“Fade” at TheaterWorks Changes Themes at End
Eddie Martinez and Elizabeth Ramos. Photo by Lanny Nagler
By Karen Isaacs
When we think about stereotyping people by gender, age, ethnicity, we usually assume that it members of outside groups who do that to people unlike themeslves. Men stereotype women, whites stereoptype Africian-Americans and more.
The new play at TheaterWorks in Hartford, Fade by Tanya Saracho makes us aware of how within a group, the stereotyping can occur. Women stereotype other women, Asians stereotype other Asians and Hispanics stereotype other Hispanics.
In this case, it is two Latinos who stereotype each other including jumping to conlusions about their histories and futures.
Lucia is a newly hired writer on a popular TV show; a novelist (one book), she views this job in LA as a way to pay the bills so that she can return to her serious writing. On her first day on the job, she meets Abel, a janitor. The assumptions begin. She speaks to him in Spanish though she has never met him before; she assumes that all janitors in LA are Mexican. Abel responds in English and soon points out that while he is of Mexican heritage, his parents and he were all born and raised in the U.S.
Abel assumes she is from the Mexican elite, and to some extent he is correct. While she claims not to be by pointing out that she worked her way through college, she also lets drop that she and all her friends had maids and other household help. But they bond over some things as well.
The play is about their interactions and relationship which develops as she complains about the entire male group of writers. She is horrified by the stereotypical Latina characters on the TV and the patronizing ways of her fellow writes, all white males. It is perhaps symbolic of her outsider status that her office is a floor below all the others. One even told her she was the token minority female.
Lucia and Abel talk to each other constantly until you wonder how either gets any work done. They complain that most people mispronounce their names. She begins speaking up more in the writers’ meetings and gains some praise from her boss. She is becoming a solid member of the team. Slowly her attitude that this is just a job to pay the bills changes to one of more ambition to succeed at the studio.
During this period, you think that a romance might develop between the two. Abel is well spoken and obviously educated. In fact, he reveals that he had been a firefighter until he was arrested and jailed on a violence issue. He tells Lucia about his past and the incident that involved his daughter’s mother and sister; he is devoted to his daughter.
At one point, Lucia is working on a script and asks Abel for permission to use the reference to his tattoo – “Semper Fi” and his former firefighter status as part of the plot line. He agrees.
It is here that this play about stereotypes and connections dramatically changes course. In the last 10-15 minutes, it seems as though Lucia has been infected not only with the desire to succeed on her job but that whatever ethical standards she has have been pushed aside.
Abel happens to see the episode in which the “Semper Fi” is to be used; to his horror it includes not just that but ALL the details of the violence episode, even using his exact words that he had told Lucia.
He is angry but Lucia seems oblivious to the problem and believes he had given her blanket permission to use his life. The final scene shows Lucia in NYC as an executive at the network, callously agreeing to firesome, and Abel still a janitor.
The issue of authors using the reality of their lives and the lives of friends in their works is both common in literature (the play Collected Stories deals with it) and it is an interesting issue. What are the ethical dimensions of taking people’s stories and retelling or fictionalizing them? Must permission be granted? Do writers (and artists) necessarily betray their confidants?
But this issue enters Fade much too late in the play. It is not developed in any way. It almost seems like a way to break up the relationship and come to a conclusion. So it certainly left me unsatisfied.
Jerry Ruiz has done a fine job directing the two person cast. Eddie Martinez is a standout as Abel, giving us a multi-dimensional character. Every part of his performance rings true, and you see the conflicting emotions when he realizes that Lucia has betrayed him.
As Lucia, Elizabeth Ramos does not bring the same depth to the role; she seems more superficial but perhaps that is because author reveals less about her.
Mariana Sanchez has created an appropriate office set with a window that lets us see out to the corridor where Eddie works. That may not be realistic but it adds to the action.
Fade is one of those plays that seems to be more meaningful than it actual is and the introduction of a new topic in the last 15 minutes contributes to my leaving the performance dissatisfied.
It is at TheaterWork, 233 Pearl St., Hartford through June 30. For tickets visit TheaterWorks or call 860-527-7838.
Elizabeth Ramos and Eddie Martinez. Photo by Lanny Nagler
“Next To Normal,” “The Invisible Hand” Tops Connecticut Theater Critics Nominations
Next to Normal. Photo by T. Charles Erickson
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
Outstanding Debut
Maya Kelcher (Natalie) Next to Normal TheaterWorks
Dylan Frederick Assassins Yale Rep
Nick Sacks Next to Normal TheaterWorks
Outstanding Ensemble
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
Outstanding Projections
Michael Commendatore Assassins Yale
Outstanding Sound
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
Outstanding Lighting
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
Outstanding Choreography
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
Assassins Yale
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
Some May Find “Sunset Baby” Depressing
Tony Todd and Brittany Bellizeare. Photo by Lonny Nalger
By Karen Isaacs
Sunset Baby now at TheaterWorks in Hartford through Feb. 19 may shock you, upset you or leave you with mixed emotions.
At the heart of this play is a father-daughter relationship that has been fractured, probably beyond repair. But it also about how some people survive by hardening their hearts and abandoning the better side of themselves. In the program notes, the playwright asks “how can my generation be so brilliant and so self-destructive at the same time?”
The play opens with the father, Kenyatta, who serves occasionally as a narrator or commentator. But soon we are in the small apartment that Nina and Damon share. It is definitely in the low rent district, apparently in Brooklyn but it could be any large city. We see her getting dressed and from her apparel – short, short skirt, thigh-high boots, we can assume that she is a prostitute. Kenyatta rings the bell and she lets him in.
It is clear that they have not seen each other for many, many years and that they have practically no relationship. In fact, she is quite angry with him. Where has he been all these years? For some of the time he was in jail. It’s not clear exactly why he was in jail, but there are hints that he was imprisoned for some sort of black radical or revolutionary actions. Nina’s mother (and his wife) has recently died and Nina has inherited some letter that her mother had written him while he was imprisoned. He wants to read them.
Unanswered are why the mother had the letters – were they never mailed? Returned by prison authorities? What is also unclear is why these letters apparently are worth a good deal of money. Was Kenyatta well known for his actions? Was his wife also an activist and well known? But apparently publishers are making Nina various offers for thousands of dollars.
The apartment buzzer keeps ringing as Damon, her current boyfriend, is waiting for her. Eventually she goes down to meet him. As the play progresses we learn more, but not enough to make this play totally successful. Nina and Damon are hustlers who rob men who think she is a prostitute. But they have a dream of getting enough money to leave and perhaps settle in a foreign country. Nina, however, keeps changing where she would like to live based on the Travel Channel, and the stash never seems sufficient.
The two don’t totally trust each other either. Damon doesn’t understand about the letters and their supposed value; he is shocked to find that Nina has appropriated some of their savings. But they do have a true relationship; Damon was with her as she took care of her mother – who had become a crack addict – as she was dying.
Kenyatta appeals to Damon to try to talk Nina into letting him read the letters. In the climactic scene Nina and Kenyatta meet yet again. Adhering to Chekhov’s purported statement that if a gun appears in act one it must be used; she robs him instead.
So much is left unanswered in this play. From why Kenyatta was jailed, to why the letters are valuable and to what the letters contain. This missing information makes Sunset Baby less satisfying.
Yet playwright Dominique Morisseau has some nice touches. Nina either doesn’t remember or has blocked various memories of her and her father. Late in this one-act play, Kenyatta recounts some of these including taking her to see sunsets in San Francisco. Earlier, Nina has claimed to never have seen a sunset.
Nina is fueled by anger at her father for everything from not being there to not providing child support. It’s clear she blames him for her mother’s descent into addiction.
Another problem is that this play tries to touch on so many issues. One is guilt; Kenyatta seems to feel guilty about what has happened. Another is dreams – are they possible to have when you are in difficult circumstances or do they hurt you too much? A third issue is fatherhood and fatherly love. What does it mean and how do you make up for a lack of it?
Director Reginald L. Douglas and his talented cast have compensated for the many unanswered questions by giving us a taut and dynamic production. The set design by Alexander Woodward puts us immediately in the run down, small walk up apartment. I also liked the sound design by Julian Evans and the selection of recorded music – most sung by Nina Simone – that he and the director used.
Tony Todd as Kenyatta shows us a man who is aging, trying to atone for past actions and is surprisingly unguarded. Brittany Bellizeare as Nina combines the hardened woman trying to survive with the child wishing that things had been different. Carlton Byrd’s Damon is part street hustler and part caring friend and lover.
Morisseau has created complex characters – all three of them are intelligent and well read, yet Nina and Damon have selected a life that preys on others. At one point she juxtaposes two terms: ‘social junk” and “social dynamite;” it brought to mind the Langston Hughes poem, “Harlem” that opens with “what happens to a dream deferred.”
Some will find the language raw – the “N” word is used frequently as well as multiple swear words. Others will find the play depressing; after all it does not seem that the dreams of any of the characters will come true.
Yet, Sunset Baby, despite the language and the unanswered questions, is a play that you will think about after you leave the theater.
Sunset Baby is at TheaterWorks, 233 Pearl St., Hartford through February 19. For tickets call 860-527-7838 or visit TheaterWorks.
Carlton Byrd and Brittany Bellizeare. Photo by Lonny Nagler.
Sentimental, Classical, Cynical – Connecticut Offers Holiday Performances and Concerts for All Ages and Tastes
It’s Bill Raymond’s last year as Scrooge at Hartford Stage. Photo by T. Charles Erickson.
By Karen Isaacs
How do you like your holiday entertainment? Sentimental? Serious? Classical? Popular? Young child-friendly? Cynical?
You can find performances that will entertain you no matter how you answered the questions. Connecticut’s varied theater and musical venues are offering a wide variety of events suitable for all ages and tastes.
The Classics
Just as A Christmas Story and White Christmas are among the classic holiday films, you are bound to see on TV, A Christmas Carol, The Nutcracker and The Messiah are classics of theater and music.
The most famous production of A Christmas Carol is the one that has been enchanting audiences at Hartford Stage for 19 years. It runs Friday, Nov. 25 through Friday, Dec. 30. This production which breaks box office records every year was adapted and originally directed by then Artistic Director Michael Wilson. He brought it from Fort Worth/Dallas when he arrived in Hartford and it has been a smash ever since. This production is official called – A Christmas Carol—A Ghost Story of Christmas. It features lots of ghosts – not just Marley – and they fly around the stage. It also features music of the period, but this is NOT a musical. Many of the cast members have returned year after year.
Bill Raymond has announced that this is his last year as Scrooge. As Michael Wilson has said, “Bill Raymond and I created Hartford Stage’s A Christmas Carol together 19 years ago. He has, for 17 of the last 19 years, put his inimitable, distinctive mark on one of the greatest characters of English literature. He joins actors such as Lionel Barrymore, Alistair Sims, Albert Finney and George C. Scott in an elite club of extraordinary actors who have left their indelible mark on Dickens’ classic story of redemption and grace.”
Each year the cast is joined by area children and students from the University of Hartford’s Hartt School. The show is recommended for children eight and older, though my granddaughters were about six when they started seeing it. The ghosts can be scary, so use your own judgement.
As part of the production, Holiday Market Days are held before specific Saturday and Sunday matinees. Local artisans offer unique gift items for sale in the lobby between 12:30 and 2 p.m.
For information contact Hartford Stage or call 860-527-5151.
Elm City Girls Choir
Handel’s The Messiah is the most famous piece of classical holiday music. While many groups perform it during the holiday season, the New Haven Symphony together with the Christ Church Choir will offer four performances conducted by Maestro William Boughton. The performances kick off on Thursday, Dec. 15 at Woolsey Hall in New Haven. At that performance there will concession sales and other features that raise money for the New Haven Community Soup Kitchen. Additional performances are Friday, Dec. 16 at Sacred Heart University Chapel, Fairfield; Saturday, Dec. 17 at the First Congregational Church, Madison; and Sunday, Dec. 18 at the Performing Arts Center at Middletown High School. Tickets and information are available New Haven Symphony or 203-865-0831.
The Kate in Old Saybrook will present the Annual Handel “Messiah” Sing (or Listen!) on Sunday, Dec. 18. The professional soloists and the chorus of talented singers conduct a sing-a-long for everyone. Or you can just listen. Contact The Kate or 877-503-1286 for information and tickets.
The Nutcracker is the classic holiday ballet and many dance groups offer their versions of it. New Haven Ballet presents its production of the Tchaikovsky classic at the Shubert Theater from Friday, Dec. 9 to Sunday, Dec. 11. It features students from the Ballet and live music by the Ballet Orchestra. Guest artists from major ballet companies dance as the Sugar Plum Fairy and her Cavalier.
If those dates or location aren’t convenient, the Nutmeg Ballet will present its production at the Bushnell Theater in Hartford on Saturday and Sunday, Dec. 17 and 18. The cast includes professional trainees from the Nutmeg Conservatory of the Arts. Visit The Bushnell.
The Hip Hop Nutcracker
Would you like to see a more irreverent take on The Nutcracker? The Bushnell is presenting The Hip-Hop Nutcracker which is described as a holiday mash-up of the classic. There’s a DJ, a violinist, dancers and Kurtis Blow as the special guest MC. It’s on Sunday, Dec. 4. Visit The Bushnell.
The Kate is also presenting the Bolshoi Ballet’s Nutcracker on its HD screen on Sunday, Dec. 17.
For Younger Children
Younger children (from 3 to 8 or 9) may get restless at a full-length production that is 2 hours or more even if it has an intermission. But rest assured, Connecticut’s performing venues have not forgotten them during the holidays. And while these may be ideal for children, they often pleasures for the adults accompanying them.
Bridgeport’s Downtown Cabaret Theater has had a well-respected children’s theater that runs year around for decades. It is geared to children below pre-teen age and has the added benefit that it is set up as a cabaret: round tables and you can either purchase or bring food and drink that will help keep younger kids occupied. For the holiday season the theater will offer its take on Frosty, the Snowman which runs through Thursday, Dec. 29. Tickets are quite reasonable but many weekend dates sell out early. For tickets visit Downtown Cabaret or call 203-576-1636.
A little farther afield, Westport Country Playhouse is presenting A Very Electric Christmas produced by the Lightwire Theatre on Sunday, Dec. 18. As the press materials the show includes “timeless holiday hit tunes by Nat King Cole, Mariah Carey, Tchaikovsky, and more. Santa’s helpers are putting the final touches on presents as a young bird finds himself lost at the North Pole. As he makes his way home, he meets dancing poinsettias, Nutcracker soldiers, and other festive characters. Recommended for ages 5 and up. For tickets visit Westport Country Playhouse or call 888-927-7529.
The Bushnell is once again presenting Rudolph the Red-Nosed Reindeer: the Musical which is based on the classic TV show. It’s the third year that Rudolph, Santa and the other reindeers will delight the entire family. It runs Friday and Saturday, Dec. 9 and 10. Visit The Bushnell.
Another Frosty is at The Kate on Sunday, Dec. 11. The Theatreworks USA production features original music. The plot has been changed from the popular TV version. In this version, “A young orphan named Billy discovers magic in a stolen hat. When he places the hat on a snowman’s head, the snowman comes to life! But can Frosty the Snowman help Billy find his real family in time for Christmas?” It’s recommended for K-5. Visit The Kate.
Celtic Holidays
I don’t know when it happened, but concerts on the theme of Celtic Christmas have become very popular; it probably traces back to the very popular Irish Tenors and their concerts and TV shows. So for lovers of all things Celtic, there are many choices.
The Kate has too such shows. On Saturday, Dec. 3 the Tartan Terrors performs Christmas Celtic Style which includes comedy, music and dance. On Thursday, Dec. 22, Cherish the Ladies, a Celtic Christmas features five talented women. According the press materials, the evening includes “a blend of virtuoso instrumental talents, beautiful vocals, captivating arrangements, and stunning step dancing. “ Visit The Kate.
Lyman Center at Southern Connecticut State University presents Christmas with the Celtic Tenors on Sunday, Dec. 18. Matthew Gilsenan, James Nelson and Daryl Simpson preform music from classical to folk to Irish and pop. Recently they have added a more contemporary edge. For tickets, visit Lyman Auditorium.
More Music
James Sinclair of Orchestra New England.
Orchestra New England gets the holiday season off with its 37th annual Colonial Concert on Saturday, Nov. 26 at United Church on the Green, New Haven. Under the direction of James Sinclair, the concert takes us back to the music and atmosphere of the Colonial Era with a mixture of familiar classical music, holiday music and some long forgotten music. Wigs, candles and waistcoats as Thomas Jefferson, minister to France, visits New Haven. For tickets, call 203-776-4690 or visit Orchestra New England
The Elm City Girls’ Choir will join the New Haven Symphony Orchestra’s Pops Concert, Holiday Extravaganza. The two shows, Saturday, Dec. 10 (at Hamden Middle School) and Sunday, Dec. 11 (Shelton High School) almost always sell out early. It features a mixture of light classics as well as popular holiday music and carols. Santa often appears and there is a sing-along. Tickets and information are available New Haven Symphony or 203-865-0831.
The Hartford Symphony annually presents its Holiday Cirque Spectacular under conductor Carolyn Kuan at The Bushnell. While the Symphony plays various holiday inspired music, the Cirque de la Sumphonie which includes aerialists, contortionists and jugglers perform. Visit The Bushnell..
The Hartford Gay Men’s Chorus and the Connecticut Gay Men’s Chorus both have holiday concerts. These are talented musicians and their shows feature great arrangements and often some humor. The HGMC performs A Wish Come True! Friday to Sunday, Dec. 2-4 at the Aetna Theater at The Wadsworth Atheneum Museum of Art. For tickets. Tickets are available at HGMC.
CTGMC performs its holiday show Christmas Stories Saturday and Sunday, Dec. 17 and 18 at the theater at the Co-op High School for the Arts on College Street, New Haven. For information and tickets visit CTGMC
Trinity Church on the Green in New Haven has had a men and boys choir since the 1880s and added a Girls and Men Choir in 2003. The two choirs have toured and performed throughout the US, Canada and England. This year’s concert includes Benjamin Britten’s A Ceremony of Carols and carols from The Alfred Burt Carol Collection. These were written by Burt, a well-known American composer and sent as annual Christmas cards. The annual Christmas Concert is on Friday, Dec. 16. A donation is requested; for information visit: Trinity Chruch on the Green or 203-776-2616.
The Humorous and Cynical
Sometimes we need some spice mixed with our holiday good feelings. TheaterWorks in Hartford is bringing back its very successful Christmas on the Rocks from Tuesday, Nov. 29 to Friday, Dec. 23. It’s accurately described as “an offbeat collection of twisted holiday tales”. A number of current playwrights have contributed scenes that show how the children from famous Christmas tales – from Ralphie and Tiny Tim to Charlie Brown and Clara from The Nutcracker turned out as adults. This year, a new scene has been added. Last year’s cast — Ronn Carroll as the bartender, Jenn Harris as the female characters and Matthew Wilkas as the male return. Tickets are on sale at TheaterWorks or 860-527-7838.
The Kate presents Will & Anthony’s Broadway Holiday on Friday, Dec. 2. Will and Anthony Nunziata are a singing and comedy duo (they are brothers). It’s billed as reminiscent of the classic Christmas specials of Bing Crosby with a contemporary flair and celebrates the joys of life, music and family. The concert includes fresh takes on classic Christmas songs along with Broadway hits and Italian music. Expect to hear such songs as “Joy to the World,” “I’ll Be Home for Christmas,” ”Silent Night,” “The Christmas Song,” “Lullaby of Broadway,” “O Sole Mio” and more. Tickets are at The Kate.
The Santaland Diaries, based on David Sedaris’ book takes the stage at the Shubert in New Haven, Friday, Nov. 25 to Sunday, Nov. 27. The one man show recounts the adventures of an out-of-work actor who becomes one of Santa’s elves at the Macy’s on 34th Street. It’s a behind-the-scenes look. Call the box office at 203-562-5666 or visit Shubert.
West Hartford’s Playhouse on Park is presenting a “strictly adult” show, Mama D’s Chirstimas Stocking, described as a celebration of all things sexy and bawdy in an evening of music, dance and comedy. Shows begin December 9 and run on selected dates to December 30. Plus there is a special New Year’s Eve show with lots of extras. For tickets, please call our box office at 860-523-5900 x10 or visit Playhouse on Park.
More Classics
Connecticut’s Joe Landry adapted the classic film It’s a Wonderful Life into an unique stage presentation. The holiday classic is brought to live as a live 1940s radio broadcast complete with microphones and the sound effects man. This show has been performed throughout the country. You can see it this year at MTC (Music Theater of Connecticut) in Norwalk weekends, Friday Dec. 9 to Sunday, Dec. 18. For tickets call 203-454-3883 or visit MTC.
Elf became a new classic almost from the time the film starring Will Ferrell and old time stars was released in 2003. In 2010 Elf – the Musical hit Broadway earning several Tony nominations. Each year since then, there’s been a tour of the show. This year, Elf – the Musical at the Shubert in New Haven from Tuesday, Dec. 20 to Saturday, Dec. 24. I enjoyed the show and the CD; it is a tuneful delight. Call the box office at 203-562-5666 or visit Shubert.
Ivoryton Playhouse is continuing its multi-part Christmas story, The Bells of Dublin with Part III: A New York Fairytale. Once again it is written and directed by artistic director Jacqueline Hubbard. This year, Paddy brings his whole family to NYC for the holidays where on Christmas Eve at O’Lunney’s Pub, Maggie the bag lady settles in to weave a story of the holidays. The Christmas carols, Irish songs and a little vaudeville. R. Bruce Connelly heads the cast of audience favorites. It runs Wednesday, Dec. 7 to Sunday, Dec. 18. For tickets visit Ivoryton Playhouse or call 860-767-7318.
This content courtesy of Shore Publications and zip06.
“Relativity” – Judging the Genius as a Family Man
Christa Scott-Reed, Lori Wilner, Richard Dreyfuss. Photo by Lanny Nagler
By Karen Isaacs
Einstein was a genius; everyone agrees. But Relativity the new play by Mark St. Germain now at TheaterWorks through Nov. 23, explores Einstein the husband, father and man.
In particular, the play deals with Einstein’s daughter Liserl who has been a mystery to Einstein biographers. Liserl was born before he and his first wife, Mileva Maric married. No definite proof seems to exist as to what happened to her; some believe she was raised by Maric’s relatives and others believe she was adopted.
Relativity – an obvious play on Einstein’s famous theory as well as the idea of relatives – opens in Princeton in the late ‘40s or early ’50. Einstein is now elderly though still working at the Institute while the FBI snoops around. Apparently J. Edgar Hoover was convinced Einstein was a security risk, possibly because he became active in anti-war and anti-bomb causes. His housekeeper/mistress Helen looks after him and regards most visitors with suspicion.
The play begins with Einstein meeting Margaret Harding who says she is a new reporter for a Jewish newspaper and wants to interview him. He finds the woman attractive and invites her home; Helen is immediately on guard.
What starts as a relatively normal interview soon veers off. It seems that Helen has done her homework and has talked with Einstein’s sons who don’t view him as “warm and fuzzy.” When he wants to cut short the interview she whips out a form that promises to let him review and reject anything she writes.
If you are convinced she isn’t who she seems to be, you are right. Her questions become more and more pointed; she seems to have lots of questions about Einstein’s parenting and marriage. The implication is that while Einstein may have been a genius, he was not a very nice man – an uninvolved father who wanted quiet and ignored his sons, and a philandering husband who demanded that the household revolve around his needs and desires.
Christa Scott-Reed. Photo by Lanny Nagler.
It may not be a surprise that Margaret Harding is Liserl, the daughter who was given up for adoption. Though she claims her adoptive family was terrific and her father “a great man” who sacrificed a potentially life-changing commission as an artist to care for his wife – she seems intent on trying to get some acknowledgement from Einstein of his paternity and his failings. He admits the paternity.
St. Germain, whose plays often deal with historical characters, is attempting to raise a bigger issue here, which can be phrased in two ways. One, why do we assume that geniuses should also have sterling characters and moral compasses? The other question is related: do character flaws diminish the accomplishments of genius? After all Mozart wrote sublime music that can lift our spirits and thoughts yet he was a drunk, selfish, promiscuous man. Does the latter diminish or negate the former?
Richard Dreyfuss is Albert Einstein. Dreyfus know his way around a stage and it shows. But
Richard Dreyfuss. Photo by Lanny Nagler.
this Einstein at times seems more like a cherub that the genius. He is by turns flirtatious, defensive, charming and remote. His moods swing and he can make an easy joke or give a cold stare. At times he reminds me of an almost Santa-like figure. He is both naïve and very aware; gullible and guarded.
If Dreyfuss gives us an Einstein who is less scientific genius and more playful old man, Christa Scott-Reed gives us a Margaret who seems both cruel and needy. She often plays the role as a prosecuting attorney. You can’t always buy her story of a happy adoptive family; the axe she has to grind is too huge.
Lori Wilner is Helen, whose role is to be both protective and at times the humorous foil for all that is going on around her.
The cast works superbly together. It is a minuet that is skillfully danced, thanks in large part to director Rob Ruggiero.
Brian Prather has created a wonderful set that shows Einstein’s office in his home with windows that look out onto snow-covered tree limbs. It feels warm and cozy. Alejo Vietti’s costume design are perfect for the period and remind us of how much more formal that period was.
In truth, Relativity is really a family drama about a daughter who feels deprived of her father’s love. What makes it unusual is that this father was Einstein.
While St. Germain toys with the larger issues, too often these are sacrificed for the domestic drama and the consoling ending. It seems that Einstein has a heart after all.
Relativity is an enjoyable 90 minutes in the theater in part due to the fine direction and acting. Yet, it could have been more.
It is at TheaterWorks, 233 Pearl St., Hartford through Nov. 23. For tickets, call 860-527-7838.
Richard Dreyfuss. Photo by Lanny Nagler.
“Midsummer” – Excellent Performers, But I Just Didn’t Care
Photo by Lanny Nagler
By Karen Isaacs
Midsummer (a play with songs) is getting a very nice production at TheaterWorks in Hartford through Aug. 21. But I have a problem: Why didn’t I enjoy this show more?
It was not the two person cast; both Rebecca Hart and M. Scott McLean are talented and develop their characters. They not only act but sing and play the guitar. It wasn’t the direction by Tracy Brigden which was fine.
But when I secretly look at my watch several times during a 95+ minute show, it is a clear signal that I am not engrossed.
The show was created by two Scottish artists: Gordon McIntyre, an indie rocker associated with ballboy and playwright David Greig. My knowledge of indie rock is very limited so I had never heard of McIntyre. Greig wrote The Strange Undoing of Prudencia Hart which was at the International Festival of Arts and Ideas several years ago before making a return engagement to New Haven last Spring. I have to admit, I never saw the charm of that play either.
Photo by Lanny Nagler
The play is set in Edinburgh where Helena, a high powered divorce lawyer is stood up, once again, by her married lover. It is Friday of the midsummer weekend marking the longest days of the year. She picks up Bob, a small-time crook who is waiting at the wine bar for his contact to arrive with his next assignment. The pick-up starts amusingly enough with Helena apparently saying to Bob what she may have been thinking and then telling us that wasn’t what she said. This device is used multiple times during the play.
So the boy and girl have met. What happens next? They get drunk, go to bed, have so-so sex and leave each other in the morning. The sex scene is staged inventively even if the joke goes on too long. Helena must attend her sister’s wedding – but her car is in a car park far away and Bob is to sell a “hot” car and deposit the money in the bank by noon.
The story is thus familiar – a totally incompatible couple with little in common but their age meet and somehow we are to believe they stay together. During the course of the weekend, Bob never makes it to the bank with the fifteen thousand pounds, Helena is late for the wedding and Bob suggests they blow all the money. They do – on champagne, food, hotel rooms and assorted other things, picking up a variety of unseen hangers on in the process. By Monday morning, Bob departs with his guitar for Belgium to earn a living “busking” or singing on the streets and Helena decides to accompany him.
I’ve always wondered what separates a “play with music” which is how this is described with a “musical.” My best guess is that in a “play with music” the songs are less integral to the plot and do less to advance plot or characterizations.
While I was not enchanted with this show, I must applaud to the two performers and the dialect coach – Gilllian Lane-Plescia. The two performers maintain a Scottish burr but are still totally understandable. When I was in Edinburgh, I found the accent very difficult to understand.
Both Rebecca Hart and M. Scott McLean do their best to show us the charm of these
Photo by Lanny Nagler
characters. Bob is the guy who peaked at 17 and has been wasting his life since – married, divorced, no direction – making his living doing assignments for the leader of a group of crooks. Helena is equally stuck. As a divorce lawyer she must have the seen the worst of marriage; she is stuck in the relationship with a married man and is afraid she is pregnant. Neither of them seem to be going anywhere. Each actor gives us the uncertainties, dissatisfactions and charm of their characters. It is just that I did not care very much about Helena and Bob.
So is the madness of the midsummer weekend that leads them to their reckless acts? In northern countries, the longest days of the year are often said to create a kind of madness and recklessness.
The music is well performed and falls into the folk-rock genre. Parts of this show reminded me of Once.
Midsummer (a play with music) may entrance you. I found it a moderately enjoyable evening, but nothing I would rush to see again.
Midsummer (a play with songs) is at TheaterWorks Hartford, 233 Pearl St. in downtown Hartford, through Aug. 21. For tickets and information call 860-527-7838 or online at theaterworkshartford.org.
Photo by Lanny Nalger
A Glittery Night for Connecticut Theater
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.
Photo by Mara Lavitt.
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
Presenter and legendary theatrical animal trainer Bill Berloni with two of his current animal actors Frankie, left, and Trixie, right. Photo by Mara Lavitt.
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.
Mohit Gautam – Debut Award.Photo by Mara Lavitt .
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.
Rajesh Bose – Outstanding Actor in a Play. Photo by Mara Lavitt.
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,
The 2016 Connecticut Critics Circle Awards. Tom Killen Award recipient Anne Keefe. Photo by Mara Lavitt.
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.
Teren Carter, Outstanding Featured Actor in a Musical.Photo by Mara Lavitt.
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 Set Design winner Alexander Dodge. Photo by Mara Lavitt.
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
CT Critics Announce Award Nominations
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
Outstanding Ensemble
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.
Outstanding Choreography
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
The Call – Types Not Real Characters Inhabit Play
Mary Bacon and Todd Gearhrat. Photo by Lanny Nagler
By Karen Isaacs
Sometimes playwrights get so caught up in the issue they want to discuss that the work becomes merely a vehicle for the different points of view. George Bernard Shaw and Bertel Brecht managed to overcome this problem, most of the time.
Tanya Barfield, the talented playwright of The Call now at TheaterWorks through Sunday, June 19 had more difficulty.
The topics are certainly worthy of discussion: international vs. local adoption, interracial adoption, infant vs. older children adoption, infertility problems, ethics, morality, and uncertainty. And just to add more, a death that occurred years ago due to AIDS.
When the play opens Peter and Annie are discussing a baby soon to be born in California that the couple will adopt. But Annie is beginning to get the sense that the birthmother may change her mind. It is clear this is a couple that have wanted a child for a long time and gone through various treatments which have taken a toll on them.
In the next scene it is apparent that Annie’s fear has come to pass for the couple is now discussing other possible adoption alternatives. After a dinner with their friends Rebecca and Drea who have just returned from Africa, Annie suggests they consider adopting a baby from an African country. Many years ago, Peter had travelled extensively in Africa with Rebecca’s brother. We later learn that he died there.
As the play progresses, Drea plays the devil’s advocate. Why not adopt an African-American child? Why go to Africa? Drea and Rebecca joke about the difficulty of doing “nappy” hair and would Annie be able to do it. And there is some discussion of possible psychological or physical problems. Later Annie asks a question: Why do so few African-American couples (Drea and Rebecca are African-American) adopt?
Jasmin Walker and Mary Bacon. Photo by Lanny Nagler.
Soon Annie and Peter get “the call” telling them that a child is theirs. It’s not the infant that Annie wanted, but a two and half year old girl. Annie is a little hesitant; she wanted the child to have no memories of another mother or life before theirs. But she rationalizes that the girl is so young that she will have no long-term memories and the possible problems may be minimal.
The problem arises when Annie shares a picture of the girl with Rebecca. Rebecca points out the child looks way older than two and a-half; she could easily be four. With that news, Annie seems to be drawing away from the adoption idea while Peter is gung-ho. While she is willing to give up on the experience of childbirth, she wants an infant so she will experience the “first tooth, the first steps.”
To add to the coincidences, their new next door neighbor in the apartment building is an African gentleman who all agree is “strange.” He seems to insinuate himself into their lives and soon he is bringing over boxes of goods –syringes, used shoes, soccer balls – that he wants them to bring with them when they go to pick up the child.
By this time, Peter has reluctantly accepted that Annie does not want to adopt. They are abandoning their dream of having child. Annie is tired of the processes either to conceive or adopt.
The play wraps up with Peter telling Rebecca some information about her brother’s death that he had withheld; he wasn’t with the man at that time.
Jasmin Walker, Todd Gearhart and Maechi Aharanwa. Photo by Lanny Nagler
The characters in this play are mouthpieces not flesh and blood people. Annie, played very well by Mary Bacon, is a woman with “baby envy” – she wants a baby, not just a child. She is every woman who has gone through the emotional turmoil of hormone treatments and IVF. Bacon shows Annie’s reservations; you can see on her face the exact moment when she begins to really question the idea.
Peter is the positive force, sure that whatever the difficulties they can overcome them. Todd Gearhart gives us the “can do” spirit. He is baffled when his wife wants to back out.
Drea and Rebecca are also mouthpieces. Drea, played by Maechi Aharanwa, is the tactless friend who says anything that comes into her head. She doesn’t even understand that some questions should not be asked and some comments should not be made. Rebecca played by Jasmin Walker is the voice of reason; it is she who brings up some of the problems of both international adoption and adopting an older child, such as the honesty of the agency’s information and the problems that may occur in a child bonding. Walker clearly portrays that rational thought, except when it comes to her brother and his death.
Michael Rogers plays Alemu, the next story neighbor. Rogers uses his body effectively to show us this man who still feels out of place in America and is hesitant about himself. He is the one encouraging Annie and Peter to go forward.
Director Jenn Thompson who has been working with this new play for a number of years, she directed the 2013 off-Broadway production, certainly makes the most out of the script. It is hard to tell if my response to the characters is due totally to the play or a combination of the play and the actors. Luke Hegel-Cantarella has created a set that can move easily from Peter and Annie’s apartment to a park, the nursery and other locations.
Some will find The Call and emotional play but I for one, found it too much like a debate with point and counterpoint.
The Call is at TheaterWorks Hartford, 233 Pearl St. in downtown Hartford, through Sunday, Feb. 14. For tickets and information call 860-527-7838 or online at theaterworkshartford.org
This content is courtesy of Shore Publications and Zip06.com.
Michael Rogers and Mary Bacon. Photo by Lanny Nagler
News from Connecticut Theaters and NYC
Inside notes and comments about Connecticut and New York Professional Theater
By Karen Isaacs
King Arthur and the Holy Grail: Monty Python’s famous movie about this was turned into a terrific musical, Spamalot that won numerous awards. Now the Connecticut Rep on the UConn campus is presenting it from Thursday, April 21 to Sunday, May 1. Rickard Kline will play King Arthur; he was at CRT in The Sunshine Boys and played the Wizard in the national tour of Wicked. He will be joined by Mariand Torres as the Lady of the Lake. She has played Elphaba in the same tour of Wicked. For tickets, visit crt.uconn.edu or call 860-486-2113.
World Premiere: Long Wharf is presenting the world premiere of Lewiston through Sunday, May 1, directed by former associate artistic director Eric Ting. According to the press materials, Lewiston is about “Alice and Connor [who] sit by their roadside stand selling cheap fireworks while developers swallow the land around them. Promised a condo in the new development, their future is secure. Enter Marnie, Alice’s long lost granddaughter, proposing to buy the land to save her family legacy. Marnie and Alice will become reacquainted with each other’s deeply held secrets, uncertain pasts, and hopeful futures.” For tickets visit www.longwharf.org or call 203-787- 4282.
Favorite Songs: If “Take Me Home, Country Roads” or “Rocky Mountain High” are among your favorite songs, you will want to see the east coast premiere of the new musical Back Home Again: On the Road with John Denver at Ivoryton Playhouse. It runs through Sunday, April 24.
David M. Lufken and Katie Deal star; they have been with the show since its original production at the Milwaukee Rep. Lufken created the show Woody Sez about Woody Guthrie which had a successful run at TheaterWorks. You can expect to learn lots about Denver as well as to hear many of his songs. For tickets visit ivorytonplayhouse.org or call 860-767-7318.
News from the Shubert: New Haven’s Shubert Theater will host a return engagement of Jersey Boys, Tuesday, May 3 to Sunday, May 8. For tickets to Jersey Boys or information on subscriptions to the Broadway series visit Shubert.com or call 203-562-5666.
Matilda: Hartford’s Bushnell Theater is hosting the national touring production of the musical Matilda, based on the Roald Dahl book and the film. It runs Tuesday, April 26 to Sunday, May 1. For tickets visit bushnell.org.
New Haven in New York: In the last weeks, several shows that New Haven area audiences saw have opened on and off-Broadway. Eclipsed by Daniel Gurira has opened on Broadway starring Lupita Nyongo’o, who was a Yale Drama student and understudy when it had its premiere at the Yale Rep. She has since won an Oscar. Guiria’s Familiar¸ which opened at the Yale Rep in February 2015 has opened off-Broadway. Opening soon is Indecent by Paula Vogel. It ran last fall at the Yale Rep and will feature the Yale cast.
The Last Five Years: MTC (Music Theater of Connecticut) is closing its season with the award winning musical The Last Five Years which features book, music and lyrics by the Tony winning Jason Robert Brown. The show tells the story of a relationship; but the man tells the story from beginning to end while the woman tells the story from the end back to the first meeting. Nicolas Dromard who has appeared on Broadway in Jersey Boys and Jennifer Malenk who has appeared in Into the Woods star. The show runs to Sunday, April 24. For tickets call 203-454-3883 or visit musictheatreofct.com.
Anastasia: Excitement is building about the world premiere of Anastasia at Hartford Stage beginning Thursday, May 12. The last musical to premiere there, A Gentleman’s Guide to Love and Murder, went on to win the Tony for best musical and a Tony for the director Darko Tresnjak, Hartford’s artistic director. Lynn Ahrens and Stephen Flaherty who wrote the music for the animated film, are writing new music for the show. In an interview with the Manchester (CT) Journal Inquirer, Tresnjak said that 16 new numbers have been written for the show; only six from the original film are in the score. For tickets visit hartfordstage.org.
This Summer: Sharon Playhouse, in the northwest corner of Connecticut is presenting five shows this summer. The season begins with Gypsy from June 16-July 3, followed by the Tony-winning musical Big River: The Adventures of Huckleberry Finn from July 21-31. Then is Quartet, a play about elderly opera-singers from Aug. 18 to 28. On stage two, the Playhouse will present a new musical Judge Jackie: Disorder in the Court from July 7-17 and the long-running off-Broadway hit, I Love You, You’re Perfect, Now Change from Aug. 4-14. For information or tickets visit sharonplayhouse.org. The box office, 860-364-7469 x100 opens Friday, April 15.
New Plays: Westport Country Playhouse has launched an initiative to develop new plays and musicals through workshops and readings. Two works will be receiving a workshop and later a staged reading before an audience. The two works are a new play, Out of the Mouths of Babes by Israel Horovitz (in partnership with New York’s Cherry Lane Theatre) and a new musical The Rivals based on the classic comedy by Sheridan.
New York Notes: The musical comedy The Robber Bridegroom is being revived by Roundabout Theater at its off-Broadway Laura Pels theater. Steven Pasquale is starring. It is billed as a “raucous, hilarious, sexy theatrical gem with an irresistibly catch bluegrass score.” It runs through Sunday, May 29. For tickets visit roundaboutTheatre.org. Marin Mazzie will take over the role of Anna in the Lincoln Center revival of The King and I. She succeeds Kelli O’Hara. Side Show, a musical Stephen Sondheim has been working on for years under various titles is getting a production the Signature Theater in Arlington, Virginia. It often present new works that eventually make it to New York. Last summer a new musical about James Cagney got a brief run off-Broadway. Most people don’t know that Cagney started as a song and dance man. Now Cagney is getting a full off-Broadway production with an opening set for Sunday, April 3.For tickets visit Telechaerge.com.
New York Plans for Next Season: A musical version of Sponge Bob is aiming for Broadway next season. It will preview in Chicago beginning June 7. Derek Hough of Dancing with the Stars will star on Broadway next season in Singin’ in the Rain. He will, of course, play the Gene Kelly role. The show will begin in Paris as the successful An American in Paris musical did. Also next season is a revival of William Finn and James Lapine’s musical Falsettos. It will begin previews on Sept. 29.
