Theatre Review: Nora at Westport Country Playhouse

Ingmar Bergman’s Nora is a provocative choice for Westport Country Playhouse’s 3^rd production of the season. This play, which is a pared down version of Henrik Ibsen’s A Doll’s House, is a beautifully written, thought-provoking conversation starter that deals with the issue of women’s roles in the face of an oppressive patriarchal society. When A Doll’s House was written in 1879, it challenged male dominated societal rules about a woman’s place in the home and in the world.

As envisioned by director David Kennedy, Westport Country Playhouse’s version is a more contemporary look at the same issues. Using an innovative open scenic design by Kristen Robinson and superb lighting by Matthew Richards, we are brought into a 20^th century world where sadly, some of the social elements of 1879 still strike a nerve: secrets in a marriage, controlling and abusive husbands, employment and our sense of self, poverty after the death of a spouse, and the far reaching effects of a troubled past. However, the contemporary setting of this production is distracting and does not work well with the dialogue and important themes presented in the original play.

In the 19^th century, the ideal woman possessed a nurturing, passive, domestic character. A woman’s place was certainly in the home; her primary duties were to attend to and bolster her husband, and to be seen as the moral compass for the family. Often at the mercy of her caretakers, women possessed few resources for making their way in the world without her partner, a situation that the title character faced when her husband became ill and was in need of an extended stay in a restful environment. Without the means to afford such a trip, Nora illegally borrowed the money without her husband’s knowledge or consent and has been secretly paying back the loan. Things take a turn for the worse, when through a series of bizarre coincidences, Nora’s moneylender is discharged by her husband’s bank, and he decides to blackmail Nora into securing a new bank position and advancing his career. 

Lucas Hall and Liv Rooth in Nora, Ingmar Bergman's adaptation of Henrik Ibsen's
A Doll's House.  Now through August 2nd at Westport Country Playhouse
Photo by Carol Rosegg

On the surface, this premise feels implausible for a contemporary Nora. As played by Liv Rooth, she seems more terrified of what her husband would do if he found out that she went behind his back to take out a loan than the irksome little detail that she forged a signature to do it. Her fear is not for herself but for her husband, who she assumes would feel emasculated by the fact that his wife helped him but who would nobly take the fall for the forgery. 

It does not help that in this modern day version, Nora is like a caricature of a less than brilliant, and yes, a blond, trophy wife. Looking like a well-coifed Barbie doll in chiffon and satin cocktail dresses and heels, thanks to the sublime costumes of Katherine Roth, Nora more than ably fulfills the role of decorative status symbol. She is the object of affection who is coddled and cosseted according to the whims and wishes of her husband Torvald. Nora is a full participant in this game as well; she is submissive when she needs to be, childish and coquettish. Flirtation and sex are her main tools for getting what she wants. When Torvald gets a bit too close to the truth, Nora calculatingly plays dumb, asking Torvald’s help in picking out her clothing, or to teach her to dance. Her efforts at seducing him away from incriminating evidence are almost cartoonish with her shoulder shaking, pouting lips, and come hither stare. And the worst of it is that Torvald falls for it.

The best that I can say about Torvald, convincingly played by Lucas Hall, is that he is a piece of work. He is the epitome of an authoritative, controlling, narcissistic, sexist pig. He decides how Nora should act, what she should wear, what she should think, when she should speak, where they go, when they have to leave, how much she is allowed to spend, and on what items. Everything about Nora is a reflection of him; she is just another of his possessions whose purpose is to impress others. She is his plaything, to dress up and do with her what he pleases, when he pleases.

There is nothing latent about his chauvinism; and therein lies the problem. Torvald is clueless that there could be any other way to interact with his wife. In the modern setting, his condescending little speeches and directives, as well as his incredulity that his little woman could ever possibly think of leaving him are maddeningly laughable. Such blatant sexism may have made sense in the 19^th century when it was more a rule than the exception, but in today’s slightly more enlightened times, you just want to shake your head and say, “Dude, buy yourself a clue.”

There are other characters who inhabit Nora’s world. She has unseen children, who are little more than a footnote to the story. LeRoy McClain plays Dr. Rank, a dying family friend who is attracted to Nora and possibly the only man who sees her beyond her role as wife and mother. Stephanie Janssen plays Mrs. Linde, a friend who’s arrival unwittingly sets off the events played out on stage, and Shawn Fagan gives a beautifully nuanced performance as Nils Krogstad, the disgraced banker who exposes all of Nora’s secrets. Mr. Fagan’s performance has just the right amount of desperation and menace to make Krogstad seem both threatening and sympathetic at the same time.

However, it is the drama that takes place between husband and wife that drives this production forward. Secrets are revealed, and Nora eventually walks out on Torvald, having learned that she has not been loved for who she is but for the roles she plays. The sudden turnaround comes as a bit of a shock; Nora expresses such momentary rage at Torvald at one point in the final scene that I was left scratching my head and asking, “Where did that come from?” Given the fact that we had no hint of simmering feminism or a growing sense of self in Nora up to this point, it seemed so out of place that I was as taken aback as Torvald must have been.  

Nora’s sudden fit of rage was another unfortunate distraction from the eloquent words and monologues that Ibsen wrote for the final act of A Doll’s House. But even that moment is not as jarring as the unnecessary final image of a vulnerable Torvald, symbolically stripped of his perceived entitlements that made him Nora’s superior, standing lost and dumbfounded in all his gratuitously naked glory.

A Doll’s House shines a light on the oppression of women in a male dominated society. It speaks eloquently about the roles of women, sacrifices made in marriages, and of being treated like a human being over and above gender. It is disappointing that the added distractions of Westport Country Playhouse’s production of Nora detract from the message that Ibsen conveys with this important play, especially in this day and age when women are still fighting for an equal place in society. 

Nora runs through August 2^nd at Westport Country Playhouse. Call 203-227-4177 or visit www.WestportPlayhouse.org for tickets. 

Celebrate The Season with Live Theater!

There’s a little something for everyone in the list of upcoming shows, and Connecticut patrons will not have to travel far to enjoy quality theater at affordable prices. Here is a sampling of local theater offerings in our area:

MUSICALS

The Bijou Theatre, located in Downtown Bridgeport presents its Young Adult Theatre Program’s production of In The Heights. Winner of 4 Tony awards in 1988, including Best Musical, this innovative celebration of family and home features salsa, hip hop, and rap to tell the story of a close knit community in New York’s Washington Heights. The Bijou Theatre expanded their outreach to the local community, and many of the talented young artists performing in the show hail from the cities of Bridgeport, Norwalk and West Haven. In the Heights is directed by Christy Newsom, with musical direction by Eli Newsom, both from Bridgeport Theatre Company, reinforcing the already strong ties within Bridgeport’s performing arts community. It’s a real family affair for me personally, as well as for the city of Bridgeport, and audiences will surely leave the theater dancing to the show’s Latin rhythms. In the Heights plays at the Bijou Theatre July 11^th, 12^th, 18^th, and 19^th at 8:00 pm; July 13^th at 6:00 pm and July 19^th at 2:00 pm. Tickets are $15 for students, $19 for theatre seats, and $24 for tables and high tops, and can be purchased at The Bijou Theatre.

Long Wharf Theatre in New Haven celebrates the season

with the 60’s musical beach party, The Bikinis. Created and written by Ray Roderick and James Hindman, with musical arrangements by Joseph Baker, this show is about a girl group that brings back the great songs they sang on the boardwalk at the Jersey Shore, all to raise money for their favorite vacation spot. These best friends relive their heyday in a non-stop celebration of song with over 30 hits like, “It’s In His Kiss,” “Yellow Polka Dot Bikini,” “Heat Wave,” “Under the Boardwalk,” and many others. The Bikinis will be on the Claire Tow Stage in the C. Newton Schenck III Theatre July 9^th – 27^th. Tickets are $59.50. Call the box office at 203-787-4282 or visit Long Wharf Theatre for tickets.

DRAMA 

The Players at Putney Gardens present The Seagull, July 11
through August 1.  Photo by KevinMcNairPhotography

The Players at Putney Gardens venture outside of their usual Shakespeare fare with their eleventh production: The Seagull by Anton Chekov. Set in the Russian countryside at the end of the 19^th century, this classic, character-driven drama tells the story of the conflicts that arise in the pursuit of art and romance. Directed by Mark Frattaroli, this experienced and innovative company is sure to offer a delightful evening outdoors under the stars. The Seagull will be presented Fridays and Saturdays, July 11^th through August 1^st at Boothe Memorial Park in Stratford. Admission: FREE. You are encouraged to bring low lawn chairs or blankets and refreshments. Visit The Players at Putney Gardens for more details.

A Dangerous Man at Ridgefield Theatre
Barn, July 11-20. Photo by Pat Halbert.

A Dangerous Man comes to the Ridgefield Theater Barn July 11^th – July 20^th. This play, written by Mel Power and directed by Sherry Asch, is based on true events. Tara Jones, a young, white, single mother arrives home from work to find a most unwelcome visitor, Anthony, a black man who is the object of an intense manhunt by the police…for murder. He is a man on the run with nothing to lose. Regardless of his intentions, he has killed two people, one of them a police officer. Tara’s life hinges on every glance, every word, every perceived threat that passes between them. All tickets are $15 and can be purchased at Ridgefield Theatre Barn.

The cast of Westport Country Playhouse's
Nora. Photo by Kat Gloor

Westport Country Playhouse will stage the sexy and suspenseful story of love, lies, and blackmail, Nora, July 15^th –  August 2^nd, adapted by Academy Award-winning director/writer Ingmar Bergman from Henrik Ibsen’s masterwork, “A Doll’s House.” Directed by David Kennedy, Playhouse associate artistic director, the work is translated by Frederick J. Marker and Lise-Lone Marker. The title character, Nora, has a seemingly perfect life, a happy home, and a healthy marriage. But when a menacing man from her past appears, her idyllic world is suddenly turned upside down. Nora is appropriate for ages 16 and up. Running time is approximately 90 minutes; no intermission. Tickets are $30 to $50. Call 203-227-4177 or visit Westport Country Playhouse for tickets.

COMEDY

Town Players of Newtown present I Hate Hamlet. Written by Paul Rudnick and directed by

Ruth Anne Baumgartner, this lighter summer fare offers up dramatic comedy when an aspiring star meets a plastered poltergeist. Up-and-coming television star Andrew Rally has been offered the part of Hamlet as part of the Shakespeare in the Park series and rents a fabulous gothic apartment in New York City. Unfortunately, Andrew is not thrilled with the idea of spouting classic lines written by The Bard. In fact, he hates Hamlet. Adding to his quandary is the presense of John Barrymore's ghost, who arrives at the apartment (his former home) in full Hamlet regalia - and fully inebriated, with the sole intent of convincing young Andrew to take on the iconic role. I Hate Hamlet runs Fridays and Saturdays at 8:00 pm and Sundays at 2:00 pm through July 20^th at The Little Theater in Newtown. Tickets are $15 to $20. Call 203-270-9144 or visit Town Players of Newtown for more information.

AND SPEAKING OF SHAKESPEARE…

Bring your lawn chairs and blankets for these FREE productions:

The romantic comedy of wits, Much Ado About Nothing,  is being presented by the Valley Shakespeare Company on July 10th - 12th at 8:00 pm at Shelton’s The Riverwalk/Veteran’s Memorial Park. The park opens at 6:30 pm for early picnicking.  Visit Valley Shakespeare Festival for details.

Hudson Shakespeare Company is also bringing a non-traditional version of Shakespeare’s Cymbeline to the Stratford Library on Saturday, July 26^th at 2:00 pm. This fairy tale romance with an “Old West’ feel will be presented outside in the library amphitheater. Come early with your chairs and blankets as seating is limited. Visit Stratford Library for details.

Our third Shakespeare offering, an anachronistic adaptation of Shakespeare’s As You Like It, set in 1969, will be presented on the grounds of The American Shakespeare Festival Theater in Stratford, July 30^th – August 3^rd at 8:00 pm and at McLevy Green in Downtown Bridgeport, August 6^th – 10^th. Visit Connecticut Free Shakespeare for details.

With so much to choose from, it will turn out to be a very busy July. What better time to celebrate the arts in our own backyards? 

Summer Theatre of New Canaan Rocks with "Hairspray"

Rebecca Spigelman as Tracy Turnblad in Summer Theatre of New Canaan's
production of Hairspray through August 3rd. 

Summer Theatre of New Canaan rocks the summer months with the powerhouse, feel-good musical, Hairspray. This wonderful production runs through August 3^rd outside of New Canaan High School. But don't let the setting fool you. Despite the fact that this show is presented in a unique, all-weather, open-air tent, it is no small community production. For the price of admission, you are treated to a full-fledged Broadway quality performance that rivals and, in some cases, surpasses many older, well-established, year-round theaters. Audiences of all ages will enjoy this upbeat show featuring a musical score reminiscent of the heyday of early 1960's rock & roll and its hopeful message of inclusion, idealism, and fearlessness in the face of prejudice.

Based on the 1988 John Waters film, the musical Hairspray features an award-winning book by Mark O'Donnell and Thomas Meehan, music by Marc Shaiman, and lyrics by Shaiman and Scott Wittman. It tells the story of the attempts at integrating "The Corny Collins Show," a teenage television dance show based on Baltimore's "Buddy Deane Show." Like its real-life counterpart, "The Corny Collins Show" features a roster of teenage kids who become stars through their introduction of new dances like "The Madison" and their personal on-air romances.

Our musical heroine, the overweight Tracy Turnblad, finds that it's not easy to fit into the mold of these 'nice, white kids' from Baltimore, and she soon feels the sting of rejection. Tracy commiserates with her African American friends and dance inspirations who also cannot gain equal footing on the Corny Collins dance floor. But theirs is no pity party and our plucky heroine cannot be kept down. Through a series of naive blunders, an unlikely romance with a teen heartthrob, and outright law-breaking defiance, Tracy wins her way to making all of her (and her friends') dreams come true.

 

The Broadway musical Hairspray won several Tony and Drama Desk Awards. Summer Theatre of New Canaan's production deserves as many accolades for its exceptional production team and stellar cast. The inspired direction of Allegra Libonati, set design by Julia Noulin-Mérat and lighting by Daniel Chapman combine with the rock & roll sounds of an outstanding orchestra under the musical direction of David Hancock Turner to transport us back to the sights and sounds of early 1960's life. Bobbie Cliffton Zlotnick deserves special recognition for the ratted and teased wigs and beehives that give rise to the towering hairstyles that inspired the show's title. The colorfully flashy and nostalgically accurate costumes by Orli Nativ complete the look for that unmistakable 60's style.

Dynamites -  Melissa Victor, Tatianna Mott  and  Darrilyn Castillo in 

Summer Theatre of New Canaan’s production of HAIRSPRAY through August 3.

Of course, a musical about a dance show would not be complete without some killer dance moves, and choreographer Doug Shankman provides those. Mr. Shankman samples all of the dance styles of the 60’s. We get a glimpse of everything, from innocuous line dances like “The Madison” and staid couples dancing for the Corny Collins show, to the down and dirty, soulful moves of a platter party on the wrong side of town, and the gyrating hips of a teen idol. We even get a small tap number in a jail cell and a smooth soft shoe number by Tracy’s unlikely, but oh-so-in love parents. The entire cast executes these dance moves and all of the songs perfectly. The performances are so authentic and believable that the show never loses its early 60’s vibe.

The heart and soul of the show belong to the perfectly cast featured actors. Rebecca Spigelman shines as the buoyantly bubbly teen Tracy Turnblad, who never loses sight of her dreams despite the negativity and obstacles that others want to impose on her. Nick Pankuch also delivers a punch as the local teen idol Link Larkin, whose budding romance with the overweight and socially conscious Tracy adds a depth of character to his dreamy good looks.

Rebecca Spigelman (Tracy Turnblad) and Nick Pankuch (Link Larkin)  in 

Summer Theatre of New Canaan’s production of HAIRSPRAY through August 3.

Sharon Malane is hilarious as Tracy’s best friend Penny. She is not the sharpest pencil in the box but absolutely adorable as she goes through her transformation from overprotected schoolgirl to “checkerboard chick.” De’Sean Dooley is the perfect picture of ‘cool’ as Penny’s love interest, Seaweed J. Stubbs, the dancer extraordinaire with the smooth moves on and off the dance floor. Brittany Nicholas adds just the right touch of sassy commentary as Seaweed's younger sister Inez, a young girl impatient to have a chance at the spotlight.  

Jodi Stevens and Caroline Lellouche are splendid as the uptight Von Tussle’s, the mother/daughter duo who are not above cheating, putting down, or blatantly discriminating against anyone who does not fit into their blond, perfect little world. Andrew J. Mauney is at once charming and determined as Corny Collins, the television star with his finger on the pulse of America, itching for the New Frontier.

 

Standout performances include A’lisa Miles as Motormouth Maybelle, Seaweed’s mother and sometimes host of “The Corny Collins Show” on what is patronizingly called “Negro Day.”  She embodies the mom trying to protect and guide her children through the dangerous waters of 1960’s segregation, while still clinging to the hope for change. Her soulful rendition of the gospel inspired song, “I Know Where I’ve Been” is a showstopper. 

Other standouts are Greg London and Nick Reynolds as Tracy’s parents, Edna and Wilbur Turnblad. Performing in drag, Mr. London is sublime as the full-figured, self-conscious, protective and supportive Edna. He reminds me of the late Divine who originated the role in the 1988 movie; she is exceptionally feminine, but able to access a deep masculine voice when protecting her daughter. Mr. Reynolds plays Edna’s well-suited spouse Wilbur, diminutive compared to Edna’s girth, but possessing the greatest love and support for his wife and his daughter. Mr. London and Mr. Reynolds are totally believable as a couple and their charming rendition of the song, “You’re Timeless to Me” is another high point in the show.

Special mention goes out to KeLeen Snowgren and Brian Silliman for playing a variety of adult authority figures throughout the show. I applaud their versatility in morphing into such distinct and delightfully funny characters.

 

Hairspray is a joyous celebration of love, acceptance, and equality. It is sure to lift your spirits and put a smile on your face as you walk out of the theater. The final number, “You Can’t Stop the Beat”, could be a rallying cry for anyone wishing to be an agent of progress in our troubled times.  And, in true 60’s form, “It’s got a good beat and it’s easy to dance to.”

Hairspray runs through August 3^rd at Summer Theatre of New Canaan.  Call 203-966-4634 or visit Summer Theatre of New Canaan for tickets.  

Theater Review: Ridgefield Theater Barn Spotlights the Twisted History of "Bloody Bloody Andrew Jackson"

Chris Cenatiempo performs the title role in 

Bloody Bloody Andrew Jackson 

Photo Credit: Alicia Dempster

I need to start this review by saying that I absolutely love this show! It is a youthful, refreshing, irreverent, funny, exciting, not-quite-politically-correct look at the twisted history of the United States as told through the strange saga of President Andrew Jackson, rock star. This cult rock musical made its way to Broadway in 2010 and despite favorable reviews, nominations, and awards, closed after only 120 performances. This was Broadway's loss. I am grateful that the Ridgefield Theater Barn took the risk of putting on such an innovative and entertaining show. 

With an award-winning book by Alex Timbers, and music and lyrics by Michael Friedman, Bloody Bloody Andrew Jackson uses the controversial story of our 7th President to explore political concepts such as American populism, the election process, political corruption, the laziness of the American electorate, and the fickle finger of fame. Its arrogant, in-your-face, emo score is instilled with intelligent and thought-provoking political commentary, never losing sight of the irony that our nation was formed on a foundation that includes the shameful practices of slavery and Native American genocide. 

I love the fact that this political lesson is neither preachy or pedantic. In fact, the academic narrator is eliminated early in the show so that Jackson can tell his own story. Under the direction of Alicia Dempster and musical direction of Eli Zoller, actors and the uber-talented on-stage band drive us through songs including "Populism, Yea, Yea!," "I'm Not That Guy," "The Corrupt Bargain" and "Rock Star." The song "Ten Little Indians," where the ensemble women sing about the removal of Native Americans through force or unfair negotiation, is suitably uncomfortable. Another uncomfortable song in the show is "Illness as a Metaphor," which features cutting and blood as a metaphor for love.

The ensemble cast moves easily through the clever set designed by Alicia Dempster. Using a variety of antique and modern props, as well as period and updated costumes designed by Sara Beschle, the actors portray many character types who are easily recognizable and relevant to today's audiences. A high point in the show is the introduction of John Quincy Adams, Henry Clay, John Calhoun, and Martin Van Buren as models parading on a fashion show runway. Other character surprises include cheerleaders representing the American voting public, a modern couple whose relocation to sunny Florida does not endorse the means that Jackson used to make it possible, and the Jackson "groupies" who seem to fawn over his every move.

L-R: Michael Shofi, Samantha Holomakoff, Billy Dempster, Marcelo Calderon, Carly Phypers, Alex Vournazos, Rob Bassett, and Paulette Layton

Photo Credit: Alicia Dempster 

The ensemble cast includes Jasmine Love Barbosa, Rob Bassett, Beth Bonnabeau, Marcelo Calderon, Billy Dempster, Isabelle Dempster, Samantha Holomakoff, Susan Lang, Paulette Layton, Michael Shofi, and Alexis M. Vournazos.  All of them help bring their varying characters to life and infuse the show with their infectious energy and some of its funniest elements. 

Fred Rueck delivers an outstanding performance as Chief Black Fox. He personifies the duplicity and heartbreak of the Native American collaborator who helped broker some of Jackson's early deals to remove tribes from Georgia and Tennessee before witnessing the callous genocide that was later perpetrated on his own people. Carly Phypers is also outstanding as Jackson's wife, Rachel. Her rendition of the song, "The Great Compromise" is moving as she vents her sadness, frustration, and anger at giving up her private life while Jackson pursues his dreams.  

The star of the show is Chris Cenatiempo, who is a true rock star in the role of Andrew Jackson. With powerful vocals, tight jeans, and black eyeliner, Mr. Cenatiempo oozes the natural narcissism, rebellious attitude, sex appeal, and charisma that helps propel the lonely frontiersman into a punk President. His stage presence and personal magnetism make him the focus of attention when he's onstage, making his a truly memorable performance.  

At the end of the show, we are reminded that Andrew Jackson's legacy is still hotly disputed today. Where some see him as a great President, others see him as the "American Hitler." Lauded and idolized for wresting power from the elite and putting it back in the hands of the public on his way to the Presidency, this Andrew Jackson quickly learned that it's lonely at the top. Bloody Bloody Andrew Jackson neither vilifies or vindicates this controversial President. But as a history lesson, it shows us that the more things change, the more they stay the same. 

Bloody Bloody Andrew Jackson runs through June 28th at The Ridgefield Theater Barn in Ridgefield, CT. All Mainstage shows are cabaret style.  Call 203-431-9850 or visit The Ridgefield Theater Barn for more information.

Eastbound Theatre Presents "To Gillian on Her 37th Birthday"

One of the great pleasures of reviewing Connecticut theater is learning about new and innovative theater spaces. This past weekend, I had the pleasure of attending a performance by Eastbound Theatre, a division of the Milford Fine Arts Council. From the outside, it is hard to imagine that a theater in the Milford railroad station would be a comfortable experience, but its inviting interior, vaulted ceilings, and small stage make it appear bigger on the inside. It is the perfect intimate setting for their current production, Michael Brady's To Gillian on Her 37th Birthday. 

I knew this production was going to be special when I first viewed the stage upon entering the theater. This haunting tale of family, love, loss, grief, and acceptance takes place over the course of a weekend at an island beach house. The set design by Kevin Pelkey is perfectly detailed and authentic for our New England shores. It is truly beautiful, and along with the lighting design by Ann Baker and sound design by Tom Rushen, it is easy to imagine that we really are at a picturesque shoreline vacation home.

The tragedy that has befallen the family residing in the home makes it anything but idyllic, however. David has been widowed for 2 years. He is still grieving his dearly departed wife, Gillian, who disturbingly met her demise by falling from a mast on a family sailing trip. In his grief, David stopped teaching college, and spends his days and nights staring at the ocean, talking to himself and imagining conversations with his dead wife. He is so obsessed with her ghost that he becomes, in essence, an absentee father to his 16-year-old daughter Rachel, who is disturbed by his alarming behavior and in need of parental guidance herself.
  

John Bachelder and Deanna Hartog
Photo Credit Danielle Boyke

On this particular weekend, which happens to be the anniversary of Gillian's death, they are visited by Gillian's psychologist sister Esther and her husband Paul. Both of them think it is time for David to move on, and in a clumsy attempt at matchmaking, they bring along a surprise female guest named Kevin. Also along for the weekend visit is Rachel's best friend Cindy, a young lady who seems to have a crush on her best friend's dad. This particular combination of good intentions, bad timing, and emotional instability provide all the fixings for an awkward and potentially volatile weekend.  

What is great about Michael Brady's script is that each character is fully fleshed out, allowing each actor to access elements of sadness, humor, youth, wisdom, friendship and love in all their varying degrees. Under the skillful direction of Nancy A. Herman, the local cast, hailing from Woodbridge, Westport, Milford, and Stratford, all aptly fulfill their roles as pieces of this dysfunctional family but are also able to surprise us with deeper, hidden elements that play against type.  

John Bachelder is perfect as David, a man stuck in the pain, anger, guilt, and depression stages of grief. Mr. Bachelder easily lets us empathize with David's grief, and astounds us as he slides easily from reverie to rage when faced with not only the loss of his wife, but the potential loss of his daughter when it is suggested that she might be better off living with her aunt.  

Leigh Katz is truly amazing as Esther and seems to fit into the role with an ease that says she was born for the stage. Marc Hartog is also a pleasure to watch as Esther's husband Paul who provides a comedic element to the weekend in his role as the beleaguered spouse and buffer between his assertive wife and David. I thought that Alisson Wood, as Kevin, seemed a little young to be a romantic interest for David, but she worked well in her scenes where she befriends and becomes a confidante to Rachel.  

Deanna Hartog is terrific as Rachel, alternately acting out Rachel's sadness over the loss of her mother, concern for her father's well being, fear of being abandoned by her father, and all of the uncertainties that arise from being a 16-year-old girl. I particularly liked the scenes she shared with Emily Pisarra who plays Cindy, her friend with the tough exterior that hides the awkwardness and vulnerability of a girl in the throes of an unrequited crush with an older man. Together, Ms. Hartog and Ms. Pisarra are totally believable as best friends who lean on each other in the best and worst of times.  

Rounding out the cast is Kimberley Lowden as Gillian, the woman whose death is the catalyst for all of the grief in the play. She touches her family with her very presence. A beautifully haunting image was when she stood hovering just over Rachel as she sat forlornly wishing her dead mother a happy birthday. Gillian is at once a loving and exasperating force with David, bewitchingly leading him, and the audience, back to the surprising truth that once unearthed, brings David back to the present and the potential for a new future.   

To Gillian on Her 37th Birthday is an emotionally charged play that ends on a satisfyingly hopeful note. It runs through June 22nd at Milford Center for the Arts, 40 Railroad Avenue, Milford, CT.  Call 203-878-6647 or visit Milford Center for the Arts for tickets.  

Theater Review (Westport): "Sing for Your Shakespeare" at Westport Country Playhouse

L-R: Britney Coleman, Karen Akers, Stephen DeRosa (foreground),
Constantine Germanacos, Darius de Haas, and Laurie Wells.Photo by Carol Rosegg

There is no denying that Westport Country Playhouse has a hit on its hands. Judging from the standing ovations at the end of performances, the extended run due to ticket demand, and stellar reviews by other publications, Sing for Your Shakespeare seems to be pleasing audiences and critics alike. Yet after watching this 90 minute, no intermission show I was left wondering, why did I feel so disappointed?

 

Directed by Playhouse artistic director Mark Lamos, and co-conceived by Wayne Barker, Mark Lamos, and Deborah Grace Winer, Sing for Your Shakespeare is a world-premier musical revue exploring how the American Songbook has been influenced by William Shakespeare. With selections ranging from jazz to Broadway show tunes, a Broadway-caliber cast, a sleek set designed by Riccardo Hernandez, and an excellent on-stage orchestra under the musical direction of Wayne Barker, I had anticipated an entertaining musical that deepened my knowledge of Shakespeare and the shows and songs he inspired. But what was presented was an oh-so-lighthearted pastiche that lacked depth or erudition. It was light; it was airy; it was musical fluff. At certain points in the show, I was reminded of being forced to watch old Lawrence Welk episodes with my grandmother.  All that’s missing are the bubbles.

Riccardo Hernandez’s set is opulent and polished looking. Cleverly displaying Shakespeare’s immortal words on the scrim and the proscenium, with a sleek bandstand for the orchestra along with the added touch of hanging chandeliers, I was reminded of old movies with exclusive nightclubs where people listened to big bands and danced. The costumes designed by Candice Donnelly, consisting of lavish evening gowns with long gloves for the ladies and tuxedoes for the men, added to the image of elegance from days gone by.

There is not a lot of dancing in the show and what is there is not very impressive, despite the extensive experience and past accolades for the show’s choreographer, Dan Knechtges. I was disappointed with the awkward lifts and transitions by dancers Britney Coleman and Darius de Haas, and doubly disappointed when a slow dance sequence was just that – slow dancing in a tight embrace with feet barely moving, like something you’d see in a high school gym — followed by a few dance moves and dancers running off stage with arms dramatically outstretched for effect. Even more disappointing was the “Too Darn Hot” number from Kiss Me Kate. No tap dancing like Ann Miller in the film, no big dance number by steamy cast members like the Broadway show.

The cast sports an impressive list of Broadway, Off-Broadway, film and television credits. The collective experience of Karen Akers, Britney Coleman, Darius De Haas, Stephen DeRosa, Constantine Germanacos, and Laurie Wells makes them seem like a dream team for entertaining musical theater. They all have great singing voices and acting abilities (with Ms. Aker’s well-seasoned voice sticking to lower ranges), but I felt that their years on the stage worked against them. In many instances, their performances were too polished and rehearsed, to the point where the gestures, the smiles, winks, and nods to the audience felt inauthentic and contrived.

There were surprising parts of the show that I did like, including some songs I had never heard before: “Sonnet to Hank Cinq” written by Duke Ellington and Billy Stayhorn, “Ariel” by Emil Adler and Julie Flanders and “Willow, Willow, Willow” by George Forrest, William Shakespeare, and Robert Craig Wright. I enjoyed most of the spoken Shakespeare interspersed throughout the show, and I even loved the opening madrigal,  “It was a Lover and His Lass” from As You Like It.

But many of the songs just didn’t work for me. I did not like the bit of camp that came in the form of the song “Hamlet,” written by Frank Loesser or the “Shakespeare Song” by Richie Webb and David Cohen, that had a bewigged and costumed Stephen DeRosa appearing as a lounge singer Shakespeare, complete with ditsy backup singers.

I didn’t even like some of those songs that I already knew and loved from other musicals and films, not because they were performed poorly, but because when taken out of context, they just did not seem to work. I was unmoved by the selections from West Side Story. Even though they were sung well, I just did not feel the emotion behind songs like “Maria,” “Tonight,” and “Somewhere.”

Darius De Haas and Constantine Germanacos sang “What A Piece of Work is Man” from the musical Hair beautifully, but the song loses its punch when performed on that elegant set, with an elegant orchestral accompaniment, instead of being sung by two younger, clear voices juxtaposed against the carnage of the Vietnam War and violence of 60′s protests. The same was true for the song “Brush Up Your Shakespeare” from the musical Kiss Me Kate. I can still picture Keenan Wynn and James Whitmore as the two mob wiseguys from the film educating us with their particular brand of Shakespearean knowledge. But when sung by the entire company in this musical revue, with affected accents and buffoonery, it just becomes the ‘same old schtick.’

All in all, I liked the concept of celebrating Shakespeare in song but Sing for Your Shakespeare falls short on many levels. The talent is there, but this production plays it too safe. While it is sure to please those seeking very light entertainment, it will not please anyone seeking something new, exciting, or innovative. Sadly, I do not think this is the type of show that will attract new audiences or future generations of subscribers. That may be the biggest disappointment of all.

Sing for Your Shakespeare runs through June 28th at Westport Country Playhouse. For more information, call the box office at (203) 227-4177, or toll-free at 1-888-927-7529.

Theater Review (Westport, CT): "Arcadia" at Westport Community Theatre

L-R: Alexandria Clapp, Emma LaPlace, Ryan Hendrickson, Julia Thaxter Gourlay, Jeremy Funke. 

Photo by KevinMcNairPhotography

Westport Community Theatre closes out its 2013-2014 season with a thought-provoking production of Tom Stoppard's Arcadia. As entertaining as it is complex, this play takes place around a large table in a single room at Sidley Park, Derbyshire, England. With scenes going back and forth from the early 19th century and 1993, the past and present are intertwined to tell a story of math, science, poetry, passion, and the search for truth.

The script is brilliant. Hailed as one of the most important playwrights of our time, Tom Stoppard has written an intricate play filled with mathematical theorems, iterated algorithms, chaos theory, the second law of thermodynamics, history, poetry, Lord Byron, literary pursuits and romanticism. On the surface, these themes can appear intimidating, but they are interwoven into a universal story about innocence and discovery, trust and deceit, the mystery of sex and the pursuit of knowledge. Add in witty and comedic dialogue interspersed with impassioned monologues by compelling characters and you have the makings of a masterpiece.

Director Mat Young skillfully leads the actors and the audience through this time jumping, truth seeking exploration. The plot of the play, with its seemingly disparate themes, almost defies description. The events that take place in Sidley manor in 1809 present a mystery that the characters in 1993 try to unearth. Along the way, we discover the true and often surprising nature of each character, drawing us into their story, and pointing out the folly of the modern academic as well as the difficulty in unearthing true history.

Each member of the cast lives up to the challenge of presenting a character as nuanced and complex as the play. We can marvel at the genius of Thomasina Coverly, the unassuming ingenue who's mathematical discoveries are years before her time. As played by Alexandria Clapp, we witness Thomasina change from wide-eyed innocent to naive coquette as she nears the age of 17, literally playing with fire as she flirts with her tutor, Septimus Hodge.

Septimus is played by Jeremy Funke, an actor who excels at playing characters of great intelligence and guile. His smooth voice and commanding presence, along with his character's superior faculties and clever use of language, make Septimus both a formidable opponent and dangerous ally. The way he verbally manipulates the hapless failed poet Ezra Chater, comically played by Patrick Duffy, out of fighting a duel over his wayward wife is brilliant.  Julie Bell Petrak also shines as Lady Croom, the mistress of the manor whose own pointedly sarcastic admonishments and imposing nature make her a dangerous person to cross.

There are many outstanding performers on the modern side of the cast. Julie Thaxter Gourlay is superb as Hannah Jarvis, author, feminist, and researcher of the hermit of Sidley Park. Hannah is the epitome of the academic who values her research over any kind of romantic notion. She is meticulous in her research methods, and avoids anything to do with love.  Hannah is the voice of reason in the play, and Ms. Gourlay perfectly displays the frustrated consternation at the leaps of logic taken by her adversary, Bernard Nightingale, aptly played by Damian Long.

Bernard is the romantic visionary of the piece, who is led by gut instincts instead of careful research and who bends and manipulates the data in order to fit his already formed conclusion. He is a man who is not really in search of the truth, but who is blinded by the notion of notoriety and accolades. He is a true romantic, as evinced in his histrionic reading of the paper he is about to publish. He also takes umbrage at the way science chips away at romantic ideals, to the detriment of mankind. It is very telling when he says, "We were quite happy with Aristotle's cosmos. Personally, I preferred it. Fifty-five crystal spheres geared to God's crankshaft is my idea of a satisfying universe. I can't think of anything more trivial than the speed of light. Quarks, quasars—big bangs, black holes—who [cares]? How did you people con us out of all that status?"

Ryan Hendrickson plays Valentine Coverly, the modern descendant of Thomasina, and a mathematician in his own right. Valentine serves the role of explaining the math to Hannah and to the audience. To Valentine, the quest for knowledge itself is exciting, and he is not afraid to make mistakes because an error can be a starting off point for more learning. Mr. Hendrickson's portrayal of Valentine's ardent enthusiasm for the act of learning is delightfully infectious.

There are many more characters to fill out the pieces of the Sidley puzzle and all are well suited to their roles. Nick Kaye plays Captain Brice, a significant piece in the Chater mystery; Shelly Lepetich plays  Getrude Noakes, the gardener whose modern landscape provides another piece of the puzzle for Hannah to unearth; Sam Mink as Jellaby, the butler who seems to know all that goes on in the household; Allie Russo as Chloe Coverly, another descendant who postulates that an ordered universe can become disordered by sex; and Emma LaPlace who plays both Augustus and Gus Coverly, acting as the connecting characters between the past and the present.
 
David Eger's set design and Jeff Klein's lighting help to create a Sidley Park that works for both the 19th century and modern timelines. Interestingly, the props used by both the historical and modern cast are kept on the table throughout as additional symbols of how the past and present are related.  One particular prop, an ancient turtle, also serves as a clue for Hannah as to the identity of the Sidley hermit.

Arcadia not only challenges our intellect, but explores many philosophical questions about the nature of what makes us human, the quest for knowledge and the future of our universe. Are we ultimately headed toward destruction and if so, will our emotions or our intellect be our saving grace? Or perhaps a little of both?  Interestingly, perhaps the real marvel of this piece is that we can contemplate such profound questions, and still laugh and be entertained along the way.

Arcadia runs through June 22nd at Westport Community Theatre. Call 203-226-1983 for tickets.