Ed Hoopman and Maritza Bostic (Photo Credit: Mark S. Howard)
As Camelot ends King Arthur tells Tom of Warick to run from the battle so he may live and “Ask every person if he’s heard the story, and tell him strong and clear if he has not.” And that story, the legend of Camelot, is what is given to us in the Lyric Stage’s current production of the Lerner and Loewe classic.
On a beautiful multi-level set that gives the feel of a haunted forest with serpent like trees that appear to be watching the events that unfold, we are treated to a story, the story, that young Tom has passed down through the years. We, the audience, feel as if we are seated by a campfire while the tale is related to us by Arthur, Guenevere, Lancelot, Mordred, and the Knights and Ladies of the Court of King Arthur.
This has been called a “stripped down production”, but I would call it an enhanced work. It is no secret the original Camelot was too long. Shortening it was a challenge from the beginning, and this adaptation by David Lee finally meets that challenge. All of the songs are here, the story is complete, and it moves along seamlessly. Director Spiro Veloudos adds his magic touch to bring it all together for an evening of theatre that will not be forgotten.
Don’t let this brief shining moment pass you by.
The cast led by Ed Hoopman as Arthur speaks in naturalistic voices, so don’t plan on hearing imitations of Burton and Andrews. Hoopman’s voice is rich and smooth connoting the kindness and humanity of the King who wished for a society that was just and fair. Maritza Bostic as Guenevere is lovely and warm with a voice that captivates. It is hard to lose with this score, but with so many people familiar with the original cast album ears may be programmed to hear something else. What is great is how the actor’s make this their own version, and it is a great one.
Ed Hoopman, Jared Troilo, Maritza Bostic (Photo Credit: Mark S. Howard)
Jared Troilo, who is a familiar face to Boston theatre goers, takes on the part of the brash Lancelot. Troilo’s rendition of If Ever I Would Leave You is positively wonderful. It had to be a challenge.
I have to say that Rory Boyd’s Mordred is truly amazing. His name alone cues us to expect an evil character, but Boyd manages to move him into more of a grey area. He certainly brings a great energy and just enough ambiguity to the role to make one possibly feel a bit of sympathy for him Mordred, and that is something I doubt has been seen before.
What makes this production so special is the intimacy. Not only is it warm because it is set in a small theater, but it feels the players have invited us to sit by the campfire and hear their stories. It is oh so captivating.
What makes this production so special is the intimacy.
Accompanied by an eight piece orchestra, the cast, who work without amplification, fill the theatre with beautiful sounds. There is not a bad seat in the house, and in this age of an over reliance on electronics it is a pleasure to hear such lovely voices going directly to our ears. It is one of the many things that makes the Lyric Stage so special.
I am sure tickets for this run will sell fast, so don’t wait. Don’t let this brief shining moment pass you by.
Camelot Through June 25th
The Lyric Stage, Copley Square, Boston
lyricstage.com 617.585.5678
Mamma Mia!
Through July 1st
The Ogunquit Playhouse
Reviewed by Bobby Franklin
Angie Schworer, Jodie Langel, Kate Chapman, and Cast (Photo: Gary Ng)
You know summer will soon be here when the stage at the Ogunquit Playhouse raises its curtain for a new season. And this year for their 85th anniversary they have kicked it off with the very popular jukebox musical Mamma Mia! With an energetic cast led by Jodie Langel as Donna and Patrick Cassidy as Sam it is a fun evening of music and laughs that has the audience on its feet singing and dancing along.
The story about Sophie (Briana Rapa), Donna’s daughter who was born out of wedlock twenty-one years earlier, takes place as she is preparing for her wedding day in Greece where she lives with her mother Donna who runs a local taverna. Sophie desperately wants to find out who her father is and has, by peeking into her mother’s diary, narrowed the possibility down to three men all of whom she invites to the wedding. This leads to some confusion and much laughter as she tries to figure out which of the three is dad.
…an evening filled with laughs, music, and great dancing…
The story is a great vehicle for the music of Abba, and that is what it was written to be. But this is not an Abba tribute show. It is an evening filled with laughs, music, and great dancing, all set on a beautiful stage meant to be the Greek seaside. The story is fun and touching, filled with vivid colors and loaded with energy. Those colors and the changing sets along with beautiful lighting, had me feeling the sea breezes of the Mediterranean. Of course, it helps being within a stone’s throw of Ogunquit Beach.
Oh, did I mention this is fun? The music is fun, the dancing is fun, the story is fun. Seeing dancers performing wearing huge yellow swim fins is, well, fun. There are so many moments like that. The Playhouse has given us all a welcome to summer gift.
Brianna Rapa, Mike Heslin, and Cast (Photo: Gary Ng)
This is not Chekov or O’Neil, and you won’t leave the theater contemplating the mysteries of life. It is simply a nice story that will have you feeling good. You will leave the theater feeling happy, with a lot of music dancing in your ears. After an evening of Mamma Mia! at the Ogunquit Playhouse you will be more than ready for summer. This is a production that calls out “Take A Chance On Me”, and will have you saying,”Thank You For The Music”.
Mamma Mia!
Through July 1st
The Ogunquit Playhouse, 207.646.5511
Ogunquit Maine
ogunquitplayhouse.org
The Bridges of Madison County At The SpeakEasy Stage
Now through June 3rd
Reviewed by Bobby Franklin
By the end of this production of The Bridges of Madison County, produced by the SpeakEasy Stage and playing at the Calderwood Pavillon, there wasn’t a dry eye in the house. This is not to say the audience is left feeling sad or unhappy. No, touched is the word that best describes the feeling one leaves the theater with after seeing this exquisite production.
Francesca and Robert (Photo Credit: Glenn Perry Photography)
The story of the Italian war bride, Francesca, who married and settled in Iowa with her husband Bud where they are raising two children, and her four day affair with a photographer, Robert, is familiar to most people due to the popularity of the book and movie. This in no way diminishes the impact of this musical version of the story.
Jennifer Ellis as Francesca is nothing short of superb…
Jennifer Ellis as Francesca is nothing short of superb bringing one of the most beautiful voices you will hear on a theater stage today as well as the ability to reach the audience with her full range of emotions. Her perfectly underrated Italian accent is right on the mark. This will come as no surprise to those who had seen her in the SpeakEasy production of Far From Heaven or as Eliza Dolittle in The Lyric Stage’s My Fair Lady. Ms Ellis is a joy to behold.
The chemistry between Francesca and Robert, played with a slight ambiguity by the very talented Christiaan Smith, is strong both physically and emotionally. I mention ambiguity because as much as it appears these two star crossed lovers could run off and live happily ever after I was left with the feeling that the very thing that made Robert so exciting was also the thing that would not have made him a good fit for marriage and settling down.
Bud, Robert, Francesca (Photo Credit: Glenn Perry Photography)
The affair which takes place while husband Bud (Christopher Chew) and children Carolyn (Katie Elinoff) and Michael (Nick Siccone) are off to the state fair could be seen as sordid, but the story is much more than that. Mr. Chew is wonderful in playing the hard working farmer who provides a good home for his family. There is no doubt Francesca loves all of them, but she also yearns for the life she never got to live in Naples. A yearning that is triggered by the emotional scene where Robert shows her the issue of National Geographic containing photos he took of the city she was raised in.
The emotional turmoil raised by this allows us to feel compassion for her even while we feel bad for Bud. In the phone calls to home while Bud and the kids are on the road, we know that Bud begins to suspect something but never digs for answers. Mr. Chew conveys a pain with his eyes that is touching and could easily have us turn on Francesca for what she is doing. But there is much to this story and much to be sympathetic about when it comes to all the characters.
Marge and Charlie (Photo Credit: Glenn Perry Photography)
Nosey neighbor Marge (Kerry A. Dowling) and her husband Charlie (Will McGarrahan) are very funny while also showing a depth of understanding that coveys sincere kindness. Marge may appear to be a gossip but she knows how to keep a secret. She also begins to question her own marriage. Charlie who at first appears to be detached is actually quite understanding. McGarrahan and Dowling are a delight.
The score by Jason Robert Brown is wide ranging and beautiful. At times operatic, it is performed by a seven piece orchestra led by Matthew Stern. I am no musician, but I can assure you they are just great.
The lighting design by Annie Weigand plays a big part in this production. Stars, clouds, blue skies, and even streaks of light representing the bombing of Naples during the war projected onto the backdrop are both subtle and extremely effective. The set designed by Cameron Anderson is simple, tasteful, very pleasing and warm.
The chemistry between Francesca and Robert…is strong both physically and emotionally.
I highly recommend this very fine work directed by M. Bevin O’Gara. This is the last play of the 2016-2017 season at the SpeakEasy and they couldn’t have closed on a higher note. The Bridges of Madison County will leave you both happy and sad, but you will be very pleased to have seen such a solid work.
Now through June 3rd at the Calderwood Pavillon, Boston Center for the Arts, Boston’s South End. www.speakeasystage.com 617.933.8600
Limited Engagement!
Only 11 Performances –August 19-27
Performer/Creator of George Gershwin Alone;
Director and Adaptor of The Pianist of Willesden Lane
Hartford Stage will present Our Great Tchaikovsky, a celebration of the famed Russian composer, written and performed by internationally-acclaimed pianist, actor and playwright Hershey Felder, for a limited one-week engagement – August 19 through 27.
The Chicago Sun Times raved, “The quadruple threat performer Hershey Felder is an actor, singer, pianist and writer, and all of the first order.” After its record-breaking world premiere at the San Diego Repertory Theatre, the San Diego Union-Tribune called it, “A powerful, emotional experience well worth seeing.”
Our Great Tchaikovsky marks Felder’s return to Hartford Stage. His previous productions include George Gershwin Alone in 2004 and Monsieur Chopin in 2006. Most recently, he adapted and directed The Pianist of Willesden Lane in 2015.
With direction by longtime collaborator Trevor Hay (Hershey Felder as Irving Berlin), Our Great Tchaikovsky celebrates Russia’s most beloved and mysterious composer in a time-bending story of culture and politics.
Among Piotr Ilyich Tchaikovsky’s masterworks included in the show are the ballets Sleeping Beauty, Swan Lake, and The Nutcracker; concerto pieces Violin Concerto, Piano Concerto no. 1 and Rococo Variations for Cello; the opera Eugene Onegin; orchestral pieces Romeo and Juliet, the 1812 Overture and Marche Slav; and Symphony No. 6, Pathétique. Just nine days after Tchaikovsky conducted the premiere of Pathétique in St. Petersburg, he died suddenly at the age of 53. Our Great Tchaikovsky explores the mystery surrounding his death while paying homage to the composer and his music.
Felder has played over 4,500 performances of his self-created solo productions at some of the world’s most prestigious theatres and has consistently broken box office records. Maestro, Felder’s tribute to the life and work of composer-conductor Leonard Bernstein, was recognized as a Top 10 Play and Musical by TIME magazine last year. His other shows include: George Gershwin Alone (Broadway’s Helen Hayes Theatre, West End’s Duchess Theatre); Monsieur Chopin; Beethoven; Franz Liszt in Musik; and Lincoln: An American Story. Future productions include the new musical, Chosen by G-d, for which he is writing music, book and lyrics. Felder’s compositions and recordings include Aliyah; Concerto for Piano and Orchestra; Fairytale, a musical; Les Anges de Paris; Suite for Violin and Piano; Song Settings; Saltimbanques for Piano and Orchestra; Etudes Thematiques for Piano; and An American Story for Actor and Orchestra. Felder is the adaptor, director and designer for The Pianist of Willesden Lane; producer and designer for the new musical Louis and Keely: ‘Live’ at the Sahara, directed by Taylor Hackford; and writer and director for the upcoming Flying Solo, featuring opera legend Nathan Gunn.
In addition to direction by Hay and scenic design by Felder, the creative team includes Costume Designer Abigail Caywood; Lighting and Projections Designer Christopher Ash; Sound Designer Erik Carstensen; and Research and Dramaturgy by Meghan Maiya. Our Great Tchaikovsky is produced by Samantha F. Voxakis, Karen Racanelli and Erik Carstensen.
Tommy Farr
The British Champ Was A Handful
For Joe Louis But Never Got A Rematch. Why?
In a recent conversation I had the subject of Joe Louis’s bout against Tommy Farr came up. Farr was Joe’s first opponent after he had won the title by knocking out Jimmy Braddock, and it was expected he would do the same to the Welsh boxer. Tommy surprised everyone by extending Louis for the full fifteen rounds and looking pretty good while doing it.
Tommy Farr
It was Farr’s first fight in the United States. He had earned the title shot by scoring wins over Ben Foord, former champ Max Baer, and Walter Neusel. All of these bouts took place in London. Farr, who was from Tonypandy, Wales was an unknown quantity when he stepped into the ring with Louis on August 30, 1937. While his record was impressive he had not been seen by the American fans. Farr also got off to a bit of a rough start with the American press not being quite up to speed with the wisecracking New York reporters. In the end, and after a four day rain delay, promoter Mike Jacobs was still able to get almost 39,000 fans to show up at Yankee Stadium for the bout.
Farr vs Louis
It turned out there was much more to Tommy Farr than expected. The Welshman turned in an excellent performance keeping Joe off balance with an educated left hand and and good combinations. He even rocked the champion a couple of times. He did something that was rarely seen against Joe Louis; he was able to be competitive with the left jab. Evidence of this can be seen in photos of Louis taken after the bout where his right eye is quite swollen. Of course, the Brown Bomber did pretty well with his own jab busting up both of Farr’s eyes, and in the end Joe won a unanimous decision,
There are fight fans who insist Tommy was robbed that night, but in watching clips of the fight and reading accounts of it I have no doubt Joe Louis deserved the decision. Even Farr never complained about it. But Tommy certainly showed himself to not only be a very tough and courageous fighter, he also proved to be quite the skilled boxer who was the ultimate professional. He remained cool and composed throughout the fight. While Louis won by a fairly comfortable margin, many of the rounds were close.
So, the question that is often asked is why didn’t Farr get another shot at the title? I’ve heard it said that Joe’s management wanted nothing to do with Farr after having seen Joe extended by him. I don’t buy that. I am confident Louis would have gladly given him a rematch.
Braddock vs Farr
Now this is where things get a bit interesting. After the Louis fight Tommy remained in the states, and five months later he fought Jimmy Braddock. Farr lost a close and controversial decision to the former champ in what would be Braddock’s last bout. Not long after this Farr, wth prodding from promoter Mike Jacobs, took on Joe Gould as his manager. The very same Joe Gould who also managed Jimmy Braddock.
I recently read Tommy Farr’s autobiography, a very enjoyable book, and in it he talks about how, with Gould’s encouragement, he traveled to Hollywood where he started partying with the big names in the movie industry. He spent time at the home of Bing Crosby. Became friends with Clark Gable and Victor McLaglen and many others. He even spent time with the ten year old Shirley Temple who wanted to hear all about the Louis fight.
Farr also made some lady friends while out west. He would arrive at a bar frequented by many of these stars early in the evening so as not to miss out on having time with them. I’m sure he wasn’t sitting there drinking ice water. Now, why on Earth would a fight manager want his charge spending time living it up, especially after he had become a hot commodity off of his great performance against Louis? Farr should have and could have returned to Great Britain where he would have received a hero’s welcome, racked up a number of wins, and worked himself back into another shot at Louis for a big payday. Most people agreed he was robbed against Braddock, so that would not have been an obstacle after he scored a few wins. A second Farr Louis fight would also have been a big attraction.
But instead, he took on Max Baer in a rematch. Farr, who was now not in the best of shape, lost a one sided decision against the man he had beaten quite handily just a year earlier. Max dropped him three times in the fight. He then lost decisions to Lou Nova and Red Burman. After these losses Tommy returned to Britain never to fight in the United States again.
Tommy Farr with Family
In the course of a year the Welshman went from giving one of the greatest Heavyweight Champions the fight of his life to being handed the proverbial one way ticket to Palookaville. He had ended his relationship with the man, Joby Churchill, who had been with him from the beginning of his career and took up with a man, Joe Gould, whose now retired fighter, Braddock, owned ten percent of Joe Louis’s future purses. (The agreement with the Louis camp struck in order for Joe to get a title shot at Braddock). Gould now sends his new fighter off to the land of wine, women, and song instead of getting him into serious training for a campaign at another shot at the title.
Here’s my theory for why all that went on. While Louis and his team had no fear of losing a rematch with Farr, and knowing how Joe was, he most likely would have welcomed another go at it with Tommy. Joe Gould was afraid Farr may pull off an upset in a rematch. If that were to happen it would be a heavy financial hit for Braddock, and probably Gould. Joe Gould had a great motive for seeing Farr was removed form the picture, and I believe that is why he led Tommy down the road of self destruction.
Tommy Farr was a terrific boxer. A brave and dedicated fighter who deserved better. He showed what he was made of against Louis. It was his misfortune to have walked into the lion’s den. His great showing against Louis turned out to be a liability for him.
Farr would have just a few more fights in his homeland before WWII broke out. In 1950, in need of money, he made an ill advised comeback. The Tommy Farr story should have had a much happier ending. Instead, it is just another one in a long list of boxing tragedies. https https
Stephan Pastis is the creator of the very popular comic strip Pearls Before Swine that he has been drawing for sixteen years and now appears in 750 newspapers worldwide. The lawyer turned cartoonist’s latest book is Pearls Hogs The Road: A Pearls Before Swine Treasury. He is also the author of the Timmy Failure books that are now going to be turned into a movie by Disney. His characters Rat, Pig, Goat, Guard Duck, The Crocs, and many others are irreverent and funny. Judging by the very large crowd that gathered at the Brookline Booksmith in Coolidge Corner, MA to watch him give a presentation and do a book signing he is extremely popular, and that popularity extends to all age groups. I had a chance to speak with Mr. Pastis before his appearance.
“I think most (cartoonists) have a background in art. I don’t have any and I think that’s probably unusual.”
I begin by asking him if he is self-taught, he replies “Yes. Well, I don’t know what school you would go to for cartooning, but I didn’t. I think most (cartoonists) have a background in art. I don’t have any and I think that’s probably unusual.”
Mr. Pastis started drawing as a kid. He tells me, “I guess we all draw at a certain age.” When I ask him if he was good at it he responds, “I was never really good at it. I still don’t see myself as very good at it. I really struggle with the art, and I think the only reason I have a career is because of the writing. If it was because of the art I’d be in trouble.”
With a character like Rat leading the cast in Pearls I ask if many people take offense to his work. “Yeah, for sure. They’re rare, maybe one out of a hundred, but they’re certainly the most fun.”
Later in the evening I find out just how much fun he has with them. During the presentation, he gives examples of messages he has received from people and organizations that were not happy with a particular strip. These range from the International Polka Association to the Turkish Embassy. In true Rat like manner he has an answer for all of them. And his responses are all hilarious. For example, in an apology his publishers drafted for the Turkish Embassy the Greek American Pastis, he ask that they add a P.S. asking that Turkey give Cyprus back. Guard Duck may have to work on that one.
Drawing a comic strip that appears seven days a week has to be a daunting task. I ask if he writes one a day. “Two days a week I do three, two days a week I do two, Monday through Thursday. I’m six months ahead. Probably five and a half when I get home (from the book tour) which makes me scared.”
Writer’s block can be a problem but it never slows Mr. Pastis down. He tells me “…if that happens I switch to something else. Promotional stuff, or Timmy, or the movie I’m working on. I always have some other project I can go to. Just not being able to write doesn’t stop the train entirely.”
Before he had a career as a cartoonist he got to meet Charles Schulz. When he quit being a lawyer he took a part time job at the Schulz Museum where he helped them with their licensing. Eventually, he went onto the board of the museum. Mr. Pastis tells me, “…I wrote the first animated special made without Charles Schulz called Happiness Is A Warm Blanket Charlie Brown.”
Our conversation turns back to Pearls Before Swine and I ask, “Is Rat you?” Mr. Pastis tells me, “Yeah, they’re all me. I think Rat is more me than the others, but they’re all me.” How old is Rat? “I’ve never really said. He doesn’t have an age. None of them do.”
As to how he decides what characters to use each day, “I don’t really think about that. I’ll look back on a time when I do nothing but Rat. It’s probably a time when I’m angrier and more stressed, and then when I’m vulnerable and fail at something I imagine Pig predominates more.
”I’ll look back on a time when I do nothing but Rat. It’s probably a time when I’m angrier and more stressed…”
The Crocs, which are almost a whole different comic strip just came to Mr. Pastis one night. He says, “It was just a weird middle of the night idea that struck me as funny.” Fortunately, he keeps a pad and pen by his bedside so he is able to save these ideas.
Often times in the strip one or a number of the characters will confront Mr. Pastis and get on his case. This leads me to ask if there is some self-loathing going on? At this he shouts over to his publicist who is in the room with us, “Tracy, Do I have some self-loathing going on?” Tracy laughs and responds, “With good reason.” Pastis says, “It’s fun to have them make fun of you.”
He goes on to tell me something I had not thought of but when he says it I have to agree, “People don’t want to see a strip where people succeed. They want to see losers. They want to look down on them. All comic strips are created on losers. Calvin, Peanuts, Bloom County, Doonesbury.”
Before becoming successful as a cartoonist Mr. Pastis had a career in law. When I ask about it he responds rapid fire, “Yeah, ten years. Litigation. San Francisco. Insurance defense. Never liked it. Bad job. Don’t do it.” He then laughs and says, “I’d like to see how that prints…like ten two word sentences all in a row.” Sounds like a man who enjoys words.
“Take two stick figures, totally unadorned art, three panels, and see if you can make somebody who doesn’t necessarily like you laugh.”
His advice for aspiring cartoonists? “Take two stick figures, totally unadorned art, three panels, and see if you can make somebody who doesn’t necessarily like you laugh. So, don’t show it to your mom. Don’t show it to your best friend. Coworkers are good. Stick figures make it so you don’t rely on the art. It will prove whether or not you can write funny. If you can make that coworker laugh three out of ten times you have a hit. It’s harder than it sounds.”
As I wind up my conversation with the very interesting and talented Stephan Pastis I ask if there is anything he would like to add. Referring to recent Pearls strips where his wife has thrown him out of the house leading many readers to wonder if he was getting a divorce he says, “I’m still married. People always ask that question.” He adds, “I do these Timmy Failure Books which most people know is a series of middle grade books. I’m on the sixth volume. It’s being turned into a movie. Disney bought it.”
Millions of readers look forward to reading Pearls Before Swine each day. I have to admit, I am not a big follower of the comics, but I am one of those people. Once you start you will not be able to stop. If you have the chance to see Stephan Pastis in person I urge you to do so. He is not only a talented cartoonist, but he is also a very, very funny speaker. Rat may take issue with that statement, but that just might be a case of that self-loathing.
Stephan Pastis’s latest book, Pearls Hogs The Road: A Pearls Before Swine Treasury, is published by Andrews McMeel Publishing.
The Ogunquit Playhouse kicks off its 85th Anniversary Season with the international smash hit Mamma Mia!, dazzling audiences on stage from May 17 to July 1. Over sixty million people from around the globe have fallen in love with the characters, the enchanting story and ABBA’s timeless music which makes Mamma Mia! the ultimate feel-good show! This sunny, funny, international sensation unfolds on a Greek island paradise when on the eve of her wedding, a young woman’s quest to discover the identity of her father brings three men from her mother’s past back to the island they last visited twenty years ago. Non-stop laughs and explosive dance numbers, along with the magic of ABBA’s hit songs that include “Super Trouper,” “Dancing Queen,” “Knowing Me, Knowing You,” “Take a Chance on Me,” “Thank You for the Music,” “Money, Money, Money,” “The Winner Takes It All,” and “SOS,” combine to make this enchanting show a trip down the aisle you’ll never forget!
A cast of Broadway veterans will headline the show including Kate Chapman, Jodie Langel, Angie Schworer, David Engel, Fred Inkley, and star of stage and screen Patrick Cassidy.
Starring as Donna is Jodie Langel, who is making her Ogunquit Playhouse debut. Langel has performed on Broadway and National Tours as Cosette in Les Miserables, as the youngest ever Grizabella in CATS, and as the Narrator in Joseph and the Amazing Technicolor Dreamcoat. Her many regional theatre credits include Evita as Eva Peron, and Funny Girl as Fanny.
Angie Schworer returns to the Ogunquit Playhouse to star as Tonya. Schworer was last on the Ogunquit stage as Roxie in 2010’s Chicago and as Irene in 2007’s Crazy for You. On Broadway, Schworer has appeared alongside Matthew Broderick and Nathan Lane as Ulla in The Producers, and received an Astaire Award nomination for her performance in Catch Me if You Can. She’s been seen on television in “Law and Order,” “CSI,” “As The World Turns,” and “Smash.” She has also appeared in the film version of The Producers.
Starring as Rosie is Kate Chapman, who hails from Broadway to make her Ogunquit Playhouse debut. Most recently, Chapman starred in the cast of Mary Poppins on Broadway, and was a part of the original 2006 revival cast of Les Miserables. Chapman starred as Ms. Claus for five seasons on the Radio City Christmas Spectacular, and was a part of the ensemble in the films Chicago and Nine.
Briana Rapa is making her Ogunquit Playhouse debut as Sophie, following her international tour as Belle in Disney’s Beauty and the Beast.
Patrick Cassidy
Star of stage and screen, Patrick Cassidy makes his Ogunquit Playhouse debut as Sam. A veteran of Broadway, film and television, Cassidy most recently appeared in A Little Night Music at A.C.T. in San Francisco and starred opposite Patti Lupone in Annie Get Your Gun. He also had the honor of recreating the role his father, Jack Cassidy, originated on Broadway in the Dallas Theater Center’s production of It’s a Bird It’s a Plane It’s Superman. Cassidy won the 2002 National Broadway Theatre Award for Best Actor for his performance in Elton John’s Aida, and was nominated for an Emmy for his performance on the TV Miniseries “Dress Grey.” In addition to his lauded performance as Julian Marsh in 42nd Street, Cassidy originated the role of Balladeer in Stephen Sondheim’s Assassins at Playwright Horizons, and appeared in Lady in the Dark at City Center’s Encores! On television, Cassidy has guest starred on “Law & Order SVU,” “Castle,” “Crossing Jordan,” “Without a Trace,” “According to Jim,” “CSI Miami,” and “ER,” among many others.
Returning to the Ogunquit Playhouse to star as Harry is David Engel, who was last seen at the Playhouse as Gomez in the 2014 hit, The Addams Family. Engel most recently appeared on Broadway in Putting It Together and Seussical, as well as the original production of La Cage aux Folles. Engel created the role of Smudge in the original New York production of Forever Plaid, and again in Plaid Tidings and Forever Plaid: The Movie. In addition to his work on the stage, Engel shared an on-screen romance with RuPaul in the award winning musical short film Zombie Prom.
Fred Inkley stars as Bill in his Ogunquit Playhouse debut after his lauded tenure as Valjean in Broadway’s Les Miserables. Inkley received a Helen Hayes and Jeff Awards nomination for his performance as Beast in Disney’s Beauty and the Beast, as well as a Jeff Award nomination for his touring performance as Valjean in Les Miserables. Inkley appeared as a Guest Artist for the Boston Pops in 2013.
BEGINS FRIDAY, MAY 26 AT THE HUNTINGTON THEATRE COMPANY, CALDERWOOD PAVILLION
The Huntington Theatre Company will present the uproarious comedy Ripcord by Pulitzer Prize winner and Boston native David Lindsay-Abaire (Good People, Rabbit Hole) and directed by Jessica Stone (Vanya and Sonya and Masha and Spike). Performances begin Friday, May 26 at the South End / Calderwood Pavilion at the BCA.
“With Ripcord, we welcome back two comedic geniuses to the Huntington: Boston native David Lindsay-Abaire and Jessica Stone,” says Huntington Artistic Director Peter DuBois. “David is among the greatest playwrights ever to come out of the City of Boston and the author of our smash-hit about Southie, Good People. Jessica Stone is a lauded actress and the director of Vanya and Sonia and Masha and Spike. With this kind of genius at work, it is no surprise that this play is laugh-out-loud funny with a truly moving underbelly. It’s The Odd Couple with old women, nursing home shenanigans, and skydiving – what’s not to love?”
In this deliciously inappropriate new comedy, cantankerous Abby is forced to share her room in assisted living with endlessly chipper Marilyn. The two women make a seemingly harmless bet that quickly escalates into a dangerous and hilarious game of one-upmanship, revealing hidden truths that neither wants exposed.
“I’m thrilled to be back in my hometown, and back at the Huntington which has been my theatrical home in Boston,” says playwright David Lindsay-Abaire. “I’m especially excited that Huntington audiences are going to get to see Ripcord, which is another kind of homecoming for me, as it’s a return to my earlier style of playwriting – more overtly comic, outrageous, whimsical, and a little vicious. But most importantly, of all my plays, Ripcord is my mother’s favorite, so I’m happy that she’ll only have to travel a few T stops to see it.”
“I’m so excited to be jumping into the absurd and moving world of David Lindsay-Abaire,” says director Jessica Stone. “The Huntington and Boston both have ties to this artist and his unique perspective. I look forward to creating my own and to the discoveries that follow and to being back at the Huntington where some of my favorite theatrical experiences have taken shape.”
ABOUT THE ARTISTS
The cast includes Nancy E. Carroll (I Was Most Alive with You; Rapture, Blister, Burn; and Good People at the Huntington) as Abby, a short-tempered woman who is determined not to share a room at her assisted living facility. Despite her efforts, she is paired with the gregarious and optimistic Marilyn played by Annie Golden (“Orange is the New Black” and the film Hair). Marilyn’s daughter Colleen is played by Laura Latreille (Ryan Landry’s “M” and Mauritius at the Huntington) and her son-in-law Derek is played by Richard Prioleau (A Raisin in the Sun at Seattle Repertory Theatre). Eric T. Miller (Awake and Sing! at the Huntington) appears as a figure from one of the women’s past, and the young resident aid Scotty is played by Ugo Chukwu (The Bad and the Better at The Amoralists).
David Lindsay-Abaire (Playwright) is a Pulitzer-Prize winning playwright, screenwriter, lyricist, and librettist. His plays Good People and Rabbit Hole have both been produced at the Huntington. Rabbit Hole was honored with the Pulitzer Prize for Drama, five Tony Award nominations, and the Spirit of America Award. Good People premiered on Broadway and received two Tony Award nominations and the 2011 New York Drama Critics Circle Award for Best Play of the Year. Most recently, his production of Ripcord was produced at Manhattan Theatre Club. Other plays include Fuddy Meers, Kimberly Akimbo, Wonder of the World, and A Devil Inside. Mr. Lindsay-Abaire is also a screenwriter, lyricist, and librettist. He has been nominated for a Grammy Award and two Tony Awards (Best Score and Best Book of a Musical) for his work on Shrek the Musical and the Kleban Award as America’s most promising musical theatre lyricist. Mr. Lindsay-Abaire’s screen credits include the film adaptation of Rabbit Hole (starring Nicole Kidman, Academy Award nomination), Rise of the Guardians (Dreamworks), and Oz: The Great and Powerful (Disney).
Jessica Stone (Director) returns to the Huntington after directing Vanya and Sonya and Masha and Spike, based on Nicholas Martin’s Broadway direction. She has worked as an actress on Broadway and Off Broadway, and in television and film, for the last 25 years. She performed in the Huntington’s productions of She Loves Me, Betty’s Summer Vacation, and Springtime for Henry (director Nicholas Martin). Ms. Stone’s directing credits include A Funny Thing Happened on the Way to the Forum (Two River Theater, Williamstown Theatre Festival), 25th Annual Putnam County Spelling Bee (Bucks County Playhouse), Arms and the Man (The Old Globe), Absurd Person Singular (Two River Theater), Charlotte’s Web (TheatreWorksUSA), and June Moon and Last of the Red Hot Lovers (Williamstown Theatre Festival).
The Huntington’s production of Ripcord features scenic design by Tobin Ost (Newsies on Broadway); costume design by Gabriel Berry (Vanya and Sonya and Masha and Spike at the Huntington); lighting design by David J. Weiner (Vanya and Sonya and Masha and Spike, Butley, and Springtime for Henry at the Huntington); sound design and composition by Mark Bennett (A Confederacy of Dunces and Vanya and Sonia and Masha and Spike at the Huntington); and projection design by Lucy Mackinnon (I Was Most Alive with You at the Huntington). Production stage manager is Emily F. McMullen and stage manager is Kevin Schlagle.
The Huntington’s 2016-2017 season is sponsored through the generosity of Sheryl and Gerard Cohen, Carol G. Deane, and J. David Wimberly. The production sponsors for Ripcord are Bette and John Cohen.
The Lyric Stage has announced the cast for Camelot which plays May 19th through June 25th. This fresh new adaptation directed by Spiro Veloudas will feature Ed Hoopman as Arthur, along with Maritza Bostic as Guenevere, and Jared Troilo in the part of Lancelot.
Rory Boyd, Jordan Clark, Garrett Inman, Jeff Marcus, Margarita Bamaris Martinez, Davron S. Monroe, Brad Foster Reinking, and Kira Troilo round out the cast.
This is Spiro’s first work since his recent health issues and we are all looking forward to seeing the Master in action again.
Samuel Beckett’s works are not easy to understand, but don’t let that stop you from seeing it. While they are filled with ambiguity it is fun trying to figure out what the meaning is behind them, or if there is any at all. I have been enjoying Beckett’s plays and novels since I was young and yet I am just beginning to crack the meaning, or what I interpret as the meaning, of some of them. You may wonder how I could possibly enjoy work that is not clear to me. Well, that is the fun in it. While it is difficult it is also fascinating, as well as funny, heartbreaking, soul-searching, and intriguing.
The Commonwealth Shakespeare Company in collaboration with Babson Arts is currently presenting three of Becket’s short plays, Rough For Radio II, The Old Tune, and Krapp’s Last Tape at the Sorenson Center for the Arts in Wellesley. If you have never seen a Samuel Beckett play this is a great opportunity to be introduced to his work.
Ashley Risteen (Stenographer) and Will Lyman (Animator)Photo Credit: Evgenia Eliseeva
With a cast led by Will Lyman (Animator, Gorman, and Krapp), and including Ken Baltin (Fox and Cream), and Ashley Risteen (Stenographer) you couldn’t ask for better talent to present this work. Combine this with the fine direction of James Seymour, and having it set in a very intimate theatre, there are only four rows of seats, and you are in for a special evening of theatre.
Rough For Radio II, which all takes place in silhouette behind a screen is about an artists struggle to dig into his creative spirit. The piece is a conversation between Animator and Stenographer with the voice of Fox that rises up from time to time. It is the most difficult of the three plays to understand but oh so interesting to watch.
Will Lyman (Gorman) and Ken Baltin (Cream)Photo Credit: Evgenia Eliseeva
The Old Tune and Krapp’s Last Tape deal with memories and dealing with getting old, lookingback, and regrets. Will Lyman and Ken Baltin are superb as two old friends who sit at what could be a bus stop and talk about old times. Their memories conflict at times, but memories are very often different from what actually happened. There is something very familiar that comes across when listening to these two.
Krapp’s Last Tape is both disturbing and funny. In typical Beckett fashion there is a bit of slapstick involved. The old banana peel is still good for a laugh. Will Lyman, as Krapp, goes it alone in this piece. Well, not quite alone, he also the voice himself (Krapp) to whom he is listening on tape that he made years before. It is interesting hearing the younger Krapp talking about his regrets and the futility of life yet filled with the energy to push forward in contrast the the older Krapp who is still feeling that same futility but is now tired and appears to have not much hope but is not short on regrets as he makes a new tape. Is it his last tape or just the last one up to that time?
Don’t be afraid of seeing this work. I would advise you not to overthink it. Sit and just let it play out in front of you. Better yet, bring some friends along as you will really enjoy discussing it afterwards. You will be surprised by how much you start to uncover as you talk about it.
Take a shot at Beckett In Brief, you will find it interesting and fun.
So, I have now written a review about three of Samuel Beckett’s plays and I am not even sure I know what the heck I have been talking about. I do know that it was a terrific evening of theatre. I don’t recommend everything I see, as my goal with this column is to get people interested in attending theatre who may have never gone, or who haven’t gone in some time. While this may seem like an unlikely work to recommend for a first time theatre goer I feel comfortable in urging my readers to go. Take a shot at Beckett In Brief, you will find it interesting and fun.
