By Karen Isaacs
Lydia R. Diamond’s play “Smart People” now at Long Wharf Theater through April 9 is a two hour discussion or race and gender: it is sometimes funny, sometimes thought-provoking and sometime pedantic.
How you will react to the play will depend on how insightful you feel the points made are.
It is set in Cambridge, between 2007-2009 which coincides with the candidacy and election of Barack Obama and the run of Hillary Clinton for the nomination.
A little quibble, early in the play a character refers to “he” and who will vote for “him”. If you haven’t read the program notes, you may think it is referring to our current President.
We meet four people — all well-educated, three of them and possibly the fourth, have a connection to Harvard. We have Brian White (yes, he is Caucasian), who is neuroscientist. He is aiming for tenure but his research is ruffling feathers exacerbated by his outspokenness in the media. His research is attempting to prove that a racism is inherent in the brains of people.
Ginny Yang is a brilliant psychologist who received tenure at an amazingly young age. Part Chinese and part Japanese, her research and clinical practice revolve around the problems of Asian-American women in the U.S.
We also meet two African-Americans. Valerie Johnston is an aspiring actress with an MFA. Jackson Moore is a physician who is in a neurosurgery residency program.
We meet each of these characters in brief scenes that establish them. We see White teaching a freshman level course which he views as “punishment.” He feels most of the students are stupid. We see Yang in a therapy session with a Chinese woman who keeps reverting to Chinese.
Moore is responding to being questioned by an older physician about a toe amputation he did; he responds angrily. And Johnston is in rehearsal of “Julius Caesar” and finding the director overly controlling.
Soon White and Yang are interacting and Moore and Johnston are interacting. At times it takes on the feeling of a romantic comedy. Johnston and White also interact.
We learn how each views the world through the prism of their race, gender and experiences. We see Yang encountering sales clerks who she views as not taking her serious as a customer. Even when Johnston first meets Moore (she is in the ER for a cut on her forehead that requires stitches), she asks if she will merit seeing a doctor.
What is most interesting about the characters is that they often conform to the stereotypes: Moore gets angry and often seems to lose control; it is clear that he sees a racial undertone to the criticism he receives. Johnston decides to clean houses to pay her rent while waiting for her acting break. Yang is an overachiever who admits she doesn’t “do nurturing” well, and White, despite his views and research on racism, blunders around often inadvertently sounding very racist or condescending.
While very well acted, the play does not really shed any new ideas to the discussion. Even Yang’s comment during a dinner party where White and Johnston and Moore are discussing race is obvious. She draws attention to the fact that while those three are arguing/discussing they are ignoring not only her as an Asian -American but also the realities of other minorities in the US — Native Americans, Latinos and other.
It is true that in America, most discussions about race are centered on the two.
My concern is that people will leave this play feeling that they have had a meaningful discussion of these issues. The issue of what is called “implicit bias” based on subtle cognitive processes below the conscious level is an interesting field of discovery; though it does seem to offer an “easy answer” to bias – we can’t do much about it because it is inborn and unconscious.
The cast four are excellent and work well together. Ka-Ling Cheung is Ginny Yang whose Chinese patient views as “white”. Tiffany Nichole Greene is Valerie Johnson while Sullivan Jones gives us the combative Jackson Moore and Peter O’Connor is the sometimes fumbling Brian White. Director Desdemona Chiang has kept the scene shifts, storylines and combinations of characters moving cinemagraphically.
You will either the find this play, disturbing and thought provoking, or you may, like me, view it as pretending to be more meaningful than it actually is.
Smart People is at Long Wharf Theater, 222 Sargent Drive, New Haven, through April 9. For tickets visit Long Wharf or call 800-782-8497.
By Karen Isaacs
Napoli, Brooklyn is getting its world premiere on Long Wharf’s main stage through March 12 in a co-production with New York’s Roundabout Theatre. It will open at its Laura Pels Theater in May.
The play is set in Brooklyn in the fall of 1960. It centers on the three daughters of Luda and Nic Muscolino, both immigrants from Italy. The daughters range from 16 to early 20s and each is not only very different but “a type.” Vita is the eldest daughter with a strong independent streak who is willing to speak her mind without regard for the consequences. Tina is the middle girl who dropped out of school and works in a box factory. Francesca is the youngest; still a teenager she already knows she is a lesbian.
Nic, their father, is a violent and angry man who lashes out and resorts to attacks against his wife and his daughters. His abuse is not just verbal but also physical. Luda, his wife, is worn down but resigned to the situation. Their Catholic faith plays a major role in their lives.
While playwright Meghan Kennedy talks a great deal in the program notes about multiple ideas, none of these really resonate in this play which could be any made-for-TV movie. She tries to bring in the civil rights movement (Tina is friends with a black woman at work), the women’s liberation movement (The Feminine Mystique) wasn’t published until 1962), and the current debate over immigration.
She has set the play around the mid-air collision of a United Airways and a TWA jet; the United plane crashed in Park Slope killing all 128 on board and six people on the ground; the resulting fire destroyed 10 apartment buildings. It happened just nine days before Christmas.
The only apparent reason for bring the crash into the play is to have a spectacular first act curtain, and to supposedly motivate some changes in Nic and Connie, Francesca’s friend.
Early in the play, Luda, again for reasons that never become clear, is both angry with God and also upset because she can no longer cry when she cuts into an onion. We learn about some of the recent events in the family: Francesca and Connie are planning on running away (to France) by stowing away on a boat; they seem physically attracted to each other. Vita is in a convent, but she is not planning on being a nun; Luda sent her there to be “safe.” Tina, who appears stoic and placid is making a friend at work with Celia, the married African-American woman. There’s even a hint that Luda enjoys flirting with Albert Duffy, the butcher who is Connie’s father and is apparently widowed.
We also learn that Nic’s reaction when Francesca cut her long hair was so violent that Vita stepped in between, threatened her father and was beaten by him resulting in severe injuries. That’s why Luda has sent her away – to be safe from her father.
After the crash, Nic has apparently totally changed – rather than angry and violent, he appears placid and easy-going. Connie has changed her mind about leaving with Francesca because her brother was killed in the crash, and Celia is bunking on the couch since her husband was killed also. It seems too coincidental that though only six people on the ground were killed, two were intertwined with the family.
It is these odd events that keep you guessing and finally leave you dissatisfied. Because, though it is all neatly wrapped up at the end; you don’t necessarily believe any of it.
The cast, under the direction of Gordon Edelstein, does its best to make these characters believable and their actions motivated. Alyssa Bresnahan does yeoman’s work as the mother, keeping a slight accent. She does her best to help us see why this woman stays and protects her daughters. Jason Kolotouros gives us a Nic that is a stereotype of the violent, angry man. He reminds us of Stanley Kowalski but without the redeeming features that Stanley can have. His final decision seems totally out of character.
Local resident Jordyn DiNatale is the teenage Francesca. She captures the gawkiness, the certainty and the neediness of the character. She tries so hard to make her father like her; even hinting at her lesbianism as though that would make him view her as the son he always wanted.
Christina Pumariega is the stoic Tina who slowly begins to assert herself. Of the three daughters she seems the most passive; yet, she too begins to reveal an independent streak.
As Vita, Carolyn Braver plays the character as the emerging feminist, though that term was not particularly used.
Graham Winton, Ryann Shane and Shirine Babb play the three other characters: the butcher Albert Duffy, his daughter Connie; and Tina’s work friend, Celia. They do the best they can with roles that are only minimally developed and whose actions seem unmotivated.
Lighting designer Ben Stanton did an excellent job including putting Christmas lights all around the theater; as well as the lighting effects for the plane crash. In addition, the lighting helps define and identify the various locations in the play. Fitz Patton, the sound designer contributes to the effect. Eugene Lee’s set shows us a typical apartment that also can turn into the factory, the butcher shop, the convent and more.
Napoli, Brooklyn is a play that attempts to do a lot more than it succeeds in doing. It creates some characters that you can care about, but then leaves too many questions dangling. It is at Long Wharf Theatre through March 12. For tickets visit Long Wharf.
By Karen Isaacs
Other People’s Money by Jerry Sterner now at Long Wharf Theatre through December 18, is a play that has always been schizophrenic. Does it want to be a romantic comedy with a bit of cynicism thrown in OR does it want to be a hard-hitting play about our current economic/business environment?
It tries to have it all, but doesn’t quite succeed, not even in this excellent production directed by Marc Bruni.The play was written in the late 1980s and had its first major production at Hartford Stage, later it had a successful run off-Broadway and was made into a film.
Other People’s Money is about corporate raiders, small town values and the economic costs to our country of greed. When it was written by Sterner (who was in finance/Wall Street), theater and film goers were seeing Wall Street where George Gecko proclaimed the virtue of greed, David Mamet’s Glengarry Glen Ross showed the cut-throat world of the boiler room salesman, and people were reading Tom Wolfe’s novel, Bonfires of the Vanities.
The play is about a wire and cable factory in a small Rhode Island town. The family run business – led by Jorgey as its chairman – has been in business for years serving as the leader of the local economy. Times have been tough yet the company has hung on though not really making money. One day, the president of the company, Coles, notes that the stock has had unusually high trading volumes and the price is climbing. He is instantly suspicious though Jorgey just thinks it is because people are recognizing its value.
Soon the corporate raider/takeover specialist, Garfinkle is arriving to point out that the company’s assets and subsidiary businesses are worth millions. As weeks go by Garfinkle continues to buy up stock and soon owns a substantial percentage.
Coles and the audience soon realize what Garfinkle’s plan will be: gain enough stock to convince others to cede control to him; he will sell off assets, possibly keep the profitable parts and shut down the plant.
But Jorgey is an old-fashioned business man, a pillar in the community, who cannot recognize what is happening. When he finally listens to advice, he will not do what needs to be done to protect his company and workers.
His longtime assistant, Bea (who is also the love of his life though they both were married to others) convinces her daughter, Kate to help out. She’s a high powered lawyer who works in merger and acquisitions. Battling Garfinkle is something she jumps at but is frustrated by Jorgey’s reluctance to take action.
Lots of corporate financial terms get bounced around – golden parachutes, poison pills and more. Also there is a lot of sexual talk. Garfinkle’s conversation is crass and vulgar to the extreme and Kate isn’t above using her looks and the same in return.
Yes, a plan is developed to try to save the company but I won’t spoil the ending.
Bruni has directed a fine cast. The play is narrated in part by the company president Coles played by Steve Routman. Should we be shocked that some point he is willing to sell out in order to look after his own goals? In fact, most of the characters are less than heroic, with the possible exception of Bea, Kate’s mother and Jorgey’s assistant who will do whatever she can for the man she loves.
But while Kate tries to save the company, she too has one eye on the prize of what defeating Garfinkle would do for her career. Even Jorgey is not a totally heroic figure; his unwillingness to understand the current economic/corporate world leads to his problems.
Lee Savage has created a fine two-tiered set with Garfinkle’s shiny modern office in the back and the more homespun factory office in front. Even the paint is peeling. Anita Yavich has also delineated the differences between these two worlds in the costumes for Kate and Garfinkle – NYC polished but provocative—and Coles, Bea and Jorgey – more middle class conservative.
The cast is fine. Steve Routman’s Coles seems all professional and honest yet we early are on are shown his self-interest; at least initially you feel sympathetic for him. Edwards James Hyland gives us a Jorgey (everyone calls him that though his name is Jorgenson) is the downhome business man straight out of a Sinclair Lewis novel. He’s stubborn, honest and has bought him to the conventional values. Karen Ziemba’s Bea is the motherly type. Her scenes with Kate have a harder edge and you really want to know more of the backstory between Bea, her husband and Jorgey.
Liv Rooth gives us a Kate who is ambitious and realistic. She is the stereotyped Wall Street lawyer. Rooth’s Kate seems to enjoy the game with Garfinkle, but accepts the outcome too earily.
As Garfinkle, Jordan Lage is all greed and testosterone. He truly could be called “the snake.”
The problem with Other People’s Money isn’t the cast or the directing; it is that you leave the theater not depressed that nothing has changed but feeling slightly dirty from the humor and the ideas.
Other People’s Money is at Long Wharf Theatre through Dec. 18. For tickets, contact Long Wharf
By Karen Isaacs
Watching Meteor Showers, the world premiere play by Steve Martin now at Long Wharf through October 23, it is obvious it is written by an intelligent individual with a quirky sense of the absurd.
For this play blends fantasy and psychology together to make interesting observations on our multi-dimensional selves and marriage in the 21st century.
The play opens at the home of Norm and Corky in the California desert. The magnificent set by Michael Yeargan shows us mid-century modern living room and the adjoining outdoor space with two chaise lounge chairs. The set rotates so the perspective changes
Norm (Patrick Breen) and Corky (Arden Myrin) are a long married couple, seemingly mild mannered. It is also clear from an early conversation that they have had some marital difficulties and consulted a therapist. Early on there is a hilarious episode of practicing a counseling technique known as reflective listening/affirmation of feelings. But they do it in a very simplistic way. It is evening and they are expecting guests – Gerald and Laura who have apparently invited themselves. Gerald and Laura have visited other couples in the area including one that Norm and Corky would like to meet. The reason for the visit? Gerald has told Norm there is a spectacular meteor shower and since Norm and Corky live in an area which gives a good view of the sky without city lights, he want to see it.
Soon Gerald and Laura arrive – actually the pre-arrival and arrival scene are repeated three times—and things feel a little strange. Both are very assertive and assured. Gerald (Josh Stamberg) both brags a great deal and seems to know everything. Laura (Sophina Brown) is dressed and acts like a seductress. The two easily dominate and fluster the quieter Norm and Corky.
Things seem to deteriorate until a meteor crashes into a chaise lounge and Norm is apparently killed. But all is not as it seems, he is not dead and arrives back at the house to find strange goings on. In the second act, after a phone call from the couple Norm and Corky hope to meet, the visit is replayed with very different results.
The play combines many elements. First of all it has elements of fantasy or perhaps more accurately nightmares. We’ve all dreamed of the predatory stranger. It is, similar to the play Constellations, a retelling of the same events with different results.
It is funny but it certainly has elements or pays reverence to Edward Albee’s Who’s Afraid of Virginia Woolf? though rather than George and Martha playing “get the guest”, here Gerald and Laura are playing “get the host.”
As I watched the play, I also recalled the pop psychology best seller of the 1970s: Eric Berne’s Games People Play and transactional analysis.
But the play can also be viewed in many other ways. As Norm and Corky seem to discover by the final curtain, Gerald and Laura are part of their own personas. Are they the people they would like to be? The people they fear they could be? The people they were when the marriage was in trouble? Do they want to break the societal expectations as Gerald and Laura do?
Your conclusions will be just that, yours. But it is certain that mixed into the humor is fear of the consequences of our impulses. What happens when the mask of civility is removed? It is we have seen occur in our world in the last of year, particularly in the political world.
Director Gordon Edelstein has done an excellent job keeping the play moving and the audience guessing. He hints at all of the possible interpretations and establishes the dynamics between the characters.
The four person cast plays off each other very well, even though there was a last minute
cast change. Craig Bierko was originally playing Gerald but he left the cast for reasons undisclosed. Luckily John Stamburg who had played the role at the Old Globe Theater (the co-presenter with Long Wharf of the play) in San Diego was able to step into the role. It is interesting that the other cast members from the Old Globe are not in this production. Rather unusual with a co-presentation.
Patrick Breen’s Norm is just as the name implies – a normal guy who keeps his emotions under control and seems a little bland. Yet he also lets you see in some of the scenes with Corky that there is something simmering below the surface. The mild manner appears forced.
Corky as played by Arden Myrin is his equal – seemingly bland and sensitive. But again it seems not quite real; Corky is playing a role perhaps due to the unexplained but acknowledged past marital problems.
Gerald and Laura are the showy roles. Josh Stamberg’s Gerald is all testosterone and bluster. He is the person who announces how much the wine he brings costs. Stamberg captures this bluster in both voice and movements; yet somehow you have an inkling that it is just for show to cover up insecurities. Sophina Brown’s Laura is all sex from her low cut, tight dress, to her movement and sexy voice. But is it a caricature or a real person?
John Gromada has composed the original music and handled the sound design which includes the crashing of the meteor. Jess Goldstein’s costumes add to our understanding of the characters.
Meteor Showers is a fascinating evening in the theater. It is at Long Wharf Theatre, 222 Sargent Dr., New Haven through Oct. 23. For tickets visit longwharf.org or call 203-787-4282.
By Karen Isaacs
Bierko Comes to Long Wharf: Craig Bierko, who was nominated for a Tony for his performance as Harold Hill in the Broadway revival of The Music Man and is now on UnREAL on Lifetime, has joined the cast of Meteor Shower by Steve Martin which opens the Long Wharf season. The show runs Wednesday, Sept. 28 to Sunday, Oct. 23. For tickets visit Long Wharf or call 203-787-4282
Auditions for Kids: Hartford Stage will be auditioning children 5-13 for its annual production of A Christmas Carol – A Ghost Story of Christmas from Tuesday, Sept. 20 to Thursday, Sept. 22. Auditions are by appointment only. For information about preparation and requirements or appointments email Auditions.
This Year in Waterbury: The season at Seven Angels Theatre has been finalized. It opens with A Room of My Own, a semi-autobiographical comedy about a writer in a wacky family; it runs Thursday, Sept. 22 to Sunday, Oct. 16. Next is the return of Jon Peterson with a one man show about Anthony Newley: He Wrote Good Songs from Nov. 3 to 27. From Feb. 9 to March 3 is George and Gracie: The Early Years about the early life of George Burns and Gracie Allen. R. Bruce Connelly and Semina De Laurentis star. Jesus Christ Superstar, the Andrew Lloyd Webber/Tim Rice musical runs from March 23 to April 23. The season concludes with Trav’lin –The 1930s Harlem Musical which recalls the period and features the music and lyrics of Harlem Renaissance composer J. C. Johnson. It runs May 11 to June 11. Tickets are available at 203-757-4676.
King Arthur: Robert Sean Leonard will be King Arthur in Westport Country Playhouse’s production of Camelot which runs Tuesday, Oct. 4 to Sunday, Oct. 30. It is billed as a “reimagined” production directed by Mark Lamos. While Leonard may be known for his work in the TV series House, he has numerous Broadway credits and received a Tony Award and another Tony nomination. For tickets – which are going fast – visit Westport or call 888-927-7529.
Chasing Rainbows: Goodspeed’s new musical, Chasing Rainbows: The Road to Oz which is how Judy Garland became a young star, is in rehearsals preparing for its opening Friday, Sept. 16. Of course, the show features many of the songs she made famous and also includes the making of The Wizard of Oz film which was supposed to star Shirley Temple. Goodspeed has a number of special evenings scheduled including a Saturday wine tasting (Sept. 17), teen nights, meet the cast, and others. For information and tickets visit Goodspeed or call 860-873-8668.
Classic to Contemporary: Westport Country Playhouse has announced its 2017 season, its 87th. It opens (May 30 to June 17) with the British comedy Lettice and Lovage which was a 1990 Tony nominee. Following is the 2014-15 Obie (off—Broadway) Award winner for Best New American Play, Appropriate which runs July 11 to 29. Grounded, a solo production that won the 2016 Lucille Lortel Award in that category and an award at the Edinburg Fringe Festival runs Aug. 15 to Sept. 2. Sex with Strangers, which runs Sept. 26 to Oct. 14 is about a modern relationship in the digital age. The season concludes with Shakespeare’s Romeo and Juliet (Oct. 31 to Nov. 19), directed by Mark Lamos, who is well known for his fine Shakespeare production. I still remember his production at Hartford Stage starring a young Calista Flockhart. For information and tickets contact Westport or call 888-927-7529.
Curtain Up: MTC (Music Theatre of Connecticut) in Norwalk opens its season with Gypsy from Friday, Sept. 9 to Sunday, Sept. 25. The iconic show features a cast of solid Broadway professionals. For tickets visit MTC or call 203-454-3883.
Investors Hard to Find: Even Barbra Streisand has problems finding investors. The most recent rumor is that the planned film version of Gypsy that has been talked about for years, is now in doubt again due to the withdrawal of an investor and distributor.
Controversy: Bay Street Theater on Long Island, had planned a concert reading of the new Stephen Schwartz and Phillip LaZenik musical Prince of Egypt, which is based on a film about an Egyptian prince who learns his true identity. Schwartz’ song for the film,“When You Believe” won an Oscar. That was the plan and the concert was cast with some high powered Broadway veterans. But the concert was cancelled after complaints that the cast was not diverse. Apparently there were not just complaints but comments on social media and online which the director termed “harassment” and “bullying.” This is not the first time recently that a controversy has erupted over casting.
New York Notes: The Berkshire Theatre Group is transferring its well-received production of Fiorello! to Off-Broadway this fall. It begins previews Sun., Sept. 4 at the East 13th Street Theater. For tickets visit Fiorello or call 800-833-3006. The Pearl Theatre is reviving A Taste of Honey, last seen 35 years ago. Austin Pendleton directs. It runs Tues., Sept 6 to Sun., Oct. 16q. For tickets visit pearltheatre.org or call 212-563-9261. Another off-Broadway Theater – Primary Stages is opening its season with Horton Foote’s The Roads to Home directed by Michael Wilson, former artistic director of Hartford Stage. The production stars Harriet Harris, Devon Abner and Haille Foot. It begins performances Tues., Sept. 13. For tickets visit Primary Stages or call 212-352-3101
New York Notes: Tickets are now on sale for Heisenberg which stars Mary Louis Parker at the Samuel J. Friedman Theater. It begins previews on Tuesday, Sept. 20. Tickets are available through Telecharge. Jenn Gambatese who starred at Goodspeed in Annie Get Your Gun and has numerous Broadway credits is replacing Sierra Boggess in School of Rock on Broadway. Tickets are also on sale for the revival of Falsettos starring Christian Borle, Andrew Rannells and Stephanie J. Block. The William Finn/James Lapine musical begins previews Thursday, Sept. 29 for a limited run. Ticketmaster is handling tickets.
CRT Season: The Connecticut Repertory Theater which performs on the UConn campus in Storrs is the last of the Connecticut theaters to announce its 2016-17 schedule. It begins with an ambitious play: Shakespeare’s King Lear from Thurs., Oct. 6 to Sun., Oct. 16. This coincides with the exhibition of a rare Shakespeare first folio to the campus (Thur., Sept 1 to Sun., Sept. 25) via the Folger Shakespeare Library’s tour. Changing gears, the second show if a translation of the Feydeau farce Le Dindon, called An Absolute Turkey, from Dec. 1 to 10. In 2017, Clifford Odets’ Waiting for Lefty will play Feb. 23 to March 5 followed by Shrek: The Musical from April 20 to 30. Please call 860-486-2113 for information and subscriptions. Tickets for individual performances go on sale Sept. 1. Information is available at CRT.
Broadway People: He’s hot! Lin-Manuel Miranda has left his show Hamilton but he won’t be resting anytime soon. He’s working on the film version of his first hit, In the Heights, which is now a “go” because of the Hamilton success. He’s also signed to co-star in the 2018 Disney film that will be a sequel, Mary Poppins Returns. Emily Blunt will play Poppins. It’s a new story (set in London in the 1930s) and a new score. Angela Lansbury is not retiring; she’s returning to Broadway in 2017-18 in a revival of The Chalk Garden. She’ll be over 90 when it opens. Joe Mantello has been directing more than acting recently; he had two well received shows on Broadway last season. But he’s pulling out his acting talents to co-star with Sally Fields in a revival of The Glass Menagerie that begins previews next February. Sam Gold will direct.
On the Road to Broadway: Lots of shows have Broadway aspirations, but few make it and even fewer succeed. Among the shows that are supposedly enroute is Josephine, about the legendary American performer Josephine Baker who was a major star in Paris. It just played in Florida and producers say the next stop in Broadway. Grammy nominee Deborah Cox starred. The musical version of From Here to Eternity with lyrics by Tim Rice has played London, but made its US debut at the Finger Lakes Musical Theater Festival this summer. Who knows if it makes it to Broadway; if you’re interested, there is a London cast album. Lynn Ahrens and Stephen Flaherty will have Anastasia on Broadway next spring and their other new musical, The Little Dancer is also continuing development. After a production at the Kennedy Center in 2014, extensive revisions were done on the book. It’s inspired by a sculpture by Edgar Degas.
From East Haddam to Broadway: A musical that began life at the Goodspeed Festival of New Musicals in 2013 will make it to Broadway. Come From Away tells the inspiring story of the residents in the Gander, Newfoundland area who hosted thousands of stranded air travelers when their flights were diverted to Gander on Sept. 11, 2001. From Goodspeed’s Festival, the show has more recently had successful runs at the La Jolla Playhouse, the Seattle Repertory Theater and will soon open at Ford’s Theater in Washington, DC before going on to Toronto and then Broadway. It’s scheduled to open in February.
By Karen Isaacs
Each year as I start to think about the upcoming theater season in Connecticut, certain productions jump out at me. Some revivals, new plays or cast/production teams seem to guarantee an exciting evening in the theater.
So, let me tell you about the productions that most excite me, listed by dates.
This summer has already given us some productions that I was anticipating with pleasure – most of them delivered including Bye, Bye Birdie at Goodspeed, The Invisible Hand at Westport, and Rent at Ivoryton though that might have been better.
Joe Orton’s comedies may be not for everyone, but they definitely are for me and Westport Country Playhouse has proved it knows how to do them – particularly when John Tillinger is directing. Add in Paxton Whitehead and What the Butler Saw (Aug. 23-Sept. 10) should be a laugh fest.
Man of La Mancha has had only an occasional production in the last few years. While it is not one of my top ten favorite musicals, I am looking forward to the Ivoryton production (Sept. 7 – Oct. 2) in part because David Pittsinger has a magnificent voice for the part.
Goodspeed is presenting another new musical in its third slot this year. Chasing Rainbows (Sept. 16-Nov. 27) has potential, so I’m interested. It combines the making of The Wizard of Oz and the early life of Judy Garland.
Steve Martin writes quirky, humorous plays: I’m looking forward to the world premiere of his latest, Meteor Shower at Long Wharf, Sept. 28-Oct. 23.
I’m also anticipating Yale’s opening production; a new play by Sarah Ruhl’s Scenes from Court Life or the whipping boy and his prince (Sept. 30 –Oct. 22) about Charles I and II of England AND Jeb and George W. Bush.
Mark Lamos directing a musical is a formula for success. Plus, I have fond memories of Camelot since I saw the original production. So I’m looking forward to Lamos’ reimagined production at Westport (Oct. 4 -30).
I see potential in Tenderly: The Rosemary Clooney Story also at Ivoryton (Oct. 26 – Nov. 13). It’s billed as not just a juke-box musical; its success will depend on the quality of the book based on Clooney’s life.
I’ve seen Hartford Stage’s production of A Christmas Carol: A Ghost Story of Christmas multiple times; but I will see it again this year, Nov. 26 – Dec. 31.
Brien Dennehy and John Douglas Thompson – two fine actors are bringing Samuel Beckett’s existential classic Endgame to Long Wharf, Jan. 4 – Feb. 5. This will be a must see.
Combine Shakespeare, in this case the raucous A Comedy of Errors and director Darko Tresnjak and I will definitely want to attend. It’s at Hartford Stage, Jan. 12 –Feb. 12.
Another world premiere that sounds interesting is at Long Wharf, Feb. 15-March 12. Napoli Brooklyn is a co-production with NYC’s Roundabout Theater.
Yale always has an interesting season. This year I’ve circled the Stephen Sondheim/John Weidman Assassins, March 17-April 8; it is a fascinating musical that I’ve seen several times and want to see again.
End of the Rainbow. Judy Garland is a beloved performer whose life was marred by drugs, alcohol and tragedy. This play looks at her later years; it won acclaim in London and Broadway; if a terrific actress plays Judy, this should be compelling. (MTC – April 7-23).
Broadway saw Shufflin’ Along the story of a 1920’s African American musical last season; now Seven Angels is bringing Trav’lin – the 1930s Harlem Musical to Connecticut, May 11-June 11. It features music and lyrics by Harlem Renaissance composer J. C. Johnson; I know little about him but he wrote “The Joint Is Jumpin’” among his works recorded by Billie Holiday, Bessie Smith, the Boswell Sisters and others.
I love George Bernard Shaw and his plays have recently not been done enough in Connecticut. So I’m delighted that Darko Tresnjak is directing Shaw’s Saint Joan, May 11 – June 11, at Hartford..
Connecticut theater goers will be blessed with productions of two of August Wilson’s plays. The Piano Lesson which premiered at Yale will be at Hartford Stage, Oct. 13-Nov. 13. Yale Rep will present Seven Guitars, Nov. 25 –Dec. 17.
But just about every play on Yale’s and Hartford Stage’s schedule sounds interesting.
Touring productions are in a different category. A number of award winning productions will play Connecticut this year, including:
Tony winning A Gentleman’s Guide to Love and Murder is at the Bushnell, Oct. 25-30. If you didn’t see its birth at Hartford Stage, and I did as well as on Broadway, see it again.
In fact the entire Bushnell season looks great – I loved An American in Paris, Nov. 15-20; The King and I, May 30-June 4, won the Tony for best revival and the play The Curious Incident of the Dog in the Night-Time, Dec. 27-Jan. 1 is magnificent.
I’m also looking forward to Elf the Musical at the Shubert, Dec. 20 -24. This stage version of the classic movie has a delightful score.
I’m sure that other productions will pleasantly surprise me. I’m constantly amazed at how excellent theater in Connecticut is. And unfortunately some of the things I am most looking forward to will disappoint me.
By Karen Isaacs
The night after the Tony Awards, Monday, June 13, Connecticut theater celebrated its best and brightest achievements at the Connecticut Critics Circle Awards program at Hartford Stage. Indecent which had its world premiere at Yale Rep last fall was named Outstanding Production of a Play and Anastasia which has just concluded its world premiere at Hartford Stage was named Outstanding Production of a Musical. Indecent is currently playing off-Broadway where it has received rave reviews.
While there was no red carpet – maybe next year – the 26th annual awards program sponsored by the organization that represents many of Connecticut’s print, radio, and other media theater critics – was an exciting event.
Hartford Stage and TheaterWorks co-hosted the event on the Hartford Stage with the set of Anasatsia as background. Tina Fabrique, who has performed throughout the state and just completed a run at Connecticut Repertory Theater, served as emcee.
Throughout the evening, many presenters and winners referred to the shooting in Orlando that had occurred just two days before. All stressed how inclusive, welcoming and supportive the arts and theater are and hoped that they could serve as a model for all the world.
While some winners were working away from Connecticut and could not attend (Darko
Tresnjak was in Los Angeles directing an opera), those present not only expressed their gratitude for the awards but also for the supportive environment that Connecticut’s theaters provide and the responsive and welcoming nature of the audiences.
Teren Carter who received the award for Outstanding Featured Actor in a Musical for Memphis at Ivoryton deeply moved the audience as he dedicated the award to a young relative who had just recently been shot and killed in Baltimore. He said that his involvement with theater beginning at 13 may have saved him from a similar end.
In his opening remarks, TheaterWorks Producing Artistic Director Rob Ruggiero, said that while the Tonys were all about Hamilton – the Broadway smash, the evening was going to be all about Anastasia, the Broadway-bound musical that just premiered at Hartford Stage. But while he was correct, if you count the number of nominations and awards it won, many awards and nominations went to other theaters both large and small.
In fact, Ivoryton Playhouse was nominated was for 10 awards split between two shows: South Pacific and Memphis. The small Playhouse on Park in West Hartford received five nominations, for Hair and Wit. Music Theater of Connecticut in Norwalk was nominated for Vanya and Sonia and Masha and Spike and Evita. Co-host TheaterWorks was nominated five times for three different productions: Good People, Third, and The Call.
Yet the “major” theaters were also well-represented. Goodspeed received five nominations for Anything Goes and La Cage aux Folles. It should also have “reflected glory” for the nominations Long Wharf received for My Paris, which had its first major workshop at the Norma Terris Theater last summer. Westport Country Playhouse received 10 nominations: Red (5), And a Nightingale Sang (2), Broken Glass (1), Art (1).
But Yale Rep, Long Wharf and Hartford Stage led the way in both nominations and awards.
Yale had 15 nominations for Indecent (7), The Moors (5), Happy Days (2) and Cymbeline (1). Long Wharf garnered 17 nominations; the most for My Paris (11), with Disgraced (5) and Measure for Measure (1). Eighteen nominations went to Hartford Stage productions: Anastasia (11), Rear Window (4), Body of an American (2), and Romeo & Juliet (2).
The Tom Killen Award for outstanding contribution to Connecticut Theater was presented to Annie O’Keefe. During her long career she has served as Long Wharf and Westport Country Playhouse, as stage manager, production manager, Artistic Director and more. During the presentation letters were read from actor John Lithgow, former Long Wharf Artistic Director Arvin Brown and Darko Tresjnak,
Hartford Stage’s artistic director.
Other award recipients are:
Outstanding director of a play: Rebecca Taichman for Indecent.
Outstanding director of a musical: Darko Tresnjak for Anastasia.
Outstanding actor in a play: Rajesh Bose for Disgraced at Long Wharf Theatre
Outstanding actor in a musical: Bobby Steggert for My Paris at Long Wharf Theatre. Steggert has received several Tony nominations.
Outstanding actress in a play: Erika Rolfsrud for Good People at Hartford’s TheaterWorks.
Outstanding actress in a musical: Christy Altomare for Anastasia.
Outstanding choreography: Peggy Hickey for Anastasia.”
Outstanding ensemble: Indecent.
Outstanding featured actor in a play: Charles Janasz for Romeo and Juliet at Hartford Stage.
Outstanding featured actress in a play: Birgit Huppuch for The Moors at Yale Repertory Theatre.
Outstanding featured actor in a musical: Teren Carter for Memphis at Ivoryton Playhouse.
Outstanding featured actress in a musical: Mara Davi for My Paris.
Outstanding debut: Mohit Gautman for Disgraced” at Long Wharf Theatre
Outsanding set design: Alexander Dodge for Rear Window at Hartford Stage.
Oustanding costume design: (a tie) Linda Cho for Anastasia and Paul Tazewell for My Paris at Long Wharf Theatre. Tazwell had won a Tony Award for his costumes for Hamilton the previous evening.
Outstanding lighting design: Donald Holder for Anastasia.
Outstanding sound design: Darron L. West for Body of an American for Hartford Stage.
Outstanding projection design: Aaron Rhyne for Anastasia. at Hartford Stage
Special awards were presented to Lisa Gutkin and Aaron Halva, co-composers and co-music directors who created the Klezmer music for Yale Rep’s world premiere of Indecent. A special “Shout Out” was given to Vincent Cardinal who has been artistic director of the Connecticut Rep and department chair at UConn. He is leaving to go to University of Michigan where he will head the Department of Musical Theater.
Among the award presenters were Gov. Dannel F. Malloy and Cathy Malloy, CEO of the Greater Hartford Arts Council, O’Neill Theater Center founder George White, animal trainer Bill Berloni and Tony Award nominee (and Connecticut Critics Circle Award winner) Tony Sheldon, just completing a run at Goodspeed’s Norma Terris Theater in The Roar of the Geasepaint, the Smell of the Crowd.
Musical selections were performed by Tina Fabrique and nominee for South Pacific at Ivoryton (and Connecticut resident and opera star) David Pittsinger. He will be starring in Man of La Mancha at Ivoryton later this summer.
All Connecticut theaters with contracts with Equity, the major stage acting union, are eligible, over 14 theaters from Norwalk New Canaan to Storrs, and East Haddam.
This content is courtesy of Shore Publications and zip06.com
By Karen Isaacs
Anastasia (Hartford Stage), My Paris (Long Wharf), La Cage aux Folles (Goodspeed Musicals), Hair (Playhouse on Park), South Pacific and Memphis (Ivoryton Playhouse) were among the top nominees in the musical and production categories for the Connecticut Critics Circles.
The plays receiving multiple nominations included Disgraced (Long Wharf), Good People (TheaterWorks), Indecent (Yale Rep), Red (Westport Country Playhouse), Happy Days (Yale Rep), The Moors (Yale Rep) and Broken Glass (Westport Country Playhouse.
The award recipients will be announced at the ceremony at Hartford Stage on Monday, June 13 at 7:30 p.m. The ceremony is free and open to the public; the general public can RSVP at hartfordstage.org. For information on the Connecticut Critics Circle Awards, visit ctcritics.org.
The awards recognize outstanding achievements from the state’s 2015-’16 professional theater season by the group comprised of theater critics and writers from the state’s print, radio and on-line media.
Connecticut Critics Circle Awards Nominations 2015-16 Season
Outstanding Production of a Play
Disgraced – Long Wharf Theatre
Good People – TheaterWorks
Happy Days – Yale Rep
Indecent – Yale Rep
Red – Westport Country Playhouse
Outstanding Production of a Musical
Anastasia – Hartford Stage
Hair – Playhouse of Park
La Cage aux Folles – Goodspeed Musicals
My Paris – Long Wharf Theatre
South Pacific – Ivoryton Playhouse
Cast of Art – Westport Country Playhouse
Cast of Hair – Playhouse on Park
Cast of Indecent – Yale Repertory Theatre
Cast of Measure for Measure – Long Wharf Theater
Cast of Vanya and Sonia and Masha and Spike – Music Theatre of Connecticut
Outstanding Director of a Play
Gordon Edelstein – Disgraced – Long Wharf Theatre
Jackson Gay – The Moors – Yale Repertory Theatre
Mark Lamos – Red – Westport Country Playhouse
Rob Ruggiero – Good People – TheaterWorks
Rebecca Taichman – Indecent – Yale Repertory Theatre
Outstanding Director of a Musical
David Edwards – South Pacific – Ivoryton Playhouse
Sean Harris – Hair – Playhouse on Park
Kathleen Marshall – My Paris – Long Wharf Theatre
Rob Ruggiero – La Cage aux Folles – Goodspeed Musicals
Darko Tresnjak – Anastasia – Hartford Stage
Outstanding Actor in a Play
Rajesh Bose – Disgraced – Long Wharf Theatre
Ward Duffy – Good People – TheaterWorks
Conor Hamill – Third – TheaterWorks
Stephen Rowe – Red – Westport Country Playhouse
Steven Skybell – Broken Glass – Westport Country Playhouse
Outstanding Actress in a Play
Felicity Jones – Broken Glass – Westport Country Playhouse
Brenda Meaney – And a Nightingale Sang – Westport Country Playhouse
Elizabeth Lande – Wit – Playhouse on Park
Erika Rolfsrud – Good People – TheaterWorks
Dianne Wiest – Happy Days – Yale Repertory Theatre.
Outstanding Actor in a Musical
Riley Costello – Peter Pan – Connecticut Repertory Theater
Carson Higgins – Memphis – Ivoryton Playhouse
David Pittsinger – South Pacific – Ivoryton Playhouse
Bobby Steggert – My Paris – Long Wharf Theatre
Jamieson Stern – La Cage aux Folles – Goodspeed Musicals
Outstanding Actress in a Musical
Christy Altomare – Anastasia – Hartford Stage
Adrianne Hicks – South Pacific – Ivoryton Playhouse
Renee Jackson – Memphis – Ivoryton Playhouse
Katerina Papacostas – Evita – Music Theatre of Connecticut
Rashidra Scott – Anything Goes – Goodspeed Musicals
Outstanding Featured Actor in a Play
Benim Foster – Disgraced – Long Wharf Theatre
Charles Janasz – Romeo & Juliet – Hartford Stage
Richard Kline – And a Nightingale Sang – Westport Country Playhouse
Michael Rogers – The Call — TheaterWorks
Richard Topol – Indecent – Yale Repertory Theatre
Outstanding Featured Actress in a Play
Shirine Babb – Disgraced – Long Wharf Theatre
Megan Byrne – Good People – TheaterWorks
Kandis Chappell – Romeo & Juliet – Hartford Stage
Birgit Huppuch – The Moors – Yale Repertory Theatre
Jodi Stevens – Vanya and Sonia and Masha and Spike – Music Theater of Connecticut
Outstanding Featured Actor in a Musical
John Bolton – Anastasia – Hartford Stage
Teren Carter – Memphis – Ivoryton Playhouse
Christopher DeRosa – Evita – Music Theater of Connecticut
Tom Hewitt – My Paris – Long Wharf Theatre
William Selby – South Pacific – Ivoryton Playhouse
Outstanding Featured Actress in a Musical
Mara Davi – My Paris – Long Wharf Theatre
Caroline O’Connor – Anastasia – Hartford Stage
Mary Beth Peil – Anastasia – Hartford Stage
Patricia Schumann – South Pacific – Ivoryton Playhouse
Jodi Stevens – Legally Blonde – Summer Theatre of New Canaan.
David Dorfman – Indecent
Peggy Hickey – Anastasia
Kathleen Marshall – My Paris
Todd Underwood – Memphis
Darlene Zoller – Hair
Outstanding Scenic Design
Alexander Dodge – Rear Window
Alexander Dodge – Anastasia
Derek McLane – My Paris
Allen Moyer – Red
Alexander Woodward – The Moors
Outstanding Costume Design
Fabian Fidel Aguilar – The Moors
Linda Cho – Anastasia
Michael McDonald – La Cage aux Folles
Paul Tazewell – My Paris
Outstanding Light Design
Christopher Akerlind – Indecent
Andrew F. Griffin – The Moors
Donald Holder – My Paris
Donald Holder – Anastasia
York Kennedy – Rear Window
Outstanding Sound Design
David Budries – Red
Peter Hylenski – Anastasia
Brian Ronan – My Paris
Jane Shaw – Rear Window
Darron L. West – Body of an American
Outstanding Projection Design
Rasean Davonte Johnson – Cymbeline
Alex Basco Koch – The Body of an American
Sean Nieuwenhuis – Rear Window
Aaron Rhyne – Anastasia
Olivia Sebesky – My Paris
By Karen Isaacs
It is always exciting to be in at the beginning of something that has great potential. Last summer, Goodspeed at Chester presented a “new” musical – My Paris. Now after more work, it is at Long Wharf through May 29. After New Haven, who knows how far it will travel. Some sort of New York production should be in its future.
In reality it is not a new musical but a substantial revision of a musical that started life in the 1990s. The famed French singer/composer Charles Aznavour wrote a musical about the life of Toulouse-Lautrec. During that period it had a brief run in London; most agreed including Aznavour that the production was poor and the English lyrics inadequate.
So, My Paris might have been buried in the cemetery of lost musicals. But some top notch Broadway talent found it and decided that it was worth resurrecting.
That process is still going on; the production at Long Wharf has substantial differences – and improvements – from the show seen in 2015 in Chester.
Alfred Uhry, who wrote Driving Miss Daisy, other plays and the book for the musicals The Robber Bridegroom and LoveMusik, took on the task for rewriting the book about the life of the famed artist Henri Toulouse-Lautrec. Jason Robert Brown, an award winning composer, lyricist and arranger, signed on to write lyrics and do the musical adaptation. Of course, Aznavour gave them plenty to work with; over the years, he had written more than 30 songs for the show,; he has also written new songs specifically for this production.
Then director/choreographer Kathleen Marshall came on board.
My Paris tells the story of Lautrec who is best known for his iconic posters of Montmarte characters. His life has been immortalized in film and lore. The son of a nobleman, Lautrec was born with a congenital disease that caused his bones, particularly his leg bones to break easily. As a result he was under five feet tall. He escaped his disappointed father and his smothering mother to move to Paris and to paint. There he gravitated to Montmarte, which was certainly déclassé for a nobleman. He was introduced to the various performers, starving artists and the can-can dancers. He started creating the posters of the performers as advertising; they soon provided him with a steady income. But he also succumbed to the lure of Montmarte – excessive drinking particularly absinthe, a very strong, anise flavored liquor that is said to be addictive and a hallucinogen. While its addictive qualities have not been proven, the liquor is banned in the US and many European countries.
The musical focuses on his life in Paris and his relationship with several friends and the model and artist Suzanne Valadon. Valadon not only became a prominent artist in her own right, but she was the mother of artist Maurice Utrillo.
he play opens with Lautrec greeting us, but we are soon back at the country palace of his parents as they learn of his deformity. Marshall has created Lautrec as a child by using a puppet in a pram. His father seeks assurance that Lautrec will be able to ride and hunt, the father’s favorite activities besides affairs with other women. His mother wants to protect him.
As a young adult, Lautrec convinces his parents to let him go to Paris to study, but he soon finds his milieu in the bohemian Montmarte.
The production at Long Wharf differs from the one at Chester; several songs have been added and the show split into two acts. The dancing has also been beefed up.
Marshall has choreographed and directed the show with a polished touch. She cleverly produces the illusion of Lautrec’s shortness through the use of steps, chairs with lower seats and other devices. It helps that Bobby Steggert who plays Lautrec is not exceptional tall. She creates an almost living tableau to showcase some of Lautrec’s most famous posters. A failure is the attempt to show the allure of absinthe as the “green fairy” who randomly appears; it takes a while for the audience to grasp and is also obvious.
The set design by Derek McLane combined with the projections design by Olivia Sebesky shows us Parisian setting around 1900. The costume design by Paul Tazewell as well as the wigs (Leah Loukas) add, if not an authentic feel, one we are familiar with from films.
Aznavour’s melodies are delicious and for the most part Jason Robert Brown’s lyrics not only fit the music but let us see inside the characters. You feel as though you would be humming these if you heard them just a few more times. I particularly liked “Paris!” Vive La Vie,” “The Honor of the Family,” “What I Meant to Say,” and “Where Are You Going.”
The cast is excellent. Bobby Steggert has received numerous award nominations for his work and you can see why. He has created a fully dimensional character that you care about. He is a fine singer and in a few “dream moments” even dances. He is joined by two other performers from the original Chester show: Mara Davi as Suzanne Valadon and Donna English as Maman, Lautrec’s mother. Each has developed the characters more and show us multiple aspects of them. I particularly liked Davi. Both are excellent singers. The role of Papa is now played by Tom Hewitt and it has been expanded. Hewitt brings a strong presence to the stage, an aristocratic air and an excellent voice.
Lautrec’s three drinking buddies are roles that still need some development, but Andrew Mueller, John Riddle and Rachou do what they can with the roles while also playing other characters in the show.
I thoroughly enjoyed this show and would love to go back and see it again. It still needs work but it should a future.
Long Wharf Theatre, 222 Sargent Drive, New Haven through Sunday, May 1. For tickets call 203-787-4282 or visit longwharf.org.
Inside notes and comments about Connecticut and New York Professional TheaterBy Karen Isaacs
Music Theater Institute: In conjunction with the International Festival of Arts and Ideas, the Yale Institute for Music Theater will present two new musicals for development. The Festival culminates in open-to-the public rehearsal readings on Friday, June 24 and Saturday, June 25. The musicals are Blessings which takes place during Spirit Week in Blessing, Alabama, and The White City that takes place around the 1893 Chicago World’s Columbia Exposition. For tickets visit artidea.org/tickets or call 203-498-3772.
Revised Musical: Goodspeed’s Norma Terris Theater at Chester will present what it calls a “bold reimagining” of the Anthony Newley, Leslie Bricusse musical The Roar of the Greasepaint-The Smell of the Crowd from Friday, May 20 to Sunday, June 26. Tony Sheldon, who was Horace VanderGelder in the Goodspeed production of Hello, Dolly! leads the cast as Sir. Among the familiar songs from this 1960s musical are “Who Can I Turn To?” “Feeling Good,” “A Wonderful Day Like Today” and “The Joker.” For tickets visit goodspeed.org or call 860-873-8668.
Tony Nominations: Tony award nominations were announced May3; it was no surprise that Hamilton the show everyone wants to see but can’t get tickets, received a whopping 18 nominations — a record. You can expect that it will haul home a load of awards at the Sunday, June 12 ceremony. Also Audra McDonald will not be racking up her seventh Tony award; she was not nominated for her role in the new musical Shuffle Along…. Multiple major nominations went to the revivals of Arthur Miller’s The View from the Bridge and The Crucible, new plays Eclipsed (which began at Yale Rep), The Humans, King Charles III, Blackbird, and the revival of Long Day’s Journey into Night. Besides Hamilton, multiple major nominations went to the new musicals Shuffle Along…,Waitress, Bright Star, and School of Rock as well as the revivals of The Color Purple, She Loves Me, Spring Awakening and Fiddler on the Roof. The new musicals Tuck Everlasting, American Psycho, Disaster! and On Your Feet! were pretty much shut out.
Collaborations on the Schedule: Long Wharf has announced its 2016-17 season and it includes some familiar names working with the theater. Steve Martins newest play, Meteor Shower, opens the season (Sept. 28 – Oct. 23). Then comes the 1980s comedy about corporate takeovers, Other People’s Money (Nov. 23 to Dec. 18). Brian Dennehy and John Douglas Thompson return to the Long Wharf stage with Samuel Beckett’s Endgame, Jan. 4 to Feb. 5. The world premiere of Napoli, Brooklyn (Feb. 15-March 12) will be produced in collaboration with NY’s Roundabout Theater. The last two shows are Smart Money (March 15 – April 9), a recent off-Broadway production and the season closes with a new musical Table (May 3-28). For information and subscriptions visit longwharf.org or call 203-787-4282
Hartford Next Year: Hartford Stage has announced four productions for next year though with no specific dates, plus two more to be announced soon. The season will open with a world premiere of Queens for a Year; also on the schedule in the fall is August Wilson’s Pulitzer Prize drama, The Piano Lesson. The new year begins with Shakespeare’s A Comedy of Errors directed by Darko Tresnjak, and The Absolute Brightness of Leonard Pelkev. As usual, the holiday season will feature its outstanding production of A Christmas Carol: A Ghost Story. For information or subscriptions call 860-527-5151 or visit hartfordstage.org.