The world premiere of Hartford Stage’s The Age of Innocence and a revised version of the musical Rags from Goodspeed Musicals took top honors at the Connecticut Critics Circle Awards Monday, June 11. (Complete list of nominees and winners).
The event, which celebrated the work from the state’s professional theaters during the 2017-18 season, was held at Westport Country Playhouse.
Among area theaters, Ivoryton received nine nominations for five different productions (West Side Story, Million Dollar Quartet, Saturday Night Fever, The Game’s Afoot and The Fantasticks).Connecticut native, Cory Candelet tied for outstanding featured actor in a musical for his performance as the Mute in The Fantasticks. He shared the award with Matt Faucher for his performance as Jud in Goodspeed’s Oklahoma!
Goodspeed received 14 nominations and four awards including Faucher, outstanding production of a musical, Samantha Massell for her leading role in Rags and Kelli Barclay for choreography in Will Rogers’ Follies.
Awards for outstanding actors in a musical went to Samantha Massell in Goodspeed’s Rags and Jamie LaVerdiere in the Connecticut Repertory Theatre’s production of 1776.
Awards for outstanding actors in a play went to Reg Rogers in Yale Repertory Theatre’s production of An Enemy of the People and Isabelle Barbier in Playhouse on Park’s production of The Diary of Anne Frank.
Top directing awards went to Terrence Mann for CRT’s 1776 and Ezra Barnes for Playhouse on Park’s The Diary of Anne Frank.
Outstanding ensemble award went to TheaterWorks’ production of The Wolves; the debut award went to Megan O’Callaghan for The Bridges of Madison County and Fun Home, both at Music Theatre of Connecticut. The outstanding solo honor was awarded to Elizabeth Stahlmann for Westport Country Playhouse’s Grounded.
Michael O’Flaherty, longtime music director for Goodspeed Musicals, received the Tom Killen Award for lifetime service to the theater from Donna Lynn Cooper Hilton, a producer at Goodspeed.
Receiving special awards were New London’s Flock Theatre for its production of Long Day’s Journey Into Night at the Monte Cristo Cottage (O’Neill’s childhood home); the Broadway Method Academy of Fairfield; and Billy Bivona, who composed and performed original music for TheaterWork’s production of Constellations.
The outstanding featured actress award in a musical award went to Jodi Stevens for Summer Theatre of New Canaan’s Singin’ in the Rain. The award for outstanding featured actors in a play went to Peter Francis James for Westport Country Playhouse’s production of Romeo and Juliet, and to Judith Ivey for Long Wharf Theatre’s world premiere of Fireflies.
Design awards went to Fitz Patton for sound and Matthew Richards for lighting for Westport Country Playhouse’s Appropriate; Linda Cho for costumes for Hartford Stage’s The Age of Innocence; Yana Birykova for projections for Westport Country Playhouse’s Grounded and David Lewis, for set design for Playhouse on Park’s The Diary of Anne Frank.
Jenn Harris and Matthew Wilkas, stars of TheaterWorks’ Christmas on the Rocks, presided over the event.
Shore Publication writers Amy Barry and Frank Rizzo co-chaired the event.
This content courtesy of Shore Publications and zip06.
By Karen Isaacs
Do you realize how many professional theatrical productions are seen in Connecticut each year? What would be your guess?
With the ending of the Connecticut theater season which runs from about June 1 to May 31, I attempted to count up the shows. I know I missed some. But including all the professional theaters (those that have some type of contract from Equity the actors’ union) plus the productions seen at the major “presenting” houses such as the Shubert, Bushnell and Palace in Waterbury – the total astounded me.
In all, you could see a professional production for 100+ nights a year. And that didn’t include the “workshop” performances at Goodspeed-Chester, the O’Neill Center and other places.
If you want to consider just the regional theaters – it numbers 70+ productions. (By the way, I saw about 75 percent of these, plus some others). So I was sitting in a theater in Connecticut at least 60+ evenings.
My favorites? Everyone’s list will be different. Mine includes plays that were thought-provoking or challenging. But my list also includes plays that were just pure fun. I’ve broken them down in to a list of my “best” plays and “musicals”. These aren’t in any particular order. Some are by playwrights that I am very familiar with and others by playwrights new to me.
My Favorite Productions of Plays
Hartford Stage gave me three productions that I thoroughly enjoyed and would gladly see again. A Lesson from Aloes by Athol Fugard is a play that I saw first at Yale and found it brilliant. This production directed by Darko Tresnjak was equally so – thought-provoking, beautifully designed and marvelously acted. For sheer fun, nothing could be better than Tresnjak’s direction of A Midsummer Night’s Dream which opened the season. The direction by the Mechanicals was the best I’ve ever seen. And in the middle was the McCarter Theatre’s production of Murder on the Orient Express. Stylish and delightful. Another production I would gladly see again was Grounded at Westport Country Playhouse last July. This one woman show is about a military pilot who is reassigned to operating drones over Iraq from the US. And Playhouse on Park gave Connecticut theater goers a magnificent production of The Diary of Anne Frank.
Some plays were very good, but for one reason or another had something missing. Fireflies at Long Wharf was a charming, sweet play that is blessed with an outstanding cast. I’m not convinced that it would as enjoyable in the ends of lesser actors. Jane Alexander, Judith Ivey and Dennis Ardnt made this work. I also thoroughly enjoyed Seder at Hartford Stage, though some of my critic friends hated it. The questions it raised were fascinating and Mia Dillon was fabulous.
Also in this group would be The Game’s Afoot at Ivoryton which was silly, light but just fun, Noises Off at the Summer Series at Connecticut Repertory Theatre, The Chosen at Long Wharf, Father Comes Home from the Wars, Parts 1, 2 and 3 at Yale Rep and Age of Innocence at Hartford Stage. Boyd Gaines was magnificent.
Some productions miss the mark – it may be a great idea that isn’t quite developed completely, or it wanders off topic, or the director or actors make some erroneous decisions. Or the play may not be that good, but one or two performances make it enjoyable.
Luckily most of the time, even if that happens there are elements that still make the production worth seeing.
But sometimes, to me the production seems so misguided in so many ways, that it disappoints me. This season there were a few that fit that description. Often my fellow critics disagree with me. Yale’s production of Enemy of the People was just such a production. I felt that both the director (James Bundy) and the leading actor (Reg Rogers) were totally off the mark. Office Hours at Long Wharf was a play that I felt didn’t really work on many levels.
My Favorite Productions of Musicals
I didn’t think there were really any outstanding musical productions this season. By that I mean productions where the work itself and all elements of the production hit the mark. Most had flaws of some kind.
Many productions were very good. Ivoryton Playhouse has shown it is capable of presenting very good productions. This season I thought Saturday Night Fever, West Side Story and The Fantasticks were all very good.
MTC (Music Theater of Connecticut) has shown that a very small theater (under 120 seats) and an awkward playing area can be made to work for mid-sized musicals. Kevin Connor did a great job directing both The Bridges of Madison County and Fun Home. The Summer Series at Connecticut Rep did a very good Newsies.
Goodspeed is held to a very high standard – it has wowed us so many times, that we expect perfection in each production. This year, it may have not have been perfection, but it was very, very good.
Rags was a major project: Taking a musical that had failed and working together with the composer and lyricist and a new book writer, to completely reshape the show. Characters were deleted, others added, major plot points changed, new songs written and lyrics revised for other songs. Working with the team was director Rob Ruggiero. This story of turn of the 20th century Jewish immigrants on the lower east side of Manhattan, still isn’t perfect, but the show was done very well and was much improved.
Goodspeed also presented the classic Oklahoma! Again a very good production that I felt missed the mark in some ways.
The Big Theater Stories So Far This Year
Two major theatrical stories hit even the national press. The first was the firing of Long Wharf Artistic Director Gordon Edelstein after allegations of sexual harassment and misconduct.
Later this spring, Darko Tresnjak announced he will leave Hartford Stage at the conclusion of the 2018-19 season. This wasn’t a total surprise. While at Hartford, he had not only produced excellent theater but won a Tony award, directed two new Broadway musicals and was increasingly in demand.
Just as one theater season ends, another begins. I’m already marking my calendar for the shows that I’m most anticipating.
(Revised from a press release)
Hartford Stage’s world premiere of “The Age of Innocence” and Goodspeed’s “Oklahoma!” led the shows nominated for the 28th annual Connecticut Critics Circle Awards. Yale Rep’s production of “Native Son,” Goodspeed’s production of “Rags,” and “Diary of Anne Frank” at Playhouse on Park also received numerous nominations.
The awards event, which celebrates the best in professional theater in the state, will be held Monday, June 11 at 7:30 p.m. at the Westport Country Playhouse. Jenn Harris and Matthew Wilkas, stars of TheaterWorks holiday comedy perennial “Christmas on the Rocks,” will be masters of ceremony for the event which is free and open to the public.
“The Age of Innocence” earned eight nominations, including outstanding play, director and lead actor and three featured actresses, costumes and lighting while “Oklahoma!” received a total of seven nods, including best musical, director, lead actress and actor and featured actress and actor and choreography.
Other outstanding play nominees are: Yale Repertory Theater’s productions of “An Enemy of the People” and “Father Comes Home From the Wars, Parts 1, 2 and 3.” Other nominees included Long Wharf Theatre’s “The Chosen” and the world premiere of “Fireflies” and West Hartford’s Playhouse on Park production of “The Diary of Anne Frank.”
Also earning outstanding musical nods are Goodspeed’s “Rags,” Connecticut Repertory Theater’s “1776,” Seven Angels Theatre’s “Million Dollar Quartet,” and “Fun Home,” Music Theater of Connecticut.
Receiving the annual Tom Killen Award for lifetime achievement in Connectiocut theater will be Michael O’Flaherty, longtime music director at Goodspeed Musicals.
Receiving special awards this year are New London’s Flock Theater for its production of “Long Day’s Journey Into Night” at the Monte Cristo Cottage, the boyhood home of Eugene ONeill; the Broadway Method Academy of Fairfield; and Billy Bivona, who composed and performed original music for TheaterWork’s production of “Constellations.”
Receiving an award for solo performance will be Elizabeth Stahlmann who starred in Westport Country Playhouse’s “Grounded.”
Other nominees are:
Actor in a play: Reg Rogers, “An Enemy of the People,” Yale Repertory Theatre; Jerod Haynes, “Native Son,” Yale Repertory Theatre; Jamison Stern, “The Legend of Georgia McBride,” TheaterWorks; Boyd Gaines, “The Age of Innocence,” Hartford Stage; Daniel Chung, “Office Hour,” Long Wharf Theatre.
Actress in a play: Jackie Chung, “Office Hour,” Long Wharf Theatre; Isabelle Barbier, “The Diary of Anne Frank,” Playhouse on Park; Mia Dillon, “Seder,” Hartford Stage; Jane Alexander, “Fireflies,” Long Wharf Theatre; Cecelia Riddett, “The Revisionist,” Playhouse on Park.
Actor in a musical: Jamie LaVerdiere, “1776,” Connecticut Repertory Theatre; Rhett Guter, “Oklahoma!,” Goodspeed Musicals; Jim Schubin, “Newsies,” Connecticut Repertory Theatre; David Pittsinger, “The Fantasticks,” Ivoryton Playhouse; Michael Notardonato, “Saturday Night Fever,” Ivoryton Playhouse.
Actress in a musical: Samantha Massell, “Rags,” Goodspeed Musicals; Mia Pinero, “West Side Story,” Ivoryton Playhouse; Juliet Lambert Pratt, “The Bridges of Madison County,” Music Theatre of Connecticut; Samantha Bruce, “Oklahoma!,” Goodspeed Musicals; Annabelle Fox, “Singin’ in the Rain,” Summer Theatre of New Canaan.
Director of a play: James Bundy, “An Enemy of the People,” Yale Repertory Theatre; Seret Scott, “Native Son,” Yale Repertory Theatre; Ezra Barnes, “The Diary of Anne Frank,” Playhouse on Park; Eric Ort, “The Wolves,” TheaterWorks; Doug Hughes, “The Age of Innocence,” Hartford Stage.
Director of a musical: Terrence Mann, “1776,” Connecticut Repertory Theatre; Jenn Thompson, “Oklahoma!,” Goodspeed Musicals; Kevin Connors, “Fun Home,” Music Theatre of Connecticut; Rob Ruggiero, “Rags,” Goodspeed Musicals; Brian Feehan, “The Fantasticks,” Ivoryton Playhouse.
Choreography: Katie Spelman, “Oklahoma! ,” Goodspeed Musicals; Christopher d’Amboise, “Newsies,” Connecticut Repertory Theatre; Kelli Barclay, “The Will Rogers Follies,” Goodspeed Musicals; Todd L. Underwood, “Saturday Night Fever,” Ivoryton Playhouse
Ensemble: Cast of “Avenue Q” (Weston Chandler Long, James Fairchild, Ashley Brooke, Peej Mele, E J Zimmerman, Abena Mensah-Bonsu and Colleen Welsh ), Playhouse on Park; Cast of “The Wolves” (Shannon Keegan, Claire Saunders, Dea Julien, Carolyn Cutillo, Emily Murphy, Caitlin Zoz, Rachel Caplan, Olivia Hoffman, Karla Gallegos, Megan Byrne), TheaterWorks; Cast of “The Chosen” (Ben Edelman, George Guidall, Steven Skybell, Max Wolkowitz) Long Wharf Theatre; Cast of “The Game’s Afoot” (Erik Bloomquist, Victoria Bundonis, Molly Densmore, Katrina Ferguson, Michael Iannucci, Craig MacDonald, Maggie McGlone-Jennings, Beverly J. Taylor), Ivoryton Playhouse.
Featured actor in a play: James Cusati-Moyer, “Kiss,” Yale Repertory Theatre;
Peter Francis James, “Romeo and Juliet,” Westport Country Playhouse; Tom Pecinka, “Father Comes Home from the Wars, Parts 1, 2 & 3,” Yale Repertory Theatre; Dan Hiatt, “Father Comes Home from the Wars, Parts 1, 2 & 3,” Yale Repertory Theatre; Jason Bowen, “Native Son,” Yale Repertory Theatre
Featured actress in a play: Judith Ivy, “Fireflies,” Long Wharf Theatre; Darrie Lawrence, “The Age of Innocence,” Hartford Stage; Carly Polistina, “The Crucible,” Connecticut Repertory Theatre; Sierra Boggess, “The Age of Innocence,” Hartford Stage; Helen Cespedes, “The Age of Innocence,” Hartford Stage
Featured actor in a musical: Matt Faucher, “Oklahoma!,” Goodspeed Musicals; Joe Callahan, “Million Dollar Quartet,” Ivoryton Playhouse; Sean MacLaughlin, “Rags,” Goodspeed Musicals; David Garrison, “The Will Rogers Follies,” Goodspeed Musicals; Cory Candelet, “The Fantasticks,” Ivoryton Playhouse.
Features actress in a musical: Jodi Stevens, “Singin’ in the Rain,” Summer Theater of New Canaan; Gizel Jimenez, “Oklahoma!” Goodspeed Musicals; Nora Fox, “Saturday Night Fever,” Ivoryton Playhouse; Megan O’Callaghan, “Fun Home,” Music Theatre of Connecticut; Kimberly Immanuel, “The Fantasticks,” Ivoryton Playhouse.
Projection design: Yana Birykova, “Grounded,”Westport Country Playhouse; Luke Cantarella, “Rags,” Goodspeed Musicals; Lucas Clopton & Darron Alley, “A Midsummer Night’s Dream,” Hartford Stage; Wladimiro A. Woyno R., “Kiss,” Yale Repertory Theatre.
Set design: Emona Stoykova, “An Enemy of the People,” Yale Repertory Theatre; Alexander Dodge, “A Midsummer Night’s Dream,” Hartford Stage; Andrew Boyce, “Appropriate,” Westport Country Playhouse; David Lewis, “The Diary of Anne Frank,” Playhouse on Park; Martin Scott Marchitto, “The Fantasticks.” ,Ivoryton Playhouse
Costume design: Linda Cho, “Rags,” Goodspeed Musicals’ Linda Cho, “The Age of Innocence,” Hartford Stage; Joshua Pearson, “A Midsummer Night’s Dream,” Hartford Stage; Fabian Fidel Aguilar, “Romeo & Juliet,” Westport Country Playhouse; Leon Dobkowski, “The Legend of Georgia McBride,” TheaterWorks.
Lighting design: Ben Stanton, “The Age of Innocence,” Hartford Stage; Michael Chybowski, “1776,” Connecticut Repertory Theatre; Stephen Strawbridge, “Native Son,” Yale Repertory Theatre; Matthew Richards, “Appropriate,” Westport Country Playhouse; Yi Zhao, “Father Comes Home from the Wars, Parts 1, 2 & 3,”Yale Repertory Theatre.
Sound design: Frederick Kennedy, “Native Son,” Yale Repertory Theatre; Kate Marvin, “Grounded,” Westport Country Playhouse; Fitz Patton; “Appropriate,” Westport Country Playhouse; Jane Shaw, “A Lesson from Aloes,” Hartford Stage; Robert Kaplowitz, “Office Hour,” Long Wharf Theatre.
Debut: Shannon Keegan, “The Wolves,” TheaterWorks; Megan O’Callaghan, “The Bridges of Madison County” and “Fun Home,” Music Theatre of Connecticut; Noah Kierserman, “Newsies,” Connecticut Repertory Theatre.
DIRECTIONS: Westport Country Playhouse is at 25 Powers Court in Westport, just off Route (Exits 17 or 18 off I-91 brings you to Rt. 1.) www.westportplayhouse.org.
By Karen Isaacs
Ivoryton Playhouse is presenting an absolutely delightful production of The Fantasticks through Sunday, April 8.
If not handled correctly, this charming piece by Harvey Schmidt (music) and Tom Jones (book and lyrics), can become simplistic and sugary. But director Brian Feehan and the cast have added the salt and spice this piece needs to totally engage you.
It helps that El Gallo, who serves as the narrator, is in the capable hands of David Pitrsinger. He has the voice and the stage authority to carry off the multiple facets of the role: story teller, villain and seducer. He also interacts with the audience wonderfully.
Director Feehan has made a relatively minor adjustment to the plot. In the original, it is the fathers of Matt and Luisa who feign a feud so that their children will rebel against them and fall in love. In this production, it is the mothers who are the instigators. Perhaps that is more plausible that they would be interested in seeing their children wed. Patricia Schuman plays Matt’s mother with great warmth. Of course, it is also her, who spills the beans on the plot when the two young lovers seem too smug. Schuman has a rich mezzo. Carly Callhan is Luisa’s mother, who is more circumspect but does a fine job.
As the young lovers, Branford’s own Ryan Bloomquist is excellent at Matt, the young lover. It isn’t an easy part, for Matt is more naïve than we would expect a 20-year-old to be today. The character is more like a juvenile lead from a 1930s musical – somewhat out of touch with reality, until it is forced upon him. His voice, however, is perfect for the romantic ballads in the show.
Kimberly Immanuel plays the equally naïve and romantic, Luisa. She doesn’t try to hide the fact that the character is self-absorbed and out of touch with the real word. In addition, her soprano voice is excellent.
Together Bloomquist and Immanel make the most of their duets from “Metaphor” to “Soon It’s Gonna Rain” to “They Were You.”
Connecticut favorite R. Bruce Connelly plays Henry, the aging Shakespearean actor who with his assistant (a fine Will Clark), assists El Gallo in staging the abduction that allows Matt to rescue Luisa. Connelly never lets the humor become too broad which is the potential in the role. He still gets all the laughs.
Special praise must be given to Cory Candelet who plays the Mute. The role is an observer and silent commentator on the activities. His facial expressions and body language were so appropriate and expressive that he got loud applause during the curtain calls. It just goes to reinforce that you don’t need a lot of lines to make a big impression in a show.
The direction and choreography by Feehan makes use of the center aisle as well as some interaction with the audience. Musical director Jill Brunnell has helped the performers do an excellent job with the music.
Added to that is the attractive and spare set by Martin Scott Marchitto, the costumes by Elizabeth Saylor Cipollina, the souond by Tate R. Burnmeister and the lighting by Marcus Abbott.
This is an excellent production of this classic “small” musical. If you, go see it.
For tickets visit Ivoryton Playhouse.
By Karen Isaacs
Next to Normal at TheaterWorks.
You could criticize practically nothing in this production. Rob Ruggiero cast it brilliantly with Christiane Noll, David Harris, Maya Keleher (in her professional debut), Nick Sacks and John Cardoza. Ruggiero used the aisles to add to the intimacy; it was remarkable.
A Midsummer Night’s Dream at Hartford Stage
This Shakespeare play is done so often, it is easy to say “oh no, not again.” But Darko Tresjnak’s production was outstanding. He balanced all the elements and did not let any one of the multiple plots overtake others. His handling of the play put on by “the mechanicals” at the ends was terrific.
Fireflies at Long Wharf
Jane Alexander, Judith Ivy and Denis Ardnt gave touching performances, creating real people in this sweet romance about an older, retired school teacher, her nosy next store neighbor, a drifter. Gordon Edelstein kept it moving and preventedit from becoming saccharine.
Rags at Goodspeed
This story of Jewish immigrants on the lower east side of New York was completely revamped for this production: extensive revisions of the book, lyrics and songs. The result wasn’t perfect but with Rob Ruggiero’s sensitive direction, this show touched the heart.
The Absolute Brightness of Leonard Plekey at Hartford Stage
This may have been a touring show, but James Lecesne not only was brilliant in turning his novel into a one actor play but did so much outreach in the community on the issues of teens facing bullying due to sexual orientation.
Diary of Ann Frank at Playhouse on Park
David Lewis made full use of the large and sometimes awkward stage area to create the attic in which the Franks and others hid for many years. Director Ezra Barnes cast the show almost perfectly from Isabelle Barbier as Anne to the entire ensemble. It was touching and real.
A Comedy of Errors at Hartford Stage
It is perhaps Shakespeare’s silliest play and director Darko Tresnjak emphasizes it beginning with his own colorful Mediterranean village set, a canal with real water and more. Who cares if the lines sometimes gets lost in the process?
Seder at Hartford Stage
How do you survive in a repressive regime? How do you make others, who have not lived through it, understand your choices? That was at the heart of this new play which thoroughly engaged me. Plus it had Mia Dillion once again showing her skills.
Wolves at TheaterWork
Wolves was a sensitive and insightful look into both the world of girls’ sports (in this case a soccer team) but also into the society that teenagers create for themselves. Though a few of the young actresses looked a little too old, we become totally engaged in them and their lives.
The Games Afoot at Ivoryton
Sometimes just seeing actors have a great time with a so-so play is more than enough. That was the case in this comic thriller by Ken Ludwig. It succeeded because of director Jacqueline Hubbard, set designer Daniel Nischan and a cast that just had fun.
The runners up
“Trav’lin’ –the 1920s Harlem Musical at Seven Angels.
It may not be a great musical, but this show introduced me to a lesser known composer – J. C. Johnson who wrote “This Joint is Jumpin’” and many others. The plot is simplistic but the cast was wonderful.
Noises Off at Connecticut Repertory Theater
My favorite farce got a fine production this summer with some inventive touches by director Vincent J. Cardinal, terrific casting and timing that was just about perfect.
Million Dollar Quartet at Ivoryton
This show lives and dies on the quality of the performers and here Ivoryton Playhouse and executive director Jacqui Hubbard hit the jackpot. All six of the major performers are experienced and the four “legends” have all played their roles before.
The Bridges of Madison County at MTC
The music is glorious and Kevin Connors created a production that worked very well on his three sided stage. While the chemistry didn’t seem to be there, musically the cast was strong.
The Great Tchaikovsky at Hartford Stage
Hershey Felder combines his talents as pianist, actor and director to create shows about the lives for well-known popular and classical composers. This show about Tchaikovsky was a delight.
Heartbreak House at Hartford Stage
Darko Tresnjak directed this version of Shaw’s masterpiece. It might have made the top ten BUT for one decision that Tresnjak made: he decided to make Boss Mangan a Donald Trump look/act alike. The similarity would have been recognizable without it and it distracted from the play.
Endgame at Long Wharf
Samuel Beckett writes difficult plays requiring an audience to understand his pessimistic world view and his abstract characters and plots. Gordon Edelstein directed a production that may not have been definitive but gave us outstanding performances by Reg E. Cathey, Brian Dennehy and Joe Grifasi.
Biloxi Blues at Ivoryton
This Neil Simon play, part of the Eugene trilogy got a fine production directed by Sasha Bratt that focused less on the laughs and more on the situation.
Native Son at Yale Rep
This production boasted a terrific performance by Jerod Haynes as Bigger, an urbanset by Ryan Emens and jazzy sounds by Frederick Kennedy that produced a taut, film noir feel to this story about race and prejudice.
Romeo & Juliet at Westport Country Playhouse
Mark Lamos, who is a fine director of Shakespeare gave us a pared down version of this classic tragedy that featured some fine performances – including Nicole Rodenburg as Juliet, Felicity Jones Latta as the Nurse, and Peter Francis James as Friar Lawrence, plus a magical set by Michael Yeargan. Lamos emphasized the youth and energy.
West Side Story at Ivoryton
This production had many more plusses – Mia Pinero as Maria, Natalie Madion as Anita, good direction by Todd L. Underwood – than minuses.
By Karen Isaacs
It’s a long standing tradition – the Saturday after Thanksgiving, Orchestra New England starts the holiday season with its Colonial Concert. Audience members are transported back to the colonial era where maestro James Sinclair will introduce them to the “latest” European music. This year’s concert, held at United Church on the Green, New Haven is on Saturday, Nov. 25. It will feature a “recent” symphony by Mr. Hayden, as well as a popular French song by Jean-Paul-Egide Maitini. Organist Walden Moor of Trinity Church on the Green is a guest artist. The audience also gets a visit from the wife of the President of the Continental Congress. For tickets visit orchestranewengland.org or call 800-595-4849.
Two ensembles of the New Haven Symphony have planned concerts this season. Holiday Extravaganza features the Pops under the baton of Chelsea Tipton. Guest soloist is Connor Bogart and it always includes a sing-along. Performances are Saturday, Dec. 16 at Hamden Middle School, Sunday, Dec. 17 at Shelton High School and Thursday, Dec. 21 at Woolsey Hall.
The NHSO Brass Quintet will perform with Tony and Grammy Award-nominated Bryce Pinkham on Friday, Dec. 15 at Sacred Heart University and Saturday, Dec. 16 at the First Congregational Church in Madison. Among the selections will be “Have Yourself a Merry Little Christmas,” “My Favorite Things,” and Leroy Anderson’s “Sleigh Ride.” For tickets to any of the concerts visit newhavensymphony.org or call 203-865-0831. For the Sacred Heart concert, visit Edgertoncenter.org.
The Hartford Symphony gets into the holiday mood with its Holiday Cirque Spectacular on Saturday, Dec. 18. You enjoy the music by the symphony as you watch the aerialists, contortionists and gymnasts of the world-famous Cirque de la Symphonie. It’s on Saturday, Dec. 16. On Friday, Dec. 8 to Sunday, Dec. 10, the Symphony presents December Dreams which will feature selections from The Nutcracker and William Henry Fry’s Santa Claus (A Christmas Symphony) among other selections. For information and tickets visit hartfordsymphony.org or call 860-987-5900.
Three Bridgeport events are on the calendar. The Vienna Boys Choir is presenting a concert in Bridgeport on Saturday, Dec. 2. For tickets visit theKlein.org or call 800-524-0160. Believe presented by Cirque Musica Holiday with the Greater Bridgeport Symphony is Tuesday, Dec. 12 at the Webster Bank area. Tickets are available at websterbankarena.com. The Symphony is also presenting Holiday Interlude on Saturday, Dec. 16 at the Klein. Selections from The Nutcracker as well as Tchaikovsky’s Symphony No. 5 and holiday music are on the bill. Tickets are at theKlein.org.
Opera singers and local residents David Pittsinger and Patricia Shuman are in concert at Ivoryton Playhouse, Thursday, Dec. 21 and Friday, Dec. 22. Billed as The Ivoryton Playhouse Christmas Hour with David Pittsinger and Friends, it will feature both classical and popular holiday music. Joining Pittsinger and Shuman are Carly Callahan, Charlie Widmer and Katie Weiser. For ticket visit ivorytonplayhouse.org or call 860-767-7318.
The Kate in Old Saybrook is presenting three holiday themed concerts. On Saturday, Dec. 2 it’s The Drifters – Holiday Magic. The concert includes “Rudolph” as well as their iconic version of “Silent Night.” Elisabeth Von Trapp – granddaughter of the legendary Maria of Sound of Music fame, performs on Sunday, Dec. 3.
The Connecticut Gay Men’s Chorus performs their concert, Twinkle – A Celestial Celebration on Sunday, Dec. 10. It includes the area premier of James Eakin’s “Stargazing.” The group will also present the concert of Saturday, Dec. 16 and Sunday, Dec. 17 at the High School of Performing Arts at 177 College Street, New Haven. Tickets for those shows are available at ctgmc.org or 203-777-2923. For any concert at The Kate, visit katherinhepburntheater.org or call 877-503-1286.
The Blind Boys of Alabama are bringing their Christmas Show featuring the Preservation Hall Legacy Horns on Saturday, Dec. 2. This group has earned five Grammy Awards plus a Lifetime Achievement Award. For ticket visit Shubert.com or call 203-562-5666.
From Tinseltown to Times Square: A Holiday Adventure is the title for the concert by the Hartford Gay Men’s Chorus on Friday to Sunday, Dec. 8 – 10 at the Wadsworth Atheneum’s Aetna Theatre. The concert will feature holiday songs from Broadway and films including How the Grinch Stole Christmas and Elf the Musical. Tickets are at www.tickets.hgmc.org.
In addition, numerous church choirs and community choruses present holiday concerts. You can also expect several performances of The Messiah either in concert or as “sing-alongs”. This includes the sing-along at The Kate on Saturday, Dec. 17.
By Karen Isaacs
Two new Scrooges are gracing Connecticut stages this holiday season. Each will bring takes on the classic character and story of A Christmas Carol.
A new musical version of the story is at Goodspeed Musicals through Sunday, Dec. 24. A Connecticut Christmas Carol is the brainchild of LJ Fecho and Michael O’Flaherty, Goodspeed’s longtime music director.
“We had the idea about two years ago,” O’Flaherty said. “We had done a very silly and fun Pennsylvania Dutch version a few years ago. Larry (the book is written by him) suggested setting it in Connecticut”.
The setting is the Goodspeed Opera House around 1925 and where William Gillette, the famous actor who lived up the river from the Opera House, planning a production of the story.
The unique part of this production – besides a totally original score that O’Flaherty characterizes as “pure musical” – is that the various ghosts are famous Connecticut residents – from Mark Twain, Harriet Beecher Stowe and P. T. Barnum. These three play the ghosts of Christmas Past, Christmas Present and Christmas yet-to-be.
This Scrooge, played by Lenny Volpe (he was Cap’n Andy in Goodspeed’s production of Show Boat) is not an ogre, O’Flaherty said. “We needed someone with strong comedic chops who could pull off the lightness of the ending.”
The show is being presented at Goodspeed’s Terris Theatre in Chester. There’s a number of special events and promotions during the run. For information and tickets, visit Goodspeed.org or call 860-873-8668.
While the production is a favorite of theater goers throughout the state, a new Scrooge is taking over at Hartford Stage. The annual presentation of A Christmas Carol – A Ghost Story of Christmas which runs through Saturday, Dec. 30.
It’s the 20th year for this adaptation by former Artistic Director Michael Wilson; each year it sells out, despite many performances. For most of these twenty years, Scrooge was played by Bill Raymond. But last year, he announced his retirement.
Michael Preston, who had played Mr. Marvel has taken over the part. It’s being staged by Artistic Associate Rachel Alderman. Alderman says this year’s production features some new costumes and new designs. While admitting to some hesitation at taking over from Raymond, Preston said he is looking forward to creating his own interpretation of the classic character.
In addition to all the usual performances, for the fourth year, a sensory-friendly performance is scheduled for Saturday, Dec. 2. Ticket prices are reduced by 50 percent to make the show more accessible for families with autism or other sensory sensitivities. Changes in the production include reductions in jarring Moises or strobe lights and startling effects. In addition house lights are only dimmed, audience members can move about and there is trained staff, volunteers and designated quiet areas and stress relievers available. For information about this performance visit hartfordstage.org/sensory-friendly.
A Christmas Story
One of the first holiday shows is a return visit of the Broadway musical, A Christmas Story, at the Bushnell in Hartford, Friday, Nov. 24 to Sunday, Nov. 26. The musical that had numerous Tony nominations is based on the Jean Shepherd essay which became a classic film. The creative team of Benj Pasek and Justin Paul (Tony Award for Dear Evan Hansen, Academy Award for La La Land), did the music and lyrics. It’s about Ralphie, his desire for a Red Ryder air rifle, and his family in an Indiana town in the 1940s. Though it is a short run, the show is terrific and it will get the holiday season off in a heart-warming but comic way. For tickets visit bushnell.org or call 860-987-5900.
Very few people remember the days when radio aired plays with live studio audiences watching as the actors played multiple parts, carried scripts and presented well works and created reality with the aid of sound effects.
Connecticut resident has adapted two famous Christmas stories into the radio play format. Each has become a holiday tradition, not just in Connecticut but throughout the country.
Ivoryton Playhouse is giving us It’s a Wonderful Life: A Live Radio Play from Thursday, December 7 to Sunday, Dec. 17. Inspired by the classic American film, five actors, directed by Sasha Bratt, perform the dozens of characters in the radio play as well as produce the sound effects. For tickets visit IvorytonPlayhouse.org or call 860-767-7318.
While you are attending the Playhouse you can also see the Ivoryton Illuminations which runs to Friday, Jan. 5. More than 350,000 lights are throughout the village and on Connecticut’s tallest Christmas tree.
MTC (Music Theatre of Connecticut) gives us the radio play version of A Christmas Carol from Friday, Dec. 1 to Sunday, Dec. 17. Again, you are the studio audience as actors play multiple roles and handle sound effects to create the perfect illusion for the radio audience who would be listening at home. For tickets, contact musictheatreofct.com or call 203-454-3883 MTC is located at 509 Westport Avenue (behind Nine West) in Norwalk.
We all love the cartoon of A Charlie Brown Christmas, but now you can see a live production on stage at the Bushnell. All the favorite Peanuts characters come to life in this all-new touring stage adaptation of Charles M. Schulz’s classic Emmy and Peabody Award-winning animated television special – all set to Vince Guaraldi’s unforgettable music. It runs Friday, Dec. 1 to Sunday, Dec. 3. For tickets visit bushnell.org or call 860-987-5900.
Another well-loved TV cartoon, Rudolph, the Red-Nosed Reindeer, makes a stop at New Haven’s Shubert Theatre. The show is new to the city though it played in Hartford for two years. It runs Friday, Dec. 8 to Sunday, Dec. 10. For tickets visit Shubert.com or call 203-562-5666
The holiday season would not be the same without productions of Tchaikovsky’s famed ballet, The Nutcracker.
A very original take on the classic, returns to the Bushnell in Hartford where it wowed audiences last year. That’s The Hip Hop Nutcracker, an evening-length production performed by a supercharged cast of a dozen all-star dancers, DJ and violinist. The press materials says, “Through the spells cast by the mysterious Drosselmeyer, Maria-Clara and her prince, Myron, travel back in time to the moment when her parents first meet in a nightclub. Digital scenery transforms E.T.A. Hoffmann’s story of a palace of sugarplums into a romance set in 1980s Brooklyn. The dance work celebrates love, community and the magic of New Year’s Eve.” It’s at the Bushnell on Sunday, Dec. 17. For tickets contact bushnell.org.
You have your choice of more traditional takes on the classic. The Connecticut Ballet’s production, Saturday, Dec. 16 and Sunday, Dec. 17 is in Stamford and features guest arts from the New York City Ballet and the American Ballet Theatre. For tickets visit palacestamford.org. The Bushnell has the Nutmeg Ballet’s production also on Saturday and Sunday, Dec. 15 and 16. For tickets visit burshnell.org. The New Haven Ballet at the Shubert Theatre features guest artists from major ballet companies. It’s Saturday and Sunday, Dec. 16 and 17. For tickets visit the203-562-5666 or at www.shubert.com.
In addition, The Kate is broadcasting the Bolshoi Ballet’s Nutcracker in high definition on Tuesday, Dec. 19. Toyota Oakdale Theater is presenting The Great Russian Nutcracker on Saturday, Dec. 2. For tickets, call 800-745-3000.
If you are looking for something a little more cynical or adult, you have several choices. The Shubert Theater is presenting The Santaland Diaries based on the essay by David Sedaris. This one person play is about the fictionalized experiences of Sedaris when he worked one Christmas season as an elf at Macy’s – 34th Street Santaland. It runs Friday, Nov. 24 to Sunday, Nov. 26.
TheaterWorks in Hartford is bringing back Christmas on the Rocks for the fifth year. This series of short one-act plays, shows us what all of those famous children from various holidays stories became when they grew up. So we see an adult Ralphie (A Christmas Story), Tim (A Christmas Carol), Clara (The Nutcracker), Charlie Brown (A Charlie Brown Christmas) and more. A new episode this year is based on the children from It’s a Wonderful Life. It runs Tuesday, Nov. 28 through Saturday, Dec. 23. For tickets visit theaterworksHartford.org or call 860-527-7838.
Sister’s Christmas Catechism is also returning to Connecticut stages this year. It’s at Long Wharf Theatre from Tuesday, Dec. 5 to Sunday, Dec. 17. It’s subtitled The Mystery of the Magi’s Gold and Sister uses science, local choirs and some audience members to find out what happened to the gold. There’s lots of audience interaction. For tickets visit longwharf.org or call 203-787-4282.
Playhouse on Park is again presenting what is billed as a “Burlesque Extravaganza,” Mama D’s Christmas Stocking: Where’s Santa? What is it? The press material says it’s a celebration of “all things sexy in an evening of music, dance and comedy.” The material admits “We’re rude, we’re crude and we’re partially nude.” The event is scheduled the weekends of Dec.15-16, 22-23, 29-30 and a special New Year’s Eve show. For tickets or information, visit playhouseonpark.org or call 800-523-5900.
With so many offerings, you are bound to find something that will fit your schedule and your taste.
This content is courtesy of Shore Publication Weeklies and zip06.com
By Karen Isaacs
Watching actors have a terrific time is a delight for an audience. The cast of The Game’s Afoot now at Ivoryton Playhouse through Sunday, Nov. 19 seems to be having a marvelous time.
You will too, just watching them. Ken Ludwig’s play – billed as a comic thriller – takes us back to those Agatha Christie plays (and movies) that don’t always make a lot of sense but keep you involved right up to the end.
This play is set at Gillette’s Castle, that large residence overlooking the Connecticut River in Hadlyme that is now a state tourist attraction. It was built by the well-known actor William Gillette who adapted Sherlock Holmes stories into plays and then toured throughout the county for years playing the great detective. The success of the role helped fund his eccentric home; he hoped the state would care for the property, when he died in 1937.
By the way, Gillette was a distinguished actor, playwright who had his own stage company, knew Sir Arthur Conan Doyle and also held several patents. It was he who popularized the deerstalker hat which is part any Sherlock Holmes costume.
The play is set in his home on Christmas Eve in the mid-twenties. He lives there with his mother and has invited cast members to spend the holiday with them: the ingénue Aggie and the juvenile, Simon; the older acting couple Madge and Felix; and a gossip columnist, Daria.
The play opens at the end of Gillette’s play; at the curtain call of the play, someone fires a shot which wounds Gillette in the arm. The police have not found the shooter.
So we have a classic set-up. A dark and snow night, an isolated location and a group of people who may have unknown motives.
The ante for the tension is upped when the group learns (Gillette had already heard) that the stage doorman had been killed that morning. What is going on?
Playwright Ken Ludwig prefers to gently spoof this genre of murder mystery rather than play it for chills. Let’s just say that after one of the guests is murdered, there are some funny antics about hiding the body. One of the unique features of the castle comes into play.
But mixed into the fun is romance – Simon and Aggie have secretly married though Gillette had fallen in love with her, there’s marital discord between Madge and Felix, plus a séance led by Daria. She is, of course, the nasty, ambitious gossip columnist who has the dirt on everyone and is willing to use it to get what she wants. During the course of the evening, she wants Felix.
After some amusing bits with the telephone operator, Inspector Goring (a woman!) arrives. It’s difficult to know who is doing the investigating – she or Gillette who strongly identifies with his character Holmes. Let’s just say that there are enough motives, accusations and surprises to keep everyone wondering.
Scenic designer Daniel Nischan has created a spectacular set that will remind you of the Castle, if you have every visited it. He did in fact get to tour it before designing the set. It has stone, medieval architecture as well as knight’s armor, and an assortment of old weapons, some of which come into play.
Jacqueline Hubbard has directed a fine cast who seem as though they are truly enjoying themselves. For the most part, they are playing actors who are never “off-stage” and can be outrageous.
It is hard to pick out just a few cast members to praise. Craig MacDonald plays Gillette as a man who is a leader but is also partly deluded. It’s clear he is an actor who enjoys the limelight. But then there is Michael Iannucci and Katrina Ferguson as Felix and Madge, the older actors with both resentment and envy of Gillette, the “star”. Erik Bloomquist (a two time Emmy winner as a director/writer) infuses Simon with a studied casualness that immediately makes you wary of him. Molly Densmore plays Aggie, the ingénue who is not quite as sweet as she appears. Maggie McGlone-Jennings gives us the slightly deluded Martha, Gillette’s mother.
It was nice to see Beverly J. Taylor, longtime associate at the Playhouse in the extravagant role of Daria. She chews the scenery with the best of them. Then of course there is Victoria Bundonis as the Inspector who reminds you of many Inspectors in English mysteries.
The Game’s Afoot is a thoroughly enjoyable though silly evening in the theater that is being performed with expert timing.
It is at Ivoryton Playhouse through Sunday, Nov. 19. For tickets visit Ivoryton Playhouse or call 860-787-7318.
By Karen Isaacs
A 50-ish comedy writer, old by TV standards, returns to Hollywood to resurrect his career. He had been fired due to anger issues, particularly towards the woman executive, and had found writing “serious” plays not financially viable. So he’s back – groveling or almost groveling to the same executive– to get a job writing a TV sitcom, in an industry that views him as a dinosaur.
That’s the set-up for the world premiere musical, I Hate Musicals – the Musical, now at Ivoryton Playhouse through Oct. 15.
But though that is the set-up for the show, the show is really about what happens when the writer, Alvin, gets trapped in concrete in the executive’s office after a major earthquake. His life doesn’t quite flash before his eyes, but he does encounter a number of hallucinations or ghosts from his past including both his “fictional” father and his real father, Jesus Christ and Freud.
It’s written by Mike Reiss, who wrote scripts for The Simpsons for 21 years, collecting four Emmys and a Peabody Award. Recently he has turned to playwriting – presumably not because he needs the money. His comedies – which are somewhat reminiscent of Neil Simon’s early works — include I’m Connecticut which premiere at the Connecticut Repertory Theater and then at Ivoryton, as well Comedy Is Hard, which also was produced at Ivoryton. In a program note, Reiss says the play was originally a non-musical but since no producer would invest the money in a full-scale production; he decided that the best chance was to turn it into a musical.
I Hate Musicals – the Musical is a show that puzzled me. It is part burlesque of many musicals, part satire of Hollywood, television and writing, and occasionally part college show.
Yes, there are some very clever and funny things. At one point Alvin is visited by his father (“Professor”), a pompous man who is a professor of theatrical history at Yale. Professor is constantly critical and cold. But later we meet Alvin’s “real father” who is warm and supportive. When “Professor” questions why he was created, Alvin replies “for dramatic tension.”
He’s also included some funny comments about television’s ability to take a creative idea and convert it to a “knock off” of many shows.
But for every funny and insightful comment there are those that are much less sophisticated. Much of that is in the music. While Walter Murphy composed most of the original music (there’s not that much), most of the actual music in the show – which isn’t listed in the program – are snippets of well-known songs with parody lyrics. Thus we get “I Hate Hollywood” to the tune of “Hooray for Hollywood,” “I Hate LA” to “YMCA,”Garfinkle” to “Goldfinger.” You get the picture.
Most of the cast plays multiple roles. They handle them mostly successfully, particularly since some of the characters are very broadly written. Will Clark plays both “real dad” and Jesus – both with awful wigs. Amanda Huxtable plays all the women – the executive, Alvin’s ex-wife, Mary (yes, the mother of Jesus) and Mom. She manages to inhabit all of them successfully Ryan Knowles is excellent as the Professor. Sam Given plays both a security guard – who keeps finding Alvin stuck in the rubble but letting him know that other, more important people, must be rescued first, as well as Sigmund Freud.
Bruce Connelly has a field day playing Alvin’s agent, Lee, who Alvin keeps calling. Lee is in Hawaii on vacation and keeps forgetting who Alvin is and to call 9-11 so that someone will rescue him.
Stephen Wallem is excellent as Alvin, delivering the lines with assurance and getting all the humor out of them. You actually are convinced he is that beleaguered writer.
I don’t know whether to blame the script or the director (James Valletti) for the numerous extremely flamboyant gay stereotypes that might be funny in small doses but becomes borderline objectionable. A little of that goes a long way.
Special praise to Daniel Nischan as the scenic designer, Marcus Abbott (lighting designer) and Tate R. Burmeister (sound designer). They create a realistic earth quake – actually two; you almost feel the ground shake.
If you really love The Simpsons and that type of humor, you will find I Hate Musicals – the Musical great fun. Even if that is not your favorite of humor, you will find some very funny moments.
It’s at Ivoryton Playhouse, 103 Main Street, Ivoryton through Sunday, Oct.15. Call 860-767-7318 or visit Ivoryton Playhouse
By Karen Isaacs
Disco is alive and well on the stage of Ivoryton Playhouse with its energetic production of Saturday Night Fever through Sunday, Sept. 3.
If you loved the movie, you will enjoy elements of the musical; but be aware that it is much more up-beat than the film and the music has changed significantly.
The 1977 film detailed a sub-culture in Brooklyn of late teens who are caught in dead-end jobs, few prospects and stifling Italian-American and Catholic traditions. They find their release in horsing around, drinking, sex and dancing. Tony, the lead, works in a hardware store as a clerk, lives at home with parents who not only bicker but make him feel as the lesser of their two sons (the other is a priest), and has few opportunities for a better life. But on the weekend he goes to the local disco club where he is king of the dance hall.
While the movie is centered on a dance competition with a $1,000 prize, it also touches on the ethnic/racial unrest, abortion, rape and suicide.
When the movie was rewritten for the stage, it became much less dark. Many of these elements were either removed or softened. It was transformed into a romantic show, about teenage love with a tragic twist for one of the supporting characters.
Since its 1999 debut in London, the show’s score has undergone many revisions and reordering of songs. Most were not in the film.
Director/choreographer Todd L. Underwood has assembled a large cast of mostly younger performers who dance up a storm. He draws on all variations of disco dancing and the hustle. The result is a veritable treasure chest of late ‘70s and ‘80s music.
Most of the music is from the BeeGees library – either written by the Gibbs brothers or from their repertory. It may not go down as classics, but as someone said, it is nostalgic for those who lived through the period. Even if you were listening to variations of hardcore rock, you were aware of these tunes, though you may have made fun of them.
What makes this production so enjoyable is the cast. The three main characters, Tony, Stephanie and Annette are all excellent. Michael Notardonato as Tony has played the role before; he is totally comfortable in the part yet does not give us an imitation of John Travolta’s performance. His walk, talk and dancing convey Tony’s confidence but also hints at his dissatisfaction and ambitions.
Caroline Lellouche plays the blonde Stephanie who Tony is attracted to both for her dancing and her attitude. Lellouche is a terrific dancer and she projects Stephanie’s veneer of sophistication. Yet, I wish there was more hint that some of what she says is not the absolute truth. Stephanie is a girl desperately trying to get out and stay out.
As Annette, the neighborhood girl who so wants Tony to like her, Nora Fox, truly gets underneath this character and shows us all of her contradictions and her desperation.
In the secondary plot, Sarah Mae Banning gives us a sweet and gentle Pauline and Pierre Marals shows us all sides of the confused and trapped Bobby C.
Set designer Martin Scott Machitto has created a backdrop of the Brooklyn Bridge with the bridge supports as a repeated theme. The two sides of Ivoryton’s stage are turned into Tony’s bedroom and the disco’s MC booth. Together with the lighting by Marcus Abbott, it really suggests the urban area.
It may have been where I was sitting, in the balcony, but at times I found it difficult to hear/understand the dialogue, particularly Tony. Was it that the sound was too soft? Was it that he was giving us a Brando-ish mumble? Or was the accent interfering with his ability to project. But it was annoying to not always catch the lines.
This may have been a problem with either the sound design or equipment. Yet for the most part of the lyrics were understandable and the sound did not blast your eardrums.
For the most part the costumes by Lisa Bebey were appropriately disco era, and of course, we had to have Tony’s iconic white suit.
Saturday Night Fever is not a great musical. In toning down some of the harsher elements of the film, it becomes less realistic. Yet for those who recall the film or remember the era, it is an enjoyable evening in the theater.
It runs through Sunday, Sept. 3. For tickets visit ivorytonplayhouse.org or call 860-767-7318.
This content is courtesy of Shore Publications and Zip06.