Category Archives: Stage – all

Miles And Miles Of Texas

Asleep At Wheel Swings In Burlington

Asleep At The Wheel

Presented by The Burlington Community Concert Series

Burlington High School, Fogelberg Performing Arts Center

Friday, June 9th

Reviewed by Bobby Franklin

There was no danger of anyone falling asleep at the wheel after this concert.

Western Swing was alive and well at the Burlington High School on Friday night as Asleep at the Wheel took the stage. From the opening notes of Cherokee Maiden, the near capacity crowd knew they were in for a special night of music.

Led by Ray Benson, who is going into his 48th year of performing, the group focused mainly on their specialty, the music of Bob Wills and The Texas Playboys. Mr. Benson was in fine form, but he wasn’t alone. The eight piece band was an array of solid talent, all of whom made it look easy.

Moving from Miles and Miles of Texas right into the classic Route 66 where Katie Shore got to show us that her amazing talent on the fiddle is matched by her wonderful voice. She was also terrific on I’m An Old Cowhand, I Can’t Give You Anything But Love, and I Hear You Talkin’. She and Ray also teamed up for the Johnny Cash classic Big River.

Katie Shore wasn’t the only fiddle player on the stage. She was joined by Dennis Ludiker who was Texas State Fiddle Champion. Dennis also played mandolin (“The biggest little instrument in the world.”). I believe I saw smoke coming from the instruments when Katie and Dennis tore into Tiger Rag. Mr. Ludiker could reign as champ for as long as he wants to. At one point I thought Dave Sanger’s arms were going to fly off as he hit the drums and State of Texas shaped cymbal.

Steel guitarist Eddie Rivers never disappoints. His solo of the classic Teardrop was just beautiful. Eddie also broke out on sax for the onomatopoeic Choo Choo Ch’Boogie. Which also featured Connor Forsyth on keyboard showing us a fine way to play a Steinway.

Ray took time out to remember Guy Clark who passed away in 2016 by singing his beautiful Dublin Blues. It was a touching moment made more so by such a lovely song.

Of course, it would not have been a Texas Playboy night without San Antonio Rose and Faded Love. Eddie Rivers told me whenever he is feeling low he listens to San Antonio Rose. It certainly is great medicine.

Ray Benson was born to perform.

Over the years band members have changed, and somehow Ray is always able to recruit new and amazing talent. Old hands Ray, Eddie Rivers, and drummer Dave Sanger have to enjoy having the new energy that Katie Shore, Connor Forsyth, Dennis Ludiker, Josh Hoag (bass), and Jay Reynolds (saxaphone and clarinet) bring to the group. While Dave and Jay sat towards the back of the stage their presence was right in the forefront. These guys are good.

Ray Benson Friday In Burlington

No AATW concert is compete without Ray’s very special version of Hotrod Lincoln complete with sound effects and Benson’s juggling. It is such fun. Years ago a friend and former member of the band told me Ray Benson was born to perform. I think of how true that comment was every time I see him.

The concert closed out with the audience on its feet having a blast. House of Blue Lights, one of my favorites, was followed by an encore that included Big Balls In Cow Town and, fittingly, the old Roy Rogers song Happy Trails To You with the crowd singing along. One final tune was the Texas Playboy’s Theme.

There was no danger of anyone falling asleep at the wheel after this concert. I’m sure toes are still tapping. I know mine are.

You’ll Free Fall For This Wonderful Ripcord

Ripcord

The Huntington Theatre Company

Calderwood Pavillion, South End
Through July 2

Reviewed by Bobby Franklin

Abby is living in an assisted living facility. She is cranky, miserable, and has driven out every roommate that has been paired with her. Marilyn, always upbeat with a sunny disposition, is her latest roommate. Abby wants her out and Marilyn will not leave. The two make a bet with the winner to get her way. This leads to the two of them doing some pretty nasty things to each other. Sounds like pretty depressing stuff? Well, it turns out this is one of the funniest plays you will ever see.

You will love this play!
Nancy E. Carroll
(Photo: T. Charles Erickson)

Nancy E. Carroll is perfect as the cantankerous, miserable, and at times cruel Abby who rarely betrays even a hint of a smile. She is also extremely funny. Annie Golden plays Marilyn who is a Pollyanna, always smiling and seeing the good in everything. Oh, she can play hard when it comes to fighting back against Abby. Both actors play off of each other perfectly. Add to the mix Scotty (Ugo Chukawa) a health aid and also an aspiring actor, who has to deal with these two terrors. Marilyn’s daughter Colleen (Laura Latreille) and son-in-law Derek (Richard Prioleau)  are apples that haven’t fallen far from the tree and you end up with a fast paced work with impeccable comedic timing.

This production has added incidental music along with some very fun dance numbers during set changes. I have not seen Ripcord before but I am sure these additions only enhance it. At the performance I attended the audience loved  these additions.

Cast of Ripcord
(Photo: T. Charles Ericson)

I don’t want to go on too much about what happens here as it will spoil the fun for those of you who decide to see it, and you definitely should head over to the Calderwood for this one. I will tease you a bit with a brief list of things that occur. There is a mugging by a very tall rabbit, a trip through a house of horrors, a skydiving adventure, and much, much more. It is amazing how these situations are staged. The set design, effects, and lighting are all incredible. By intermission youl will be wondering how much more could be left to surprise you. Believe me, there is plenty.

Annie Golden
(Photo: T. Charles Erickson)

Ripcord, by David Lindsay-Abaire,and directed by the wonderful Jessica Stone, as well as being funny is also a deeply moving story about two women who are facing the challenges of growing old and dealing with their pasts. Under all of the laughter we are given much to ponder. There is a touching, sad, and even cruel scene where Abby meets her estranged son Benjamin (Eric T. Miller). Marilyn is also a much deeper character than she seems at first glance. There is pain under her happy exterior. It turns out the two women have a lot  in common. Even with all of the laughter you will be deeply moved by this work. This really is, in the end, a very provocative piece that has us deal with what it is like to age and look back on our lives. It is told with, as I have said, much humor. But, it is a work filled with respect and understanding of these very difficult issues.

This has been a great theatre season in Boston. The Huntington, Lyric, and SpeakEasy have all treated us to some wonderful work these past months. Ripcord is a great way to cap this season. You will love this play! Don’t miss it.

huntingtontheatre.org

617.266.0800

Seaglass Performing Arts Ends Season On A High Note

An Evening of Spirituals and Heavenly Broadway

Performed May 6th at Christ Church
Kennebunk
May 7th at Wells High School Performing Arts Center
Wells

Reviewed by Bobby Franklin

Artistic Director Jean Strazdes has once again raised the bar for the wonderful Seaglass Performing Arts Chorale. Closing out the 2016-2017 Season with a program comprised of spirituals that not only contained traditional music but also included tunes from Broadway, Leonard Cohen, and Carly Simon. It was an exciting and interesting mix that worked so well together.

I took in the Sunday performance at Wells High School, and from the opening number, a medley from Sister Act, the audience knew they were in for an afternoon of wonderful music.

When Seaglass performs you not only get to enjoy the music, but Ms Strazdes also gives background into each song along with short biographies of the composers as well as a brief musical history. For instance, I never knew November 29th was Moses Hogan Day, a day to celebrate and perform spirituals in honor of the composer Moses Hogan. For this concert the group performed one of his arrangements, Music Down In My Soul. Mr. Hogan certainly deserves to be remembered.

Other spirituals included Unclouded Day, Didn’t My Lord Deliver Daniel, My Lord What A Morning, and Down In The River To Pray.

Joe would have been happy with this rendition as the group hit it out of the park.

In addition to the selection from Sister Act, Broadway was represented by Sit Down You’re Rockin’ The Boat from Guys and Dolls. Eric Mihan led this song and had the crowd smiling as he moved about the stage. Jean Stradzes read from an original opening night review of the play that compared it with the professionalism of Joe DiMagio. I think Joltin’ Joe would have been happy with this rendition as the group hit it out of the park.

The second act opened with a medley of Nothin’ Gonna Stumble My Feet and the Carly Simon song Let The River Run. Accompanied by a double bass played by Bob Daigle as well as percussion by MaryCarol Kennedy, Stephanie Sanders, and Dianne Smallidge. All were fabulous.

The second act was strong on Broadway tunes with a spiritual flavor. These included Seasons of Love from Rent, Somewhere from West Side Story, and Make Them Hear You from Ragtime. Leonard Cohen’s Hallelujah with soloist Marilyn Stanley was sublime.

Kim Karchenes accompanied on piano and never missed a note. All of the voices were just beautiful. Seagalss Performing Arts is made up of volunteers, but make no mistake, this is no amateur group. They are all serious musicians who take their art seriously. They work hard so we can enjoy this beautiful music and learn about the rich history behind it. If you haven’t attended a performance yet I urge you to take in the next season. You will be enriched by having done so.

www.seaglassperformingarts.org

Cup of Kindness, a story by Len Abram

 

For auld lang syne, my dear, For auld lang syne,
We’ll tak a cup o’ kindness yet, For auld lang syne.

– Robert Burns

Andy McGrath dreaded the call from Aunt Florence. In April, newspapers alerted local New Englanders to the first Red Sox game of the season. With the team world champions at last, the story was often above the fold on the sports page. There was little chance that Aunt Flo in Naples, Florida, missed it.

As they aged, his father’s siblings fled Massachusetts like migratory birds. Florida got two, including Aunt Florence, Arizona two more, and Andy’s father, with his mother, went to North Carolina, a retirement community in Asheville. All except Uncle Jack. Ever since a stroke a decade ago, he was in elderly housing outside of Great Barrington in the Berkshires. He was a retired school principal, a widower with two kids settled in Michigan and Nevada. Except for Andy, he was the last of the family in their home state.

Twice a year, fall and spring, Andy’s parents made sure they visited Uncle Jack. In their absence, Flo appointed Andy delegate. Andy complained to his wife about the choice. He was always busy. The drive was long, about six hours round trip, and once there, he had little in common with his uncle. Andy carried a calendar binder, fluttering with post-its like little yellow wings, his cell phone going off into the evening. He had expanded his father’s insurance company and competed against the big guys, as he called them, with personal service.

Success had its price, he often told his family, and the price was time.

Success had its price, he often told his family, and the price was time.
Aunt Flo called twice. “Andrew, call me back. Uncle Jack,” was her message, with unconscious rhyme. He knew her shaky voice, which sometimes rose to a shout to bridge the distance. She was well over 90, the oldest of the family, an exile from snow-belt Worcester. Along with a husband in nursing home nearby, she had kids, retired themselves. For years, she wintered in Florida, escaping frosted windows and glazed sidewalks. Now she stayed year round in Gatorland, as she called it with mild contempt. She missed New England. Its stony soil was part of family history.

“You let me know how he is,” she said when he called. “He don’t sound so great.” She corrected herself. “Since the shock, it’s hard to know.”

“Why is the April visit so important? Opening day for the Red Sox?,” asked Andy.
“Something to do with the war. That’s what he said. We learned never to ask after that.”
“Weren’t you curious about what sets him off?”
“Jack’s had a tendency toward sadness, depression, whatever you call it, since a kid. It’s his nature.” “So no one really knows.”

“He’s private about his life, although kind hearted. He loaned your father the money to start the insurance agency.”

“Really? Dad never told me.”

“In World War II, Jack was in the Army and your Dad, the Navy. Do you know, Jack was supposed to go to Normandy, the invasion, but broke his leg? After the war, all those boys came back restless.

The war took years from them and worse.

The war took years from them and worse. Jack went to college on the GI Bill.

“Your father wanted to go into business right away. Selling insurance was fine after three years on an aircraft carrier. Your father paid him back, no interest of course.”

“We did go up to see Jack this Thanksgiving,” said Andy. “Liz and I took Gerry, our teenager. Turkey at the Red Robin Inn in Stockbridge.”

“How nice. Jack loves kids. Too bad his own and the grandkids live so far.”

“And the last time Dad and Mom went up, in April, “added Andy, “I tagged along. I hadn’t seen Uncle Jack in years.”

“How was he then?”

“He seemed sad. We cheered him up some. Hard to tell because Dad told him about North Carolina. They said goodbye like it was the last time.”

“I wish I was nearer,” said Flo. “Why April and baseball make him sad, like I said, I don’t know. Especially now, World champions. Reason not the need, somebody said.”

Andy looked through his calendar. He complained again to Liz about the long drive. He mentioned the beige bottles of pills on Uncle Jack’s nightstand that seemed to reproduce themselves, there were so many. Liz said, “Andy, there are couple on your dresser too. Honey, you’re afraid of growing old. We all are.”

Andy left on a bright Saturday morning. He listened to radio shows about the economy and gardening on the ride up. With traffic light, he made good time. Spring in the Berkshires, he noted, is fickle: the winds from the mountains, gullies still packed with snow, feel like winter, but the sun warmed the car like a greenhouse. Andy stopped at the senior center gate and signed in for the day. Uncle Jack lived in a complex of one bedroom, assisted living apartments, with ramps up to the front door. Uncle Jack called it assistant living since he depended on a large Haitian woman, Matilde, called Mattie, to look after him a few hours a day. Mattie helped Jack get ready and then left for the day.

Uncle Jack had a new blue walker with hand brakes, a basket, and a seat when he got tired. Jack maneuvered himself into the car, while Andy put the walker in the trunk. Jack spoke carefully, making sure his mouth made the sound his mind commanded. When he walked with a cane, he pulled his left side along to keep up with the rest of his body.

They drove to Stockbridge, through the street made famous by Norman Rockwell paintings, and ate at an American restaurant; the area was full of Asian or continental restaurants for the summer crowds, but this one served one of Uncle Jack’s favorites: franks and beans, brown bread, coleslaw, hot mustard, and beer. Andy cut up his own franks first and exchanged dishes with Jack. They didn’t talk while they ate. Uncle Jack had a hard enough time chewing and swallowing. There was a large TV over the bar with 24-hour news. The diners paid little attention to the catastrophes and politics in the background.

On the way back, Jack handed Andy a list of things he needed. While Jack waited, Andy stopped at the hardware store to get a new shade for the bedroom. He next went to the grocery. Jack liked canned soups, special ones with less salt. Andy added a large bag of popcorn, a half gallon of harlequin ice cream and a large bottle of Coke. He wouldn’t take any money from Jack, who protested.

“I really don’t like it when you pay. Take this,” Jack said, putting a bill in his hand. “You’re good boy, Andy.” “Uncle Jack, you’re the last person on the planet who thinks I’m a boy.”

They laughed. Andy wedged the ice cream into the Jack’s small freezer, poured the Cokes, and opened the popcorn. They watched a baseball game and snacked. The Sox were not playing, so they watched another team, Baltimore.

Around the sixth inning, Andy prepared his exit. He was feeling good. He had cheered the old man up, it seemed, and could report so to Flo and his parents. The sun was setting through the living room window, the rays sliced by the venetian blinds. He was about to look at his watch, say how quick the afternoon had gone, and mention the three hour ride back to Arlington, until Uncle Jack spoke.

“Andy. I appreciate you coming up here. And your family for Thanksgiving. It gets a little lonely out here. I’d be mad as hell at winter if she weren’t so beautiful.”

“Flo always reminds me just in case. She told me about you and Dad in the war.”

“It’s one of the reasons,”said Uncle Jack with a sigh,” I looked forward to seeing you. I’ve been thinking about the war lately, well, more than usual. Something I have to do.”

“Flo said you were hurt in the war.”

“Yes,” said Uncle Jack. “Nothing much. We were training for the invasion. I broke an ankle jumping off the back of a truck in England. In the dark, I didn’t see the drop. May 1944. Maybe saved my life.”

“Why do you say that?”

“Because my unit never got off Omaha beach,” Uncle Jack shook his head. “Most were killed or wounded. Do you know about Normandy?”

“I grew up in the 1950s. We had streets named for Normandy, St. Lo, and Pointe du Hoc.” “Were you in the army, Andy?”
“Low score on the draft lottery. No, sir.”
“Have you seen this movie? Saving Ryan?”

“Saving Private Ryan, Uncle Jack? Yes.” said Andy.
“Sorry. Private. Yes. Lots of vets here went to see it. I didn’t. They had nightmares. A few weeks ago, it was on the TV. I stayed up and watched. I couldn’t sleep neither.”

Andy surprised himself with the intrusion: “You mind my asking? The battle was in June. Why is April hard on you?”

Uncle Jack took his time. He pointed to pictures on the living room table. Among the family photos was one of a young Uncle Jack in Stuttgart, Germany, an MP in front of rubble. The date was October 1945. A larger picture showed a dozen soldiers in fatigues, rifles and gear. They looked exhausted. The names were in small white letters under each man. The date was February 1944. Andy had seen the picture before, he realized. He had just not wondered how many were alive after June.

Uncle Jack was up and pointing at this picture. In the center of the soldiers was a tall, lean soldier with long, powerful arms and an assuring smile.

“That’s Earl Royce. The best baseball player I ever saw. I went to grade school with Earl,” said Uncle Jack, joining Andy at the table. “When the family lived near Orient Heights in East Boston. I liked to play ball too, fancied myself a pitcher. Earl of course could play everything.

“Even as kids, we loved to watch him. He practiced hitting until his hands bled. The tips of his fingers were as hard as knobs on a bureau. He ran bases after practice until dark. He had great eyesight too. Something like an eagle’s, they said. He could get a piece of any fast ball. They compared him to the great Ted Williams.

“He played one season with a farm club for the Red Sox, in Pennsylvania. The Class A Scranton Red Sox. He got called up to the Boston Red Sox in June 1943, around when he got his draft notice. I got mine too. I went down to Fenway Park to see that one game. He came up to the third base line to talk between innings. He flied out once, a single and a double, as I remember. Two hits at Fenway Park. First time. He’d made it to the big leagues.

“A few weeks later, we went into the Army and basic training at Fort Devens, up in Ayer. We were on the same Liberty ship to England, where we trained more. By the way, with that eyesight, Earl was a great marksman,” said Uncle Jack, chuckling. “I made money betting on his shooting.

“It’s hard to explain. The closeness of a combat unit.

Except for the enemy, these guys might be the last we’d see or would see us.

Except for the enemy, these guys might be the last we’d see or would see us.We practiced night and day. Earl was used to hard training and took it in stride. I struggled. One exercise, we landed on the English coast. I stepped off the landing craft into a wave and seven foot of water and started going to the bottom. Felt like I swallowed half the North Sea. Earl grabbed my belt and dragged me to shore. Many, many guys drowned.”

“I remember the opening scene of the movie. That happened too,” said Andy.

“I made up my mind that I’d back Earl up the way he looked out for me. And there I was in the barracks on D-Day where they left me, with my crutches and cast. I thought I’d feel relief, but I felt I let my buddies down.”

“What happened to them, the guys and Earl?”

“At Normandy? When the ramp of the Higgins boat dropped on the beach, a German machine gunner on a hill raked the boat; out of 36 men, nine lived, wounded. Eddie Talbot and I were the only ones in that picture to survive the war.

“Andy, I know you got to get going. One more favor: in that closet there, check the top shelf. Cardboard box with ‘Royce, E.’ on the side.”

Andy took the box down with the faded stencil and put it on the coffee table. His finger tips were plastered with dust.

“I stayed in touch with Earl’s folks,” said Uncle Jack.”When they died, they left the carton to me. I’d hate to see this tossed out if something happened to me. I want you and Liz to take it.”

Andy opened the box and peeled away crumpled yellowed newspapers. He took out a sheet of cardboard covered in waxed paper and found a small burlap bag. In it, cracked and flattened was a Rawlings Playmakers Fielder’s glove, 1940.

“Not much padding,” said Andy pushing his hand into the stiff leather. “In fact, none.”

“No webbing between the fingers either,” said Uncle Jack. “Earl oiled this glove every couple of days.”

Stacked below the Rawlings were years of yellowed clippings, covering Royce’s baseball excellence, as high schooler, amateur and professional. From the 1943 Boston Herald, Royce’s parents had circled the praise of a sports writer about Earl’s first appearance as a Boston Red Sox. In the bottom of the carton, Andy also felt a round object.

“What’s this? A baseball?” he asked.

Andy unwrapped an 8-ounce glass jar of Maxwell House instant coffee, with a rusty metal lid. It looked like sawdust inside.

“Earl told me,” said Uncle Jack, sitting down, out of breath. “He scooped a cup of Fenway Park dirt before he left the field. Figured he’d always have that.”

Andy got home late, with the box on the seat beside him. He told Liz about the visit and showed Gerry the glove. Liz sealed the newspaper articles and the baseball glove in plastic bags and repacked the box, which Andy put in the den. He showed Liz the jar of dirt from Fenway.

“This reminds me. Right after the Sox won the World Series,” said Liz, “people visited graves with pennants and hats to celebrate the victory with fans, long gone. And Earl Royce never saw them win it either.”

Andy was back at work the next day and from there called Aunt Flo and his father to let them know about Uncle Jack. His father remembered Earl Royce some, but not Aunt Flo. When Andy called Uncle Jack later that morning, Mattie told him that Jack was still sleeping. All the talking wore him out.

One evening, Andy read through all the Earl Royce clippings, some of them flaking into dust. He decided to copy them all on the office printer before they disintegrated further. Then he put the originals back into the plastic bags and stored the box in the front hall closet. Andy had saddle soap for his winter boots. With a soft cloth, he cleaned and polished Royce’s fielder’s glove until it shone.

Andy got busier at work. He kept his current clients and then added a builder with 25 employees. His company provided all kinds of insurance and services for them, including annuities and even dental. Andy had teamed with a national financial services company, which lent him a web user interface for his customers under the McGrath logo, Personal Service. The extra income would come in handy. Gerry was looking at colleges.

Andy called Uncle Jack every week. One weekend in August, Liz and he took Gerry to look at schools in the western part of the state. They had lunch with Jack at the Red Robin Inn and took Mattie along. They talked about the Red Sox making another bid for the pennant and the cool summer they were having in spite of global warming. Neither mentioned Earl Royce or the box in Andy’s closet.

In September, Liz asked Andy to go with her to their HMO. She had had a second mammogram to confirm what the first discovered, a small mass on her left breast. Liz was a nurse, and worked at an elementary school nearby. She knew not to get too worried about a biopsy. The size of a pea, that’s what the doctor said, more likely a calcification, and not a tumor, but if a tumor, more likely benign. Andy caught himself looking at his wife the way he appraised a car or property. She was hardly ever sick and played tennis with women half her age. She could still fit into her clothes from a decade ago. She quit smoking when she got pregnant with Gerry. It was hard for him to think of her ill – and she wasn’t yet, she reminded him.

She cried when they got the diagnosis. He nearly did too. They contained their fears at home not to spook their son. Andy went with Liz to the surgeon, Dr. Lessing, a tall handsome man with a thatch of white hair. He could have stepped out of a hospital brochure. Dr. Lessing operated on Liz week later, the tumor itself and the nearest lymph nodes. He stopped by the waiting room to tell Andy that the lymph nodes looked good, but Liz needed further therapy. Her prognosis was excellent.

“Statistics,” said Dr. Lessing, shaking Andy’s hand again. ”Radiation improves outcome. We just have to check the margins.”

“What that?” asked Andy.
“We look around the tumor for bad cells. We keep at it until they’re gone.”

Liz had two follow-up surgeries before the margins were clear. She was sore around the incisions and her left arm was swollen, but she went back to work. By November, she was ready for the radiation, 30 treatments, the target area tattooed with plus signs by Dr. Lessing. Andy called Uncle Jack to let him know that his family would not visit this Thanksgiving, but he would drive up to see him, as it turned out, for Veterans Day. Liz insisted that he go and sent Uncle Jack a pie she baked.

After lunch, Andy and Uncle Jack went back to Uncle Jack’s home for coffee and Liz’s apple pie. Andy talked about Liz’s recovery and treatment. Jack’s wife had not done so well with the cancer, but that was many years ago, he explained, where treatment had improved so much. Andy changed the subject back to Earl Royce.

He didn’t realize that his son Gerry would take such interest in Earl Royce, his career and life. Gerry, now 16 and as tall as Andy, had been a Red Sox fan for years and played center field for the Arlington High baseball team. He batted .310 last season. Andy discovered that Gerry had placed Earl Royce’s mitt, in its plastic bag, on his bureau. Somewhere on the Internet, the boy had also found a newspaper picture of Earl Royce in a Scranton Red Sox uniform. Andy gave Uncle Jack a copy.

Uncle Jack remembered more details about Earl Royce. He had a girlfriend, Marie Aubuchon. They were engaged or going to get engaged before Earl went overseas. Jack thought he remembered a ring Earl had given her, a diamond chip lost in its setting. After the war, Marie married a returning vet, a guy in the neighborhood, and had lots of kids. They moved out west later, California maybe. Then he lost touch with her.

“I’ll be back in April, Uncle Jack,” said Andy.
“You thank Liz and Gerry for me. And you are a good boy, Andy.”

On the way back, Andy thought about his father’s generation, Uncle Jack, Earl Royce, and the girl who loved him. He also thought about Liz, about a way to celebrate the end of her treatment. When he got home, he suggested a party, for Christmas or New Year’s. Liz had another idea.

“Paris. Never been there and always wanted to. Paris for New Year’s.” “Paris? What about Christmas? We always have it here,” said Andy.

“We’ll leave the day after Christmas and be back in time for Gerry’s school. It’s just four or five days. Andy, I’ve been through a lot.” Liz stopped, and then she finished her sentence.

“Not as much as some, but a lot. Please make it happen.”

Right there, Andy called their travel agent and left phone mail about a trip for three.

“Thanks,” she said. “Very nice of you not to bring up work, the exchange rate, the long flight, and any other reason not to go. Sometimes,” she smiled at him, “you just have to go.”

“Of course,” he said. He always was amazed of how well she knew him. “And another thing.”
“Yes, Liz?”
“Earl Royce. You and Gerry can visit him in Normandy.”

As usual, Liz packed for them all. Along with books about visiting France, Liz noticed Andy reading about World War II and the Normandy battle and taking notes on an index card. It was cold in Paris, Gerry informed them. He calculated from Centigrade to Fahrenheit for them. He also asked if he could bring his Red Sox World Series Pennant and Earl’s glove for visiting the grave. They could not leave anything like a pennant, said a guide book. It was against cemetery rules.

Andy called Uncle Jack about the trip. He said, “Say hello for me, Andy,” and hung up.

The day after Christmas they left, flying out of Boston. They planned their trip on the plane, while Gerry watched a movie on Andy’s laptop. Their hotel was in Montmartre, with a large down feather bed for them and a cot for Gerry, to sleep off their jet lag. The windows ran from the floor to the ceiling and looked out onto a courtyard with shrubs and white stone chips raked into swirls.

For two days, they walked the city, back and forth across the Seine, and covered every open museum. They ate large breakfasts with the hotel restaurant half empty, so close to Christmas. They enjoyed the solitude of the city on holiday. They snacked during the afternoon, but at night found a bistro or restaurant for a full meal. One night they caught an American movie, Gerry’s choice, with French subtitles. Liz left Andy and Gerry for shopping by herself one evening. She’d shop more while Gerry and Andy went to Normandy.

For December 31, their last full day in France, Andy made reservations for a van with a driver, also their guide, to the Normandy beaches and the American Cemetery at Colleville-Sur-Mer. With any luck, they’d be back to share New Year’s Eve with Liz. The family went to bed earlier, although Andy never slept well away from home and was restless.

He woke with one ring from the hotel operator. It was still dark. He saw a sliver of light under the bathroom door and heard Liz in the shower. She came out in her robe, drying her hair.

“Why are you up? Aren’t you shopping along the Champs-Elysees today? “

“I decided to go with you,” she said. “I can shop at the airport. Besides, the van has room. Let’s wake Gerry. He’s sure to be hungry. Always is.”

The van, with seats for eight, had only five, Andy, Liz and Gerry, along with a couple from Toledo, Ohio, Bert and Adele Pellegrini. The last seat was empty. Gerry sprawled there with his backpack for a pillow. The two couples introduced themselves, as did Henri, the driver and guide.

“Il faut du vent, par grand vent,” said Henri. “Normandy is very windy. It is also raining. Conditions are not good, but we will see much. We’ll be there in about three hours, with a few stops.”

Once they slipped Paris traffic and the sun was up, Andy saw the countryside stretch out, winter brown fields, light industry, power plants, orchards and rivers. Gerry was sleeping. Liz nodded off too, something she did often since her treatment. Andy rolled up his extra sweater and put it under her head. The van stopped in the city Caen and the group visited its war museum, and then continued toward the beaches and the cemetery.

“It looks pretty new around here. I mean newer,” said Gerry from the back.

“Much of Caen was destroyed and rebuilt,” said the guide. “Thousands of civilians killed. The British and Canadians fought the Germans here, but the Americans were held back. The hedges, we will see. ”

The windshield wipers worked hard to keep the view from smearing. The Normandy dairy farms were green even in winter, with black-and-white cattle as large as sheds. They grazed, swishing their tails against the annoying rain. Farmers in rubber boots and slickers drove tractors, making furrows in fields for winter wheat, Andy guessed.

Andy smelled the sea first and tapped Liz on the arm. “We’re here,” he said. He was glad she decided to come.

“The hedgerows and sunken roads you see were not far from the beach,” said the guide.”The Germans took away the farmers for factory work. No one cut the hedges. Some grew to two or three meters thick and even five meters high. They became fortifications for the defenders. In July, after more than a month, the Americans broke out. There are 9,378 at the Cemetery, but three times that died to liberate Normandy.”

The parking lot ahead of them was nearly empty because of the holiday and weather. Henri parked under an apple tree bent back by the wind. He marched the group toward the Cemetery. When they saw the expanse of blue ocean and beige beach, they stopped.

Henri spoke above the wind. “Attendez. No cover for hundreds of meters for the soldiers.”

They turned to follow him down a chipped set of stairs into a German bunker, covered with grass and bushes with shell craters on either side. The wind howled through cement casements. The floor was slick and the walls had decades of graffiti. Andy grabbed a rusted rebar for balance and held Liz’s hand. The Pellegrinis held onto each other. Gerry was moving around the enclosed area taking pictures. The group took turns looking out of the firing slit. Its field of fire was the beach.

“One machine gunner fired 12,000 rounds that day,” said Henri.

Henri walked the group out of the bunker, down the path to the gate for the American Cemetery. He stopped.

“By the evening of June 6,” Henri concluded, “the Americans fought to where you are standing. The people of France gave this land to the American people. Down that path, you will find the office for the Cemetery. Stay as long as you like. But I would like to get back in Paris before New Year’s.“

The Pellegrinis, their second time at the Cemetery, already knew where they were going and left. Andy and Liz walked toward the office. Gerry was up ahead with the camera. On either side of the path were rows and rows of Latin crosses, along with Jewish stars. “I’m getting cold,” said Liz. “Let’s find Earl soon.”

They warmed up in the office. The person behind the desk gave them a map and circled where to find the grave of Private Earl Royce. It was a nice spot, she said, and not too far.

“Are you up for this, Liz? You can stay in the office. We’ll take a picture for you.”

“I’m fine, Andy. My arm gets sore if I walk a lot. You know, I can’t shake this feeling that I am meeting a living person after hearing about him for so long. Strange.”

Gerry walked ahead of them snapping pictures. “Gerry, wait up,” said Andy. “We take a right here. It’s at the edge of the cemetery.”

Gerry hadn’t said much since the bunker.
Andy jogged up to his son. “How are feeling?” asked Andy. “OK. It’s a lot, Dad. All these people.”
“Yes, it’s a lot. You’re right.”

Gerry opened his backpack. He took out Earl’s baseball mitt and slipped his hand into it. He hit the pocket with his fist to open it up. With his other hand, he reached into his backpack for the Red Sox Pennant. Then he shouldered the pack.

Earl’s grave was at the end of a row, close enough to the beach to hear the tide coming in. The three of them stood around the cross.

“He was only 19,” said Liz.

“What do we do next?” asked Gerry.

“Just tell him about the Sox, sweetie,” said Liz.

“It feels weird. He’s not really here, is he?” asked Gerry.

“We don’t know that, for sure,” said Andy. “Something of him is. We know why we are here. I think that’s enough.”

Gerry leaned the pennant against the cross and held the glove up.

“Private Earl Royce, 16th Infantry Regiment, 1st Division,” Gerry read off the cross. “This pennant means that your team, the Boston Red Sox, won the World Series. It took a long time. And this here is your glove. I will always keep it and tell folks you were a great player and what you did here. That’s all.”

Liz hugged Gerry. “Nice job, son.” She turned to Andy. “One thing more: we should leave this,” said Liz.

She opened her purse and handed Andy a plastic bag. In it was the jar of dirt Earl Royce collected from Fenway Park.

“What good is it doing in our closet?” Liz asked.

Andy pocketed the bag and gripped the jar. The lid was rusted shut. Andy’s face reddened as he tried to twist off the lid. The light rain did not help his grasp. Liz and Gerry tried too. Andy finally took it back. He knelt on the grass and tapped the lid of the jar lightly on the base of the cross. Then again. The old glass split like a diamond, scattering the dirt. Andy scooped as much as he could in the wind.

“Your hand, Andy,” said Liz.

He nicked his palm on the broken jar and hadn’t noticed. Andy wrapped it in his handkerchief, its white blotched red.

“Dad, you’re wounded,” said Gerry. The three looked at each other, wet and cold, and laughed.

“I hear Earl had a great sense of humor,” said Andy.

Liz got down to help Andy spread the rest of the dirt on the grave. In the rain, the dirt washed away.

Andy got up and took an index card from his jacket pocket. He noticed Gerry standing at attention. He and Liz did too.

“Earl,” said Andy, “your friend Jack McGrath from East Boston says hello. He remembers you to this day. Your parents missed you the rest of their lives. They were always proud of your accomplishments and character. Marie Aubuchon, your girlfriend, after the war, she got married. She had a big family. She named her first son after you.

“You helped win the battle, Earl. Others took this hill. But you and your unit led them to it.

“History and this war stepped in front of your generation, the way the Civil War must have stepped in front of Lincoln’s. It’s not something ordinary people in democracies want – to face dangers for principles.

“There you were – on your way to play baseball, or fix cars, or teach kids, or sell insurance –” “Or get married,” added Liz.

“Yes, get married and watch your kids grow,” said Andy. “The normal things. History interrupted all that and brought you here.

“And you never left. This is what I learned today: Your life stopped so we could go on with ours.

“Thanks, Earl, and to all you others, from us citizens, well done.”

On the ride back to Paris, Henri put the heat and the air conditioner on high to dry their jackets and shoes and warm them up. In the van first aid kit, Liz found Andy peroxide and a band aid for his hand. Andy, Liz and Gerry sat wedged on the back seat. Gerry sat between them with his camera on to show the pictures he had taken that day. Uncle Jack would love to see them, thought Andy. He’d visit his uncle the first weekend after they got back.

The Pellegrinis used their cell phone to wish their family back home a Happy New Year. Andy realized that he had left his own cell back at the hotel. Bert Pellegrini had not noticed that Paris was about six hours ahead of Ohio, where it was mid-afternoon, December 31, but he wished them a good year anyway.

At a rest stop an hour from Paris, Andy bought a bottle of champagne with enough plastic cups for the group, Gerry too. Even Henri, had a little, un peu, s’il vous plait. On the radio, Henri found the BBC playing traditional New Year’s music. Along with the singers and bagpipes, the group joined in with “Auld Lang Syne.” Ahead of them were the lights of Paris. They lifted their plastic cups to toast the newest year.

[Originally published in Final Fenway Fiction, edited by Adam Pachter, 2012, available on Amazon and through other booksellers]

Camelot at the Lyric Stage

A Bright Shining Moment 

Camelot

Directed by Spiro Veloudos

The Lyric Stage, Boston

Through June 25th

Reviewed by Bobby Franklin

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

Abba Dabba Do!

Mamma Mia! Is Great Fun In Ogunquit!

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

Simply Beautiful

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

Hershey Felder Returns to Hartford Stage in Our Great Tchaikovsky

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.

hartfordstage.org     Box Office: 860-527-5151

 

The International Hit Sensation Mamma Mia! Kicks off the Ogunquit Playhouse’s 85th Anniversary Season

Runs From May 17th through July 1st

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.

Box Office: 207.646.5511

ogunquitplayhouse.org

 

 

HUNTINGTON THEATRE COMPANY PRESENTS THE COMEDY RIPCORD BY DAVID LINDSAY-ABAIRE

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.

www.huntingtontheatre.org  Phone: 617.266.0800