By Karen Isaacs
Connecticut’s professional theaters produced over 40 shows from June 2016 to the end of May 2017; plus various national tours played the major producing houses. Connecticut theatergoers had over 60 productions to choose from. I saw nearly 90 percent of the shows at the professional theaters and some of the national tours.
So how did the season measure up?
My top plays:
The Invisible Hand at Westport Country Playhouse
Queens for a Year at Hartford Stage
Scenes of Court Life at Yale Rep
A Comedy of Errors at Hartford Stage
The Piano Lesson at Hartford Stage
Meteor Shower at Long Wharf
Endgame at Long Wharf
Heartbreak House at Hartford Stage
My top musicals:
Next to Normal at TheaterWorks
Bye, Bye Birdie at Goodspeed
Gypsy at MTC
He Wrote Good Songs at Seven Angels
The top touring shows:
The Absolute Brightness of Leonard Pelsky at Hartford Stage
A Gentleman’s Guide to Love & Marriage at the Bushnell
The King & I at the Bushnell
An American in Paris at the Bushnell
A Curious Incident of the Dog in the Nighttime at the Bushnell
Shows that pleasantly surprised me:
Absolute Turkey at CRT
Bilox Blues at Ivoryton
Trav’ling – the Harlem Musical at Seven Angels
Half of my top plays were new – often world premieres..
Many musical productions were fine overall productions, but either not exciting shows or not exciting productions.
The Bushnell had a stellar season of national tours including the rarity of a play.
Darko Tresjnak continue to prove he is also a terrific scenic designer with Italian setting for A Comedy of Errors.
Among the Disappointments.
Unfortunately some shows that I had looked forward to disappointed me. Mostly they were well directed and well- acted, but they just did not maximize their possibilities. Sometimes it is new play which is still being developed or trying to do or say too much.
Assassins at Yale Rep. I’ve seen and liked the show in the past, but this production just missed, at least for me.
The Most Beautiful Room in New York at Long Wharf. What can I say? It didn’t live up to my expectations.
Napoli, Brooklyn at Long Wharf. More soap opera than compelling drama.
Camelot at Westport. This minimalist version was just too minimal though the performances were fine.
But even these productions had elements that were enjoyable and were well worth seeing.
By Karen Isaacs
Want silly fun? Then head up to Hartford Stage for Darko Tresnjak’s production of Shakespeare’s A Comedy of Errors running through Sunday, Feb. 12.
An early work by Shakespeare, it draws on Roman comedies. It’s all about mistaken identities, slapstick and puns.
The plot is complex yet simple. A couple had twin sons and within days of their birth, purchased from a poor woman her twin sons to grow up as the servants of the boys. Soon after, during a sea voyage the ship is damaged – the wife with one son and one servant is picked up by another boat while the father with the remaining son and servant manage to return to Syracuse, a Greek city. It is now many years later when the father arrives in Ephesus (now part of Turkey) to search for his son who had left home seven years ago to try to find his brother.
But there is a law in Ephesus that forbids people from Syracuse from entering; the punishment is death but the duke gives the father (Aegeon) one day to raise the fine that will buy his freedom. Next we meet Antipholus of Syracuse who has just arrived with his servant, Dromio, to search for his brother. Before we can blink an eye, the confusions begin to occur because his brother Antipholus of Ephesus and his servant Dromio are also in the city. Soon everything is confused. Adriana, the wife of the Ephesean Antipholus finds the Syracusian one; Antipholus of Ephesus thinks Dromio of Syracuse is HIS servant, and the reverse also happens. Antipholus of Syracuse finds himself attracted to the sister (Luciana) of the wife of the local Antipolus; Luciana returns the attraction but is conflicted about letting her supposed brother-in-law woo her.
Of course, by the end of this short play – even shorter in this production – everything is straightened out. The two brothers and the two servants are reunited, the father is saved and finds his long lost wife, and the two women are about become not only sisters but sisters-in-law.
Tresnjak has capitalized on the comic elements. Unlike many Shakespeare comedies this really does not have any message about relationships, courtship or marriage. It is all exuberant fun.
Entering the theater, you see the spectacular set designed by Tresnjak. It shows a village in typical Mediterranean colors, three boats, the appearance of a canal (with real water!) and a walkway around it. It is all bright and cheerful and it signals you are in for a rollicking good time.
The play begins with two sailors making music; soon a courtesan comes down to the pier and sings and dances the popular Greek movie song, “Never on Sunday.” It gives us a clue to Tresnjak’s inspiration. He has moved the play to the 1960s – thus the cigarettes, the allusions to films like “Never on Sunday,” “Tokapi” and “Zorba, the Greek.”
We are off to the races. We have chases, scuba divers, courtesans and more. We have “beatings” that look like burlesque fights with rubber cudgels and more.
The one flaw in this fast paced production is that some of the Shakespeare gets lost. With the Greek accents and the multiple things going on, it is sometimes difficult to understand the lines. This may not be Shakespeare’s greatest poetry but it deserves to be heard.
The highlights of this production are the visual elements. In addition to the set, you have the 1960s costumes by Fabio Toblini as well as the wigs by Tom Watson and the makeup by Tommy Kurman. Matthew Richards’ lighting gives us the feeling of that Mediterranean sun. It makes you feel warm.
In addition we have terrific music composed and arranged by Alexander Svoronsky and choreography by Peggy Hickey. This isn’t a musical comedy – Rodgers and Hart did that with The Boys from Syracuse – but there is music and dance.
The cast is overall excellent from Paula Leggett Chase as Mercuri-like courtesan through the more shrewish wife (Jolly Abraham) and the more staid sister (Mahira Kakkar). But it really all depends on the two Dromios and the two Antipoluses. Alan Schmuckler (Dromio of Syracuse) and Matthew Macca (Dromio of Ephesus) totally embrace the burlesque aspects of their roles. Ryan-James Hatanaka plays the put upon husband, Antipholus of Syracuse and Tyler Lansing Weaks an as the bewildered Antipholus of Ephesus. Each are basically the straight men to the physical comedy of the Dromios.
This may not be the perfect production of this play, but it does capture all of its laughter and its colorful sets and costumes will make you think of the warm Mediterranean coast. What more could we want in the middle of winter?
A Comedy of Errors is at Hartford Stage, 50 Church St., Hartford through Sunday, Feb. 12. For tickets visit Hartford Stage.
This content courtesy of Shore Publications and zip06.com