The lucky guests of the Boston Gay Men’s Chorus Pride Concert, “All You Need is Love,” The Music of the Beatles, were treated to more than just a musical performance of light and nostalgic Beatles tunes.  This music-concert-come- ballet, the brain child of Kevin Robinson, strings the Beatles songs we know and love loosely around the life of the Beatles’ first Agent, Brian Epstein.  Epstein, a deeply closeted homosexual, died of a drug overdose at age 32, never truly able to express himself.  The narrative, told in story and dance, gave a unique interpretation to song lyrics we have heard many times before.

Special guest at this concert was Eric Johnson who, as the featured dancer, led a fearless troupe of BGMC members in sobering moments of beautiful choreography (bravo Michelle Chasse).  The BGMC dancers were outstanding in this concert.  While we have come to expect their playful costumes and campy dance routines, it was both refreshing and inspiring to see them on stage in a serious and focused way.  I was doubly impressed by their sensitive work for this concert.

And of course, there is the chorus.  Not truly an afterthought here so much as a pause to reflect on my admiration for Ruben Reynolds seemingly effortless way of guiding the men of the BGMC to just the perfect arc of emotion.  His spirit, and the way that the members of the chorus focus on his direction, is an inspiration to watch.  A highlight of the night was the heart-rending solo performance of “While My Guitar Gently Weeps” by Bill Spera, whose gentle voice was captivating and a perfect fit.  I also truly enjoyed “Imagine”, and “Let it Be,” but how can you truly pick a favorite among so many jewels?

I was deeply moved by this concert.  During Pride, so many less sophisticated, sillier, concerts have won much acclaim, and don’t get me wrong, I love them too, but its nice to have a concert that feels somehow tender and thoughtful among the glitter beads and feather boas of the weekend.  I’ll be missing the chorus this summer, and looking forward to the season ahead.  Happy Pride, everyone.

Hearing the very first minutely affected syllable breathed through a totally dark theatre, I knew that I was in for something special as an audience member of Speak Easy Stage Company’s final production of the season, Tony award winning, The Drowsy Chaperone.  Our narrator, “Man in chair”, is quick to bring us into the particulars of his world; a place where a treasured classic musical can transform a room right before our eyes, can stop and start at his whim, and can lay a foundation for the hysterical- though sometimes shockingly heart-rending, tale of a day in his life.

“I know him!”  I exclaimed in a whispered hush to my companion- but I didn’t mean that I know perfectly-cast, Will McGarrahan, I meant that I am intimately familiar with the man he portrays.  He lives inside of me, and inside of so many other musical theatre lovers- a person who understands the tranformative ability of a beautiful score, the cleansing properties of a perfectly cast love-song, the glee of a clever tap-dance number, and the emotional satisfaction of a grand finale where everyone lives “happily ever after” and then reprises that last stirring chorus after the curtain call! I cannot begin to recall the number of times I have tried to explain my passion for musical theatre to someone who doesn’t quite “get it’, and to feel the silly frustration when they don’t understand why it is so poignant that Lea Salonga should play BOTH Eponine and Fantine  in different productions of Les Miserables.  I too have tasted the “poopoo platter of tunes” and feel the longing to share its flavor with the world outside. That is what is so perfectly touching about this treasure of a musical.

Speak Easy’s production value is as high as ever with this selection.  Jenna McFarland Lord’s opening set is so impressively detailed that it is hard to imagine it is only one small part of the entire picture.  The ingenious moment where the bed comes out of the man’s stove- with the Chaperone aboard- is a show stopper!  Every detail of the costumes by Seth Bodie (I’m a big fan!) was lush and over-the-top, bathed in period color and set perfectly against the vivid and clever light design of Karen Perlow.  Of the dozens of Speak Easy shows I have seen throughout the years, I found the cohesion of production elements in this particular production to go above and beyond the norm.  Directors David Connolly and Nicholas James Connell should be proud of how dedicated their production team was to truly showcasing the expertise of their actors and directing style.

It is hard to name one person as a standout in this extremely talented cast.  David Christensen’s Robert Martin was charming and doltish, a man you’d want to hug and simultaneously smack upside the head.  Sarah Drake plays “Kitty” with an effervescent enthusiasm that completely enchants the audience from her first off-key squeak. Thomas Derrah as “Aldopho”, the smarmy European, could not be better cast.  What a hysterical combination of swagger, accent, and comic timing!  Add to that the droll and languid musings of “Drowsy Chaperone,” Karen MacDonald and the punches just keep right on rolling.  This musical cast would not be complete without seductive starlet, “Janet Van De Graaff” played by Speakeasy alum, McCaela Donovan.  This is the role that Donovan was born to play.  She was, in every way, a show stopper.  What a beautiful, poised, and passionate woman.  I was blown away by this indisputable triple threat.  This nod to a fantastic ensemble would not be complete though, without re-mentioning Will McGarrahan in the roll of “Man in Chair”.  Despite the colorful, over-the-top stage shenanigans that sprang to life all around him, I couldn’t take my eyes off of McGarrahan throughout the production.  I wanted to see and enjoy his reaction to the musical even more than I wanted to watch it unfold myself.  He was tender and approachable, passionate and clever, a little flirty and suggestive, all without having to leave his chair for more than a few moments.  I wanted to leave my seat and sit with him.  I wanted to proclaim my excitement and allegiance to him- he was, in essence, the star of BOTH shows.  This was perfect casting.

I cannot implore you more, as a reviewer and a lover of all things musical theatre, run, do not walk, to see this production.  This one is once in a lifetime.

As Speak Easy’s 20th anniversary season draws to a close, I cannot help but want to express my gratitude for the many wonderful productions (and the few not-so-wonderful ones) I have seen throughout the years.  I look forward to what is ahead for the company in the next 20 seasons.

Karen MacDonald as The Chaperone and Will McGarrahan as Man in Chair in a scene from the SpeakEasy Stage Company production of THE DROWSY CHAPERONE, . Photo: Stratton McCrady.

The Glorious Ones is the newest Boston-area premiere for The F.U.D.G.E. Theatre Company to claim as its own- and what a multi-faced little jewel of a production it was!  From Ahrens and Flaherty’s evocative score, to Lindsay Hurley and AnneMarie Alvarez’ delightfully detailed costume design, this 90 minute romp into the historical world of Italian Commedia dell’arte shines with sophistication and polish.

The Glorious Ones is more than just a farcical real-life Punch and Judy show, it is filled with real-life sized drama and consequences when an aging art form- and its aging creators, realize that their time in the spotlight is fading.  The sad course of action which unfolds around the dynamic little troupe exposes the audience to the irony of the “famous” lifestyle: often one’s impact cannot be seen until long after they are gone.

Director, Joe DeMita, leaves his dark mark on this production, perfectly executing the lingering feeling of sadness-to-come while the overblown comedic interludes bring the audience to bright laughter. DeMita’s extremely intricate lighting design keeps the actors moving, and the audience engaged, on the completely bare “stage” setting.  A strong orchestral presence-especially toward the end of the production- led by Music Director, Megan Bergeron, underscores the actors without overwhelming them.

The sprightly cast of seven danced about the stage with confidence, from bold and sad midget, “Armanda Ragusa”, played by Joelle Kross, to the oafish “Dottore Graziano”, played by Adam Gray.  Kross and Gray both added a touch of lightness to the Commedia numbers, and Kross offered a delightful contrast to them in her personal monologue moments.  Mike Fay, as “Pantalone”, was an audience favorite with his “Eyore”-like sadness and hope-glimmering eyes.  Curt Fennell as troupe leader, “Flaminio Scala” led his actors, and his fellow cast members, with extreme gravitas.  His powerful stage presence and confident voice filled the theatre with seemingly little effort.  The absolutely stunning Stephanie Schapero as “Isabella Andreini” had a perfectly tuned soprano, floating right through the other chorus members.  She was engaging to watch from start to finish, even when the action did not focus on her.  Stand out performance of the night, however, goes to Rich Hoehn, whose good looks and ease on stage only highlighted his extremely versatile voice. As a duo, Schapero and Hoehn were a force to be reckoned with.  Only Leslie Comperchio, playing “Columbina”, seemed out of place in this production, with both a weak-sounding voice (especially her lower register) and very stiff and passionless acting.  Perhaps it was because of the truly excellent company she among, but Comperchio left me feeling unsatisfied, and unsympathetic to her character. Overall, though, I was engaged and delighted by this tenacious troupe. Masks by Hurley/Alvarez were a particular delight, as was the rich looking Arlecchino ensemble!

The F.U.D.G.E. Theatre Company continues to grow and diversify.  Each production, often a premiere or under-appreciated work, serves the company and the community at large, and I am always looking forward to what is on the horizon- in this case it’s a Tenth Anniversary All Star Reunion Concert and a dark-twist on a classic Rogers and Hammerstein show-stopper.  It’s going to be quite a summer!

It’s a brand new year for the Boston theatre scene, and most of the local production companies are well into their seasons.  Their holiday shows just a pleasant memory, it’s time to up the ante and add a little “pow” to the hum-drum winter months in order to keep their audiences awake through the seasonal hibernation.  Speakeasy Stage Company’s answer to that challenge is the romantic suto-love story, NINE, based on Fellini’s popular film, 8 1/2.

In theory, everything about NINE is powerfully seductive to me.  Set in Italy, the rustic staging and sultry accents tempt my exotic side, and the female dominate cast appeals to my ever vigilant quest to find gender balance in the performing arts world, but despite beautiful production value, and an enormously talented cast, I found NINE to be little more than a tolerable mash up of mediocre songs with a terrible script (it did pick up a bit in the second act though).  I actually have to hand it to the Speakeasy Stage Company for giving me something even remotely positive to say about a show that has failed almost universally despite its many incarnations on the stage and screen.

While the Yeston/Kopit script is dull and insulting (not to mention endlessly long), director Paul Daigneault works diligently against the monotony with solid staging, and choreographer David Connolly squeaks some interest out of terrible musical numbers.  I can only imagine how difficult it must have been to assign meaning to line after line of predictable misogyny, but Daigneault actually helps Timothy John Smith’s Guido Contini come across as slightly more sympathetic than I thought possible.

Smith is overall a solid performer, his voice is smooth and rugged but with a touch of the exotic that I craved, I only wish his accent was more authentic sounding and more consistent during his speaking lines.  I’m afraid I was distracted by some pretty terrible sounding mispronunciations.  In the Act Two finale, Smith’s reprise of “Long Ago” was extremely touching and beautifully sung.  Amiee Doherty as Luisa was excellent.  Her accent was fairly consistent in both speaking and sung lines, and she was stunning to look at, especially during her heartfelt send-off, “Be On Your Own.”  Doherty looked well beyond her age in this role, and carried that age with sophistication.  She had an almost- Sarah Palin-like warmth and glow as she portrayed the wife of an important Hollywood icon.  I also particularly liked Kami Rushell Smith, who played a sort of “storyteller” role in the piece.  She was beautifully poised.  But for me, the knock-out performance of the night, and truthfully the only moment in the show that I wasn’t the least bit bored, was while watching Kerry Dowling perform as Sarraghina, a woman of the night.  “Ti Voglio Bene/ Be Italian” was a true show stopper and Dowling was a completely believable Italian native.  How fortunate Speakeasy Stage was to have her among the already talented cast.

I’m not completely sure about Speakeasy’s choice of NINE to cure the winter doldrums.  I left the theater feeling a little disappointed.  Surrounded by so much amazing talent, I wanted them to push the limits and bring me something fresh and exciting, but what I got instead felt a little predictable and stale.  At least, with Speakeasy, I am never disappointed by their excellent technical skills and their impeccably friendly and helpful staff.  I’m looking forward to being wowed by their early spring offering, reasons to be pretty.

Timothy John Smith (center) and company in a scene from the SpeakEasy Stage Company production of NINE

I’ve become quite a Boston Gay Men’s Chorus fan.  Sometimes, I wonder if there is anything original I can say after having the pleasure of viewing one of their performances.  The music, always carefully selected or painstakingly created by Music Director Reuben M. Reynolds and Assistant Music Director Chad Weirick, is always beautifully and passionately sung, the special guests that perform with the group always highlight their talent without overshadowing the group’s unique beauty, and the dance numbers are always a celebration of abandoning of all self-consciousness. But part of the, dare-I-say it, fierceness, of the BGMC, is their ability to reinvent themselves time and again, creating something completely new and original while holding tight to their long-standing tradition of moving music for social change.

This holiday concert was no exception.  Joy! was certainly that.  This concert had a more subdued tone to it than concerts of the past, including many traditional carols, from Gwyneth Walker’s “Rejoice” cycle to Jackson Berkey’s “Aniversary Carols”, a selection of classic holiday songs re-set as a yearly anniversary gift for his bride.  The chorus was at it’s best here, meticulously blending their voices with expert subtlety.  Soloist J. Jacob Krause’s romantic baritone in “Still, Still Night” was incredibly memorable, as was the light-hearted tribute to our Jewish friends, “Shalom Santa” sung with gusto by tenor, Peter Crosby.   My personal favorite song of the night was the beautifully melodic L’Dor Vador arranged by Chris Hardin and Chad Weirick.    This concert’s phenomenal guest performance was by the Majestic Brass Quintet.  The quintet’s clear and resonant sound was a perfectly classic harbinger of Christmas and left an electric ripple of joy throughout Jordan Hall.

I had the extreme privilege of attending a small, private engagement after the performance, in the beautiful South Boston home of one of chorus’ most esteemed gentlemen.  I had a moment to speak with Mr. Reynolds about the choir, it’s mission,  and about the unparalleled signing of sign language interpreter, LeWana Clark.  When I questioned the choice of having American Sign Language included in a vocal concert, Mr. Reynold’s told me a unforgettable story about the long-standing history of the chorus, and how sign language was added to the performances when the AIDS epidemic was at its peak, to reach out to members of the gay community who had had their hearing taken from them by the disease.  The sign language interpretation continues to this day as a tribute to the fallen members of the community and as a celebration of the inclusive and healing capabilities of music.  I was extremely touched and grateful to have been given a small peak into the past, and I wanted very much to share with you all what I learned.

The BGMC has recorded Joy! and is in the process of producing the music as the chorus’ next holiday album.  You can contribute a small donation to be listed as a producer for the album here.  I am so glad this unforgettable concert will be available to listen to again and again.

When you have had just about all the tinsel, eggnog, and crowded malls that you can possibly handle, Speakeasy Stage Company’s Striking 12 is like a deep breath of fresh air to clear your lungs of all the chestnuts and winter berry.  Now don’t get me wrong, there’s nothing wrong with holiday shows that come around every year.  The Nutcrackers and Christmas Carols of the world are long-loved staples that we would all miss terribly if they were gone, but there comes a time when even the most antediluvian of all of us are aching for a fresh perspective.  With a multi-talented cast of three, a simple set in an intimate space, and a rock/country fusion score, Striking 12 has almost nothing in common with the “traditional” holiday offerings.

Set just after the Christmas holiday, New Years Eve, in fact, Striking 12 tells the story of an ordinary “Bostonian” who has absolutely no inspiration to participate in the usual end-of-the-year festivities thanks to a demanding job, a gaggle of self-involved friends, and a very outspoken ex-fiance. He comes to terms with the great fortunes of his life with the help of an unexpected visitor that is not in the form of a ghost or grim reaper- how refreshing this time of the year!  The three person cast, who also play their own instruments, embody a variety of roles in addition to their “main” characters as a story unfolds which loosely follows Hans Christian Anderson’s The Little Match Girl.

Striking 12 was originally developed by a New-York-based Rock/Country/Jazz trio called GrooveLily, and Boston’s inspired collaboration of José Delgado on keyboard, Zacary Hardy on drums and Erikka Walsh on violin were a formidable tribute to the creators.  Delgado used the keyboard with effortless ease and his voice was every bit as wonderful as his playing.  He was quick and funny with excellent projection.  Hardy completely captured the satirical nature of Groovelily’s drummer, Gene Lewin, in his portrayal of the role; in fact at times his voice was almost identical to Lewin’s, but rather than just mimic the drummer, Hardy adds his own wit and nuance- and absolutely ridiculous drumming.  Walsh is a force to be reckoned with on the violin.  Not just an instrument, Walsh actually uses the violin as an extension of her own voice and her own body.  Her vocal acting, especially during “The Sales Pitch” was the highlight of the performance, and more than made up for her occasional pitchy-ness in some of the more delicate vocal sections of her part (most notably during her moments singing as the little match girl).  I have never seen anyone play the violin so expressively and so passionately before- and she did it all in absolutely fabulous stiletto heels (you didn’t think I could review on “out and about in town” night without mentioning those fierce shoes, did you?) The cast had great chemistry, and, I can confidently say, more overall talent than I am used to seeing in such an intimate space.  I loved being able to watch three musicians perform such exciting and “modern” music without being distracted by people screaming or throwing themselves against the stage, though frankly I am surprised no one tried to- they were that good.

The technical aspects of the show were no show stoppers, to be sure, but they ran smoothly and added to the overall professional quality of the production.  Victoria S. Coady’s stage management should be complimented for making everything look so easy-breezy.  Scott Sinclair made his Speakeasy directorial debut with this show, and he should be commended.  What a wonderfully unique and special piece to have had the opportunity to bring to the Boston community.  Sinclair, an Emerson alum (represent!) has a bright future ahead of him if he continues to collaborate on shows as clever and exciting as Striking 12.  Your holiday season will be just a little bit brighter if you take a moment to see this show.

Merry Christmas from Boston Theatre Review!

Erikka Walsh and José Delgado in a scene from the SpeakEasy Stage Company production of STRIKING 12
Photo: Craig Bailey/Perspective Photo.

The Vokes Theatre is an intimate playhouse that evokes the feeling of an Italian Renaissance stage. Long and narrow, the play space is painfully close to the audience and the audience is painfully close to one another with barely enough room to sit without knees touching the seat in front of you.  While my companion and I joked about fire codes, I could not help but feel a little bit charmed by the classic feeling of the space, complete with its original hand-hewn gilded plaster ribbons and cherubs.  How well suited the space was for a production of Shakespeare’s arguably most famous of all tragedies, Hamlet.

The Vokes Players were a surprisingly energetic group with an excellent grasp of Elizabethan English, solid and well-developed character work, simple yet ornate costumes and a very professional set and light-scape.  It is clear to even the casual observer that this company has mastered the use of their space and the distribution of their resources in such a way that the whole production had a very polished and cohesive feel.

I was delighted by the cast as a whole, from the statuesque Christina Petrillo who embodied Queen Gertrude with sophistication and grace, to the charming Miranda Cashman who spoke not a single line but made her “voice” known in her simple and engaging devotion to her character’s “station”.   Among the genuinely wonderful cast, there were a few stand out players that brought their characters to exquisite reality;  James Wilcox’s Horatio was wonderful, he was masculine and sexy, and a perfect compliment to the brooding dane.  Sara Jones was so affecting as Ophelia in the second act’s madness scene, that is was heartbreaking to watch her.  Her haunting voice was tugging at every heart string in the audience.  Tom Rimer and James Crosby as Rosencrantz and Guildenstern, respectively, were a delightful duo that had a charmingly familiar “DeVito and Schwarzenegger” vibe to them.  Rimer had a particularly nice tone and cadence for the language of the time.  There is no question as to why Woody Gaul was cast as Hamlet.  With wonderfully natural stage presence, boyish good looks and charisma, he pouted his way through the production, giving nuance and thoughtfulness to each line.  Even the terribly over-played “To Be or Not To Be” speech felt fresh and “in the moment” under his attention.  His sword fight with Evan Bernstein as Laertes was spellbinding.  I don’t think I took a breath for three solid minutes.  I couldn’t believe how enraptured I was by the fight even after braving over two and a half prior hours of dialog!  I must note, though, that the stand out performance of the night, went to Brad Walters as the Gravedigger.  A relatively small role in the play as a whole, Walters was the most memorable character.  He was bawdy and “simple” and yet somehow was able to not only speak the Shakespearean lines, but actually flavor them and breathe into them a new life that I found refreshing and delightful.  All of this excellent acting work is a tribute to Chris Cardoni’s direction on the piece.  I’m extremely impressed.

Costumes were neat and simple with classic touches, and I liked some of the more modern pieces like sweat and yoga pants layered over with the more time-appropriate ones (though I didn’t like that I could see Claudius’ sportswear label on his pant leg!) and the wigging/hair styles on the women were really lovely, many props to Elizabeth Tustian for her work there.  I also thought the set was extremely well done and expertly designed.  Chris Cardoni and Sarah Rozene should be commended for putting it together with finesse.

I do not travel outside of the metro-Boston area to see many productions (the city proper keeps me busy enough!) but I must say that I would not hesitate to attend another show by the Vokes Players.  It was worth the car trip.  Making Shakespeare feel fresh and engaging is a feat unto itself, but Vokes also made it feel fun and charming.  I loved it.  One of my favorite regional productions this year.  Bravo, cast, crew et al!

Tom Rimer (Rosencrantz), James Crosby (Guildenstern),
Christina Petrillo (Gertrude), David Berti (Claudius)
Photograph by Donnie Baillargeon

Thanks everyone, and keep enjoying those Boston shows!

A cool summer night kissed with a gentle breeze, the electric hum of thousands of excited audience members, and the clash of car horns mixed with the primal sounds of crickets chirping provided the perfect backdrop to one of Boston’s most anticipated summer events, the Commonwealth Shakespeare Company’s Shakespeare on the Common.  This year we are treated to Othello, arguably  Shakespeare’s most beautifully written tragedy.

What a fitting homage to the great William Shakespeare that the audience is able to see his plays performed in such an authentic and historical way.  While Shakespeare’s Globe Theatre had partial covering (much like today’s football stadiums) most of the stage and many of the seats were exposed to the elements and at the mercy of the weather.  Seeing Shakespeare outside is a rare peek into the historical significance of theatre through the ages, and The Commonwealth Shakespeare Company has kept that integrity while building a beautiful and professional venue to showcase their talented cast.

From curtain up, Patrick Lynch’s simple yet bold set design was well utilized throughout the five act play.  With a long wading pool, large revolving walls, and several balcony and staircase entrances, the audience was able to feel an essence of varied time and space with only minimal set dressings.  The design created the perfect backdrop for the performers, using the beauty of the park itself to provide perfect contrast.

Seth Gilliam, a celebrated stage and screen actor, embodied the Moor.  I was immediately taken by his countenance and stature.  Unlike many productions I have seen where Othello is portrayed by a football-player sized statue of a man, Gilliam is a less imposing character.  Rather than heft and mass, he has a graceful and stately air about him that immediately made me sit up and pay attention.  He gave a powerful performance.  Emotionally committed in every way, Gilliam created an Othello that is far more likable, more sympathetic than is often the depiction.  A perfect consort to Gilliam’s Othello is Marianna Bassham as Desdemona.  Bassham is statuesque, with more confidence than your traditional Desdemona.  In fact, the two provide us with a realistic depiction of this power couple- not an overbearing brute and his waifish, vapid bride, but a modern power couple who compliment each others sophistication and relish in each others success.  They provide a delicious chemistry on stage both in their union and in their undoing.  Unfortunately I was less than impressed by James Waterston as Iago.  His delivery lacked nuance, and his voice lacked range.  I was surprised to see someone flub so many lines in one production.  He stood out even more because of his excellent company, but regardless, more than a week into runs I  think that dropping a line or more every scene  is a bit too much.  I wouldn’t write him off completely though, his scenes with Gilliam are very good, and the man has endurance- he’s got the most lines in the show (even more of a reason to get them under control, I say).

The lead players are complimented by an excellent supporting cast, Dan Roach plays a handsome and sincere Cassio, and McCaela Donovan is an enchanting Bianca, I found myself wanting to see more of the character.  A standing ovation, though, is saved exclusively for Adrianne Krstansky who played Emilia.  Emilia is one of my favorite female Shakespeare characters and Krstansky played her to perfection.  A severe, ample, and passionate woman, I envision a strong and brooding woman in the roll, someone who finally has the courage and conviction to stand up to Iago’s treachery- and Krstansky gave me everything I wanted.  I was so glad that the bulk of her text was still in the show.  Often much of Emilia’s part gets cut from the show to save time, but this treatment of Othello celebrated her in all her glory, and I was delighted.  Each character was dressed in a beautiful contemporary twist on 1940′s fashion, and costume designer David Israel Reynoso put them together perfectly.  I loved the ladies’ head pieces.

The success of this production must be attributed to the hard work of director Steven Maler and his excellent production team.  Maler captured the intimacy of a great theatrical tragedy, and amplified it not only to suit a crowd of ten thousand, but made it carry weight and beauty across a very distracting urban setting, with food and drink, noise, and the elements of nature in stiff competition for audience member’s attention.  But each subtle joke, each famous line, each passionate battle was riveting and captured the huge audience.  I have never heard an outdoor space so silent as in the finale of act five, even the many children were completely focused on the stage.  It must have appeared eerie to an outside observer.

I would recommend seeing Shakespeare on the Common to anyone in Boston.  It’s free, it’s different, it’s cultural, and it’s fun.  But even more-so I would recommend that they see this excellent production of Othello regardless of where it was playing.  I caution would-be theatre goers to arrive early for good seats, and bring a chair of some sort rather than a blanket.  It’s hard to sit up for three hours in a small space without some kind of back support, so I was grateful for mine.  Also, bug spray.  It is one wonderful and worthwhile summer night in Bean Town.

Actors From Left: Seth Gilliam (Othello), Arthur Barlas (Senator), Brandon Drea (Ensemble), Fred Sullivan (Brabantio), Arthur Waldstein (Senator), Marianna Bassham (Desdemona), Mike Schadler (Ensemble), John McGinnis (Duke of Venice) © Photo by Andrew Brilliant/Brilliantpictures Inc

The F.U.D.G.E. Theatre Company’s summer offering is the sweet and soulful Violet by Brian Crawley and Jeanine Tesori. A perfect closure to the company’s brooding season, Violet is an inspirational tale of a young girl on a journey of self discovery to find the true meaning of beauty after a childhood accident leaves her hopelessly scarred.  Told in the past as well as the present, we see Violet struggle to overcome the pain of disfigurement in a world where beauty is the ultimate commodity.  FUDGE’s production is nuanced, provocative, and impeccably acted and sung.

The show’s namesake is portrayed in both her adolescent and adult realities by Kacee Staiti and Shawna O’Brien, respectively.  Both regulars of the company, they are at their finest with this smooth and twangy country sound.  Staiti is heart-rending as the younger Violet.  Her pain is raw and palpable, her innocence interlaced by a precocious charm that shines through her malady.  O’Brien is every bit as raw as her counterpart, but with a carefully controlled pain and confidence.  Her voice floats above the orchestra and grabs the audience immediately.  I was choking with tears to see such a beautiful woman sing of indescribable pain, for you see neither manifestation of the Violet character bares a visible scar in the piece.  Though this might be momentarily confusing for an audience that has read the play’s description, it becomes immediately apparent that no makeup could ever illustrate a scar as disfiguring as the one we can imagine in our minds.  It says so much more about the nature of pain and beauty and the relationship to beauty and society when you see these two beautiful women go through this journey while still looking “whole”.  In this way, their “scars” can stand in for the scars that each of us carry, be they physical, spiritual, mental or otherwise.

These two phenomenal ladies are flanked by a talented and dedicated cast that burst through the audience with the life and vivacity of the deep South.  Love interests Flick and Monty, played by Kaedon Gray and Jared Walsh, are as night and day for Violet.  The love triangle develops, with Monty’s interest in SPITE of the scars and Flick’s interest BECAUSE of them, until even the audience isn’t sure who to choose.  Gray is a wonderful Flick (though at times very hard to hear) with a mellow sound and tender disposition, and Walsh is a slick and quick Monty, perfectly capturing the quintessential all American boy-next-door.   Todd Sandstrom play’s Violet’s father with a perfectly juxtaposed sad/humor, blooming with warmth and love for his daughter as they both struggle through the guilt and anger of the tragic accident.   The excellent ensemble includes some inspired performances by Nella Mupier (whose gospel solo is a highlight of the show) and James Petty as the preacher whose loss of the Spirit renders him impotent in his ability to help Violet.  Petty is spectacular here, and his accent is the best in the show.  His “used car salesman” ensemble adds an uncouth touch to his charming good looks (bravo costume designer, AnneMarie Alvarez ).

The production team was as its finest for this summer offering.  Music Direction by award winning Jose Delgado was perfection, the ensemble moved as a well oiled unit, and the blend was beautiful.  Director Joe DeMita continues to grow as an artist, this show was a great culmination of a season of unique and special shows, and DeMita has been at the forefront helping the audience to perceive theatre in new and different ways.  Violet never felt slow or preachy, it has a perfect combination of tenderness and humor, and was a great fit to the FUDGE archetype.

There’s still a weekend left to see this show, I wouldn’t miss it.  Violet is absolutely an under-produced gem in the theatre world, and I think FUDGE did one heck of an excavation.

Young Violet and her Father bond over a poker game  (photo by Jesse Strachman)