Speakeasy’s ‘Shakespeare in Love’ An Absolute Charmer

(Nile Hawver/Nile Scott Shots)

 

by Mike Hoban

 

‘Shakespeare in Love’ – Based on the screenplay by Marc Norman & Tom Stoppard; Adapted for the stage by Lee Hall; Directed by Scott Edmiston; Original Music/Music Direction/Sound Design by David Reiffel; Choreography/Movement by Judith Chaffee; Scenic Design by Jenna McFarland Lord; Costume Design by Rachel Padula-Shufelt; Lighting Design by Karen Perlow. Presented by Speakeasy Stage Company at the Calderwood Pavilion at the Boston Center for the Arts, 527 Tremont Street in Boston through February 10

 

You don’t have to know and/or love Shakespeare to be utterly charmed by Shakespeare in Love, the stage adaptation of the Academy Award-winning film now being given a spirited New England premiere by Speakeasy Stage. In fact, since this is a comedy about young Will Shakespeare rather than one by William Shakespeare, the laughter comes a lot more spontaneously than when one needs to run the jokes through the Olde English Google translator of the mind. But whether you’re a Shakespearean scholar or only know his work from the “Gilligan’s Island” episode where Harold Hecuba stages Hamlet, this production is a comic delight.

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Take Your Pick’s “Lost Girls” Delivers Laughs, Healing

 

LOST GIRLS – Written by John Pollono; Direction and Stage Design by Melanie Garber; Lighting Designer: Michael Clark Wonson; Sound Designer: Audrey Seraphin; Costume Coordinator: Mikey DiLoreto. Presented by Take Your Pick Productions at Deane Hall in the Calderwood Pavilion at the Boston Center for the Arts, 527 Tremont St., Boston through January 21.

 

There’s a Nor’easter preparing to slam New England, but in the city of Manchester, New Hampshire, there’s an everyday storm of bitterness that has raged for decades that’s about to come to a head in John Pollono’s engaging comic drama, Lost Girls. Take Your Pick Productions is giving this terrific slice-of-lifer it’s New England premiere with a three-dimensional staging that is alternately hilarious and painful.

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Apollinaire Theatre Company Journeys to the Russian Empire with “Three Sisters”

 

by James Wilkinson

 

Three Sisters – Written by Anton Chekhov, adapted by Tracey Letts. Presented by Apollinaire Theatre Company. Directed, Sets and Lights by Danielle Fauteux Jacques. Costume Design by Elizabeth Rocha. Sound Design by Camilo Atehortua. Musical Direction by Demetrius Fuller & Robert Orzalli. Dialect Coach, Christopher Sherwood Davis. Presented by the Apollinaire Theatre Company at 189 Winnisimmet St, Chelsea through January 21

 

I have found that there’s a very odd phenomena in the theater community where the plays of Anton Chekhov are concerned. Everyone sort of assumes that everyone loves Chekhov (his work, that is). Personally, I’ve always run hot and cold with his plays, though I would be hard pressed to be able to put my finger on exactly why. I enjoy Uncle Vanya and a number of his comic sketches, but I haven’t been able to stomach getting through even a reading of either The Seagull or The Cherry Orchard since college. Three Sisters, however, has always stood apart in my mind. For some reason, that’s the play of his where all of the elements click together and the genius of Chekhov becomes apparent to me. I adore the play. When I walked into Apollinaire Theatre Company’s production of Three Sisters, now playing at Chelsea Theatre Works, I went with high expectations and can joyfully report back that the production more than met them. If you’ve never before encountered the work of the great Russian master, then Apollinaire Theatre Company’s production is a fantastic introduction.

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“DOUBT” – New England Repertory Company

“DOUBT”

Reviewed by Tony Annicone

New England Repertory Company’s current show is “Doubt”, John Patrick Shanley’s 2005 Tony Award, Drama Desk Award and Pulitzer Prize winning drama. The play is set in the fictional St. Nicholas Church School, in the Bronx, in 1964. It opens with a sermon by Father Flynn, a beloved and progressive priest, addressing the importance of uncertainty, doubt can be a bond as powerful and sustaining as certainty. Sister Mary Aloysius, a rigidly conservative nun vowed to the order of the Sisters of Charity, insists on constant vigilance. Aloysius and Father Flynn are put into direct conflict when she learns from Sister James that the priest had a one on one meeting with Donald Muller, St. Nicholas’ first black student. Mysterious circumstances lead her to believe that sexual misconduct occurred. In a meeting supposedly regarding the Christmas pageant, Aloysius, in front of Sister James, confronts Flynn with her suspicions. He angrily denies wrong-doing but Aloysius is unsatisfied with Flynn’s story. Directed excellently by Mike Kiernan, he obtains stunning performances from his fantastic four member cast. The unit set is by Bruce Church, Alan Conway, Bruce Goldman, Luke Oliver Lawson, Martin Richards and Steven Temple. The cast moves the audience to laughter and tears at all the appropriate moments and they win a resounding standing ovation.

In “Doubt” the supposed victim, Donald Muller is the first African-American boy admitted to the all white St. Nicholas School. The doubt versus the certainty theme’s broader significance is underscored by having the story unfold during the turbulent 1960’s, right after John Kennedy’s assassination and the second Vatican Council where the Latin Mass was changed into English. There is only one suspect priest and although he might be guilty, it is not an open and shut, beyond a shadow of a doubt case. The audience must decide who they believe. In fact, Father Flynn is a more sympathetic character than Sister Aloysius, the self righteous nun who believes he is a danger to the eighth grade boys. She rules the school with an iron fist hand and runs roughshod over Sister James, a novice teacher. Her hair raising scenes with Father Flynn, Sister James and Mrs. Muller are fabulous and the mother’s contradictory beliefs about her son’s inclinations and the separate paths she and Aloysius seek become clear. The nun is a formidable woman whose veneer begins to crack when the angry mother stands up to her and the audience obtains the dimension needed for the play in this scene.

The show is presented in two acts and the ninety minutes fly right by with the wit and intensity of this talented cast. Michael fleshes out all the characters especially Sister James, giving her more depth and dimension to the role. Beth Goldman is fantastic as Sister Aloysius. She gives this character the depth it needs whether she is berating Flynn for having long finger nails, liking secular songs at the Christmas pageant and using a ball point pen, running rough shod over Sister James or arguing with Mrs. Muller. Beth’s acting prowess shines through as this strict, martinet principal. She delves into the core of this unbending woman, giving her the humanity she needs when she is brought to tears by admitting her doubt to Sister James in the final scene. This nun seemed to be ahead of her time. Bruce Church is excellent as Father Flynn. He is very charismatic and displays his acting chops throughout the show especially in his first sermon on doubt and in his second sermon on intolerance after his first confrontation with Sister Aloysius. Bruce gives this priest the compassion it needs to enthrall the audience and his last scene with Beth is electrifying.

The third performer in the show is Adreyanua Jean-Louis as Sister James, the novice teaching nun. She is brilliant as this young nun. She trembles under the questioning by the older nun and then agrees willingly to find something sinister in the relationship between the priest and the eighth grade boys. Her youthful fervor is one of the ugly situation’s casualties. However the way she deals with this loss of innocence adds power to the play. Adreyanua has many strong scenes with Beth and Bruce. She plays the role on many different levels, giving her more than a one dimensional character. Jeanette Lake Jackson plays Donald’s mother, Mrs. Muller. She shines in this role, displaying her strong acting ability. It was unheard of back in 1964 to stand up to a strong willed nun but these circumstances definitely call for it. Her scene with Sister Aloysius crackles with intensity and power. So for an intelligent, well written and directed show, be sure to catch “Doubt” at New England Repertory Company. Tell them Tony sent you. It will definitely captivate you from start to finish.

DOUBT (12 to 20 January)

New England Repertory Company, Temple Sinai, 25 Canton Street, Sharon, MA

1(781)269-9866 or www.newenglandrep.org  

GODSPELL – Swansea Footlights Jr.


Reviewed by Tony Annicone

Footlights Rep’s Jr. Divisions first show of the year is “Godspell.” Based on the Gospel of St. Matthew and featuring a score by Stephen Scwartz, “Godspell” brings the parables of Jesus Christ to life. The show draws on various theatrical traditions, such as clowning, pantomime, charades, acrobatics and vaudeville. It is a groundbreaking and unique reflection on the life of Jesus, with a message of kindness, tolerance and love. “Godspell’s” timeless message has always been about finding your quiet, unshakeable faith amid a very cold and very shallow modern world. The comic and poignant moments are blended together splendidly by directors Neil Jeronimo and Tricia Rodrigues. They assemble a 22 member cast to fit all these roles while Kasey Jeronimo taught the music to them with a topnotch 6 piece orchestra lead and conducted by Jameson Ward. The choreography by Barry Pereira contains many different styles of dance including soft shoe, modern and jazz. The show is rewarded with a resounding standing ovation at the curtain call.

The unique thing about the production is that it is performed in the round, making it a more intimate musical to tug on your heartstrings as well as make you laugh at all the right moments. Matt Macy stars as Jesus and is wonderfully cast in this role and has a terrific voice. One of his most powerful numbers is “Alas for You” where the words still resonate to this very day. “This nation, this generation will bear the guilt of it all! Alas, Alas, Alas for you! Blind Fools.” It rings true in 2019 as it did back in biblical times as well as in the 1970’s when this show was first written. Matt’s first song is “Save the People” where the cast dances around him. He also has some light and funny moments during the parables and during “All For the Best” duet with Judas. However it is during the Last Supper tableau and the death scene that strike a chord with the audience, leaving not a dry eye in the house including mine. A new song written for the updated show is “Beautiful City” a beautiful ballad which is rendered marvelously by Matt. Emily Nunes also displays her lovely voice in it, too. Matt and the whole cast give heartfelt performances in this production.

The opening Philosophers section has pretty harmonies and is well performed. Neil and Tricia give each of their performers their moments to shine in the show. The first act is more vaudevillian then the second which turns more somber after “Turn Back O Man.” Nicholas Lannigan sings the role of John the Baptist with his powerful gospel voice as he walks through the audience. I last reviewed him as Shrek. Luke Sylvester does a dynamic job as Judas who betrays Jesus later in the show. Joe and Luke stop the show with their comic “All For the Best” number while they sing in counterpoint with each other. Luke is very comical interacting constantly with the audience including me to keep the show fresh and alive. “Day by Day” is given a lovely rendition by Rylan Costa, Abbie Monte and Rachel Ochoa with their lovely voices while the Apostles learn to share with each other. Nathaniel James LeBoeuf plays Socrates and sings “O Man of Athens.” A rousing number is “We Beseech Thee” with a dynamite dance and lead vocals also by Nathaniel. A group dance occurs as Maia Millard sing out “Bless the Lord” with her powerful soprano voice.The betrayal scene is a stunning moment, too with a dynamic and poignant rendition of “By My Side” with Stephanie Baxter. Avery Weber belts out “Learn Your Lessons Well” with her strong gospel voice. She also plays the ukulele during it. Matt sings the middle section of the song while the cast does a dynamic dance to it. 

Luke Sylvester also sings the tear jerking “On The Willows” during The Last Supper as Jesus says goodbye to each of his Apostles. Kylie Howard also sings harmony with him on it. My favorite comic song in the show is “Turn Back O Man.” It’s a show stopping number rendered splendidly by Isabella Manchester. She enters through the crowd while interacting with them. Another comic performer is Derek Rivera who also sings “You Are the Light of the World” to end Act 1. John Garcia’s voice soars off the charts in “All Good Gifts.” He has a dynamite voice. I last reviewed him in “Shrek” as Lord Farquad. The whole cast sings the poignant “Long Live God” and “Prepare Ye” in counterpoint to close this version of the show as well as the meaningful “Beautiful City”, too. Another heart wrenching scene is “The Crucifixion.” The ending of the show will leave you emotionally drained at its intensity but uplifted because Jesus left us hope for the future. In these trying and tumultuous times who could ask for anything better for this world. So for a splendid production of “Godspell” be sure to catch it at Case High School performed wonderfully by Footlights Junior Division.

GODSPELL (10 to 13 January)

Footlight’s Repertory Junior Division, Case High School, 70 School Street, Swansea, MA

1(774)644-4539 or www.footlightsrep.net

Manual Cinema’s ‘Ada/Ava’ Uses Old School Technology to Present Haunting Tale at ArtsEmerson

 

by Mike Hoban

 

Ada/AvaCreated by Manual Theater; Directed by Drew Dir; Sound Design and Original Score by Kyle Vegter and Ben Kauffman; Designed by Drew Dir, Sarah Fornace, and Julia Miller. Presented by Manual Cinema and ArtsEmerson at the Paramount Theatre, 559 Washington Street, Boston through January14th.

 

One of the great pleasures of being a theater reviewer in Boston is getting to see productions that push the boundaries of traditional theater, and nobody serves up such a mind-blowing amalgamation of cool stuff as ArtsEmerson, which continues to amaze with its latest offering, Ava/Ada. You’re not likely to see an overhead projector used as anything but a prop in any theatrical production these days, but Chicago-based Manual Cinema employs four of them as the primary technology to create a kind animated silent film that is alternately touching and unsettling. The projectors are used in conjunction with hundreds of shadow puppets and live action silhouettes, and the “movie” is supported by a killer live band (with a quadraphonic sound system) that establishes the haunting tone for this provocative work.

 

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THE BOYS NEXT DOOR (MMAS, Black Box Theatre, Mansfield)

Reviewed by Tony Annicone

Mass Music and Arts Society’s opening show of their summer season is “The Boys Next Door” by Rhode Island native, Tom Griffin who recently passed away. It is a funny and touching play about four mentally handicapped men living in a communal residence under the guidance and watchful eye of a caring but burnt out social worker. The story is told by a series of vignettes and scenes, with some of the performers speaking directly to the audience. Director Kelly Crawford picks splendid and talented performers to fill these well written roles. She mixes the comic and dramatic moments together marvelously to a very appreciative audience who gives them a resounding standing ovation at the curtain call.

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“West Side Story” The Stadium Theatre

 

Reviewed by Tony Annicone

 

Stadium Theatre’s current musical is “West Side Story”, the classic 1957 musical hit. Based on Shakespeare’s “Romeo and Juliet”, the story is as fresh and meaningful to contemporary audiences as it was in 1591 for the original play as it was for the musical in the 1950’s. Hatred and violence don’t solve problems, they create new ones. Love and understanding of each other are the solutions for these problems, not only in both these shows but in real life, too. The well known story of Tony and Maria takes place in New York City. The outside forces of friends, enemies, gang members and adults keep them from fulfilling their dream of everlasting happiness due to hatred and bigotry. This talented cast under the insightful direction of Corey Cadigan, delivers the goods in a powerful and poignant presentation that has the audience leap to their feet at the curtain in this terrific and gut wrenching production. Musical director Henry Buck and choreographer Matthew Parello also do a splendid job. Henry with the seventeen piece orchestra and the vocals and some marvelous dances by Matthew including ballet, modern, jazz, mambo and salsa to name a few. The fabulous period 1950’s costumes are by Lauren Beaudoin while the set is by Wayne Boucher.

 

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THE SKIN OF OUR TEETH (Wilbury Theatre Group, Providence, RI)

by Tony Annicone

Wilbury Theatre Group’s current production is the 1943 Pulitzer Prize winning play “The Skin of Our Teeth” by Thornton Wilder. It opened on Broadway on November 18, 1942 and ran for 355 performances. The show also written in 1942 is an allegory on the history of mankind, told through the story of one family. It is a mixture of contemporary and biblical events and employs a farcical style seen in Wilder’s “The Matchmaker” as well as the presentational style seen in his “Our Town.” The phrase used as the title comes from the King James Bible, Job 19:20 “My bone cleaveth to my skin and to my flesh, and I am escaped with the skin of my teeth.” We meet the Antrobus family and their maid, Sabina who come from New Jersey. We barely escaped the depression by the skin of our teeth exclaims Sabina as Wilder works the title of the show into the dialogue. We also meet a woolly mammoth and a dinosaur in their home which helps give the show a theatrical mixture of farce, absurdism, satire and burlesque.

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Take Your Pick’s “Lost Girls” – Local Laughs and Family Fanfare Plows the Stage

 

by Susan George

 

Lost Girls – Written by John Pollono; Direction and Stage Design by Melanie Garber; Lighting Designer: Michael Clark Wonson; Sound Designer: Audrey Seraphin; Costume Coordinator: Mikey DiLoreto. Presented by Take Your Pick Productions, at Deane Hall in the Calderwood Pavilion, Boston Center for the Arts, 527 Tremont St., Boston through January 21.

 

Next time you are thinkin of hittin’ Maaket Basket or the packy, bang a u-ey and instead head ovah and snag a ticket for a performance of John Pollonos’ amazingly poignant “Lost Girls”. Successfully following up last year’s fabulous “The Little Dog Laughed,” Take Your Pick Productions returns to the local stage with this superbly cast and divinely staged tragicomedy, directed by Melanie Garber.

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