Category Archives: Stage – all

Uncomfortable and Very Good

Theater Reviews, , , ,

The Scottsboro Boys

At The Calderwood

SpeakEasy Productions
Boston

Reviewed by Bobby Franklin

The SpeakEasy Stage’s production is as good a one as you will see.

The Scottsboro Boys was John Kander and Fred Ebb’s final collaboration. Mr. Ebb passed away in 2004 and Mr. Kander finished the play on his own. It debuted in 2010. It is a musical about nine young black men, actually boys (the youngest was only thirteen), who, in 1936, were falsely accused of raping two white women in Alabama. It is a tragic and heart wrenching story about a terrible miscarriage of justice and racism.

While the original production received 12 Tony Award nominations, it was greeted with mixed reviews and some protests when it appeared on Broadway.

Wakeem Jones and De'Lon Grant Photo credit: Nile Hawver/Nile Scott Shots
Wakeem Jones and De’Lon Grant
Photo credit: Nile Hawver/Nile Scott Shots

The SpeakEasy Stage’s production is as good a one as you will see. Staging a musical such as this that deals with a true story that is sure to make an audience very uncomfortable has to be difficult; however, everything about Paul Daigneault’s direction is excellent. The sets, the music, the lighting. And that is just what can make this awkward for the audience. A lively musical with many one liners that stings.

Kander and Ebb set this as a minstrel show with some of the roles reversed. You will see such mainstay minstrel characters as Mr. Tambo and Mr. Bones, only in this case they are black men playing grotesque and exaggerated depictions of white characters. Makes you see things from a bit different perspective to say the least.

At no time during the play do you lose sight of the tragic injustice that is taking place.

Yes, this is a musical, and a lively one too with many great tunes and lively dance numbers. This can also lead to much discomfit. I asked some of the cast members after the show if different audiences react in different ways (at the performance I attended most applauded after each number, though I felt it inappropriate to do so.). They told me that some remain silent until the end and applaud when the play is over. At other times they can feel a hesitation before getting a response. This all makes sense in a show such as this where the music is very good and the performers excellent. However, you don’t exactly want to walk out of the theatre humming Electric Chair or Minstrel March. At no time during the play do you lose sight of the tragic injustice that is taking place, and that took place not very far in our past. The solid cast never allows that to happen. All the players are deeply vested in their characters and it shows.

Darrell Morris Jr. and Isaiah Reynolds (Photo Credit:Nile Hawver/Nile Scott Shots)
Darrell Morris Jr. and Isaiah Reynolds (Photo Credit:Nile Hawver/Nile Scott Shots)

Don’t let any of this dissuade you from seeing this fine cast perform on the stage of the Calderwood Pavillon. As usual, the SpeakEasy has assembled a very talented cast that does not disappoint. This is a rare opportunity to see Kander and Ebb’s final work, and we are lucky to have the SpeakEasy that does not shy away from such productions.

Due to popular demand, performances have been extended through November 26.

speakeasystage.com
617.933.8600 At The Calderwood Pavillon, 527 Tremont Street, Boston’s South End

Laugh And Learn With The Tiger

Theater Reviews, , , ,

 Tiger Style

The Huntington Theatre Company At The Calderwood Pavillon

reviewed by Bobby Franklin

A few years ago the subject of Tiger Moms, a term used to describe the hard driving parenting style of many Asian American parents, became a hot topic of discussion. For many parents this method seemed harsh, but there was also some envy in seeing how much these children were able to accomplish. What wasn’t being discussed was the effect this type of parenting would have on them as they entered adulthood, the workplace, and while interacting with more diverse social groups.

Playwright Mike Lew takes on these issues and many more with great humor and depth in his original new play Tiger Style now presented by the Huntington Theatre Company.

Rubio Qian and Jon Norman Schneider Photo Credit: T. Charles Erickson
Rubio Qian and Jon Norman Schneider Photo Credit: T. Charles Erickson

Tiger Style focuses on siblings Albert (Jon Norman Schneider) and Jennifer (Ruibo Qian) who who have both excelled academically and artistically, but are struggling now that they have left the nest. They are living together along with Jennifer’s boyfriend Reggie (Bryan T. Donovan) who is ending the relationship as the play begins. Bryan is disappointed, to put it mildly, that Jennifer isn’t more dominant in bed and more submissive around the home, while Jennifer makes it clear how vastly superior she is to Bryan because of her academic accomplishments.

Mr. Lew has written a very funny and insightful play that is fast paced and filled with witty dialog

Albert is struggling at work; not because he isn’t competent, but because he has terrible people skills. Both brother and sister, while knowing they are highly skilled, are unable to function well when interacting with others. This is a failing they begin to see and decide to blame it, with some justification, on their parents.

Francis Jue, Ruibo Qian, Jon Norman Schneider, and Emily Kuroda. Photo Credit: T. Charles Erickson
Francis Jue, Ruibo Qian, Jon Norman Schneider, and Emily Kuroda. Photo Credit: T. Charles Erickson

This leads them on a journey that begins with a planned fight with their parents (Francis Jue and Emily Kuroda), then going “full Western” in a futile attempt to distance themselves from their culture resulting in Albert losing his job and Jennifer driving a therapist to the edge of insanity. Going “full Asian” with a move to China where they eventually end up in prison; it seems living under a totalitarian government is much like having a Tiger Mom only you never get your freedom. And finally returning home with many lessons learned and much to still deal with. As mom and dad explain, life is not easy. At some point you have to take responsibility for your own success and failure.

Mr. Lew has written a very funny and insightful play that is fast paced and filled with witty dialog, such as when Albert tries to curry favor with his manager at work who is also Asian by saying “Don’t be a self-hating Asian, be a self-nepotating Asian.” Or when Jennifer tells her therapist “I want to be the best at therapy”.

While the humor continues throughout the play there is also much that is very serious and important to be learned. When mom and dad talk about the sacrifices they and their parents had to make in order to succeed in their adopted country we get a better understanding of why they drive their children to be successful. Dad, in telling the story of the struggles of his parents says “I came from laundry people”. It is a line, coming on top of the narrative of their suffering and success that hits hard. Yes, it is up from the bootstraps talk, but it is also true.

…a finely crafted work we all can learn from.

love plays like Tiger Style for many reasons including the finely written humor, but mostly because the author is able to show us the struggles within a group of Americans that have to deal with their cultural heritage for both its strengths and its minuses as well. Mr. Lew does this without making victims out of his characters and without throwing a guilt trip on his audience, but at the same time not downplaying the racism and hatred that is much too often directed at those who are new to this country. It is a finely crafted work we all can learn from.

Presented by the Huntington Theatre Company at the Calderwood Pavillon, South End, Boston
Through November 13
Directed by Moritz von Stuelpnagel
huntingontheatre.org
Box Office 617.266.0800

In A Class Of Its Own

Theater Reviews, , , , , , ,

“Warrior Class”

Lyric Stage, 140 Clarendon Street, Boston  Through November 13

Reviewed by Bobby Franklin

Michael Tow and Steven Barkhimer
Michael Tow and Steven Barkhimer

In this year when what surely can be called the worst presidential campaign in history is taking place, it would not surprise me if you would take a pass on seeing a play about a politician. I could hardly blame you, but in the case of Kenneth Lin’s Warrior Class now playing at the Lyric Stage Company in Boston you would be making a big mistake.

Yes, Warrior Class is about a politician. It is also about manipulation, extortion, dirty deal making, political fundraising, selling out principles, and much more. That’s right, all the things we hate about politics. It is also about much more than that.

This is a moving and emotional work.

Michael Tow plays Julius Weishan Lee, an idealistic young Chinese American New York State Assemblyman who is looking to move up and run for Congress. He enlists the aid of political operative Nathan Berkshire who is portrayed by Steven Barkhimer who is reminiscent of the real life consultant Bob Beckel. Lee is a sincere young man who wants to run and serve based on his beliefs. Perhaps he is naive, I like to believe otherwise, to think he can make it without selling out, but he wants to take that route. However, a problem arises.

In the course of preparing for the race it is revealed, not publicly, that Lee has a skeleton in his closet in the form of Holly Lillian Eames, played by Jessica Webb. This poses a potentially serious problem for the idealistic Lee who has a wonderful resume that includes serving in Afghanistan and working for Teach For America. He is coming off giving an impressive speech at the Republican Convention and is seen as a rising star on the national scene.

Steven Barkhimer and Michael Tow (Photo Credit: Mark S. HowardHolly and Nathan meet to try to work out a deal to keep things quiet. Yes, Holly, who claims to be a victim is also using the situation to blackmail Lee. It all seems like a pretty basic plot about a politician with something in his past to hide and his willingness to deal to make things go away. Something any of us over the age of two have seen in our lifetimes more often than we like.

The difference with Warrior Class is that it is much more than a sordid political story. Playwright Kenneth Lin digs deep into all of the characters. This is a moving and emotional work. It is like watching a game of chess as all involved maneuver to either gain from, suppress, or both from the incidents that occurred twenty years earlier. It turns out one of them is the chess master. During the play, which becomes quite intense, we are faced with asking ourselves questions. Can people change? Is it okay for a victim to become a perpetrator? Is it permissible for a man to use lies and manipulation in order to help a family member? Could any of us be one of the characters? Where is the line that should not be crossed? It is easy to walk away from this play feeling cynical, but I found much more to take away from this fine play.

Jessica Webb and Michael Tow (Photo Credit: Mark S. Howard
Jessica Webb and Michael Tow (Photo Credit: Mark S. Howard

Actors Michael Tow, Steven Barkhimer, and Jessica Webb are superb in their roles.

There was never a moment when my eyes left the stage

There was never a moment when my eyes left the stage,especially during the scene where Julius and Holly meet to discuss working things out. At that point emotions run very high. It is a pleasure to watch three very talented actors taking to the stage and performing seamlessly. It is performances such as this that remind me of why I am so drawn to the theatre. Dawn M. Simmons fine direction leaves enough ambiguity so when you depart the theater you will be thinking a lot about what you just saw and asking yourself many questions.

In a talkback after the performance, the question was asked if the role of Julius Weishan Lee was written specifically for a Chinese character. The answer was yes it was, but Michael Tow pointed out how different it was from so many roles he has played where he was cast because of his ancestry. He told us, while the script called for a Chinese actor, as the name implies, it could have been played by someone from any background. This freed him from feeling typecast. I agree with Mr. Tow. While the heritage of the leading character was a part of the play, it was not a play about a Chinese politician. Refreshingly, it is a play about a politician who happens to be Chinese.

While we are so focused, or perhaps, with good reason not, on the national political scene, this play will make you think more about local politics; especially, here in Massachusetts where corruption is a part of the culture.

I highly recommend you head down to the Lyric Stage and see this play. You will not be disappointed.

lyricstage.com Box Office:

617-585-5678

A Powerful Lesson

Theater Reviews, , , , , , , , , ,

August Wilson’s The Piano Lesson

At The Hartford Stage
Through November 13, 2016

Reviewed By Edmond D. Smith

the-pian-lesson-pic1916 saw the start of what has come to be called The Great Migration, the movement of millions of Southern African Americans to the North in the hopes of finding better lives than the South was affording them. Playwright August Wilson sets his famed ten play The American Century Cycle, of which the Pulitzer Prize winning The Piano Lesson is the fifth, in 1936 Pittsburgh where a large migrant population had taken root. Like all the plays of The American Cycle The Piano Lesson, currently at Hartford’ elegant Stage Theater, addresses aspects of how this dislocation impacted the African American experience.

This is what theater is all about.

The play revolves around the return of Boy Willie Charles, who has spent the last three years in Mississippi, some of the time in jail and all the time scheming how to gather the money to buy farmland in Mississippi that his family had once worked as slaves. He drives back to Pittsburgh with his friend Lymon in a truck that’s on its last legs filled with watermelons that he intends to sell to accumulate funds to help pay for the land. The last part of his plan is to sell a family heirloom, a 137 year old piano engraved with images that relate his family’s history in America currently in his sister Berniece’s possession. He returns to the bosom of a family that is unimpressed with his plans; Berniece being adamant that he will not sell what she sees as the family legacy. The stage is then literally set for a battle of how best to reconcile yesterday and today in a way that makes tomorrow worthwhile.

Christina Acosta Robinson uses her slight, almost frail body to heighten the power of her inner resolve.

The Stage has gathered an exceptional ensemble of actors who through stories and song highlight those things that have held the African American community together in their struggle in America; religion and African spirituality among them. Clifton Duncan fully embodies both the charming and manipulative aspects of Boy Willie. Christina Acosta Robinson uses her slight, almost frail body to heighten the power of her inner resolve. Other standouts are Rosco Orman (who you may remember for playing Gordon Robinson for years on Sesame Street) as Uncle Doaker who brings an appropriate naturalness and reasonability to the role. Cleavant Derricks plays Doaker’s bombastic brother and nearly stops the show with his soulful, thunderous singing voice.

Clifton Duncan and Elise Taylor Photo Credit: T.Charles Erickson
Clifton Duncan and Elise Taylor
Photo Credit: T.Charles Erickson

This terrific cast is able to express themselves to full advantage thanks to Jade King Carrol’s subtle direction which synergistically uses story, acting talent, lighting and stage design to create something greater than its already highly impressive parts. The lives of migrant African Americans in all their humor, love and desperation are sensitively evoked.

In our continuing era of racial strife, The Piano Lesson does us all a service by stripping away stereotypes to reveal the humanity common in us all. August Wilson was (he sadly passed away in 2005) not only a master of the lyricism of words but also of the human condition and brilliantly found the dignity of his characters in their everyday struggles.

With their current production, The Stage Theater burnishes their reputation of presenting important, quality theater to Connecticut. This is what theater is all about.

Hartford Stage
50 Church Street, Hartford, CT 06103
Box Office: 860-527-5151

August Wilsons The Piano Lesson

Where No Man Has Gone Before

Theater Reviews, , , ,

Shatner’s World: We Just Live In It

October 15th

Hartford’s Bushnell Theater
Reviewed By Edmond D. Smith

shatner-one-man-show_After being in show business for over 60 years it’s not surprising that a person should have a large store of good stories to tell. But it’s something of a wonder that at 85 he could tell them with the same kind of energy and enthusiasm that a man 30 years younger would have a hard time summoning.

Famed actor, writer, director and cultural phenomenon Williiam Shatner’s one man show, Shatner’s World: We Just Live In It, presented October 15 at Hartford’s Bushnell Theater was funny, moving, interesting, and totally engrossing. At 85 Shatner spent over 2 1/4 hours flawlessly and engagingly delivering the story of his life. He incorporated movie clips, TV clips, music and ended the night with a song. He was unfailingly warm and Real, which just happens to be the title of the song he closed with. He didn’t shy away from some of the controversies that have surrounded him over the years, told of his post-Star Trek poverty and desperation and dropped many famous names without appearing to be a tiresome name dropper.

Shatner was often at his most affective relating stories about his family

Pacing from one side of the stage to the other, he punctuated his stories with his famous staccato delivery and physicality, rarely sitting down on the chair that was his only real prop; at one point lifting said chair above his head to highlight a particularly dramatic moment. But the whole night was not taken up solely with over-the-top gestures. Shatner was often at his most affective relating stories about his family and their varied travails including his father’s death and coming home and finding Nereen, his then wife dead at the bottom of their pool, a victim of the alcoholism she couldn’t beat. At moments like that Shatner displayed a range that most might not realize he possesses.
.
shatners-worldThematically the show touched upon life, love and the inescapability of death. He has been doing the show all around the world since 2012 and has honed it and refined it to the point where it appears to be a man just telling stories but is in fact a very well-crafted entertainment. Even if you have spent the last 60 years in a cave and had no idea who William Shatner was the show would’ve been entertaining and enjoyable. Shatner as we all know is somewhat ubiquitous so you never can tell when he might show up near your town. If he does you’d be doing yourself a favor by going to see him and finding out why this really is Shatner’s World.

-END-

 

New England Premiere of The Scottsboro Boys

Theatre Announcements, , ,

Presented By SpeakEasy Productions

October 21st ThroughNovember 20th

Calderwood Pavillon, Boston 

sb-psdFrom October 21 – November 20, 2016, SpeakEasy Stage Company will proudly present the New England Premiere of THE SCOTTSBORO BOYS, a bold new musical by Broadway legends John Kander and Fred Ebb about a sensational true story that changed American history.

The musical, with a book by David Thompson, and which was originally directed and choreographed by Susan Stroman, brings to light the shocking true story of nine African-American teenagers jailed in Alabama in 1931 for a crime they did not commit. With an exhilarating and infectious score that mixes gospel, jazz, and vaudeville, THE SCOTTSOBORO BOYS flips the script on the classic minstrel show to lay bare the fateful case that inspired the American civil rights movement.

THE SCOTTSBORO BOYS was the final collaboration for Kander and Ebb

Nominated for 12 Tony Awards, THE SCOTTSBORO BOYS was the final collaboration for Kander and Ebb, whose works include such musical theatre classics as Cabaret, Chicago, and Kiss of the Spider Woman.

SpeakEasy Founder and Producing Artistic Director Paul Daigneault will direct the New England premiere of THE SCOTTSBORO BOYS. Winner of the 2014 Elliot Norton Award for Sustained Excellence, Mr. Daigneault’s SpeakEasy directing credits include productions of Significant Other, Violet, Mothers & Sons, Big Fish, The Color Purple, In the Heights, and Next to Normal.

IRNE Award nominee Matthew Stern will serve as Music Director and Norton Award-winner Ilyse Robbins will choreograph.

The cast for this production includes Darren Bunch, Shalaye Camillo, Taavon Gamble,
Russell Garrett, De’Lon Grant, Brandon G. Green, Sheldon Henry, Wakeem Jones, Steven Martin, Darrell Morris, Jr., Maurice Emmanuel Parent, Aaron Michael Ray, and Isaiah Reynolds.

The design team is Eric Levenson (scenic); Miranda Giurleo (costumes); Daisy Long (lighting), and David Remedios (sound).

THE SCOTTSBORO BOYS will run for five weeks, from October 21 through November 20, in the Roberts Studio Theatre in the Stanford Calderwood Pavilion at the Boston Center for the Arts, 527 Tremont Street in Boston’s South End.

Ticket prices start at $25, with discounts for students, seniors, and persons age 25 and under.

For tickets or more information, the public is invited to call the box office at 617.933.8600 or visit www.SpeakEasyStage.com .

Million Dollar Quartet Is Rocking Ogunquit

Theater Reviews, , , , , , , , , , ,

Million Dollar Quartet At The Ogunquit Playhouse

Through November 6th

reviewed by Bobby Franklin

Photo Credit: Gary Ng
Photo Credit: Gary Ng

Last year the Ogunquit Playhouse had a huge hit with Million Dollar Quartet, the fictionalized account of the day in December, 1956 when Elvis Presley, Jerry Lee Lewis, Carl Perkins, and Johnny Cash all happened to drop into the Sun Records studio and proceeded to participate in a memorable session of music and talk. The show was so popular Playhouse Artistic Director Brad Kenney decided to bring it back to cap off what has been a truly incredible season.

While the meeting between the four legends did indeed take place, and it was the only time they ever performed together, the authors of the play decided that instead of recreating that day song for song, they would give us a look at what went on over a longer period. While doing this they include some very interesting history of the early days of rock and roll, a music many never expected to last more than a short while. We get to know Sun founder Sam Phillips, a man who had an amazing eye for talent, but the inability to hang on to those performers once he got them started. Without Sam Phillips there probably would not have been rock and roll.

While the history lesson is important and well done, Jason Loghlin is outstanding in the role of Phillips, it is the music that electrifies the stage in Ogunquit. This show puts the heat in those Great Balls of Fire that blaze across the stage.

This show puts the heat in those Great Balls of Fire that blaze across the stage.

Nat Zegree is frenetic and a real wild child in the part of Jerry Lee Lewis.He is one damn good piano player as well as an acrobat who uses the keyboard as his personal pummel horse. At times I was looking for the wires that I thought must be attached to him as he was flying through the air so much, but he performed with no strings attached and burned up the stage from beginning to end.

Nat Zegree is a real wild child in the role of Jerry Lee Lewis.

James Barry portrays the legendary Carl Perkins brilliantly. He not only was note perfect on the guitar, but he conveyed a respect for the man who it can be argued was the father of rock and roll. Barry gives us the music and the man. The public should never forget Carl Perkins and his importance in the history of rock and roll. James Barry is seeing that they never will.

James Barry portrays Carl Perkins brilliantly.

While it is unclear whether or not Johnny Cash actually joined in on the original jam session, it is a fact that he was a major player in the early days of Sun Records. With Scott Moreau cast as the young Cash, we see him again with his deep voice and haunting look. Moreau should consider doing a tribute show dedicated just to Johnny Cash. He captures him beautifully.

Oh, there was another musician there that day. His name was Elvis Presley. Elvis had moved on from Sun Records and had hit the big time, but his heart was still in the Memphis studio. Beau Cassidy takes on the young Elvis, and, contrary to what many believe, it is a difficult part to play. How do you capture the amazing talent and charisma of the 1956 Elvis without looking campy and exaggerated? Mr. Cassidy is not an Elvis impersonator. He does not stand on the stage and do a take off on Elvis. Instead, he gives us a look into the heart of the man who, while he has made it big, is still very much at home in the small studio with old friends and a new talent. Cassidy captures Presley with his eyes more than his hips and it works very nicely. Oh, you will not be disappointed in his renditions of the music as he gets it right on every number.

Photo Credit: Julia Russell
Photo Credit: Julia Russell

Mr. Kenney has assembled his own million dollar quartet with the performers he has found for the parts. Each is an accomplished musician who can also act. They play well separately and are rock solid when performing together. They are backed up by Nathan Yates Douglass as Carl’s brother Jay on bass and by David Sonneborn on drums.

Bligh Voth plays Elvis’s girlfriend and she also sings two numbers, the very, very hot Peggy Lee hit Fever and the rocking I Hear You Knocking. Voth almost just about makes this a million dollar quintet.

it is hotter than a summer heatwave at the Playhouse.

The weather may be cooling as the season changes, but it is hotter than a summer heatwave at the Playhouse. I highly recommend Million Dollar Quartet. This show will leave you with a whole lot of shaking going on.

The Original Million Dollar Quartet
The Original Million Dollar Quartet

Million Dollar Quartet now through November 6th.
Ogunquit Playhouse, Ogunquit, ME
ogunquitplayhouse.org
207.646.5511

Warrior Class At The Lyric Stage Boston

Theatre Announcements, , ,

Kenneth Linn’s New Play Opens October 21 And Runs Through November 13

warrior-classPlaywright Kenneth Lin (TV’s House of Cards) delivers “an absorbing, incisive new play that crackles with authenticity” (NY Times), just in time for the climax of a surprising election season. Michael Tow (Chinglish) plays a New York assemblyman who’s been dubbed “The Republican Obama.” The son of Chinese immigrants and a decorated war veteran, he looks forward to a seemingly limitless political career. When someone from his past threatens to reveal a college transgression, he must decide how far he’ll go to keep the incident out of the public eye. Whatever his decision, the consequences may be costly.

lyric_weblogoFor more information: lyricstage.com  Box Office: 617-585-5678

 

 

Million Dollar Quartet Returns To Ogunquit Playhouse

Theatre Announcements, , , , , ,

Elvis Presley, Johnny Cash, Carl Perkins and Jerry Lee Lewis Back by Popular Demand 
in the High-Voltage Rock ‘n’ Roll Musical Million Dollar Quartet 
at the Ogunquit Playhouse through November 6th!

2015_MDQ_Robert-Britton-Lyons-Carl-Perkins-Sam-Weber-bass-David-Sonneborn-drums-Nat-Zegree-Jerry-Lee-Lewis-Jacob-Rowley-Elvis-Presley-Scott-Moreau-Johnny-Cash_photo-by-Jay-Goldsmith_pressThe Ogunquit Playhouse is bringing back the most popular show in its history, the Tony Award-winning musical Million Dollar Quartet, on stage October 5 through November 6. This high voltage rock ‘n roll show, with book by Colin Escott and Floyd Mutrux, is inspired by the electrifying true story of the famed recording session that brought together music icons Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins for one of the greatest jam sessions of all time. Featuring timeless hits such as “Blue Suede Shoes,” “Great Balls of Fire,” “I Walk the Line,” “Whole Lotta Shakin’ Goin’ On,” “Fever,” “Folsom Prison Blues,” “Hound Dog” and more, this thrilling musical brings audiences inside the recording studio with four major talents who came together as a red-hot rock ‘n’ roll band for one unforgettable night.
This exciting show features an incredible score of rock ‘n’ roll, gospel, R&B and country hits, performed live onstage by world-class actors who play their own instruments, as well as sing and perform. Returning as the energetic Jerry Lee Lewis is Nat Zegree, who had audiences jumping to their feet with excitement in the 2015 production. Over the last year he has performed at Arena Stage Company in the brand new Pasek and Paul musical Dear Evan Hansen and recently performed multiple sold out concerts at 54 Below, The Laurie Beechman, and Don’t Tell Mama’s in New York City. Scott Moreau is also returning to the Ogunquit stage to once again play Johnny Cash. He recently performed the role in Million Dollar Quartet at Harrah’s Casino in Las Vegas and in the first National Tour. Mr. Moreau has also performed in National Tour of A Christmas Carol as well as many regional theatres throughout the U.S. in such shows as Ring Of Fire, Johnny Guitar, Mary Poppins, Oliver!, Joseph and the Amazing Technicolor Dreamcoat and Ragtime. He has also appeared as Young Jim Neary in the series finale of HBO’s “Boardwalk Empire.” Making his debut at the Ogunquit Playhouse as Carl Perkins is James Barry. Mr. Barry has performed on Broadway in Bloody Bloody Andrew Jackson as well as the National Tour of Million Dollar Quartet. His many New York and regional theatre credits include Pump Boys & Dinettes, These Paper Bullets and The Buddy Holly Story. Joining the cast as Elvis Presley is Beau Cassidy who is also making his Ogunquit Playhouse debut. He is the third member of his family to perform at the historic theatre; his uncle Shaun Cassidy appeared on stage in 1982 and his grandfather Jack Cassidy in 1973. His regional theatre credits include A Hatful of Rain, Proof and The Wedding Singer, and he has appeared on television’s The Voice. He was most recently seen as Mickey Johnston at Feinstein’s/54 Below’s concert of Willy Russell’s Blood Brothers. Mr. Cassidy is also an accomplished songwriter, penning multiple charted pop songs.

The role of Sam Phillips is played by Jason Loughlin who is also returning after playing the role in the 2015 production at Ogunquit Playhouse. Mr. Loughlin was most recently in The Audience with Helen Mirren on Broadway. His other recent credits include the Broadway production of Machinal directed by Lyndsey Turner and the National Tour of War Horse as Major Nichols. Bligh Voth also returns from the 2015 production to play Elvis’ girlfriend Dyanne in the production after spending last year playing Dyanne regionally and internationally. She has performed in regional theatres throughout the U. S., including Signature Theatre, Ford’s Theatre, Kennedy Center Millennium Stage, Lyric Theatre and Boston Conservatory.

www.ogunquitplayhouse.org or call the Ogunquit Playhouse Box Office at 207-646-5511.

It’s A Lovely Sunday At The Huntington

Theater Reviews, , , , , , ,

Sunday In The Park With George
At The Huntington Theatre Company

reviewed by Bobby Franklin

Company of Sunday in the Park with George (Photo: Paul Marotta)
Company of Sunday in the Park with George
(Photo: Paul Marotta)

This past Saturday I saw the matinee performance of the Huntington Theatre Company’s production of Sunday In The Park With George, Stephen Sondheim’s classic musical inspired by the George Seurat painting A Sunday Afternoon on the Island of La Grand Jatte now playing at the BU Theatre. It was my first time seeing it and I had done some research before going. Reading background pieces about the play made it sound like it was going to be a complicated work and, perhaps, a bit difficult to understand, particularly the second act.

The Huntington has given Boston theatre goers a treat that is not to be missed.

This Sunday In The Park With George is a gift that is not to be missed.
It is complicated, but it certainly is not a difficult play to enjoy. Yes, it has many layers, and I can certainly see why so many people return to see productions of it over and over again. It is one of those works that can be viewed just on the surface or you can dig deeper and deeper and find much more you may not have known was there at first glance. And that is what makes it so wonderful.

I have come a bit late to Sondheim in my theatre going life, this being only the third work of his I have seen performed on stage, the second having just been last week when I saw the Lyric Stage production of Company. I am now hooked.

Adam Chanler-Berat and Jenni Barber (Photo: Paul Marotta)
Adam Chanler-Berat and Jenni Barber
(Photo: Paul Marotta)

As I settled into my seat just in time for the opening act I was already taken with the set. When Jenni Barber appeared as Dot modeling for the artist George, and sang the title song, I knew this was going to be something special. Jenni Barber has talent, not just talent, but that rare ability to convey so much with a nod, a glance, and a pause at just the right time. Add to this her lovely voice, and, well, you have to see her.

This is not, however a one person show. Adam Charnier-Berat as George is in command of his role as the artist obsessed with his work. He moves about the stage with his sketch book sneaking looks at the people in the park for his painting which they will appear in. The use of the stage as a canvas for his work is pleasing to the eye with scenic design by Derek McLane.

Josh Breckenridge, Adam Chanler-Berat, and Aimee Doherty (Photo: Paul Marotta)
Josh Breckenridge, Adam Chanler-Berat, and Aimee Doherty
(Photo: Paul Marotta)

The entire cast is very strong. I was particularly impressed with Aimee Doherty as Yvonne who underplayed her role just right. Josh Breckenridge as Jules and Bobbie Steinbach as Old Lady are a joy to watch.

The musical score by Sondheim is not one that has you leaving the theater humming the tunes. Rather, it is an integral part of the story. Sondheim writes the music in a way that complements Seurat’s pointillist style of having the eye connect the dots in a painting. The music does the same thing only for the ear. It is subtle but effective. It is played by an eleven piece orchestra conducted by Eric Stern.

As for that troublesome second act where the action moves from 1884 to 1984. I saw no problem at all with it. Under the direction of Peter DuBois it was very clear what Mr. Sondheim meant.

Sunday In The Park With George at the BU Theater is an experience theatre goers will not soon forget.

A delectable treat for the eyes and ears. This production connects the dots.

It is a delectable treat for the eyes and ears. This production connects the dots and is not to be missed. You will be sorry if you do.

The Huntington Theatre has promised to produce all of Stephen Sondheim’s plays over the next few years. This is wonderful news. If they come anywhere near the current work being performed on their stage we are in for a great ride.

It looks like I have come to Sondheim at just the right time. I encourage you to jump on board as well. Sunday In The Park With George at the BU Theater is not a bad place to start.

At the BU Theater through October 16th
Huntington Theatre Company
BU Theater, 264 Huntington Ave., Boston
617.266.0800
huntingtontheatre.org