Cast of Ogunquit’s ‘My Best Friend’s Wedding’. Photos by Nile Scott Studios
‘My Best Friend’s Wedding.’ – Based on the TriStar Pictures Film. Book by Ron Bass and Jonathan Harvey. Music & Lyrics by Burt Bacharach and Hal David. Directed and Choreographed by Kathleen Marshall. Music Direction by Andrew David Sotomayor. Scenic & Costume Design by Colin Richmond. Lighting Design by Rich Latta. Sound Design by Kevin Heard. Wig/Hair & Makeup Design by Roxanne De Luna. At Ogunquit Playhouse, Ogunquit ME through October 27th.
By Linda Chin
Don’t know what to do with yourself on Wednesdays through Sundays in October? After you wake up, put on your makeup, and say a little prayer, grab a good friend, bestie, or if you have a gay best friend – and head up the great big freeway (I-95) to the Ogunquit Playhouse to see the world premiere of the new rom-com musical My Best Friend’s Wedding.
Matthew Zahnzinger and Julius P. Williams in Moonbox Production’s “Dirty Rotten Scoundrels” Photos by Molly Shoemaker
by Michele Markarian
“Dirty Rotten Scoundrels”. Music and Lyrics by David Yazbek. Book by Jeffrey Lane. Directed by Allison Olivia Choat. Presented by Moonbox Productions, One Arrow Street, Cambridge, through Oct. 20.
There’s a lot to love – and a ton of talent – in Moonbox Productions’ “Dirty Rotten Scoundrels,” a musical tale of three con artists looking to grift off of the well-to-do in the fictional town of Beaumont sur Mer on the French Riviera. Based on the 1988 film with Steve Martin, Michael Caine and Glenne Hedley (actually a remake of a film from 1964 called “Bedtime Story”), “Dirty Rotten Scoundrels” was made into a Broadway musical that opened in 2005 and starred John Lithgow, Norbert Leo Butz and Sherie Rene Scott. Having enjoyed the 1988 film and the Broadway musical, I went to see the Moonbox production with high expectations. With strong direction, an excellent cast, and a wonderful ensemble of singers and dancers, it did not disappoint.
The cast of “Titanic The Musical” at North Shore Music Theatre. Photos: David Costa Photography
Reviewed by Tony Annicone
The sixth show of North Shore Music Theatre’s 69th Season is “Titanic, the Musical” with a book and story by Peter Stone, who also wrote “1776” and music and lyrics by Maury Yeston, who also did the same for “Nine” and “Grand Hotel”. This is an epic musical about the 1912 sinking of the legendary ocean liner in the world, Titanic, when it ran into an iceberg. The show is a stirring and emotion-packed production based on the real people aboard this ship. It focuses on the passengers’ hopes, dreams, and aspirations for their future, who each boarded with solid and personal ambitions of their own. All of them were unaware of the terrible fate that awaited them. These passengers were the Third-Class immigrants who dreamed of a better life in America and were not treated very well by the snobbish upper classes; the Second Class imagined that they too could join the lifestyles of the rich and famous with varying success, while the millionaire men of the First Class anticipated their legacies lasting forever. It can also be seen as a cautionary tale of human greed that still exists today. The politics between Captain Edward Smith, the shipbuilder Thomas Andrews, and the overbearing chairman of the White Star Line Board, J. Bruce Ismay, who pressured Captain Smith to accelerate the speed of the maiden voyage to impress news headlines to help him out financially with his business. Ismay did not give a hoot about the passengers’ safety. He was a scummy businessman. In Act 1, we meet the multitude of characters on the ship with many joyous and hopeful moments, while in Act 2, the passengers who escape face their shattered dreams while going to the lifeboats while the doomed ones must make peace with their farewells to each other. The most heartbreaking farewell occurs between Isidor and Ida Straus who owned Macy’s Department Store. The love and devotion between these two people who have been married for 40 years is displayed in their beautiful and poignant duet “Still” which rips your heart out before this magnificent, breathtaking musical comes to a close. The audience leaped to their feet in a spontaneous standing ovation with cheers and tears streaming down their face as it was a well-deserved reward.
Producer and owner Bill Hanney surrounds himself with incredibly talented people to pull off this epic musical with 29 cast members, some of whom play multiple roles. The theatre is transformed into an ocean liner, and the audience becomes passengers. Director/choreographer Kevin P. Hill once again brings his expertise to “Titanic, the Musical” in casting these roles superbly with highly talented performers. His keen insight into these characters shines all night by the cast members embodying these historic people perfectly. This musical won Five Tony Awards in 1997, and the audience can understand why that happened. Musical director Milton Granger conducts a fantastic 7-piece orchestra and plays lead keyboards. He also obtains a phenomenal harmonic balance of the cast in their group numbers, threatening to blow the roof off the theatre with their power and punch. These group numbers are “Godspeed Titanic” with soaring harmonies, “What a Remarkable Age This Is,” which is reminiscent of a Gilbert and Sullivan number and is led by Henry Etches, the chief steward, and his staff waiting on the First Class three separate times, “Dressed in Your Pajamas in the Grand Salon” where the First Class can’t accept something happened to the indestructible ship, “We’ll Meet Tomorrow” where Barrett and doomed passengers bid goodbye to their loved ones, “The Foundering” where Bride, Ismay, and the other survivors wonder what could have been done to prevent the tragedy, “In Every Age” where the survivors hope they will someday be reunited with their loved ones and “Godspeed, Titanic” which is a lamentation at the loss of life on this ship that began so hopefully. Fortunately, some comic numbers lighten the mood of the show, which include busybody, social climber, Alice Beane’s “The First Class Roster,” the Irish lasses of Third Class song about what they want to become in America called “Lady’s Maid,” the bandmaster’s two songs “Doing the Latest Rag” which turns into a huge dance number and “Autumn” where the First class wants to be entertained. Brett Hennessey Jones, as the bandmaster, croons these two dance numbers with his strong vocal talents. The fabulous scenic and lighting design is by Jack Mehler, who makes you feel like you are aboard the ship. The gorgeous multitude of early twentieth-century costumes was initially designed by Jeffrey Meek, with additional costumes by Rebecca Glick, costume coordinator. The sound design is by Alex Berg, and the projection design is by Pamela Hersch, with the dates of the historical events as they take place and the incredible sinking of the Titanic at the close of the show. The incredible wig and hair design is by Rachel Padula-Shufelt, and a word of praise to hard-working stage manager Stephen MacDonald, who keeps 29 cast members, props, and sets entering all at the proper times. Dialect coach Keri Safran does a fantastic job with this show’s different dialects.
The cast does a splendid job with their roles in this show. However, I won’t be able to mention every one of them, but I will include standout moments and characters. Trevor Martin does a splendid job as he tackles the role of Thomas Andrews, the designer of the ship who, at the start of the show, boasts of his enormous achievement of building a floating city, a metropolis in “Every Age” by comparing it to the wall of China and the Roman aqueducts. Later on, he congratulates the Captain and Chairman of the Board on “The Largest Floating Object in the World.” When the ship hits the iceberg, the three blame each other. In “The Blame,” Andrews exclaims he built the boat from scratch, the Captain lamenting everyone dreaming their dreams aboard the ship to have them crash around them. Ismay casts the blame on the other two while having been the cause of the ship continually picking up speed to feed his massive ego and never accepting blame. When Andrews is alone near the end of the show, he realizes that all class distinctions don’t matter at all with the tragedy in “Mr. Andrews Vision” that everyone is the same.
Tom Galantich shines as the stalwart captain Smith, who has been a captain for 43 years without an accident and bravely handles the problems thrust upon him. He runs the gamut of emotions in this role. I last reviewed him as Utterson in “Jekyll & Hyde” here in 2018. Bronson Norris Murphy not only plays the overbearing and pompous J. Bruce Ismay but is also the show’s assistant director and dance captain. He captures the greedy nature of this role excellently, and of course, Ismay found his way into one of the lifeboats to be rescued while many others drowned. Both Tom and Bronson display their strong voices in these two roles. I have reviewed Bronson in many musicals at NSMT throughout these years.
One of the most sympathetic characters is Frederick Barrett, the stoker on the ship, who will get married as soon as the Titanic returns to England. Trevor James is marvelous as Barrett has a strong baritone voice and delivers “How Did They Build the Titanic” while marveling at the amazing engineering feat when he’s asked to increase the speed of the ship disagrees with the order “In Screws are Turning” but shows the strength of this man to follow orders to the tee. He displays a softer side, admitting he is madly in love with Darlene in “The Proposal.” At the same time, Mark Mitrano, as Harold Bride, the telegraph operator, sings the counterpoint “The Night was Alive” while sending the message in Morse code. (Mark also leads the final “In Every Age” as he tugs on the audience’s heartstrings with tears streaming down his face.) Barrett is heroic in Act 2, helping the three Kates and Jim Farrell to escape to the lifeboats from Third Class, and gives up his seat to Farrell because he doesn’t know how to row a boat. “The Staircase” is the song where Barrett helps them escape to the lifeboats.
Some characters supply some comic moments in the show. The third-class gals that do so are Leslie Jackson as Kate McGowan, Marie Eife as Kate Murphey, and Anette Barrios-Torres as Kate Mullins. They sing “Lady’s Maid” about what they want to do when they arrive in America. (The other two Kate’s wish to be a governess and a seamstress.) However, Miss McGowan sets her sights on fisherman Jim Farrell, played by Dominic Pagliaro. Later in the show, the four of them escape from their doom by Barrett. The second-class folks who lighten the show are Charles Clarke and Caroline Neville, played wonderfully by Benjamin Lurye and Jennifer Ellis. He is going to become a journalist in America and couldn’t marry because Caroline’s stubborn father wouldn’t approve. Their beautiful song is “I Give You My Hand,” where they declare their love for each other. They pretend to be married so they can stay in their room together. (They also induced tears at their final separation as the lifeboats were lowered.) Another funny character is a pushy social climber in Second Class, Alice Beane, played splendidly by Carlyn Connolly. She is unhappy in Indiana and plots and plans how to do that in “The First Class Roster” while her hardware salesman husband, Edgar, constantly chastises her and swears up a storm while doing so. Eventually, she can dance with The First Class in “I Have Danced.” Later on, Edgar claims he wants to show Alice the world. Kevin Patrick Martin plays the doomed Edgar with a twinkle in his eye at first and then accepts his fate at the show’s end. Alice learns that she has everything she wants with her wonderful husband. Unfortunately, she knew it a little too late. I last reviewed Carlyn in “The Great Gatsby” at Ivoryton Playhouse, while I last reviewed Kevin in “42nd Street” at Theatre by the Sea earlier in the year.
The most poignant characters in the show are Isador and Ida Straus, played excellently by Kevin B. McGlynn and Mary Callanan. They have been married 40 years, own Macy’s, and are very wealthy. However, when it is time for the ladies to go to the lifeboats, Ida refuses and decides to stay with her husband because there will be nothing left without him in her life. Their song “Still” tells of their incredible depth of love for each other. The couple claims that even though they have been together for a long time, it still feels like when they first met, and they are companions of their souls. The audience audibly reacted, tears flowing and sniffling throughout the theatre. So, for a musical that will not only entertain you with phenomenal acting and singing but will resonate with you and impact your life to live each moment to the fullest, be sure to catch this musical theatre masterpiece at North Shore Music Theatre. Go to their website, nsmt.org, or call their box office before the entire run is sold out. Tell them Tony sent you. This is my 2200 review, and what a magnificent show to commemorate this event. This is one of the must-see shows of this autumn season.
TITANIC, THE MUSICAL (29 October to 10 November)
North Shore Music Theatre, 54 Durham Road, Beverly, MA
Renata Eastlick and Madeline Maby in ‘Ms Holmes and Ms Watson-Apt-2B’ at Trinity Rep. Photo by Mark Turek
Reviewed by Tony Annicone
Trinity Rep’s second show of their 61st season is the Rhode Island premiere of “Ms. Holmes and Ms. Watson-Apt-2B” by Kate Hamill. She lampoons the famed fictional character of Detective Sherlock Holmes, and his befuddled sidekick Doctor Watson and cheerfully desecrates Arthur Conan Doyle’s original characters and time frame with gender and time setting adjustments.
This show is set during the post-pandemic in the spring of 2021 with Ms. Watson, a wayward American traveling around Europe, arriving in England. She rents a room from the kindly Mrs. Hudson and ends up with a bitter roommate, Ms. Sherlock Holmes. Holmes is a police consultant whose deductions make up for a frenetic personality. She decides her new roommate has run away from her past as a doctor, so Holmes turns Watson into the role of her sidekick, who accompanies her to solve multiple violent crimes that all seem to lead to a notorious villain. Along the way they develop a close friendship as they humorously solve many cases along the way. Hamill combines many of Conan Doyle’s storylines into her script, creating wild and crazy hijinks, adventures, and mysterious events.
Two other performers play multiple roles in the show, one as the kindly landlady, Mrs. Hudson, and the seductive Irene Adler, the other as the sweet Inspector Lestrade, and a Texas billionaire, Mr. Monk, with a shady past. The revolving situations thrown their way keep the audience entertained and laughing merrily all night long. Director Laura Kepley chose four strong performers for these roles and elicited comic moments of hilarity from each of them and a poignant revelation in Act 2. She supplies them with clever shtick with an undercover of mysterious elements thrown into the mix. The enthusiastic audience revels in the engaging mystery-solving with humor thrown into the mix. This splendid cast receives a spontaneous standing ovation at the close of this wonderfully directed show.
Keply is aided in her task by scenic designer Collette Pollard, costume designer Shahrzad Mazaheri, Dawn Chiang lighting designer and Sartje Pickett sound designer who all do their jobs marvelously. The stage manager’s and her crew’s expertise in changing the set pieces from many locations is excellently rendered.
Leading the cast in these two iconic roles now played by women in this show are Renata Eastlick as Sherlock Holmes and Madeline Maby as Joan Watson. As Holmes, Eastlick runs the gamut of emotions from sulky brooder to inquisitive roommate to excellent crime solver. The rapid delivery of her lines, listening to classical music, and mystery-solving are astounding. Holmes is also a sloppy housekeeper and lives by the motto not to use outside help of the internet, but seemingly doesn’t have empathy until Watson shows her the way. Renata gives a tour de force performance in this role as the by-the-book detective finally learns how to become a friend to someone at long last. The outstanding sword-fighting choreography by Mark Rose is marvelous to behold.
Maby also delivers a terrific portrayal of the world-weary doctor Watson, who has been overwhelmed by the once-in-a-lifetime pandemic. Trying as hard as she can to escape her past as a doctor, Holmes keeps demanding her help at every turn to try to bring her back to life by solving all these crimes and curing her of her worries and fears. Madeleine shines in this role with her frightened expressions, and funny exclamation of “What the frig” when Holmes surprises her constantly, but she also delivers the goods in a heartfelt explanation of what upset her and upended her life in America. That was how upset she was with the burnout and trauma that Watson felt in the medical field. They have great chemistry together as the leads in this show.
Angela Brazil delivers an amazing performance as she transforms into all these diverse characters, ranging from a kindly older Scottish woman delivering funny one-liners all night long to a Cockney supposedly grieving widow with a secret to hide to a sexy vamp, femme fatale that will stop at nothing to achieve her goals and entrances everyone she comes into contact with. Jeff Church is another marvelous performer who plays multiple roles. His characters include Inspector Lestrade, who is warm and understanding and then turns on a dime as the overbearing billionaire hiding many sexual secrets from his senate career in Texas. His entrance in this role will leave you rolling the aisles with laughter. Jeff also plays a role that will leave you stunned. He also narrates some of the show. Some of these portrayals need to be seen to be believed. Needless to say, the audience enjoys the madcap adventures all night long from the extremely well-written, acted, and directed script. So, if you need to escape from the trials and tribulations of the outside world, be sure to catch “Ms Holmes and Ms Watson-Apt-2B” and it will certainly brighten up your night. For tickets, go to trinityrep.com or call the box office before this run is completely sold out.
MS HOLMES AND MS WATSON-APT-2B (3 October to 17 November)
Trinity Repertory Company, 201 Washington Street, Providence, RI
Shira Cahn Lipman, Matt Finn, Shai Wolf, Todd Sandstrom, Travis Karas, Em Sheeran, Todd Yard in Treehouse Collective’s ‘February House’
‘February House’ – Music and Lyrics by Gabriel Kahan. Story by Seth Bockley. Directed by Katie Swimm. Music directed by Jeff Kimball. Produced by AJ Lyman. Presented by The Treehouse Collective at 539 Tremont Street, Boston, MA, 02131 from September 27th to October 13th.
by Helen Ganley
7 Middagh Street consists of plain wooden chairs sitting atop a worn red Turkish carpet, nestled between a golden bar cart and a brown settee, all tied together by a pinstriped chair in the corner. This homey, if dilapidated, artist’s enclave comes to life in The Treehouse Collective’s production of February House.
Sarah Morin, Jenny S. Lee and Aimee Doherty in CST‘s ‘The Hound of the Baskervilles’
Central Square Theater presents THE HOUND OF THE BASKERVILLES. Adapted from Sir Arthur Conan Doyle’s classic tale. Written by Steven Canny and John Nicholson. Directed by Lee Mikeska Gardner. Scenic & Properties Design by Julia Wonkka. Costume Design by Leslie Held. Lighting Design by John R. Malinowski. Sound Design by David Bryan Jackson. At Central Square Theater, 450 Massachusetts Avenue, Cambridge, MA, through October 6, 2024.
Starting and ending at Baker Street, London, and largely set in Devonshire, England circa 1889, this spoof of Sir Arthur Conan Doyle’s classic The Hound of the Baskervilles tells the following tale: Super-sleuth Sherlock Holmes and trusty sidekick Dr. James Watson are summoned to investigate the unusual and unnatural death of Sir Charles Baskerville, whose corpse was discovered on the ground surrounded by giant paw prints. The actors and audience members journey together to the mansion and moors to answer the following three questions and unlock the mystery: What frightened Sir Charles Baskerville to death? Is the family the target of a robbery or an ancient curse? Is Charles’ young heir Henry being stalked by a human murderer or a supernatural hound?
Jayne Atkinson, Fiona Robberson in Dorset Theater Festival’s Timely ‘True Art.’ Photos by T Charles Erickson
“True Art” – Written by Jessica Provenz. Directed by Michelle Joyner. Scenic Design by Christopher and Justin Swader; Costume Design by Barbara A. Bell; Lighting Design by Patricia M. Nichols; Sound Design by Jane Shaw; Projection Design by Joey Moro. Presented by Dorset Theatre Festival, Dorset, Vermont. Run has ended.
By Shelley A. Sackett
It was good planning to arrive a little early for the Dorset Theatre Festival’s world première of “True Art.” The bewitching set begged a closer look. Center stage, basking in Renaissance splendor, is Michelangelo’s “Leda and the Swan,’ mounted on a rich burgundy panel. Stage left and right are mirror rows of vertical metal grids, each loaded top to bottom with the A-list of coveted museum possessions, from Pollack to Picasso and Monet to Miro.
Cast of ‘Laughs in Spanish’ at Speakeasy Stage. Photos by Nile Scott Studios
‘Laughs in Spanish’ – Written by Alexis Scheer. Directed by Mariela López-Ponce. Scenic design by Erik D. Diaz. Costume design by Rebecca Glick. Lighting Design by Amanda E. Fallon. Sound Design by Anna Drummond. Presented by SpeakEasy Stage Company at 527 Tremont Street, Boston, MA, 02116, from September 13th to October 12th.
By Helen Ganley
Bright orange chairs sit below bare white walls bearing blank name cards for conspicuously missing paintings. Henry Fiol’s “Ahora me da Pena” (“Now I Feel Sorry”) wafts through the room as the part-telenovela, part-whodunit begins to unfold onstage. Written by Alexis Scheer, Laughs in Spanish is a contemporary play that explores the intersection of culture, identity, and family dynamics through humor. Scheer, a playwright and actress, debuted this work in 2019 at the Boston Playwright’s Theatre. Speakeasy Stage’s rendering is a high-energy and campy production that speaks to family, relationships, and the importance of connection.
The cast of ‘The Hombres’ at Gloucester Stage. Photos by John Grow Photography.
‘The Hombres’ – Written by Tony Meneses. Directed by Armando Rivera. Movement Design by Nathaniel Justiniano. Set Design by Kristin Loeffler. Costume Design by Chelsea Kerl. Lighting Design by John Holmes. Sound Design by Julian Crocamo. Properties Design by Carolyn Ferris. Presented by Teatro Chelsea & Gloucester Stage Company at 267 E. Main St., Gloucester, MA through September 22. At Chelsea Theatre Works, 189 Winnisimmet St., Chelsea, MA from September 27-29, 2024.
by Linda Chin
Humorous and light-hearted, at times heavy (but never heavy-handed), alternately heartwarming and heartbreaking, playwright Tony Meneses’ The Hombres tells a story of five ordinary men that is exquisitely written and extraordinarily human throughout.
Kim Carrell and Daniel Boudreau in Praxis Stage’s ‘The Arsonists’
The Arsonists – Original play by Max Frisch. Translation by Alistair Beaton. Directed by Bob Scanlan. Costume Design by Maureen Festa. Lighting Design by Kevin Fulton. Sound Design by Mackenzie Adamick. Presented by Praxis Stage. At Chelsea Theatre Works, 189 Winnisimmet Street, Chelsea, MA, through Sept. 15.
by Mike Hoban
“When people show you who they are – believe them” – Maya Angelou
There’s not a lot of subtlety in the point of view being expressed in Praxis Stage’s production of The Arsonists, the 1953 work by Swiss playwright dramatist Max Frisch, but the play still delivers a chilling reminder of how our mainstream media has warped our ability to apply critical thinking to even the most obvious of choices. Praxis was formed on November 9th, 2016, as a response to the election of Trump with the goal of linking theater and activism, and it’s never been more starkly on display than here.
