By Karen Isaacs
It’s the year of Hamilton arriving in Connecticut. That’s the big news.
As ever year, certain productions planned for Connecticut theaters pique my interest. I circle their dates on my calendar in anticipation. Here’s my list for this year.
Connecticut is blessed with an abundance of fine professional theaters – from the major regional companies (Yale Rep, Long Wharf, Hartford Stage, Goodspeed, TheaterWorks, Westport Playhouse) to more locally oriented theaters (Ivoryton Playhouse, Playhouse on Park in West Hartford, Connecticut Repertory Theater at UConn, Sharon Playhouse, Seven Angels in Waterbury, MTC in Norwalk and ACT-CT in Ridgefield). Plus there are the major presenting house that bring in national tours – the Bushnell in Hartford, Shubert in New Haven and the Palace in Waterbury.
One thing I have noticed in the last few years: more and more new plays are being produced while fewer classic works are done. Why? Sometimes it’s easier to get financial support or new works. New works allow theaters to reach out to more diverse audiences and present works by diverse playwrights. Even length may play a role; classic plays tend to be full-length (two plus hours) while modern audiences seems to prefer the 90+ minute play.
So what have I circled for this up-coming year?
(One caveat: Goodspeed, Ivoryton and Westport have not announced their productions for the first half of 2019. I’m sure some of those would have made my list).
Yet, looking back over a similar list I made last summer, some of them did not live up to my expectations and some that I had not circled, were outstanding.
Now Here Are My Most Anticipated Shows
A Chorus Line at Ivoryton closed Sept 2. It is a great show and I hoped they would do it well. They did.
Drowsy Chaperone at Goodspeed (Sept. 21-Nov. 25). This is just a delightful show; it won’t go down in the history of musicals as one of the best, but it is so much fun.
Man of La Mancha at Westport Country Playhouse (Sept. 25 –Oct. 13). It’s not my favorite musical (in fact it wouldn’t make my top 25), BUT Marco Lamos is directing and so that puts it on my list.
The Flamingo Kid at Hartford Stage (May 9 –June 2). This is the last show Darko Tresnjak will direct as artistic director. The brand new musical is aiming for Broadway just as A Gentleman’s Guide to Love and Murder and Anastasia.
Henry V at Hartford Stage (Oct. 11 – Nov. 4). Hartford Stage has a track record of excellent Shakespeare and the play can be interpreted in so many ways. Plus, I like Shakespeare.
Flea in Her Ear at Westport (closed July 28) – I’m a sucker for Feydeau; I knew Mark Lamos would do a bang-up job directing it and I was right on all counts. This was overall a fabulous production.
Dramas & Comedies (New, Familiar & Rare)
Hand to God at TheaterWorks (closed Aug. 26). It was on my list out of curiosity. I didn’t see the show on Broadway and wanted to see why so many critics raved about it. I am not sure I would have.
The Prisoner at Yale Rep (Nov. 2-17). Why? It’s a US Premiere and it’s directed by Peter Brook. Need I say more?
Ripcord at Seven Angels (Nov. 8 – Dec. 2). This comedy about elderly roommates is on my list primarily because playwright David Lindsay-Abaire has written such interesting plays including Rabbit Hole which I loved.
Good Faith at Yale Rep (Feb. 1-23). I’m ambivalent about this world premiere which is based on the case some New Haven firefighters brought claiming civil rights violations. It could be just talking heads, but I hope playwright Karen Hartman can make it much more.
The Touring Shows
Hamilton at the Bushnell (Dec. 11-30). Who wouldn’t circle this show in RED???
Come from Away at the Bushnell (April 30-May 5). It would have won the Tony except for Dear Evan Hansen, it began at the Goodspeed Festival of New Musicals and it is well done. I enjoy the music and the story.
Lion King at the Bushnell (closed Aug. 16) – Amazingly I had never seen it. The concept and execution was terrific, but once is enough.
These selections are just the tip of the iceberg. Many of the other scheduled productions, sound very interesting. So check them all out. Connecticut has amazing theater!
By Karen Isaacs
Of the 40 or so shows I saw in NYC in 2017, which were my favorites
Come from Away
In 2017, I needed a show that reminded me of people’s goodness and caring. Come from Away did just that without being manipulative nor saccharine. The show combined extraordinary direction by Christopher Ashley, fine cast with Jenn Colella as a standout and a enjoyable score by Irene Sankoff and David Hein. I was delighted it was a hit.
Natasha, Pierre and the Great Comet of 1812.
I had missed the various off-Broadway incarnations of this show, but the one at the Imperial Theater was amazing. I loved how the theater was totally transformed into a Russian café and the cast was all around me. I thoroughly enjoyed the mixture of musical genres and was delighted with Josh Groban’s performance as the depressed and lonely Pierre. I only regretted the limited awards it won and the producers’ missteps that led to its early departure.
The Band’s Visit
David Yazbek’s score and this sweet, gentle story—though occasionally slow – again reminds us of people’s innate kindness. Plus it featured an astounding performance by Katrina Lenk.
I won’t say this is a definitive production of this classic musical, and Bette Midler may not be the perfect Dolly, but what a show it was. She is an amazing performer and the rest of the cast was able to hold own against her star power. Brava!
My runner-up Musicals
Of, the Broadway musicals that opened or were revived, I enjoyed War Paint the best. To see Patti Lupone and Christine Ebersole together was wonderful. Plus I found the score delightful.
Off-Broadway, John Kander (with new partner Greg Pierce) tackled a tough subject in Kid Victory. The return of a teen boy who was abducted and held captive by a predator before being returned to his conservative, religious family. Karen Ziemba as the mother and Jeffrey Denham as the predator were terrific.
My Top Plays
The back story of the Israeli-Palestine Peace Accords signed in 1993 might not seem made for theater, but playwright J. R. Rogers, director Barlett Sher and a top notch cast led by Jefferson Mays and Jennifer Ehle turned this into a fascinating and suspenseful drama.
I saw this play at Yale Rep and was entranced; the magic continued on Broadway with this spectacular ensemble cast and a fascinating look at a piece of forgotten American theater history.
Lynn Nottage play about blue collar workers losing their economic footing in 21st century America made me want to cry. It was real, it touched the economic issues and the personal ones. It featured another terrific ensemble cast.
A strong ensemble cast led by John Douglas Thompson and Brandon J. Dirden plus superb direction by Ruben Santiago-Hudson and a great set by David Gallo brought out all the strengths in this August Wilson play.
This revival of William Nicholson’s play about the unlikely love story between C. S. Lewis and Joy Gresham was intellectually stimulating and emotionally moving. It also featured a fine cast and set – that easily would have garnered praise on Broadway.
The Little Foxes
I saw Laura Linney as Regina and Cynthia Nixon as Birdie and wished I had also seen them in the opposite roles. They were terrific as were the entire cast including Richard Thomas as Horace. The production was both chilling in its depiction of greed and spell binding.
In the runner-up category, I’d include
Mark Ruffalo, Tony Shalhoub and Jessica Hecht were all terrific in this revival of Arthur Miller’s play, directed by Terry Kinney. I found that Danny DeVito was over-the-top as the antique dealer, detracting from the piece.
Kevin Kline made this revival a must see. He WAS the perfect actor to play Gary Essendine. Of course, the fabulous set and the strong performances by Kate Burton, Kristine Nielsen, Cobie Smulders and Bhavesh Patel added to the fun.
The Home Place
It isn’t Brian Friel’s best play, but this production at the Irish Rep was so good and focused on such interesting topics that any failings of the play were easily overlooked.
The Man from Nebraska
Pitch perfect performances by Reed Birney and Annett O’Toole as a conventional man who loses his faith and his wife, made this Tracy Lett’s play at Second Stage riveting. Lett shows us what happens when those who always follow the rules, stop doing so, but he doesn’t provide easy answers. Birney and O’Toole also did not take the easy road in their performances.
By Karen Isaacs
Now, more than ever, it seems we need things that remind us of the innate goodness of people, of their willingness to sacrifice and help others, to be neighborly.
Come from Away is a musical that does just that, not in a saccharine, manipulative way, but with truth and heart.
How did anyone think the story might be a good idea for a musical? It is about the city of Gander, Newfoundland and the people in it and the surrounding towns who on Sept. 11, 2001 suddenly had 35+ jets land with more than 7000 passengers. American airspace had been closed, and jets flying from Europe were told to land there. No one had any idea how long they would be on the ground. But these passengers needed to be fed, housed, clothed and befriended.
The citizens of Gander showed what true goodness is like as they came together to gather supplies, cots, bedding, food, medicine, toothbrushes, deodorant and more.
The authors, Irene Sankoff and David Hein, have skillfully created a multitude of characters including town residents and passengers. They have intertwined these stories so we slip smoothly from one to another. We are never bothered that one performer is playing multiple roles and we always know who each actor is at a given moment.
They have also avoided for the most part easy stereotype characters. In fact, they drew their stories from stories of the actual passengers many of whom returned for the 10th anniversary and have kept in touch with the townspeople they met.
Yes, there is the gay couple, the Arab man, the British businessman who meets a divorcee from Texas, the woman whose son is a NYC firefighter and more. But these seem like surprisingly well rounded characters. The one pilot we meet is the first woman Captain for American Airlines. Among the citizens are the Mayor, the woman who runs the Humane Society, the school teacher, the school bus driver, the air traffic controller and more.
They don’t sugar coat the story either. The town’s school bus drivers are on strike and for many hours refuse to suspend the strike to ferry passengers from the airport to the various surrounding towns that have offered to assist. (Many passengers were on the planes for 24 hours before being allowed off.) There is the Arab man who is detained and questioned; later his offers to help with the food are summarily dismissed until near the end; he says he is an executive chef for a hotel. There’s also the African family who are afraid they are being kidnapped, and the African-American man who is worried he will shot when told to go and take barbeque grills from backyards or that his wallet will be stolen.
This is a true ensemble, in fact most of the songs are listed as sung by “the company.” Some of the performers are Canadians making their Broadway debuts while others have extensive New York credits. Many have been with the show during major parts of its development. One of its very earliest stops was at the Goodspeed Festival of New Musicals where it had staged reading.
Because it is such an ensemble piece, and the actors play multiple roles, it is difficult to single out individuals. But Jenn Colella is terrific as the American Airlines captain, particularly in a song about the problems and discrimination she faced in becoming a commercial pilot. Q Smith as Hannah is touching as the mother whose son in a NYC fire fighter. Robert Hicks plays multiple roles and creates individuals in each instance. Chad Kimball, one half of the gay couple – the other half, Caesar Samayoa is also great – opens the number simple titled “Prayer” which includes several pieces.
I enjoyed watching the romance develop between Nick (Lee MacDougall) and Diane (Sharon Weatley.
The songs fit into the show perfectly and I’m looking forward to hearing the cast CD which also available.
Praises to director Christopher Ashley who has handled the multiple stories beautifully and Kelly Devine who is created with the musical staging, which I assume also includes the choreography.
Beowulf Boritt has created a simple but atmosphere set aided by the lighting design of Howell Binkley. Toni-Leslie James’ costumes help us keep the characters straight.
Seldom is the orchestra singled out in a review, but this group of musicians, located on the stage are terrific and after the curtain calls, gives the audience a rousing, impromptu concert.
The music and the orchestrations blend music of various genre including traditional folk type music with more Broadway music.
Come from Away is a production I encourage you to see. It is worthwhile. For tickets, contact Telecharge.
By Karen Isaacs
Bierko Comes to Long Wharf: Craig Bierko, who was nominated for a Tony for his performance as Harold Hill in the Broadway revival of The Music Man and is now on UnREAL on Lifetime, has joined the cast of Meteor Shower by Steve Martin which opens the Long Wharf season. The show runs Wednesday, Sept. 28 to Sunday, Oct. 23. For tickets visit Long Wharf or call 203-787-4282
Auditions for Kids: Hartford Stage will be auditioning children 5-13 for its annual production of A Christmas Carol – A Ghost Story of Christmas from Tuesday, Sept. 20 to Thursday, Sept. 22. Auditions are by appointment only. For information about preparation and requirements or appointments email Auditions.
This Year in Waterbury: The season at Seven Angels Theatre has been finalized. It opens with A Room of My Own, a semi-autobiographical comedy about a writer in a wacky family; it runs Thursday, Sept. 22 to Sunday, Oct. 16. Next is the return of Jon Peterson with a one man show about Anthony Newley: He Wrote Good Songs from Nov. 3 to 27. From Feb. 9 to March 3 is George and Gracie: The Early Years about the early life of George Burns and Gracie Allen. R. Bruce Connelly and Semina De Laurentis star. Jesus Christ Superstar, the Andrew Lloyd Webber/Tim Rice musical runs from March 23 to April 23. The season concludes with Trav’lin –The 1930s Harlem Musical which recalls the period and features the music and lyrics of Harlem Renaissance composer J. C. Johnson. It runs May 11 to June 11. Tickets are available at 203-757-4676.
King Arthur: Robert Sean Leonard will be King Arthur in Westport Country Playhouse’s production of Camelot which runs Tuesday, Oct. 4 to Sunday, Oct. 30. It is billed as a “reimagined” production directed by Mark Lamos. While Leonard may be known for his work in the TV series House, he has numerous Broadway credits and received a Tony Award and another Tony nomination. For tickets – which are going fast – visit Westport or call 888-927-7529.
Chasing Rainbows: Goodspeed’s new musical, Chasing Rainbows: The Road to Oz which is how Judy Garland became a young star, is in rehearsals preparing for its opening Friday, Sept. 16. Of course, the show features many of the songs she made famous and also includes the making of The Wizard of Oz film which was supposed to star Shirley Temple. Goodspeed has a number of special evenings scheduled including a Saturday wine tasting (Sept. 17), teen nights, meet the cast, and others. For information and tickets visit Goodspeed or call 860-873-8668.
Classic to Contemporary: Westport Country Playhouse has announced its 2017 season, its 87th. It opens (May 30 to June 17) with the British comedy Lettice and Lovage which was a 1990 Tony nominee. Following is the 2014-15 Obie (off—Broadway) Award winner for Best New American Play, Appropriate which runs July 11 to 29. Grounded, a solo production that won the 2016 Lucille Lortel Award in that category and an award at the Edinburg Fringe Festival runs Aug. 15 to Sept. 2. Sex with Strangers, which runs Sept. 26 to Oct. 14 is about a modern relationship in the digital age. The season concludes with Shakespeare’s Romeo and Juliet (Oct. 31 to Nov. 19), directed by Mark Lamos, who is well known for his fine Shakespeare production. I still remember his production at Hartford Stage starring a young Calista Flockhart. For information and tickets contact Westport or call 888-927-7529.
Curtain Up: MTC (Music Theatre of Connecticut) in Norwalk opens its season with Gypsy from Friday, Sept. 9 to Sunday, Sept. 25. The iconic show features a cast of solid Broadway professionals. For tickets visit MTC or call 203-454-3883.
Investors Hard to Find: Even Barbra Streisand has problems finding investors. The most recent rumor is that the planned film version of Gypsy that has been talked about for years, is now in doubt again due to the withdrawal of an investor and distributor.
Controversy: Bay Street Theater on Long Island, had planned a concert reading of the new Stephen Schwartz and Phillip LaZenik musical Prince of Egypt, which is based on a film about an Egyptian prince who learns his true identity. Schwartz’ song for the film,“When You Believe” won an Oscar. That was the plan and the concert was cast with some high powered Broadway veterans. But the concert was cancelled after complaints that the cast was not diverse. Apparently there were not just complaints but comments on social media and online which the director termed “harassment” and “bullying.” This is not the first time recently that a controversy has erupted over casting.
New York Notes: The Berkshire Theatre Group is transferring its well-received production of Fiorello! to Off-Broadway this fall. It begins previews Sun., Sept. 4 at the East 13th Street Theater. For tickets visit Fiorello or call 800-833-3006. The Pearl Theatre is reviving A Taste of Honey, last seen 35 years ago. Austin Pendleton directs. It runs Tues., Sept 6 to Sun., Oct. 16q. For tickets visit pearltheatre.org or call 212-563-9261. Another off-Broadway Theater – Primary Stages is opening its season with Horton Foote’s The Roads to Home directed by Michael Wilson, former artistic director of Hartford Stage. The production stars Harriet Harris, Devon Abner and Haille Foot. It begins performances Tues., Sept. 13. For tickets visit Primary Stages or call 212-352-3101
New York Notes: Tickets are now on sale for Heisenberg which stars Mary Louis Parker at the Samuel J. Friedman Theater. It begins previews on Tuesday, Sept. 20. Tickets are available through Telecharge. Jenn Gambatese who starred at Goodspeed in Annie Get Your Gun and has numerous Broadway credits is replacing Sierra Boggess in School of Rock on Broadway. Tickets are also on sale for the revival of Falsettos starring Christian Borle, Andrew Rannells and Stephanie J. Block. The William Finn/James Lapine musical begins previews Thursday, Sept. 29 for a limited run. Ticketmaster is handling tickets.
CRT Season: The Connecticut Repertory Theater which performs on the UConn campus in Storrs is the last of the Connecticut theaters to announce its 2016-17 schedule. It begins with an ambitious play: Shakespeare’s King Lear from Thurs., Oct. 6 to Sun., Oct. 16. This coincides with the exhibition of a rare Shakespeare first folio to the campus (Thur., Sept 1 to Sun., Sept. 25) via the Folger Shakespeare Library’s tour. Changing gears, the second show if a translation of the Feydeau farce Le Dindon, called An Absolute Turkey, from Dec. 1 to 10. In 2017, Clifford Odets’ Waiting for Lefty will play Feb. 23 to March 5 followed by Shrek: The Musical from April 20 to 30. Please call 860-486-2113 for information and subscriptions. Tickets for individual performances go on sale Sept. 1. Information is available at CRT.
Broadway People: He’s hot! Lin-Manuel Miranda has left his show Hamilton but he won’t be resting anytime soon. He’s working on the film version of his first hit, In the Heights, which is now a “go” because of the Hamilton success. He’s also signed to co-star in the 2018 Disney film that will be a sequel, Mary Poppins Returns. Emily Blunt will play Poppins. It’s a new story (set in London in the 1930s) and a new score. Angela Lansbury is not retiring; she’s returning to Broadway in 2017-18 in a revival of The Chalk Garden. She’ll be over 90 when it opens. Joe Mantello has been directing more than acting recently; he had two well received shows on Broadway last season. But he’s pulling out his acting talents to co-star with Sally Fields in a revival of The Glass Menagerie that begins previews next February. Sam Gold will direct.
On the Road to Broadway: Lots of shows have Broadway aspirations, but few make it and even fewer succeed. Among the shows that are supposedly enroute is Josephine, about the legendary American performer Josephine Baker who was a major star in Paris. It just played in Florida and producers say the next stop in Broadway. Grammy nominee Deborah Cox starred. The musical version of From Here to Eternity with lyrics by Tim Rice has played London, but made its US debut at the Finger Lakes Musical Theater Festival this summer. Who knows if it makes it to Broadway; if you’re interested, there is a London cast album. Lynn Ahrens and Stephen Flaherty will have Anastasia on Broadway next spring and their other new musical, The Little Dancer is also continuing development. After a production at the Kennedy Center in 2014, extensive revisions were done on the book. It’s inspired by a sculpture by Edgar Degas.
From East Haddam to Broadway: A musical that began life at the Goodspeed Festival of New Musicals in 2013 will make it to Broadway. Come From Away tells the inspiring story of the residents in the Gander, Newfoundland area who hosted thousands of stranded air travelers when their flights were diverted to Gander on Sept. 11, 2001. From Goodspeed’s Festival, the show has more recently had successful runs at the La Jolla Playhouse, the Seattle Repertory Theater and will soon open at Ford’s Theater in Washington, DC before going on to Toronto and then Broadway. It’s scheduled to open in February.