

Fortinbras, played by Stephen James Anderson, fortunately has been left in, though in modern combat gear he's scruffier than need be. The show is modern dress, though Hamlet shows up for the play with a play in a doublet wearing an Elizabethan ruff. Much of the rest of the time he's a bit retro, suggesting Edwin Booth in street clothes. The Prince's two main foils, Horatio and Laertes, are done with conviction by Howard W. Overshown and Kevin O'Donnell. Elizabeth Raetz's Ophelia is affecting but not fully in tune with the ensemble, though her relationship with Hamlet is touching. An excellent English actor, John Windsor-Cunningham triples as the Ghost, the Player King and the lone Gravedigger, making each part memorable. Edward Check's minimal set in the black box is functional if occasionally indulgent. Ophelia doesn't have a gravetrap, but she does get to open a manhole cover and dabble in some water during the mad scene. And for some reason Hamlet's favorite corner of the palace includes a giant lighting globe. However, none of the show's eccentricities get in the way of truly powerful performance from all the principals, unlike the pastiche presented last summer on the Boston Common.

"Hamlet" by Wm. Shakespeare, July 1 - Aug. 27

Shakespeare & Co. in Founders Theatre

70 Kemble St. (RT.7A) Lenox MA, (413) 637 - 3353
Shakespeare & Co.

THE LAST DAYS OF JUDAS ISCARIOT

2006-07-18T14:59:00.000-07:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "The Last Days of Judas Iscariot" by Stephen Adly Guirgis

Date: Tuesday, July 17, 9:57 PM

Quicktake on THE LAST DAYS OF JUDAS ISCARIOT

     Stephen Adly Guirgis's 2005 effort for LABrynth, his homebase in NYC, is a sprawling meditation on despair, even more grounded in the implications of morality, particularly as seen by certain Catholic thinkers, than "Our Lady of 121st St." Like the latter piece it is episodic, with cameos for members of his company. Unfortunately, since the setting is Purgatory and both Jesus and Satan are represented, along with quirky modern characters, and the action only loosely linear, the script rambles and is currently at least half an hour too long, without arc or conclusion. Never the less, Company One's Summer L. Williams, the group's education director, gets her cast through it with eventually.

     Most of the show is in a courtroom setting with George Saulnier as the Judge, a Confederate Army Officer who committed suicide. Performances range from excellent to acceptable, with standout efforts by Shawn La Count, Company One's artistic director, as Satan, Noel Armstrong as Cunningham, Judas' defense attorney, and Raymond Ramirez as her client, who never appears in court. Mason Sand, an original Company One member, plays the prosecutor, an obsequious Middle Easterner named El-Fayoumy with a florid vocabulary, a joke which wears out too quickly. Saulnier is impressive doubling as Caphias, the High Priest, one of the scripts several intentional doubles.
Greg Maraio's Butch Honeywell, the foreman of a three person jury, has an impressive monologue which serves as the coda for the evening but comes rather out of the blue. Juanita Rodrigues, a teacher at the Boston Art's academy is effective as Judas' mother, Henrietta, who opens the show and a scene stealer as trash-talking St. Monica.

     The author's freewheeling imagination provides many interesting moments and challenges to the actors, and he raises a lot of old unanswered question about faith. But he and LABrynth don't seem to have been able to winnow through this collection to shape a coherent piece of theatre. Scenes that might have been useful acting exercises seem to have been retained, confrontations erupt but don't conclude, and characters like Satan, Cunningham, or El-Fayoumy, just fade without resolution. Company One is to be congratulated, however, for attempting this script and including such a range of local actors, including Boston Arts Academy students, in the effort. Not every piece of "fringe" theatre can be successful.

"The Last Days of Judas Iscariot" by Stephen Adly Guirgis", July 14 - Aug. 5

Company One at BCA Plaza Theatre

539 Tremont, (617) 933 - 8600
Company One

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JAY JOHNSON : The Two and Only

2006-07-14T16:36:00.000-07:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Jay Johnson: The Two and Only" by Jay Johnson

Date: Thur, July 13, 10:52 PM

Quicktake on JAY JOHNSON: THE TWO AND ONLY

Jay Johnson's solo show "The Two and Only" is a rather unique exercise. On the one hand, it's the basic small-town American breaks into show-business success story. On the other it's an almost Absurdist peek into the mindset of a ventriloquist, that species of puppeteers whose childhood imaginary friends grow up to be their performing partners. Johnson, along with his directors Murphy Cross and Paul Kreppel, has created a script which includes the history of the art of ventriloquism from its presumed roots in necromancy, his career including the stint on T.V.'s "Soap" and his relationship to his mentor Art Sieving, and a strong sampling of routines with various puppets, including Nethermore the Vulture, a sock puppet snake, a rowdy monkey, and his original partner, Skippy. Bob, from the TV show appears of course, but seems much less relevant, less a partner than a confrontation. As the pieces fall into place, Johnson's life so far has a kind of completeness.

The show has an interesting set design by Beowulf Boritt, whose work was recently seen on Broadway for "The 25th Annual Putman County Spelling Bee." It's various ingenious features are only fully revealed by the end along with Cliff Taylor's lighting design. Suffice it to say that again seemingly incidental ideas achieve resonance as the performance progresses. Johnson's voice characterizations are subtle when need be, but it's his careful puppetry that makes him, along with other current performers such as Jeff Dunham and Ronn Lucas, a master of this form. He's spent most of his career on the nightclub and college circuit, so his rapport with the audience is earnest and easy. He's there to share. Behind the eternal kid with a dummy there's an interesting worldview.

"Jay Johnson: The Two and Only" by Jay Johnson, July 12 - Aug. 6

ART at Zero Arrow Theatre

Arrow St. & Mass. Ave., Harvard Sq.(617) 547 - 8300
A.R.T.

PROOF

2006-07-10T15:25:00.000-07:00

From: "will stackman" profwlll.com

Subject: Quicktake- "Proof" by David Auburn

Date: Mon. July 10, 4:30pm

Quicktake on PROOF

Those who missed this pultizer Prize winner when it came through a few seasons ago, or who haven't caught it otherwise, may want to see it up close and personal in the Black Box Space at the Arsenal Center for the Arts in Watertown. I missed it Sunday, but reliable sources were impressed. The cast features Theatre Onmibus's founder and awrd-winning actor Richard McElvain as the dead father and Lindsay Flathers, a recipient of the Irene Ryan Competition(2004) at the Kennedy Center as Catherine, the young--and troubled--mathematician. For details go to http://www.arsenalarts.org/specialevents.html.

It's a donation show and there's plenty of free parking. There's a bus from Central Sq. Cambridge to Watertown Sq. that passes right by. There are two fancy restaurants near the theatre, and a big food court at the Arsenal Mall just down the street.

"Proof" by David Auburn,July 6 - 23

Theatre Omnibus in Black Box, Arsenal Center for the Arts

Arsenal St. Watertown, (978) 468-5639

The Beard of Avon

2006-07-06T12:05:00.000-07:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "The Beard of Avon" by Amy Freed

Date: Wed, July 5, 11:25 PM

Quicktake on THE BeARD OF AVON

     Amy Freed's comedy "The Beard of Avon" is a somewhat show-biz take on the "authorship" question which has engaged some Shakespeare scholars--and not a few crackpots--over the years. Originally commissioned by L.A.'s South Coast Rep in 2001, this racy contemporary farce set in Elizabethan England, plays with the Bard's life and language. Its clever conclusions may offend some of the Oxfordians and will certainly set local Stratfordians quibbling. The rest of the audience gets a good laugh at it all, aided Diego Arciniegas' well-paced direction.

    The central characters are Edward DeVere, the dissolute Earl of Oxford, played by local stalwart Bill Mootos, and Will Shakspere(sic) played by Gabriel Kuttner, last seen in Sugan's "Talking to Terrorists." Publick Theatre regular Eric Hamel plays Henry Wriothesley, Earl of Southampton in a Oscar/Bosey relationship to Devere, while Will is attached to a put-upon Anne Hathaway played by versatile Helen McElwain. The complications which ensue are a mix of period and modern comedy, with plenty of innuendo. The action includes Queen Elizabeth, played in high style by M. Lynda Robinson and the members of the vagabond company Will runs off with. Richard Arum plays John Heminge and Gerald Slattery is Henry Condol, the two actors named in Shakespeare's last will and testament. Ellen Adair has great fun playing Geoffrey Dunderhead, the boy who plays female roles, while Risher Reddick is a blustering Richard Burbage. Barry Press, new to the Publick, who will play Neils Bohr in their "Copenhagen" which opens later in the month, gets to be Old Colin, a Stratford friend of the Shakspere's, Lord Derby, and Walter Fitch, a mistreated playwright. Others in the acting company double as members of the Court; Bacon, Walsingham, Burleigh, and Lady Lettice as well.

     Emerson's Rafael Jaen has provided first class period costumes with contemporary touches--Devere is in leather and McElwain gets to show quite a bit of leg. The stage has been further upgraded and allows Judy Stacier from Tufts to create a variety of environs, well lit by production manager Anthony Phelps, once the sun goes down. Steven Barkhimer has contributed an original score which suggests the period. The ensemble manages to be convincingly Elizabethan while playing in contemporary form. Freed's script doesn't really contribute that much to the "question" but it does raise interesting issues of inspiration. Given the choice between exploring an idea and pulling a gag, "The Beard of Avon"'s more liable to go for the laugh, which results in a pleasant entertainment with a few thoughtful moments.

"The Beard of Avon" by Amy Freed, June 29 - Sept. 3

Publick Theatre at Herter Park

Soldiers Field Rd., Brighton (617) 782 - 5425
Publick Theatre

Harlequin Refined by Love

2006-07-02T11:26:00.000-07:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Harlequin Refined By Love" by Pierre Marivaux

Date: Sat, July 1, 11:26 PM

Quicktake on HARLEQUIN REFINED BY LOVE

     Anyone who's been put off from Pierre Marivaix by the ART's last two autuerial interpretations should get out to Topsfield to catch Iron-Rail's lighthearted adaptation of the first show this rival of Moliere created for the Theatre Italien back in 1720. Matthew Woods has used his young ensemble to present the work as a courtly comedy based on the Commedia with no obvious subtext. The company ran the show two weekends at LynnArts, a new art center in downtown Lynn right across from the commuter rail stop, and will do it again next weekend at the Gould Barn of the Parson Capen House just off the Common in Topsfield

     Arlechino (Harlequin) was played by the leader of the Italian troupe that Marivaux worked for. Dan Balkin takes the part here and finds the right blend of the old slapstick comedy with the poise the king and court required. But before he "wakes" up, Jill Rogati sets the tone of the play as the Fairy Queen's major domo, Trivelin. Her physical control is fully "Dell'Arte." Erin Cole as the Monarch has an effective air of glamour, with an imp, Papillon (Maggie Talbot-Minkin) to drive the action assisted by Ramses King as her sidekick. Besides this adult fairy-tale element, Marivaux has added three pedants, Angelo Bosco as the Philosoph, Jonathan Overby as the Dancing Master, and Ashley Santor as the Music Mistress. Their task is to refine Harlequin as a suitable consort for Her Majesty. It's not hard to guess how that turns out. Rather it's a duo from the pastoral romances that does the trick. Meaghan Dutton is the charming Sylvia who throws aside Damon Jespersen's doltish Dimas for Harlequin, which of course arouses regal ire.

     In other words, there's actually a plot, which develops quite interestingly, even though Merlin, the Queen's fiance never shows up. (It was a small company.). The Neal Rantol Vault Theatre at LynnArts is a black box studio with minimal lighting, which is sufficient for a show written to be lit by chandeliers. Meaghan Dutton did add a few effects and the director supplied (and D.J.'d) a period score. The show is further distinguished by Cotton Talbot-Minkin's interpretation of traditional costumes, which have the right element of whimsy. Only Harlequin is masked; the rest are "made up." The company is working on a show for later in the summer "Good Witch / Bad Witch", which will run Aug. 3 - 12 in Lynn, and 17-19 again in Topsfield. The environment and puppets will be created by Cathy McLaurin. They'll also be participating in a Summer Fringe Festival which Whistler In The Dark is organizing for Sat, Aug. 26th at the Camb. YMCA which will also include Alarm Clock, Dangerous Animal, Mill6, and others. Save the date.

"Harlequin Refined By Love" by Pierre Marivaux, Jun22 - July 1 (Lynn) July6 - 8 (Topsfield)

Iron-Rail Stage Co. at LynnArts

25 Exchange St. Lynn, (978 - 500 - 5553)
Iron-Rail at LynnArts

Moonlight

2006-06-30T11:06:00.000-07:00

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.

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

QE2 Players at Plaza Theatre, BCA

539 Tremont, (617) 933 - 8600
QE2 Playersa

Romeo and Juliet

2006-06-23T13:06:00.000-07:00

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.

"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

2006-06-20T12:46:00.000-07:00

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.

"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

2006-06-11T11:33:00.000-07:00

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.

"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

2006-06-10T12:44:00.000-07:00

"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.

"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

2006-06-08T12:47:00.000-07:00

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.

"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

2006-06-04T12:50:00.000-07:00

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

2006-06-03T12:52:00.000-07:00

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."

"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

Boston Theatre Marathon '06

2006-05-24T13:59:00.000-07:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Boston Theatre Marathon '06" by 50 Playwrights

Date: Mon, May 22, 9:08 AM

Quicktake on THEATRE MARATHON '06

     The eighth Boston Theatre Marathon, running for the second year in May rather than in connection with the actual event, showed some general improvement in the writing of its 10 minute pieces, if not in the diversity of participation or the ambitions of the work. Many of the more notable works, from Robert Bonotto's opening piece, "Mal Canto," an opera burlesque featuring Sara DeLima and Robert Saoud with Jeffrey Goldberg at the piano to Jack Neary's closer, a character study of two actresses written for and performed by IRNE winners Ellen Coulson and Bobbie Steinbach were sketches appropriate for revues. Very few pieces tried to complete a dramatic arc in 10 minutes. But the entertainments were varied, including Richard Snee's "Black Irish" performed with his wife Paula Plum or Ted Reinstein's "Fine!", a political satire featuring Barlow Adamson, Sean McGuirk, and Ilyse Robbins. There were notable solo performances such as Ellen Peterson's tough wife in Janet Kenney's "Weight," Kevin Dunkleberg's tattooed man in John Kuntz' "Oscar," or on a more serious note, Cristi Miles in J.K.Walsh's "Huma's Loom."
     Past marathon participants included Eliza Rose Fichter and Debra Wise playing mother and mother in Patrick Gabridge's unique family drama, Vince Siders and Jeff Gill in Jon Shanahan's "Brushstroke." a rumination on artistic impulse and Will Lyman and Melinda Lopez in Jon Lipsky's intense duet, ""Belly of the Whale." Andrea Kennedy's "Bobby Came Home" with Nathaniel McIntyre as a returning Iraq War vet was a searing comment on the consequences of combat. And Robert Mattson's "Martinis, Dry & Bitter" gave Jennifer Condon another plum role seated at the bar.
     The Boston Theatre Marathon continues to fulfill its place in the local theatre scene as a charity event and a chance for the diversity of local theatre companies, from the Wellesley Summer Theatre doing Megan Maile Green's "Theology Class" using members of their soon-to-open "Ideal Husband" to the Portland Stage having fun with Jason Wilkin's "Kickass Librarian," a variously political sketch. It remains a chance to see the range of actors already mentioned, plus groups such as Rough & Tumble, who did part of their current piece, "Hinterlands" which closes this coming weekend to QE2 who did George Sauer's "Miss Marple..." with Charlotte Ann Dore, Jennifer Barton Jones, and Helen McElwain. Sauer's latest, "Heading for Eureka" opens this coming weekend next door in the Plaza. McElwain, another Marathon veteran, also appeared in Leslie Harrell Dillen's "Brain Surgery" opposite Robert Murphy, who also showed up in Ernest Thompson's "American Terrorist," another oblique swipe at current affairs. And the listing could go on. Quite simply, you hadda be there. Next year, go.

"Boston Theatre Marathon '06" by 50+ Playwrights, Sunday May 21

sponsored by Boston Playwrights' Theatre in the Wimberley, Calderwood Pavilion

BCA, 529 Tremont, Boston
Boston Playwrights' Theatre

Island of Slaves

2006-05-24T13:54:00.000-07:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Island of Slaves" by Pierre Marivaux, translated/adapted by Gideon Lester

Date: Thurs, May 18, 11:44 PM

Quicktake on ISLAND OF SLAVES

     The final offering for the season from the A.R.T. is another dismal reconception of a minor classic, this time one of Pierre Marivaux's philosophical comedies from pre-Revolutionary France. While their joint production with SITI of "La Dispute" had some amusement value, this mangled version of "L'Ile des Esclaves" is set in grungy theatrical locale, this time by David Zinn, using ideas left over from "Orpheus X." Instead of an island off Greece ruled by escaped slaves, director Robert Woodruff has designated the locale to be a rundown basement club featuring drag queens, presided over by Thomas Derrah in a blond wig as Trivelin, the one of the five original speaking characters in Marivaux's 11 scene dissertation on overbearing masters and long-suffering servants.
     The first pairing of master and slave washed up on this mythical shore are John Campion, whose most notable part at the ART in the past few seasons was Oedipus, as irasible Iphicrate and ART veteran, Remo Airaldi as Arlequin, his downtrodden smart-aleck slave. Next comes ART original Karen MacDonald as Euphrosine, a hard taskmasters and her sullen maid, Cleanthis, played by newcomer Fiona Gallagher. The premise of this comedy. blown much out of proportion in this production, is that under the rule of this island's inhabitants, masters must become slaves and vice versa. The drag queen chorus (Freddy Franklin, Ryan Carpenter, Adam Shanahan Airline Inthyrath, and Santio C. Cupon) is evidently supposed to highlight this reversal, but instead becomes manages to overshadow the argument of the play, try as the cast might to get through Gideon Leaster's versions of the original confrontations. By the time the situation is reconciled, with mutual apologies, the audience is just glad the 90 minutes of high-volume antics are over.
     While Campion and Airaldi manage to set things up in scene one, the rest of the show can be summed up by the scene of Euphrosine's humiliation midway through, where MacDonald shows her loyalty to the ART by being strapped to a revolving target wearing a pig mask while paint is thrown at her by the queens. The original show played 127 times in the repertory of the Theatre-Italien, an evolved commedia troupe, between 1725-1768 despite the French court's lack of enthusiasm for its preaching against the mistreatment of servants. The play was revived for the repertory of the Comedie-Francaise in 1930 and has had success recently in English language productions even here in the States. But ramping up the stakes of "L'Ile des Esclaves" rather timid morality to the level of this ART effort, as in the ART's previous excursion with "La Dispute," results in another exercise of theatricality, this time tinged with the theatre of cruelty accomplishing little other than titillation. If there's a lesson about man's inhumanity to man being taught, it's more typified by the artistic license exercised onstage than by anything in this abortive text.

"Island of Slaves" by Pierre Marivaux, May 13 - June 11

A.R.T.at Loeb Drama Center

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

Love's Labours' Lost

2006-05-24T13:46:00.000-07:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Love’s Labour’s Lost" by Wm. Shakespeare

Date: Wed, May 17, 11:50 PM

Quicktake on LOVE”S LABOUR”S LOST

     The most innovative staging during the Huntington’s Theatre Company’s current production of Shakespeare’s “Love’s Labour’s Lost”, directed by Nicholas Martin, happens up in a tree. There’s also the Princess of France’s yatch, seen as a cut-out floating against the background. On the other hand, the opening set which features a huge chiascuro backdrop of the King’s library looming over a long table tends to overwhelm almost everything that happens under its immanence. Thus the four gentlemen, the King of Navarre and his companions, Dumaine, Longaville, and Berowne, start off at a disadvantage which only Noah Bean as Berowne manages to overcome. Their future loves however arrive on said yatch with a good deal of useful luggage. Their set, designed by Alexander Dodge, and the background for most of the play is the afore-mentioned monumental tree, which moves across the stage as needed.
     The ladies, like the gents are costumed in turn of the last century pale upper-class garmsents, in the best BBC late-Victorian mode, which makes them rather indistinguishable, except perhaps for Berowne’s partner, Rosaline, played by Zabyna Guevra. This pair, proto- Beatrice and Benedick come closest to creating the romantic aura necessary to make this overly poetic show work. As it is, the comic characters, notably Will LeBow as the fantastical Spaniard, Don Armado, from the King’s court. and Neil A. Casey, as Lord Boyet, the Princess’ chamberlain, more or less steal the show. They’re joined by Robert Jason Jackson as Holofernes, the schoolmaster, and Bill Mootos as Sir Nathaniel, the curate. Jeremy Beck as the Don’s page. Moth, has to overcome his Little Lord Fauntleroy suit but has his moments. particularly as the infant Hercules. And for the really low comedy there’s Peter Zachari as Dull the constable pursuing Costard, the clown in overalls, played by Tommy Schrider, and his main squeeze, Jaquanetta, the buxom dairymaid, played by Elisa Bocanegra. She’s also been carrying on with the Don, with the inevitable result as the show’s comic climax. The costumes for the comedians are much more interesting than the bland whites and beiges worn by the four prime couples.
     The show is enlivened by an original score based on ragtime and music hall tunes, played live. LeBow even gets to play the number which opens the second half, ably performed by Beck. All-in-all, it’s a pleasant production with high production values and respectable performances. There’s just not much development and only Berowne and the Don are consistantly memorable. There will be two more community productionms of this show in the suburbs this summer. The comparison will be interesting.

"Love’s Labour’s Lost" by Wm. Shakespeare, May 12 - JUNE 11

Huntington Theatre Co. at B.U.Theatre

294 Huntington Ave. (617) 266 - 0800
HTC

HINTERLANDS :Season One

2006-05-24T13:40:00.000-07:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Hinterlands" by Dan Milstein et al.

Date: Sun, May 14, 8:50 PM

Quicktake on HINTERLANDS

For this productions, Rough & Tumble has metamorphosed into "The Hinterlands Revue," a traveling variety troupe sometime in the late 1920s, wandering the byways of Pennsylvania, perhaps. Company veterans, Kristin Baker, Irene Daley, and George Saulnier III are joined by David Krinitt, Harry LaCoste, and two members of the Snappy Dance Co., Tim Gallagher and Bonnie Duncan. Bonnie has been the company's costumer for the past couple of years and continues in that capacity. Director Dan Milstein is largely responsible for the scenario and script, though one senses the usual company input. The show has a sense of melancholy as the troupe struggles to deal with various crises and changes, but also has a good deal of fun. The pace is leisurely but will probably pick up as they run. Fred Harrington's live contributions from the keyboard might hurry them along faster.
They've configured the Calderwood rehearsal hall differently this time, facing the three-quarter seating towards the entrances which are canvassed arcades like entering an old time circus. The acting area is three-quarter with vintage folding seating. Bring a pillow. Designer Jeremy Barrett has created a large false proscenium which rest against the balcony behind the acting area, serving as the entrance for a rolling wagon and various furniture units. There's juggling, dance, acrobatics, etc. as behooves such a show, but also some heartbreak. That's show-biz. Longtime Rough & Tumble fans will relate to this stage of the company's search for "theatre that doesn't suck."

"Hinterlands" by Dan Milstein et al., May 12 - 27

Rough & Tumble Theatre at Calderwood Rehearsal Studio

BCA, 527 Tremont, (617) 933 - 8600
Rough & Tumble

Manifest/Destiny

2006-05-24T13:36:00.000-07:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Manifest/Destiny" by Vladimir Zelevinsky

Date: Sat, May 13,11:34 PM

Quicktake on MANIFEST/DESTINY

     Previous scripts by Vladimir Zelevinsky, playwright-in-residence at the Theatre Coop have required considerable more actors and were set in fabled locations. "Manifest/Destiny" has only four players, a few props and bits of furniture, but has numerous characters from several centuries and encompasses the entire United States, the Atlantic and Europe. In some ways, it's a perfect show for Theatre Coop's finale at the Peabody House on Broadway in Somerville, about six blocks north of the Sullivan Sq. T-station.
     Zelevinsky has distilled the immigrant experience with some emphasis on the experience of Jewish and Irish emigres, and concentrating mostly on the 19th century. The central motif of the first part, "Manifest," has a mixed group on steerage passengers crossing the Atlantic in a leaking steamer. To pass the time they speak of their past lives and their manner of going to the New World. The goals and tragedies of their lives are well considered. The second section is not as polished as it details the further travels of newcomers from the East Coast into the West. This material needs more focus and a more forceful conclusion, but has several moving sections and a bit more humor. Perhaps some reference to the current immigration crisis would be appropriate.
     For the last nine seasons, the Theatre Cooperative has produced a variety of thought-provoking plays often as regional premieres. Attendance and fundraising have been erratic, so the company is going on hiatus, leaving its current home. "Manifest/Destiny" featuring Robert Doris, Linda Goetz, Korinne Hertz, and John McClain could however be easily staged almost anywhere, so we might look for its reappearance next season. But why take the chance? Parking isn't that difficult along Broadway and public transportation is an option. Help the Theatre Coop to a graceful exit.

"Manifest/Destiny" by Vladimir Zelevinsky, May 12 - 27

The Theatre Cooperative at Eliz.Peabody House

277 Broadway, Somerville (617) 625 -1300
Theatre Cooperative

Wonder of the World

2006-05-24T13:31:00.000-07:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Wonder of the World" by David Lindsay-Abaire

Date: Fri, May 12 11:42 PM

Quicktake on WONDER OF THE WORLD

     Vokes Players' spectacular winter production of "Amadeus" was a hard act to follow, and while the acting in "Wonder of the World", another of David Lindsay-Abaire's skewed takes on modern society and women in it is worth the admission--if you can get a ticket--the technical support for this offering is merely sufficient. There's no organizing theme to the variety of scenes, starting with the opening, This is one of those production where the crew needs to incorporated in the show, probably be costumes changes, unless some sort of complex unit set's been devised.
     The central character, Cass Harris, is played with full out by Kathleen Dalton, with David Wood as Kip, her husband with a guilty secret, and more importantly, Kimberly McClure as Lois, the woman she meets on her pilgrimage to Niagara Falls. McClure's deft underplaying as an abandoned and alcoholic wife planning to commit suicide by going over the falls in a barrel forms a predictable support to Dalton's flights of fancy. The rest of this cast of comedians includes stalwart Bill Stambaugh, the captain of the Maid of the Mist who Cass takes up with, Deanna Swan and Brad Walters as a pair of would-be private eyes Kip hires to locate her, and most impressively, Anne Damon, as everyone else, starting with a woman Cass buys a blonde wig from, the pilot of a sightseeing helicopter--trying to overcome a fear of heights, three waitresses at three different themed restaurants--all in the same scene, and finally, a marriage counselor who shows up wearing a clown costume because she's just been volunteering at a children's hospital. Kip incidentally is afraid of clowns.
     Like Abaire's other two notable plays, the cockeyed world view of "Wonder of the World" must become believable. This cast under Doug Sanders make it work. For their summer time show, John Barrett will direct the Vokes Players production of Arthur Miller's "The Crucible," a landmark play which continues to resonate in the American political landscape.

"Wonder of the World" by David Lindsay-Abaire, May 4 - 20

Vokes Players at Vokes Theatre

RT#20, Wayland MA, (508) 358 - 4034
Vokes Players

Kong's Night Out

2006-05-11T13:10:00.000-07:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Kong's Night Out" by Jack Neary

Date: Thurs, May 11, 8:24 AM

Quicktake on KONG'S NIGHT OUT

     After a season of shows with serious social comment of one sort or another, the Lyric and Spiro Veloudos returns to their other speciality--farce with no obvious redeeming social value, except good-natured laughter. Jack Neary's last original play on their stage was "Beyond Belief," giving his bitter sweet comic take on the tribulations of the Church, but in "Kong's Night Out" it's competitive human nature and basic silliness to the fore. The cast couldn't be more suitable.

     To start with, Larry Coen is Myron Segal, the hapless producer of "Foxy Felicia," a frothy new 1933 musical set to open the same night his arch-rival Carl Denham is showing his new attraction, "the eighth wonder of the world." up the street. Myron''s invested his mother Sally's life savings in the show. She's a stripper played by IRNE winner Ellen Coulton. He's also dependent on M.J.J.Cashman's Siegfried Higginbottom, a foreign investor with a yen for Sally. To add to Segal's problems, his niece, Daisy, shows up from Buffalo. She wants to get into show business, has an important letter from his sister which Myron ignores, and is played by Lordan Napoli, making a triumphant return to the Lyric. Then there's Steve Gagliastro as Segal's gun-toting henchman, Willie, who's improving his vocabulary. Willie and Daisy hit it off right away. Segal's wife, an actress named Bertille, played full out by New Rep stalwart Rachel Harker, is secretly carrying on an affair with Denham, played by Redfeather's Timothy Smith. Myron didn't give her the lead in "Foxy Felicia." To complete the confusion, there's BU grad Sarah Abrams as blonde Ann Darrow, the focus of Kong's desire and Gold Dust Orphan Christopher Loftus as Jack, her heroic--but not too bright--fiance.

     Robert M. Russo's art deco set has a back wall of doors with downstage entrances left and right, so the toing and froing gets quite frantic. Kong even puts in a partial appearance. IRNE winner Gail Astrid Buckley as usual has a field day with costumes for the ladies, from Harker's backless wonder and Coulton's velvet creation to Napoli's girlish get-ups. Neary's been working on this script since 2001 and this world premiere marks its final period of refinement. He's also about to open a new musical "Ring a Ding Ding" at the Firehouse in Newburyport, has a one-act in the Theatre Marathon on May 21, and is opening an adaptation of "The Turn of the Screw" at Smith College's New Century Theatre on June 15th. See 'em all.

"Kong's Night Out" by Jack Neary, May 5 - June 3

Lyric Stage Co. at Copley YWCA

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

CAROLINE OR CHANGE

2006-05-09T13:10:00.000-07:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Caroline or Change" -book & lyrics - Tony Kuschner; music - Jeanine Tesori

Date: Sun, May 7, 10:27 PM

Quicktake on CAROLINE OR CHANGE

     Speakeasy's N.E. premiere of Kuschner & Tesori's Tony nominated music drama, Caroline or Change--in association with North Shore Music Theatre--is a challenge for their established expertise, the excellent cast of mostly local singers, and the audience's attention. This modern "folk opera", with Jeanine Tesori's usual eclectic mix of musical styles ranging from Motown to klezmer, from classical to jazz is sung-through using Tony Kushner's heightened prose for most of the show. Award-winning actress Jacqui Parker, the artistic director of Our Place Theatre and the African-American Theatre Festival plays the title character, a disappointed but determined divorcee, supporting her three younger children working as a maid for the Gellmans, a well-off Jewish family in Port Charles, Louisiana. Her oldest son is in the Army in Vietnam. Her oldest daughter Emmie, sung by Shavanna Calder, is becoming increasingly rebellious and Black. It's late fall 1963. The Gellman's young son, Noah, played by Jacob Brandt, misses his mother terribly, especially since his father Stuart, played by Michael Mendiola, has just remarried one of the boy's late mother's friends, Rose, played by Sarah Corey.

    This might all sound like a soup opera set against the background of JFK's asassination and the rising turmoil of the '60s, but Kuschner and Tesori start off the show with a comic abstraction. Caroline's first scene is alone in the basement, doing the daily laundry. Her companions are the washer, the dryer, and the radio. These all "sing"; this is an opera of sorts. The Washing Machine is sung by A'lisa D. Miles, resplendent in white wearing an elaborate head wrap. She also appears later in the show as the Moon, a bit like something out of "The Magic Flute." The almost satanic Dryer wearing a pompadour and ruffles is sung down and dirty by Brian Richard Robinson, Robinson also appears twice later as the Bus, symbolized by its driver, with a placard round his neck directing negro passengers to the back of the vehicle. The Radio is sung by Emilie Battle, Nikki Stephenson and Anich D'Jae Wright, in pink party dresses complete with elbow length gloves, with a MoTown sound and all the moves. The show's choreography was done by Jackie Davis. Even though the script has a basis in Kuschner's childhood in Louisiana and some family traumas, almost everything is stylized to some degree, so that moments of realistic acting become all the more powerful. The three grandparents, the Gellmans, played by Dorothy and Dick Santos, and Rose's old radical father, played by Sean McGuirk, form a base for this reality. Father expresses himeslf as often on the clarinet as through speech, while Rose, a transplanted New Yorker, rejected by her stepson and unsatisfied by her new husband, is in a quandary.

     Caroline's interaction outside of her place of employment is largely with Dotty Moffet, played with sincerity by Merle Perkins. Dotty is dressing in current styles and attending night classes at the community college. The two grow further apart as Caroline's frustration and suspicion about change grows. She clings fiercely to her family as Emmie tries to become her own person, and the younger two, Jackie played by Breanna Bradlee, and Joe, played by Dominic Gates, try to please their mother. Throughout this complex story, Tesori's eclectic music leads the way under music director Jose Delgado's able control. Each character has an effective and appropriate sound, with Davis' strong alto at the center. Director Paul Daigneault has assembled an experienced and committed ensemble resulting in a unified show despite its at times rarified styling. Eric Levenson's unit set with set pieces on wagons, well-served by John R. Malinowwski's area lighting keeps the focus of the characters. Gail Astrid Buckley's costumes are of the period without drawing attention to themselves, except for the abstract characters. Once again, Speakeasy has brought a complete and satisfying contemporary production to the BCA.

"Caroline or Change" - Tony Kuschner & Jean Tesori, May 5 - June 3

Speakeasy Stage Co. in Roberts Studio, Calderwood

BCA, 527 Tremont , (617) 933 - 8600
Speakeasy Stage Co.

Ragtime

2006-05-02T14:51:00.000-07:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Ragtime", lyrics & music - Ahrens & Flaherty; book by McNally, adapted from the novel by E.L.Doctrow

Date: Tues, May 2, 7:07 AM

Quicktake on RAGTIME

     The New Rep is finishing up their inaugural season at the Arsenal Center for the Arts with an impressive mounting of Lynn Ahrens and Stephen Flaherty's award-winning music drama, "Ragtime". The book was adapted by multiple-Tony winner Terrence McNally from E.L.Doctrow's lauded panoramic historical novel. The excellent cast, New Rep's largest to date, is anchored by IRNE Award winner Leigh Barrett as Mother in a role which uses all her best talents. She's partnered by veteran music theatre performer Peter Edmund Haydu as Father, last seen locally in the New Rep's "Christmas Carol" as Marley et al. The more romantic duo of Coalhouse Walker Jr., the ragtime piano player from Harlem and his girl, Sarah, are played by NYU Vocal performance grad Michael E. Parent, who's done the role in NYC, and Stephanie Umoh, a BosCon BFA candidate. Both bring charm and power to their roles. Representing the third element in "Ragtime"'s melting pot, singer and comedian Robert Saoud has his most fulfilling role in a long time as Tateh, the Lativian emigre artist who starts out ragged selling silhouettes on the street in front of a tenement on the lower East Side and winds up in California making silent movies for the nickolodeons, all for his motherless daughter.

     Primary casting for rest of the ensemble has June Babolan as anarchist Emma Goldman, Dee Crawford as the Gospel Singer, Aimee Doherty as showgirl Evelyn Nesbit, Paul D. Farwell as firechief Willie Conklin, Frank Gayton as Henry Ford, Paul Giragos as Harry Houdini, Austin Lesch as Mother's Younger Brother, big Bill Molnar as financier J.P. Morgan, Sophie Rich as Tateh's daughter, and Samuel A Wartenberg as Mother's young son. All these singers, dancers, and scene shifters join as many other members of cast in various large numbers as director Rick Lombardo and choreographer Kelli Edwards meld them into a seamless ensemble. The entire company numbers more than thirty, not counting appropriately attired music director Todd. C. Gordon visibly conducting from a keyboard his seven member orchestra on a bandstand hovering over backstage left.

     Audiences who've experienced this classic American music drama downtown in one of the barns, or even in one of several community productions, such as Footlight's IRNE winning effort, have a chance to get close-up and involved in another excellent New Rep musical effort. Most members of the ensemble plays several parts in this panorama of turn of the century American in and around New York, all are firmly in period and place under Lombardo's skilled direction. Janie E. Howland's movable set pieces form and reform the playing areas, Francis Nelson McSherry and Molly Trainer deserve their equal billing for a set of superb costumes and many, many changes, and Dorian Des Lauriers' black and white (mostly) projections expand the scope of various scenes. "Ragtime" is a glorious end to a very impressive first season in Watertown for the new New Rep in its 21st year.

"Ragtime", lyrics & music - Ahrens & Flaherty; book by McNally, Dates

New Repertory Theatre at Arsenal Center for the Arts

123 Arsenal St. Watertown, (617) 923 - 8487
New Repertory Theatre

Hiding Behind Comets

2006-04-30T12:35:00.000-07:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Hiding Behind Comets" by Brian Dykstra

Date: Sat, April 29, 12:07 AM

Quicktake on HIDING BEHIND COMETS

     Brian Dykstra's post-modern grande guignol, Hiding Behind Comets, just opening as Zeitgeist's final offering of the season, is one of those contemporary theatre pieces which pretend to explore hard-edged reality, but which confuse the sensational with the significant. If the script were subjected to the main character's test whether it should live or die, "HBC" would fail. But like a car wreck by the side of the road, this four actor, one set show will probably continue to lure in small theatres until the next example of this depressing trend in current script writing comes along.

     Briefly, this brief two-acter takes place in a roadside bar somewhere boring in northern California. A thuggish stranger has shown up. The young bartender, Troy, played by Greg Raposa, seen in "The Fox" earlier this season, is arguing with his fraternal twin sister, Honey, played by Olivia Rizzo. She wants him to close early--it's around midnight--and come with her and his slutty girlfriend, Erin, played by Kelley Estes, to a party down the road. The older man, Cole, is Rick Park, veteran local actor. At the end of the first act, after a good deal of sexual innuendo,involving a long ambivalent scene between Cole and Honey, followed by a long confessional monologue from Cole, the girl's leave. Cole and Troy face off, the incipient mystery rears its head,resulting in a "significant" curtain line. There's a suspicion that a play might develop in the second act, but the first has the air of a padded one-act, and with editing, would play well as such, though probably not in ten minutes.

     What develops in the second part, however, is a series of vaguely Absurdist confrontations between Troy and Cole which become increasingly violent. By the conclusion, the question becomes who will kill who, with no clear reason why. We're in Shepard country without a map. "Hiding Behind Comets," which takes its title from an oblique reference to the suicidal Heaven's Gate cult, trades on the fading memory of Jonestown to create melodramatic frisson with no real purpose other than violence for its own sake. While "stuff happens" may be the message of the evening news--and the current political morass--more is expected of drama. Zeitgeist's David J. Miller has once again found a script with limited moral value, given it a realistic production, and invited an audience. With the other choices currently available around town, he shouldn't be surprised if they don't come. Like the set, which is very realistic, except for the main wall behind the action, which has the entrances and a window, but is merely one side of the black box, there's something missing in this show which can't be salvaged by Park's impressive acting skills. Raposa manages to keep up most of the time, but the two recent theatre grads playing the girls are left far behind. And the audience is left wondering if they've just watched a staged treatment for a low budget M or X rated film. Or whatever.

Seen in Preview
"Hiding Behind Comets" by Brian Dykstra, April 30 - May 20

Zeitgeist Stage Company in Plaza Black Box

BCA, 259 Tremont, (617) 933-8600
Zeitgeist

All's Well That Ends Well

2006-04-23T14:11:00.000-07:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "All's Well That Ends Well" by Wm. Shakespeare

Date: Insert date and time

Quicktake on ALL'S WELL THAT ENDS WELL

     The Actors' Shakespeare Project's final offering of the season, the Bard's seldom done "All's Well That Ends Well", directed by the company's Artistic Director and founder, Benjamin Evett, displays their increasingly tight ensemble work. Casting within the company , however, has resulted in two distinctive performers, John Kuntz and Jennie Israel, taking the romantic leads, rather against type. The duo, at odds for 95 percent of the action, is almost impossible to bring together in the closing scene, and as in "Measure for Measure," another dramatic comedy, the result isn't very satisfying. Israel, the company's Associate Artistic Director, played Lady Macbeth for CSC and was effective last fall as Goneril in "King Lear," but, as Helena, comes across rather flat in this lighter part. Kuntz, who played Rich. III in the company's inaugural production, is a believably spoiled young noble, Bertram Count Rossillion, but doesn't project the romantic aura the role requires.. However, the play is rich enough that its array of lesser characters, including LaVache, the family fool, also played by Kuntz, make this a rewarding production.

     Two central characters are particularly effective. As the Countess, Bertram's widowed mother, Boston acting legend Paula Plum shows her varied talents, adding more comedy than is usual to the role in scenes with LaVache. Shakespeare & Co.'s Allyn Burrows', who appeared in ASP's "Measure for Measure" as The Duke, and was Kent in "Lear, " makes the most of Capt. Parolles, Bertram's dishonest associate. His comic downfall provides the play's secondary complication, and serves as a foil to Bertram's own dissembling. Award-winning actress Bobbie Steinbach is also entertaining playing aged Lord LaFeu, adviser to both the Countess and the King, and doubling as a noble Widow Capulit in Florence, mother to Ellen Adair's Diana, the object of Bertram's transient affections and the key to the plot. David Gullette from the Poet's Theatre is believable as the King, the cause of the action, who must finally sort out the result. The remaining three of the ensemble of ten actors, who play named parts, members of the military, and various servants, are Paula Langton and Greg Steres, as the noble brothers Dumain and Risher Reddick as the inept Duke of Florence and Rinaldo, the Countess' steward. They keep the show rolling along, manipulating Caleb Wertenbaker's ingenious formal set with minimal furniture and three trunks on wheels which form set pieces and hold many of the costume changes.

     This time, ASP has arranged Durrell Hall so that seating is against and on the permanent stage, with the acting area on a painted map on the main floor and partially under the balcony. Live music is provided by fiddler Oisin Conway, who also speaks the epilogue, and pianist Natty Smith who also gets to turn the signs which indicate whether scenes are in Rossillion, Paris, or Florence. Most of the cast sings a mixture of ballads, madrigals, and folk tunes to help with transitions between scenes. There's a particularly effective choral piece before Bertram's assignation which is played up in Durrell's actual balcony. Evett and company have created an effective, entertaining, and understandable production with much to offer. The limitations of the principal characters are implicit in the tale itself, which Shakespeare borrowed from Boccacio, and which he may tried earlier in a lost version entitled "Love's Labor Won."

"All's Well That Ends Well" by Shakespeare, Apr. 20 - May 14

Actors' Shakespeare Project at Durrell Hall, Camb. YMCA

800 Mass. Ave, Camb, 1 (866) 811 - 4111 (TM)
A.S.P.

NUNSENSATIONS! the Las Vegas Revue

2006-04-22T14:01:00.000-07:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Nunsensations" by Dan Googin

Date: Fri, Apr 21, 11:57 PM

Quicktake on NUNSENSATIONS!

     The latest edition of Dan Goggins' "Nunsense" saga takes the Little Sisters of Hoboken to Las Vegas to present a revue in return for a donation to their school, Mt. St. Helen. Still a crowd-pleaser, the joke is wearing thin. "Nunsensations" has little new to offer, musically or lyrically. Several of the songs are clearly out of the trunk and could be dropped into any previous version unnoticed. Goggin's has found a successful formula which perhaps makes the best use of his talents for harmless parody.

     The cast of "Nunsensations" features Bonnie Lee as Rev. Mother Mary Regina, complete with Irish brogue with Bambi Jones as Sr. Mary Hubert, her second in command, more in charge than ever. Carolyn Drocoski, who's been involved with the Nunsense for 18 years and who directed Lyric's production of "Meshaggah-Nuns!" two seasons ago, is Brooklyn born Sr. Robert Anne, tough as ever, Emerson grad Jeanne Tinker plays Sr. Mary Paul aka Amnesia, ditsy as ever. Her irrepressible sidekick Sr. Mary Annette has only one appearance, however. (She's just tried out for "Ave. Q".) Sr. Mary Leo, the dancer, is Carrie Keskinen, who completes what's billed as the world premiere cast of this show. All five display considerable comedic talent and are in fine voice. "Nunsense" fans--and there may be legions of them--won't be disappointed or surprised.

     Stoneham will be following this show with more visitors from Las Vegas, a recreation of "The Rat Pack." They'll be opening their fall season in Sept. with Cole Porter's vintage show "You Never Know."

"Nunsensations" by Dan Googin, April 20 - 30

Stoneham Theatre

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

The Man Who

2006-04-21T12:15:00.000-07:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "The Man Who" by Oliver Sacks, Peter Brook & Marie-Helene Estienne

Date: Thur, April 20, 10:33 PM

Quicktake on THE MAN WHO

     Those familiar with Oliver Sacks' anecdotal study of neurological anomalies, "The Man Who Mistook His Wife For A Hat" will find some of the more striking references from that work embedded in this collage of interactions between doctors and patients. Those familiar with the recent work of Peter Brook will recognize the transformations the four actors undergo in this short effort. In the course of 75 minutes, each plays doctors confronting men suffering from some abberation of perception. These unique symptoms suggest the malleability of reality, at least for the individual. There are of course no conclusions or judgements, and no patients with secondary clinical diagnoses.

     The cast, directed by Wesley Savick consists of IRNE winner Steven Barkhimer, Robert Bonotto, Owen Doyle, and Jim Spencer. Barkhimer was last seen for the Nora in Van Gogh in Japan, as was Robert Bonotto. Both were seen this fall at the Lyric in Steve Martin's version of "The Underpants." Owen Doyle appeared recently in "A Prayer for Owen Meany" at Stoneham. Jim Spencer was in Nora's "Antigone: last season and was nominated for an IRNE for his role in ACT's "City Preacher" by Ed Bullins. Director Savick recently directed "Theatre District" for Speakeasy, and Zayd Dorhn's IRNE winning "Permanent Whole Life'" at Boston Playwrights'. The show has the polish one would expect from such an ensemble.

     In a piece of nonlinear theatre like this, the arc of the action comes from connections made between its disperate elements. As the ensemble moves from the calming attitude of the neurologists to the varying degrees of agitation shown by their patients, the depth of the failure of perception becomes painfully clear. And the common dilemma shared by both classes is heightened as doctor becomes patient and vice versa. There are a few bravura moments, carried off by Barkhimer and Doyle, while Bonotto and Spencer have quieter epiphanies. The simple truth of the show however, is that there is no cure for these problems, a very sobering thought. Like the rest of life, they can only be dealt with.

"The Man Who", Apr.20 - May 7

Nora Theatre Co. at Boston Playwrights'

949 Comm. Ave. Allston, 1 (866) 811 - 4111
Nora Theatre Co.

Charlie & the Chocolate Factory

2006-04-10T14:26:00.000-07:00

From: "will stackman" profwlll@yahoo.com

Subject: Quicktake - "Charlie and the Chocolate Factory" (1976) adapted by Rich. C. George

from Roald Dahl's book (1963)
Date: Sun, Apr 9, 7:58 PM

Quicktake on CHARLIE AND THE CHOCOLATE FACTORY

     After two fairly serious show's aimed at older children, WFT's spring offering is a technologically updated version of a 1976 adaptation of Roald Dahl's darkly comic classic, "Charlie and the Chocolate Factory." Richard C. George script is fairly typical children's theatre fare, even with director/designer James P. Byrne's showmanship. Dahl's literary merit is quickly lost in the toing-and-froing. Turning the narrator into a T.V. news personality, Played by Dan Bolton, and using video to separate the sections of the story doesn't disguise the oversimplification of the tale and its moral. But squads of kids get to participate, as stage children, as Oompa-Loompas, and as Squirrels.

     The role of the mysterious chocolatier, Willy Wonka, is taken by WFT General manager Jane Staab, who won't be mistaken for either Gene Wilder or Johnny Depp. Charlie Bucket is played by Khalil K. Fleming, seem this time last year as Jack. His Grandpa Joe is done by WFT veteran Mansur, while Grandma Josephine falls another regular, Ilyse Robbins. Mr. Bucket is Harold Withee, currently touring with the New Rep's Macbeth while Mrs. is done by Jackie Davis from Our Place Theatre, both seen last December in "Promises, Promises." The four other holders of the wonderful Golden Ticket, which lets lucky children tour the Chocolate Factory are Andrew Schlager(gluttonous Augustus Gloop), Talia Weingarten(demanding Veruca Salt), Laura Morell(gum-chewing Violet Beauregarde). and, from Stoneham--seen last fall in "Pal Joey, "--Andrew Barbato as (TV addict Mike Teavee). Each meets their appropriate fate with adequate theatrical effects. Their parents are Susan Bigger (Mrs. Gloop), John Davin and Lisa Korak( the wealthy Salts), Gamalia Pharms (Mrs. Beaurergarde), and Darius Omar Williams as Major TeaVee. Greg Nash is Grandpa George, and Pharms doubles as Grandma Georgina,

     The show takes place on a simple set and in the house, lit by IRNE winner John R. Malinowski. It was choreographed by IRNE winner Laurel Stachowicz, with costumes by Lisa Simpson, who also dresses the Gold Dust Orphans. Andy Aldous handled the sound, Tim McCarthy produced the Comedy Central style videos along with animator Michael Duplessis. The electronic captioning from c2 fits right into the rest of the effects. Fans of the book may find a few things missing, and those who just saw the most recent movie will notice some differences. If there's no edgier script available for this first book, perhaps someone should extract one from "Charlie and the Great Glass Elevator," Dahl's sequel, a take on the future and space travel--circa 1972.

"Charlie and the Chocolate Factory" (1976) adapted by Rich. C. George, Apr. 7 - May 14

Wheelock Family Theatre at Wheelock College

200 The Riverway, Boston (617) 879 - 2300
Wheelock Family Theatre