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 into 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 of the Mechanicals’ production 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 hands 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
How do our perceptions shape reality? How do we connect with people who seemingly avoid human interaction?
Julia Cho is attempting to explore these ideas in Office Hour at Long Wharf Theater through Feb. 11. This co-production will head to the Berkley Repertory Theatre after its run here.
The opening is somewhat clunky – it is obviously trying to set up the plot. We see three people standing around a bar top drinking coffee. They are, we learn, all English professors who teach writing courses. Two of them are discussing a male student that each has had and who is in the third teacher’s class this semester. They and the other students find him disturbing; they are both warning his instructor this semester and asking her to do something about him.
What is so disturbing? First of all his writing; it is always about violence, torture, rape, sexual assault and more. Second his actions. He always wears a jacket with the collar turned up, a cap, and sunglasses so that his face is barely visible. Plus, he almost never speaks.
In the next scene we see the instructor, Gina, hastily moving a table in a quite empty space. She sets up her laptop, sits down and wait, facing a glass door. The clock moves and at 4:45, she gets up to prepare to leave. At that moment, the student enters, looking just as described by the other teachers and carrying a large back pack.
It seems that she has told him that all of her students must meet with her for twenty minutes. Is this just ruse? We’re not sure and Gina gives conflicting information during the course of the meeting.
Cho intertwines the mundane meeting between instructor and student, with outbursts that at first horrify us until we realize they are fantasies. These are projections of what the instructors fear the student is will do. Let’s just say that many of them involve guns and shooting, like so many episodes we’ve seen in high schools and on college campuses.
With this play that seems to switch between the mundane and the horrific, some of Cho’s points are clear: the perception of the student (Dennis) as dangerous and a potential shooter, not only distances others from him, but leads directly to their “worst case scenario” fantasies.
But Cho is also trying to explore ethnicity and the feelings of being “the other.” Not only Dennis but Gina are Asian-Americans, who do not necessarily feel comfortable in our society. And Gina, like the other two instructors are all viewed as “temporary employees” or adjuncts; their contracts could be ended any semester for almost any reason.
Cho’s play is often successful, yet the fantasies become less effective as the play goes on even though they are ratcheted up. One can question if Gina would really share that much personal information with a student, even in an attempt to make a connection with him. It is also questionable that the male instructor, David, would display such outright hostility bordering on both racism and aggression, to this student.
Yet despite reservations about the play, the production is excellent. Director Lisa Peterson has kept the play moving, and stages the fantasy scenes for maximum impact. In that she is aided by the excellent lighting by Scott Zielinksi and the sound design by Robert Kaplowitz.
Daniel Chung has the difficult task of being mysterious – barely seen nor heard for much of the play. When he does speak it is softly and in monotone. He depends on body language to convey Dennis’ alienation. But he does manage to create some spark of sympathy for him.
Gina, played very well by Jackie Chung, imbues this teacher with the desperate need to “reach” a student. She captures the sincerity of Gina which perhaps borders on naiveté as well as her own issues.
Jeremy Kahn has a one dimensional role as David and Kerry Warren has only the one scene as the third teacher.
Office Hour may terrify you, upset you or you may view it as a only partially successful attempt to explore this issue.
For tickets visit Long Wharf or call 203-787-4282.
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
Two boys and two fathers. Aaron Posner, in his revised adaptation of Chaim Potok’s The Chosen now at Long Wharf through Dec. 17, explores two variations of that relationship.
It is 1944 in Williamsburg, Brooklyn, and two teenage boys become friends despite being very different. Reuven Malter, who sometimes serves as the narrator, attends a Yeshiva (private religious school for Jewish boys) and plays baseball. His father, David, is an editor and writer. They have a close relationship that includes a good measure of friendship.
At the game, Reuven is hit in the eye with a baseball when Danny Saunders hits a comebacker to the pitcher’s mound. Danny is an aggressive and powerful hitter. He also attends a Yeshiva, but his is a Hasidic school; his father is the rabbi. The Danny and his classmates view Reuven and his classmates as “apikorism” of Jews who are educated in the faith but deny its basic tenets.
Despite these differences, Reuven and Danny become fast friends and both fathers approve, though Reb Saunders has to “test” Reuven first. Danny does not seem happy with having to follow in his father’s footsteps. He is secretly reading secular literature including Freud which he finds fascinating. But he is obedient to his father’s word, even when he orders Danny to not talk to Reuven.
We follow these two boys – and to some extent their fathers – through the end of the war, the liberation of the concentration camps, college and the fight over the creation of Israel.
Besides the major world issues that go on around them, this is a classic story of two boys growing up, finding their own place in the world, and learning how to separate themselves from obedience to parental authority.
This central conflict is universal. But the play also explores other issues as well – the breach between these two branches of Judaism – the Hasidim, often considered ultra-Orthodox and those who are considered observant conservative. The two view each other with suspicion and their religious views influence their world views.
As a coming-of-age story, The Chosen is excellent. It is only when it ventures into some of the other areas that this two act play comes up short. Most obvious is that we don’t learn enough about David Malter, Reuven’s father, so that some of both his actions and those of Reb Saunders do not make sense. The two fathers have a history which would be helpful to understand.
The other area that could use more is the divergent views on the founding of Israel. You would think that Reb Saunders would be an adamant supporter of the founding of the Jewish state. He isn’t and the reasons could be clearer.
But this production directed by Gordon Edelstein does illuminate some of the issues of the play. He has gotten excellent performances from the four principal actors. Four others appear occasionally as students and others; they are mainly walk on roles with little character delineation.
It’s hard to select a standout performance from among the four principals. Each is excellent and each embodies his character. George Guidall who plays Reb Saunders returns to Long Wharf after a too long absence. He gives this character the certainty and sternness needed but shows that underneath it is an amazing understanding and warmth. He is matched by Steven Skybell as David Malter, though having to suffer two heart attacks on stage is a little much. Skybell embodies the character’s reasonableness which allows him to co-exist in this conflict neighborhood.
As the two young men, Ben Edelman as Danny Saunders uses the posture of the perennial submissive and depressed to illuminate the character’s inner dilemma: obedience to his father and his destiny versus his own desire to break out. Equally good is Max Wolkowitz as Reuven who is trying to make sense of this world.
Eugene Lee has created a terrific set; I especially liked how he handled the baseball game that begins the play. In that, he is aided by the sound design by John Gromada. In addition the lighting by Mark Barton and the costumes by Paloma Young thoroughly create the world of this play.
The Chosen succeeds as a coming-of-age story and mostly succeeds in revealing truths about this conflict within the Jewish community.
It is at Long Wharf, Long Wharf Theatre or 203-787-4282 or 800-782-8497 through Dec. 17.
By Karen Isaacs
It’s all about the acting. Fireflies by Matthew Barber which is now at Long Wharf through Nov. 5 is a sweet romantic comedy that won’t break any new theatrical ground. But in this production, the thoroughly likable play is showcasing some of the best actors in the U.S.
Jane Alexander, Judith Ivey and Denis Ardnt are the three main characters. It’s a small
south Texas town and the never married Eleanor Bannister (Jane Alexander) is busy making jam in her hot kitchen while her neighbor Grace (Judith Ivey) prattles on. Grace talks about everything, but she keeps returning to the “drifter” that has been seen around town. She is convinced that he is up to no good and is looking for women living alone like Eleanor and herself for some nefarious scheme.
Eleanor, a retired beloved school teacher puts up with the endless chatter, recognizing that Grace wants news that can be spread. Finally she has had enough and encourages Grace to go home.
Is it any surprise that soon the “drifter” – Abel Brown shows up at her doorstep? He’s an older man and says he has been traveling around for decades. He tells her that her vacant cottage sustained some roof damage during a recent storm and offers to repair it. After checking out the cottage, Eleanor agrees.
Soon Abel has mowed the lawn and repaired the broken air conditioner. He brings dinner for the two of them and even plays – not very well – her father’s old violin. Both of her parents died years ago in a traffic accident. He makes her an offer; he would like to stay in the cottage, which he refers to as a “honeymoon cottage” for free while he renovates it for her. She has mixed feelings about the cottage; unsure whether to sell or rent it, but also wishing it would somehow miraculous burn to the ground.
While she accepts his offer to renovate, she tells him he can’t stay in the cottage because of the neighborhood gossip.
Eleanor is cautious but lonely (she had never married) and Grace, who is a widow is also lonely. Grace wouldn’t mind male companionship.
The question of course is, who really is Abel Brown? Is he just a scammer preying on lonely, older women? What is he hiding?
We get the answers to these and more as the play gently progresses. Predictably, Eleanor assumes the worst about Abel when he disappears for 36 hours, Grace isn’t sure if she wants to say “I told you so” and Abel is perturbed by the questioning.
We learn of Abel’s past, but not much about Eleanor’s or even Grace’s. Did Eleanor have a romance that went sour? Is that why she wouldn’t mind the cottage’s destruction? Is the term “honeymoon cottage” fraught with meaning for her? Her father built the cottage for her.
We don’t ever learn this, but who cares? Sometimes it is more fun to make up our own stories about a character’s past.
What takes the gentle comedy to a higher level is the acting. Jane Alexander is well known both in Connecticut and the US for her talent. Judith Ivey also is well known to both Connecticut and New York audiences. But Denis Arndt is something of a surprise. A great deal of his work has been done in regional theaters particularly on the west coast. His appearance last fall on Broadway in Heisenberg opposite Mary Louise Parker earned him attention and a Tony nomination. I’m glad that he seems settled on the east coast.
Each of these actors develop fully formed characters that you absolutely believe in, from the somewhat “starchy” Eleanor, to the nosy Grace, to the mysterious Abel.
It is a pleasure to see them work – each movement, gesture and facial expression is perfectly aligned to the characters and the situation.
Gordon Edelstein has done a fine job directing these three, plus Christopher Michael McFarland who has a small role as a former student who is now a police officer.
Alexander Dodge has created a set that embodies Eleanor’s kitchen and dining area. Not new or modern, but reminiscent of any old house built in the 30s or 40s and never truly modernized. Jess Goldstein has given us costumes that totally suit each character. Philip Rosenberg’s lighting and John Gromada’s sound contribute to feeling the hot Texas summer.
The title, Fireflies, can have multiple meanings. The tiny lightening bugs are so much a part of rural summer nights, but they also flicker for such brief moments.
If you yearn for a sweet, romantic play, Fireflies not only fits the bill but will enchant you with its fine acting.
For tickets, visit Long Wharf or call 203-787-4282, 800-782-8497.
By Karen Isaacs
Take a diverse group of people with some secrets and bring them together; it is a classic pattern for fiction and drama. Think about Grand Hotel, any ship or disaster film, even many war movies.
Bess Wohl’s Small Mouth Sounds now at Long Wharf adds a unique twist to this story. Yes, she brings together six people only two of whom know each other. Each has a distinct backstory including some problems and some secrets. She puts them in a closed environment, in this case a week long “retreat”.
The twist is that this environment asks them to observe silence.
Can you have a play with very little dialogue?
The answer is definitely yes, but it did, at the end, leave me unsatisfied.
The plays starts with six of the attendees arriving one by one (except for the two women who know each other), and taking their chairs waiting for the retreat to start. Then comes the disembodied voice of the leader, who sets down the rules which includes no cell phones, outside food. and silence. Plus also a clothing option lake for swimming. One attendee arrives late disturbing the others.
We skip through the week – from the first night as the uncoupled attendees are paired off for sleeping, to surreptitious use of cell phones, snacks and some nude swims.
Most of the communication is through gestures and facial expressions; periodically attendees speak and the teacher offers instruction and guidance.
It becomes the task of the audience to interpret the various interactions and the clues to flesh out who these people are and why they are attending.
It’s not a totally successful process since you often only get a general idea of this. For example, Jan (played by Connor Barrett) who is the first attendee, does not speak. The only hint he really provides is a photo (which I could not see clearly) that he carries with him and puts by his sleeping area. Who is the person? Where is the person? You never know.
Others provide more guidance, we can figure out that Joan and Judy are a couple and that Judy is battling cancer while Joan is the caregiver, with all that entails. Actually we get that from some of the minimal dialogue.
We can recognize that Rodney is confident; when he enters, he selects a space to do some yoga exercises that is almost directly in front of Jan. He is also the one who encourages the nude swimming.
But for some of the others, all we get are generalizations and stereotypes. What dialogue there is, provides most of the plot.
Nothing tremendous happens during the week long retreat. The six participants do seem to bond in some way, some people are hurt and some are granted forgiveness.
At almost two hours, Small Mouth Sounds sometimes seems long and other times it moves quickly.
You may be surprised at how much empathy you develop for many of the characters, particularly Ned who has had a run of Job-like disasters, annoyed at Rodney and confused by the teacher’s disembodied voice. For we even learn somethings about him.
Playwright Bess Wohl has given the actors a difficult task which they handle beautifully with the help of director Rachel Chavkin.
You will come away from Small Mouth Sounds further convinced that people, no matter where they are or who they are, are more alike than different. And that we can understand each other no matter what language we speak.
To be reminded of that at a time when so much of our words lack civility is uplifting.
Tickets are available at Long Wharf.
By Karen Isaacs
Every year as theaters announce their up-coming seasons, certain productions pique my interest. I circle their dates on my calendar in anticipation.
So what have I circled for this up-coming year? Connecticut theaters offer a good mixture of the new, the classics, the familiar, and the rare. I have circled some of each.
(One caveat: Goodspeed, Ivoryton and Westport have not announced their productions for the first half of 2018. I’m sure some of those would have made my list).
Rags at Goodspeed Musicals (Oct. 6 –Dec. 10). This isn’t a new musical, but one of those shows that “failed” on Broadway but has developed a devoted following. Its authors, Charles Strouse (Bye, Bye Birdie,) and Stephen Schwartz (Pippin), have worked on the show extensively with a new book writer (David Thompson) and the revised version has been performed to good reviews. This show about turn-of-the-20th century Jewish immigrants seems timely; the score is excellent.
Red Hot Mama: The Sophie Tucker Story at Seven Angels Theater, (Feb. 15 – March 11). I’m not sure if this is a one-woman show or not, but it focuses on the life and career of vaudeville star Sophie Tucker.
The Bridges of Madison County at MTC (Nov. 3-19). I love Jason Robert Brown’s score for this adaptation of the novel. I’ll be interested in how director Kevin Connors handles it on the smaller stage. I suspect it will increase the intimacy and emotional impact.
Oklahoma at Goodspeed (through Sept. 27). I’ve already seen this production and while it is quite good, it disappointed me. It didn’t live up to all I had hoped it would be.
I like Shakespeare and Connecticut is blessed with two directors who have a track record of outstanding productions of Shakespeare. Each is directing a work this fall.
Romeo & Juliet at Westport Country Playhouse (Oct. 31 to Nov. 19). Artistic Director Mark Lamos directed one of the best productions of this tragedy at Hartford Stage years ago. I still remember it and hope this production will live up to his earlier one.
Midsummer Night’s Dream at Hartford Stage (Sept. 7 to Oct. 8). Artistic Director Darko Tresjnak has given Connecticut an almost annual Shakespeare production including terrific productions of MacBeth, The Tempest, Hamlet, Twelfth Night and a riotous A Comedy of Errors. Now he is turning his hand to this classic comedy. It’s bound to be good.
It seems as though Ibsen’s An Enemy of the People is having a resurgence; there were two productions in New York last season and now it is opening Yale Rep’s season (Oct 6 -28). This play is about individual responsibility, courage, economics, and environmental health, yet it was written almost 140 years ago.
Dramas & Comedies (New, Familiar & Rare)
Matthew Lopez is a fine younger playwright, whose works I’ve enjoyed (The Whipping Man, Reverberation), so I’m looking forward to The Legend of Georgia McBride at TheaterWorks (March 15 – April 22). It’s about a young man, a former Elvis impersonator who becomes a successful drag queen.
Fireflies (Oct. 11 – Nov. 5) at Long Wharf is featuring an outstanding cast including Jane Alexander. For that reason alone, it’s on my list.
The Connecticut Rep is doing Our Country’s Good (Nov. 30 – Dec. 9). It premiered at Hartford Stage many years ago and is a fascinating look at the founding of Australia and the power of theater to transform people.
Almost all of Hartford Stage’s productions sound interesting, but if I am to pick just one it would be Athol Fugard’s Statements After an Arrest Under the Immortality Act, (May 10- June 3). Why? Athol Fugard is one of the great playwrights and this is an earlier work, plus it reveals more about life under apartheid in South Africa.
It’s also hard to pick which Yale Rep play will astound me: I am unfamiliar with many of them. But if forced to circle just one on my calendar, it would be Kiss, (April 27-May) by Guillermo Calederón. Why? The description sounds interesting: about people surviving in Damascus.
I did not get to see Jesse Eisenberg’s The Revisionist off-Broadway, so I’m looking forward to the Playhouse on Park production, April 11-29. It’s about a young man who visits an elderly cousin in Warsaw who is a Holocaust survivor.
These twelve selections are just the tip of the iceberg. Many of the other scheduled productions, including those at the Bushnell, sound very interesting. So check them all out. Connecticut has amazing theater!
By Karen Isaacs
The gala celebration of Connecticut’s professional theater, co-chaired by Shore Publishing’s own Amy Barry, produced winners from both the largest professional theaters in the state and some of the smaller.
The big winners were The Invisible Hand produced by Westport Country Playhouse and Next to Normal produced by TheaterWorks.
Invisible Hand by Ayah Akhtar won outstanding drama, outstanding director (David Kennedy) and outstanding actor (Eric Bryant). The play is about an American banker who is held hostage in Parkistan; it deals with economics, terrorism and religious fundamentalism.
Next to Normal, the musical about a family dealing with the mother’s bipolar condition received awards as outstanding musical, outstanding director (Rob Ruggiero), outstanding actress (Christiann Noll), outstanding lighting (John Lasiter). Maya Keleher who played the daughter received the debut award.
Special awards were presented to actor Paxton Whitehead for his body of work; he has appeared frequently at Westport Country Playhouse in productions of works by Joe Orton and Alan Ayckbourn. The presentation was made by noted director John Tillinger.
Tillinger also made a brief tribute to playwright A. R. Gurney who died in June. Not only did Gurney live in Connecticut, but many of his works were produced here. Tillinger directed a number of them at Long Wharf and Hartford Stage.
James Lecesne, actor, playwright, novelist and activist was honored for his outreach activities while performing his play The Absolute Brightness of Leonard Pelkey at Hartford Stage this year. Lecense talked about the impact theater can have on audiences and spoke of how it had “saved” him as a gay teenager. Many winners made similar comments on the importance and impact of theater.
The Tom Killen Award for contributions to Connecticut theater (and theater in general) was given to Paulette Haupt who has served as the artistic director of the National Musical Theatre Conference at the O’Neill Center in Waterford since 1978. Among the 120 new musicals she has selected and helped include In the Heights, Nine, Avenue Q and many more. She’s been instrumental in the careers of Lin Manuel Miranda, Maury Yeston, Tom Kitt and others.
Three of Connecticut’s smaller professional theaters – the Summer Theater of New Canaan (STONC), Music Theater of Connecticut (MTC) and Seven Angels Theater in Waterbury were honored. Jon Petersen received the award for outstanding solo performance at Seven Angels as Anthony Newley in He Wrote Good Songs. Peterson was unable to attend because he is starring as the Emcee in the national tour of Cabaret which was in Portland, Oregon.
West Side Story at STONC received awards for outstanding choreography (Doug Shankman) and outstanding actor in a musical (Zach Schanne)
Kate Simone received outstanding featured actor in a musical for her performance as Louise in Gypsy at MTC.
Hartford Stage took home awards for outstanding actress in a play (Vanessa R. Butler) in Queens for a Year, outstanding featured actress in a play (Connecticut resident Mia Dillon) in Cloud 9 and featured actor in a play (Cleavant Derricks) for The Piano Lesson. The theater also received three awards for A Comedy of Errors) – outstanding set design (Darko Tresjnak), outstanding sound design (Jane Shaw) and outstanding costume design (Fabio Toblini).
Rhett Guter who is now in rehearsal as Curly in Goodspeed’s Oklahoma! won outstanding featured actor in a musical for last year’s Bye, Bye Birdie at Goodspeed. He played Birdie.
Long Wharf’s production of Steve Martin’s Meteor Shower received the award for outstanding ensemble.
Among the presenters were Sirius-XM radio’s Broadway channel program director Julie James, producer Patricia Flicker Addiss, Tony-winning set designer Michael Yeargen and two former artistic directors of Connecticut theaters: Michael Wilson of Hartford Stage and Michael Price of Goodspeed Musicals.
Terrence Mann, three time Tony nominee, and artistic director of Connecticut Repertory Theater’s Summer Stage hosted the evening. Bobby Conte Thornton, star of Broadway’s A Bronx Tale provided two terrific songs.
But perhaps the stars of the evening were sisters Ella and Riley Briggs, two adorable young girls with bright futures ahead them. Ella played the young Frances Gumm in Chasing Rainbows last year at Goodspeed and she and Riley were both in Godspeed’s It’s a Wonderful Life.
This content courtesy of Shore Publications and zip06.com.
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.