I’ve lived in Boston my whole life.  Yet, I’m always seeing productions offered by companies I’ve yet to encounter.  This is one of the beautiful aspects of the Boston theatre scene.  Happy Medium Theatre is one such company.  Having never seen a production by the group, I was not sure what to expect.  In the future, having watched their production of The Country Club, I will expect to be entertained.  The play was witty, dry, and more than a little amusing.  If you’ve ever lived in upper-middle class suburbia, this year in the life of country club members will resonate with you.

At the start of the show I felt as though the acting was a bit over the top.  I was disappointed to see how bombastically each character was being portrayed.  As the play unfolded, however, I realized it was not the acting but the characters that were so over the top, and they were being played well.  Kiki Samko, as Pooker, walked the fine line of outlandish and waspish.  Samko seemed to know where to reign the character in, while still conveying the exaggerated characteristic of this country club daughter.  Viktor Schopov, was, as always, a joy to watch.  I enjoy his performance, in this production because it never seems to be a matter of acting, but rather a matter of being Zip.  Audrey Lynn Sylvia, delighted the audience as the over anxious, thereby, hyper-roductive/-controlling/-active Froggy.  Sylvia played this role effectively.  Her performance spoke to the “now” of the play, but also painted a picture for the audience of what kind of parent Louise might have been.  These performers stood out, but also collaborated well with the collectively good ensemble cast.

Though it is a very difficult space to work in, going to The Factory Theatre is like going home.  Despite it’s limitations the space worked well of HMT’s production.  HMT’s Scenic Designer/Set Builder Sean A. Cote created the “Cub Room” at country club.  The acting space was well built, and certainly set the scene.  Most impressive was the painting technique used to create what looked like a real hardwood floor.  A particular hats off for that trick of stage craft.

Happy Medium Theatre’s production of The Country Club gave a glimpse into exclusive organizations.  With beer and wine available HMT drove home the “club” atmosphere.  Director Mikey DiLoreto and his troupe of actors deserve ovation.  They pulled me into the story of these 7 people.  They entertained me, and my companion for the evening, two very over analytical theatre goers.  I look forward to more offerings like this from HMT.

Escape, set to Leo Brouwer’s Concerto for Guitar and Violin, started slow, but gave way to lively beats and a cacophony of movement.  Angie DeWolf was featured in this piece, and radiated in the principle role.  Opposite DeWolf, was Mark Kehlet Schou.  Schou, as always, was remarkable.  Together the two entwined the audience in the ballet’s tension and emotion.  These two dancers, however, were not the only gems of this piece.  The entire corps de ballet was unified, even in the more brisk allegro portions.

Ayer Pasado was choreographed to Manuel Saumell’s Danzas.  Madeleine Bonn exudes elegance and exquisiteness.  It is not just her technique that makes her so enjoyable, but it is her stage presence, and her commitment to the movement and characterization of the piece.  Jacob Hoover continually surprises me with his strength and agility.  It was nice to see Jenna-marie Nagel featured.  There is effortlessness in her movement.  Despite the traditional sound of the music, Mateo brought playfulness to the piece, that broke away from the sometimes somber milieu of ballet.  I particularly loved the white cloth that acted as the common thread through a series of pas de deux sequences.

Pagano Y No was the evenings premier.  This was set to Aruan Ortiz’s Santiarican Blues Suite and back dropped against the photographic artwork of Linda Hirsh.  This piece was exciting, beautiful and entertaining.  The bright colors and Latin rhythms made were enrapturing, and before I knew it the piece had come to an end before I was ready.  The second movement of the piece was my favorite.  In particular, I was enthralled by Elisabeth Scherer, Gloria Benedikt and Emma Ward as a trio.  Their movements were concise and precise.   I will say that I was slightly disappointed in the parts of August Lincoln Pozgay’s performance where he seemed tentative, and not fully sure of or committed to his choreography.  This, however, was a minor distraction, and hardly took away from the overall effect of the piece.

The stand out performer of the evening was by far and away Joanna Binney.  As a member of the corps, Binney drew my eye every time she was on stage, but not at all as a distraction from the corps’s choreography at large.  Here extension was beautiful and seemed only to stop when she willed it to do so.  Binney also had an air of delight in her dance.  Binney deserves respect for her skill and ability to contribute to the beauty of the group while excelling individually.

¡Cubiania!, in my humble opinion, was a success.  Three works of art culminating not only to celebrate the brilliance of Jose Mateo, but to celebrate his roots, and his heritage.  After a season long series of concerts, this milestone year has come to an end, and only sets the bar higher for what to expect in future.  I look forward to what the company will produce in the coming season and what Mateo will create in the years to follow.

The Company

It has been a long time since I have enjoyed a play this much.  Publick Theatre Boston’s production of 9 Circles was a weighty treat.  The script, written by Bill Cain, offers an irreverent look at military justice.  Authenticity and wit were the trademarks of this work.  The production created the catharsis for what’s happening in our daily lives (or not happening in our daily lives).  It shines light on the aspects of the Iraq War to which most of us would prefer to be ignorant.  It’s not that this show asks the tough questions; rather it offers the audience the chance to ask the tough questions of themselves.  Director Eric Engel and his entire production team have earned my utmost respect.  It is rarely done, and even more rarely effective, but Engel has manifested a truly Brechtian work of art.

Amanda Collins and Will McGarrahan had an actor’s dream.  (At least mine)  They each played all the women and men, respectively, through out the story. McGarrahan, as Man – Various, was hilariously creepy as the priest.  Collins, as Woman – Various, shone as the prosecutor.  Each played all of their several characters convincingly.  During their time out of the acting space they were quiet and observant of the action in the circle.  Their on looking pointed out the prevalence of the piece while never serving as a distraction.  Both these actors deserve their dues.  Each spent a decent amount of time doing “nothing.”  But as they say, the hardest thing to do on stage is nothing.

The stand out performer of the evening was Jimi Stanton.  As Daniel Reeves, he was the very model of a modern military man (boy).  Stanton’s performance had me convinced that he was an infantry enlistee from Texas.  His dialect, inflection and mannerisms were spot on.  He captured the stubborn, hot-tempered disposition of an authoritarian personality in ambiguous circumstances.  Stanton not only acted the part well, but also fit the image.  He had the crew cut, adolescent acne, and was in peak physical condition. Hats off to Stanton for acts of brevity in his acting. His performance was believable and bold.

The entire cast and crew of this production deserve congratulations.  I never know what to expect when I’ve never seen a play produced by a company whose work I’ve also never seen.  I was pleasantly surprised.  Publick Theatre Boston has captured my attention.  This production was pithy, poignant and ponderous.  If you are alive in America today, this production is well worth your while.  I hope everybody takes the time to think critically about justice and what it means, as this play begs of its audience.   Bravo, once again, to all involved in this production.

American soldier Daniel Reeves (Jimi Stanton) and his army lawyer (Will McGarrahan)
with army psychiatrist looking on (background, Amanda Collins)
Photo credit: Craig Bailey/Perspective Photo

Dark Profiles used the chaotic themes of Beethoven’s Fugue to create the zeitgeist of navigating one’s own identity.  Madeleine Bonn was captivating as the ballet’s principle character.  She brought to life the graceful tension of love.  Bonn has a magnetic appeal in her dance.  Each extension of her arm and point of her toe captivates the audience.  It seems she can’t but help draw your eye.  Complimenting Bonn’s enthralling presence was Kehlet Schou.  Schou has proven to be one of my favorite company members.  His performance in Dark Profiles was no exception.  His strength and finesse make him most exhilarating to watch.  The choreography of the piece seemed to make sense of Beethoven’s sometimes knee-jerk melodies.  Unfortunately, however, the corps de ballet was not entirely cohesive.  Their lines were a bit loose.  What was most disappointing about the corps’ lack of synchronization was that it could almost still be seen how beautiful the combinations might have been had they been better coordinated.

The second Ballet of the evening, House of Ballet, offered a beautifully unfolding story.  The piece opened with a tick-tock type train of steps that pulled the audience right in.  The piece unfolds to reveal an obsessed Balletomane played by Jacob Hoover.  Hoover, once again, surprised me with his strength and power.  Hoover demonstrated this most brilliantly with his fouettes rond de Jambe en tournant.  Elisabeth Scherer beautifully played the object of Hoover’s obsession, a prima ballerina.  Scherer was statuesque in her bright white tutu.  Scherer was enjoyable to watch. Her coupe jete en tournant were beautiful.  This piece was fun.  It escaped the clichés of ballet, and told a story that contradicts the romance of the dance.

The closing ballet of the concert was Timeless Attractions. I had the joy of seeing this piece when it premiered.  I enjoyed it more the second time.  Each pas de deux pair performed excellently.  Once again, however, Sybil Geddes stole this piece.  Emotions pour out of her when she dances.  Her performance was evocative and beautiful. The final movement of the piece features the entire company in a cacophony of music and dance.  In my previous viewing of Timeless Attractions I was distracted by an incongruous corps.  In this performance, the final movement was my favorite.  The corps was cohesive in spite of the speeding tempo.

Beauty Strange was an enjoyable evening.  This installment of the celebrating of Jose Mateo’s beautiful creations gave way to an enjoyable evening of emotion.  Seeing three works spanning 17 years gives a glimpse into the mind of Mateo.  The innovations and ideas never stop.   From dark to light, from sadness to laughter, this concert offered a range of emotions.  Beauty Strange wet my palate for dance, and leaves me anticipating Tidal Forces.

When I accepted the assignment to review Whistler in the Dark’s production of The Europeans by Howard Barker, I was excited for the prospects it had to offer.  When I got up from my seat almost three hours after curtain up, I was exhausted and slightly confused.

The play, primarily a period piece, explores the idea of communal self-re-identification.  After a life-altering event — in the case of this play, the siege on Vienna by the Ottoman Empire — a people are left to rebuild and redefine their existence.  The language and references of the piece, however, did not always stick to the period.  The company dramaturge explains that these lapses in accuracy were part of the plays universal application.  These exceptions to the historical setting served as a greater distraction than an emphasis on the commonality of the questions at hand.  There also seemed to be a disconnect between the scenes and the “storyline”.  It was as though playwright, Howard Barker put several ideas to paper then loosely strung them together in the setting of Vienna in 1683.

Unfortunately my displeasure did not stop with the material itself.  There is a “Factory Theater” shaped place in my heart, but it is a tough venue.  Intimate is a word I’ve often used to cast it in its best light.  The configuration of seating for this production left something to be desired.  Dressing room conversation, prop collection, waiting cast members all served as distractions.  Despite the unique configuration of the play space, the proximity of seating to the Stage left wing with out the barrier of a leg allowed serial disruptions of the illusion.

The lighting, sound and minimalist set were the elements of this show that I found most pleasing.  The use of a smoke machine gave the ambiance of both post-war and guttural conditions.  The archaic stools and benches served as dynamic set pieces used cleverly to construct each scene.  What was unclear was the enormous painting hung on the down stage wall that remained predominantly covered by a black curtain.  This painting was partially revealed for the preponderance of the play, and was fully covered for the few scenes.  Such a large set piece set a particular anticipation.  It was a let down that the contents of the massive gold frame was never revealed.  After much contemplation, contrived that perhaps it was a portrait of the Hapsburgs and it was a symbol of the falling away of old ways (i.e. art, love, power and individual v. state).  Whatever the purpose of the painting, it was not particularly clear.

After the space, material and technical aspects of the show, leaves acting.  There were actually some beautiful moments by several of the actors.  Unfortunately they were too few and drowned in distractions.  Almost every performer donned a different dialect.  Some sounded American, several sounded of several parts of the U.K., some teetered between the two.  One thing that was consistent was the contemporary inflections put on the 17th century language.  Each dialectal inconsistency coupled with modern intonation served as a reminder that a play was being performed, and negated the fantasy of the fourth wall.  Many of the performers appeared to be talented, but some overshadowed their talent by trying too hard.  There was a great deal of audibly heavy breathing and quivering voices by more than one actor that smacked of a demonstration of acting.  The best moments were subtle and of the moment; where less effort was more powerful.  Dan Grund as the painter/General Pasha exhibited this most consistently.

I was disappointed in this show.  I’d always heard good things about Whistler in the Dark.  Perhaps it was a high expectation that lead to my disappointment.  That being said, it is clear that WITD knows how to produce a show.  It is also clear that they have a lot of ideas they are prepared to employ.  Though this production did not tickle my fancy, there are likely viewers who will better appreciate aspects with which I found fault.   I hope to see something again soon, where I will be lost in the story.  Where I will forget I’m watching a troupe of actors.  Despite my unflattering opinion of this production, I certainly respect the company’s commitment to their craft.

David Mamet’s Glengarry Glen Ross is as poignant today as it must have been when it was first presented in the early 1980s.  The anxiety and desperation of buyers and brokers remains pertinent in our society,  serving as catharsis for the repercussions for the recovering economy of our present.  Though the causes have changed and decades have passed, Mamet’s work dually depicts the stresses of selling and purchasing property.  The Independent Drama Society’s production of Glengarry Glen Ross highlights the cyclical, therefore cyclically destructive, nature of the American capitalist economy.

The Independent Drama Society brought this piece to life in the Plaza Black Box Theater at the Boston Center for the Arts.  The set was built in two distinct areas for the two distinct acts of the play – the first struck and second constructed during the evacuative intermission.  Act I offered satirical character development through a series of one on one discussion, all about real estate.  Act II gave the climax, conflict and drama of the work.  The technical aspects of the show came together to effectively create the illusion of the story.  Director Brett Marks worked well with ¾ wrap audience – a good use the black box space.  The action was such that it could clearly be seen from any angle.

Craig Houk as Moss and Michael Pevzner as Aaronow stole the first act with their vignette of bitterness and bumbling (respectively).  Bob Mussett as Lingk made a particular impact in the first act, in spite of his character’s lack of lines.  Jeremy Brown as the sordid and paltry Williamson was very convincing.  He laid the groundwork in the opening of the show scripted mostly with silent reaction.  It was in the second act, however, that Brown’s performance was fully realized.  The stand out performer of the evening was Phil Thompson.  Thompson played the aging and flailing Levene, struggling to reclaim his former glory.  With the mouth of a sailor and the tenacity synonymous with real-estate ( and salesmanship in general), Thompson brought to life the insecurity of a commission based income, and paradoxically highlighted the risk of investment.  Thompson appeared to be in the moment, and personified the sharp edge of a shifty market.

The Independent Drama Society has brought together an entertaining production.  The themes of their Season of Love and Loathing season are clearly highlighted with Glenngarry Glenn Ross.  Salespeople’s inability to accept “no” for an answer is punctuated in this piece.  Walking the fine line between wage earner and con-man, a broker can easily satisfy both aspects of the IDS season.  An object of love when they find your dream home, but when investments go wrong, the real-estate agent can easily become the subject of loathing.

Keep your eye on IDS.  They are indeed an up and coming local theater company.  The hard work of the production team is evident and I look forward to seeing the continued offerings of this season. The company’s continued selection of worthwhile works demonstrates their taste, and their production value rivals companies who have been around a lot longer.  I expect IDS to continue growing and making themselves a staple in the Boston theater scene.

Phil Thompson as Levene and Michael Fisher as Roma in the Independent Drama Society’s production of GLENGARRY GLEN ROSS, Tix and info: independentdramasociety.org. Photo by Bethany Krevat.

Streams, premiered in 2009, was an explosion of movement. Covens, from 2006, was haunting.  Sound Secret, premiering with this second concert of the season, was an irreverent display. I found all three of the musical selections to be powerful in their own right. Terry Riley’s The Cusp of Magic for String Quartet and Pipa created the lively cacophony that was mirrored in the movements of the corps de ballet. James MacMillan’s Symphony No. 3 was ominously booming. Sonata for Two Pianos and Percussion by Bela Bartok explored the depth of percussive instruments from piano to xylophone to snare, with out a single woodwind, reed, brass or string this piece was richly melodic.

In reviewing Elements of Passion at the open of this landmark season, I stated a desire to see the men of the company featured; in the way they usually showcase ballerinas. Ask and you shall receive. In this fall concert my wish came true (though I doubt my expressed wish as the cause of the desired result). The men of the company were given combinations that demonstrated that ballet should not merely be considered a feminine sport. Athletic but graceful, the gentlemen of the company were, in my humble opinion, the crowning jewel of Realm of Suspense. Such exaltation of the males should in no way diminish the grace and beauty of the women, but I must say it is always nice to see men doing an equitable amount of dancing, when it is all to common to see a man performing as a workhorse in service of his pas de deux partner. Mateo’s choreography, combined with the talent of his company, takes what is colloquially considered a delicate art, and injected it with the socio-normative concepts of masculinity. As the stand out performer of the evening Kehlet Schou was the very essence of such strength. Schou, as always, performed each piece with finesse and tenderness, but never at the expense of muscle or brawn.

The performances abound, however, were exquisite. The company appeared to be charged up, most prevalent in the performance of Elisabeth Scherer. Scherer seemed to have a certain spark about her performance that made her the most enjoyable I’ve had the opportunity of seeing her. In particular Scherer’s performance in Streams held the attention of the audience. The newest addition to the company Ivaylo Alexiev performed like a technician. His lines were beautiful, and his agility enrapturing.  Jacob Hoover and Madeleine Bonn were conjoined partners in their dance in Covens. These two each bring their own presence to the stage, but together possessed beautiful chemistry and characterization. Angie DeWolf, featured more than once in the course of the program, entrances the audience with her apparent joy derived in dance. DeWolf’s joy is contagious, and while she is dancing so do the hearts of the audience.

It is always a privilege to take in a concert from the Jose Mateo Ballet Theatre. Judging from the audience reaction, this is a shared sentiment. From the whispered “wows” to the shouted “bravos”, the entire audience found Realm of Suspense to be an exhilarating and entertaining program. My hat goes off to Jose Mateo, the company of dancers, and the company at large. I have yet to be disappointed, and I continue to be surprised. JMBT has set my expectations set quite high for the remainder of their season.

Covens

The Shirley, VT Play-Festival in a word: synergy. The Huntington, SpeakEasy, and Company One come together to present three works of play-write Annie Baker, all of which take place in the fictional town of Shirley, VT. You had me at Vermont. I was raised camping and skiing in Vermont, traditions I still maintain today. I consider it to be my secondary home state. The idea of a festival featuring a single play-write is a stroke of collaborative brilliance. One in which the plays are set in Vermont only made it all the more enticing.

SpeakEasy produced Body Awareness as their exhibition in the festival. Under the guise of body awareness, this piece seemed to deal with the concepts of overall self-awareness and awareness of others. As always, SpeakEasy offers top-notch theatre. The cast, set and script all came together in a witty, heartfelt exploration of empathy. Judging from this production, the entire festival should be great.

Paula Plum, one of Boston’s greatest talents, did not disappoint as the self-sacrificing Joyce. Plum created a compelling progression from complete empathy for those around her to self-assertion. I imagine Plum contributes to the excellence of her fellow performers. While Plum brought to life a woman learning to look inward, Gregory Pember juxtaposed her journey as a young man learning to consider others. Pember played the aspergers-suspect Jared. Pember walked the fine line that allowed for uncertainty in his diagnosis. This ambiguity allowed the Aspergers to serve as a tool to underline the degrees to which each of us displays particular symptoms. Pember and Plum both created characters on opposite trajectories of interpersonal discovery, but in the end their parent/child relationship is symbiotically engendered.

The stand out performer of the night was Adrianne Krstansky as Phyllis. Krstansky played the flappable psychology professor committed to a particular vision of gender empowerment. She was the image of an ultra-liberal, free-spirited (unorganized), over-analytical intellectual of academia. Krstansky took Phyllis on a journey that seemed to parallel that of Jared’s. Krstansky began her subtle transformation obliviously elitist, calling attention to Jared’s lack of empathy, all the while doling out her unsolicited opinion as fact. In the end Phyllis open’s up to other perspectives. Krstansky’s choices were exacting. Krstansky’s performance was exacting and complex.

The stage was set to resemble a house, the likes of which are numerous in Vermont. The wood panels were a priceless touch. The kitchen table, bench, bookshelf, and wooden kitchen island all created a rustic milieu, an absolute signature of Vermont homes. The costumes too were very appropriate for the locale; winter in the green mountain state requires many layers to facilitate the varying temperatures of varying locations. SpeakEasy always demonstrates technical excellence.

This was a touching show. It challenged ideas of mind/body awareness. Annie Baker has manifested a family learning to understand themselves and each other. SpeakEasy took this poignant story and helped it speak volumes. There were lessons to be learned from each of the characters on how to be more conscientious friends and family members. I seldom have the opportunity to see a SpeakEasy production, but I am consistently entertained and impressed.

Jared (Gregory Pember) indulges his passion for the Oxford English Dictionary

Photo: Craig Bailey/Perspective Photo.

Choreographed to Oliver Messiaen’s Quartet for the end of time is the tale of an ill-fated couple. Sybil Geddes and August Lincoln Pozgay were featured in the peace, and coalesced a captivating chemistry. Geddes, as always, dances with character and grace. Her energy drew ones eye, even if merely crossing the stage. Geddes’s arabesques and développés were drawn in pristine lines. Through a series of musical movements, the story of this couple unfolds through Mateo’s signature layering of core de ballet combinations. Through an assembly line resembling sequence of lifts and poses somehow gave the “everyman” feeling of the story.

Schubert’s Quintet in C was soundtrack of Schubert Adagio, the second offering of the evening. Sequence, repetition and bands of light underlined the linear themes of the music. The piece began with, and again reprised, a conveyor belt series of steps reminiscent, and perhaps the precursor to the counter cycles of movement in the previous piece. The simplicity of the quintet and Madeline Bonn shone bright in this piece, displayed beautifully by Jacob Hoover. Bonn executed the choreography with an air of ease and with her engaging presence. Hoover played his part in the dance of seduction with an engendering tenderness. The delicacy and subtlety of this piece made it my favorite of the evening.

In the third and final piece, Back to Bach, the company of dancers danced jubilantly to Johan Sebastian Bach’s Concerto in C Minor. Though the core could have been better synchronized, the choreography of the piece read beautifully. Splashes of colored light reflected off the dancers and set to elevate the elative mood the piece. Angie DeWolf lit up the stage with her smile. Kehlet Schou, once again, demonstrated a masculine athleticism so important in a male dancer. Schou’s movements were crisp and clean.

I have come to expect the utmost from the JMBT. I am seldom left wanting for much from dancers, choreography or music. I will say, however, that after the performance, I had a desire to see more out of the men of the company. In particular Hoover, Pozgay, and Schou each demonstrate technique, strength and stamina. It would thrill me, and I’m sure audiences abound, to see Mateo choreography unleashed on their apparent talent.

Judging by this opener, the 25^th season of The Jose Mateo Ballet Theatre will be a landmark event. I enjoy the renaissance effect of watching pieces of varying times in the company’s history. In the progress of a concert one can see the progression of Mateo’s craft. JMBT distinguishes itself as among the elite in ballet.



Time Beyond Time