Tag Archives: Boston Area Theatre

Live Theatre Returns To The Greater Boston Stage Company

Theatre Announcements

THE 39 STEPS MARKS THE RETURN TO MAINSTAGE PROGRAMMING AT GREATER BOSTON STAGE COMPANY 

Live theatre returns to Greater Boston Stage Company! The raucous The 39 Steps kicks off the 2021- 2022 mainstage season on September 23rd as GBSC presents this fast-paced whodunit for anyone who loves the magic of theatre. This two-time Tony (R) and Drama Desk Award-winning treat is packed with laughs, a slew of characters, a plane crash, handcuffs, missing fingers, and some good old- fashioned romance. Adapted by Patrick Barlow based on the thriller directed by Alfred Hitchcock and the novel by John Buchan, The 39 Steps is directed by Associate Artistic Director Ilyse Robbins. Performances run September 23 – October 10, 2021.

“I am honored and thrilled (get it?) to direct this first mainstage show on our road to recovery,” says Robbins. “What better way to come back to the theater than to enjoy a good old-fashioned comedy/whodunit/romance where 4 actors play over 100 roles. I have the great good fortune to work with four of the funniest actors in town. They give new meaning to the words, ‘We wear many hats.’ I hope you will find yourself laughing as much as I do.” 

Russell Garrett

The cast of The 39 Steps includes Grace Experience, Russell Garrett, Paul Melendy, and KP Powell. The design team is comprised of Scenic Designer Shelley Barish, Lighting Designer Daisy Long, Costume Designer Rachel Padula-Shufelt, Sound Designer Andrew Duncan Will, and Props Master Emme Shaw. Shauwna Grillo is the Production Stage Manager.

For more information or to purchase tickets, call the Box Office at Greater Boston Stage Company at (781) 279-2200, or visit www.greaterbostonstage.org 

Greater Boston Stage Company is pleased to announce that we have joined with a coalition of Boston- area theatres to implement masking, vaccination and testing policies designed to keep our audiences, artists, staff and volunteers safe in accordance with CDC and local guidance. The following policies will be in place from September 1 through October 31. For more information, please visit:

http://www.greaterbostonstage.org/health-and-safety.html 

Live Theatre Returns To SpeakEasy Stage In Boston

Theatre Announcements

THE SOUND INSIDE

Opens At SpeakEasy Stage

September 24

From September 24 to October 16, 2021, SpeakEasy Stage Company will proudly present the Boston-area premiere of the gripping drama THE SOUND INSIDE by Adam Rapp.

Nominated for six 2020 Tony Awards including Best Play, THE SOUND INSIDE is an intensely quiet play that introduces us to Bella Baird, a novelist who, in the seventeen years since she was last published, has almost completely isolated herself from the world.  But everything changes when she meets Christopher, a brilliant but enigmatic student in her creative writing class at Yale. As their friendship deepens, their lives and the stories they tell about themselves become intertwined in unpredictable ways, leading to a shocking request. Intensely intimate and deeply moving, THE SOUND INSIDE is “an astonishing new play… about fiction, both the kind we read and the kind we live.” (The New York Times)

Playwright Adam Rapp made his Broadway debut with THE SOUND INSIDE, which was commissioned by Lincoln Center and received its world premiere in 2018 at the Williamstown Theatre Festival.  A 2006 Pulitzer Prize finalist for his play Red Light Winter, Rapp is also the author of Nocturne (American Repertory Theatre, New York Theatre Workshop), Finer Noble Gases (26th Humana Festival), Stone Cold Dead Serious (A.R.T.), Blackbird (The Bush, London), and Essential Self-Defense (Playwrights Horizons/Edge Theatre), among others.  

Director Bryn Boice will helm this Boston premiere production of THE SOUND INSIDE Winner of the 2019 Elliot Norton Award for Outstanding Director, Large Theater for Commonwealth Shakespeare Company’s Universe Rushing Apart: Blue Kettle & Here We Go, Ms. Boice returns to SpeakEasy after having directed the company’s 2020 production of The Children. Ms. Boice also serves as the Associate Artistic Director at Commonwealth Shakespeare Company and is a professor at Salem State University.

Jennifer Rohn (Broadway’s The Kentucky Cycle) and Nathan Malin (SpeakEasy’s Admissions) will star in this production.

NATHAN MALIN (Christopher) is thrilled to return to SpeakEasy after appearing in its production of Admissions. Other area credits include Gone Nowhere (Boston Playwrights’ Theatre); The Crucible (u/s, Bedlam); Vanity Fair, The Happy Prince/Matchless (u/s, Underground Railway Theater); 1984, The Lathe of Heaven (Boston University); Maura Dunne (The Poets’ Theatre), Titus Andronicus (Actors’ Shakespeare Project); and Much Ado About Nothing (Boston Theatre Company). Nathan was also a production intern on Uncle Romeo Vanya Juliet (Bedlam). Training: Boston University, Shakespeare & Company.

JENNIFER ROHN (Bella Baird) is making her SpeakEasy debut with this production.  A 2019 Elliot Norton Award winner for her performance in Dark Room (Bridge Repertory Theater), Jennifer began her professional career appearing in numerous productions created by renowned experimental theatre director Robert Wilson.  She has also appeared on Broadway in The Kentucky Cycle and The Crucible, and in several Off-Broadway productions including Love’s Fire and The Caucasian Chalk Circle (The Public Theater); Romeo and Juliet (The New Victory Theater); The CIVIL warS (Brooklyn Academy of Music); and Another Person is a Foreign Country (Anne Bogart, director/ En Garde Arts). Her regional theater credits are extensive and include work for The American Repertory Theater, The Huntington Theatre, The Guthrie Theater, The Cleveland Play House, The Kennedy Center, The Seattle Repertory Theatre, The Philadelphia Theatre Company, and The Dallas Theater Center.  She toured Europe with Hamletmachine, and appeared at La Scala in Salome (Robert Wilson, director) and at The Barbican Centre in Love’s Fire (Mark Lamos, director). Her television credits include several television commercials, Law and Order, American Playhouse, and the film Crossing the Atlantic. Jennifer teaches at Bennington College.

 

THE SOUND INSIDE will run for four weeks, from September 24 through October 16, 2021, 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.

For tickets or more information, the public is invited to call BostonTheatreScene Ticketing Services at 617.933.8600 or visit www.SpeakEasyStage.com.                

Boston Theatres Announce COVID Protocols For Reopening

Theatre Announcements

14 GREATER BOSTON THEATRES UNITE TO ANNOUNCE

COLLECTIVE COMMITMENT TO PUBLIC SAFETY

AS LIVE, INDOOR PERFORMANCES RESUME

 

Proof of vaccination or negative COVID-19 test and masks 

will be required for all audience members

New survey results show majority of arts goers

support these measures

The following is from a press release sent out by the Huntington Theatre:

Fourteen theatre companies in the Greater Boston area have banded together to announce a collective commitment to public safety as live, indoor performances resume in the region amid concerns around the rise in COVID-19 cases in the US.

These theatre companies will implement policies designed to protect the health and safety of everyone by requiring proof of vaccination or negative COVID-19 test for all artists, staff members, and audiences who attend live, indoor performances at their institutions. Masks will be required inside the theatres as well.

These policies will be in place starting immediately and valid through October 31, 2021 (in alignment with Broadway’s current policies), and will be reevaluated as the situation evolves. They are based on CDC guidance and were developed in consultation with public health officials. Individual theatres will list their specific protocols and guidelines on their websites.

The organizations joining in this effort are: Actors’ Shakespeare Project, American Repertory Theater, Boston Playwrights’ Theatre, Central Square Theater, The Front Porch Arts Collective, The Gamm Theatre, Gloucester Stage Company, Greater Boston Stage Company, The Huntington, Martha’s Vineyard Playhouse, Merrimack Repertory Theatre, Moonbox Productions, SpeakEasy Stage Company, and Wellesley Repertory Theatre. Other companies are expected to sign on in the coming weeks.

“We at The Huntington, along with our colleagues, are eager to welcome back audiences to live performances this fall, and we are prioritizing everyone’s health and well-being in order to safely reopen,” says Huntington Managing Director Michael Maso. “These measures will provide multiple layers of protection in our theatres – it’s what our patrons want, and it’s an essential part of our broader responsibility as public-facing institutions.”

“We’re committed to creating a culture of care,” says Central Square Theater Executive Director Catherine Carr Kelly, who is also co-vice president of New England Area Theaters (NEAT), an association of midsize theatres. “All of our companies are fully vaccinated. Requiring proof of vaccination or a negative COVID test, along with wearing masks, increases the safety for fellow patrons and also for the artists and staff of each company.”

AUDIENCE OUTLOOK SURVEY DATA AND THE DECISION-MAKING PROCESS

The recent announcements that theatres in New York City, Washington, DC, and Chicago have established similar policies around requiring proof of vaccination or negative COVID test and mask wearing, combined with the latest results of ArtsBoston’s Audience Outlook Monitor survey, gives Greater Boston theatres increased confidence in implementing these measures.

The Audience Outlook Monitor is a longitudinal survey sponsored locally by ArtsBoston and run nationally by independent consultant WolfBrown, that has been regularly providing Greater Boston arts organizations with data about audience perceptions, concerns, and intentions during the pandemic. It has been a vital tool for arts groups in developing their plans, policies, and communications strategies.

In the most recent round of survey data collected August 9 – 13, 2021, 80% of respondents indicated that proof of vaccination would make them more likely to attend indoor events, and 50% said that proof of vaccination or negative COVID test is a prerequisite for their attendance. According to the survey, 98% of respondents reported being fully vaccinated or planning to do so.

The survey showed that news of the delta variant has reduced audience demand to return to indoor performances right away. In the June 2021 survey, 18% of respondents said they wouldn’t attend an indoor event that week. That figure more than doubled to 39% in the recent August round of surveys. The increase reflects the rising level of concern of audience members

“After deep consideration on this topic and following the guiding principles of our Roadmap for Recovery and Resilience for Theater, we came to this decision, recognizing that the vaccines are now widely available and free,” says Mark Lunsford, ART Artistic Producer. “Along with enhanced ventilation and universal masking, vaccination and testing are critical cornerstones of our multi-layered mitigation efforts that prioritize the safety of our community of staff, audiences, and artists.”

“Requiring proof of vaccination or a negative test is the best way for us as a community to reopen responsibly,” says Paul Daigneault, SpeakEasy Stage Company Producing Artistic Director.  “It will allow us to move forward and continue to prioritize everyone’s safety – audiences, artists, and theatre staff alike.”

“The health and safety of the audience, artistic team, and staff must always be the first priority,” says Joseph Allen, associate professor and Director of the Healthy Buildings program at Harvard T.H. Chan School of Public Health. “That means when we have new tools available, we need to use them. On top of enhanced ventilation and masking, the vaccines offer an additional, and excellent, layer of protection that should give everyone even more confidence as we reopen theaters.”

 

PROTOCOLS FOR ATTENDING A PERFORMANCE

All patrons attending live, indoor performances at participating theatres must present proof of vaccination or proof of a negative COVID test before entering the venue, and must wear a mask inside the theatre.

Proof of vaccination may include showing either a vaccination card or a photo of the card, or a digital vaccine record (through an app such as Bindle at www.joinbindle.com/people). Anyone who is unable to be vaccinated or to verify their vaccination status for any reason will be required to show proof of a recent negative COVID test before entering.

Individual theatres may have their own guidelines and instructions for patrons; please see a theatre company’s website or contact them directly for further details about specific policies.

 

 

Review: “Irving Berlin’s White Christmas” At The Boch Center Wang Theatre, Boston

Theater Reviews, ,

Irving Berlin’s White Christmas 

Is A Dream 

At The Boch Center Wang Theater

Reviewed by Bobby Franklin

White Christmas now playing at the Boch Center Wang Theatre in Boston is based on the 1954 movie of the same name. The story of two WWII veterans and Army buddies, Bob Wallace and Phil Davis who form a musical act after the war and, at the urging of Phil, start pursuing love interests Betty and Judy Haynes is corny, formulaic, and great fun. 

During the course of catching up with Betty and Judy, who are also performing as musical artists the Haynes Sisters, they end up at the Columbia Inn in Vermont run by their former Commanding Officer General Waverly. The inn is failing, and well, you can figure out the rest. 

What is wonderful about musicals like this is they are a perfect showcase for the amazing music taken from the Great American Songbook, in this case the songs of Irving Berlin; tunes such as Count Your Blessings Instead Of Sheep, I Love A Piano, Let Me Sing And I’m Happy, and Blue Skies. It is also, as the title reminds us, Christmas Season and Mr. Berlin wrote many of the Christmas songs that have become standards. Along with the title number these include Happy Holidays, Snow, and I’ve Got My Love To Keep Me Warm.

Blue Skies

The huge stage of the Wang Center can be overwhelming, and at first I thought the players were going to be lost in their surroundings. However, their powerful performances and the beautiful scenery prove large enough to fill their surrounding and more. Blue Skies performed by David Elder as Bob Davis along with the chorus all dressed in white and  set against a  background of sky blue with wisps of clouds was food for the eyes while the singing and dancing were spectacular. 

Kerry Conte and Kelly Sheehan as the Haynes Sisters are delightful while performing the number Sisters, a song that is later reprised by Bob and Phil in a bit of  twist. There is great chemistry among the four actors both when all together and when paired off separately. 

Judy and Phil

Phil played by Jeremy Benton sings one of Berlin’s best songs I Love A Piano while dancing atop a small grand piano. He is joined by Judy and the pair perform a tap dance routine while seated on the piano with their feet hitting the stage. It is innovative and received a well deserved round of applause.

Bob and Betty bring tenderness to Count Your Blessings, a song that is not only appropriate for the Christmas Season, but one that delivers a message we should all take to heart each and every day.

Judy performs How Deep Is The Ocean set at the Regency Room in New York City. Here is where that large stage really works. Judy is joined by Phil as they sing and dance under a beautiful chandelier and are surrounded by gorgeous white draperies. 

The set designs adapted by Kenneth Foy from the 2009 production sets designed by Anna Louizos are breathtaking. The colors vivid and warm are marvelous. The scenes at the inn capture what it feels like to be in New England at Christmastime. I don’t want to give away the ending, but I can assure you that you’ll be in awe at what you see.

Lorna Luft

Lorna Luft plays Martha Watson the manager of the Columbia Inn in Vermont. When she sings Let Me Sing And I’m Happy it is impossible not to think of her mother Judy Garland, but she is not performing an imitation of her famous mother. Ms Luft is a consummate stage professional who can not only sing beautifully but also has tremendous stage presence and exquisite timing. 

Conrad John Schuck as General Henry Waverly is a cross between George Patton and General George C. Marshall, proud, firm, and tender. In the performance I attended Kyla Carter played Susan, the granddaughter of General Waverly. (The role is alternated with Emma Grace Berardelli). Ms Carter was impressive when she reprised Let Me Sing And I’m Happy. It must have been a bit intimidating to be performing the number in front of Lorna

Kyla Carter, Conrad John Schuck, and Lorna Luft

Luft just minutes after Ms Luft had sung it, but Ms Carter was poised and powerful. 

The character of Ezekiel Foster has few words, but his “ayuhs”, high waisted pants, cigar, and facial expressions are subtle and very funny. Cliff Bemis originated the role and is on the stage here in Boston. It takes on even more meaning to native New Englanders. Is he good? Ayuh!

Director and choreographer Randy Skinner has put the large stage to good use, keeping it open and vast on numbers such as Blue Skies, while using the scenery to shrink it a bit and frame scenes tastefully such as the ones at the inn. 

This is a big production with a full orchestra and very large cast. Irving Berlin’s White Christmas is just the thing to make you forget about your troubles and become filled with the joy and spirit of Christmas. Great music, great talent, and great scenery on a great big stage is just the ticket for a great night of theatre.  This should be a part of any Christmas celebration in Boston.

Irving Berlin’s White Christmas 

Directed and Choreographed by Randy Skinner

The Boch Center Wang Theatre, 270 Tremont Street, Boston

Through December 29

bochcenter.org 

“Irving Berlin’s White Christmas” Opens At The Boch Center Wang Theatre December 17

Theatre Announcements,

 

 Irving Berlin’s White Christmas

Comes To  The Boch Center Wang Theatre

December 17 Through December 29

Starring

David Elder, Kerry Conte, 

Jeremy Benton, and Kelly Sheehan

 Featuring Conrad John Schuck As The General, 

And Reprising The Role Of Martha Watson, Lorna Luft 

 

The producers of IRVING BERLIN’S WHITE CHRISTMAS, the stage adaptation of the beloved classic film, have announced casting for the upcoming National Tour, coming to the Boch Center Wang Theatre December 17 – 29, 2019.

The 2019 season will star David Elder as “Bob Wallace,” Jeremy Benton as “Phil Davis,” Kerry Conte as “Betty Haynes,” and Kelly Sheehan as “Judy Haynes.”  Also featured are Conrad John Schuck as “General Waverly,” Lorna Luft as “Martha Watson,” Brad Frenette as “Ralph Sheldrake,” Danny Gardner as “Mike Nulty,” and Cliff Bemis as “Ezekiel Foster.” Additionally, Emma Grace Berardelli and Kyla Carter will be reprising their role of “Susan Waverly.” 

Rounding out the cast of returning cast members are Darien Crago, Sarah Fagan, Drew Humphrey, Bryan Thomas Hunt, Brianna LaTrash, Stephanie Brooks Martin, Chris McNiff, Daniel Plimpton, Kristyn Pope, Sean Quinn, and Karilyn Ashley Surratt. Additional new cast members for the 2019 season include Lamont Brown, Kimberly Immanuel, Tina Johnson, Kristie Kerwin, and Chris Shin. 

IRVING BERLIN’S WHITE CHRISTMAS tells the story of a song-and-dance team putting on a show in a magical Vermont inn who fall for a stunning sister act in the process. Full of dancing, laughter and some of the greatest songs ever written, including “Count Your Blessings Instead of Sheep,” “Happy Holiday,” “Sisters,” “Blue Skies,” and the unforgettable title song, Irving Berlin’s “White Christmas.”

The New York Times exclaims “this cozy trip down memory lane should be put on your wish list.” And, the New York Daily News hailed IRVING BERLIN’S WHITE CHRISTMAS as “a holiday card come to life.”

IRVING BERLIN’S WHITE CHRISTMAS features music and lyrics by Irving Berlin with book by David Ives and Paul Blake and is based upon the Paramount Pictures film written for the screen by Norman Krasna, Norman Panama and Melvin Frank

Tickets are available at the Boch Center Box Office,  www.bochcenter.org, by calling 800-982-ARTS (2787), and via Ticketmaster or by calling 866-348-9738.

“Million Dollar Quartet” Opens At Greater Boston Stage Company April 25

Theatre Announcements, ,

GREATER BOSTON STAGE COMPANY
PRESENTS THE TONY AWARD-WINNING SMASH HIT MILLION DOLLAR QUARTET 

Greater Boston Stage Company proudly presents the beloved rock ‘n’ roll musical Million Dollar Quartet. Million Dollar Quartet brings to life the famed 1956 on-the-fly recording session at Sun Records that brought together icons Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins for one of the greatest jam sessions ever. Featuring a score of hits that includes “Blue Suede Shoes,” “Great Balls of Fire,” “Walk the Line,” “Hound Dog,” and more, Million Dollar Quartet will have audiences dancing in their seats. Directed by Associate Artistic Director Ilyse Robbins, performances run April 25 – May 19, 2019. 

Shares Robbins, “I first heard about Million Dollar Quartet from my parents. They enjoyed it so much, that they saw it twice – in New York and on tour. It turns out that in one of the productions, my parents saw our Music Director and Jerry Lee Lewis, James Scheider, who was their favorite part of the show.” She continues, “Million Dollar Quartet is an evening of song, joy, and story – three things that I love.” 

The Million Dollar Quartet Cast features Melissa Geerlof, Nile Scott Hawver, Luke Linsteadt, Trey Lundquist, Matthew Pitts, Austin Wayne Price, Robert Saoud, and James Scheider. 

The Design Team is comprised of Scenic Designer Patrick Lynch, Lighting Designer Jeff Adelberg, Costume Designer Stephen LaMonica – a Young Company alum, Sound Designer John Stone, and Props Master Emme Shaw. Music Direction is by James Scheider.

pastedGraphic_6.pngBox Office: (781) 279-2200, 395 Main Street, Stoneham, MA 02180 Mondays – Fridays, 11am to 6pm; Saturdays, 1pm to 6pm  www.greaterbostonstage.org

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Review: “Twelfth Night” At The Lyric Stage

Theater Reviews, ,

Art Thou Ready To Rumble?
Paula Plum Scores A Knockout
With The Lyric Stage/Actors’ Shakespeare Project’s 

Twelfth Night

 

Reviewed by Bobby Franklin

Bobbie Steinbach, Alejandro Simoes, Michael Forden Walker

Twelfth Night is considered one of William Shakespeare’s three great comedies. It is also a dark comedy, as well as the Shakespeare play that contains the most music. While it is not exactly known what the songs would have sounded like in the original productions, the lyrics are contained in the plays.

In this production, the Lyric Stage Company has joined with Actors’ Shakespeare Project and the results are delightful. Under the creative direction of Paula Plum, the action is moved from the Elizabethan Period to the 1920s. The set is modeled after New Orleans’ French Quarter and is softly lit, giving it a jazz club feel.

This is fitting, as Ms Plum has employed the very talented David Wilson to compose music to accompany the lyrics Mr. Shakespeare has provided. The bluesy jazz has the feel of Billie Holiday crossed with George Lewis. The songs are performed by Rachel Belleman in the role of Feste. Ms Belleman has an exquisite voice as she sings while being accompanied by digital music that is piped in through a juke box. Other than realizing there is not an orchestra present, you would never guess Mr. Wilson has made this happen through the wonders of modern technology. There are also flapper era songs such as I Wanna Be Loved By You and Someone To Watch Over Me that are played as incidental music.

Twelfth Night utilizes many of the familiar devices Shakespeare uses. A pair of twins that are separated, gender bending, a shipwreck, mistaken identity, and a character who is outcast by the others. It can get confusing, but that is the charm in it all.

In addition to Rachel Belleman’s Feste, and she brings much to her fine performance than her amazing singing talents, the stage is populated with a strong cast of Boston veteran actors and young talent who do not disappoint.

Richard Snee, Michael Forden Walker, Bobbie Steinbach, Jennie Israel

Bobbie Steinbach and Alejandro Simoes as Sir Toby Belch and Aquecheek respectively, bring a vaudeville/slapstick flavor to their parts. There are also shades of Laurel and Hardy. They are dressed in brightly colored costumes and wear derbies. Ms Steinbach reminded me a bit of the Penguin from the Batman series. As usual, she is a presence on the stage but never at the expense of her fellow players. Michael Forden Walker in straw hat as Valentine and Maria played by Jennie Israel round out the gang who set up Malvolio. This is Shakespeare meets vaudeville.

They are really funny, but the darkness also comes through when they begin to gaslight the somber Malvolio played by Richard Snee. This is a more sympathetic Malvolio than is sometimes seen. He is stern and unforgiving in his treatment of Sir Toby and Viola. A steward to Olivia, he is duped into believing she has romantic intentions toward him. The scene where he dresses in cross garters and yellow stockings is right out of Sid Caesar and is hysterical, which makes his embarrassment the more palpable when he finds out he has been duped. Imprisoned for madness, his rage is understandable, and Mr. Snee delivers Malvolio’s angry words to his tormenters like a cannon shot fired into the audience.

Richard Snee, Samantha Richert, Rachel Belleman

The dueling scene is presented as a boxing match, and while the legacy of Joe Louis is not threatened, it is fun and lively. Hearing the lines “Art thou ready to rumble?” was really amusing and a nice touch by Ms Plum.

Samantha Richert is a boozy Olivia dressed as a 1920’s flapper. She and Orsino are both smitten with Cesario who is really Viola in disguise. Played by Hayley Spivey, Viola has been shipwrecked in Illyria and believes her twin brother Sebastian (Dominic Carter) has been lost.

Ms Spivey and Mr. Carter are both making their Shakespearean debuts in Twelfth Night, but you would never know it by their performances. Hayley Spivey is confident and recites her lines flawlessly. Her timing is impeccable and precise as she moves effortlessly across the stage.

Dominic Carter has fewer lines, but the old saying about less being more certainly holds true for him. There is almost a shyness about his performance that makes it both subtle yet understatedly powerful. I was very impressed with both Mr. Carter and Ms Spivey. I hope they will take to the stage in future Shakespeare productions.

Hayley Spivey, Alejandro Simoes, Samantha Richert, Dominic Carter

This Lyric Stage/Actors’ Shakespeare Project collaboration is terrific. The Lyric has not put on a Shakespeare play in some time and opening up the theatre in Copley Square for this production shows how well two different companies can work together. I thought “Oh No! Two Artistic Directors working on the same project at the same time! This could get crazy.” However, Spiro Veloudos at the Lyric and Christopher Edwards from ASP obviously work well together. I think they also let director Paula Plum have a free hand, and that was wise.

Some people are not happy when a Shakespeare play is set in a more modern era. It never has bothered me as long as it stays true to the original in dialog and meaning. This does not mean it always works. This one does, and it works extremely well. It is highly entertaining, funny, the music is perfect while the story remains intact and as meaningful as ever.

Alejandro Simoes, Hayley Spivey

To those of you who still suffer from the slings and arrows of that high school teacher who managed to instill in you a lifelong dislike of the world’s greatest playwright, have no fear as you will enjoy this production. I heard some people at intermission saying the play was confusing. Well, it is and is supposed to be. The characters become confused. Many plays take time to resolve themselves as they progress, and this is rarely an issue. In Shakespeare, however, I think the ghosts of teachers past sometimes haunt us. My advice: don’t hang on every word, don’t worry if you feel you are not getting the story immediately, remember that you will not be given a test right after, and most of all, remember that you are not reading it. You are watching it which is the way it was meant to be experienced.

Relax and enjoy what has to be one of, if not the, best productions of a Shakespeare play this season. As Orsino says “If music be the food of love, play on; Give me excess of it”. The music at the Lyric stage is certainly the food of love…and of great theatre.

Photos by Mark S. Howard

Twelfth Night
Through April 28
The Lyric Stage, Copley Square, Boston
lyricstage.com 617.585.5678

Review: “Onegin” At Greater Boston Stage Company 

Theater Reviews, ,

Onegin

By Amiel Gladstone and Veda Hille

Directed By Weylin Symes

Musical Direction By Steve Bass

Choreographer Ilyse Robbins

Through March 31

 

Reviewed by Bobby Franklin

Sarah Pothier and Mark Linehan
Photo by: Maggie Hall Photography

Onegin, now playing at the Greater Boston Stage Company in Stoneham is the U.S. premiere of the musical based on the epic poem of the same name by Alexander Pushkin. It has been very popular in Canada, and after seeing this production I can understand why. In this version, Russian literature meets rock opera. The result is two hours of very enjoyable theatre that you won’t want to miss.

Set in 19th Century Russia, it is the story of Evgeni Onegin (Mark Linehan) who has moved to the countryside where he has inherited his uncle’s estate. There he befriends the young poet Vladimir Lensky (Michael Jennings Mahoney). To cheer his new friend up, Lensky introduces Onegin to his girlfriend’s sister Tatyana (Sarah Pothier). 

We hear how Tatyana is immediately taken with Onegin as she sings Let Me Die, in which she tells of her love of books and her feelings that Onegin has walked out of one of the great novels she has read. Ms Pothier’s rendition of Let Me Die is beautiful. Her voice is sweet and conveys a vulnerability that captures the essence of Tatyana. 

Sarah Pothier
Photo By: Maggie Hall Photography

Unfortunately, the object of her affection does not respond in kind. He makes his feelings clear in Onegin’s Refusal in which he sings the lyric, “Marriage is not for me.” Mark Linehan’s voice is strong and rich, and it doesn’t take long to understand the character of the self centered Onegin. 

The story moves to tragedy as Onegin’s thoughtlessness causes his friend Lensky much pain. Onegin’s flirtation with Lensky’s fiancé Olga (Josephine Moshiri Elwood) leads to the two friends having a duel. The result causes much pain while giving Onegin what appears to be the first sense of caring for others. 

Christopher Chew
Photo by Maggie Hall Photography

While tragic, the play has many upbeat and funny moments. Christopher Chew as Triquet puts on quite the rock star performance during “The Queen Of Tonight”. Kerry Dowling’s glower seems aimed at each audience member as she sings Rules For Dueling while dressed as a Cossack complete with mustache. There are a number of memorable moments such as this.

Michael Jennings Mahoney who plays Lensky has a remarkable voice. The melancholy that shows during Olga Will You Weep is deeply moving. I was impressed and taken with what I heard.

The five piece orchestra was on stage throughout the performance as are most of the cast members. And, in a nice touch, a few members of the audience are also seated on stage and take part in some of the numbers. 

Onegin plays through March 31 in Stoneham, and I highly recommend it. This Greater Boston Stage Company production is well worth seeing.  With political divisions permeating so much of our daily lives, it is nice to be able to take a break from the madness and see a play that is touching, human, and has such a great score. 

Onegin

Greater Boston Stage Company

395 Main Street, Stoneham, MA

781.279.2200

www.greaterbostonstage.org 

Review: “An Inspector Calls” At ArtsEmerson

Theater Reviews, ,

Be Sure To Visit This House

Review: An Inspector Calls

Directed By Stephen Daldry

A National Theatre Landmark Production

Through March 14

ArtsEmerson

Emerson Cutler Majestic Theatre, Boston

Reviewed by Bobby Franklin

Photo by Mark Douet

When the curtain rises for An Inspector Calls, now playing at the Emerson Cutler Majestic Theatre, a magnificent Victorian mansion appears center stage shrouded in mist and rain. It is rather breathtaking to see as we hear the occupants talking over dinner. Eventually, the sides of the house swing back revealing the diners while allowing the audience to get to know each character. 

At first I thought the house would steal the show, but nothing could take away from the fine acting on display over the next 100 minutes of this fast paced production filled with rapid fire dialog.

Jeff Harmer, Hamish Riddle and Andrew Macklin
Photo by Mark Douet

J.B. Priestly’s play which was written in 1945 and is set in 1912, takes in place the home of the prosperous Birling family, celebrating the engagement of their daughter Sheila (Lianne Harvey) to Gerald Croft (Andrew Maclin). Croft’s family runs a company that competes with the Birling’s firm, and the wedding appears to be as much a business merger as an affair of the heart.

The mood begins to change quickly when the mysterious Inspector Goole (Liam Brennan) arrives and begins questioning the individuals about a young woman named Eva Smith. Eva has taken her own life and the Inspector acts as a conscience while going from person to person while finding blame in each for driving the young Smith to such despair.

Priestly made no attempt to hide his agenda and it is clear the story comes down to a very black and white social commentary; wealthy industrialist is cruel and exploitative while the workers have no control over their lives. It is a theme that will be popular with many of today’s Millennials who seem to be quite taken with socialism, but it does not lend itself to discussion. Priestly has written a work that is more of a sermon promoting rather than an argument for his beliefs.

Liam Brennan, Jeff Harmer, Hamish Riddle, Andrew Macklin
Photo by Mark Douet

Does this mean only people who agree with the author should see it? Not at all. Actually, it is a very good work with excellent dialog, many surprises, and characters that are well developed, and that while it is strongly political in nature, there is much in it that will resonate with people from all spectrums of opinion. Step back from where Priestly is trying lead the audience and you have a story about human nature and the harm people do to one another because they don’t understand or simply choose not to see the consequences their actions have on the lives of others. This is a problem for not only wealthy capitalists, but for many people when they have power over others. It could even be true of college professors or lower level management people. 

This is the U.S. tour of the National Theatre production of An Inspector Calls, and the set from the original London West End theatre has been brought over. It is a first rate work that is a pleasure watch. At times I felt as if I were sitting in a London theatre while watching this incredibly talented troupe of actors plying their art. Costumes, lighting, and effects further enhanced the performances. 

Liam Brennan’s Inspector Goole is a combination of avenging angel and Ghost of Christmas yet to come, while Jeff Hamer in the role of family patriarch Arthur Brilling takes his character, who could have easily slipped into caricature, and fills him with depth and emotion.

Lianne Harvey’s Shelia Brilling at first appears to be uncaring, or rather naive, but then becomes a voice of reason and understanding. Eric Brilling, the alcoholic son played by Hamish Riddle, gains much depth as the play moves on, and his pain is deeply felt as the final scenes unfold. 

Gerald Croft (Andrew Maclin), the future son in law, and Sybil Birling (Christine Kavanaugh), the family matriarch, struck me as the coldest of the bunch. Both appeared to be from the school that says if nobody sees you, you didn’t do anything wrong. 

Not to be forgotten is Edna, the Birling’s maid. Played by Diana Payne-Myers, she has very little dialog but acts as witness to all that happens. While subtle, she is quite moving and plays an important role in the play.

Opening night was also Ms Payne-Myers 91st birthday. She has been performing the part for 22 years, I think she has it down pat. 

Jeff Harmer, Diana Payne-Myers, Lianne Harvey, Hamish Riddle, Andrew Macklin, Christine Kavanagh and Ensemble
Photo by Mark Douet

Be neither turned off or on by the political bent of An Inspector Calls. It is excellent theatre and it would be a shame not to take it in. We are in such polarized political times, but that has always been true to some degree. The important thing is to be able to listen to one another no matter how much we may disagree. While you may or may not agree with J.B. Priestly’s political views, there is much common ground to be found in how we can improve our lives when it comes to treating others with kindness and respect.

One thing everyone can agree on is this is a superb production that should not be missed. 

Emerson Cutler Majestic Theatre, 219 Tremont Street, Boston. Tickets may be purchased online at www.artsemerson.org  by phone at 617.824.8400, or in person at the box office.

“Twelfth Night” Opens At The Lyric Stage March 29

Theatre Announcements, ,

If Music Be The Food Of love, Play On! Give Me Excess Of It!

Orsino, Act 1 Scene 1

The Lyric Stage Company and Actors’ Shakespeare Project will be co-producing a production of William Shakespeare’s Twelfth Night. ASP founding member Paula Plum will will direct. Paula has worked as an actor and director with the Lyric Stage since 1975. She has won numerous awards including three Eliot Norton Awards for Outstanding Actress.

The cast will feature Rachel Bell;eman, Dominic Carter, Jennie Israel, Samantha Richert, Alejandro Simoes, Richard Snee, Hayley Spivey, Bobbie Steinbach, and Michael Forden Walker.

Twelfth Night is a tale of unrequited love – hilarious and heartbreaking. Twins are separated during a shipwreck and are forced to fend for themselves in a strange land. The first twin, Viola, falls in love with Orsino, who dotes on Olivia, who falls for Viola but is idolized by Malvolio. Enter Sebastian, who is the spitting image of his twin sister… is it possible for this to all end well?   Well, it IS a comedy!

Twelfth Night will run from March 29 through April 28 at the Lyric Stage, Copley Square, Boston.

For more information: 617.585.5678 lyricstage.com  actorsshakespeareproject.org