Hightail It To Teatro Chelsea & Gloucester Stage’s ‘The Hombres’

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.

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Iranian Girls Just Wanna Have Fun in Gloucester Stage’s Thought-Provoking “Wish You Were Here”

‘Wish You Were Here’ — Written by Sanaz Toossi. Directed by Melory Mirashafi. Scenic Design by Lindsay G. Fuori; Costume Design by KJ Gilmer; Lighting Design by Amanda Fallon; Composer and Sound Design by Bahar Royaee. At Gloucester Stage in Gloucester through August 25.

By Shelley A. Sackett

“Wish You Were Here,” in its regional premiere at Gloucester Stage, opens on three frozen tableaux set in a lavish apartment with Persian-inspired décor. At an ornate make-up table, two women hover over a third clad in a billowing wedding dress. Another, wearing a red silk short kimono and huge pink curlers, is draped over a couch, a cigarette dangling provocatively from her languid hand. A fifth slouches against the wall. All appear to be in their late teens/early 20s.

Suddenly, the three scenes simultaneously spring to life, all five women speaking to and over each other.

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Gloucester Stage’s ‘Vanya and Sonia and Masha and Spike’ Sends Up Middle-aged Family Dysfunction

Cast of Gloucester Stage’s ‘Vanya and Sonia and Masha and Spike’. Photos by Jason Grow

Vanya and Sonia and Masha and Spike – By Christopher Durang; Directed by Rebecca Bradshaw.  Set Design by Kristin Loeffler; Costumes by Chelsea Kerl; Lighting Design by Anshuman Bhatia; Sound Design by Melanie Chen Cole. Presented by Gloucester Stage Company, 267 East Main Street, Gloucester, through June 23

By Mike Hoban

In the opening scene of Vanya and Sonia and Masha and Spike, Gloucester Stage Company’s first offering of its 34th season, we meet Sonia (Adrianne Krstansky) and Vanya (Diego Arciniegas), having coffee in their picturesque farmhouse overlooking a pond in Buck’s County, PA. Although they are brother and sister (Sonia is adopted), they banter like an eccentric middle-aged (50s) married couple: The fire’s gone out, but they’re too indifferent to move on. Sonia has turned wallowing in self-pity into an Olympic sport, while Vanya seems more resigned to his fate. The pair has spent the last 15 years of their life taking care of their elderly, now deceased, parents. They lament not what could have been but how meaningless their lives are, particularly in contrast to their sister Masha – the B-list movie star who rose to fame as the protagonist of the wildly popular B-movie “Sexy Killer,” which she milked for four sequels.

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Gloucester Stage ‘s Thought-Provoking ‘The Ding Dongs’ is a Theatrical Tour-de-Force

Erica Steinhagen, Karl Gregory, and Nael Nacer in Gloucester Stage Company’s ‘The Ding Dongs’

‘The Ding Dongs’ — Written by Brenda Withers. Directed by Rebecca Bradshaw. Costume Design by Camilla Dely; Lighting Design by M. Berry; Sound Design by Julian Crocamo. Presented by Gloucester Stage, 267 East Main St., Gloucester, through August 27.

By Shelley A. Sackett

We’ve all been there. That split second when we realize that all may not be as it seems, that we have misread a vital clue and that all is about to go south. The Ding Dongs, in production at Gloucester Stage through August 27, takes that moment and straps it to a steroid drip.

Don’t be put off by the title, as I almost was. (Is it a tribute to Hostess? To a bebop group? To the comedic wrestling duo?) The Ding Dongs will keep you on the edge of your seat for its entire 75 minutes from lights up to fade out and leave you dying to talk about it to anyone within earshot.

When is the last time theater had that kind of visceral effect?

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Gloucester Stage Serves Up More Than Good Food in ‘Stew’

‘STEW’ – Written by Zora Howard. Directed by Rosalind Bevan. Scenic Design by JennaMcFarland Lord. Costume Design by KJ Gilmer. Lighting Design by Kat C. Zhou. SoundDesign by Aubrey Dube. Presented by Gloucester Stage, 267 E Main St, Gloucester, MAthrough July 23. 

By Shelley A. Sackett 

Stew is any dish that is prepared by stewing” — that is, submerging the ingredients with just enough liquid to cook them through on a low flame in a covered pot for a longtime. It is also a synonym for brooding. One who is in an extreme state of worry and agitation is said to be stewing.” 

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Gloucester Stage’s ‘Private Lives’ Injects New Life into Comedy Classic

Katie Croyle and Gunnar Manchester in ‘Private Lives’ at Gloucester Stage. Photos by James Grow

‘Private Lives’ – by Noël Coward; Directed by Diego Arciniegas; Scenic Design by Izmir Ickbal; Sound Design by Eric Hamel; Costume Design by Nia Safarr Banks; Lighting Design by Anshuman Bhatia; Fight & Intimacy Direction by Angie Jepson. Presented by Gloucester Stage at 267 E. Main St., Gloucester, through June 25

by Mike Hoban

Early on in the classic Noel Coward comedy Private Lives, Victor, the blissfully unaware second husband of Amanda, the beautiful and sophisticated socialite, laments to her, “I wish I knew you better,” to which she quickly replies, “It’s just as well you don’t.” Truer words were never spoken, and over the next two hours, he and Sybil Chase, his equally unlucky marital counterpart, will get to know their new spouses in ways that they never bargained for in this riotous season opener for Gloucester Stage.

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Gloucester’s ‘Paradise Blue’ Personalizes the Myth of Urban Renewal

The cast of ‘Paradise Blue’ at Gloucester Stage. (L to R Alexandria Danielle King, Durrell Lyons, Darian Michael Garey, Dereks Thomas)

Paradise Blue – Elyse Joyner and Logan Pitts, Co-directors; Janie Howland, Scenic Designer; Nia Safarr Banks, Costume Designer; Aubrey Dube, Sound Designer; Toni Sterling, Lighting Designer. Presented by the Gloucester Stage Company, 267 East Main Street, Gloucester through September 18

by Mike Hoban

There’s no shortage of compelling human drama in Paradise Blue, the ambitious 2018 play by Obie Award-winning playwright Dominique Morisseau, now playing at Gloucester Stage. The noir-tinged play explores the lives of the denizens of Paradise Blue, a jazz club nestled in the entertainment district of Paradise Valley in Black Bottom, a predominantly black neighborhood in Detroit in the late 1940’s. But the drama inside the club pales next to the looming threat that lies outside the club’s door – the impending gentrification that will destroy the neighborhood in the years to come under the guise of “urban renewal”. 

“See if this plan to clean up the city don’t mean to clean us out,” says one prescient character to his bandmate. “Get rid of all the n***ers. Just like the Mayor say in his campaign – we the blight he talkin’ ‘bout.”

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Gloucester Stage’s ‘Grand Horizons’ Asks, “After 50 Years of Marriage, What’s Love Got to Do with It?”

Cast of Gloucester Stage’s ‘Grand Horizons’

Written by Bess Wohl; Directed by Robert Walsh; Scenic Design by Jenna McFarland Lord; Costume Design by Chelsea Kerl; Lighting Design by Anshuman Bhatia; Sound Design by Dewey Dellay. Presented by Gloucester Stage through August 21.

by Shelley A. Sackett

Nancy and Bill (played by real life spouses and stellar actors Paula Plum and Richard Snee) are introduced in their cookie cutter split level house as they go about their chores preparing for dinner. Silently and robotically, they perform their choreographed rituals. Bill sets the table; Nancy dishes out the food. Is this a couple so in sync after so many years that they don’t need to talk or is each seething with rancor just below their calm demeanor?

Finally, Nancy speaks. “I think I would like a divorce,” she says matter-of-factly. “All right,” Bill responds.

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Gloucester Stage Company’s ‘Gloria’ Provocatively Asks, “Who Lives, Who Dies, Who Tells Your Story?”

Cast of Gloucester Stage’s production of “Gloria” by Branden Jacob Jenkins. Photos: Shawn G. Henry

‘Gloria’ — written by Branden Jacobs-Jenkins. Directed by Bryn Boice. Scenic Design by Jeffrey Petersen; Costume Design by Rachel Padula-Shufelt; Lighting Design by Aja M. Jackson; Sound Design by David Remedios. Presented by Gloucester Stage Company, 267 East Main St., Gloucester through June 26.

by Shelley A. Sackett

‘Gloria’ takes us on a ride inside the rollercoaster that is the essence of a 2010s Manhattan cultural magazine’s editorial assistant bullpen subculture. (Its playwright, Branden Jacobs-Jenkins, worked at The New Yorker for three years). These players are unapologetic and clear about their singular goal: to leave their dead end stepping-stone jobs, climb out of the low prestige depths of editorial assistantship and secure a book deal before turning thirty. Each is constantly on the backstabbing prowl in search of that tipping point moment that will catapult them out of their murky office pit.

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Gloucester Stage Wraps Outdoor Season with Thought-Provoking ‘Reparations’

From L to R: Lisa Tharps, Angela Pierce, Jason Bowen and Malcolm Ingram in Gloucester Stage’s ”Reparations’

‘Reparations’ – Written by James Sheldon. Directed by Miriam Cyr. Creative Team: Jon Savage (Scenic Design); Kat C. Zhou(Lighting Design); Veronica Barron and Christopher Vu (Sound Design); Deirdre McCabe Gerrard (Costume Design); Logan Pitts(Dramaturg). Presented by Gloucester Stage Company at Windhover Center for the Performing Arts, 257R Granite St, Rockport, MA through September 19

By Mike Hoban

If you’re considering seeing the Gloucester Stage production of Reparations, but are wary of being drawn into a staged version of yet another politically charged discussion in our increasingly polarized world, let me say that the title may be a bit misleading. While the play does examine the topics of race and privilege, the 400 years of systemic racism is not necessarily the central theme; instead, Reparations delves into a more universal horror while exploring the intersection of power and evil.

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