‘A Charlie Brown Christmas’ at the Boch Center

December 5, 2018 Theater MirrorLeave a comment

A Charlie Brown Christmas recalls the nostalgic half-hour Christmas special, an annual tradition as familiar as sitting on Santa’s lap for generations of children raised on television. It also recalls many kids’ first experiences with the theatre, as its predecessor, You’re a Good Man, Charlie Brown, was one of the most frequently produced musicals on the school and community stage.

This professionally produced yet still strikingly simple “Live on Stage” adaptation still thrills young audiences. A musical play, it follows the TV special almost to the letter, adding a sing-along at the end featuring an array of traditional Christmas carols and one Hanukkah tune.

When Charles M. Schulz adapted his legendary comic strip into an animated special. He wanted to focus on “what Christmas is all about,” essentially a celebration of the birth of Jesus Christ. Regarded as one of the most influential cartoonists of all time and raised Lutheran, Schulz often reflected religious themes in his work. This comes out completely undisguised in the play’s climax; here Linus van Pelt (Kevin Dort) quotes the King James Version of the Bible (slightly amended here for updated political correctness).

A good deal of the carols sung at the end of this play are religious as well, but the main point of this story is to criticize the commercialization of the holidays, always an ironic effort with hugely successful commercial characters, like the Peanuts.

What this play offers that the TV special doesn’t is a live experience with lively dancing and an acrobatic actor playing Snoopy (Yochai Greenfeld) the dog (this guy really steals the show) and a vigorous, talented cast filling in the other roles.

There’s not a lot of diversity in the casting; the one black character in the Peanuts gang, Franklin, doesn’t have a role here. (The brownest member of the cast is Nico DiPrimio, the “Male Swing” and his energy, dancing and physical abilities are on par with Greenfeld’s.)

The one original song added to the show about a Christmas tree is nothing to write home about, but the production, directed by Jim Milan and featuring Jack Flatley, Brianna Barnes, and Ari Raskin, is solid, and it’s as good as any version of this show you’re going to see.

(The show has concluded its run)

New Rep’s “1776” Brings History Wonderfully to Life

December 4, 2018December 4, 2018 Theater MirrorLeave a comment

Reviewed by Tony Annicone

The winter spectacular at New Rep Theatre is the 1969 smash musical “1776” with music and lyrics by Sherman Edwards and a book by Peter Stone. This rousing piece of legendary musical theatre puts a human face on the pages of history. New Rep’s version of the show is an exciting inclusive reimagining of this classic musical. It’s the summer of 1776, and the nation is ready to declare independence, if only our founding fathers could agree to do it. The show covers the events leading up to the signing of the Declaration in Philadelphia, Pennsylvania. This musical ran on Broadway for 1217 performances, won the Tony Award for Best Musical. It was made into a film by the same name in 1972 and the revival starring Brent Spiner, won the Drama Desk Award for Best Revival in 1997. Hard working directors Austin Pendleton and Kelli Edwards cast the best performers in these roles while musical director Todd C. Gordon taught the cast these intricate songs and conducts a fabulous seven piece orchestra. Kelli is also the choreographer and she creates some inventive dances for them to perform. Their combined expertise produces another stunning epic musical masterpiece for New Repertory Theatre. The signing of the Declaration is a breathtaking and stops the show with its majestic power and punch. A thunderous standing ovation is their reward for one of the must see shows this winter season.

Gold Dust Orphans’ “A Nightmare on Elf Street” A Merry Ride on a Christmas Slay

December 4, 2018December 4, 2018 Theater MirrorLeave a comment

by Mike Hoban

“A Nightmare on Elf Street” – Written by Ryan Landry; Directed by Kiki Samko; Sets by Windsor Newton; Costumes by Scott Martino; Lights by Michael Clark Wonson; Sound by Roger Moore and Tad McKittrick; Music Direction by Tim Lawton. Presented by Ryan Landry and the Gold Dust Orphans at MACHINE -1254 Boylston Street, Boston through December 23^rd

There’s nothing quite like a slasher movie holiday musical to get you in the Christmas spirit – as long as it springs from the twisted minds of Ryan Landry and the Gold Dust Orphans. In keeping with tradition, Landry and Company again provide an antidote to traditional holiday fare with their annual warped take on the Christmas season with A Nightmare on Elf Street, a mashup of Rudolph the Red Nosed Reindeer and A Nightmare on Elm Street as well as other teen slasher flicks. This year’s offering continues the recent trend away from parodies of Yuletide classics such as 2012’s Rudolph the Red-Necked Reindeer and It’s a Horrible Life (2014), instead bringing back legendary drag detectives Shirley Holmes (Landry) and trusty sidekick Dr. Jodi Watley (Qya Marie), who first made their appearance in 2016’s Murder on the Polar Express. This time around the duo is summoned to solve the mystery of who is killing Santa’s teenage flight team at the Elf Street Academy.

Company Theatre’s “Oliver”

December 2, 2018December 2, 2018 Theater MirrorLeave a comment

Reviewed by Tony Annicone

The Company Theatre’s epic musical for their Christmas season is “Oliver.” The show is a British musical with music and lyrics by Lionel Bart and is based on the novel by Charles Dickens. It takes place in Victorian England and was the first musical adaptation of a famous Dickens work to become a stage hit. “Oliver” premiered in the West End of London on June 30, 1960 and ran for 2,618 performances. It opened on Broadway on January 6, 1963 and ran for 774 performances. The film version came out in 1968 and won six Academy Awards. The darkness of the Dickens novel is lightened up by the beautiful music. The storyline is about the well-known orphan, Oliver Twist who asks for seconds of the gruel served at the workhouse. The repercussions of this act find him being sold to a funeral parlor for three pounds and he then learns how to pick pockets with Fagin and his gang of thieves. This is where he meets the lovely barmaid, Nancy who is torn between her love for the dastardly criminal, Bill Sykes and her desire to do the right thing. Directors Zoe Bradford and Jordie Saucerman infuse their performers with their knowledge of these Dickens characters and elicit superb performances from them while Steve Bass and his eleven piece orchestra supply a sumptuous sound to the singing voices of the cast. Sally Ashton Forrest’s marvelous dances stop the show with their brilliant execution. Their combined efforts create the must see show of this winter season.

Read more “Company Theatre’s “Oliver””

A.R.T. Does The Greatest Hits with “ExtraOrdinary”

November 21, 2018November 21, 2018 Theater MirrorLeave a comment

*(Bryonha Marie Parham, Mj Rodriguez, Melody A. Betts, and Kathryn Gallagher in ExtraOrdinary | Photo: Gretjen Helene Photography)*

by Mike Hoban

‘ExtraOrdinary’ – Written by Dick Scanlan; Directed by Diane Paulus; Music Direction by Lance Horne; Choreography by Abbey O’Brien. Presented by American Repertory Theater at the Loeb Drama Center, 64 Brattle St. in Cambridge through Nov. 30.

You don’t have to be an American Repertory Theater subscriber (or a reviewer) to appreciate the selections from ExtraOrdinary, the company’s exhilarating salute to itself playing now through November 30th. With a veritable ‘Cavalcade of Stars’ performing selections from the last decade of musical theater with Diane Paulus at the helm of A.R.T. – many of which ended up (or will be) on Broadway – it’s an evening of some truly extraordinary highs and few lows. Featuring seven cast members from productions staged in Cambridge (both the Loeb Center and Oberon) ExtraOrdinary showcases numbers from Broadway staples like Pippin, The Gershwins’ Porgy and Bess, and Cabaret, as well as lesser-known works such as Natasha, Pierre & The Great Comet, Witness Uganda, and Prometheus Bound – all of which had premieres of sorts at the A.R.T.

You ‘Can’t Stop the Beat’ with NSMT’s HAIRSPRAY

November 1, 2018November 7, 2018 Theater MirrorLeave a comment

Reviewed by Tony Annicone

The Broadway show won 8 Tony Awards and is based on the 1988 John Waters film which starred Divine and Ricki Lake. The show is set in 1962 in Baltimore and is about teenager, Tracy Turnblad, a large girl with big dreams and even bigger hair who has an abundant joie de vivre and rhythm in every inch of her body. She will do whatever it takes to win a spot on the Corny Collins Show, a popular TV dance show, win the heart of Link Larkin, the show’s resident dreamboat and turn the town upside down in her efforts to racially integrate television.

Much Merriment at Merrimack’s Musical, ‘Murder for Two’

October 22, 2018October 24, 2018 Theater MirrorLeave a comment

By Deanna Dement Myers

Murder for Two – An original musical with book and music by Joe Kinosian and book and lyrics by Kellen Blair. JC Clementz directs. Creative team includes Regina Garcia, Scenic Designer; Misti Bradford, Costumer Designer; Aimee Hanyzewski, Lighting Designer; and David Remedio, Sound Designer. Presented by the Merrimack Repertory Theater at 50 E Merrimack St, Lowell, MA through November 11

“Will someone kill the lights?”

The cozy stage at the Merrimack Repertory Theater is sparsely dressed to look like an old New England family home and is dominated by a red grand piano. It soon becomes clear that the piano is a defacto third actor adding to the two-person cast of the musical murder mystery, Murder for Two, the second show of the MRT’s 40th season.

BLO’s ‘Barber of Seville’ a Comic and Musical Gem

October 15, 2018October 16, 2018 Theater MirrorLeave a comment

by Mike Hoban

THE BARBER OF SEVILLE – Music by Gioacchino Rossini; Libretto by Cesare Sterbini; Sung in Italian with English surtitles; Conductor David Angus; Stage Director Rosetta Cucchi; Set Designer Julia Noulin-Mérat; Costume Designer Gianluca Falaschi; Lighting Designer DM Wood. Presented by the Boston Lyric Opera at the Emerson Cutler Majestic Theater, 219 Tremont St., Boston through October 21

As I have stated in my previous reviews of opera, the extent of my experience with the form until this past spring has been limited to viewings of the Warner Bros. classic, “What’s Opera Doc”. And while that may disqualify me from having an informed opinion on the operatic qualities of the Boston Lyric Opera’s production of Rossini’s The Barber of Seville, I can say unequivocally that from a pure entertainment standpoint, Barber is a blast. From the opening strains of the overture (which should be instantly recognizable to anyone who has ever listened to classical music or, quite frankly, ever watched television in the previous century) to the joyful marriage of Rosina and Count Almaviva where EVERYBODY wins – even the ‘bad” guys – BLO’s ‘Barber’ is a comic and musical joy.

“TOMMY” Bristol Theatre Company

October 11, 2018December 27, 2018 Theater MirrorLeave a comment

Reviewed by Tony Annicone

Bristol Theatre Company’s latest show is the Who’s rock opera “Tommy” with music and lyrics by Pete Townshend and book by Townshend and Des McAnuff. Originally written as a concept album in 1969 and the movie in 1975, it was adapted into a stage play in the 1993 and ran on Broadway for almost 900 performances. The story is about Tommy, who as a four year old child witnesses his father kill his mother’s lover in self defense. As he stared at the mirror when this happened, he became deaf, dumb and blind. His parents search for a cure for many years and Tommy finds the one thing that he’s good at is pinball. When his upset mother finally smashes the mirror, Tommy recovers. Now famous for both becoming a pinball wizard and being cured, Tommy gets caught up in his fame, but when he returns, his fans turn on him. However instead of going back, to what he was before, Tommy turns to his family. This high energy show is beautifully executed, wins a standing ovation and it captivates the audience in while weaving a spell with fabulous singing, acting and dancing.

GBSC’s ‘BEING EARNEST’ Adds 60’s Twist to Wilde Classic

September 28, 2018September 28, 2018 Theater MirrorLeave a comment

By Sheila Barth

BOX INFO: Two-act, two-hour musical comedic interpretation of Oscar Wilde’s “The Importance of Being Earnest,” by Paul Gordon and Jay Gruska, appearing through Oct. 7, at 395 Main St., Stoneham: Thursday, 7:30 p.m. (sold out) ; Friday, 8 p.m.; Saturday, 8 p.m.; Sunday, 2 p.m.$50-$60; seniors, $45-$55; students with valid ID, $20. stoneham.greaterbostonstage.org, 781-279-2200.

Oscar Wilde’s social satiric comedy, “The Importance of Being Earnest,” takes a modernized, musical twist in Paul Gordon and Jay Gruska’s two-act, two-hour play, “Being Earnest, appearing through Sunday, at Greater Boston Stage Company.