By Karen Isaacs
If you view Shakespeare as tough sledding, you will find your opinions turned upside down at Playhouse on Park’s production of The Complete Works of William Shakespeare (abridged) running through July 30.
While this work has been around for many years, it has been revised for the 21st century and director Tom Ridgely says it took elements from two different versions. But that’s OK since this is really a vaudevillian piece.
It is a comic romp through most of Shakespeare’s plays performed by a zany three member cast: Hanna Cheek, Rich Hollman and Sean Harris, all talented clowns.
What you get in the 2-hour show is wonderful burlesques of three of Shakespeare’s most well-known works, plus romps through the others.
The play opens – after a hilarious introduction with a retelling of Romeo & Juliet. Not only do the three members play all the main parts, but Romeo is played by Hanna and Juliet by Rich Hollman. It’s abbreviated but amazingly all the most important elements are there.
From there they give us snippets of Shakespeare’s most gruesome play, Titus Andronicus, plus bits of Anthony and Cleopatra, as well as MacBeth performed partly as a folk song sung by a Peter, Paul and Mary clone. Even here they hit the main points of the plot.
The act ends with a compilation of the comedies – it is amazing how many of them feature similar elements – girls disguising themselves as men, separated twins, fairies and other spirits and more.
It is then that the trio realize that while they thought they had covered all of the plays, they had omitted one: Hamlet.
So act two is all about Hamlet. They do it not only in an abbreviated version (again, Ophelia is played by Hollman), but in increasingly shortened versions, the last taking less than two minutes. They conclude with that version done backwards.
You don’t have to be an expert in Shakespeare to enjoy this though most of us have experienced at least one or two of the plays in school. My granddaughter – a soon-to-be high school junior who will be reading Hamlet next year – thoroughly enjoyed it. She had previously read and seen Romeo & Juliet and found their rendition hilarious.
It takes great talent to pull this off. While I did not feel the antic energy from them that I did the first time I saw this show – at Long Wharf Theater years ago, perhaps in the 1980s.
It might surprise you to know that this show, as well as an abridged history of America, and of sports, was developed by three American’s who called themselves The Reduced Shakespeare Company.
Director Ridgely as made fine use of the somewhat awkwardly large stage at Playhouse on Park. In keeping with the tone of the piece, costume designer Kate Bunce has made use of a variety of household items – including mops in various bright colors for wigs.
The cleverest part of the show, is when the three company members involve the audience in Ophelia’s state of mind and the conflicts she faces. While two audience members are brought on stage, the entire audience represents her id, ego and superego. Fun and enlightening.
This is perfect entertainment for anyone who thinks that Shakespeare has to be dull and difficult to understand. My granddaughter thoroughly enjoyed it and I’m sure that she gained some insights that will be useful to her study of Hamlet this fall.
For tickets, call 860-523-5900 ext. 10 or visit Playhouse on Park..
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.
TheaterWork’s production of the musical “Next to Normal” led the nominations for the 27th annual Connecticut Critics Circle Awards event to be held Monday, June 26 at 7:30 p.m. at Sacred Heart University’s Edgerton Center for the Performing Arts in Fairfield.
The show received a total of 10 nominations, including best musical. Westport Country Playhouse’s production of Ayad Akhtar’s play “The Invisible Hand” led the non-musicals, receiving seven nominations, including outstanding play.
Other outstanding play nominees are: “The Comedy of Errors” at Hartford Stage; “Mary Jane” at Yale Repertory Theatre; “Scenes From Court Life” at Yale Repertory Theatre and “Midsummer” at TheaterWorks.
Also nominated for outstanding musical are: “Assassins” at Yale Repertory Theatre; “Bye Bye Birdie” at Goodspeed Opera House, “Man of La Mancha” at Ivoryton Playhouse and “West Side Story” at Summer Theatre of New Canaan.
The awards show, which celebrates the best in professional theater in the state, is free and open to the public.
Three-time Tony Award-nominee Terrence Mann will be the master of ceremonies for the event. Mann joined the Connecticut theater community this year as artistic director of Connecticut Repertory Theatre’s Nutmeg Summer Series at the University of Connecticut at Storrs.
Last year’s top honorees — Yale Repertory Theatre’s play “Indecent” and Hartford Stage’s musical “Anastasia” — are currently on Broadway.
Also receiving special awards this year are James Lecesne for his work using theater as a way to connect with LGBT youths in works such as his solo show “The Absolute Brightness off Leonard Pelkey,” which was presented this spring at Hartford Stage, and Paxton Whitehead, for his longtime career in theater, especially in Connecticut
Receiving the Tom Killen Award for lifetime achievement is Paulette Haupt, who is stepping down after 40 years from her position as founding artistic director of the National Music Theater Conference at Waterford’s Eugene O’Neill Theater Center
Other nominees are:
Actor in a play: Jordan Lage, “Other People’s Money,” Long Wharf Theatre; Tom Pecinka, “Cloud Nine,” Hartford Stage; Michael Doherty, “Peter and the Starcatcher,” Connecticut Repertory Theatre’s Nutmeg Summer Series; Eric Bryant, “The Invisible Hand,” Westport Country Playhouse; M. Scott McLean, “Midsummer,” TheaterWorks.
Actress in a play: Semina DeLaurentis, “George & Gracie,” Seven Angels Theatre; Emily Donahoe, “Mary Jane,” Yale Repertory Theatre; Ashlie Atkinson, “Imogen Says Nothing,” Yale Repertory Theatre; Vanessa R. Butler, “Queens for a Year,” Hartford Stage; Rebecca Hart, “Midsummer,” TheaterWorks
Actor in a musical: Robert Sean Leonard, “Camelot,” Westport Playhouse; Riley Costello, “How To Succeed In Business Without Really Trying,” Connecticut Repertory Theatre’s Nutmeg Summer Series; David Harris, “Next To Normal,” TheaterWorks; David Pittsinger, “Man of La Mancha,” Ivoryton Playhouse; Zach Schanne, “West Side Story,” Summer Theatre of New Canaan.
Actress in a musical: Ruby Rakos, “Chasing Rainbows,” Goodspeed Opera House; Christiane Noll, “Next to Normal,” TheaterWorks; Julia Paladino, “West Side Story.” Karen Ziemba, “Gypsy, Sharon Playhouse; Talia Thiesfield, “Man of La Mancha,” Ivoryton Playhouse.
Director of a play: Darko Tresnjak, “The Comedy of Errors,” Hartford Stage; David Kennedy, “The Invisible Hand,” Westport Country Playhouse; Marc Bruni, “Other People’s Money,” Long Wharf Theatre; Tracy Brigden, “Midsummer,” TheaterWorks; Gordon Edelstein, “Meteor Shower,” Long Wharf Theatre.
Director of a musical: Rob Ruggiero, “Next to Normal,” TheaterWorks; David Edwards, “Man of La Mancha,” Ivoryton Playhouse; Melody Meitrott Libonati, “West Side Story,” Summer Theatre of New Canaan; Jenn Thompson, “Bye Bye Birdie,” Goodspeed Opera House; Kevin Connors, “Gypsy,” Music Theater of Connecticut in Norwalk.
Choreography: Denis Jones, “Thoroughly Modern Millie,” Goodspeed Opera House; Chris Bailey, “Chasing Rainbows,” Goodspeed Opera House; Doug Shankman, West Side Story,” Summer Theatre of New Canaan; Patricia Wilcox, “Bye Bye Birdie,” Goodspeed Opera House; Darlene Zoller, “Rockin’ the Forest,” Playhouse on Park.
Ensemble: Cast of “Smart People,” Long Wharf Theatre; Cast of “Trav’lin’ ” at Seven Angels Theatre; cast of “Meteor Shower,” Long Wharf Theatre; cast of “Assassins,” Yale Repertory Theatre; cast of “The 39 Steps” at Ivoryton Playhouse.
Debut performance: Maya Keleher, “Next to Normal,” TheaterWorks; Dylan Frederick, “Assassins,” Yale Repertory Theatre; Nick Sacks, “Next to Normal, TheaterWorks.
Solo Performance: Jodi Stevens, “I’ll Eat You Last,” Music Theater of Connecticut; Jon Peterson, “He Wrote Good Songs,” Seven Angels Theatre.
Featured actor in a play: Jameal Ali, “The Invisible Hand,” Westport Country Playhouse; Andre De Shields, “Seven Guitars,” Yale Repertory Theatre; Cleavant Derricks, “The Piano Lesson,” Hartford Stage; Steve Routman, “Other People’s Money,” Long Wharf Theatre; Paxton Whitehead, “What the Butler Saw,” Westport Country Playhouse
Featured actress in a play: Miriam Silverman, “Mary Jane,” Yale Repertory Theatre; Rachel Leslie, “Seven Guitars,” Yale Repertory Theatre; Antoinette Crowe-Legacy, “Seven Guitars,” Yale Repertory Theatre; Mia Dillon, “Cloud Nine,” Hartford Stage; Christina Pumariega, “Napoli, Brooklyn,” Long Wharf Theatre
Featured actor in a musical: Mark Nelson, “The Most Beautiful Room in New York,” Long Wharf Theatre; Edward Watts, “Thoroughly Modern Millie,” Goodspeed Opera House; John Cardoza, “Next to Normal,” TheaterWorks; Jonny Wexler, “West Side Story,” Summer Theater of New Canaan; Rhett Guter, “Bye Bye Birdie,” Goodspeed Opera House; Michael Wartella, “Chasing Rainbows,” Goodspeed Opera House
Featured actress in a musical: Maya Keleher, “Next to Normal,” TheaterWorks; Jodi Stevens, “Gypsy,” “Music Theater of Connecticut; Katie Stewart, “West Side Story,” Summer Theater of New Canaan; Kristine Zbornik, “Bye Bye Birdie,” Goodspeed Opera House; Kate Simone, “Gypsy,” Music Theater of Connecticut.
Set design: Colin McGurk, “Heartbreak House,” Hartford Stage; Michael Yeargan, “The Most Beautiful Room in New York,” Long Wharf Theater; Wilson Chin, “Next to Normal,” TheaterWorks; Adam Rigg, “The Invisible Hand,” “Westport Country Playhouse; Darko Tresnjak, “The Comedy of Errors,” Hartford Stage.
Costume design: Ilona Somogyi, “Heartbreak House,” Hartford Stage; Marina Draghici, “Scenes from Court Life,” Yale Repertory Theater; Fabio Toblini, “The Comedy of Errors,” Hartford Stage; Gregory Gale, “Thorough Modern Millie,” Goodspeed Opera House; Lisa Steier, “Rockin’ the Forest,” Playhouse on Park.
Lighting design: Matthew Richards, “The Invisible Hand,” Westport Country Playhouse; Yi Zhao, “Assassins,” Yale Repertory Theatre; John Lasiter, “Next to Normal,” TheaterWorks; Matthew Richards, “Comedy of Errors,” Hartford Stage; Christopher Bell, “A Moon for the Misbegotten,” Playhouse on Park, Hartford.
Sound design: Jane Shaw, “The Comedy of Errors,” Hartford Stage; Fan Zhang, “Seven Guitars,” Yale Repertory Theatre; Shane Rettig, “Scenes from Court Life,” Yale Repertory Theatre; Karen Graybash, “The Piano Lesson,” Hartford Stage; Fitz Patton, “The Invisible Hand,” Westport Country Playhouse.
2017 Nominations List
Outstanding Solo Performance
Jodi Stevens I’ll Eat You Last MTC
Jon Peterson He Wrote Good Songs 7 Angels
Maya Kelcher (Natalie) Next to Normal TheaterWorks
Dylan Frederick Assassins Yale Rep
Nick Sacks Next to Normal TheaterWorks
Cast of… Smart People Long Wharf
Cast of… Trav’lin 7 Angels
Cast of… Meteor Shower Long Wharf
Cast of… Assassins Yale
Cast of… The 39 Steps Ivoryton
Michael Commendatore Assassins Yale
Jane Shaw Comedy of Errors Hartford Stage
Fan Zhang Seven Guitars Yale
Shane Retig Scenes From Court Life Yale
Karin Graybash Piano Lesson Hartford Stage
Fitz Patton Invisible Hand Westport
Outstanding Costume Design
Ilona Somogyi Heartbreak House Hartford Stage
Marina Draghici Scenes from Court Life Yale
Lisa Steier Rockin’ the Forest Playhouse on Park
Fabio Toblini Comedy of Errors Hartford Stage
Gregory Gale Modern Millie Goodspeed
Matthew Richards Invisible Hand Westport
Yi Zhao Assassins Yale
John Lasiter Next to Normal TheaterWorks
Matthew Richards Comedy of Errors Hartford Stage
Christopher Bell A Moon for the Misbegotten Playhouse on Park
Outstanding Set Design
Colin McGurk Heartbreak House Hartford Stage
Michael Yeargan Most Beautiful Room… Long Wharf
Wilson Chin Next to Normal TheaterWorks
Adam Rigg The Invisible Hand Westport
Darko Tresnjak The Comedy of Errors Hartford Stage
Denis Jones Modern Millie Goodspeed
Chris Bailey Chasing Rainbows Goodspeed
Doug Shankman West Side Story STONC
Patricia Wilcox Bye Bye Birdie Goodspeed
Darlene Zoller Rockin’ the Forest Playhouse on Park
Outstanding Featured Actor – Musical
Mark Nelson (Carlo) Most Beautiful Room…. Long Wharf
Edward Watts (Trevor) Modern Millie Goodspeed
John Cardoza (Gabe) Next to Normal TheaterWorks
Jonny Wexler (Action) West Side Story STONC
Rhett Guter (Birdie) Bye Bye Birdie Goodspeed
Michael Wartella Chasing Rainbows Goodspeed
Outstanding Featured Actress – Musical
Maya Keleher (Natalie) Next to Normal TheaterWorks
Jodi Stevens (Secretary/Mazeppa) Gypsy MTC
Katie Stewart (Anita) West Side Story STONC
Kristine Zbornik (Mother) Bye, Bye Birdie Goodspeed
Kate Simone (Louise) Gypsy MTC
Outstanding Featured Actress – Play
Miriam Silverman (Brianne/Chaya) Mary Jane Yale
Rachel Leslie (Vera) Seven Guitars Yale
Antoinette Crowe-Legacy (Ruby) Seven Guitars Yale
Mia Dillon Cloud 9 Hartford Stage
Christina Pumariega (Tina) Napoli, Brooklyn Long Wharf
Outstanding Featured Actor – Play
Jameal Ali (Dar) The Invisible Hand Westport
Andre De Shields Headley) Seven Guitars Yale
Cleavant Derricks Piano lesson Hartford Stage
Steve Routman (Coles) Other People’s Money Long Wharf
Paxton Whitehead (Dr. Rance) What the Butler Saw Westport
Outstanding Director – Musical
Rob Ruggiero Next to Normal TheaterWorks
David Edwards Man of La Mancha Ivoryton
Melody Libonati West Side Story STONC
Jenn Thompson Bye Bye Birdie Goodspeed
Kevin Connors Gypsy MTC
Outstanding Director – Play
Darko Tresnjak The Comedy of Errors Hartford Stage
David Kennedy The Invisible Hand Westport
Marc Bruni Other People’s Money Long Wharf
Tracy Brigden Midsummer TheaterWorks
Gordon Edelstein Meteor Shower Long Wharf
Outstanding Actor – Musical
Robert Sean Leonard (Arthur) Camelot Westport
Riley Costello (Finch) How to Succeed… CRT
David Harris (Dan) Next to Normal TheaterWorks
David Pittsinger (Don Q) Man of La Mancha Ivoryton
Zach Schanne (Tony) West Side Story STONC
Outstanding Actress – Musical
Ruby Rakos (Judy) Chasing Rainbows Goodspeed
Christiane Noll (Diana) Next to Normal TheaterWorks
Julia Paladino (Maria) West Side Story STONC
Karen Ziemba (Rose) Gypsy Sharon Playhouse
Talia Thiesfield (Aldonza) Man of La Mancha Ivoryton
Outstanding Actor – Play
Tom Pecinka (Betty/Edward) Cloud 9 Hartford Stage
Michael Doherty (Black Stache) Peter and the… CRT
Eric Bryant (prisoner) Invisible Hand Westport
Jordan Lage (Garfinkle) Other People’s Money Long Wharf
Scott McLean (Bob) Midsummer… TheaterWorks
Outstanding Actress – Play
Emily Donohe Mary Jane Yale
Semina DeLaurentis (Gracie) George & Gracie 7 Angels
Ashlie Atkinson (Imogen) Imogen Says Nothing Yale
Vanessa R. Butler (Solinas) Queens for a Year Hartford Stage
Rebecca Hart (Helena) Midsummer TheaterWorks
Outstanding Production – Musical
Next to Normal TheaterWorks
Man of La Mancha Ivoryton
West Side Story STONC
Bye Bye Birdie Goodspeed
Outstanding Production – Play
The Comedy of Errors Hartford Stage
Midsummer (a play with songs) TheaterWorks
Scenes From Court Life Yale
The Invisible Hand Westport
Mary Jane Yale
Inside notes and comments about Connecticut and New York Professional Theater
By Karen Isaacs
“All that Jazz”: The long-running musical Chicago by Kander and Ebb hits the Ivoryton Playhouse stage, Sun. July 24. Todd Underwood is directing and choreographing the musical which features several performers familiar to Ivoryton audiences: Christopher Sutton as Billy Flynn, Lynn Philistine as Roxie Hart and Sheniqua Trotman as Mama Morton. For tickets visit ivorytonplayhouse.org or call 860-767-7318 for tickets.
On Sale Now: Tickets are now sale for the Palace Theater, Waterbury’s presentation of Dirty Dancing – The Classic Story on Stage scheduled for Oct. 7-9. For tickets call 203-346-2000 or visit palacetheaterct.org.
Nostalgic Music at Long Wharf: If you are looking for a light-weight but enjoyable entertainment on a hot summer night, Long Wharf is bringing back the production of The Bikinis from Wed., July 13 to Sun., July 31. The excuse for stringing together lots of great songs from the ‘60s and beyond is the story of a hit girls group from the Jersey shore who, 20 years later are trying to raise money to preserve the Sandy Shores Mobile Home Beach Resorts. For tickets visit longwharf.org or call 203-787-4282.
Seven for Next Season: Playhouse on Park in West Harford is planning seven productions for its 2016-17 season. Three musicals are included: Little Shop of Horrors (Sept.14-Oct. 16), [title of show] from Jan. 11 to 29, and Rockin’ the Forest (March 29–April 9)) by stop/time dance theater. The Playhouse will also present: Unnecessary Farce (Nov. 2-20), Eugene O’Neill’s A Moon for the Misbegotten (Feb. 15 –March 5), Last Train to Nibroc (April 26-May 14); and concludes with The Complete Works of William Shakespeare (Abridged) – Revised Edition, June 28-July 30. For subscriptions or information contact playhouseonpark.org or call 860-523-5900 ext. 10. Tickets for individual productions go on sale Aug. 1.
Midsummer (a play with songs) in Hartford: TheaterWorks is presenting an aptly titled play, Thursday, July 14 to Sunday, Aug. 21. According to the press materials, “It’s a midsummer weekend in Edinburgh and it’s raining. Bob’s a failing car salesman on the fringes of the city’s underworld. Helena’s a high-powered divorce lawyer with a taste for other people’s husbands. She’s totally out of his league; he’s not her type at all. They absolutely should not sleep together. Which is, of course, why they do. Midsummer is the story of a great-lost weekend of bridge-burning, car chases, wedding bust-ups, bondage miscalculations, midnight trysts and self-loathing hangovers.” It was written by Scottish articsts indie rocker Gordon McIntyre and playwright David Gried. For tickets, call 860-527-7838 or visit theaterworkshartford.org.
One Musical, Two Productions: West Side Story will be at opposite ends of the state this summer. The Connecticut Repertory Theater at UConn in Storrs production runs through Sunday, July 17. Several Broadway performers are starring in the production directed and choreographed by Cassie Abate: Yurel Echezarreta (whose credits include Broadway’s Matilda, Aladdin, La Cage aux Folles and the 2009 West Side Story revival) plays Bernardo. Jose Lucas of (A Christmas Story) plays Indio; Luke Hamilton plays Tony and Julia Estrada is Maria. For tickets call 860-486-2113 or visit crt.uconn.edu.
The second production, at Summer Theater of New Canaan, runs through Sunday, July 31. Casting was not available at press time; STONC performs at Waverly Park under an all-weather, open-air tent theater. Seating is provided. For tickets or information call 203-966-4634 or visit stonc.org.
New Artistic Director: With the departure to the University of Michigan of Vincent J. Cardinal who has served as artistic director for many years, The Connecticut Repertory Theater which is part of the UConn’s theater program has named Michael Bradford as its new artistic director. Bradford has been at UConn since 2001 and is an accomplished playwright. Congratulations; I look forward to seeing in what direction he will take CRT in the coming years.
New York Notes: Tickets are now on sale for the Broadway run of Dear Evan Hansen, the off-Broadway musical that garnered many awards this past year. It opens Oct. 3 at the Belasco Theater with Ben Platt of Pitch Perfect starring as the teen struggling for identity amidst chaos. Tickets are available at telecharge.com. Telecharge is also now selling tickets for the revival of Les Liasions Dangereuses starring Janet Mcteer and Liev Shreiber. It begins previews on Oct. 8 and runs through Jan. 22. The all-star revival of the antic comedy Front Page begins previews Sept. 20 with a cast that includes Nathan Lane, John Goodman, Jefferson Mays, Rosemary Harris, Sherie Rene Scott and Robert Morse. Tickets are at Telecharge.
Did you know that CBS censored the signing in the performance of Spring Awakening broadcast on the Tonys? Some of the American Sign Language was changed; the last time the show was on the Tonys for the original production, CBS had them change some lyrics; this time the lyrics were OK but the signing wasn’t!
What Will Be Open? If you are planning Broadway theater-going in August or early September, it may easier to figure what IS playing rather than what has closed. Lots of theaters will be available for fall productions. Already closed are shows that won Tony awards for acting: Eclipsed, The Father, Long Day’s Journey into Night; all were limited runs. Also closed are the long-running revival of The King and I as well as the new musical Bright Star. In July the revivals of She Loves Me, The Crucible and Fully Committed will close. In a surprise, the producers of the new musical Shuffle Along, or… will close when Audra MacDonald goes on maternity leave. Late August and early September mark the closings of Finding Neverland, The Curious Incident of the Dog in the Night-Time, Les Miserables, Fun Home and An Act of God. Plus, earlier closings included American Psycho, Disaster, Tuck Everlasting, and the limited run of Blackbird. The only shows opening during the summer are the revival of Cats and the limited run return of Motown: the Musical.
By Karen Isaacs
A Chorus Line is a classic ensemble musical that benefits with a young cast. It is getting a fine production at Playhouse on Park in West Hartford through July 31.
The show centers on a group of “gypsies,” the term for Broadway dancers who go from show to show, seldom having speaking parts. Yet they are expected to be able to sing and to dance spectacularly.
The show opens with a group of such dancers learning a dance routine as part of the audition process. A disembodied voice – the director/choreographer – then asks them to go through the routine in various groups. The dancers all want and need this job. Soon though, some are cut and the remaining 16 (eight men, eight women) are left to continue the audition; only eight will be hired.
But this director wants something more. He doesn’t just want to see them dance or sing; he wants them to talk about themselves: how they came dancing, why they dance, what they will do when they can no longer dance. It’s an uncomfortable experience for most of them and they are reluctant to comply. It means revealing a part of themselves that may have been hidden for years.
Slowly, over the course of the two hour, intermissionless show, they do reveal the details of their lives. Some may try to “act” or create what they think he wants, but most come to tells us what appears to be the truth.
We hear from the women (Sheila, Bebe, Maggie) who were drawn to dance because of the unhappy marriages of their parents and the lack of love they felt from their fathers. Mike tells us how while watching his older sister’s dance class, he realized “I Can Do That.” Then there are the men who knew they were gay but struggled with acceptance.
The Pulitzer Prize winning musical, was conceived and originally directed and choreographed by Michael Bennett. During an extended workshop period, gypsies sat around and talked about their lives both on the stage and off. From that material James Kirkwood and Nicholas Dante fashioned the book and Marvin Hamlisch (music) and Edward Kleban (lyrics) wrote the score.
Several emotional stories emerge. Paul (played touchingly by Tino Ardiente) is a young Puerto Rican dancer who is on the verge of succeeding. He story about working in a drag show and how his parents reacted, will surely lead to a few damp eyes.
Then there is Cassie, the role originally played (and most say based on Donna Mckechnie).
Cassie and the director, Zach, have had a romantic relationship. She tried to move on from being a gypsy to more substantial roles, but she failed and now she is both desperate for a job and comfortable with the idea that this is the most she can do. Zach has difficulty accepting both her failure and her desire to be cast as a back-up dancer to a star.
Directors Sean Harris and Darlene Zoller did outstanding work with this cast which includes many college students with limited experience. But they have most of the cast working as a seamless unit. Each of the final sixteen dancers create specific characters at all times.
Credit must also be given to music directors Emmett Drake and Michael Morris for the presentation of the many musical numbers. The voices sound good and the diction is also excellent; you can hear the lyrics.
Darlene Zoller choreographed the show with assistance from Spencer Pond. They have taken inspiration from the Bennett choreography and created their own numbers. Of course, they had to keep the basic look of the finale, “One,” It is just too iconic to be changed; the audience would feel cheated.
For once, the large square playing space with the two pillars at the front corners is actually totally appropriate for the show. It looks like any dance rehearsal room. Scenic designer Christopher Hoyt cleverly added narrow mirrors on each the three sides so that audience members sitting on the sides could look at those.
Lisa Steir, the costume designer provided the rehearsal selection of leotards and other dance gear. The costumes for the finale unfortunately looked cheap. Particularly for the men, I’ve seen similar outfits at the multiple dance recitals I’ve attended for grandchildren. It took away from the wow factor.
In this show in particular, the role of Zach and Cassie are important; theirs is the story that drives the show. Eric S. Robertson gives us a Zach who is tough but also concerned about his dancers. His reaction to Cassie reflects a multitude of emotions.
Michelle Pruiett is excellent as Cassie. She shows her strength and self-knowledge that has been hard-earned yet she is not bitter, but accepting. She is survivor.
Many others in the cast deserve praise: Tracey Mellon as Sheila, Alex Polzun as Mike, Ronnie Bowman, Jr. as Richie, Mark Jacob Weinstein as Greg, and Spencer Pond as Larry, Zach’s assistant.
This is a production of A Chorus Line that you should go see. It is at Playhouse on Park, 244 Park Rd, West Harford, through July 31. For tickets visit PlayhouseonPark.org.
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
The 1999 Pulitzer Prize winner, Wit, is getting a fine production at Playhouse on Park in West Hartford through May 8. But those who think of the word “wit” as meaning clever or funny, will be in for a shock, though there are some humorous moments.
This play by Margaret Edison does not pull its punches about cancer, experimental treatments and death. If you have had personal experiences with these issues, the play can be emotionally draining.
Wit had an early production at Long Wharf, starring Kathleen Chalfant in the leading role, which transferred off-Broadway and had a long run. It was revived on Broadway with Cynthia Nixon in 2012.
The title of the play, Wit, refers to the literary wit of the metaphysical poets, particularly John Donne and the sonnet “Death Be Not Proud.” In this context, wit refers to relating disparate elements so as to enlightenment, astuteness and reasoning power. Donne is often considered a “difficult” poet for his metaphysical discussions, namely for his exploration of faith, religion and the spiritual world.
Dr. Vivian Bearing, a professor, is the narrator of the play. We first see her in a hospital gown and hospital setting where we learn she has been undergoing treatment for cancer. She is thin and wears a baseball cap to conceal her hair loss. Soon we realize that she is dying. In a variety of flashbacks, we see both incidents from her life – with her mentor, her father, her students as well as her days since the diagnosis.
We see the young Vivian, a promising scholar of literature, with her mentor, Professor E. M. Ashford. Ashford considers Vivian’s paper to be sentimental and superficial. She instructs her in how the selection of the text (and its punctuation) that Vivian used for the paper on “Death Be Not Proud” has misled her. The use of a semicolon and explanation point rather than a comma and period have changed the meaning dramatically.
Vivian takes the lesson to heart and has become a leading scholar on Donne and his “wit” as well as a demanding professor. She is viewed as one of the toughest at the university where she teaches. But Vivian, who has never married, is tough in other ways as well.
She is confronting advanced ovarian cancer (stage four) and is undergoing experimental chemotherapy. Not only has she agreed to the experimental treatment but she has been determined to take the maximum dosage in the study.
The first time I saw this play, I viewed it as too much a lecture on Donne, but now I see the many connections Margaret Edison makes between Vivian, the literary scholar, and the researcher in charge of the study, Dr. Harvey Kelekian, and the graduate fellow, Dr. Jason Posner, handling the day-to-day treatment. Each of them is rigorously intellectual, not allowing emotion to enter the equation in the relationships. Each is seeking for knowledge and each wears blinders that doesn’t let him see the fuller picture.
Vivian takes pride that her course – which Dr. Posner took om a dare – is so tough and she is so demanding and strict with her students, not giving any thought to them as individuals. The two physicians are equally strict and equally unable to put aside their desires – for maximum useable data – to consider the human cost of getting that data.
Edison raises also the issue of the ethical conundrum in medical research. Often it does not benefit the patient but may provide important knowledge that will help future patients. In fact, it often harms the patient or at least makes the waning days of life physically more difficult. Yet the researcher often does not know when to stop and let nature takes it course since stopping treatment or not resuscitating might jeopardize the data already collected.
This is played out at the end of Vivian’s life between Dr. Posner and Nurse Susan Monahan who, unlike the two researchers, has developed a real relationship with Vivian. It is she that talks her about a DNR (do not resuscitate) order and she that battles Dr. Posner when, despite the order, he tries to resuscitate Vivian to protect that data.
Elizabeth Lande is excellent as Vivian. She gives us a woman, who while in the classroom was unsentimental and tough, does in fact have feelings not just for the literature but also for life. At times she paints a picture of a woman who is still trying to please like the little girl who tried to please her father and later her mentor.
Tim Hackney as Dr. Posner, the graduate fellow, has the most difficult role and only partially succeeds at creating this young researcher. He must blend the confidence of youth with the callousness of someone who is aiming big. His comments about the waste of time in medical school for a researcher to take a course on dealing with patients, may make you want to scream at him. He views this study as just a way station to getting his own lab.
Chuja Sea endows Nurse Monahan with the humanity and warmth that most of the other characters, including Vivian, lack. She manages to keep the character from being only the “good cop” to Posner’s “bad cop.” David Gutschy allows Kelekian to be the breezy supervisor who stops in occasionally.
Director Stevie Zimmerman has handled the awkwardly large playing space well, creating separate areas for the various earlier memories.
Wit is the only play Edison has ever written. For a first play, it is certainly a good one and, I suspect, she wrote from the heart.
It is at Playhouse on Park, 244 Park Rd, West Hartford through May 8. For tickets visit playhouseonpark.org or call 860-523-5900.
By Karen Isaacs
No one will say Paul Rudnick’s I Hate Hamlet is a classic. It is an amusing but lightweight comedy about a young television actor who is attempting to play Hamlet and is coached by John Barrymore’s ghost.
The show which had a brief run on Broadway in 1991, is best known for an infamous incident. Nicol Williamson, the talented but mercurial British actor played Barrymore. His moods, ego and general behavior alienated the cast and crew. Evan Handler played the young actor, Andrew. In the first act, Barrymore and Andrew engage in some sword play; one night during the intricate choreography for the fight, Williamson hit Handler on the rear with the sword. Handler left the stage and quit on the spot; an understudy finished the performance.
Playhouse on Park is presenting a production of I Hate Hamlet through March 13. Overall it is an enjoyable production though it won’t leave you rolling in the aisles.
Andrew is a young actor who has been a huge television star. But he has come to New York and somehow has auditioned for New York’s Public Theater which presents Shakespeare in the Park every summer and been offered the role of Hamlet. But he says he “hates Hamlet.”
Part of his motivation is his girlfriend of five months, Deidre, an aspiring actress who loves Shakespeare. He hopes the role will finally get Deidre into bed with him; though 29, she is determined to remain a virgin until she “knows for sure.” Despite his desire for a modern “California” apartment, his real estate agent has rented for him, sight unseen, a very traditional apartment in which Barrymore lived.
Now, a lot of the play depends on the audience knowing about John Barrymore including that Barrymore was known for his Hamlet, which ran on Broadway for 101 performances and closed only because Barrymore wanted to close it. The actor sometimes called “the profile” had a long career in both stage and film, often playing swash-buckling heroes and ladies men. His personal life was volatile as well, with excess of drinking, multiple marriages and affairs, breakdowns and more.
Andrew is not thrilled with the medieval appearance of the apartment and definitely not thrilled when Deidre and the real estate agent, Felecia attempt a séance to contact Barrymore’s ghost. But after they leave, the ghost does appear in Hamlet-like garb. The two parry and thrust about acting, Andrew’s fear of the role, the “theater,” and sex. Barrymore is appalled at Andrew’s predicament with Deidre. By the end of the act, Andrew is committed to the role and Barrymore is coaching him. Andrew has also turned down his LA friend Gary who tells him that the TV network is interested in a new series that would make each of them huge amounts of money.
In act two, Andrew is committed to the role; he has furnished the apartment in more traditional style with a full suit of armor in the corner; he dresses in tights and has been working with Barrymore diligently. Deidre is a lady in waiting in the play. Gary is still trying to convince him to accept the TV deal and he has also taken up with the realtor. All of them, including Andrew’s agent Lillian, who had a brief fling with Barrymore, go off to the opening. The second scene is the next morning. Andrew has been walking around the city all night; the performance did not go well as he tells Barrymore. As the others arrive – first Gary and then the rest – the critics were in agreement that the effort was weak. But Andrew tells Barrymore about one moment, when he was able to emotionally reach a young teenage boy sitting in the audience. So, he turns down the TV deal to devote himself to stage acting.
This play needs a Barrymore that can project our vision of the larger-than-life actor. Ezra Barnes totally captures the role. He is attractive, he can speak the Shakespearean lines well, and he projects a masculine vitality and vanity. He even looks good in tights!
As Andrew, Dan Whelton does a good job as the somewhat bland, young actor who is unsure of his talent. At times, he seems a little too juvenile in manner. Another standout was David Larson as Gary. He makes him sound and act like a combination of a surfer dude and the ultimate man on the rise.
Ruth Neaveill is fine as Lillian, the agent. She effectively maintains a slight German accent throughout and a sense, at times, of wistfulness.
I had more problems with the two other women and for that I have to put some of the blame on director Vince Tycer. Felicia, as played by Julia Hochner, could be Fran Dresher’s sister replete with nasal voice and laugh, mini-skirts, and two red ovals on her cheeks that are supposed to be rouge but look more clownish. Susan Slotoroff as Deirdre is earnest and seemingly sincere but also silly and bland; it is hard to see why Andrew is so smitten.
Tycer has made effective use of the large, awkward playing area and staged the sword play well. The set by Emily Nichols suggests the apartment, the only set for the show.
I Hate Hamlet is fun but could be better with a little faster pacing and some more coherent interpretations of the characters.
It is at Playhouse on Park, 244 Park Rd, West Harford through March 13. For tickets visit playhouseonpark.org or call 860-523-5900.
World Premiere in Waterbury: Seven Angels Theater is presenting a world premiere of Burning Desire, to Sunday, March 13. The play was both written by and will star Lou Diamond Phillips. Phillips received a Tony nomination for his performance as The King in The King & I revival in 1996 as well as performing in movies and TV. The story is about The Devil (Phillips) and modern day Adam and Eve. It is described as “a comedic look at what it means to be in love, when it seems all odds are against you.” For tickets call 203-757-4676 or visit sevenangelstheatre.org.
Another Ghost for Hamlet: What does it means to play Hamlet? For a comedic look at that, go see West Hartford’s Playhouse in the Park production of I Hate Hamlet. The show tells the story of an actor who comes to NYC to play Hamlet, a role made famous on Broadway by the legendary John Barrymore. When he moves into a townhouse once inhabited by Barrymore, he is visited by Barrymore’s ghost. In a variety of comic turns, the two duel over success, women and even the apartment. It runs to Sunday, March 13. For tickets visit playhouseonpark.org or call 860-523-5900 x10.
Austen on Stage: Jane Austen’s Sense and Sensibility is being given a stage adaptation at the Connecticut Repertory Theater on the UConn campus in Storrs. The show will run through Sunday, March 6. Joseph Hanratty and J.R. Sullivan adapted the novel; they also adapted the CRT production of Austin’s Pride and Prejudice. For ticket visit crt.uconn.edu or call 860-486-2113.
Tony Winner in Norwalk: MTC in Norwalk will present the Tony winning comedy Vanya and Sonia and Masha and Spike to Sunday, March 13. The Christopher Durang play uses parts of several Chekov plays but moves it action to Bucks County, Penn. and transforms the characters to an aging modern day movie star, her brother and sister, and her sexy “boy-toy.” For tickets visit musictheatreofct.com or call 203-454-3883.
New York Notes: Next season will see Bette Midler starring in a revival of Hello,Dolly! Kate Blanchett will make her Broadway debut next season in The Present, an adaptation of Chekov’s Platenov. Jeff Daniels and Michelle Williams are currently in previews for the Broadway debut of Blackbird. The play has played off-Broadway with Daniels in the role of the older man who is confronted by the woman with whom he had a relationship 15 years ago when she young. It is a powerful play. Tickets are available through Telecharge. It opens officially on Thursday, March 10 and runs through June 12. This summer will see a revival of Andrew Lloyd Webber’s Cats. It is scheduled to begin previews on July 14.
They Will Be Missed: January saddened the theater world as several notable performers died. While not as famous as some of the others, David Margulies was well known to Connecticut theater-goers, performing in Connecticut extensively. I recall two wonderful performances at Long Wharf: in The Underpants by Steve Martin several years ago and as the antique dealer in Arthur Miller’s The Price. But theater lovers throughout the world will miss Brian Bedford who was known for his work in Moliere, Oscar Wilde and Shakespeare. Of course, David Bowie’s passing must also be mourned. He performed on Broadway in The Elephant Man and his new musical Lazarus had played off-Broadway recently. It was inspired by The Man Who Fell to Earth. Bowie wrote the score which some say had hints of his illness and death. The show may be headed to Broadway.
Theatrical Joint Venture: Long Wharf and Hartford Stage are once again working together on a production that will play at both theaters. Having Our Say: The Delany Sisters’ First 100 Years will play at Long Wharf to Sunday, March 13 before moving up state to Hartford, where it will play Thursday, March 31 to Sunday, April 24. The play is based on the best-selling book about the two sisters lived extraordinary lives. In the play they reminisce about their father, a former slave; growing up in the Jim Crow south; Harlem during its renaissance; and their professional careers as a teacher and a dentist. It’s described as “a personal tale of the fight against injustices big and small, and how they never lost sight of doing the right thing no matter how difficult.” Olivia Cole and Brenda Pressley star, directed by Emily Mann who directed the original Broadway production in 1995. For tickets, contact longwharf.org or call 203-787-4282 or hartfordstage.org or call 860-527-5151.
Arts and Ideas: Though the International Festival of Arts and Ideas isn’t until June, it’s been announced that New Haven will present the US premier of the musical stage play Our Ladies of Perpetual Succour prior to its presentation at London’s National Theater. The play, which was first presented by the National Theater of Scotland and Live Theater at the Edinburgh Fringe Festival, is a stage adaptation of the 1998 cult novel The Sopranos. The entire Arts and Ideas lineup will be announced in March.
Prior to the Festival: The Arts and Ideas Festival also announced the National Theater of Scotland’s production of The Strange Undoing of Prudencia Hart will return to New Haven – it was a hit of the 2012 Festival of performances — March 30 to April 3 at the Graduate and Professional Student Center at Yale. For information visit www.artidea.org.
Musical Will End Long Wharf Season: Last summer My Paris, the musical about Toulouse-Lautrec had a successful run at the Norma Terris Theater in Chester. Now Long Wharf has announced that it will close its season with the musical, running from May 4 to May 29. It replaces the Irish drama, The Shining City. Kathleen Marshall, the Tony winning director/choreographer, will again direct. The musical has music by French legend Charles Aznavour with English lyrics by Jason Robert Brown and a book by Alfred Uhry. For tickets, contact longwharf.org or call 203-787-4282.
By Karen Isaacs
Though Connecticut’s theater season began around June 1, receently I having been looking over the theater schedules and putting asterisks next to those shows or productions that interest me the most.
Admittedly several shows that were high on my “most anticipated” list have already opened – and not disappointed. These include TheaterWork’s production of Good People, Ivoryton’s South Pacific, and Goodspeed’s La Cage aux Folles. Plus we do not yet know what Goodspeed, Westport or Ivoryton will be doing next Spring.
But despite all that, here’s my top ten list of shows that I do not want to miss. You will note that Shakespeare figures prominently in the list.
Romeo & Juliet – Hartford Stage, Feb. 11 – March 6. This is the first time that Artistic Director Darko Tresnjak has directed this Shakespeare classic. He’s a brilliant Shakespeare director so this is high on my list of “must sees.” Parenthetically, one of the best productions of Romeo & Juliet I ever saw was also at Hartford Stage, directed by Mark Lamos.
Anastasia – Hartford Stage, May 12 – June 5. Again, Darko Tresnjak will direct the world premier of the new musical based on the animated film. I’ll be interested to see if lightening can strike twice – Tony winner A Gentleman’s Guide to Love and Marriage, directed by Tresnjak premiered at Hartford.
A Wonderful Life – Goodspeed, Sept. 18 – Nov. 29. This show based on the classic film It’s a Wonderful Life has been around a long while and I’ve heard one or two songs by Joe Raposo and Sheldon Harnick. I want to see the entire show.
Cymbeline – Yale Rep, March 25 – April 16. It must be the year for Shakespeare’s Cymbeline, since New York’s Shakespeare in the Park has just done it. This late play, considered one of his “romances” is not done that often, so any opportunity to see it should be anticipated with pleasure.
Measure for Measure – Long Wharf, Nov. 25 – Dec. 20. This is actually a production of off-Broadway’s Fiasco Theater. It will be interesting to see their take on this very dark comedy. They’ve added music and more.
Indecent – Yale Rep, Oct. 2-24. A new play by Paula Vogel is always an event. This one is about a major theatrical controversy from 1923. Yale opens its season with the world premier. I’ll be there.
Buyer & Cellar – TheaterWorks, Jan. 8 – Feb. 14. I never got to see the off-Broadway production of this play about a young actor imagining he works for Barbra Streisand sort of curating her collections.
Love & Money – Westport. Okay, the show has already completed its run in Westport, but because it was viewed as a tryout, I won’t see it until it is in New York at the Signature Theater. Let’s just say that I am very attracted to A. R. Gurney’s plays and Maureen Anderman is a terrific actress.
Bedroom Farce – Westport, Aug. 25 – Sept. 13. Westport and director John Tillinger have established a reputation for doing excellent productions of plays by Alan Ayckbourn. This should be another hit.
Disgraced – Long Wharf, Oct. 14 – Nov. 8. This Pulitzer Prize winning play deals with a successful New York Arab couple who must confront the realities of their lives in America.
In the next ten are: Connecticut Rep’s The Laramie Project, Oct. 8 to 18 and Spamalot, April 21 – May 1; MTC’s Evita, Oct. 16 – Nov. 1; Playhouse on Park’s I Hate ‘Hamlet’, Feb. 24 – March 13, and The Chosen, Jan 27 – Feb. 14; Hartford Stage’s An Opening in Time, Sept, 17 – Oct. 11 and Rear Window, Oct. 22 – Nov. 15; Bushnell’s Newsies, Oct. 13-18; Long Wharf’s The Shining City, May 4 to 29; Yale’s world premiere, The Moors, Jan. 29 – Feb. 20.
S enjoy this year in Connecticut. Leave a comment about what you don’t want to miss in Connecticut.