Tag Archives: Tood L. Underwood

Ivoryton’s “West Side Story” Is Fine Production

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Photo by Anne Hudson

By Karen Isaacs

 If you have never seen the classic musical, West Side Story, then hurry off to Ivoryton Playhouse through July 30 to see its fine production.

Is it perfect?  No, but very few productions are. This production has many more plusses than minuses. It illustrates how far this small theater has come over the years that they can pull off this type of show.

In case you don’t know the show – is there anyone who hasn’t seen a production or the movie? – it is an adaptation of Shakespeare’s Romeo & Juliet set in New York City in the mid-50s. Two teenage gangs are battling for turf — the Jets represent those who have been in the city for a generation – Italians, Polish and other eastern Europeans. The Sharks who are increasing in numbers are newcomers from Puerto Rico.

The two gangs can’t co-exist in the tenement neighborhoods on NY’s west side, many of which will be torn down to make way for the Lincoln Center complex.  But just as in Romeo & Juliet, two young people from opposite sides fall in love with tragic results. Tony (a Jet) falls in love with Maria (whose brother leads the Sharks).

What is striking in the show (and discomforting) is the obvious racism of the police, particularly Lt.  Schrank who not only uses racial slurs to refer to the Puerto Ricans but who actively encourages the Jets to “force them out.”

The show was created by Leonard Bernstein (music), Stephen Sondheim (lyrics), Arthur Laurents (book) and Jerome Robins (director/choreographer). The show brought a jazzy urban score to Broadway as well as extensive use of dance that incorporated ballet and modern dance.

Ivoryton has assembled a fine cast with Todd L. Underwood as director/choreographer and Michael Morris as musical director.

Mia Pinero is luminous as Maria, a young woman who has recently arrived in the city and is experiencing her first love. She has a lovely voice that can be tremulous when necessary and full of determination at other times. You don’t want to take your eyes off of her.

Stephen Mir as Tony is more problematic. His voice is excellent, yet he sometimes seems to lack the passion called for. Another problem is that he looks very young – I would peg him for 16 or 17 at the oldest. Yet he is supposedly one of the founders (with Rif) of the Jets; he is no longer in school but works fulltime in Doc’s drugstore. As one of the leaders – although he is distancing himself from the gang – he is presumably one of its best fighters. Mir just doesn’t look the role.  Conor Robert Fallon as Rif has a more appropriate look.

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Mia Pinero and Stephen Mir. Photo by Anne Hudson

The two other main roles are Anita and Bernardo. Bernardo is Maria’s older brother and leader of the Sharks and Anita is his girlfriend and thus the leader of the girls. Natalie Madion as Anita is beautiful and dances very well. She projects the self-confidence that Maria is just gaining. Victor Borjas is smooth as Bernardo, but he frankly looks much too old for the part. Bernardo is older than the others but Borjas could pass for early 30s which seems inappropriate for the role. Yet he too carries the singing and dancing well.

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Victor Borjas and Natalie Madion. Photo by Jonanthan Steele

The rest of the company is excellent, though sometimes it is hard to differentiate the characters.

Underwood has managed the small Ivoryton stage very well and created dances that draw on Robbins’ choreography while being original. The cast works hard and achieves a lot.

My one quibble is his handling of the song “Somewhere” – it has been staged many different ways and sung by different characters, though most of us remember the film where it was a duet for Tony and Maria. Here the initial chorus is sung by Anita and Anybodys (the young girl who wants desperately be a Jet), with the ensemble joining in before it becomes Tony and Maria’s duet. Many of the ensemble are dressed in white (but not all) so you can wonder if they are angels, ghosts, or what. It was the most distracting part of the show.

Credit must be given to the 10-piece orchestra that is hidden away under the direction of Michael Morris.

Daniel Nischan has created a concrete jungle that can be transformed from a school playground, to the dress shop and drug store where Maria and Tony work and other locations.

Overall the costumes by Elizabeth Cipollina are 50ish. But the men’s hairstyles are not really correct for the period. They need the Elvis look – pompadours, Brill cream, etc. and they don’t have them.

Sound Designer Tate R. Burmeister and lighting designer Marcus Abbott do excellent work. The sound never blares and you can hear the lyrics. The lighting, particularly in the scene under the bridge is exquisite.

West Side Story runs through July 30. Get tickets at Ivoryton Playhouse or call 860-767-7318.

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Photo by Jonanthan Steele

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Ivoryton’s “Chicago” Almost Meets Their High Standards

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“We Both Reached for the Gun” with Lyn Philistine and Christopher Sutton. Photo by Anne Hudson

By Karen Isaacs

 Last summer, Ivoryton Playhouse gave us terrific productions of two musicals – South Pacific and Memphis, plus a very good production of Little Shop of Horrors. So they have set the bar very high for this summer’s series of three musicals.

The first of them, Chicago, which runs through July 24 is a very good production that made me wish it were better. You will enjoy it; the night I saw it, the audience certainly did. Yet for me, it had enough minor flaws – and a few not so minor – that I couldn’t share totally the enthusiasm of the audience.

By now, it is hard to believe that there is anyone who hasn’t either seen a production of Chicago or seen the movie or at least recognizes some of the songs. The movie was hit, and the show is still running on Broadway – it is the longest running American musical in history – and there have been numerous touring productions.

This Kander & Ebb show which is actually based on a very old play that became the 1930s film Roxie Hart  is about the celebrity culture of the 1920s.  Roxie Hart kills her lover and becomes a celebrity; it is assumed that she will be acquitted and become a “star” on the vaudeville circuit. In the same position is Velma Kelly, who killed both her husband and her sister. Add in a celebrity lawyer, a sob-sister columnist and a very helpful matron at the jail and you have the makings of a terrific plot.

Kander & Ebb (and Bob Fosse the original director/choreographer) set it as a series of vaudeville routines introduced by various characters. Thus, Velma sings “An Act of Desperation”.

But Chicago presents challenges to any production; the Fosse choreography which is very stylized must be hinted at but cannot be copied; and it has stay true to the 1920s period. The actors playing Roxie, Velma and Billy Flynn, the lawyer need to have style and charisma.

Let me start by saying many things are good in this production. The nine piece orchestra is led by music director Paul Feyer. At the back of the stage behind what seems like prison bars, it is excellent and large enough to do justice to the music. The sound designer Tate R. Burmeister has also done an excellent job. You never are blasted out of your seats by the volume; you can hear the lyrics. Occasionally some of the singers were almost too quiet, but I was sitting in the back of the balcony.

Set designer Martin Scott Marchitto also handled the awkward Ivoryton stage cleverly. Most of the costumes by Elizabeth Cipollina were good, though a few seemed more 1930s than 1920s.

Todd L. Underwood both directed and choreographed. Again, he did a good job. I did find some of the choreography repetitious and not always in the 1920s mood.

The cast, which features seven performers with Equity cards, overall are good. Ian Greer Shain, who does not yet have his card, was a terrific as Amos, Roxie’s easily manipulated husband. He managed to make the character both sympathetic and pathetic and really put over the song, “Mr. Cellophane.” Z. Spiegel who plays Mary Sunshine, the columnist is also very, very good. Spiegel has done the role before.

Lyn Phillastine as Roxie both sings and dances well. Her gestures and facial expressions let us see Roxie’s cycles of confidence and fear, strength and weakness. Stacy Harris as Velma also delivers a fully developed characterization. Yet, with of each of them, there was something – hard to identify – missing. Just a little touch that would have made these performances truly outstanding.

Christopher Sutton plays the smooth talking, star lawyer who knows how to manipulate not only the press, but the jury and everyone else. While he may proclaim that ”All I Care About (Is You)”, he is clearly in it for the money and his own celebrity status. He views the law cynically, which he makes clear in the production number, “Razzle Dazzle.” Sutton again his good, but there is more lacking in his performance; he did not seem to project the magnetic qualities of Billy, and in the “Razzle Dazzle” number his costume makes him look like a circus ringmaster.

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Sheniqua Denise Trotman. Photo by Anne Hudson.

Unfortunately the weakest link in the show is Sheniqua Denise Trotman as Mama Morton, the prison Matron. I loved Trotman as Effie in Ivoryton’s Dream Girls. Here her voice is still terrific but she says many of her lines with minimal characterization or emotion. She doesn’t get across the innuendo in the role.

All in all, Ivoryton’s Chicago is a production that most of you will enjoy very much. While this show has a message – about cynicism and celebrity culture – it is presented in such an enjoyable way that you will be delighted.

Chicago is at Ivoryton Playhouse, 103 Main St., Ivoryton, through Sunday, July 24. For tickets visit ivortyonplayhouse.org or call 860-767-7318.

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Stacey Harris as Velma Kelly. Photo by Anne Hudson.

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